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CHEMARTS is a long-term collaboration between two Aalto Univer-sity schools, The School of Chemical Technology (CHEM) and The

School of Arts, Design and Architecture (ARTS). The schools merged their forces 2011 with the aim to invent new ways to harness wood

and cellulose. The idea is to research the performance and design of advanced cellulosic materials for innovative uses. The main objective is to inspire students and researchers to explore biomaterials together and to create new concepts for the future use of cellulose and other

biomaterials.

CHEMARTS consists of various actions, such as multidisciplinary study courses, minor studies starting 2016 and externally funded research

projects.

C H E M A RTS

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CHEMARTS

WORKSHOP

CHEMARTS AT KAUPPATORI2017

KESTOLEVY - A DURABLE THERMOFORMABLE BIOCOMPOSITE BOARD Sami Markkula

SENSE-ITIVE APPROACH Matilda Tuure

CELLULOSE IN MOTION Nina Riutta

GLUCONACETOBACTER XYLINUSHelena Manner

GROWTH VISIONSTino Koponen

BIO SHADEKatja Utriainen COSMOSNoora Sandgren

GROW YOUR OWN LAMP!Monika Faidi

DESIGN ROOTSMonika Faidi, Sanni Honkanen, Suvi Kyyrö

NATURAL COLOURS Suvi Kyyrö

CREDITS

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PRINT Picaset Oy 3

M AT E R I A L E X P LO R AT I O N S : FOA M FO R M I N G

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The 5th CHEMARTS summer school kicked off with the traditional introductory lectures followed by an intensive four-day workshop by the beautiful Finnish nature at the Camp Finlake in Kuohijoki,

Finland. At the camp students shared each other their initial project ideas for the summer, participated in art workshops & experimented with

a variety of different techniques ranging from traditional papermaking to the newly developed technology of foam forming. In addition various

installation concepts, to be used later on in the summer, were created by the CHEMARTS students. After the workshop the students started

working on their individual biomaterial projects for the summer at Aalto’s Otaniemi and Arabia campuses.

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WO R KS H O P I N STA L L AT I O N

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The final student projects presented on the following pages explore different materials of wood-based and/or bacterial cellulose origin and

the different processes of working with these materials. Other interesting topics in the final student projects included Finnish craft tradition and

the recycling of plastics among others.

WO R KS H O P E XC U R S I O N AT P RO P U U / L A H T I , F I N L A N DN AT U R A L DY E S

C RO Q U I S T E C H N I Q U E

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N AT U R A L DY E SC RO Q U I S T E C H N I Q U E

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K AU P PATO R I PR I N T M AT E R I A L S

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In August the CHEMARTS students got an amazing opportunity to present their works-in-progress to the public at the Helsinki Market Square in the new Salutmarket stand as a part of the Kauppatori2017

project.

C H E M A RTS AT K AU P PATO R I 2 0 1 7

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H E L E N A M A N N E R , M AT I L DA T U U R E , T I N O KO PO N E N C E L LU LO S E

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M AT I L DA T U U R E , N I N A R I U T TA

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B I O CO M PO S I T E

SA M I M A R K KU L A

Kestolevy is a wood-plastic composite made of post-consumer plastic waste and up to 75% wood flour made of recycled wood. Because the

board can be thermoformed, molds are cheap to use and produce. Kestolevy endures water and moist environments, does not need to be coated or taken care of. The wood content makes the board warm to the touch. As such it can be used to make low maintenance furniture. Kestolevy can be used to make double curved surfaces, in contrast to

for example plywood. The used Kestolevy can be recycled to new Kestolevy or burned to energy.

K E STO L E V Y - A D U R A B L E T HE R M O FO R M AB L E BIOCO MPO S IT E BOAR D

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M AT I L DA T U U R E

Could future materials have natural senses and reactions?

SENSE-ITIVE approach is a project about naturally smart biomaterials and the relationship between materials and human body. My aim is to develop functional and responsive wearable “smart” fabrics that could

be more human, without the need to add any electronics or sensors next to our bodies. I wanted to learn about the sensitive features that biomaterials naturally have and find ways to use them as functional properties in technical textiles. I focused on the humidity responsive

features of cellulose based biomaterials and bacterial cellulose. The research will continue in collaboration with the Department

of Applied Physics and next we will study how to attach these materials on fabrics.

S E N S E - I T I V E A P P ROAC H

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H U M I D I T Y S E N S I T I V E N A N O C E L LU LO S E F I L MBAC T E R I A L C E L LU LO S E

A A LTO U N I V E R S I T Y, FAS H I O N A N D CO L L E C T I O N D E S I G N

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The capability to grow by itself is also one of the most interesting smart feature of bacterial cellulose and kombucha have. It opens my

mind for interesting opportunities of grow-it-yourself- items and other possibilities that there could be. Would it be possible to manipulate

the DNA of bacteria to add wanted features into material?

While working with new materials it is very important for me to study the character of the material before thinking of a design. Durign the growing stage and coloring I didn’t know how the bacterial cellulose

was going to turn out so I tested it a lot.

DY E D BAC T E R I A L C E L LU LO S E BAC T E R I A L C E L LU LO S E SA M P L E S

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BAC T E R I A L C E L LU LO S E SA M P L E S

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A LIGHT FIXTURE INSPIRED BY MOVEMENT

The luminaire is made from environmentally friendly cellulose - cellulose triacetate. The organic matter, cellulose triacetate (CTA) is

transparent, can be bent and holds water. A luminaire that is produced from cellulose supports the concept of organic materials substituting

plastics in the future.

Each light fixture is unique and comes with patterns that can be found in the nature. The technique is based on the centrifugal force of rotation.

C E L LU LO S E I N M OT I O N

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LU M I N A I R E F RO M C E L LU LO S E T R I AC E TAT E

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100% WOOD

The shade of the luminaire is produced from CTA and the frame is made from finnish aspen. The aspen frame’s design is minimalistic to

draw attention to the shade.

The cellulose triacetate as a thin layer is translucent and passes light through beautifully.

A A LTO U N I V E R S I T Y, D E S I G N n i n a . r i u t t a @ a a l t o .f in . r i u t t a @ g m a i l .co m

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C E L LU LO S E T R I AC E TAT E SA M P L E C E L LU LO S E T R I AC E TAT E SA M P L E S

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C E L LU LO S E T R I AC E TAT E SA M P L E S

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B I O M AT E R I A L SA M P L E S

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H E L E N A M A N N E R

The works that I exhibited are mostly colour and material samples from the summer. While working with the biomaterials for the first

time the process itself was more important to me than the actual outcome. I always highlight that the presence of the process has big value in my work. I was interested in the technological part and the techniques I could use to create my works. Most of the samples are

made from bacterial cellulose. I am always fascinated by a certain kind of uncontrollable outcome but I tried to maintain the sensitivity of this material. Colours are always important for me, when designing

objects therefore I always pick their colors carefully. In these, I wanted to pick the colors which has emotional meaning for me. That’s why

I picked blue, red, lilac and other colors what I find beautiful. I was interested in the process and techniques I could use to

create my final samples.

GLUCONACETOBACTER XYLINUS

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WHY I CHOSE BACTERIAL CELLULOSE/KOMBUCHA?

A kombucha culture is a symbiotic culture of bacteria and yeast (SCOBY). When dried, culture becomes a leather-like textile known as a microbial cellulose that can be molded onto forms to create seamless

clothing. The kombucha textile is bacterial cellulose whitch is sustainable and compostable.

E STO N I A N AC A D E M Y O F A RTS , G L ASS A RT A N D D E S I G N

h e l e n a m a r i a . m a n n e r @ a r t u n .e e

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DY E D BAC T E R I A L C E L LU LO S E D E TA I L BAC T E R I A L C E L LU LO S E D E TA I L

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BAC T E R I A L C E L LU LO S E D E TA I L

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Since I’m into microbiology and biotechnology, chemartsing with microbes was a no-brainer for me. Kombucha, the SCOBY of

cellulose-producing bacteria and yeast, was a natural starting point for my summer because it combines my beloved microbes with our theme

cellulose. Although kombucha tea itself is interesting as an age-old traditional beverage, as a top-notch scientist I did not want to limit my work on just making tea. Thus I isolated the cellulose-producing

bacteria from kombucha and cultivated them in a benchtop bioreactor. Based on the laboratory work observations I envisioned three different

concepts – Tubes, Haven and Foam, for growing bacterial cellulose. These concepts could be used produce yarn, spherical objects or 3D shapes.

GROWTH VISIONS

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A A LTO U N I V E R S I T Y, B I OT E C H N O LO G Y

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BAC T E R I A L C E L LU LO S E BAC T E R I A L C E L LU LO S E

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B I O D E G R A DA B L E L A M PS H A D E S F RO M C E L LU LO S E

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Bio Shade is a biodegradable lampshade made from paper yarn and different kinds of biomaterials. Altogether, there are eight prototypes that consist of different combinations of cellulose, nanocellulose and

carboxymethylcellulose (CMC). Prototypes are dyed with natural dyes such as nettle, willow and lignin. I was inspired by Finnish nature and

I tried to capture its beauty in a lampshade. Bio Shade creates the feeling of a forest with its shadow. Two of them are even coated with birch bark. The project evolved from material testing to a colourful

range of lampshades.

BIO SHADE

A A LTO U N I V E R S I T Y, F I B R E A N D PO LY M E R E N G I N E E R I N G

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DY E D N A N O C E L LO S E A N D PA P E R YA R N

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B I O D E G R A DA B L E L A M PS H A D E S F RO M C E L LU LO S E

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N A N O C E L LO LO S E D E TA I L B I O D E G R A DA B L E L A M PS H A D E S F RO M C E L LU LO S E

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CO S M O S ( N A N O C E L LU LO S E )CO S M O S ( SA L I VA )

N O O R A SA N D G R E N

The base of my research is in widening my vision. Experimenting with optical utilities of laboratory – microscope camera, allowed me to

study the aesthetics of landscapes shaped by nanocellulose film and air patterns of my saliva. Inspired by the living aspects of bioart, I use abstraction as method in keeping an image alive. Its interesting how

the distance between micro and macro cosmos is lost; how microscopic imagery could mix with space imagery.

Humboldt* examined nature as both physically visible “ordered” universe and as “adored/beautiful” referring to contemplative attitude and human interpretation. In my work I reflect similar ways of seeing and perceiving.

*Cosmos: A sketch of a physical description of the universe.

Von Humboldt, Alexander. New York, Harper & Brothers,1866

CO S M O S

A A LTO U N I V E R S I T Y, P H OTO G R A P H Y, A RT E D U C AT I O N

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My design process usually starts from material. This time instead of buying it, I grew the kombucha leather in my kitchen. The static

growth process took 8 weeks. I am fascinated by the concept of growing a sustainable material from just sweetened tea and starter culture. You

can grow only as much as you need and do not produce any waste. Recycling is not problematic because bacterial cellulose is

biodegradable material.

The lamps resemble flowers and I am satisfied with the final prototype. In the future I would like to explore the variety possibilities of using

cellulose in furniture design.

GROW YOUR OWN LAMP!

A A LTO U N I V E R S I T Y, I N T E R I O R A RC H I T E C T U R E

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KO M B U C H A S CO BY / BAC T E R I A L C E L LU LO S E D E TA I L S

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M O N I K A FA I D I , SA N N I H O N K A N E N , S U V I KY Y RÖ

Design Roots is an installation inspired by the Finnish craft traditions. During the project we studied natural dyes and traditional twining/weaving methods; the piece was built with recycled fabrics and dyed

with plants collected from the nature.

As the themes of traditional crafts pieces were usually drawn from the surrounding world of the time, we decided to picture our own milieu: Helsinki 2016. Some of the themes include transportation, common

animals, modern hobbies, or familiar symbols.

D E S I G N RO OTS

A A LTO U N I V E R S I T Y, SC H O O L O F A RTS , D E S I G N A N D

A RC H I T E C T U R E , SC H O O L O F B I OT E C H N O LO G Y A N D

C H E M I C A L T E C H N O LO G Y

SA N N I H O N K A N E N , M O N I K A FA I D I

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As a part of the Design Roots project a variety of resources from na-ture were utilized in order to recolour recycled textiles. The primary

goal was to produce many different colours to use in the final installation art piece which combines traditional textile technique with modern

motif. The secondary goal was to investigate the effect of different pHs and mordant quantities on colours. Different natural sources

were chosen based on their abundance in nature and usability as a dye. Sources included for example tansies, onion skins, nettles, chokeberries

and common madder. Potassium alum was utilized as a mordant. The colour palette was further expanded by changing pH, amount

of mordant and processing time.

N AT U R A L CO LO U R S

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A A LTO U N I V E R S I T Y, B I OT E C H N O LO G Y A N D C H E M I C A L T E C H N O LO G Y

S U V I . KY Y RO @A A LTO. F I

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S U V I KY Y RÖN AT U R A L CO LO U R S H A D E S

I N STA L L AT I O N : WO R K I N P RO G R E SS

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N AT U R A L CO LO U R S H A D E SI N STA L L AT I O N : WO R K I N P RO G R E SS

BACK: TINO KOPONEN, SUVI KYYRÖ, MONIKA FAIDI, KATJA UTRIAINEN MIDDLE: NINA RIUTTA, SAMI MARKKULA, HELENA MANNER,

SANNI HONKANEN, MATILDA TUURE FRONT: ANDREAS LINDBERG

C H E M A RTS 2 0 1 6

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STAFF 2016

Tiina Härkäsalmi tiina.harkasamli@aalto.fi

Pirjo Kääriäinen pirjo.kaariainen@aalto.fi Andreas Lindberg andreas.lindberg@aalto.fi Carlos Peralta carlos.perelta@aalto.fi Liisa Tervinen liisa.tervinen@aalto.fi Tapani Vuorinen tapani.vuorinen@aalto.fi

PHOTO CREDIT

Eeva Suorlahti Cover photo, 14, 16, 18, 22, 23, 24, 27, 28, 36, 38, 39, 40, 42, 43, 44, 45, 48, 50, 51, 53, 54, 56, 57, 58 Nina Riutta 4, 7, 8, 9, 12, 28, 34, 28, 35

Noora Sandgren 47

Liisa Tervinen 10

Matilda Tuure 21

LAYOUT Nina Riutta

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C H E M A RTSc h e m a r t s . a a l t o .f i A a l t o U n i ve r s i t y

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