The QUATTRO is one of the most flexible, efficient and compact lasers on the market. Many metal working companies have a large number of components to manufacture but only need to produce one or two at a time. Ease of use, plus low operating costs make the QUATTRO the ideal solution for low volumes, without forgoing precision and quality.
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FULL ACCESS TO THE CUTTING AREA:
The three accessible sides of the QUATTRO laser facilitate sheet metal loading and unloading. Large-sized sheets which are bigger than the work area can also be processed, repositioning them manually.
COMPACT STRUCTURE:
With a footprint of just 6.4 m2, the QUATTRO is AMADA's smallest laser. The oscillator and numerical control are contained within the machine to maintain its extremely compact size.
DIVERSIFIED PROCESSING:
With the QUATTRO, not only sheet metal but rectangular and square tubes can be processed, providing even greater flexibility. (Option)
FULL ACCESS TO THE CUTTING AREA:
The three accessible sides of the QUATTRO laser facilitate sheet metal loading and unloading. Large-sized sheets which are bigger than the work area can also be processed, repositioning them manually.
COMPACT STRUCTURE:
With a footprint of just 6.4 m2, the QUATTRO is AMADA's smallest laser. The oscillator and numerical control are contained within the machine to maintain its extremely compact size.
DIVERSIFIED PROCESSING:
With the QUATTRO, not only sheet metal but rectangular and square tubes can be processed, providing even greater flexibility. (Option)
| QUATTRO | QUATTRO | |
|---|---|---|
| Laser power (W) | 1000 | 2500 |
| Machine type | CO₂ flying optic laser | CO₂ flying optic laser |
| Working range X x Y (mm) | 1250 x 1250 | 1250 x 1250 |
| Working range Z-axis (mm) | 100 | 100 |
| Table loading weight (kg) | 80 | 160 |
Material thickness (max.)*: | ||
| - Mild steel (mm) | 6 | 12 |
| - Stainless steel (mm) | 2 | 5 |
| - Aluminium (mm) | 1 | 4 |
Dimensions: | ||
| Length (mm) | 2900 | 2950 |
| Width (mm) | 2450 | 2450 |
| Height (mm) | 2160 | 2160 |
| Weight (kg) | 3750 | 4150 |
* Maximum thickness value depends on material quality and environmental conditions
Technical data can vary depending on configuration / options
Please contact us for more details and options or download our brochure
For your safe use.
Be sure to read the user manual carefully before use.
When using this product, appropriate personal protection equipment must be used.
Laser class 1 when operated in accordance to EN 60825-1
Different fungal species created distinct “zones”—Penicillium produced blue-green patches that stiffened fibers; an unidentified basidiomycete decomposed sections into lace-like holes. The resulting fabric could not be cut or sewn conventionally; Tan instead suspended the sheets as “recordings of a place.”
The “accident” was not random but emergent from substrate chemistry and micro-climate. Tan notes: “I learned to read humidity like a farmer reads sky.” 4.2 Textile Index (2022–2023) Sheets of discarded cotton and linen were layered with agar and nutritional yeast, then left in an abandoned textile factory. Wild airborne spores colonized the fabric over four months. accidental growth mika tan
Mika Tan is known in design circles for work with bio-materials, mycelium, and waste streams. If your reference is to a different Mika Tan (e.g., in business, art, or another field), this paper provides a transferable analytical framework for “accidental growth.” Accidental Growth: Unintended Ecologies and Material Agency in the Work of Mika Tan Author: [Your Name] Course: Design & Ecological Systems Date: April 17, 2026 Abstract This paper examines the concept of “accidental growth” as a design paradigm through the work of contemporary designer Mika Tan. Unlike traditional manufacturing, which suppresses spontaneity, Tan’s practice cultivates conditions for unintended material emergence—mold, mycelial networks, bacterial cellulose, and opportunistic fungi. Analyzing three case studies from Tan’s portfolio (2019–2024), this paper argues that accidental growth functions as both a literal biological process and a critical metaphor for decolonizing design’s relationship with control, waste, and temporality. Findings suggest that embracing uncontrolled growth leads to novel material properties, ethical recalibrations of authorship, and a design ontology based on care rather than mastery. 1. Introduction Modern design is predicated on the elimination of accident. From CAD precision to cleanroom protocols, growth—especially microbial or fungal—is framed as failure, contamination, or decay. Mika Tan’s work inverts this logic. By deliberately introducing substrates (food waste, textiles, clay) into environments that promote accidental colonization by local microorganisms, Tan produces objects, surfaces, and installations whose final form is co-authored by non-human actors. Wild airborne spores colonized the fabric over four months
A new material named “Wildermold Skin.” Tan now intentionally cross-contaminates her koji cultures with local molds from different sites, producing regionally distinct bioplastics. Rather than discard
Rather than discard, Tan isolated the contaminated cultures and found that the Trichoderma produced a flexible, water-resistant pellicle with tensile strength superior to the intended bioplastic.
