Natsai Audrey Chieza works at the intersection of biology and design, and wants to show how living organisms can make sustainable materials

Silk dyed as part of Project Coelicolor

Toby Coulson

Designer Natsai Audrey Chieza has an unusual creative partner: the soil-dwelling bacterium Streptomyces coelicolor. Under the right conditions, S. coelicolor produces a pigmented compound, which Chieza uses to dye fabric and garments in patterned hues of pink, purple and blue. “It dyes textiles in a colourfast manner with barely any water and no chemicals,” Chieza says. “In many ways, that's the definition of a natural dye.”

Chieza has been working with her “companion species” since 2011 and this year launched Faber Futures, a London-based biodesign lab that aims to help other researchers and companies harness the power of living organisms to develop their own sustainable materials. “Project Coelicolor is a great way to say, ‘This is what we did with this micro-organism; let us help you figure out what to do with yours,’” she says

Regardless the industry, Chieza hopes that biodesign can lead the way to more sustainable means of production, helping manufacturers to shift away from petroleum-based materials, divest from fossil fuels and reduce waste. With Faber Futures, she is also keen to develop an ethical framework for working with living organisms. “If we can engineer life, that means science has become a design space," she says.

The scent palette

The project aims to visualise fragrance, particularly in relation to how colour and shape is used as a method of communication in the process of making customised perfume. Fragrances are invisible, so it is hard to remember when smelling a lot of fragrances at once. If there is specific colour or shape to each bottled fragrance, it will be easier to remember and it will help people arrive at a choice.

In terms of the process of making perfume, it mainly depends on numeric quantification such as ratio or formulation. Transforming the numeric information to something experienced more intuitively and emotionally is the one of the main parts of this project.

Recent graduate from the Royal College of Art Johanna Schmeer considers the future of food based on her knowledge of the possibilities afforded by nanotechnology. Creating a series of synthetic foods for a future whereby the worlds growing population needs to tap into new resources she conceives how products made from enzyme enhanced bio plastics would in theory harvest essential nutrients as alternatives to traditional food sources.

Built on fact, her project is based on a recent scientific breakthrough by scientist Russell Johnson, who has identified a way to synthesise functioning biological cells made from plastics.

Adding a smattering of fantasy based on this fact, Johanna has created 7 food products that fulfil the essential food groups. For instance they produce water, sugar, fat, minerals and proteins. These speculative objects secrete powders and liquids that could be ingested in our distant future.

http://vimeo.com/98281097

DNA testing and genetic modification are not new, but what is interesting is that a series of designers are looking to explore the ethics of this in a rash of projects coupled with advancements in DNA sequencing. Researchers have recently developed a technique that uses genetic analysis to create a computer composite of what the person looks like. In an article in the New Scientist,  the team captured images of 600 volunteers across ethnic backgrounds to build up a link between genes affects on facial structure based on sex and race. New Scientist had one of their writers volunteer their DNA with very accurate results. Commenting on issues surrounding privacy and ownership of DNA Artist Gabriel Barcia-Colombo has created a DNA vending machine that dispenses human genetic material. The DNA Vending Machine replaces snacks with samples of peoples genetic code which can then be bought.

http://vimeo.com/72085813#at=0

Also driven by a social comment on a patent granted in 2013 that would allow a gene perfecting system for future parents to control the characteristics of their children, Ben Landau showed his First Gift Blanket during Dutch Design week last year.

A modern take on the heirloom blanket to be passed from generation to generation the blanket has interwoven into it familial DNA sequencing putting into question the value of our personal data. Alongside the blanket he also asked visitors to donate their DNA for sequence testing.

Speculative designer Amy Congdon considers a future where biotechnology will give designers a new set of materials and tools to work with. Believing that future materials will be grown from cells she suggests a range of jewellery that is grown from our bones, skin and cartilage. Envisioning a future 2082 her ‘Bio Nouveau’ collection replaces cosmetic surgery with tissue engineered disposable biological atelier pieces. In order to care for these semi living body adornments she has created a fictional range of body care products that include Graft Moisturiser & tone, SynSkin treatment and Graft Aftercare and Bioskin glue.

We love the work of Studio Fludd and their alchemic approach to design so were delighted by their latest project 'Poor Tools' exploring up-cycling, materiality and a touch of humour. Invited by the art collective How We Dwell ,they spent a week in November on an almost deserted island in front of Venice, Italy.

Whilst there they worked with the materials to be found on the island and the small kit of tools left for them. Collecting natural and artificial findings on the island (including rubbish) they created a series of objects that tell a narrative about the wildly chaotic environment that is the island with wild goats wandering around contrasted witt the new offices and hotel being built there.

They created a wunderkammer housing their engaging and delightful objects and tools which tell a story in their own right.

There have been a few projects exploring the rituals of beauty and exploring the narratives of alchemy and process and here is the latest from materials alchemist Sarah Linda Forrer. A recent graduate from Design Academy Eindhoven, Sarah explores materials, experience and 'atmospheres'. As part of her graduation project she has designed a series of mystical skin care tools that are inspired by the ancient Egyptians belief that beauty was a sign of holiness.

Fascinated by the idea that cosmetics could be used beyond aesthetic purposes, but to include magical and ritualistic experiences, Sarah has explored exciting materiality and design outcomes.

Her collection of skin care tools are almost future soft fossils exploring texture and tactility. She has for example mixed patterned hard wood from the Alpine river with bubbles of rubber as a cleansing tool and Alabaster stone as a spoon to mix oils and powders.

Shown as part of the Dutch Invertuals exhibition at Dutch Design week which explored how contemporary designers could update craft, these beautiful ceramics by Kirstie Van Noort are made by building up coloured layers that are then CNC milled to reveal the imperfect beauty of hand craft.

Considering trends and shifts in our relationship with our health and wellbeing Nina van Bart's 'The Alchemist' short film cites the bathroom as a laboratory where one can take control over beauty and wellbeing. Mixing materials and chemicals, substances react to create new super sensory experiences. Playing with materials from growing crystals to drifting mist, van Bart's film suggests a future whereby we can mix our own personalised perfect elixir. http://vimeo.com/68999678

Continuing his quest for quiet relaxation in our busy urban environments, Harm Rensink's latest project shown during Dutch Design Week in an old church explores bathing in warm earth that covers the user. Taking inspiration from the Japanese thermal sand baths the firmness and the warmth of the sand stimulates the senses and enlightens the mind and in the words of Harm 'Leads you into a new reality'.

Exploring materials, form and process, Maxim Velčovský's snow vases are on show at Mint as part of their Cabinets of Curiosity exhibition - one of the not to be missed locations during London Design Festival. Describing the technique as "lost-snow casting" and created over three winters from 2010-2012 using different snow from different locations, each vase is made from moulding snow into which plaster was then poured.

As the plaster hardened and gave off heat, its warmth melted the snow resulting in unique shapes and textures.

Being experimental, thoughtful and creative is key to challenging the restraints that mass manufacturing holds and stops young up and coming designers from achieving their goal, but not for David Steiner who for his graduation project from the RCA used adapted humble house hold appliances to help him create his own factory to mould, form and create a series of objects. Driven by a desire for self sufficiency and as a comment on desktop digital manufacture he has created crockery using an embroidery hoop and a noticeboard frame t that was put in his washing machine instead of a rotation mould device.

He also used his blender as a pottery wheel to create a cup made from sugar paste as well as using his microwave to steam form some wood.

http://vimeo.com/68536748

Materiologist James Shaw explores varying processes and materials upcycling through his projects Making Guns. 'Making Guns; Plastic Extruding Gun' takes a cumbersome manufacturing process and turns it into a hand held process. Using recycled HDPE (a type of polymer) he has created a series of alchemic forms that celebrate the properties of the material.

Also part of the same series, Shaw has created a gun that sprays recycled paper fiber and a binder that mix in the air. Mixing colour as well to his formula he has re defined the notions of papier mâché creating ombre effects when sprayed onto wire frame structures that create solid forms.

Part of their Hyde Park collection, “Living material” is a project from Benwu Studio made up of designers Hongchao Wang and Peng You. Based between London and New york they explore materiality. Their latest project explores ways to reuse found natural materials with the aim to enhance natures beauty by mixing materials to create unexpected and beautiful outcomes. Juxtaposing materials such as branches and twigs with more industrial materials their outcomes suggests new applications for natural materials as well as pushing the boundaries of materiology.  

Exploring the home production of cosmetics with her ‘The Alchemist’s Dressing Table’ project, Lauren Davies has designed a beautiful collection of contemporary, analogue tools for the home production of cosmetics. Celebrating ancient rituals and a smattering of alchemy her project explores ways for extracting natural ingredients for wellbeing.

Based on the premise of users wanting to take more control of their wellbeing and a stronger connection to their daily rituals it also encourages a more symbiotic and natural relationship with nature and its intricate mysteries.

http://vimeo.com/68512532

Textile student Ejing Zhang explores materiality through craft, colour and process. Graduating from the Royal College of Art from the school of materials with a masters in Mixed media textiles, her material explorations made from bamboo, cast resin, peach wood and wrapped thread have a beautiful and delicate quality to them. Collated into a collection titled 'Moonrise' she has explored Chinese craftsmanship and modern day manufacturing techniques that resulted in a series of beautiful objects such as a lunch box as well as bracelets and handbags.

She also collaborated with another student to create a 3D printed tote bag.

3 graduates from the Royal College of Art Design Products are proposing a recyclable, disposable and safe recycled paper bike helmet that would be available alongside the infamous Boris Bikes using recycled Metro Newspapers which currently cause waste issues with the transport network. Utilising the techniques already used for paper moulding for the protection of high end electronics they aim to create a small scale factory within London close to both supply and the end user.

There are a lot of designers, architects and restaurants that are going back to nature and exploring nature in new ways, but taking a really fresh approach to nature, sustainability and design is Moe Nagata who is soon to graduate from the Textiles Futures Ma. Her project was inspired by ancient tribal based craft design that was rooted in animism and a symbiotic relationship with nature. Traditional tribes hunted for food and then used every last piece of the animal to make products such as teeth necklaces.

Nagata has taken that consideration into a very modern look with her From Creatures collection that uses the natural materials discarded from the fishing industry. Using shells and bones she has given them a surprising twist using laser cutting, dyeing and printing.

Just opened in Paris is the Envie/Alive exhibition curated by Carole Collet which explores issues around synthetic biology. The exhibition begins with a statement  'A quiet revolution is happening. A new breed of designer has begun to reshape our world by re-orchestrating our relationship to nature'. Most of the work is not new, but it is for the first time that it is all under one roof.

Showing the likes of Emile de Vischer's pearling and Amy Congdon's biological atelier it also explores the work of architects and designers who are exploring the bio-engineered world.

Presenting a new design landscape with a glimpse to our synthetic future and a new ecological consideration the exhibition groups them under 5 headings

1/ The Plagiarists: (Nature as a model) those who look to nature to engineer man made and digital solutions.

2/ The New Artisans: (Nature as a co-worker) - those designers who are collaborating with nature to craft future consumer goods

3/ The Bio-Hackers: (Reprogrammed, ‘synthetic’ nature) designers working with synthetic biologists and who are engineering living organisms for a possible hybrid future

4/ The New Alchemists: (Hybridised nature) combining biological and chemical (non living) technology these designers merge robotics, chemistry and biology

5/ The Agents Provocateurs: (Conceptualised and imagined nature.) Pushing the boundaries to the extreme these designers explore the ethics around living technology as well as high-tech sustainability.

Alongside the exhibition ‘En Vie-Alive’ is hosting 4 designers and architects who are already working with synthetic biology or tissue engineering and has them set up in a lab style scenario showing the new tool kit for designers of the future - DNA and bacteria.