The Shenzhen Natural History Museum
Located adjacent to the picturesque Yanzi Lake in the Pingshan District of Shenzhen, the new 100,000m2 facility will be a world-class natural science museum dedicated to interpreting the laws of natural evolution, showing the geographies of Shenzhen and its ecology in a global perspective, and actively advocating science. The design extends the public park network and aims to maximise access to the lush green areas throughout with a range of activities dedicated to keeping the site open and active throughout the day – from early morning jogs to late evening strolls. This gives the opportunity for residents and visitors alike to enjoy and connect with nature.

Blueprint
Blueprint embraces the relationship and parallels between art and science, creating compositions through the mathematical principles of logic that underpin life. Exploring analogies between DNA and computer code, UVA have created the Blueprint series; works that pair genetics and code as the blueprints of artificial and natural systems. As the work slowly changes over time, patterns fluctuate between varying degrees of complexity. Blueprint uses the basic concepts of evolution to create an ever-transitioning image. With cells literally transferring their genes to their adjoining others, colour flows like paint across the canvas. Drawing up a unique colourful composition every minute, Blueprint presents the unlimited outcome that results from a single algorithm; a single set of rules.

The Story of the Earth

The Story of the Earth concerns the development of planet Earth from its formation to the present day. Nearly all branches of natural science have contributed to understanding of the main events of Earth’s past, characterized by constant geological change and biological evolution.

πTon/2
πTon/2 is a sound installation that intervenes in the continuity of the researches of Cod.Act on mechanical and sound organicity. It results from an experience on the deformation of an elastic form and its incidence on the evolution of a musical work. The object is a flexible ring closed on itself. It is set in motion by torsional engines located inside its body. πTon, by twisting and waving on itself, moves in a very natural and unpredictable way.

EON
“I considered the first life forms on Earth and how we came to be as a way to refer to the Natural Sciences. I looked at fossil records of the first multi cellular organisms of the Ediacaran Period, 555 million years ago for inspiration. I was struck by the theory of symbiosis in evolution; our DNA ancestors are the resultant fusion of single cellular organisms and bacteria. The millions of bacteria in our bodies are our foremothers. EON is a speculative fiction, a depiction of early life forms underwater. The Universe was formed 13.7 billion years ago. The Earth is 4.543 billion years old. Cyanobacteria or blue-green algae were the first microbes to create oxygen on Earth via photosynthesis 3.5 billion years ago. First humans 200,000-300,000 years ago.” Jennifer Steinkamp

Force of Nature
Whereas in the materials, there is a combination of natural and manufactured materials, most notably the various wood vs. refined metals. There is a duality at play, that between the natural and the urban. It seems that in this age of post-Industrial Revolution, where we are plagued with the problems that surround finding a balance between these two worlds, Dark has found some common ground in the organic aspects of each, uniting the two in his oeuvre.

オラファー·エリアソン
اولافور الياسون
奥拉维尔·埃利亚松
אולאפור אליאסון
Олафур Элиассон
The cubic structural evolution
Al centro del lavoro di Eliasson c’è la considerazione di come percepiamo e viviamo il mondo. Spesso fabbrica fenomeni dall’aspetto naturale (come la luce del sole, l’acqua corrente o la nebbia) in ambienti artificiali come una galleria d’arte. Questi fenomeni fabbricati coinvolgono direttamente i sensi del suo pubblico e sollecitano riflessioni su come viviamo le cose. Eliasson ha descritto questo effetto come la capacità di “vedere se stessi vedendo”. Il progetto di evoluzione strutturale cubica 2004 è un’opera d’arte partecipativa in cui gli spettatori contribuiscono alla costruzione di un mondo Lego. È un lavoro in cui Eliasson incoraggia un livello di coinvolgimento molto diretto. Gli spettatori sono in grado di guidare attivamente la loro esperienza del lavoro mentre prende forma organicamente per tutta la durata della sua installazione.

Quasi-Objects

ll works are printed using pigment-based inks on Hahnemühle archival paper, variable dimensions, edition of 3+1 ap.
“Quasi-Objects” is an art project consisting of 3d generated videos and prints, a practice of “organic re-design” – started in 2003 and still in progress – that aims to stimulate thought and dialogue on the progressive relativisation of natural forms of life as a result of techno-biological evolution.“Quasi-Objects” regards data actualization, the production of biologically non-functional organisms and ecosystems as transient output of an operative practice: aesthetics of process.
“Life is a real and autonomous process independent from any specific material manifestation.”