 Okay, thank you so much. Thank you for the introduction and for inviting me to share our work with you today. Let's see. Okay, can you see that? Yes, it looks good. Yes. Okay, great. So I decided to title this lecture Unnatural Materials because one of the things that we have been doing over the course of the last would say 12 years at emerging objects is developing materials for 3D printing and additive manufacturing. And some of the materials that we've developed are all of the materials that we've been working with in developing our natural materials that you can find such as salt or sawdust or wood, for example, but they have to be modified for 3D printing and additive manufacturing. And when they go through that process and come out on the other side, they are in some ways very unnatural. So that's a way that we've been thinking about these materials and the transformation that occurs through additive manufacturing. One of the materials that we started printing with many years ago was coffee. This is a material that I at least enjoy every day at home. And it's on my kitchen table every morning. And this is a material that has a huge waste product associated with it, coffee grounds, of course. And one of the things that I was wondering one day as I was grinding my coffee was, can I 3D print with this material? And the answer is yes. So the coffee grounds can be dehydrated and pulverized and used in powder based binder jet 3D printing to create objects like this coffee, coffee pot, kind of meta material and object, which you can see here, the form of which references a traditional Ethiopian coffee pot. We're also able to use an agricultural waste material, which comes from the coffee bean itself. And we can 3D print with coffee flour. So when when coffee is made, you know, the bean is harvested and, of course, eventually goes on to be roasted and used in the production of coffee. But the cherry, which is the fruit around the bean, is just left in the field to waste and to rot. And so we started working with a company that takes that cherry. And again, that fruit and dehydrates and pulverizes it into a flour. And we can print with the agricultural waste from coffee production as well, which makes this very fine, very beautiful, very aromatic coffee cup. Other materials, which are inherently sticky, such as sugar, can be 3D printed. So these spoons are printed out of sugar in volumes that correspond to one teaspoon, two teaspoons, one tablespoon and beyond. And that the 3D printed sugar spoon can be stirred down and dissolved into your cup of coffee to enjoy and flavor. And tea, similar to coffee, also has a large amount of both consumer waste and industrial waste. So, of course, tea leaves can be dehydrated and recycled and used for 3D printing. But there's also a material called tea fluff, which is the kind of powder that's left on the floor of the place where teabags or tea is being for the industrially manufactured and produced to be shipped throughout the world. So these spoons are quite literally teaspoons. They're 3D printed out of tea-based solids. And, of course, cups can be printed out of tea as well. And here is a teapot. And this is actually a 3D printed teapot based on the Utah teapot, which was one of the first digital objects created by Martin Newell at the University of Utah back in the early 70s. And it is, of course, I think it was the first open source digital model, and it has been used by many computer scientists and artists over the last 50 years to think about how the digital can be, I think, progressed through thinking about different rendering techniques. Of course, here we bring it back into the physical world through the production and use of 3D printing tea itself. Curry, this is another edible material that we were excited to experiment with in terms of 3D printing and additive manufacturing. And and I wanted to print with this material because of its color, just this incredibly vibrant yellow orange color that comes from the turmeric and the curry, and I thought it would be so beautiful to explore that. But what happened was we were able to create an incredibly aromatic and fragrant object, which wasn't something that I had thought so much about beforehand. But as I was making this furry curry casserole dish, the entire laboratory smelled like curry. And it is, I think, a material that or an object, this 3D printed curry object that literally seasons the room in which it is placed. And we also had this idea that you could put rice or noodles in this 3D printed object and it would season the food itself. So we're experimenting with ways that this 3D printed object could inform the context in which it was placed. And it would not just be something that you could look at or use, but it would have the sensual quality to it as well. And here's a photograph of it. You can see the exterior, the coloration on the exterior is different than the interior. So all of these powder based prints are a little bit friable and delicate when they come out of the printer. And we do coat them with an epoxy resin. In this case, we did not finish the interior of the object because we wanted the aromatics and the fragrance of the material to be perceived by guests and viewers to the museum. Chardonnay, this is another material that is quite easy for us to gain access to here in the Bay Area. Of course, we're surrounded by vineyards and navvents, Noma and Santa Clara. The grape seeds and the grape skins are not used in wine production. So they are agricultural waste materials and we can take the seeds and the skins, dehydrate them and pulverize them into a grape flower, which can be used for baking and it does in part a kind of fruity, a woody fruity taste to cookies or breads that you might bake with it. But it's also a very suitable material for 3D printing. And we use the Chardonnay grape skins to 3D print these Chardonnay wine goblets. And this building block, which has a texture on it, that is reminiscent of a raisins, a dried grape. And we use that block to radially array it around a form to create this wine bucket for Pierre Jouet. And of course, it's always important to finish with something sweet. And we wanted to experiment with printing other materials. Again, the sugar, but in this case, the sugar has the strawberry scent added to it. And this is so quite literally a cotton candy jar. Salt, you know, one of the most ubiquitous seasonings in the world. Again, it's a local material for us here in Oakland, California. The San Francisco Bay has been a place where salt is literally farmed and harvested annually for over 150 years, and up to, I think, around 150,000 pounds of salt are still harvested each year in the San Francisco Bay. And we can use salt, again, because it's quite sticky and neighborly to 3D print objects such as these functional salt shakers, which have a binder around the perellumeter, but the salt on the interior is less loose, so you could shake the salt out of these objects. One of the things that we love most about the 3D printed salt is that it's always translucent. It has very beautiful optical qualities, no matter how thick or thin you print with this material. And we've experimented with different ways of interlocking and stacking these salt objects. Here you can see a model. This is a 3D printed salt. A model of an architecture designed by Tom Foulders, a local architect here in the Bay Area. But we also imagine that these 3D printed salt blocks could be used at one-to-one scale to make walls and screens and partitions and actual buildings, not just representations of buildings. This is an example of the salt harvest here in, it's in Fremont. So I mentioned this happens every year. The salt comes into different crystallizer fields and slowly dehydrates over the course of the year. And in October, they start to harvest the salt. So this is just to give you a sense of how much salt is available to us in the Bay Area. And I think traditionally, at least in powder-based 3D printing, some of the proprietary materials have been incredibly exclusive and maybe thousands of dollars to buy maybe like five gallons of material. And we decided to 3D print the salt because it was local and easily accessible, but also because it was incredibly inexpensive. So we could buy a five gallon or a five pound bag of salt here from a local supplier for five dollars instead of a thousand dollars, which is what a proprietary material is. A thousand dollars, which is what a proprietary material might cost, which is what kind of led us on this path, I think, to hacker printers and use local materials that are readily available and inexpensive. These are the crystallizer fields that I was talking about. And this is what they look like at this time of year, October, November, when the harvest is happening. They're able to scrape about six inches of salt off of these fields. The company that owns these fields has given 16 and a half thousand acres back to the state for wildlife development. But they've also set aside about 1400 acres, I think, for the development of a housing community around 30,000 people, which for us, because we're architects, kind of raised this question, could this material, this material that is literally there, the ground underneath your feet be used in the construction of buildings and housing? And so we looked at these traditional building forms that are using literally the material that is right beneath your feet, these igloos. And we started to question if we could make a salty glue or a kind of salt igloo. And so we were inspired by these very traditional forms that we found, which were associated with the boiling and the creation of salt from the brine. And we made design for a kind of 3D printed salt igloo or or tenses, ultimately, what we created. This is the 3D printed salt model or representation of what that building form would look like. And we designed a salt block, the geometry of which is inspired by the forms that can be found in salt crystals themselves. And we regularly rate about 330 of these salt tiles into this larger structure, which we call the salty glue. And we really imagine this as a building material, starting not just to print small objects, but how thinking about how to take these small objects and put pieces together to make larger structures and assemblies. And of course, here in the interior, you can see the beautiful quality of the light passing through the salt tiles and through the openings and the pours to give this diaphanous quality. And here it is in a museum, the design exchange in Toronto. Cochinio, this was a kind of a departure for us from working with so many agricultural or geological materials and starting to think about what might it be like to print with an animal. So you probably know or are familiar with Cochinio. It's an insect that grows on cacti in the American Southwest and Central and South America. And we did this for an exhibition at the Cooper Hewitt and Design Museum in New York. And we were able to take the Cochinio, which I think are traditionally boiled and dried and then pressed and the color is extracted from the insect and use that extract to combine it with resins, which can be found in stereolithography printing. So in this particular object, the Cochinio extract is combined with a clear resin on the top, which gives this translucent, vibrant red color. And in the bottom, the Cochinio is combined with a white resin, which gives it this pink color. But the color is integral all the way through. So in this case, it's not dyed, it's integral to the 3D print itself. And it is quite successful. In this case, the Cochinio is added to the nylon. It is dyed. The nylon absorbs the Cochinio quite nicely. And we've combined it with a 3D printed Mycash's clay base here because we felt like this clay comes from the same region where the Cochinio can be found. So we paired these materials together for this particular object. Rubber tires. This is one of the world's biggest waste materials. Over a billion tires are sent to landfill each year around the world. And they're really hard to dispose of because of the durability of this material itself. This is the largest rubber tire landfill in the world. It's in Kuwait, and there's over seven billion tires here. It can be seen from outer space. If you look here at the bottom of the screen, there's some little white buildings just to give you a sense of the scale of what you're looking at here. So we felt like this is the material that really needs to be developed for additive manufacturing because we as a society need to figure out what to do with this material and how we can not downcycle it, but upcycle it. And so we worked very hard to develop a formulation for 3D printing with rubber tires. And we worked with a company called Lehigh Technologies that cryogenically freezes the tires and breaks it up into a rubber crumb, which is probably a material that you're familiar with. You might have seen it on like using curbs with asphalt or on playgrounds. But they take the crumb and they grind it up into a really fine micro fine powder, and we're able to 3D print with that powder when we combine it with other more sticky materials. So this is one of the first objects that we 3D printed out of the rubber. And you can see the resolution is not really great. And we've had to combine it with other materials that are organic, that are sticky because the rubber itself is just incredibly inert and it doesn't want to stick to itself. It's still super strong. But we were eventually able to refine that recipe so that we could more predictively and reliably 3D print this material. And ultimately, we decided a good application for this material might be to think about outdoor furniture, for example. So we were able to 3D print this rubber poof out of rubber tires. And it's a larger object. Here's here. I show it myself holding it so you can get a sense of scale. But it's eight parts that we've printed kind of within the maximum boundaries of the build bed of the printer. And then those parts are adhered together to make this larger structure out of the rubber tires as an in use material for 3D printing and sawdust. So we have developed a recipe for 3D printing sawdust, which again, of course, a huge industrial and agricultural waste material, largely from the construction industry and the furniture industry within the United States. So this is a material that now almost always is used with subtractive methods of manufacturing. You know, you cut it, you sand it, you mill it. So there's almost always sawdust. So for us, this material is essentially free. People will give it to us. Sometimes we have to pay to ship it. But no one knows what to do with all of the sawdust that's being produced. So here, just an example of sawdust. On the right, you can see the 3D printer that we've been putting it in, the size of the build bed, which is a little bit over eight and a half inches by eight and a half inches by 10 inches. And then in the video at the bottom, you can see the the inkjet head spraying the binder on that powder. So you can start to understand the powder based printing process if you're not already familiar with it and how we excavate a part from that powder. So instead of using the white powder, as you see in the the video, we're replacing that with a wood flower. Again, a really finely ground sawdust material. And so we're able to work with wood in an additive way instead of a subtractive way for the first time. And sometimes we add fibers to our recipe to give the material of this powdery matrix a more tensile strength. It also gives a little bit of a furry texture. And one of the things that I love the most about wood is that there's always a wood grain that you can achieve, kind of depending on the orientation of how the digital object is placed inside the printer itself. And we've experimented with the different species. This is pine and this is walnut. So of course, the coloration and surprisingly, even the strength comes through, even though everything has been pulverized. And because this material has been so successful, we have started a company called Forest, because our forests are for us. And we're attempting to commercialize this material and kind of take it out of the realm of the novel and the unique and into large scale manufacturing. So here we're starting to scale up so that we can print larger objects or many hundreds of small objects at a time. And we actually believe that this material and this method of manufacture 3D printing is probably going to become quite prevalent in the future. And another sort of normative way of making things and working with wood itself. And then finally, as Martina mentioned, I wrote a book called Printing Architecture a few years ago, which has a lot more examples of these novel materials that we've been working with over the last 10 years in the book. And there are also recipes. So if you want to know more about what goes into the printing matrix itself, there's some examples in there. Thank you.