H.O.R.T.U.S. XL Astaxanthin.g menschlicher Garten
H.O.R.T.U.S. XL Astaxanthin.g ist eine hochauflösende 3D-gedruckte Bioskulptur in großem Maßstab, die sowohl für menschliches als auch für nicht menschliches Leben empfänglich ist. Das Projekt wurde von Claudia Pasquero und Marco Poletto (ecoLogicStudio) konzipiert und in Zusammenarbeit mit dem Synthetic Landscape Lab der Universität Innsbruck entwickelt.
BioBombola
The Coral
Home Algae Garden
In June 2020 ecoLogicStudio has devised BioBombola, a pioneering project that invites individuals, families and communities to cultivate a domestic algae garden – a sustainable source of vegetable proteins. BioBombola absorbs carbon dioxide and oxygenates homes more effectively than common domestic plants while fostering a fulfilling daily interaction with nature. Each BioBombola is composed of a single customized photobioreactor, a one metre tall lab grade glass container, filled with 15 litres of living photosynthetic Spirulina strain and culture medium with nutrients.
H.O.R.T.U.S. XL Astaxanthin.g in-human garden
H.O.R.T.U.S. XL Astaxanthin.g is a large scale, high-resolution 3D printed bio-sculpture receptive to both human and non-human life. The project is conceived by Claudia Pasquero and Marco Poletto (ecoLogicStudio) and developed in collaboration with the Synthetic Landscape Lab at the University of Innsbruck.
HORTUS
Hortus London
Hortus Paris
Encapsulated environmental system: Paludarium YASUTOSHI
This machine is fully equipped with a mist machine as if wrapping plants in a fog from both sides and drip feed-water system which can be activated depending on the situation in order to maintain the condition of a plant and control inside temperature and humidity. Also the cylindrical shape can fully capture the natural light by 365°angles from glasses, and it can correspond to plant growth by having the series’ largest scale of height. Fans on the ceiling play a role of wind, and a plant can listen music from the waterproofed speakers. The machine takes in essential elements – rain, wind, light and sound – by artificial means and completes a small world where its ecological cycle is condensed. It enables us to admire the beauty of the plants by not being affected by external environment.
Biologizing the Machine
In Biologizing the Machine (tentacular trouble), the artist uses a stretched leather-like kelp to create hanging incandescent sculptures that conjure up images of organisms such as human organs and insect eggs through chrysalis-like pods within which animatronic insects flutter about. The use of this material calls attention to the ecological history and exciting potential uses of algae, a powerful and shapeshifting entity comprising the largest biomass on the planet. The ground beneath evokes a swamp (not too dissimilar from the watery underbelly of Venice) from which these organisms and other primordial beings may have come.
Synthetic Pollenizer
The Synthetic Pollenizer project Intervenes in real-world ecological systems using robotic flowers to Integrate in the reproductive cycle of local flora, these imitations offer a manufactured nectar supplement while attaching locally harvested pollen to bees.
Power Plants
Hito Steyerl’s series of projects at the Serpentine Galleries is positioned around ideas of ‘power’. Beginning from the premise that ‘power is the necessary condition for any digital technology’, the artist considers the multiple meanings of the word, including electrical currents, the ecological powers of plants or natural elements, and the complex networks of authority that shape our environments. She addresses the notion of power through three interrelated research strands and projects: Actual Realityos, a collectively-produced digital tool; Power Walks, a series of guided walks and a tour that draws upon conversations with campaigners, community groups and organizations in the local area surrounding the Serpentine, and finally this exhibition, Power Plants, which features new video installations created using artificial intelligence trained to predict the future.
INDUSTRIAL CREEPER
On the site we envision a antagonistic dialogue between the seemingly biologic units and its abiotic architectural foundation. The units find a home intertwined amongst the predictable regularity of the steel configuration remeniscent of a deteriorating and outdated technological era whose remnants can be found scattered across downtown Los Angeles. These old industrial artifacts, derived from sheer function, act as an all too familiar platform by which the occupant interacts with this new synthetic ecological system. Throughout the site, we see the units stretched and twisted in an extraodinary demonstration of elasticity. In this way, the building lingers in a constant state of mediation between the past and the future; succombing to the complex configuration of the aggressive industrial creeper.
Eco Warriors
A Beginner’s Guide for Eco Warriors is inspired by the current dramatic changes in Earth’s ecosystem due to the human impact, the so-called age of Anthropocene. This short film represent, with certain level of exaggeration, tips and inspirations how to lower your ecological footprint and contribute to the slowing down of global warming and the protection of natural habitats. This short film then becomes a small guide for Eco Warriors and urges for reflection and reaction from each of us.
The Admiral’s Garden
Christine Ödlund’s work explores the borders of our knowledge of the world around us, connecting such themes as the chemical communication of plants, synaesthesia and theosophy. She works in a variety of media, including drawing, sculpture, video, watercolour and sound works.
Stress Call of the Stinging Nettle: When a plant reacts to a butterfly larvae feeding on its leaves, it releases chemical substances, or compounds. The characteristics of these compounds have been analyzed in collaboration with the Ecological Chemistry Research Group at the Royal Institute of Technology in Stockholm, and then transposed into amplitude and intensity of sinus tones, recorded at EMS (Electroacoustic Music in Sweden), Stockholm. Thus these beautiful graphic score and soundtrack by Swedish artist Christine Ödlund are direct transpositions of “the plant’s life, struggle and death”.
when you are close to me i shiver
sound design: Alexander Martinz
“when you are close to me I shiver” is an algorithmically controlled live simulation, a real-time generated virtual reality that takes place in a version of the future in which humans, out of desperation, gather in masses on the last remaining piece of land. Inspired by the walrus scene in the documentary “Our Planet” narrated by David Attenborough and produced by Silverback Films, the project proposes an intense scenario encompassing our environmental and personal crises. It reflects on how we identify and connect ourselves in different realities while addressing the human condition in a world in ecological and therefore social crisis. On the tablets, virtual cameras scan the environment from various point of views, like surveillance drones. On the main screen, a similar camera randomly targets and focuses on different situations while a familiar voice-over narrates the tragic story.
Tree Mountain
A Living Time Capsule
La húngara Agnes Denes creó un proyecto ecológico para la recuperación de terrenos naturales. Entre septiembre y octubre de 1995 11.000 personas plantaron 11.000 árboles en una gran montaña artificial en Finlandia. De ahí surgió la impresionante “Tree Mountain” o “Montaña de los árboles”. Esta artista concibió el patrón matemático donde se situarían dichos árboles.
Fabian von Spreckelsen is a young innovative artist and designer who was educated at the College of Fine Arts in Maastricht. He currently handcrafts welded sculptures and creates limited editions using only the finest leather and steel in a shared Studio in Maastricht. His fascination and love for mother earth, its elements and time play a crucial role throughout his collections. Nature and his love for the ‘Milano Chic’ can be clearly recognised in his clear cut lines that are coupled with a post modernist ecological feel.
Adaptive Urban Ecologies
Adaptive ecologies explores the emergent logics of adaptation and evolution that are constitutive of ecosystems in nature. Chimera’s vision is to define an urban ecosystem which supports housing and cultural programs and has the ability to adapt, transform, mutate, and adjust according to the specific urban and social character of the site and of Manhattan. This urban ecological system is taking as a model an organism in nature, specifically the mangrove plant.
Hidden Gems
Transforming the mopo oil reserve base, south korean designer hyuntek yoon of nooyoon has created a cultural and recreational cluster on the site. Located in sangam, north west of seoul, the abandoned area was previously filled with waste until the 2002 work cup which saw it turn into an an ecological park, digital media city, and world cup stadium. ‘Hidden gem’ seeks to revitalize the last piece of waste-land for public use. The project is based on the following questions: how can five oil tanks be transform to embed recreational programs and how can multiple activities interrelate and operate with each other?
World center
Blending computer-assisted design and experimentation with physics, the collective implements a biological paradigm to develop their morpho-ecological design approach to the architectural project. They are able to do this thanks to the computer-generated design methods they have developed for integrating ecological, topological and structural data.more…
the liquid room
Elizabeth Ogilvie is a Scottish artist who uses water as a medium and as a research focus. Water is the obsession which returns in most of her works and it becomes experience through the use of installations and videos. Her work embraces universal and timeless concerns, offering her public an innocent pleasure and at the same time underlining philosophical and ecological issues.
Through her installations, the artist isolates water inside an artificial state, creating a process which highlights its fundamental qualities in order to return to its place of origin which is the natural habitat. Among her most important works there is Liquid Room realized in 2002. Inside a derelict warehouse the artist created basins with water which were crossed by a footbridge. By linking art, architecture and science, she realized an interactive installation where the visitor, walking on the footbridge, can touch the water, whose movement is reflected on the walls of the installation. In 2006 she created Bodies of Water, whose operation took over from her previous work.
Once again, through a series of installations, the public was able to share the experience of sensorial involvement within an environment dominated by water.
Ecorium, National Ecological Institute