Tragedy and assimilation: Occupying the patterned surface

This chapter draws on biographical data about two notable pattern designers of wall surfaces in the interior. Both had personal histories of multiple careers and geographical locations and both their lives ended in mysterious circumstances. One of the pattern designers, Jim Thompson, disappeared in the Malaysian highlands in 1967 and was never found. The other, Florence Broadhurst, was brutally murdered in 1977; her case remains unsolved. This chapter theorizes that the patterned surface attracted Broadhurst and Thompson as a space to occupy and record their divergent pasts, and questions what it is to lose oneself in the surface of the interior, to find freedom (or slavery) in the abdication of control. This notion is further evidenced in creative works, including the Australian film Candy and the work by skin illustrator Emma Hack. What is it to work with the self as a two-dimensional representation in the outside world? Occupying the surface suggests a reflexive relationship with identity, that makes-over and re-shapes truths, lies and re-constructions. The chapter reminds us that the surface is never in stasis.

Space within the surface : the patterned surfaces of Florence Broadhurst and Jim Thompson

The Woods Bagot 2007 refurbishment of the Qantas and British Airways Bangkok Business lounge in the Survarnabhumi Airport features wall finishes designed by wallpaper designer, Florence Broadhurst (1899-1977) and Thai Silk trader, Jim Thompson (1906-1967). This distinctive selection, which is proclaimed on the airport’s website, of patterned wall surfaces side by side draws attention to their striking similarities and their defining differences . Thompson and Broadhurst would appear to be worlds apart, but here in the airport their work brings them together. Thompson, the son of a wealthy cotton family in America, worked as an architect before joining the army. He moved to Bangkok to start The Thai Silk Company in 1948. Broadhurst was born on a farm in Mt. Perry, Queensland. She began her career as a performance artist, as part of an Australian troupe in Shanghai, moving onto pursue a career in fashion design, catering to the middle and upper classes in London. Upon her return to Australia, Broadhurst started a print design company in 1959. Both Broadhurst and Thompson pursued multiple careers, lived many lives, and died under mysterious circumstances. Broadhurst was murdered in 1977 at her Sydney print warehouse, which remains an unsolved crime. Thompson disappeared in Malaysia in 1967 and his body has never been found. This chapter investigates the parallels between Thompson and Broadhurst and what lead them to design such popular patterns for wall surfaces towards the end of their careers. While neither designer was a household name, their work is familiar to most, seen in the costume and set design of films, on the walls of restaurants and cafes and even in family homes. The reason for the popularity of their patterns has not previously been analysed. However, this chapter suggests that the patterns are intriguing because they contain something of their designers’ identities. It suggests that the coloured surface provides a way of camouflaging and hiding its subjects’ histories, such that Broadhurst and Thompson, consciously or unconsciously, used the patterned surface as a plane in which their past lives could be buried. The revealing nature of the stark white wall, compared with the forgiveness provided by the pattern in which to hide, is elaborated by painter and advocate for polychromatic architecture, Fernand Léger in his essay, “The Wall, The Architect, The Painter (1965).” Léger writes that, “the modern architect has gone too far in his magnificent attempts to cleanse through emptiness,” and that the resultant white walls of modernity create ‘an impalpability of air, of slick, brilliant new surfaces where nothing can be hidden any longer …even shadows don’t dare to enter’. To counter the exposure produced by the white wall, Thompson and Broadhurst designed patterned surfaces that could harbour their personal histories. Broadhurst and Thompson’s works share a number of commonalities in their design production, even though their work in print design commenced a decade apart. Both designers opted to work more with traditional methods of pattern making. Broadhurst used hand-operated screens, and Thompson outsourced work to local weavers and refrained from operating out of a factory. Despite humble beginnings, Broadhurst and Thompson enjoyed international success with their wall patterns being featured in a number of renowned international hotels in Bahrain, Singapore, Sydney, and London in the 1970s and 1980s. Their patterns were also transferred to fabric for soft furnishings and clothing. Thompson’s patterns were used for costumes in films including the King and I and Ben Hur. Broadhurst’s patterns were also widely used by fashion designers and artists, such as Akira Isogowa‘s costume design for Salome, a 1998 production by the Sydney Dance Company. Most recently her print designs have been used by skin illustrator Emma Hack, in a series of works painting female bodies into Broadhurst’s patterns. Hack’s works camouflage the models’ bodies into the patterned surface, assimilating subject and surface, hinting at there being something living within the patterned wall. More than four decades after Broadhurst’s murder and five decades since Thompson’s disappearance, their print designs persist as more than just a legacy. They are applied as surface finishes with the same fervour as when the designs were first released. This chapter argues that the reason for the ongoing celebration of their work is that there is the impalpable presence of the creator in the patterns. It suggests that the patterns blur the boundary between subject and surface.

Selective growth of carbon nanotubes on bare silicon : MWNT sinthesys on patterned substrates without predeposition of metal catalyst

Carbon nanotubes (CNTs) are expected to become the ideal constituent of many technologes, in particular for future generation electronics. This considerable interest is due to their unique electrical and mechanical properties. They show indeed super-high current-carrying capacity, ballistic electron transport and good field-emission properties. Then, these superior features make CNTs the most promising building blocks for electronic devices, as organic solar cells and organic light emitting devices (OLED). By using Focused Ion Beam (FIB) patterning it is possible to a obtain a high control on position, relative distances and diameter of CNTs. The present work shows how to grow three-dimensional architecture made of vertical-aligned CNTs directly on silicon. Thanks to the higher activity of a pre-patterned surface the synthesis process results very quick, cheap and simple. Such large area growths of CNTs could be used in preliminary test for application as electrodes for organic solar cells.

Carbon nanotube synthesis from germanium nanoparticles on patterned substrates

Controlled synthesis of carbon nanotubes (CNTs) is highly desirable for nanoelectronic applications. To date, metallic catalyst particles have been deemed unavoidable for the nucleation and growth of any kind of CNTs. Ordered arrays of nanotubes have been obtained by controlled deposition of the metallic catalyst particles. However, the presence of metal species mixed with the CNTs represents a shortcoming for most electronic applications, as metal particles are incompatible with silicon semiconductor technology. In the present paper we report on a metal-catalyst-free synthesis of CNTs, obtained through Ge nanoparticles on a Si(001) surface patterned by nanoindentation. By using acetylene as the carbon feed gas in a low-pressure Chemical Vapor Deposition (CVD) system, multi-walled carbon nanotubes (MWNT) have been observed to arise from the smallest Ge islands. The CNTs and the Ge three-dimensional structures have been analysed by SEM, EDX and AFM in order to assess their elemental features and properties. EDX and SEM results allow confirmation of the absence of any metallic contamination on the surface, indicating that the origin of the CNT growth is due to the Ge nanocrystals.

Ordering of Ge islands on Si(001) substrates patterned by nanoindentation

Spatial organization of Ge islands, grown by physical vapor deposition, on prepatterned Si(001) substrates has been investigated. The substrates were patterned prior to Ge deposition by nanoindentation. Characterization of Ge dots is performed by atomic force microscopy and scanning electron microscopy. The nanoindents act as trapping sites, allowing ripening of Ge islands at those locations during subsequent deposition and diffusion of Ge on the surface. The results show that island ordering is intrinsically linked to the nucleation and growth at indented sites and it strongly depends on pattern parameters.

Patterned growth of nanoscale in clusters on the Si(111)-7×7 and Si(111)-Ge(5×5) reconstructions

Results of a study designed to investigate the possibility of using the Si(111)- Ge(5×5) surface reconstruction as a template for In cluster growth are described. As with Si(111)-7×7, the In adatoms preferentially adsorb in the faulted half-unit cell, but on Si(111)- Ge(5×5) a richer variety of cluster geometries are found. In addition to the clusters that occupy the faulted half-unit cell, clusters that span two and four half-unit cells are found. The latter have a triangular shape spanning one unfaulted and three, nearest neighbor, faulted half-unit cells, Triangular clusters in the opposite orientation were not found. Many of the faulted halfunit cells have a streaked appearance consistent with adatom mobility.

Graphene with patterned fluorination: Morphology modulation and implications

Recent years have witnessed a large volume of works on the modification of graphene; however, an understanding of the associated morphology or mechanical properties changes is still lacking, which is vital for its engineering implementation. By taking the C4F fluorination as an example, we find that the morphology of both graphene sheet (GS) and graphene nanoribbon (GNR) can be effectively tailored by fluorination patterning via molecular dynamics simulations. The fluorine atom produces out-of-plane forces which trigger several intriguing morphology changes to monolayer graphene, including zigzag, folded, ruffle, nanoscroll, and chain structures. Notably, for multilayer GNR, the delamination and climbing phenomena of the surface layer are observed. Further studies show that the fluorination pattern can also be utilized to modulate the mechanical properties of graphene, e.g., about 40% increase of the effective yield strain is observed for the examined GNR with fluorination patterns. This study not only demonstrates the significant impacts on the morphology of graphene from fluorination but also suggests an effective avenue to tailor the morphology and thus mechanical properties of GS and GNR.

Effect of surface conditions on flow of a micropolar fluid driven by a porous stretching sheet

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Some surface profiles of a strip after plane-strain indentation by rigid bodies with serrated surfaces

This paper is concerned with the surface profiles of a strip after rigid bodies with serrated (saw-teeth) surfaces indent the strip and are subsequently removed. Plane-strain conditions are assumed. This has application in roughness transfer of final metal forming process. The effects of the semi-angle of the teeth, the depth of indentation and the friction on the contact surface on the profile are considered.