Loosely inspired by the work and research of deep-sea expert Peter A. Rona, the piece abolishes notions of scale by contrasting micro-architecture with human construction.
Fascinated by the marks left by unknown creatures called Paleodictyon Nodosum, the scientist offers the hypothesis that these hexagonal structures are designed in order to cultivate bacteria.
A modern day Captain Nemo, Peter A. Rona wanders relentlessly across the seabed looking to discover these living creatures, of which we only know of their mysterious geometrical makeup, reminiscent of the Centre Pompidou’s hexagonal shape frame.
Artistic direction by Simon Geilfus, Yannick Jacquet, Thomas Vaquié
Producer Nicolas Boritch
Visual content by Simon Geilfus, Yannick Jacquet, Romain Tardy
Music composed by Thomas Vaquié
Architecture Shigeru Ban (2010)
Project commissioned by Nuit Blanche Metz and Centre Pompidou Metz
Technical direction: Laurent Fink and Lumens8
Video edited by Romain Tardy
Filmed by James Medcraft
Additional camera: Jerome Monnot, Sebastien Rabas, Romain Tardy
Suzanne Lee of BioCouture explains how she makes clothes that are "grown using bacteria" in this movie filmed at the Wearable Futures conference in London in December.
"There's a whole spectrum of organisms that can grow material," says Lee, who founded BioCouture to explore how organisms like bacteria, yeast, fungi and algae could be harnessed to produce fabrics.
Lee showed the Wearable Futures audience a range of jackets and shoes made from bio-materials produced by bacteria in a vat of liquid to produce bacterial cellulose - a material that has similar properties to leather.
"The recipe that I've been exploring to grow a piece of clothing is using a symbiotic mix of yeast and bacteria," she said. "It's a fermentation method that grows you bacterial cellulose. It's kind of like a vegetable leather if you like."
She adds: "What attracts me to it is that it's compostable. It's not just biodegradable, it's compostable. So you could throw it away like you would your vegetable peelings."
BioCouture is a London-based design consultancy that is pioneering the use of bio-materials for the fashion, sportswear and luxury sectors.
Lee is a former senior research fellow at the School of Fashion & Textiles at Central Saint Martin's College of Art & Design, and author of the 2007 book Fashioning The Future: tomorrow's wardrobe, which was the first publication to explore how technology could transform fashion.
"Through an engagement with biology I'm really excited about how we can think about organisms like microbes as the factories of the future," says Lee. "What most people know BioCouture for is a series of garments that were grown using bacteria. So the fibres, the material itself and the formation of the garment has been done by a microbe rather than a plant."
In future, Lee believes that clothing materials themselves could be living organisms that could work symbiotically with the body to nourish it and even monitor it for signs of disease.
"What we have right now are living organisms making us materials, but then the organism is killed and the material just exists like any other," she says.
"But I can imagine that we will eventually move towards the material itself being living while it's on you, and having a direct relationship to your whole body in this happy micro-biome environment and perhaps diagnosing and treating, nourishing in some way the body surface so becoming part of your wellbeing."
The two-day Wearable Futures conference explored how smart materials and new technologies are helping to make wearable technology one of the most talked-about topics in the fields of design and technology.
Dezeen and MINI Frontiers is a year-long collaboration with MINI exploring how design and technology are coming together to shape the future.
Design student Tashia Tucker has created a series of conceptual surfaces with embedded bacteria that could be programmed to react to biological stimuli, including a floor that detects dust and dirt.
The surfaces are based on technology that enables the DNA of living cells to be manipulated synthetically to create programmable biological systems that perform a defined function, such as changing colour or oscillating when they come into contact with certain materials.
Digital Grotesque is the first fully immersive, solid, human-scale, enclosed structure that is entirely 3D printed out of sand. This structure, measuring 16 square meters, is materialized with details at the threshold of human perception. Every aspect of this architecture is composed by custom-designed algorithms.
Partners and Sponsors:
• Chair for CAAD, Prof. Hovestadt, ETH Zurich
• Department of Architecture, ETH Zurich
• voxeljet AG
• FRAC Centre
• Strobel Quarzsand GmbH
• Pro Helvetia
Research for the Digital Grotesque project was carried out at the Chair for CAAD at the Swiss Federal Institute of Technology (ETH) in Zurich. All components were printed by voxeljet AG. The first part of Digital Grotesque is a commission by FRAC Centre for its permanent collection.
Maria Smigielska, Miro Eichelberger, Yuko Ishizu, Jeanne Wellinger, Tihomir Janjusevic, Nicolás Miranda Turu, Evi Xexaki, Akihiko Tanigaito
A l’occasion de son centenaire le diocèse de Lille, en partenariat avec la Municipalité et Lille3000, a demandé à COSMO AV de reprendre « Architectural Metamorphosis » les 25, 26 et 27 OCTOBRE 2013
Ce Spectacle, créé dans le cadre de FANTASTIC Lille3000 sur la façade de la cathédrale Notre-Dame de la Treille en 2012, vous est proposé ici en version intégrale HD.