VENETIAN INSTITUTE OF INDICATIVE PLANTS NICHOLAS HONEY
OIKOS TRANSFORMED
CLIMATE EMERGENCY As climate change has an ever-greater impact on our lives, in the form of extreme weather, rising sea levels and ecological degradation, a radical rethinking of the way in which we build and inhabit the city and how we interact with ecology within the urban environment is needed. This semester our studio’s project is based in Venice, a city which feels the effects of climate change more acutely than most as floods become a greater issue due to an increase in violent storms in the Adriatic and rising sea levels. Through this project I hope to address our relationship with our ecosystem and explore ways in which we can mitigate both the causes of and results of climate change through an architectural intervention within the city. OIKOS Oikos is an ancient Greek word which refers to the household and more specifically, oikonomy refers to the management of the household. Traditionally the oikos was the smallest unit of society in Greek city states, with the head of the oikos entering the polis (city) to engage in matters of public interest. Starting from the point of the oikos as the base unit of inhabitation in society I shall explore how the concept of oikos may be reimagined within the context of the modern city and engage with concepts such as new materialism, metabolism and living technology to develop an understanding as to how non-human agents may be encompassed within our understanding of oikos and the polis. NEW MATERIALISM Viewed against the present backdrop of the climate crisis our current anthropocentric outlook fails to offer non-human agents the level of care and attention required. This oversight has led to exploitation of the natural environment and a lack of care for ecological concerns. New Materialism is a philosophy which rejects the dualism between man and nature, moving away from an anthropocentric position to encompass agency of the non-human. Within this project I hope to develop a proposal which explores a new relationship between the urban environment and ecologies and develop an understanding as to how this relationship may be used to move away from our current dichotomy between the two spheres towards a holistic approach to ecological and urban thinking. METABOLISM AND LIVING ARCHITECTURE Stemming from ideas of ‘animal economy’ and ‘animal chemistry’ metabolism can be defined as ‘the chemistry of life’ relating specifically to ‘tissue change’ within an organism that alters the organism’s anatomy. When imagined within the context of the oikos, metabolism may be thought of as the management of the ‘household’ with regards to the intake of nutrients and the elimination of waste. Therefore, a metabolic architecture can be imagined as an architecture which aids the individual, household or city with these processes. These processes can be related to the concept of living technology; a term which describes technologies which feature properties associated with elements of life, such as growth, movement and sensitivity. Although described as ‘living’ these systems may not be considered ‘alive’ in a traditional sense but instead perform functions associated with living organisms. I believe that living technologies may be used as part of a metabolic system, at a household or urban scale, that helps to ‘manage’ and enhance the metabolic processes of the individual, household, city or ecology.
CANNAREGIO
Cannaregio is the northernmost sestiere (district) of Venice. Historically and presently Cannaregio is the gateway to Venice; previously the Cannaregio Canal was the main entrance to the city and currently the railway station is located within the sestiere. As a result the area has a high number of historic warehouses, boatyards and other small industries. Due to its role as a landing point within the city, several immigrant communities developed within the area. Some of these communities grew naturally and others, such as the Jewish community, where forcibly required to live in certain areas. The Ghetto in Cannaregio survives as a reminder of this past. Cannaregio also has the highest residential population of all of Venice’s sestieri.
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NORTH-SOUTH DIVIDE
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There is a profound difficulty in navigating Canaregio along a North-South axis. While travelling East to West is guided clearly by the prolonged parallel canals, traversing between them can be troublesome as you are met with dead ends and locked gates, finding yourself tracking back and restarting. This dilemma negates the accessibility of the transportation dock from the major city route and prevents an enjoyment of the Cannaregio district along the axis of its contextual and cultural gradient and is reflected in the sparsening of restaurants bars and cultural institutions as you move North through the sestieri away from the key pedestrian route, Strada Nova.
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BRIDGING THE GAP 1 Chiesa Madonna dell’Orto
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2 Western strip of Santa Fosca
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3 Historic southern entrance to Santa Fosca
Promoting a new axis of travel through the setieri, I am proposing the reinstating of a historic route travelling North-South through Cannaregio which connects a series of public spaces. To the south of the route sits Santa Fosca, a walled island which currently acts as a barrier to travel along this axis. By reinstating a bridge to the south of the island and allowing public access to the underused strip of land on the western side of the island, travel along this route can be reenabled, encouraging further exploration of the sestieri beyond Strada Nova and the reactivation of the public spaces to the north of Cannaregio.
SANTA FOSCA
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Santa Fosca is an island in Cannaregio. On the island is Santa Fosca university. The remains of the Church of Santa Maria dei Servi are also on the island. The island is less dense than most of Cannaregio and Venice in general and the university features a series of cloisters, courtyards and gardens. Currently there is only a single public access bridge to the island on the southeast corner of the island and a further footbridge on the northwest corner of the island that is not currently accessible to the public.
SANTA MARIA DEI SERVI
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Founded in 1318 as a servite monastery Santa Maria dei Servi became one of the most important churches in Venice. A fire destroyed most of the monastery in 1769 and in 1812 nearly all the remains of the church and monastery were destroyed. Now the remains are limited to Cappella dei Lucchesi (Chapel of the Holy Face) and two 15th Century entrance portals. As the etching by Jacopo de ‘Barbari (1) shows, a bridge to the south of the island allowed for passage through the island through the north-south axis. I propose the reinstatement of a bridge in this location to allow this route through the site to be returned. As the painting by Canaletto (2) shows, there was historically a public space in front of the church at the eastern end of the island. I propose that this area is reopened as a public space within the university campus to form part of the route through the site.
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VENETIAN INSTITUTE OF INDICATIVE PLANTS Sitting at the heart of the Santa Fosca university campus, the project is a interpretation of the venetian ‘scuole’ for an ecological epoch. The building provides a home for a ‘scuola piccola’ or the ‘Venetian Institute of Indicative Plants’ and a ‘scuola grande’ which serves to promote the artistic, design and experiential qualities of living technologies. The institute provides a space for the development of ecological sensors and remediation devices and a forum for multidisciplinary collaboration between designers and researchers. A sensory ‘garden’ surrounds the building and becomes intwined with the architectural fabric, acting as an ecological indicator of the health of the city’s atmosphere and lagoon. These gardens act as layers of protection for the inhabitants of the building whilst also processing pollutants present in the wider city. The ‘scuola grande’ also provides a series of spaces which support recreational activities within the university and the exhibition of ecological design.
FILLING THE VOID Sitting within the void left by the church of Santa Maria dei Servi are currently a series of low-quality single story outbuildings which detract from the quality of the remaining chapel and lower sections of the church walls which still stand. I propose the removal of these later additions and the creation of a new form to sit within the void. My proposal offsets the ground floor structure from the perimeter wall of the church, creating a circulation route between the old and new. The structure then expands over the church walls at the upper levels, giving the appearance that it is hovering delicately above the existing structure. The scale of the proposal references the sites ecclesiastical history, whilst the central tower gives prominence to the new axis of travel opened up within Cannaregio through the reinstating of the bridge to the south.
Facade of the Palazzo Ducale
Perforated brick facade of the central tower
UNIFYING THE FACADE
Unifying diamond pattern is repeated across the 3 facade systems
The building is split into three distinct areas, each of which has its own requirements with regards to the internal environmental conditions. As a result, the faรงade is also divided into 3 different systems. To unify these diverse elements I have created a grid of diamond forms which repeat across the 3 faรงade systems. I have drawn upon the faรงade pattern of the Palazzo Ducale and venetian tile patterns to derive the unifying form.the exhibition of ecological design.
Unifying diamond pattern is repeated across the 3 facade systems
Approach to the south facade showcases the 3 facade systems and the unifying pattern
South Facade Elevation
ARCHITECTURE AND THE METABOLISM
It is estimated that 50,000 people die yearly as a result of poor air quality in Europe. Shipping is a key contributor to the release of harmful chemicals into the atmosphere emitting millions of tonnes a year of NOx and SOx as well as carcinogenic particles who’s effects have been compared to those of smoking. Each day 5 or more cruise ships dock at the port in Venice; floating cities which release vast amounts of harmful pollutants into the city’s air and the lagoon. As a result air pollution is a huge issue within the city. Reducing the number of cruise ships entering the lagoon is key to the reduction of emissions. However, a holistic approach to improving air quality is required and by turning to the non-human we can find an ecological method to protect the city from pollutants. Stemming from ideas of ‘animal economy’ and ‘animal chemistry’ metabolism can be defined as ‘the chemistry of life’ relating specifically to ‘tissue change’ within an organism that alters the organism’s anatomy. When imagined within the context of the oikos, metabolism may be thought of as the management of the ‘household’ with regards to the intake of nutrients and the elimination of waste. Therefore, a metabolic architecture can be imagined as an architecture which aids the individual, household or city with these processes. These processes can be related to the concept of living technology; a term which describes technologies which feature properties associated with elements of life, such as growth, movement and sensitivity. Although described as ‘living’ these systems may not be considered ‘alive’ in a traditional sense but instead perform functions associated with living organisms. I believe that living technologies may be used as part of a metabolic system, at a household or urban scale, that helps to ‘manage’ and enhance the metabolic processes of the individual, household, city or ecology. In the context of Venice, a building that can process an intake of water and air can help to support life of the human and the non-human within the building and wider urban environment.
Algae
PHYTOREMEDIATION Plant’s stomata
Phytoremediation is the use of plants and associated microorganisms to remove harmful pollutants from soil, water or air. This can be through the absorption of pollutants through a plant’s stomata or the breaking down of pollutants by microorganisms which are supported by the plant such as bacteria. I propose the use of such plants to remove pollutants from the atmosphere and from lagoon and waste water. These plants may be genetically modified to act as both ecological sensors and remediation devices; improving air quality for inhabitants of the building and supporting the health of the wider urban environment for both the human and non-human.
Microbial inhabitants of a plant
Marine algae
Thale Cress
INDICATIVE PLANTS The measuring of air and water quality can be a long and costly process, requiring expensive laboratory testing. In contrast to a lab-based approach to the measuring and detection of pollutants, I propose an ecological approach which embraces the ability of specific plants to detect the presence of pollutants. Plants such as the tobacco plant exhibit visual indicators when certain pollutants are present in high levels and I propose the use of such plants to monitor pollution levels within the atmosphere in lagoon. Furthermore, genetic analysis has ascertained the specific genes which trigger strong visual or motor indicators in plants such as Thale Cress changing from green to an autumnal red or Mimosa Pudica curling its leaves. These genes can be programmed to be activated by the presence of certain pollutants creating ecological sensors.
Thale Cress
Mimosa Pudica in its open position
Bioluminescent algae
Mimosa Pudica in its folded position
Tobacco leafs showing signs of pollution
SENSORY PLANTS
Lab garden for the development of genetically modified ‘sensory’ plants
Plants such as the tobacco plant exhibit visual indicators when certain pollutants are present in high levels. In cases such as the tobacco plant, indications of the presence of pollutants are difficult to detect to the untrained eye. However, developments have been made with regards to using genetically modified plants to detect pollutants. Genetic analysis has ascertained the specific genes which trigger strong visual or motor indicators in plants such as thale cress changing from green to an autumnal red or mimosa pudica curling its leaves. These genes can be programmed to be activated by the presence of certain pollutants, thus creating ecological sensors. Using the same methodology, I propose the development of plants which display strong indications when harmful pollutants are present. These plants can then be incorporated into the ecological ventilation, allowing the system to both detect and remove pollutants before they enter the building.
ACTIVE PHYTOREMEDIATION 2
Phytoremediation occurs due the absorption of pollutants through a plant’s stomata or the breaking down of pollutants by microorganisms which are supported by the plant, such as bacteria. The effective use of plants to improve air quality has been noted by researchers, however, the efficiency of passive methods for phytoremediation are limited. The mechanisms for removal of toxins are mainly facilitated within the plant’s growth substrate and therefore, as airflow within the substrate is limited, the process of phytoremediation is restricted.
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Integration of mechanical ventilation through plants’ substrate could therefore increase the effectiveness of the plants’ capacity to remove pollutants from the air. I have proposed a system of mechanical ventilation which draws air into the conditioned areas of the building via the substrate of plants with the facility for phytoremediation. The process for the removal of pollutants is as follows: 1. External air enters the greenhouse spaces via natural cross ventilation, facilitated by openable and removable glazing elements
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2. As the air circulates within the greenhouse spaces pollutants are passively absorbed by the planting
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3. The semi-treated air is drawn through the substrate of planting by localised air pumps, located in raised beds and in removable façade boxes, removing further pollutants and cooling the air 4. The clean air is mechanically circulated throughout the conditioned spaces within the building via the vertical circulation core, providing an improvement in air quality for the inhabitants of the building
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REMEDIATION ‘PODS’
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‘Pods’ functioning as teaching and meeting spaces act as an interface between the polluted city air and the conditioned areas of the building. The breakdown of this interface is as follows: 1. Phytoremediation and sensory planting 2. Substrate 3. Air Seal 4. Air pump 5. Vent to ‘pod’
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6. Air circulation to rest of the building 4
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POLLUTANT DETECTED
RESPONSIVE GARDENING
Through the use of changeable planter boxes, the type of plants used to remove pollutants may be alternated to respond to the levels of different pollutants detected by the indicative plants and as new plants are developed within the laboratory. The greenhouse spaces and external gardens function as a testing ground for the developments of the research centre.
Chain of response to pollution from building to garden
CARE
The concept of care permeates through the building. By introducing a system by which the human and non-human benefit from each other’s presence a dialogue is created between the building’s human and plant inhabitants and a flow of care is encouraged. By caring for the plants, the building’s human occupants allow the plants to care for them in turn in a circular flow. By exaggerating this dialogue using indicative, sensory plants, a culture of care for the non-human is reinforced and our current anthropocentric position is challenged, creating the conditions for a reframing of our relationship with the non-human.
Circular flow of care between the human and non-human
POLLUTION AND THE LAGOON
Water permeates through daily life in Venice. Transport, commerce, food, culture and industry are supported by the lagoon. However, as humans have sought to alter the lagoon to suit our needs, we have neglected the needs of the non-humans which call the lagoon home. As Venice sits precariously upon the marshland it is continuously injecting waste into its watery surroundings. As has been visible during Italy’s pandemic induced lockdown and subsequent emissions reduction, Venice’s waters are the natural habitat of numerous species whose existence within the lagoon are threatened by human pollution. To address this issue a two-fold response in required. Firstly a reduction in the release of harmful pollutants into the lagoon in required. Secondly, methods for the absorption of harmful chemicals and heavy metal particles which are present in the water should be adopted to remove existing pollutants and those which cannot be prevented from entering the water.
Pollution is released into the lagoon from shipping and industrial sites
Plants can be effective at absorbing pollutants from water, with salt-water based plants such as reeds able to remove toxic chemicals and heavy metals from seawater. Unlike mechanical and chemical treatment procedures, plantbased water phytoremediation requires little energy and has a number of secondary benefits. Plant photosynthesis removes carbon dioxide from the atmosphere and releases oxygen improving air quality and the presence of green space and planting in the urban environment improves mental wellbeing.
Saltwater reed beds may be used to treat polluted water
BIOLUMINESCENT ALGAE
Hunter Cole
Simon Park
Ambio
Philips Bio-light
Simon Park
Bioluminescent marine algae are noted for their exaggerated response to the presence of toxic chemicals and heavy metals. Artists and researchers working with certain species of marine algae have documented the algae’s sensitivity to chemical contamination and subsequent failure to glow as usual at night . I propose the use of bioluminescent marine algae within the building to detect the presence of high levels of pollution within the lagoon water. The use of such algae provides a visual response to the health of the lagoon, illuminating certain areas of the building at night and acting as a conduit between the human and non-human inhabitants of the city and lagoon. The use of the algae as part of an architectural solution helps to reframe the relationship between the human, the plant world and the lagoon, forming a symbiotic relationship between the three. The system embraces the algae’s temperamental nature, inviting us to question our demands with regards to technology. The algae lighting represents a form of living technology which requires a closer relationship between the human and the non-human, requiring an element of ‘care’ which is absent from our current culture of anthropocentric thinking.
ALGAE GROWTH The process of care for the algae encompasses elements of human and non-human control: 1. Seawater enters a series of reed beds adjacent to the canal
Algae growth system integrated with the building’s facade
2. Reeds absorb toxins and heavy metals from the water
3. Processed saltwater is collected from the substrate of the reed beds
6. Carbon Dioxide collected from wind tower, aligned to face prevailing wind
4. Algae culture added to the water
7. Carbon Dioxide pumped into façade panels
5. Water with algae culture enters south facing façade panels
8. Algae distributed at night to areas where light is required
REED BED REMEDIATION Reed Beds are a natural way of treating contaminated water. The pollutants are decomposed by the actions of bacteria and other microbes living within the soil. The reeds provide the soil structure and the habitat for microbes to thrive amongst the plant roots. Reed beds, planted adjacent to the canal, remove pollutants from the lagoon’s water. Once the water has been treated by the reeds it flows from the lower section of the bed into the building. From here the treated water may be introduced into the algae growth system.
Reed beds adjacent to the canal provide the algae with clean water
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1. Canal
2. Inlet pipe
3. Reed bed
4. Outlet pipe
5. Water storage and pump room
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CARBON CAPTURE Algae require carbon dioxide to photosynthesise, capturing up to 400 times more carbon dioxide than a tree of the same area. To provide the algae growth tanks with the large amount of carbon dioxide that they require I propose a ‘wind tower’, sitting at the heart of the building. This tall structure features a perforated brick façade which allows air to permeate into a series of air collectors. The tower is aligned to the direction of the prevailing wind to maximise the natural flow of air into the system. The carbon rich air can then be circulated to the algae growth tanks and to the greenhouse spaces, where carbon is captured by the planting.
‘Wind tower‘ supplies the algae with carbon dioxide
The tower provides vertical circulation for people and services
Wind rose shows the prevailing wind and the alignment of the tower to this
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INTEGRATION WITH THE FACADE To provide the algae with enough light to photosynthesise, I have integrated the photobioreactor (growth) tanks into the south faรงade of the building. Adjustable external shading prevents the algae receiving an overexposure to sunlight whilst also controlling light levels within the studio and laboratory spaces, preventing excessive glare and overheating. Behind this sit an array of growth tanks which contain algae-filled salt water. It is within these tanks which the algae receive CO2 and light which allow them to produce energy through photosynthesis. CO2 is injected into the tanks from the bottom and rises through the water. As it does so the algae converts the CO2 in oxygen which is extracted from the top of the tanks and recirculated throughout the building. An air gap
separates the growth tanks from a layer of glazing. This double skin provides a thermal barrier in winter and helps drive ventilation in the summer through a stack effect. monitor pollution levels within the atmosphere in lagoon. Furthermore, genetic analysis has ascertained the specific genes which trigger strong visual or motor indicators in plants such as Thale Cress changing from green to an autumnal red or Mimosa Pudica curling its leaves. These genes can be programmed to be activated by the presence of certain pollutants creating ecological sensors.
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1. External Shading 4. Openable Glazing
2. Algae-growth facade panel
3. Sealed air gap
5. CO2 Input
6. Oxygen Output
7. Air Vent
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INTERNAL EFFECT The external shading and algae tanks on the south faรงade create a diffuse lighting effect within the studio and laboratory spaces. Openable windows into the air gap between the growth tanks and internal glazing provide the inhabitants a level of control over ventilation of the space, working in conjunction with the air processed by the phytoremediation in the garden spaces.
Studio space
BIQ HOUSE BIQ House utilises the faรงade to grow algae in tanks. Similar to the south faรงade that I have designed BIQ House uses the algae tanks as shading.
BIOMASS HARVESTING The species of bioluminescent marine algae that I am proposing be grown in the building have a lifespan of approximately 5-7 days. Once their lifespan is over they can be collected in the form of biomass. To do this I propose the use of an array of collection tanks located in the ground floor entrance foyer. Air is pumped into the bottom of the tanks, causing the biomass to be carried to the top of the tank. This layer of biomass may then be removed from the surface of the water. This biomass must then be dried before conversion into oils and other chemical products. To do this the wet biomass is spread on trays which are then placed in solar dryers located within the garden.
Algae collection tanks in the entrance foyer
Solar dryers
Algae collection tanks in the entrance foyer
INSTITUTE AND SCUOLE The building is divided by a central core which provides vertical circulation for people and services. The western half of the building is home to laboratory spaces, studios and a fabrication workshop. The eastern half houses the public areas of the building including: exhibition space, performance space, teaching and meeting spaces and an internal garden.
LAB GARDEN
WET LABS
TEACHING/MEETING SPACES
DRY LABS/STUDIOS
EXHIBITION SPACE
FABRICATION WORKSHOP
PERFORMANCE SPACE
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Laboratory Garden Wet Labs Dry Labs/Studio Fabrication Workshop Internal Garden Teaching/Meeting Space Exhibition Space Performance Space Circulation Core Bar
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FLOW OF RESEARCH
MACRO
FROM MICRO TO MACRO
LAB GARDEN AND WET LABS
DRY LABS AND STUDIOS
FABRICATION WORKSHOP
When conducting research with regards to living architecture and product design, there is an issue of scale. There is often a gap between the micro-scale research being conducted at a molecular and cellular level and the macro or architectural-scale propositions of architects and designers, leading to a slow uptake within the design world of new developments within the scientific community. I am proposing a research institute which seeks to bridge this gap by creating a forum for scientific researchers, designers and architects to collaborate, creating a flow of information from the micro-scale of genetic and cellular research to the macro/architecturalscale of the development of prototype products and architectural systems.
The upper levels of the research institute are primarily dedicated to the physical studying of indicative plants and phytoremediation, encompassing soil-based plants and water-based plants including algae. This section of the building includes a research garden for the growth of plants under controlled conditions and two levels of lab spaces, the upper level of which is dedicated to indicative planting and phytoremediation and the lower to algae research. These lab spaces offer controlled spaces in which potentially harmful substances may be handled.
Below the ‘wet labs’ are two levels of ‘dry labs’ and studio spaces. These levels provide spaces for computer modelling of living systems (such as genetic modelling) and the design of products, installations and architectural systems. These levels are a key interchange between the micro-scale research being conducted in the labs and the macro/architectural-scale, facilitated by the proximity of designers and researchers, allowing for collaboration at the cutting edge of both scientific research and design.
Located at the base of the institute, the fabrication workshop provides a space for the prototyping of the work being designed and developed in the institute. These prototypes may include consumer products, art installations, pavilions and architectural systems. The workshop’s location adjacent to the main thoroughfare and canal allows for visibility of the work of the institute to the public and for easy access to the gardens for the display of installations and pavilions built within the workshop.
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Laboratory Garden Wet Labs Dry Labs/Studio Fabrication Workshop
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Dry Lab/Studio
WORLDING THE LABORATORY
THE OIKOS OF THE LABORATORY The current dogma with regards to our framing of laboratories’ function is to envisage them as a recreation of a world within themselves, isolated from the external and highly specialised. These spaces can be seen to be analogous to the oikos (household) of the ancient Greeks. There is a management of the laboratory, with engagement and interaction with the outside world(s) (polis) carefully mediated. Whilst this mediation is sometimes required in the interest of safety, the boundary between the lab (oikos) and the external (polis) is often rigidly defined out of a desire for control. This leads to a gulf between the managed experimentations taking place within the oikos and the experience of the polis, unpredictable and uncontrollable. I propose that the lab embraces a position as a component of wider world(s), expanding into a forum for science and experimentation that sits between the oikos and the polis. The expansion the ‘labs’ to encompass a framework of wider testing spaces creates the conditions for public experimentation within the polis, acknowledging the history of experiments carried out by proponents of public science such as Hooke and Boyle in the 17th century and the work of John Evelyn in Elysium Britannicum.
Andrew Ure conducts a ‘Frankenstien Experiment’ at the Glasgow Literary Society
John Evelyn’s Elysium Britannicum, expanding the laboratory
TESTING GROUND Embracing the lab as a component of wider worlds as opposed to a recreation of a world, I propose the expansion of the laboratory into the polis. Testing spaces act as a conduit between the research institute, university campus and public realm, facilitating the conducting of research into expanding worlds. The first of these worlds is an internal garden in which visitors are invited to interact with the research undertaken in the institute via a series of levels. The space in the eastern half of the building is intended to be navigated from top to bottom via staircases located within the internal gardens. As visitors descend through the space they encounter and engage with live research that is divided thematically between three levels of experience regarding the relationship between the human and non-human: Top Level – Atmospheric phytoremediation and sensing Middle Levels – Response to human activity Lower Level – Water phytoremediation and sensing
Section through the ‘scuole grande’ or ‘testing ground’
ATMOSPHERIC PHYTOREMEDIATION
The upper level of the garden contains plants capable of phytoremediation of airborne pollutants and atmospheric sensory plants. Plants ‘designed’ within the research institute display elevated responses to the presence of atmospheric pollutants and in turn remove these toxins from the air. This level encourages visitors to engage with the environmental costs of air pollution and how our relationship with plants and the non-human must change if we are to respond to such issues. It is at this level where the concept of mutually beneficial care for the human and non-human is introduced – by caring for the non-human we are in turn allowing them to care for us.
Phytoremediation garden
Phytoremediation garden
Flow of care
Phytoremediation garden and ‘pods’
Phytoremediation garden and ‘pods’
SENSORY GARDEN
Sensory garden and exhibition space
Sensory garden and exhibition space
The middle levels of the garden explore further plant response to a variety of stimuli. Plants are grown and displayed which or capable of displaying heightened responses to light, touch, heat, sound, movement as well as stimuli inperceptible to us as humans. Alongside these plants, this part of the building forms the initial experiential interface between with bioluminescent algae grown within the faรงade. At night, under the right conditions, the algae glow and distinct blue-green colour when agitated. This phenomenon provides an opportunity to create installations through which people can interact with the algae and receive a visual response. The journey through this section of the building provokes enquiry into how plants may be used to enable us to read our surroundings in unique and novel ways.
Mimosa Pudica
Venus Fly-trap
READING THE NON-HUMAN Plants are constantly responding to their surroundings. These responses are often slow processes and imperceptible to us without in-depth testing. However, some plants display striking responses to stimuli which are perceivable to humans. A number of species of fern within the mimosa family respond to a range of stimuli by folding their leaves quick enough to be visible to the naked eye. Sunflowers and other plants follow the path of the sun throughout the day and the Venus Fly-trap catches insects by rapidly closing around its prey. This section of internal garden showcases these responsive or indicative plants and provides a testing ground for research into plant perception and how we might be able to read plants’ responses to heighten our own perception of our surroundings.
Plants in conversation
ECOLOGICAL SPECTACLE Swedish taxonomist Carl Linnaeus first proposed the idea for a flower clock in his 1751 treatise Philosophia Botanica. The concept involves the use of plants whose flowers bloom at certain times during their circadian rhythm such as Morning Glories, Night-Blooming Jasmine and Flowering Tobacco. By selecting the correct plants different sections of a garden may bloom at different times of day. I propose the use of such plants in different sections of the garden to act as a driver of use of the space, encouraging people to inhabit different areas of the garden at different times of day. At night this ‘flowering’ is continued through the blooming of the bioluminescent algae which illuminate during the night phase of their own circadian rhythm. This daily spectacle can be viewed as an ecological form of decoration or spectacle, continuing the Venetian tradition into an ecological era.
Bioluminescent ‘plants’
9am Progression of the flower clock
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Nightly spectacle of bioluminescence
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9pm
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PHOTOSYNTHESIS
PLUG-IN SYSTEM Carbon dioxide induction system
Bioluminescent maze
Carbon dioxide induction system
Wearable bioluminescent blanket
The spectacle of the bioluminescent algae is facilitated by a plug-in system, capable of feeding numerous installations algae filled water. This allows for a variety of products, installations and pavilions which have been developed by the institute to be connected to the algae growth tanks and to be tested. Some of my first semester work includes proposals for a number of installations aid the growth of algae or utilise bioluminescent algae to provide lighting. Such attachments to the system may facilitate the introduction of nutrients or CO2 into the growth tanks or provide methods for the agitation of the algae to produce light and may be changed, tested and developed whilst supported by the algae growth system incorporated into the building.
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Exhibition space lit by bioluminescence 7 3
EXHIBITION OF LIGHT
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1. Greenhouse Space 2. Algae-growth facade panel 4. Connection to growth panel 5. CO2 Input 7. Plug-in pavilion
3. Exhibition space 6. Oxygen Output
Although they are designed to support external installations, the algae growth panels are capable of providing their own light source. To enable this carbon dioxide is pumped into the bottom of the façade panels, rising through the water as air bubbles, agitating the algae. This agitation causes the algae to glow with a soft bluegreen light. When applied to the panels located between the exhibition space and the vertical greenhouse space this method may be used to provide lighting to these spaces. I have drawn upon Olafur Eliasson’s work, in particular his use of single wavelength light in’ A Room for One Colour’ and the change in perception of space due to this form of lighting. Olafur Eliasson’s ‘A Room for One Colour’
Sensory garden
Sensory garden and exhibition space
NEST WE GROW, KENGO KUMA
Nest We Grow is a community space for the growing, cooking and eating of food. Its timber grid structure supports a network of elevated walkways and planters. I have used a similar principle within my internal garden space.
WATER WORLD
Performance space and pool
Performance space and pool
As visitors descend into the lower level of the gardens, they enter a space dedicated to the watery component of the venetian experience. This level bridges the gap between Venice’s terrestrial and aquatic worlds and displays the impact that humans have had on the health of the lagoon, but also our ability and responsibility to provide care to the non-human inhabitants of Venice. The space is the final point before entering the surrounding gardens - transitioning into a wider world and the worlds beyond.
Interactive bioluminescent pool
Interactive bioluminescent pool
CARING FOR THE LAGOON Upon descending a final set of stairs visitors find themselves standing above a shallow pool. A series of stepping-stones transport visitors to terra firma, referencing the act of stepping between the islands of Venice and the tension between land and water in the city. From here visitors are invited to enter the water, which has been treated by the reed beds in the garden. This ‘clean’ water pool is a rare moment in the city where the water can be experienced physically without pollutants and is designed to question how a pollution free lagoon may change the lived experience of Venice and our relationship with the water. Beneath the pool sits a second layer of water, separated from the main body of water by a gel membrane. The lower layer of water contains bioluminescent algae which are agitated when pressure is applied to the gel by footfall in the pool. The separation is to prevent contamination which may kill the algae and poses a challenge to the relationship between the non-human. Specifically, this experience provides an insight into how the human and the non-human may interact without causing harm to one and other. Rather than merely exploiting the non-human, this installation offers a vision for a philosophy of care for the non-human that may provide benefits for us as humans, facilitating an interaction with the non-human which promotes an experiential response without harming the algae.
Concept images for bioluminescent pool
Bioluminescent false ceiling above the performance space
Performance space at night
PEFORMANCE OF THE FALSE CEILING Also located within the lower section of the building is an informal performance space. An elevated stage sits at one end, with stepped access functioning as seating when the stage is not in use. Above the space, a fibrous web of thin tubes is suspended from the soffit. Connected to the algae growth tanks, these tubes are highly strung to create tension. As the algae flows through the tubes sound waves from performances cause the tubes to vibrate, disturbing the algae. This agitation causes the algae to glow in response to the sound reverberating around the space. This ceiling follows in the venetian tradition of decorative false ceilings which are suspended from the structure, adding a performative element which reflects the relationship between the human and non-human within the building.
False ceiling of Scuola Grande di San Marco
Performance space and pool
Performance space, pool and surrounding gardens
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Phytoremediation Garden Teaching/Meeting ‘Pod’ Exhibition Space Sensory Garden Performance Space Algae Pool
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Phytoremediation Garden
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Sensory Garden
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Water Garden
LEVEL 00 + 00M
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Reed Beds Fabrication Workshop Workshop Office Performance Space Algae Pool
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3
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LEVEL 00
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1 2 3 4 5 6
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2 0
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10 8
Reed Beds Pump Room Algae collection tanks Fabrication Workshop Performance Space Algae Pool
LEVEL 01 + 02
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3
1
1 Dry Labs/Studio 2 Exhibition Space 3 Sensory Garden
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1
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LEVEL 01 1 Dry Lab/Studio 2 Exhibition Space 3 Sensory Garden
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6 4
10 8
2
1
4
4 3
LEVEL 02 1 2 3 4
2 0
6 4
10 8
Dry Lab/Studio Exhibition Space Sensory Garden WC
LEVEL 03 + 04
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3 3
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Dry Labs/Studio Algae Growth Lab Teaching/Meeting Space Phytoremedition Garden Genetics Lab
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3
2
3
3
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1
5
LEVEL 03 1 2 3 4 5
2 0
6 4
10 8
Wet Lab Algae growth lab Teaching/Meeting Space Phytoremediation Garden Storage for exhibition and performance equipment
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1
3
LEVEL 04 1 Wet Lab 2 Genetics lab 3 Kitchen/staff room
2 0
6 4
10 8
LEVEL 04 + 06 + 07
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1
1 Lab Garden 2 Bar
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LEVEL 05 1 Lab garden 2 Greenhouse equipment store 3 Air handling plant
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10 8
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1
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LEVEL 06 1 Bar 2 WC 3 Storage
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10 8
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LEVEL 07 1 Bar
2 0
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ROOF PLAN
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REFLECTIVE STATEMENT
BIBLIOGRAPHY
My project this semester has continued to explore themes that my first semester work was looking at, expanding on certain aspects to develop a building. I have found researching the technical aspects of the building particularly interesting and I feel the opportunity to explore living technologies has helped to develop my project into a more rounded proposal.
Bennett, J. (2010). Vibrant Matter: A Political Ecology of Things. Durham: Duke University Press
My proposal began with a thorough reading of my site’s cultural, social, historical and physical characteristics. From this basepoint I developed a strategy for the site which took into account the current and historical uses or the site and from this I have developed a social agenda for the building. I feel that my project strongly demonstrates an engagement with themes of new materialism, living technology, metabolism and care within a building which sits as a world within wider ecological worlds. I also believe the project has a cohesive aesthetic which provides a unifying narrative facross the range of technological and ecological systems. The impacts of Covid-19 and the subsequent shutdown of the studios and workshop has affected the direction of my work. I had intended to develop a series of prototypes to test the living technology incorporated in my project, however, my ability to work on prototypes has been limited by a lack of equipment. I have adjusted the focus of my project in response to this to focus on more theoretical aspects of living technology and this has been something that has been pleasantly surprising. I believe that this semesters work has helped me to alter my mindset on what is encompassed by the remit of the architect and the potential to work with researchers in the future is something that particularly excites me. Final Review Grade: A Self-Assessed Grade: A+
Bing, F. (1971) History of the word Metabolism. Journal of the History of Medicine and Allied Sciences, 26, No. 2: 158–180 Brannen, P. (2019) “The Anthropocene is a Joke.” The Atlantic, 13 August. https://www.theatlantic.com/ science/archive/2019/08/arrogance anthropocene/595795/?utm_source=facebook&utm_medium=social&utm_ campaign=share&fbclid=Iw AR0P8H90wmWrVQAKNjKrHQlPBw4cM_g_mL6Bs7nswK8UthnEaxKi0hCratc Calvino, I. (1972) Invisible Cities. Giulio Einaudi de Lorenzo, V. (2015) It’s the metabolism, Stupid! Environmental microbiology reports, 7, No.1: 18-19 Foscari, G (2014) Elements of Venice. Lars Müller Publishers Gugger, Harry (ed.). (2016) Venice lessons: industrial nostalgia: teaching and research in architecture. Basel : Laba EPFL ; Zurich : Park Books Haraway, D. (2016) Staying with the Trouble: Making Kin in the Chthulucene. Durham and London: Duke University Press Latour, B. (2017) Facing Gaia. Cambridge: Polity Press Latour, B. (2012) Love Your Monsters: Why We Must Care for Our Technologies As We Do Our Children, The Breakthrough Institute, Spring. [online]. Available at: https://thebreakthrough.org/journal/issue-2/love-your-monsters Monbiot, G. (2016) How Did We Get Into This Mess?: Politics, Equality, Nature. London: Verso Monbiot, G. (2017) Out of the Wreckage: A New Politics for an Age of Crisis. London: Verso Tsing, A.L., Swanson, H.A., Gan, E. and Bubandt,N. (2017) Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene. Minneapolis: University of Minnesota Press