Bimetals and Nature’s Survival Tactics

You know how your brain gets attuned to looking for whatever you’re interested in, focusing on, paying attention to at the time.  I’ve been collecting awareness about artists who are creating objects, materials, buildings, and facades that defy a static existence.  The Stone Age is long gone.  I might belong to The Bronze Age, since I feel more ease with metals than micro-controllers at this point, but it’s too staunchly stationary and solid for me without the inclusion of elements suggesting life, if not actually alive.

Movement combines with responsive materials to redirect our present relationships with climate, energy, other species, and our own cultural humanity.

Doris Sung works with bimetals that react to temperature, thus appearing as though they are living leaves following the light. Her architectural piece, Bloom, aspires to redefine how our living spaces function in the age of “finite” resources and infinite ideas.

Elaine Ng Yan Ling’s latest series of smart textiles reflects the changing seasons. “As nature takes its course, Wooden Skin and Macro Wooden Velcro shift shape and color to create an organic responsive environment.  Layers of veneer are combined with fabric, reactive dyes and reflective surfaces to create objects that adapt to fluctuations in light, temperature and humidity. This new series, CLIMATOLOGY, is inspired by nature’s invisible energy and how materials can adapt to be more resilient and relevant.”

Jennifer Darmour of electricfoxy offers current trends in wearable technology and product design.  When I saw the little 3D printed wearable planters with tiny succulents, I paused because “aaw, cute,” and for awhile I was making escargrows out of shells from Helix Aspersa snails that I collected to eat from the garden.  The small calcified spirals were perfect for creating succulent planters, too.  And they were created by living 3D garden mollusks printing out earthy minerals over a number of years.

Which makes me think about 3D printing and how it’s a blind spot, or a stepping stone? in our technological trip to democratic making.  The usual plastics are not somehow becoming better for the environment just because the possibilities for incredible forms are seductive, yet there are 3D printers for cement, ceramics, biodegradable plastics, and whatever other living tissues for making bones, kidneys, and hearts, so hopefully the innovation is leading to something that collapses our love affair with circuit boards and non-biodegradables into a full circle, self-composting realized potential.

With 4D printing touting self-assembly, I imagine that I cannot imagine how the organic, synthetic, bio-mimetic engineered fusion will wrap around to chase it’s tail and channel this open loop of transformative creativity.

Will the positive and negative feedback of less labor is more better somehow find a sum greater than its parts? Will the sum be less than the mean average of what the world can contain to sustain?  These last questions don’t make any sense, but it FEELS like they mean something on our interconnected, technological space odyssey.

We live in the age of Smart Materials. I’m vividly curious about how we will continue to interface with data, programming, biology, and building to express the fibers of our mental, physical, and emotional galaxies.  How close are we to printing Living Sea Sculptures that self-assemble in seawater?

 

 

Pinning Inspiration

When I recently saw a ficus leaf mineral thru an electron microscope on pinterest, it reminded me of this piece from about 15 years ago. When I made it, I’d never seen a ficus leaf mineral, but I love how interrelated so many forms and patterns of nature appear to be, whether you’ve ever seen them to influence you or not.

Catching Glimpses in the Gloaming, 1998. Crocheted copper wire, cast silver dogwood blossoms, fake eyelashes, fake fur, steel wire. Photo Courtney Frisse

“I can’t even look at it,” ran through my head whenever I would see the little pin it icon. “Pinterest is going to distract me from important things.”

But now I’m coalescing Nature Patterns onto a digital board that kind of tweaks the in-love chemistry in my brain.  Pinning before bed has catalyzed beautiful, vivid dreams; something about the free associative process of following this intricate thread of visual networks is soothing while stimulating creativity. To be able to float through images, seeing some things I never knew existed in the world, is like cranking the amperage on curiosity and getting a fascination fix.

Every time I pin onto this board, I’m adding inspirational matter for future Living Sea Sculptures.  As I gravitate towards images, I see a collage emerging; it’s a valuable personal palette made from the communal well of web surfing and discovery.  Microscopic bacteria, bike chains, textiles, lava flows, and biology on land and sea reflect and imitate each other as they assemble into rivulets, orbs, bumps and repetitions. Physical forces, changing pressure and process has resulted in these…these moments captured in photographs and stills.  Somehow there is motion and color telling a story, a lifelong history embedded in the pictures, and that wordless-ness attracts and suggests new models for ocean habitat.

Sculptural porcelain by Nuala O'Donovanj

Living Cities

The growth of Biorock mineral accretion sculptures in the ocean conjures up images of cities; not only are architects fascinated by the building potential of culling limestone minerals from seawater to create incredible evolving formations, but anyone thinking about habitats of all kinds imagine how they will accumulate life and generate tributaries of interaction.  Coral cities, urban landscapes, seascapes…whether visible or invisible, the concept of efficiency, necessity and organic mystery can come together in a city.

This living wall in de zeen magazine about “biological concrete” is an example of how biological growth is becoming an integral part of contemporary buildings. Ecology is fundamental in the design.

Living walls

New concrete that captures rainwater to create living walls of moss and fungi

 “The material lends itself to a new concept of vertical garden, not only for newly built constructions, but also for the renovation of existing buildings. Unlike the current vegetated façade and vertical garden systems, the new material supports biological growth on its own surface; therefore, complex supporting structures are not required, and it is possible to choose the area of the façade to which the biological growth is to be applied.”

The carbon sequestering, living adornments may soon flourish, bringing nature and urban together for you to pause at the emerald and chartreuse skyscrapers on a busy street.

Addendum – A New York Times article, The Beauty of Bacteria, by Julie Lasky on January 16th, takes us even further towards the vital and fantastical Emerald City.