Have you ever stood waiting in line, felt bored on a toilet, or been kept on hold for too long? During moments of lost time we reach for our phones — immediately occupying ourselves with meaningless socials. Yet herein lies an amazing opportunity to create, play and enjoy.
BLUR restores your daily dose of daydream: attaching to the back of your smartphone, transforming it into a mesmerizing spinning interface.
Design and video production by Felix Mollinga, music by Remy Borsboom
On this page are the things that keep me up at night, the intriguing details of my surroundings that I want to share & all the random bits of creation that otherwise get lost in the creative process.
So for you it's basically a blog.
This series of lamps combines two additive manufacturing techniques: 3d printing and mineral crystals. Both processes take several days, slowly adding material layer by layer, growing their own complexity. The printing is controlled, precise, and industrial. The crystals are
unpredictable, stubborn, and organic. This contrast highlights their co-dependence: one strengthens fragility and the other contributes sparkle and translucency.
The project I want to realize is to combine modern 3d printing techniques with the oldest ancient form of 3d printing: mineral crystals.
Mineral crystals are in a way a form of additive manufacturing that has existed since before there were even living organisms, forming solids layer by layer in the earth crust under completely natural circumstances. In contrast, industrial printing uses high tech machines in a controlled environment to create completely manmade shapes. Both processes build up material in layers. Both are not fast techniques, slowly growing to completion. These are two techniques that have a completely different form language, one organically unpredictable and one very precisely man-made. They have different strengths and weaknesses and both have their own design restrictions. But down to the essence, they are based on the same process.
The past months I have been experimenting with growing crystals, understanding this process, trying different chemical solutions and exploring the possiblities of the aforementioned combination. When combining these materials, I aim to make them co-dependant. The crystals cannot grow in thin air, they are fragile, look precious, and will cling to any support they can grab onto. 3D printing allows for any shape, virtually unlimited intricacy, and a way to 'design the crystals'. They are a perfect fit.
I've found that making crystals follow the desired shape isn't easy but creates a magnificent effect. In nature crystals are stubborn. You'll not find them growing in straight lines, in perfect circles or in regular patterns. While in the past weeks I've accomplished just that, setting them to my own hand.
These photos show the first 3D printed structures combined with growing materials. These experiments were the start of the research around the question "What if our 3D prints could grow?"
Can 3D prints break the size barrier by growing?
Can printed structures be filled in by organic materials?
How do printed and growing materials interact when combined?
3D printers have become more and more refined; ironically making products smaller and more detailed, instead of bigger. I wanted to use this refinement and break with it at the same time. Precision is great, but with it come long print times. If i could make the print a skeleton for the growing material, I would save time, material and money. While the growing material also adds uniqueness.
Unidentified male
Needs OBSURV to keep his face out of public online datasets, after involvement in a scandalous leak and living in fear of being located. He leads a secluded life in a small social circle, but his dog will not follow him on walks if he cannot see his eyes.
Unidentified female
Wears OBSURV because she dislikes the idea of strangers googling a picture if her face and finding her online presence based on a facial match. She believes in honest first impressions and likes the possibility of looking into a person's eyes when having a conversation.
Unidentified male
Uses OBSURV daily because his facial features falsely trigger AI-driven security algorithms. He enjoys living an ordinary life without being detained for questioning three times a month simply because he is unlucky to have a stereotypically criminal face.
Back to the Fruiture is a fruitbowl concept. It is a high-tech fruit hill, that changes color complementary to the fruit you place on top of it. You've never seen such orange oranges, because you never seen oranges against a blue background. Or apples against green and bananas against purple. You get the point. You could say this is the future of fruit presentation. This project was also an execise in visualising and rendering light and transparency.
GRID Tablestands designed and produced during an internship at NathanYongDesign in Singapore.
Think of Acoin as a USB flash drive for money. It stores cash electronically and displays the amount stored. Acoin anonymizes electronical payments, by existing as an offline node in our online interconnected world.
Our spending habits create an outline of who we are. You might think targeted advertising is all there is to this story, but your data gets traded with whoever is willing to pay. Acoin is designed for a future where governments have gotten rid of cash. Not if, but when this happens: how much freedom will we have left?
This project came about after living in Singapore, and feeling observed all the time. Even when there is nothing illegal about your actions, the awareness of being watched leads to a forced obedience and conformity. This suppresses behavior: creativity and critical thinking are muted and democracy is thrown out the window.
Acoin works together with your phone. From your e-banking app, you can transfer money to the device. This money is now offline. When making a payment, there are three possibilities:
1. By holding Acoins together you can send the value on your Acoin, or a pre-set amount, to another Acoin. Confirmation of sending money occurs through the fingerprint reader.
2. You can erase your fingerprint, and swap Acoins. In this scenario, one Acoin contains money, and the other does not. The only transaction is the data stored on the device, as the exchange of hardware is mutual, and therefore zero.
3. When making large payments, you can give Acoin away, together with the data it contains.
Because of this unpredictability, no one can tell where your money came from, and through whose hands it passed. The money on Acoin becomes untraceable, and paying with it anonymous. For storing money, Acoin relies on cryptocurrency keys.
For storing money, Acoin relies on cryptocurrency keys. Cryptocurrencies like Bitcoin are a decentralized form of currency, free from all government controlled banking systems. The integrity of the system is maintained by the community of users. Every connected phone or computer becomes a node in a network that verifies the validity of transactions. This ensures the safety and stability of the currency.
Cryptocurrencies are relatively new forms of currency. Acoin relies on them for their anonymity and ability to store money electronically on storage that is physically on the device instead of in a cloud. So when you lose your Acoin, your money is gone. Just like cash. This also means that as the money is offline it can be passed around freely.
Please donate to Bitcoin address: [[address]]
Two months internship at Arne Hendriks, for Fatberg and other projects.
A statement ring made of sterling silver, designed after a lightning bolt. It wraps around two fingers. For sale here.
The seven headed naga: the serpent that forms a bridge between life and afterlife. Set with seven black onys stones.
This piece was inspired by a trip to Cambodia, where I saw the temples of Angkor Wat. All of them richly decorated with seven headed nagas, garudas and more mythical creatures.
For enquiries about personalised jewellery, please drop me and email at felix_mollinga@hotmail.com
2016-05-08 Alpha Marienborn, Germany
"E" is a family of door handles, constructed out of stacked layers.
"E" also features a swipe activated electronic lock.
It is a 20L tank, filled with Spirulina micro algae.
It produces a protein equivalent of one steak a week.
It consumes 80kWh/year.
It uses 8% the amount of energy per kg of protein, compared to beef.
It uses 0,01% the amount of water per kg of protein, compared to beef.
It fixates 40gr of CO2 each week. Producing a steak releases 12kg of CO2.
It is a 20L tank, filled with Spirulina micro algae.
It produces a protein equivalent of one steak a week.
It consumes 80kWh/year.
It uses 8% the amount of energy per kg of protein, compared to beef.
It uses 0,01% the amount of water per kg of protein, compared to beef.
It fixates 40gr of CO2 each week. Producing a steak releases 12kg of CO2.
A warm welcome is a birdhouse. A birdhouse that is also a statement.
It connects the fate of crows and refugees, both unwanted and without a roof over their head. We close our chimneys, much like we close Europe's borders. We have warmth to share, there are places for them to stay, but we turn our backs to the problem in the hope it goes away.
This birdhouse is a public declaration of helping the unwanted. Of the willingness to share warmth, and to boost and engage in public debate. To create openness, and take away fear. To create a platform for discussion, to question the actions of politicians, and in the best case scenario create couch surfing for refugees.
Jackdaws nesting in chimneys is a small scale issue. Relatable, because they might one day nest in your own chimney. Relatable, because I had a jackdaw's nest in my chimney.
The refugee crisis, on the other hand, is huge, complicated and not relatable. So why not use the first to bring attention to the second? To solve the bird-in-chimney issue, you need a birdhouse. An alternative to the chimney, a fake chimney. But chimneys can have a public function. They are on top of a roof and visible from far down the street. This makes them a good platform to communicate a statement with.
This birdhouse is a public declaration of support. Of helping the unwanted. Of the willingness to share warmth, and to boost and engage in publicdebate. To create openness, and take away fear. Because being afraid shuts the door to possibilities.
For this, it uses the most desperate part of the crisis. People risking their own life to travel to Europe, on a boat as fragile as a paper folded boat. Refugees enter Europe through the boat, just like the jackdaws enter the birdhouse through the boat. At night chimneys can act as a beacon. Like a lighthouse guiding a boat, this birdhouse draws attention. It sheds light on a problem, by glowing in the dark.
As it is a statement, it is public. To be successful it needs to spread, it needs to go viral. For it to successfully spread it needs to be cheap and mass produced. Like normal roof tiles, it is made of terra-cotta. The texture serves multiple purposes.It is necessary to hold the luminescent paint. And, during the slip-clay casting process, it creates a texture on the inside, which is necessary for the bird to get out.
This is a birdhouse that is not just a birdhouse, but it addresses the bigger issue.To maintain your house, to save a nest, and to give a home.
A confronting look at how we treat and pass through nature; without taking care and giving it a second glance.
