In the initial “speed dating” session- what was it that triggered a reaction to each of your works? What made you think you would work well as a pair?
SM: We were 30 scientists and 30 designers, and only had 5 minutes to present our project and to understand the scientist's work... So it was quite complicated to understand everybody's concept, especially when you are not familiar with science and when English is not your mother tongue. Marta was very clear in her way of explaining her work, and I could see she was already able to use metaphors in order to simplify hard concepts. Moreover, her visuals were absolutely gorgeous, and she seemed very enthusiastic. I could see she would be patient enough and keen to explain to me what her work was about!

MA: Solenne was the second designer I talked to in the “speed dating” and I was really impressed with her designs. I quickly saw a natural connexion between the way in which she works with glass and other materials and my microscopic images. I found Solenne’s work delicate and magic and I liked the idea of using all this to communicate science. I knew nothing about working in design and it was also the uncertainty of how we would understand each other coming from such different backgrounds. After our first day working together, Solenne was just Iike I expected and I felt we connected in both a personal and a professional way from the very beginning.

What did you both wish to gain from the experience of collaborating?
SM: I have always been inspired by science. I wanted to know if my way of simplifying science would be accepted by a scientist. I wanted to be tutored by a scientist, and I was hoping that our collaboration would teach me to be more rational.

MA: I have a special interest in communicating science to the general public using innovative formats and the NOBELini project gave me this opportunity. Explaining science in a clear and understandable way is not always easy. I knew that design could be a powerful tool to do it and I wanted to discover how. I wanted to learn more about being creative. I was also curious about what designers are like and how a new design is developed (the process).

Do you think that your project achieved discipline equality?
SM: Before working with Marta, I did not know anything about "histology". I guess it is the case for a lot of non-science persons. Our project communicates that branch of science unknown by the general public, by designing an object. The first thing you see is the object. Then you read its function, its purpose. So I think that it serves both disciplines equally.

 MA: I agree with Solenne. I think that our project aims to both develop a good design and communicate science. The window we designed makes sense when the histology concept is explained, representing equally both design and science. I just cannot imagine the design object without the science concept and vice versa...

Could you describe the design techniques you have used, and what are the scientific processes you have used?
SM: The design techniques are quite simple : to perforate the wood shutters, we used a laser-cut machine. The glass has been etched chemically, using a product called Acidpaste, which can simply be applied onto the glass with a fine-mesh screen.

MA: Once we made our choice on the area of science we wanted to communicate, we followed the steps of “the scientific method”. We reviewed all the information we had on the field and identified new sources (introduction and bibliography), we found a principle for our project (hypothesis), we spent hours brainstorming and discussing ideas that could match with our principle (patience), we developed our design and proposal (results) and discussed our achievements (conclusion).

After working together what parallels did you find, if any, between working in science and working in design?
SM: For me the main parallel is how do you communicate your concept. In both disciplines there is a moment when you quickly have to explain your idea to someone who does not know about your work. So you have to be prepared, clear and pertinent. It is a lot about communication.

MA: After this project I have realised that I knew very few about design and designers. I would never imagine that designers would need months of brainstorming and research. Design as science needs time and patience.

What are the next steps you will take in trying to get your piece produced?
SM and MA: We are planning to apply to the Wellcome Trust Arts Awards to fund our project and have our work exhibited in a gallery or in a hospital... A place where the general public are interested and can learn about the science (histopathology) behind the medicine. We are now searching for venues.
As for further projects, we are already talking about it. We enjoyed our collaboration so much that we think it would be a shame to stop working together!

What kind of positive knowledge do you think is waiting for us in this branch of science?
SM: From my non-scientific point of view, it is the marvel of our inner beauty and infinity...

MA: Microscopy and microscopy techniques are really artistic. The process is like with fabrics, samples that need to be processed, cut, stained, pictured… As in design we use sophisticated digital imaging, design and editing software. The images you get are really inspiring and you can sometimes recognise similarities with daily objects or they can even been mistaken for artwork.

Would you see your work as a logical next step in the representation of nature in art?
SM and MA: Absolutely. Marta's visuals are already a representation of nature in art. So our project is also a way to communicates it.

 

Find out more about Nature hates emptiness and download their entire application on the fabric of life website. on : http://www.corkbots.com/fabricsoflife/archives/206 or on http://www.solennemorigeaud.fr/nobelini.html