2014 National Science Week: Embracing Innovation Volume 4

Australia’s 16^th annual National Science Week, from 16-24 August 2014, is showcasing innovative design at the Canberra Craft ACT: Craft + Design Centre. The exhibition, Embracing Innovation Volume 4 continues until August 30.

The cross-disciplinary exhibition highlights the integration of arts and science. The selection of artists include: Niklavs Rubenis; Stephen Barrass, Linda Davy and Joan Barrass; Blaide Lallemand and Michael Norris; Carlos Montana Hoyos; Cecilia Heffer; Erica Seccombe; Robert Foster; and Stephen Trathen, Eddi Piana, Carlos Montana Hoyos, Bill Shelly and Dale Chapman.

Stephen Trathen, Eddi Piana, Carlos Montana Hoyos, Bill Shelly and Dale Chapman present “Sochi Skeleton Sleds” (2012) which is the design prototype of the skeleton sled used in the Sochi 2012 Winter Olympics. Made of stainless steel, carbon fibre composites, and other materials, the actual prototype is accompanied by a video of the sled in use at the Olympics. The sled was developed in collaboration with the Australian Institute of Sport and the Olympic Winter Institute. They experimented with new materials and high performance engineering.

Stephen Barrass, Linda Davy and Joan Barrass present “22⁰C” (2014) – a ceramic phase change material (PCM). It is a thermodynamic ceramic vessel that contains two litres of inorganic salt solution known as a phase change material, with a heat battery. The PCM acts as a concentrated heat mass when it changes from solid to liquid at a temperature of 22 degrees Celsius. The surface is coated in thermo-chromic pigments. When it is cold the blue surface indicates that the inside is solid. As it warms up, it turns yellow to indicate that the inside is melting and white when the inside is liquid. As the surface cools it reverts to blue when the inside reverts to a solid. The artists encourage the audience to place their warmed hand on the vessel to see the changing colour.

Cecilia Heffer and Bert Bongers merge the boundaries between materiality and immateriality through “Pattern Station #1” which is paper textile, computer and screen, and a data projector. The audience is encouraged to pick up the ball of string which then changes the image projected onto the wall. Cecilia also presents “Lace Lengths” of silk organza, screen printed and stitched onto a soluble substrate.

The theme that binds the artists together is not only science, but also “critical making, knowledge exchange, and interaction.” Central to the convergence is the notion of ‘critical making’ where practices are organized around the making of objects imbued with meaning. Hence it is the interaction with other artists and scientists that lead to the manipulation of material, construction, scale and texture to produce innovative designs.

http://www.craftact.org.au/exhibitions/

http://www.scienceweek.net.au/

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