A Publication of Material ConneXion®/The World’s Largest Resource for Advanced, Innovative Materials/www.materialconnexion.

com

Volume 2.1

US $ 5.00
INSIDE:

Interview
HOMEDICS

STEELCASE

BEST OF SHOW
MoMA Reopens

48 NEW MATERIALS
New WorkLife Center Santa Monica
™

MATTER
CONTENTS

DEPARTMENTS
P. 6 M-C NEWS Material ConneXion’s Plans for 2005, Trade
WELCOME
Affiliations and Academic Programs
Welcome to our second issue of MATTER.
P. 7 SHELF MATTER Three of our favorite books
P. 8 MATERIAL CONNEXION MILANO Our offices and exhibition Since our last report, interesting developments
space relocate took place at Material ConneXion, here in New
York City and abroad.
P. 9 MATERIAL CONNEXION COLOGNE Material ConneXion
continues to expand internationally with the opening of
Material ConneXion Cologne As the company matures into new areas of
specialized services, we’ve had the pleasure of
internal expansion. In addition, we are excited
P. 10 M-C EXHIBITIONS State of the Art
with the new move of Material ConneXion Mi-
P. 11 BEST OF SHOW Our jury selects three extraordinary new
materials lano which will be represented in the venerable
institution, La Triennale di Milano, with a per-
P. 14 48 NEW MATERIALS
manent showcase, while its offices move to a
P. 31 JOIN MATERIAL CONNEXION new hip area. The current Milan premises will
be demolished as part of the old buildings of

FEATURES the Fiera de Milano, which will be moving to

new and expanded facilities in April 2005.
P. 18 COVER STORY: MoMA ART CONTAINING ART
P. 21 INTERVIEW Homedics In addition, we have the pleasure of welcoming Material ConneXion Cologne, under the
leadership of Peter Meyer. The centrally located facilities are part of a very welcoming
P. 22 PROCESSES Rapid Prototyping
complex of related enterprises.
P. 24 CARBON BASED Nanotechnology
P. 26 INTERVIEW Steelcase discusses their new Santa As we work on other expansions, we come right back to our own city where we are cur-
Monica Worklife Center rently celebrating the reopening of the spectacular Museum of Modern Art. This incred-
P. 30 PROFILE Material ConneXion Success Story: Nike ibly beautiful structure, the enhancements to the old structure, and the reorganization
of the spaces, vistas, and the luxury of noble proportions of galleries, corridors, spaces,
volumes, keeps the visitor in awe. Our heartfelt congratulations to all those who were
involved in the re-making of this incredible institution and in particular to the architect
Mr. Yoshio Taniguchi, to Terence Riley, Curator of the department of architecture and
design and the whole committee and staff at MoMA.

It has made New York a wonderful place again!

George M. Beylerian

Founder and President

Material ConneXion

cover photo © Timothy Hursley

5
 M-C NEWS SHELF MATTER

OF MATERIAL INTEREST
OF MATERIAL INTEREST

Headquartered in New York with locations in Cologne and Milan, Material ConneXion ® has be- Three books that are favorites at Material ConneXion
come the definitive resource of cutting-edge materials for architects, artists and designers from
all disciplines. Once referred by the New York Times as “a petting zoo of materials”, Material
ConneXion’s libraries invite the user to experience the latest gels, plastics, resins, foams and
laminates - a fusion of art and technology intended to spark new design ideas. Complete access
to the database is available online.

Following are some examples of new initiatives aiming to bring our materials expertise to a
larger audience worldwide.

M-C 2005 Business Strategy

Material ConneXion continues to expand inter- This year we will concentrate on expanding our
nationally with a new office and library in Co- library access programs and customized mate-
logne, Germany, and the relocation of Material rial research to our material specifiers as well as Cradle to Cradle Immaterial/ Materials and Design:
ConneXion Milano. In Milan, The Triennale, one establishing stronger relationship with material By William McDonough, Ultramaterial The Art and Science of
of the most famous design museums in Europe developers. Michael Braungart Edited by Material Selection in
will house an exhibition space. The offices and Published by Toshiko Mori Product Design
library are located on Via Davanzati. Material ConneXion is also proud to launch its North Point Press By Mike Ashby and
Published by W.W. Norton
new TAG LINE, which reflects the objectives of the
Kara Johnson
Future expansion plans include a possible open- company: Every Idea Has a Material Solution.
ing in the United Kingdom, and we are aggres- Published by Elsevier
sively investigating opportunities to open in the For more information, please contact: “Reduce, reuse, recycle” Over the course of history, It is a human characteristic
Far East. mcaniato@materialconnexion.com urge environmentalists; materials such as concrete to wish to make things — to
in other words, do more and steel revolutionized take materials and shape,
Academic Programs with less in order to mini- architecture. Immaterial/ join and finish them, creat-
mize damage. As William Ultramaterial, the second ing products. And, from the
Recognizing that the best way to influence the Our current subscribers include Columbia Uni-
McDonough and Michael volume in the Millennium earliest flint knives to the
future of design is to influence future design- versity, Cranbrook Academy, Emily Carr Institute
ers, Material ConneXion has recently launched Braungart point out in Matters series, investi- most recent examples of
of Art and Design, Glasgow College of Building
a series of academic offerings aimed at provid- their provocative, vi- gates today’s revolution- consumer electronics, the
and Printing, the Rhode Island School of Design,
ing library access to a wide range of schools. sionary book, however, ary new materials and form is chosen not only to
Savannah College of Art and Design, the State
this approach perpetu- methods of fabrication, provide the function but
Academy of Art & Design, Stuttgart, and the Uni-
From individual discounts for students and ates a one-way, “cradle and the profound impact also to create the aesthet-
versity of Technology, Sydney. For more infor-
faculty to server-based access for thousands to grave” manufacturing they’re having on the con- ics and associations — the
mation, please contact Richard Lombard, Direc-
of students, we can find a program to serve model that dates to the tinuing evolution of archi- perception — of the product.
tor of academic programs.
the needs of any school. Industrial Revolution and tecture. The impact is felt Materials play a central role
(rlombard@materialconnexion.com)
casts off as much as 90 in many areas, including in this. Their selection to
“The students were absolutely “The students had a wonderful percent of the materials architects’ design meth- provide technical function
and extremely impressed and time. They’ll explore and think it uses as waste, much ods, the conception of is well studied and meth-
inspired.” about “materials” in a new way.” of it toxic. Why not chal- form, and modes of pro- ods and software tools to
Joseph Lembo, FIT Sylia Kiese, SVA lenge the notion that hu- duction. From the use of achieve it are established
man industry must inevi- immaterial elements such and widely available. This
M-C Trade Association Affiliations tably damage the natural
world, they ask. In fact,
as light, sound, and smell,
to the implications of in-
book explores the role of
materials and process in
To a great number of trade association members, are being explored to cross-market conference why not take nature it- vincible materials (“ultra- product design, with em-
Material ConneXion is an invaluable resource. participation, produce seminars, opportunities self as our model? A tree materials”), which tech- phasis on the ways in which
To serve this vast pool of creative talent more to establish CEU credits, develop exhibitions and produces thousands of nological developments they can be used to create
completely, Material ConneXion has launched a the like. In the coming year, additional alliances blossoms in order to cre- may soon place within our the aesthetics and asso-
program of establishing strategic alliances de- will be sought in an effort to bring the Material ate another tree, yet we reach, this book envisions ciations of the product,
signed to make the use of our material sourcing ConneXion advantage to a greater portion of the do not consider its abun- the future of architecture. and the ways in which it
and consulting services more accessible and af- design and creative community. For more infor- dance wasteful but safe, is perceived. The methods
fordable. Pilot programs have been established mation regarding these programs please contact beautiful, and highly ef- are supported by some 100
with such prominent trade associations as the info@materialconnexion.com. fective. profiles of materials and
New York Chapter of the American Institute of processes, emphasizing the
Architects (AIA), the American Society of Inte- attributes most relevant
rior Designers (ASID), the American Institute of for product design.
Graphic Artists (AIGA) and 24 Seven Talent, an
online resource for the design community. In ad-
dition to special discounts, preliminary plans
$22.50 $23.50 $49.99

6 To purchase any of these selections contact us at 212 842 2050 or email hthomas@materialconnexion.com 7

MATERIAL CONNEXION MILANO
photos on this page courtesy of Material ConneXion Milano
Material ConneXion® is pleased to announce the relocation
of its Milan office, library and exhibition space.
The exhibition space, opening in the first quarter
of 2005, will be located at The Triennale di Mila-
no, one of the most important design museums in
Europe. The Triennale di Milano welcomes at least
25,000 visitors monthly, who will be able to view
the latest in material innovations through exhibi-
tions and forty new library additions a month. The
new space will also host workshops, seminars and
presentations of new processes and technologies.
This will be a very attractive showcase for mate-
rial innovation set in a high profile institution.
Via Davanzati n. 33
20158 Milano, Italy
T +39 02 39 32 55 85
F +39 02 39 32 12 39
E infoitalia@materialconnexion.com
8 9
MATERIAL
CONNEXION
MILANO
RELOCATES
In addition administrative offices and materials
library will be located at Via Davanzati 33, Milan.
This location is open to Material ConneXion li-
brary users and clients for research purposes and
consulting needs. The research library houses ap-
proximately 1300 materials with an emphasis on
European manufacturers.
This move signifies a new opportunity to show-
case the most innovative materials and process
to a larger audience thanks to its location in The
Triennale building.
photos © 2002 Thomas Walten
photos © 2002 Thomas Walten
MATERIAL CONNEXION COLOGNE
MATERIAL CONNEXION ®
OPENS IN COLOGNE, GERMANY
In January 2005 Material ConneXion opened its The materials research library currently con-
newest international office and research library tains 600 selections with 30 new additions every
in Cologne, Germany on the “Vulkan” site. month. As with all Material ConneXion locations
the library is open to users for research and con-
Peter H. Meyer, President of Material ConneXion sulting needs.
Cologne states, “This site brings a strong tradi-
tion in progress and pioneering spirit stemming Mr. Meyer, says about the start-up: “Anyone who
from the “Vulkan’s” origins as a machine factory, knows how long market introduction of new prod-
iron foundry and apparatus-engineering work- ucts can take is well able to imagine the economic
shop.” losses that are caused by the delays. The role of
Material ConneXion is to accelerate the diffusion
In recent years, since the modernization of this process for market innovations. In doing so, we
historical site, many creative people and organi- make an invaluable contribution to retention of
zations have settled here. Cologne’s rapidly ex- the economic base in Germany.”
panding media and design sectors are changing
the face of the city.
Lichtstr. 43 G
50825 Köln/Cologne, Germany
T +49 0221 99 22 28 0
F +49 0221 99 22 28 11
E infogermany@materialconnexion.com
 M-C EXHIBITIONS
OF MATERIAL INTEREST
Material ConneXion’s exhibitions establish the essential bridge between material
developers and material specifiers by allowing companies and institutions
opportunities to showcase their products and ideas.
“Running Innovation”
Highlighting Material Influences on Sports Shoes
During the “Running Innovation” exhibit visi-
tors learned about the influence of material
technology and manufacturing processes on
the design of sports footwear. Curated at Ma-
terial ConneXion Milano by Emma Clerici, Di-
rector of the Library, the exhibit featured thir-
ty shoe styles from ten manufacturers (Fila,
New Balance, Puma, Sergio Tacchini, Asics,
Merrell, Slam, Mephisto, Lotto, and Mares) and
focused on how changes in technology and the
materials themselves influence performance.
The footwear exhibited included specialty
sports shoes as well as street shoes. The foot-
wear demonstrated the close attention paid by
manufacturers and designers to the science
of materials and technology when tweaking
“Kenneth Cobonpue” at Material ConneXion
At the “Kenneth Cobonpue” exhibit visitors saw
an innovative display of furniture blending mod-
ern design with traditional materials. The exhi-
bition included a selection of iconic pieces such
as Yin & Yang, La Luna and Suzy Wong. About
his designs Cobonpue stated, “Numerous natu-
ral materials are selected each for their unique
inherent characteristics. Abaca, for example, is
the strongest natural fiber known to man. An-
other fiber is Buri – the spine of the coconut
palm leaf used because of its abundance in the
Philippines.” Cobonpue’s designs reflect his
cross-cultural background, a mix of American,
European and Asian influences. His work
photo by Lisa Mangino (Material ConneXion)
10
Photo by NEO Photo inc.
STATE OF THE ART
specialty properties to improve performance
for a given use. Several shoes highlighted the
intricate relationship between the science of ma-
terials and the effect of design on function. In ex-
ample, the shoe created by Fila for the Formula
One racecar driver Michael Schumacher weighs
only 183 grams per shoe and is fire-resistant.
The weight of a shoe is very important for an F1
driver because deceleration on the racetrack can
cause forces up to six times the force of gravity.
Manufacturers compete in a constantly evolving
marketplace; new materials and technology lead
to designs that create enhanced performance.
BEST
Once a month, an interdisciplinary team of experts
from a variety of design related fields come
together to select new materials for the library. Out
OF
of the forty materials juried monthly, one is chosen
as the best of show. Here we have highlighted three
of the past best of show materials. According to
photo courtesy of Matterial ConneXion Milano
our Library Director, material scientist Dr. Andrew
SHOW
Dent, who moderates the jury sessions, a model
integrates locally sourced natural fibers and
handmade production techniques with modernist material is innovative, eco-friendly, technologically
forms. Combining handiwork and craft with mod- advanced, and has many possible applications.
ern form, a single sofa may have 5,000 knots in a
dexterous weave that hold the fibers in place over
a bent steel frame.
Process: Photo-Cast MC# 5130-01
A process for creating unique and custom surface relief
Kenneth Cobonpue is an award-winning Filipino
designer who studied design at the Pratt Insti- patterns on tiles. The process enables the production of
tute in New York. He apprenticed in Europe with bas-relief tiles from any two-dimensional digital image.
various furniture production and marketing firms
before returning home to the Philippines to run There is no limit to the pattern possible and is applicable
his family’s furniture design and manufacturing to ceramic and gypsum surfaces. The gypsum tiles may
business.
then be coated with a metallic coating such as bronze,
Kenneth Cobonpue’s numerous awards include brass, nickel/silver or copper, giving the appearance of a
the Japan Good Design Award (2002) and the
Golden Shell Award (2003), a citation for em- cast tile. The ceramic tiles are available in a wide range
bodying the ideals of Asian design.
Courtesy Photo Form LLC
of non-toxic glazes. Currently the tiles are available in
4 x 4, 6 x 6 and 8 x 8 in (10.16 x 10.16, 15.24 x 15.24 and
“A designer who’s work reflects his roots, his
training, the native materials from his land, all 20.3 x 20.3 cm) standard sizes but custom orders are
blended into modern classics with a twist of orig- also possible for larger orders. This process is currently
inality, sensitivity and sensuality.”
applied to gypsum and ceramic tiles but could also be
George M. Beylerian
applied to larger surfaces of a similar type. 11
 Naturals: Kirei Board MC# 5034-01
Structural composite board composed of sorghum stalks.
Oriented, raw Sorghum stalks are compressed, washed,
woven into sheets, then stacked and heat-pressed with a
STATE OF THE ART
formaldehyde-free adhesive to create blocks that are cut
to the desired size. The panels are available in 1 x 3 ft and
3 x 6 ft (30.5 x 91.4 and 91.4 x 183 cm) dimensions, in
0.375, 0.75 and 1.75 in (0.95, 1.9 and 4.45 cm) thickness. It
has good dimensional stability, is resistant to warping and
may be finished using standard wood finishes. Current ap-
plications are for furniture, wall panels and countertops,
as well as for cabinetry and flooring.
Glass: Livinglass MC# 5089-01
Decorative laminated glass that incorporates objects
embedded in resin. Natural and synthetic objects are em-
bedded in a UV resistant clear resin and then sandwiched
between two sheets of float glass. There are currently
over 100 materials in the line though virtually any mate-
rial may be captured in the resin interlayer including 3-D
textiles, plants and grasses, metal and polymer objects.
The sheets are available in sizes from 3 x 3 in up to 10 x
10 ft (7.6 x 7.6 in up to 3.05 x 3.05 m) and in thicknesses
from 0.5 to 2 in (1.27 – 5.1 cm); various surface textures
are also available. Current applications are for interior
curtain walls, doors, countertops, backsplashes and deco-
rative surfaces.
Photo by NEO photo inc.
12
Ceramics: Lume MC# 5096-01
Interior lighting that incorporates LED lighting inside of
non-woven insulation. White, colored or full spectrum
(RGB) LED’s are embedded into fine filament white bat-
OF THE ART
ting of variable thickness and dimension. The non-woven
material is relatively robust and may be bent, scrunched,
twisted, rolled and suspended. The LED’s have a lifetime
of 5-20 years, are low voltage, energy efficient, can be
THE ART
made waterproof and produce virtually no heat. The
STATE OFSTATE
form of the batting is customizable as is the color of the
light. The size of the lighting form is limitless (currently
pieces up to 18ft in length have been created) and there
is no minimum size. Current applications are for interior
residential and commercial lighting such as hotel, res-
taurant and store design.
Polymers: Interactive Sensor MC# 5138-01
Woven textile that translates a physical touch to a digital
output. The textile comprises a 5-layer construction; the
top and bottom layers are carbon conductive fabric with
a partially conductive central fabric, separated from the
top and bottom layers by insulating textiles. When the top
surface is touched by finger, stylus or other solid object
this results in an output that can measure movement (on
an x/y-axis), gesture and intensity of pressure (z-axis).
The textile is washable and may also be made waterproof,
allowing it to be integrated into products. The sensing
technology is also able to monitor bending and stretch-
ing, as well as moisture levels. There is no limit to the size
of the textile, but it must be hemmed on all sides. Current
applications for this technology are wearable computers,
fabric keyboards, flexible personal communication devic-
es and upholstery-mounted sensors.
13
 48 NEW MATERIALS
3-D spacer textile for uphol-
stery applications. This 100%
polyester textile incorporates
a 3-D woven fabrics that
are warp knit on a Raschel
machine in a single knitting
sequence, which produces
two face fabrics independent-
ly constructed and connected
by “spacer yarns.”
MC# 0044-05
A coating process for textiles
that imparts wicking and
is also water repellent. The
treatment retains water
resistance on the face of a
fabric and increases wicking
on the back. The technology
uses a special process to ap-
ply the opposing finishes.
MC# 0139-05
Thermoplastic elastomers
(TPEs) that can be overmold-
ed onto nylon. Developed
to bond onto a broad range
of nylon grades including
impact modified and heat
treated nylon 6,6. Currently
these elastomers feature
Shore Hardness values in the
60A-75A range.
MC# 0186-03
Cork/gel composite that
offers cushioning and low
weight. The incorporation
of millimeter sized cork par-
ticles into cast polyurethane
gel creates a composite that
has good shock absorption
properties, especially in
shear stress, while offering
a lower weight alternative to
MC# 1524-02 gel alone.
>>
Metallic laminate sheet for
decorative applications. Thin
aluminum sheet is laminated
onto a rigid HPL sheet (and
backed with a second alu-
minum sheet. The top sheet
is then stamped without
puncturing the surface to
create a decorative mirror-
like surface.
MC# 0091-12 MC# 2345-04 MC# 2687-03 MC# 3254-02 MC# 4282-02
Decorative metal drapery Low-E glass that has a Compostable yarn made Mats and seating surfaces
Cast metal surfacing fabric. 76% steel, 24% Pyrolitic reflective surface from corn and other plants. from woven rope. High
appropriate for vertical polyester blend textile coat. CVD (chemical vapor Sugar from corn or refined tenacity climbing rope,
applications. Metal particles incorporating type graphic deposition) of a thin layer sugar beets is fermented comprising a stranded ny-
dispersed within a resin cast- for drapery and panel wrap- of metal is added to semi- to yield lactic acid. A bio- lon core and a rubber/nylon
ing create the illusion of solid ping. Available up to 150 cm molten float glass and composite, it requires 20%- protective sheath, is woven
metal without the need for (59 in) wide, the textile can reacts with the surface to 50% less fossil fuel than to produce distinct matting
high temperature casting. be dry-cleaned and comes create a reflective coating comparable petroleum- and seating surfaces. This
in 3 colors; black type on on clear and tinted glass. based plastics and aims to woven mat is easily wash-
silver, white type on silver create fiber and packaging able, anti-fungal, anti-bac-
and blue type on silver. materials. terial and UV resistant.
MC# 0162-02
Textured vertical surfacing
panels. This sheet material
is comprised of a proprietary
blend of mineral particulates
and the polymer compound
poly methyl methacrylate.
The sheets have a high
scratch, abrasion and heat
resistance as well as being
impervious to most house-
MC# 0243-02 hold chemicals. MC# 4695-02 MC# 4780-01 MC# 4847-02 MC# 4850-01
Decorative paper for use Moldable polymer resin Polymer sheets from recy- Pigmented fiberboard
Terrazzo tiling that incor- in laminates and other ap- that mimics the look of cled waste materials. Scrap derived from pine fibers
porates silicon as crushed plications. These specialty glass. This 100% PET resin and waste materials such extracted from Portuguese
agglomerate. Silicon chips papers incorporate a range has molding and optical as coffee cups, CDs, mobile forests. Organic pig-
are crushed and added to of different effects, all properties that allow it to phones, old banknotes and ments are added to wood
organic dyes and a small based upon reflective be molded as thick walled toothbrushes are added fiber and combined with a
amount (7%) of a hard properties. The papers are containers (up to 1 in; 2.54 to small amounts of HDPE melamine-urea-formalde-
polyester resin as binder. machine made, but have cm thick) that have the ap- (high density polyethylene) hyde binder to produce a
The resulting composite is the appearance of Washi or pearance and feel of bottle and used to create distinct fiberboard that is colored
a hard, abrasion resistant, fusion hand made papers. glass; the high density of designs of colored polymer throughout. It is moisture
dimensionally stable tile with the material adds to this sheeting. resistant and available in
MC# 1715-02 high impact strength. impression. six colors.

Organic pigments for poly- An elastomer, based upon

mer packaging applications.
These brilliant pigments
are developed from organic
bases and are heat and
dimensionally stable even at
very low pigment loadings.
They are FDA compliant for
food contact use, both for
fatty and dry food storage.
MC# 2040-09
Dimensional surface material
created with a proprietary
manufacturing process to
mold double-sided patterns
to interior panels. The MDF
core is sandwiched and
molded with a lacquered
paper or veneer to produce
a dimensional weave pattern
on both sides of the material.
14 MC# 2239-02
polyolefin chemistry that,
when added to low cost
polymers, improves texture,
impact resistance and
flexibility. The resin has the
flexibility of rubber and
the ease of processing of a
thermoplastic.
MC# 2166-01
Acetal resin that has high
stiffness and toughness over
a wide temperature range.
Available as homopolymer
and co-polymer, it has good
resistance to repeated
impact as well as chemicals,
solvents and fuels. It may
injection molded two-shot
molded, and extruded.
MC# 2252-06
MC# 4854-01
Foam from soyoyl, a soy
based polymor compound.
Using polyurethane chem-
istry and standard polymor
production equipment,
soyoyl is polymerized and
formulated into urethane
cellular rigid and flexible
foams.
MC# 4862-01
Colored strip LED lighting.
Strips of colored LEDs,
including white, connected
in parallel that emit intense
light without significant
heat. The LEDs have a life-
time of 100,000 – 200,000
hours (up to 100 times
longer than fluorescent or
incandescent.
MC# 4863-01
Composite panels from
soybean oil and chicken
feathers. Hollow keratin
fibers (from chickens) are
combined with chemically
modified soybean oil and
compressed to form
composite boards that are
suitable for use as PCBs
(printed circuit boards).
MC# 4866-01
Debossed and embossed
upholstery fabrics. A wide
range of textiles made from
materials such as acrylic,
polypropylene, polyester,
wool and Trevira CS. The
fabric is laminated to a
foam backing and is then
electro-welded and ther-
moformed into embossed
patterns.
15
 48 NEW MATERIALS >>
MC# 4868-02
Sound and vibration absorb-
ing plywood. This Finnish
birch plywood has a ‘con-
strained layer’ sound and
vibration insulating core
made from thermoplastic
rubber. This ethylene vinyl
acetate (EVA) based 3 mm
thick sound-insulating ma-
terial is primarily intended
for insulation of air-borne
sound.
MC# 4898-01
A process for extruding
cross sections of composite
material that contain sig-
nificant amounts of pulped
natural fibers. Pellets
made from pulped wood,
sisal, hemp, rice and other
natural fibrous materials
are used as processed raw
material for composite
extruded parts.
MC# 4943-01
A process for producing
composite molded panels
using waste materials. This
process compresses waste
materials such as bamboo,
cork, rice hulls, waste
polymer, rubber, straw into
waterproof, paintable, UV
resistant, fire resistant
panels.
16
MC# 4872-01
Woven polymer carpeting
for interior applications. A
twisted silver polyamide
fiber is looped and woven
to exhibit a raised surface
above the colored warp and
weft producing a two toned
effect. Current applications
are for contract, high traffic
floor coverings.
MC# 4931-01
A process that creates low
cost woven fiber reinforced
composites for sporting
and furniture applications.
The woven reinforcement
is inserted as a sleeve into
a mold, then forced to
conform to the shape of the
mold by inserting a bladder
into the sleeve.
MC# 4945-01
Packaging that reduces
significantly the amount of
material needed to contain
a liquid or solid material.
This packaging material
mimics eggshell chemistry
- the polymer film is com-
posed of calcium carbonate
(chalk) and a polyolefin,
using 50-70% less polymer
than conventional polymer
packaging film.
MC# 4879-02
Pearlescent and iridescent
pigments composed of
mica platelets coated with
titanium dioxide and/or iron
oxide that show multiple
color effects, and can also
show two different colors
when viewed at two dif-
ferent angles in coating
systems.
MC# 4936-01
Process for creating 3-D
shapes and objects from re-
claimed PP (polypropylene)
felt backed carpet. Carpet,
reclaimed from post-indus-
trial and post-consumer
sources, heated and molded
using a patented process
to create rigid smooth
surfaced objects.
MC# 4957-01
Electronic actuators for
use as silent, high-precision
motor replacements. Nitinol
alloy (shape memory) wires
contract when an electric
current is passed through
them, allowing constant
force/torque and very fine
control of small movements
via manual interface or
computer controller.
MC# 4896-02
3-D braided preforms for
composite manufacture.
A braiding technique that
creates 3-D objects for part
production. Glass, carbon
and aramid fibers may be
braided using this process.
Current applications are
for automotive racing and
aerospace industries.
MC# 4938-01
Cement-based quick cur-
ing veneer that offers a
lightweight alternative to
cast concrete. Proprietary
cement mixture is applied
to surfaces such as honey-
comb cardboard, Styrofoam,
plastic or wood composites.
MC# 4961-03
Ceramic tile for interior
applications. This mesh
backed porcelain tile has
a matte surface and is
available in a wide range of
colors. It is recommended
for use as wall covering or
countertop.
Knitted shading material with
triangular pattern. This pat-
ented geometry of net design
reduces heat accumulation
by up to 18% underneath the
shade by creating constantly
moving shadowing as the
earth rotates. The knitted
fabric is coated in PVC (poly-
vinyl chloride).
MC# 4965-01
Polymer coatings that act as
corrosion protectors for met-
als. This class of polymer has
a molecular structure that
acts as a metal in terms of
conduction of electricity and
heat. The oxidation-reduction
chemistry between substrate
metal and polyaniline results
in a nobler, the metal will not
MC# 4985-01 rust or corrode.
Natural particle and resin
composite that is an alterna-
tive to wood products.
Crushed almond shells are
mixed with a synthetic resin
and cast as products or tiles.
The lignin and cellulose from
the almond shell are able to
bind well with the resin.
MC# 4989-01
Hard, stable, easily installed
flooring constructed from
layers of bamboo strips that
are laminated under high
pressure. Harvested and
manufactured in its native
Chinese habitat, the material
is easily replenished and
therefore more sustainable
than hardwood flooring.
MC# 5015-01
Cement blocks that incor-
porate colored glass for
decorative effect. Recycled
glass is incorporated into
cast cement blocks to create
a terrazzo appearance on
the two largest faces of each
block; offered in two different
surface finishes.
MC# 5051-01
Wood/leather composite that
allows for easy construction
of modular furniture. Leather
or rubber is sandwiched
between two pieces of
plywood or medium den-
sity fiberboard (MDF). When
notch sections on either side
of the central leather piece
are removed by routing, it
MC# 5062-01 creates a flexible hinge.
Cast metal matrix composite
for high abrasion and wear
applications. Small angular
particulates of tungsten
carbide are coated with
high alloy steel and then
incorporated into a matrix of
plain carbon steel. This prior
coating with high alloy steel
creates a stronger bond be-
MC# 4979-01 tween the steel and the WC.
Woven metal cloth for archi-
tectural drapery. Tightly wo-
ven 100% copper wire yarn
that creates a very dense but
flexible and ‘soft’ copper tex-
tile. It is available in 1-2 mm
thickness and in widths from
800 - 1800 mm (31.5 - 70.9
in). Current applications are
for architectural drapery and
MC# 4986-02 conveyor belts.
A PTFE coating applied onto
woven fiberglass textiles
that allows the surface to
be printed, colored and heat
welded. This fluoropolymer
coating unlike standard
‘Teflon®’ type coatings that
are particulates in a carrier
solvent, is a liquid applied to
the fiberglass textile.
MC# 4998-02
High strength fiber for
medical implants and
sutures. This oriented, highly
crystalline polyethylene (PE)
continuous filament yarn
is the worlds strongest (by
‘tensile strength-vs-denier’
comparisons) and is 15 times
stronger than drawn steel
wire.
MC# 5041-01
Transparent and translucent
acrylic chips embedded into
concrete that create unique
optical effects. 100% Poly-
methyl methacrylate (PMMA)
light pipes are incorporated
into the tiles to refract light
and create ‘shadowing’ from
movement near the material.
MC# 5058-01
A process for adhering
layered polyurethane masked
stencils onto a textile.
Through the proprietary
process the polyurethane
(PU) projection is melted
onto a base fabric; These
projections provide traction
and are lightweight and abra-
sion-resistant.
MC# 5086-01 17
MoMA:
ART CONTAINING ART
Inside atrium of the newly
renovated Museum of Modern Art
Photo © 2004 Timothy Hursley
THE MUSEUM OF MODERN ART
REOPENS by Anita Moryadas
Rarely in these days of exuberant new muse- the different galleries ranges from the monu-
ums as secular temples do we see a building mental to the intimate in order to tell the
as grandly magisterial, quiet without being story of Modern art as no other museum in
self-effacing, as the recently reopened Mu- the world can. One can view contemporary art
seum of Modern Art. The design of Japanese in the block-wide, column-free galleries on the
architect Yoshio Taniguchi includes both ex- 2nd floor – a removable wall makes it possible
tensive new building, including the seven-sto- to install immense pieces of art. The spatial
ry Museum Office Tower above the galleries modulations of the galleries change and are
(which contains offices for staff and conser- appropriate to the works of different eras
vation lab), and renovation and restoration of shown within.
the existing 1939 Philip Goodwin and Edward
Durrell Stone designed building and canopy,
and the 1965 Philip Johnson addition. All in all
the new construction nearly doubles the ca-
pacity of the Museum, with works now shown
over six floors with 125,000 square feet of gal-
lery space.
Photo © 2004 Timothy Hursley
We can now see the extraordinary collection
in galleries designed in close consultation with
the Museum staff that show the works to
their best advantage. The eloquent scale of
19
 INTERVIEW
A CONVERSATION WITH HOMEDICS:
MATERIALS, DESIGN AND INNOVATION
M-C: Looking at the diversified range of prod- M-C: Don’t you feel that there is a certain amount
ucts Homedics has, which are all useful to every of leadership that is expressed and incorporated
household, we realize there is huge competition into your new products?
from the Far East. We know that good designs sell,
H : Oh very much so. What we have found, is that
but there is currently good design coming from
Material ConneXion is able to provide the tactile
everywhere. How do you feel the materials can
qualities to create a surface or feature, which en-
contribute to a collection such as yours – what
tices the consumer. Those, which improve the inter-
would be quite indistinguishable in the collection
action between the consumer and the product, are
if the materials brought some intelligence with
always a good feature.
them, and is there such an opportunity?
M-C: So you are confident that through innova-
H : Yes, but I think because of the sizeable market tion and this extra effort on the part of Homedics
share our products have, the raw materials cost
that you are adding an increment that will make a

IN THE MATERIAL WORLD

will always have to be taken into consideration. Im-

Photo © 2004 Timothy Hursley

A museum is both container and display, a re-
ciprocal relationship that Taniguchi tempers
through masterly control of transparency and
opacity, of both the spatial and material vari-
eties. Nowhere is this more evident than in the
expansive views of the Abby Aldrich Rockefell-
er Sculpture Garden from within the building.
The garden is like an art cloister, a place of
stillness and distillation. Its size expanded
to 21,000 square feet, the sculpture garden
shares grandeur with the adjacent 110’ tall
atrium, the two spaces, indoors and out, slyly
seeping into each other. From within many of
the galleries the view of the garden frames
the city beyond, encouraging sentimental re-
subdued, in keeping with the architect’s de-
sire to make the building not emphatic about
the architecture. The facade of black granite,
aluminum panels, and water white, fritted, and
gray glass reveals and protects its contents,
lucidly responding to what happens inside a
given space. The gallery floors of white oak
and terrazzo never compete with the art.
While the level of joinery and craftsmanship
in the actual building falls somewhat short of
the exceptional standard set by the architec-
tural intention, the overall effect is still one
of understated direction of attention to what
matters most: Modern art and ideas.
provements through surface effects such as chang-
es in paint and coating of a tactile effect have to be
considered. Consumers are at present not willing
to pay for hidden features. Improvements have to
be intelligent yet economically achievable without
a price increase. Design can deliver a critical point
of difference.
M-C: Well what about the competitive advantage
that some materials bring, whether its aesthetic
or performance; don’t you think the consumer has
a choice where they can get a product that offers
more because of the materials content? For in-
stance the idea of anti-microbial features (we heard
that JC Penney is introducing a line of underwear
using an anti-microbial treatment) – do you think
that kind of thinking can help Homedics?
H: Yes, but we have to be very carefully attuned.
In the past Homedics has tried different ideas
based on anti-microbial and anti-bacterial features;
the advantages are not always obvious, one has to
be very in tune with consumer needs. Consumers
know what they want and what’s out there, so we
as manufacturers have to be intelligent with the
sort of choices we make, every type of new mate-
terrific product and sooner or later the consumer
is going to know the difference. Isn’t that the way
step by step the world moves forward instead of
just writing it off as an unnecessary exercise?
H : It is essential that Homedics do all it can to
make sure its products are the preferred products
in a range of these sorts of products.
M-C: There is always a first class leader in a cat-
egory of any product. For example, Braun has a
reputation for quality and design and if the product
didn’t live up to the marketplace standards it would
be a tragic case if their products fell apart.
H : Homedics is known for its product innovation;
however it’s easy to copy what we do. That is why
we have to constantly improve and look to new ma-
terials because once we put a product on the mar-
ket and its copied then we need to provide added
value and improvement. This can be done cost ef-
fectively through intelligent material choices.
M-C: So there is a future in better quality, more
clever materials, in terms of a line such as
Homedics?
H:

flection. There are likewise views across the
atrium into other galleries, a nod to the non-
linear conceptual connections and links that
underlie so much of what is on view.
The materials palate Taniguchi has chosen is
HOMEDICS
Taniguchi has given us a building that is above rial may not excite them or fill a need. There have to be improvements year after
year.
all responsive to our desires, both the obvious M-C: What do you mean by careful?
ones related to our need to see and under-
H: There is a lot of knowledge out there, the choice M-C: All right, then we will look into the future.
stand art, and the inarticulate ones: we want has to be intelligent and we have to accept that the
to be soothed by beauty, and fall even more in consumer will know if it’s not just for marketing
value. Homedics has found this in the past with
love with New York.
some of its products.

20 21
 PROCESSES
RAPID PROTOTYPING:
THE FUTURE OF
MANUFACTURING?
by Dr. Andrew Dent
Rapid prototyping (RP) refers to a class of tech-
nologies that can automatically construct a
physical form from CAD (Computer-Aided De-
sign) data. Originally developed for use by engi-
neers for the production of mold positives, it is
now used by architects for creating small-scale
models of buildings, by industrial designers for
prototype products as well as by surgeons for
the accurate recreation of body parts for practice
and planning of complex surgical procedures.
Mold positives have traditionally been used
when casting a new object: a positive replica of
the desired final object is carved out of a mate-
rial that can be dissolved, such as wax; a mold
is then made around the positive; the positive is
evacuated from the mold, leaving a cavity that
MATERIAL PROFILE
the more accurate the final rendition); then
physically build up each layer one atop another
to construct the model.
The layers can be built up in one of two ways.
Each layer can be laid down like dots of ink from
an inkjet printer. Or a laser can be selectively
shot into a 1mm deep stratum of a powdered sub-
stance (starch, plastic, metal, or ceramic), fusing
the powder where it hits. Subsequent layers are
built up on top of the existing ones in response
to each cross-sectional data slice until the whole
three-dimensional object is formed.
From the initial development of the process
in the early 80s, there has been considerable
improvement in the surface quality, speed of
Extrapolation of this idea leads to thoughts of
a “Jetsons” future of anything and everything
on demand - simply download the CAD file for
that day’s clothing and the RP machine builds it
while you drink your morning coffee. Of course,
in order to create more complex working parts
(something as simple as a retractable pen re-
quires a plastic housing and retracting mecha-
nism, a metal ballpoint and liquid ink), two or
more different materials are required in the
same manufacturing process, something not yet
fully realized. It is likely however, only to be a
matter of time…

is the negative of the object. The resulting mold
can be used to cast a limitless number of objects.
But the constraints inherent in the material op-
tions for the mold process, as well as in the pro-
cedure for constructing it, have limited the utility
of this process.
Over the last fifteen years, rapid prototyping has
become a staple mold-making process. The basic
process for all of the different types of rapid pro-
totyping is as follows: create a three-dimensional
CAD model of the design you wish to produce;
convert this CAD model into thinly sliced two di-
mensional cross sections (the thinner the slices,
MATERIAL PROFILE
production and range of useable materials. Cur-
rently, objects may be made from materials such
as polymers such as nylon, some metals and ce-
ramics, with a maximum volume of 6500 cubic
centimeters (approximately that of a CRT com-
puter monitor). This has led to an exciting shift
in the application of the technology: rather than
creating the mold from which the products are
then cast, why not simply build the product using
rapid prototyping? Examples of built objects in-
clude lampshades such as the one pictured here,
as well as jewelry and elastic knit textiles. There
is in theory, no limit to the shape and complexity
of the object that rapid prototyping can create.
23
 CARBON-
BASED
NANOTECHNOLOGY:
LIVING UP TO ITS
PROMISE?
Photo © 2005 Richard E. Smalley by Dr. Andrew Dent
Maybe it’s the microscopic nature of the subject,
but nanotechnology’s solutions, when it comes
to materials, are sometimes a little hard to see.
It will be several years before the majority of the
technologies that are currently in development
become viable. For example, through extensive
work on MEMS (Micro-Electro-Mechanical Sys-
tems), we are now able to make moving and
working parts that are of the order of 50 – 100
microns (less than half the thickness of a human
hair) but are still a long way from the atom- and
molecule-sized building blocks aimed for as the
future in this domain.
MATERIAL PROFILE
As explained by Dr. Ralph Merkle “Today’s manu-
PROFILE
facturing methods are very crude at the molec-
ular level. It’s like trying to make things out of
LEGO blocks with boxing gloves on your hands.
MATERIAL
Yes, you can push the LEGO blocks into great
heaps and pile them up, but you can’t really snap
them together the way you’d like.”
Photo © 2005 Richard E. Smalley
24
There have, however, been some notable suc-
cesses already. Some of the most effective
uses of nanotechnology in the materials field
have come from the simple idea that by mak-
ing individual particles smaller, it is possible to
disperse them (and the properties they imbue)
more widely through the material, and at lower
concentrations than if they were of a larger size.
This phenomenon has found successful applica-
tion in molded plastics for car body panels and
stents where the properties of increased stiff-
ness without additional weight are important.
The creation of carbon nanotubes has led to
similar improvements. This type of carbon struc-
ture takes the form of single-walled, long, slim
cylinder closed at both ends. The diameter of a
carbon nanotube is about 10,000 times smaller
than that of a human hair. They give significant
improvements in stiffness compared to ordinary
carbon fibers, and are already used for their
Photo © 2005 Richard E. Smalley
immense strength when added to materials such
as polymers. In addition, they are conducting or
insulating depending upon their structure, lead-
ing to possible applications in nano-electronics.
Carbon nanotubes were discovered in 1991 by a
Japanese scientist; more recent developments
have led to additional shapes such as ‘nano-
horns’ (single-walled carbon cones that have
remarkable adsorptive and catalytic properties),
and ‘nano-test-tubes’, which can be opened and
filled with a variety of molecules, including bio-
logical material. It will be of interest to see what
areas of application arise for these new carbon
structures.
PROFILE
PROFILE
Photo © 2005 Richard E. Smalley
MATERIAL
MATERIAL
25
 INTERVIEW
GENIUS LOCI
Steelcase’s Allan Smith, Director of Marketing, Communications
and Environmental Strategy and James Ludwig, Director of Design
speak about the new WorkLife Center in Santa Monica.

M-C: Since the new Steelcase WorkLife Center in JL: The third floor is about application solutions
WORLD

WORLD
Santa Monica is located one block from the ocean, that solve customer’s specific needs around ef-
has the location influenced the look of the space? ficiency, and the fourth floor highlights products
WORLD

WORLD
It’s seems to be evoking a villa on the Riviera and with particular features. All of our products are
THE MATERIAL

taking on the direction of contract showrooms
being designed as softer, more international look-
ing and using “real life” as a background.
MATERIAL
THE MATERIAL
based on research and then applications. Those
floors also utilize the Santa Monica location be-
cause they have outdoor spaces. Being outdoors

AS: In our design partnership with Shimoda De-
sign Group we wanted to reflect the vibrancy and
approachability of the Steelcase brand. In order
IN THE IN
MATERIAL
adds another dimension; the ocean and the spec-
tacular sunlight contribute to a relaxed feeling,
letting life enter the workspace-putting clients at
ease.

to be inviting and appeal to people on an emotive
level, we did high ceilings and large expanses of
glass at the retail level. It’s friendlier and less in-
timidating to street traffic. Also we try to localize
where appropriate, and incorporate the feeling of
the city in which the WorkLife Center is located.
Previously contract spaces seemed off limits to
typical retail customers but now we recognize
that smaller customers need a place to buy pre-
mium products as well. What we focused on in a
retail sense was in the presentation of the space,
appealing to people the way Prada or Armani do
with their stores. Many of those same types of
IN THE IN
M-C: That sounds thrilling, and by emphasizing
the outdoors the showroom doesn’t have a strict-
ly office look, it actually seems very international
in a piazza-like atmosphere.
AS: Steelcase is international; we pride our- Photo © 2005 Richard E. Smalley
selves on WorkLife Centers in Chicago, New York,
M-C: This is a big leap; I attribute it to the ef- M-C: It’s a great benefit for Steelcase as well as
Paris and now Santa Monica to enforce our global
forts of the two of you as well as your colleagues, for your clients to partake in such a global vision
brand presence.
its very exciting. we wish you continued success.
JL: We are trying to reflect in the brand the AS: Yes it is. In particular, the new showroom
needs of our international and global customers. is part of our business strategy to demonstrate

customers can now be aware of Steelcase’s qual-
ity and attention to detail.
M-C: You are opening your doors to the co-
gnoscenti-type clients, which is more respect-
able than trying to sell a wonderful chair by over
popularizing it with media exposure. You have
maintained a good balance. Can you tell us a little
more about the third and fourth floor?
People now are influenced by a variety of styles
and Steelcase needs to be able to help customers
achieve the look they want to have in their own
spaces. We take a global view; the brand experi-
ence in Cologne, Paris, Tokyo or Santa Monica
gives a sense of the brand approach being uni-
fied.
STEELCASE
to customers, designers and other groups on the
West Coast how we can provide a better work
experience, Steelcase has an incredibly strong
manufacturing heritage, and that’s one way our
customers know the brand. It’s also extremely
important to customers that we now offer them
first-class research and design capabilities, ser-
vices and support.

28 29

SUCCESS STORY
Accelerator Programs
An Unexpected Marriage of Technology and
IN THE MATERIAL WORLD
Sports Shoe Design
Regularly, manufacturers come to Material ConneX-
ion in search of new ideas and materials not normal-
ly in their scope of reference. When these ideas and
materials are properly matched, successful products
will result.
Such was the case for Nike when they recently came
looking for innovative materials for their new Nike
Jordan XIX Basketball Shoe.
Nike’s designers were specific in their needs: A ma-
terial to be used on the tongue of the shoe with the
ability to bend and flex without creasing, while also
lending a unique visual effect to the shoe.
The solution Material ConneXion provided to Nike
was a monofilament sleeve typically used as a pro-
tective covering for water and air hoses to minimize
30
photo by Lisa Mangino (Material ConneXion)
rupture, and as a casing for gathering and securing
electrical cables. Normally the sleeve is only market-
ed and sold to the industrial sector, the combination
of the designer’s creativity, access to samples and
information about this material lead to its develop-
ment for a totally new application.
This cross-fertilization of materials, a cornerstone
of the Material ConneXion research process allowed
quick and easy access to materials not normally
available to Nike designers. If there is a lesson to
be drawn from this process, it is that the solution to
many a material problem may already be out there,
just developed for an alternative industry. The suc-
cess of this method is quite clear; the sneaker sold
over 5 million pairs within a few months of the re-
lease date.
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