As the machines blow vapour rings that double as ephemeral scent zones, the public not only experiences a visual performance of smoke vortices travelling through space, but they also perceive scents that are temporally spatialised and visualised.
I read about the installation while clicking through Ollie Palmer's website, and contacted Heechan to ask him more details about his mysterious machines.
Hi Heechen! An Architectural Time Machine 'creates a series of vortex air and ephemeral scent zone.' It also looks like a canon to me. How did you build it and how does it work exactly?
AATM create an architectural time-based event as blowing vortex rings with scents to rhythm, they unfold tempo in space. These give observers not only an unfolding spectacular performance of rhythmic vortex rings travelling through space, but also vortex rings and scents from the machines are temporally spatialised and visualized. Observers also can smell different scents from different machines and trace moving vortex rings. When the machines stop their performance blowing vortexes, the formed space gradually vanishes as the space is ventilated.
There is a great and unique mechanism firing vortex rings. The mechanism is electronically auto-controlled. As a mechanism controls the interval of vortex firing time, it brings accurate manipulating a rhythmic beating. To achieve this, I employed an 'Alternate rectilinear motion' mechanism, which is given to the rack-rod by continuous revolution of the mutilated spur-gear. Bungee cord in the barrel forces the rod forward to its original position on the teeth of the gear as shown below. As controlling speed of rotation of spur gear, machines achieved rhythmic beating of series of smoke rings.
A stepper motor, which is mounted on main spur-gear, makes it possible to control the speed of rotation of the main spur-gear releasing the hammer-rod to blow air out. A stepper motor, which converts electrical pulses into discrete mechanical movements, is employed.
The results gathered in a series of experiments led the project to the next step of making the progressed version of the machine. Three different scales of machines were created. Each machine has different abilities of performance due to its scale and power of motor. For instance, each machine performs different travel distances of vortex rings and smoke capacity. These differences could be compared to different scale in musical instruments. The machines are named as Nolan, Van Eyck and Petit Manuel, who are cloud sculptors in J G Ballard's short science fiction 'Cloud sculptor of Coral D', who shape clouds with their strange glider having cloud-sculpting devices in the wing.
I used CAD/CAM technologies such as laser cutting, SLS, CNC milling etc. Particularly these technologies make it possible to process rapid prototyping. Rapid prototyping by using SLS (Selective Laser Sintering) has already been practiced through my toy project. Rapid prototyping built a 1:5 scale model in order to test and prove a part of the machine before full scale fabricating. Moving mechanisms, sculptural shapes and the body frames of the machine were tested. Then this has led the constructing of 1:1 scale machine.
The work sounds a bit sci-fi to me. Where did you get the idea for AATM?
You are right. I got an idea from 'Cloud sculptors in coral D', J.G. Ballard's science fiction, in which the three gliders shape clouds with strange machines. I got an idea regarding this project when I was in front of massive loudspeaker in a club. I felt energy of sound from the speaker crashing my body. I thought invisible energy could be translated visible dynamic performance.
But also, I have been very interested in Architectural time based event, looking at how observers can experience time moving in space as observing the performance of machines or devices in space.
Leonardo Da Vinci mentioned 'tempo', which referred to 'speed of time, 'musical' or 'harmonic' time. It might be easy explanation about AATM that it allows observers to experience 'tempo' in space with scents. A series of vortex air from machines construct ephemeral time based event. After travelling through space and time, it just vanishes as space is ventilated.
Here is the best quotation from Stephen Gage in order to help you to understand my inspiration from architectural time based event. "Once we consider architecture to be time based and enmeshed with the way that people perceive and use it, we find ourselves short of reliable conceptual tools that can be used to understand our craft. As an event or series of events in time, we can consider architecture as a performance containing both human and non-human changing protagonists"
The way the vortex rings remain perfectly circular as they rise in the air is impressive. How did you achieve that?
The vortex air generator is an old and traditional toy. It works with simple principles of physics.
But, on a windy day outside, the machines could not have successfully performed. Strong wind destroys smoke rings immediately when it comes out from a machine. It's similar to the cloud sculptors of J.G. Ballard who could not perform when dark clouds were coming, which presage rain. However, it could be acceptable as it is the nature of performance, which is temporally affected by weather and site specific conditions.
The machine creates scent zones. But what do they smell like? and how/why did you chose that scent?
Basically, my time machines cannot make scent itself, but you can put all the scents you want in it.
When I was developing these machines, I found there are some great potentials with various scents. I came across George William Septimus Piesse, an English chemist and perfumer, who offered a music-inspired taxonomy of scents. Following his music taxonomy of scents, I made scent music cord. For instance, C major cord could be made with Orange flower, Almond and Southernwood scent.
I thought that my 8 machines could play scent music with 8 scents.
Are you planning to develop the work further?
I hope to develop AATM and want to enjoy making various events. I have made six AATMs. It was my Masters project at the Bartlett school of architecture, UCL.
It was definitely an architecture project about architectural time based events and I believe I achieved my aim to set up a theoretical base on my interest through this project at Bartlett. I think it's time to apply my AATM to various artistic events over architectural theory. I am keen on involving in various events wherever there is a nice atmosphere and fun people to enjoy my machines.
Also I want to have performances in specific places and buildings, which have their own architectural proportions. As AATMs make a proportional rhythm that the building or
Any other project you'd like to mention?
At the moment, I have been making a small toy called 'Inigo', which is a part of architectural toy project. I have been devised a series of mechanical toys, Toys are printed in one piece by using SLS (Selective Laser Sintering), which allows multiple moving parts to be operated in one piece.
Please visit the web site of Experimental Toy Factory, which I founded last year.
All images courtesy of Heechan Park.
As i mentioned this morning, The Center for PostNatural History in Pittsburgh has recently opened The Cold Coast Archive: Future Artifacts from the Svalbard Global Seed Vault, an exhibition that takes the famous "Doomsday Vault" as its starting point.
Opened in 2008, the Svalbard Global Seed Vault (SGSV) preserves seeds from nearly every nation on Earth in an underground cavern engineered to withstand catastrophe. It is located on the outskirts of Longyearbyen, on the arctic island of Spitsbergen, Svalbard Archipelago, halfway between the North Pole and Norway.
The seeds stored in this biological safety deposit box are duplicate samples held in seed banks worldwide. The facility is about 130 meters above sea level to protect it against any rise in sea level as a result of global warming, nuclear attack, and earth quakes. The vault itself has been tunnelled 120 meters into the mountain, in order to guarantee stable permafrost.
The exhibition currently on view at the Center for Postnatural History is a joint research and extrapolative project by artists Signe Lidén, Annesofie Norn, and Steve Rowell. Together, they examine the meaning and function of the world's largest and most well-protected collection of agricultural diversity.
The artists traveled to Longyearbyen in February, August, and September 2011 and came back with hundreds of photographs, videos, and audio recordings. The collaborative work also includes an experimental garden, field guide, and map from a survival kit designed to help future generations successfully locate this critical cache of seeds.
Steve Rowell: "The map above reveals the speculative geopolitics of the territory surrounding the vault, in a possible future-scenario in which China, Russia, and NATO have established military bases and industrial sites there. The document includes locations of navigation hazards, beacons, and other points of interest: emergency food/fuel caches, communication towers, weapons dump sites (radiological, chemical, even biological), wind turbine farms, ship wrecks, ruined oil platforms, undersea communication cables, etc. Since a treaty was signed in 1925, Svalbard has been officially demilitarized. But, WWII saw the sacking and burning of Longyearbyen by German troops and covert intelligence activities by both the US and USSR. Evidence of this can be found in historic photos and declassified documents and maps in the Cold Coast Archive exhibition."
The Cold Coast Archive project investigates and explores human beings' efforts to preserve civilization and defy the inevitability of its demise. We look at the vault as a whole: its practical, political, historical and symbolic structure, its arctic location, as well as its infrastructure and cultural nuances, with all the research concentrated at this site, as a backdrop to explore the human relationship to time between now and eternity.
I spent several hours yesterday clicking through the website of the project. It contains sound files that gives us a feeling of the atmosphere in the area as well as video interviews with the people who live there: from the world´s northernmost surfer to the miners working in the coal mine, from volunteers attempting to protect the coast from oil spills to experts in plant breeding and genetics. And of course there are dozens of stunning images. I've asked Steve Rowell to comment a couple of them for us:
Steve Rowell: "This is an artist's billboard mural (not sure who) on the road between the airport and the Sval Sat earthstation on the plataeu above the Seed Vault. The whole region is historic and active coal mine country. There's an active mine a few hundred meters down the road from this sign and the seed vault is situated between two closed mine shafts."
Steve Rowell: "We did drive these snowmobiles on a tour of the Advent valley and Temple Fjord / glacier. Typically we drove a 4x4 van (white one in one of the pics) or walked. There are no roads between the 3 active towns on Spitsbergen. Besides Longyearbyen, there are two mining towns: Barentsburg (Russian and Ukranian almost exclusively) and Svea Gruva (Norwegian). Remote Pyramiden was a Russian town, but now completely abandoned. The northernmost Lenin head is there as well as baby grand piano in an empty Russian hotel building. In the winter, when I went, travel outside of Longyearbyen was a pretty serious task and involved a mandatory guide who was licensed to carry a rifle, and trained to shoot and kill a polar bear if need-be. Anyone who leaves town MUST carry a rifle for self defense, along with a trailer (dog-sled or snowmobile) with enough supplies, food for 3 days."
Steve Rowell: "These are the doors to the inner vault where the seeds are being stored. There are three inner vaults. Only 1 of the 3 is being used now."
Steve Rowell: "Yeah, pretty amazing how wrong that one is. This is one of many that I found at the Library of Congress in Washington, DC in their maps collection. Did you notice the CIA map? There was no note of this being declassified, but I'm sure it is. The yellowish coloration in my photo isn't from a hi-lighter marker, but residual adhesive from tape that I removed. I noticed two white pieces of tape in both corners and peeled them back to reveal that the CIA had designed and printed this. All that Arctic strategizing is now coming to fruition. Russia was in the news this week about a deal that they just signed with Exxon-Mobil to explore the Russian Arctic for oil, incl the area to the East of Svalbard. "
Steve Rowell: "A peninsula on Spitsbergen between Longyearbyen (the vault) and Barentsburg. Incredible how many shades of blue exist up there in the winter, long blue spectrum wavelengths reflecting infinitely between atmosphere and snow. "
Steve Rowell: This one is an "Aerial view of the SvalSat facility."
Svalbard Satellite Station, aka SvalSat, is a large satellite earth station located on the island of Spitsbergen, above the Seed Vault. In a mountain nearby, the only remaining coal mine in operation provides power to the Seed Vault. On the mountain top above it, a research station monitors aurora borealis. As the website Cold Coast states, So here we have dramatically contrasting manifestations of space and time at an immense scale: on the mountain tops, instruments that reach deep into space and measure the present and predict relatively close future; deep underneath in the ground, two cavities - one harvesting the energy of fossilized rainforest created millions of years ago and the other protecting life into eternity.
And finally, Steve Rowell was kind enough to send me some views from the exhibition The Cold Coast Archive: Future Artifacts from the Svalbard Global Seed Vault at the Center for Postnatural History:
The Cold Coast Archive: Future Artifacts from the Svalbard Global Seed Vault is on display at the Center for Postnatural History until August 15th, 2012.
On Tuesday, i took that decrepit and charming train that goes from Liege to Maastricht to visit one of my favourite architecture centers: NAIM / Bureau Europa.
Part of a research on the relationship between architecture and conflict, their current exhibition ZOO, or the letter Z, just after Zionism explores the constructive and destructive forces of architecture through the work of Israeli architect Malkit Shoshan.
The show is an approachable and moving extension of the book she published a few years ago: Atlas of the Conflict. Israel-Palestine. The book was mapping literally and figuratively the appearance of a nation at the detriment of another one and highlighting the influence that political agendas have on urban planning and architecture. But instead of displaying countless maps at Bureau Europa, the curator and architect found inspiration in a story that toured the world in 2009: the one of the zebra of the Gaza zoo.
Because they couldn't afford to buy and smuggle a real zebra through the tunnels like they did with the other animals, the owners of the Gaza zoo used masking tape and black hair dye to paint a donkey into a zebra. It was an instant hit with children.
The exhibition ZOO, or the letter Z, just after Zionism has turned Bureau Europa into a small zoo. The first animals you meet in the gallery --if you visit it during the weekend-- are donkeys. Unpainted and peacefully eating their hay. They symbolize the daily struggle to lead an almost 'normal' life in the Gaza Strip where regular trade continues to be prohibited, where almost no construction materials or raw materials is allowed to enter, where the population is isolated and subject to electricity cuts of 4 to 8 hours per day, where there is no longer access to regular, clean water and where, according to the World Food Programme, "The evidence shows that the population is being sustained at the most basic or minimum humanitarian standard."
Apart from the donkeys, Bureau Europa also hosts rats. Nested in tunnels, running around or playing on a wooden wheel. The lovely rats evoke human beings living in an area, the Gaza Strip, that is running out of space. The Strip has one of the highest densities in the world. Add to that its inhabitants are not allowed to construct nor rebuild what has been destroyed by bombings (or the Israeli practice of moving through walls) since construction material is denied entrance in Gaza. There's no high rise building, no tower, no skyscraper to make room for parks, cultivation and proper public infrastructure.
In 1958, John B. Calhoun conducted over-population experiments on rats. The ethologist provided a group of rats with food and water but the size of their cage was considered sufficient for only 50 rodents. As the population grew there were soon too many rats for each to have its own territory and the animals became increasingly stressed. Males became aggressive. Mothers neglected their infants. Cannibalism began. The rodents had lost the ability to live harmoniously together.
Fortunately, Gazans manage to keep a remarkable sense of humour and many still hope that peace might one day prevail. Hence the third group of animal present in the gallery: doves.
The walls and windows around the installations are covered in posters that illustrate and provide facts and figures about the history of zoos around the world, the human zoos of the 15th to 18th century, how most of the animals of the Gaza zoo had died of starvation or because of bombing during the Israeli war on Gaza, how wild animals are smuggled through the tunnels, the movement for animal rights, the black market, architecture in Gaza, living conditions in the Gaza Strip, etc.
Elsewhere, a strip of sand suggests that the Gaza Strip used to be a place of rest for travelers.
Apart from the installations, Bureau Europa also exhibits books related to the topic of the show as well as a series of short documentaries or tv news reports such as the one below (it broke my heart so i've never watched it till the end):
But why bring zoo and Zionism together? According to Shoshan, the origins of both can be traced back to the Age of the Enlightenment: the classification of nations (Jewish people had none at the time) and the classification of nature. The urban zoo emerged at the same time as the ideology that calls for the establishment of a homeland for Jewish people was gathering strength.
Related: Book review: Atlas of the Conflict. Israel-Palestine.
Publisher The University of Chicago Press Books writes: There is nowhere else in the world quite like Chungking Mansions, a dilapidated seventeen-story commercial and residential structure in the heart of Hong Kong's tourist district. A remarkably motley group of people call the building home; Pakistani phone stall operators, Chinese guesthouse workers, Nepalese heroin addicts, Indonesian sex workers, and traders and asylum seekers from all over Asia and Africa live and work there--even backpacking tourists rent rooms. In short, it is possibly the most globalized spot on the planet.
But as Ghetto at the Center of the World shows us, a trip to Chungking Mansions reveals a far less glamorous side of globalization. A world away from the gleaming headquarters of multinational corporations, Chungking Mansions is emblematic of the way globalization actually works for most of the world's people.
Gordon Mathews's compendium of riveting stories enthralls and instructs in equal measure, making Ghetto at the Center of the World not just a fascinating tour of a singular place but also a peek into the future of life on our shrinking planet.
Chungking Mansions inspired Wong Kar Wai's Chunking Express movie. It is also where my literary idol of the moment, Harry Hole, is found smoking opium at the beginning of The Leopard. Chungking Mansions is a derelict 17 storeys high building located in one of the busiest areas of Hong Kong. It offers dirt cheap accommodation for tourists and traders, shops selling clothes, souvenirs or small electronics (copies and originals), curry restaurants, foreign exchange offices and other services. Mathews calls it "an island of otherness in Hong Kong." A place that Chinese people find to seedy to enter, where the lingua franca is english and an informal gathering place for ethnic minorities in Hong Kong, particularly South Asians and Africans in search of a better (or rather richer) life.
The book gives a perspective on globalization i had never heard about before. Not only because it talks about globalization from an anthropologist's point of view but also because it focuses on what Matthews calls "low-end globalisation" of which Chungking Mansions is a central node. The protagonists of low-end globalisation are relatively small fry compared to the corporations we usually associate with the word 'globalization.' They are traders coming from Sub-Sahara African countries who carry in their suitcases the goods they buy from Chinese manufacturers (the author calculated that a trader can fit 250 to 300 mobile phone within an airline baggage allowance), hoping to make a big profit from it back in their home country, once they have paid the necessary taxes and bribes at customs. Or they are young people from Kidderpore in Kolkota who land in Hong Kong because the ticket fare to the city is cheaper than any other destination where they could find work. They arrive with sari and basmati rice in their suitcase, stay on extended tourist visa, work for pitiful wages in a curry house and go back home with clothes to sell in their neighbourhood. In Hong Kong, these traders and illegal workers struggle to buy a Cup Noodle at the nearest 7-Eleven. Back in their home country, they are regarded as successful members of the middle-class or upper-class.
In "low-end globalisation", people still use cash and favour face-to-face business.
Whether they are traders, shop owners, asylum seekers, prostitutes, or temporary workers, these people end up in Chungking Mansions because it offers cheap accommodation, because it is located in a city-state that doesn't have strict visa rules and because Hong Kong is a gateway towards Southern China where mobile phones and textiles are manufactured at low prices.
Matthews explores the building through its history and location, the groups of people living there, the goods that pass through it, the laws that govern (with much laxity) the transactions taking place in the building. The final chapter speculates on the future of Chungking Mansions.
Matthews's passion for Chungking Mansions and the people that inhabit it is contagious. I read the book from cover to cover over the weekend. His writing is clear, entertaining, and it never verges on the intimidatingly academic. The personal stories collected from the traders, shopkeepers, asylum-seekers and other people who pass through the building make the book even more engaging.
The Architecture Department at the Royal College of Art had some thought-provoking projects at the work in progress show. Architectural Design Studio 1's exhibition was looking at how a dense and vertical architecture can bring back food production and consumption in the city.
One of the students of the course, André Ford, looked at the intensification of the broiler chicken industry. Each year, the UK raises and kills 800 million chickens or 'broilers' for their meat. Broiler rearing might be unethical and unsustainable but it is now the most intensified and automated type of livestock production.
Broiler chickens spend their 6-7week lives in windowless sheds, each containing around 40,000 birds. They are selectively bred to grow faster than they would naturally which often causes skeletal problems and lameness. Many die because their hearts and lungs cannot keep up with their rapid growth. Information about the atrocious conditions in which they are raised can be found online.
Philosopher Paul Thompson, of Purdue University is a proponent of The Blind Chicken Solution. Chickens blinded by "accident", he says, "don't mind being crowded together so much as normal chickens do." He adds that while most people would think that creating blind chickens for the poultry and egg industry is an abomination, it would nevertheless be more humane to have these blind chickens.
Sadly, the demand for chicken is rising and methods of production will need to intensify in order to meet this increase. André Ford proposes to adopt a 'headless chicken solution'.
As long as their brain stem is intact, the homeostatic functions of the chicken will continue to operate. By removing the cerebral cortex of the chicken, its sensory perceptions are removed. It can be produced in a denser condition while remaining alive, and oblivious.
The feet will also be removed so the body of the chicken can be packed together in a dense volume.
Food, water and air are delivered via an arterial network and excreta is removed in the same manner. Around 1000 chickens will be packed into each 'leaf', which forms part of a moving, productive system.
The model in the exhibition showed the system in which a chicken would be grown at The Centre for Unconscious Farming. Feed lines provide sustenance, excreata lines remove waste, electrodes stimulate muscle growth.
Questions to the architect:
First of all, i found your project extremely shocking. Shocking because of all the cruelty it reveals -the way chickens are raised in windowless sheds is brutal- but also shocking because the solution you suggest -while it is not as atrocious as the way these poor animals are raised- might sound cynical. So how much provocation is there in Farming the Unconscious? Is the idea mostly an invitation for people to reflect on what they are buying and eating?
The project is almost effortlessly provocative because it is dealing with a subject matter which the majority of people are aware of, complicit in and culpable to varying degrees. The mass media is saturated with documentary films, books and celebrity chef hosted exposé's that document the plight of animals bred for our consumption and I don't wish to add to the plethora of information readily available. The information is there, but the majority of people don't care to know or purport they can't afford to care.
In the past six years we have witnessed an unprecedented increase in the demand for meat. Higher welfare systems are available but this project looks at addressing the inherent problems with the dominant system that produces the majority of our meat - the system that will be increasingly relied upon to cope with the ever-increasing demand for meat.
I think it is time we stopped using the term 'animal' when referring to the precursor of the meat that ends up on our plates. Animals are things we keep in our homes and watch on David Attenborough programs. 'Animals' bred for consumption are crops and agricultural products like any other. We do not, and cannot, provide adequate welfare for these agricultural products and therefore welfare should be removed entirely.
Earlier in the project I was proposing the chickens would be rendered unconscious, or desensitized by complete removal of the head but this has since been revised. Desensitisation will be achieved by a surgical incision that separates the animal's neocortex, responsible for sensory perceptions, and its brain stem which controls its homeostatic functions. The head remains intact.
So in short, I would refer to this solution as pragmatic, not cynical and if the project does cause anyone to reflect on his or her dietary habits then that's great.
How have people reacted to your idea so far? Did they raise the issue that this is not a 'natural' way to raise chicken?
Mostly disgust, but it varies. When meat eaters express disgust I put to them this argument, borrowed from Jonathan Safran Foer, in Eating Animals:
One piece of flimsy logic that we omnivores employ to justify our dietary choice, is that our superior intelligence and greater ability to comprehend the world, verifies our position at top of the food chain. So, if for the sake of the argument, our planet became occupied by a species that was more intelligent than our own, what would our argument be for not being eaten? If you are a meat eater, you might not have an argument, or if you did, you'd run the risk or being a hypocrite. So then you have to ask yourself, how would you like to be farmed?
An ancillary part of my proposal is to use the blood of the chicken posthumous, to hydroponically feed a nursery of rare orchids. The rationale behind setting up this unlikely mutualism is to display the similarities between these two organisms once the chicken has been desensitised. The unconscious chicken is just a different expression of the same chemical elements as in the orchid.
To answer the second part of your question - The project is overtly a hybridisation of nature and machine which is how I see the future of farming. Unfortunately, there is very little that is natural about the way the our food is currently produced. The monocultures and intensive farming systems upon which we rely are technological landscapes, harvested and processed using high-tech, and increasingly robotised machinery.
Could you describe the system the new farming system would be based on?
The system does not subscribe to contemporary intensive farming models, which are not nearly productive enough and are incredibly wasteful with regards to land and resources. This system would be closed-loop and looks to achieve density through verticality and a layering of programmes within these productive spaces.
Did doing the research for this project influence your relationship to animal products, whether it's chicken, eggs, ham or dairy?
Absolutely. I have had a full reassessment of the choices I make as a consumer, in all products that have a welfare factor. I am in denial about my impending return to vegetarianism but I could never be a vegan.
How do headless chicken produce the muscles that will end up on people's plates?
The brain stem of the chicken which remains intact, is responsible for the metabolic systems involved in muscle growth. The muscles will need exercising in order to grow and this could be done physically by providing some sort of resistance, or as I am proposing, using electric shocks as in 'in-vitro' meat production.
Last question is about a detail really. you wrote on the blog of Naturoids that the coloured light used in batteries 'has a calming effect on the birds and reduces cannibalism.' Cannibalism? Why does that happen?
The exact etiology is unknown, but essentially they are bored. There is a greater propensity for it to occur in barren environments that restrict or limit natural behaviors like nesting, perching and foraging. This coupled with overcrowding and/or a lack or resources and flock behavior takes over.
Thank you André!
Related story: The Meat Licence Proposal.
If you're in London you might want to swing by the Architectural Association School and check out H.O.R.T.U.S. (which stands for Hydro Organism Responsive to Urban Stimuli.) To be honest i'm not sure what to think about this one but it's been a slow week art-wise for me so i'll throw the information in this post in the hope that it will help me make up my mind about the project.
With HORTUS, the architects from ecoLogicStudio are inviting the public to become cyber-gardeners and "invent new protocols of urban biogardening."
There's a bright green carpet on the floor and hundreds of intravenous-style bags are suspended above our heads. The bags are in fact photo-bioreactors and they form a 'greenhouse' that hosts nine different species of algae, from chlorella to algae found in London's canals. Visitors can blow into flexible plastic tubes, fostering the growth of the algae with their carbon dioxide and activating the oxygen production.
The plastic bags carry a QR code. You hold up your smartphone, scan the code and are directed to a page of information about the algae you've just 'fed' with your breath. Large containers are distributed between the algae bags, they host bioluminescent bacteria that automatically fed through a pump with air from the oxygen released.
The greenhouse cohabits with a virtual garden that feeds on visitors' scans and tweets about the exhibition. Their 'interaction' with the algae shape a garden rendered in real time on a screen.
I wasn't much impressed with the QR codes and the virtual garden created by tweets but it turns out that the project is much more than just another demonstration of how 'nature meets buildings meet the virtual.' H.O.R.T.U.S. is one of the manifestations of ecoLogicStudio's exploration into the role that algae might play in our future life: to produce nonpolluting hydrogen-based energy, to filter water or take a more important role in our alimentation.
The architects recently had the opportunity to try and test their idea on a larger scale in Simrishamn in Sweden. The Swedish Municipality is in need of new urban ideas to help boost its economy: the fishing industry is declining and young people are leaving the area.
ecoLogicStudio came up with an Regional Algae Farm plan that involves a series of algae-related urban activities and architectural prototypes.
H.O.R.T.U.S. enables the public to engage directly and simply with ideas and systems that might form a larger part of our life in years to come.