LIVING SCREENS by Fabio Rivera

LiViNG SCREENS

Living Screens T H E F O R A G I N G O F AT M O S P H E R I C PAT T E R N S

DIGITAL MATTER &INTELLIGENT CONSTRUCTIONS STUDIO

[ STUDENTS ]

// CATALINA PUELLO ; // F A B I O R I V E R A ; //J O H A N A M O N R O Y ;

fACULTY AR ETI M AR K O PO ULOU ALEXANDRE DUBOR ANGELOS CHRONIS BAR CEL O N A, ju n e 2017

ABSTRACT

[ LIVING SCREENS ]

new emergent field of research focuses on bio-inspired material systems and computer-aided fabrication processes, allowing designers to experiment with new ways of production and novel design approaches. This debate, linked to a more responsive architecture and nature, highlights a conscious observation of biological processes into distinct and valuable design methodologies for architectural explorations. This document investigates the design possibilities through the research of the protist organism Physarum Polycephalum, also known as Slime Mould, and proposes an innovative material system for architectural purposes. The named Living Screens project intends to maximize the biological properties of the Slime Mould, engaging a structural bio-machine capable of manifesting and articulating the cognitive relations between the user and the space. This research is divided in two parts: the first part focuses on the analysis of the natural properties of said organism, and the second part concentrates on the main question being how to apply these properties into an architectural artifact using computer-aided prototyping and the fabrication of the actual structure. The presented research, material tests,- and techniques demonstrate the first successful physical model result of the complex bio-machine capable of altering the interior space perception through the densification of the Physarum Polycephalumâ&#x20AC;&#x2122;s dynamic patterns.

living material system

emergence display dialogue

atmosphere foraging cognitioN

KEY WORDS

CONTENTS

state of the art

ABSTRACT

05 KEY WORDS

research question

framework

project description

phase 3

23 phase 1

21 introduction

29 phase 2

concept

phase 4

45 geometrical analysis

final prototype

59 prototype

98 VISION

86 SIMULATIONS

79 applications

108 BIBLIOGRAPHY

95 CASE STUDY

[ LIVING SCREENS ]

STATE OF THE ART Many projects related to the topic of synthetic biology in architecture have been analyzed in order to develop this research project. In furtherance of gaining a thorough understanding of the material system and to develop a design methodology, several cases were conducted creating a continuity between the conceptual formation and the materialization of the final output. This references have been a constructive source of inspiration and a solid starting point from which new systems have been designed. The four most significant ones are the Epiphyte chamber (Philip Beesley), Alga-Cellunoi (Richard Beckett), PHYSAcity (EcoLogic Studio) and Philips bio-light (Philips).

EPIPHYTE CHAMBER This reference was designed by Philip Beesley in 2013 for the Nation Museum of Modern and Contemporary Art, in Seoul, Korea. The installation was envisioned as a group of several members subtly interconnected that mimic human sensations through coordinated movements. The installation was digitally-fabricated with components that simulate breathing and whispers. The audience walks into this network were it explores the connection between media art, interactive mechanisms, and synthetic biology. The concept of epiphyte comes from plants that grow on another plant without any harm; the sculpture explores a near-living environment where it hosts solutions, fluid-filled vessels and glands that evoke complex processes such as metabolisms which ends up in a slow reaction response of other pieces. The nested high sculpture uses chemical systems which acts as vinegar batteries, supplying it with light. The chamber offers a vision of a personal architecture which responds and interacts with its users. EPIPHYTE CHAMBER HTTP://WWW.PHILIPBEESLEYARCHITECT.COM/SCULPTURES/ 1312_MMCA_EPIPHYTE-CHAMBER/PBAI_02.JPG

ALGA-CELLUNOI Designed by Richard Beckett at the ARCHILAB 2013 - Naturalizing Architecture, FRAC Centre, Orleans France. The installation is a wall structure of composed of numerous cellular components that work as a scaffold for algae cells to grow. The installationâ&#x20AC;&#x2122;s morphology creates gaps and intricate crevices that aims for a gradual involvement of nature on its surface. Each component is seeded with algae that grows and creates variable patterns.

ALGA CELLUNOI HTTP://4.BP.BLOGSPOT.COM/-VK67U_WFO4O/UY9OHJUG8ZI/AAAAAAAABU4/2XHU8FUOIUW/S1600/MAM_ALGAE-CELLUNOI+FRONTAL+VIEW.JPG

The selected algae strains are Neochloris texensis that traditionally lives on tree trunks, rocks or housing facades. This type of algae has a particular orange colour caused by large quantities of carotenoid pigments which hides the green of the chlorophyll. Each component was designed to host a variety of flasks in which algae can grow from ground fertilization or to help creating a variety of natural elements on its surface.

PHYSAcity

Tutored by EcoLogic Studio in 2014 as a research project within the UCL BIO Urban Design Lab and as part of the MArch Urban Design. The project emerges from the concept of the exchange between the urbansphere and the biosphere. The design can conceive a more efficient, resilient and adaptive design by operating with a natural system from the biosphere. The project uses the properties of the Slime Mould to perform and optimize the tasks of the urban systems. The research designed an urban apparatus tested on a copper mining corridor in Arizona, US. The apparatus enabled the students to feed the Slime with data from the territory itself. The resulting network is optimized quite like human made networks but the behaviour to solve the circulation is different. The behaviour was analyzed and recognized into digital codes being able to simulate the flow of network in virtual media. The representations are in constant progress and reveals a new urban morphogenesis that operates in a specific environment.

PHYSACITY HTTP://WWW.ECOLOGICSTUDIO.COM/V2/LAB/ PROJECT.PHP?IDCAT=53&IDSUBCAT=71&IDPROJ=144

REFERENCES

PHILIPS BIO-LIGHT

Bacteria as Energy Source

It is a concept lamp that uses bioluminescent bacteria, fed with methane and composted material as an energy source. For Philips, its a life-changing idea where biological products could be self-energizing, adaptive, responsive, self-repairing and act as biological sensors to environmental conditions. The bioluminescent organism produce an enzyme which interacts with a molecule called luciferin, which emits light. This light is produced under low temperatures unlike incandescence which is produced as a result of high heat. The luminescent light is less intense and more suitable for ambience. Its slower than conventional light sources and its functionality depends on the living organism itself. In the future, its seen as a way to mark night-time roads or informational markings on cultural institutions. It creates a new genre of atmospheric interior lightning. BIO-LIGHT HTTP://68.MEDIA.TUMBLR.COM/TUMBLR_M 65KWOCXCQ1RRA1J7O3_1280.JPG

After overviewing the previous projects that combine biology and architecture, it has become clear that the Living Screens project has to be a container able to host microorganisms in order to perform as expected. As seen before, all of the projects create a complex system that maintains the organisms alive and allows them to grow properly. This system engages small components that work in unison to work though their manufacturing, and maintenance is a challenging task if itâ&#x20AC;&#x2122;s brought into a bigger scale.

[ LIVING SCREENS ]

iving Screens is a research project that studies the possibilities of using a living organism, Physarum Polycephalum (Slime Mould), as a panel for interior spaces which is actively responsive and constantly changes according to the users parameters. The material system consist of a series of transparent layers that compose the panel and creates a suitable environment for the Slime mould to grow. The panel is designed to feed the Slime Mould so it densifies its natural patterns working as a living wall that filters light in space. The system engages different customizations such as: opacity, translucency, transparency, pigmentation and shadows projection. The Slime Mouldâ&#x20AC;&#x2122;s growth is controlled by the nutrientsâ&#x20AC;&#x2122; source which comes directly from a food-distributor machine. Said machine deploys the food in specific platforms inside the panel, allowing the patterns in each layer to be reciprocal thus having different densities. The panel also includes a humidifier dispenser that controls the levels of humidity inside it; the Slime Mould requires an air-tight environment capable of maintaining the humidity and protecting it against outside agents that could alter its development. The result is a dynamic wall that not only changes in time, altering the interior space through color and opacity but also affects the mood and experience of the spectator.

PROJECT DESCRIPTION

FRAMEWORK

FRAMEWORK growth

Ap. PMO LYOC EEP H BA L UAM

BEHAVIOUR

environment

PATTERN MAKING

MATERIAL SYSTEM

PROTOTYPE

capsule PANELS

FRAMEWORK FILTRATION

PERFORMATIVE

LIGHT PHENOMENA

ATMOSPHERE

s pa c e scale

LIVING SCREENS

INTERACTION

HUMAN

The research follows a framework which explores thoroughly the topic from synthetic biology to a material system. The research is fundamentally based on a dynamic behaviour of growth and filtration, which leads to the fabrication of a prototype which allows the growing organism to develop inside the panels and perform according to the users parameters. The framework enables this project to reach the final design of a new material system named Living Screens.

[ LIVING SCREENS ]

R ES EA RC H QU EST I O N

R. Q.

R E S E A R C H

Q U E S T I O N

CAN THERE BE AN EMERGENT ARCHITECTURE THAT COEXISTS WITH BIOLOGY, EVOLVES WITH TIME AND INTERACTIVELY CREATES AN ATMOSPHERE ALTERING THE COGNITIVE AND SENSORIAL DIALOGUE BETWEEN HUMAN AND BIOLOGY IN AN EXISTING SPACE?

[ LIVING SCREENS ]

INTRODUCTION

rchitecture has experienced a special interest of exploring biological processes as part of the design practice; architects have drawn inspiration from natural systems for centuries. Unfortunately, with this creative genealogy, architecture has reliably been considered as a counter-form to nature staying purposely from the living world and favoring the part of a banal scene that supports nature by methods for clear inhibition. The vast amount of tools offered by biology are stimulating the improvement of new forms of architecture that respond to environmental changes by incorporating the dynamic properties of living systems. Synthetic biology offers an innovative way of connection between the enormous advantages of living systems with architecture to produce a true genuine and sustainable environmental design. Biological structures can inspire traditional methods of construction and materials, hence a building is not anymore a structure which only hosts human beings but should also promote the interaction of many organisms of different scales. The unique physiology of the Physarum Polycephalum makes it an ideal research organism for many fields of development. The Slime Mould, due to its many properties, has been used for computation, urbanism, art and even medicine. It is not a fungi as the name implies but is a large amoeboid organism consisting of a dendritic network of tube-like structures1. It reproduces via spores and is composed of macroscopic masses of many distinct cells living in unison2. The bright yellow color and the complex networks that it makes with its many nuclei, not only adds aesthetic value to its growth mechanism but also clearly demonstrates its ability to solve spatial problems.

This network of protoplasmic vein-like structures dynamically redistributes according to its nutrient sources. It would transform into a fan-like morphology that will ensure a better adaptation for nutrient absorption. This growth crawls at a speed exceeding 1 cm/h 3. The Slime mould is found worldwide and typically resides in dark and moist areas where it can take advantage of multiple sources of nutrition. The Physarum Polycephalum possesses the ability to sense and migrate towards or away from certain chemical gradients4. This foraging behaviour can be used to program the organism with strategically-placed nutrient sources. Previous research done has shown that slime mould is able to construct highly efficient networks and solve maze problems, reaching its nutrients in the most practical way by finding the shortest path solution5. As the Slime Mould migrates it leaves behind a trace of slime which are grown solutions over time. These traces are the organism’s effluvia, the stored history of where it has been, that helps it navigate through its environment with a natural strategy to solve foraging problems.The Slime mould is a living example of a so-called smart material because of the way in which it combines robotic and control functions in a distributed manner throughout its constituent material; its intelligent and emergent behaviour, fast growing pattern-making and sensorial capabilities makes it an ideal substrate for real-world fields such as performative architecture.

1, 5. “Maze-Solving by an amoeboid organism” Toshiyuki Nakagaki, Hiroyasu Yamada, Ágota Tóth (2000) 2,3,4. “Advances in Physarum Machines - Sensing and Computing with Slime Mould” -Springer International Publishing Andrew Adamatzky (2016)

[ LIVING SCREENS ]

PHASE INITIAL CULTURES EXPERIMENTS

PHASE [1] In the beginning of the project, we decided to work with a material that could manifest a dynamic behaviour based on growth and movement. In our immediate research, we discovered that the organism Physarum Polycephalum could be a suitable medium for our research since it could move and grow naturally. We started studying the Slime Mould’s characteristics (See Life Cycle Diagram) and properties discovering that it has been used in many research fields and that it could be used for architectural purposes. For each property, we started brainstorming on how we could use or embed these properties to a new material system. The analyzed properties are:

BIOLOGICAL Regeneration: The Slime Mould could rebuild connections if these

ones were removed artificially to assure the nutrients flow. The organism could regenerate in a manner that it re-colonizes some nutrients in case there is a new nutrient source in the same area, meaning it can go back and regenerate traces left behind. With this property, we thought that the Physarum could be used to explore and analyze types of regenerative and dynamic architectural systems.

Memory: The Slime mould is capable of extracellular spatial “me-

mory”. As it migrates around its environment, it is able to sense chemicals where it can avoid some areas or detect if there is an alteration in areas previously visited. This memory allows the slime mould to solve navigation problems since it can recall where it has already foraged. This type of memory is being studied for bio-computational devices since this change can allow learning and decision making in terms of connectivity.

Sensors: The plasmodium forages according to the position of nu-

trients but it is also responsive to external gradients in light and humidity. The physarum will propagate according certain chemicals either chemoattractants (Glucose, galactose, maltose, leucine, etc.) or chemorepellents (Chloride salts, Potassium, Salt, Calcium, etc.).

URBAN PLANNING Network properties: Physarum has been used to recreate train

stations networks in cities such as Tokyo, being able to connect the stations in which cost, efficiency and resilience are appropriately balanced. The slime can organize its cells to optimize the route of its growth, remembering obstacles so it can avoid them later.

ELECTRICITY Conductivity: According to Andrew Adamatzky (2015), the slime mould counts with an electrical potential of 5mV in a period of 6090 seconds. It displays electric oscillations by streaming contraction where it releases calcium ions allowing it to grow. These ions on the protoplasmic tubes conduct a DC voltage approximately 90% of the input voltage.

Physarum’s connections of 1 cm have a resistance of 3 mOhms (SD 0.715 mOhms), with an amplitude of 0.59 mOhms in a period of 70 seconds. With this property the Slime Mould could perform as an actuator for controlling a device or a driver for an architectural system.

LIFE CYCLE [SLIME MOULD]

1. YOUNG PLASMODIUM

2. MATURE PLASMODIUM

The Life Cycle of Mitochondria in the True Slime Mould, Physarum Polycephalum

Shigeyuki Kawano | 1991

3. SPORANGIUM

PHASE [1]

With these proposals in mind, we performed material tests on the Physarum Polycephalum. With culture #1 and #2 (See Physarum Cultivation Chart) our intention was to reproduce more Slime Mould. All of the of the experiments were cultivated on agar substratum. The agar is an organic jelly-like substance obtained from algae, which is a derived from polysaccharide agarose present on the supporting structure in the cell walls of some species of algae, and it is released on boiling. Agar is used in microbiology to provide a growth medium where microorganisms can be cultured and observed under the microscope. Since it is indigestible for many organisms, the microbial growth does not affect the gel and it remains stable. Thanks to its texture and properties, agar is a suitable medium to measure microorganisms motility and mobility. Its high level of viscosity maintains humidity which recreates the ideal environment for organisms to grow.

H20

2 gr

AGAR

100

LET SET

5 min

We rapidly increased our cultures of Physarum by giving them oat flakes, a nutrient that has been proven to be ideal for optimal growth. After reproducing the microorganism, we performed tests with current stimulations and and LED red light. We succeeded to guide the Slime Mould towards the negative current and towards the red light which showed its particular proclivity for this color. Other experiments in this phase include the growth with a minimal amount of sclerotia, placing the nutrients under the agar and changing the food source from oats to sugar. All of these tests proved how fast the Slime Mould would grow, its mobility capabilities and likes or dislikes to certain food. We concluded that the Slime Mouldâ&#x20AC;&#x2122;s growth could be stimulated under certain conditions: a proper food source enriched with carbohydrates (preferably oat flakes) and red light could enhance the slimeâ&#x20AC;&#x2122;s growth towards a certain location or it could grow faster.

C U L T I V A T I O N

{RED LIGHT}

{CURRENT STIMULATION}

{CULTURE #2}

{CULTURE #1}

P H Y S A R U M

27/01/2017 5:40 pm

28/01/2017 4:00 pm

29/01/2017 3:30 pm

31/01/2017 7:30 pm

1/02/2017 7:30 pm

2/02/2017 11:00 am

C U L T I V A T I O N

{SUGAR}

{UNDERNEATH THE AGAR}

{BLOB}

P H Y S A R U M

27/01/2017 5:40 pm

28/01/2017 4:00 pm

29/01/2017 3:30 pm

31/01/2017 7:30 pm

1/02/2017 7:30 pm

2/02/2017 11:00 am

[ LIVING SCREENS ]

PHASE MATERIAL TESTS // SUBSTRATUM

PHASE [2]

For this phase, we focused our experiments in material tests, in terms of change of substratum. Our aim was to analyze if the Slime Mould could grow in a different substratum other than agar. The different substratums included paper, fabric, wood, brick, clay, water, sodium polyacrylic, gelatin, metal, paper tape and plastic (See Material Tests chart). In most of the cases, the Physarum dried up since the medium was not moist enough and it was left in open-air conditions. The cultures that survived were the ones that were enclosed in a petri dish or a container, such as the plastic material test. With the clay substratum, we started to see the growth of other organisms such as mycelium which in a few days consumed the Slime. Parallel to this test, we started having multiple contaminations in other cultures. The food had to be changed periodically so other bacteria did not affect the Slime Mould. We concluded that the Physarum needs a humid environment and it has to be protected from open-air conditions to prevent contamination. We analyzed that the Slime Mould could grow in different substratum if the humidity levels are stable enough. In this phase, we started experimenting how and what conditions could trigger the sporangium phase on the Physarum. We concluded that this sporangium phase would manifest if the cultures are left without food and left in open-air without a proper moist environment.

t e s t s

FABRIC

WOOD

BRICK

CLAY

3D CLAY

WATER

Na Polyacylic + H20

Na Polyacrylic + gelatin

METAL

TAPE

PLASTIC

{SPORANGIUM}

PAPER

{DIFFERENT SUBSTRATUM}

m a t e r i a l

WITHOUT FOOD

ENVIRONMENT

PURPLE LIGHT + ENVIRONMENT

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PHASE SPATIAL TESTS + CONDUCTIVITY

PHASE [3]

In this phase, we started performing spatial experiments and decided to go deeper in terms of exploring the conductive properties of the Slime Mould. We fabricated different matrices in agar and other materials to see if the slime mould could grow in a non-planar surface. From straws, to ramps and staircases of agar (See Spatial Tests Chart), we encapsulated the slime in small boxes of acrylic, controlling the periods of openings of such boxes so the inside wouldn’t be affected by external agents. In all of the cases, the Slime Mould grew successfully reaching the food sources in different locations in the matrix. We also concluded that the Slime Mould would take more time to grow in non-horizontal surfaces. At the same time, we started combining the food (oats flakes) with other components such as copper, graphite and graphene to test if the Slime Mould could ingest these particles and enhance its conductivity properties. Unfortunately, the Slime Mould didn’t grow as expected in any of these cases (See Conductivity Chart), and due to lack of proper equipment, we weren’t able to test if its conductive properties had been altered by such conditions.

t e s t s

C O N D U C T I V I T Y

{MATRICES}

S P A T I A L

STRAWS MATRIX

AGAR STAIRCASE

{CONDUCTIVITY}

METAL MATRIX

COPPPER

GRAPHITE

GRAPHENE

RAMP MATRIX

P A N E L

T E S T S

P I G M E N T A T I O N

[ LIVING SCREENS ]

PHASE ENVIRONMENTAL CONTROL

PHASE [4] With all of the experiments previously executed, we directed the project into an actuator system that displays physical data (From Stock Market till information regarding the building that hosts the System). The physarum could be a medium of displaying relevant information in the space, without being corrupted by outside sources reducing the patterns of ignorance across the current society. As the slime grows, it leaves a trace of protoplasm allowing users to analyze this trace as a history of the information which is being constantly updated. The slime mould’s pattern cannot be altered and the organism would display useful information in a legible manner. The project was thought as a series of panels where the food would be distributed according to a data feed from a reliable source, allowing the amoeba to create a network of natural patterns and eventually display said information. In order to continue with this idea, we had to perform experiments to learn how to control the Slime Mould’s growth or the direction of its growth. We started testing (See Experiments charts) with a light path where the Slime Mould were located on the shadow section of the path; since the Slime is photosensitive, the aim was to prevent its growth in the lightened path. The system implies the use of a machine that automatically drops the food according to the data forcing the food to be in a liquid state. We experimented with liquid oats and normal oat flakes to see the slime mould’s preference. To encapsulate the Slime Mould in panels, we had to understand the proper conditions of light intensity, humidity and temperature that would maintain the organism alive. We concluded that the optimal humidity should be above 70%, and the temperature should not be higher than 23%. In all of the cases, the light intensity was not a relevant factor for its growth as long as the humidity was met its standards. We also experimented with chemorepellents such as salt as a limiting component. The salt worked as expected preventing the Slime Mould to grow in most of the area where the culture was placed. The system also required the slime mould to act as an actuator, which led to experiments where we located the food on top of light sensors. When the slime covered the light sensor, it activated an LED light. All of the experiments were successful which led to the design of our prototypes. (See Diagrams). At the end of this phase, we realized that in order to create a performative prototype, we needed to narrow down the idea of visualizing physical data. For this purpose, a reliable data collector was needed to have this information displayed. Hence the outcome of this idea was nebulous, the main concept was redirected into something more tangible; a performative and self-regenerating architectural system capable of using the Slime Mould’s natural patterns to alter the users experience in the space.

E N V I R O N M E N T A L

{EXPERIMENT}

{geometrical pattern}

DARK ENVIRONMENT

BRIGHT ENVIRONMENT

C O N T R O L

HOT TEMPERATURE

COLD TEMPERATURE

E N V I R O N M E N T A L OAT FLAKES

LIQUID OATS

C O N T R O L LIGHT PATTERN

LIGHT PATTERN + SALT

{geometrical pattern} {EXPERIMENT}

a c t u a t o r T E S T L E D A C T I V A T I O N

{ACTUATOR SYSTEM}

INPUT

ACTUATOR

OUTPUT

HUMIDITY ENVIRONMENT PROTOTYPE DIAGRAM 41

PANEL + FOOD SYSTEM PROTOTYPE DIAGRAM

[ LIVING SCREENS ]

GEOMETRICAL ANALYSIS

G. A N A LYS I S The Physarum Polycephalum is able to display different types of geometrical patterns and it exhibits a complex morphological adaptation. As part of this research, it is important to highlight this significant quality for its development since its natural patterns are one of the main properties that contribute to this project. The amoeboid will try to cover as much area as possible when foraging and with each stage of its growth it will display a different pattern. Alterations in light, humidity and type of food will also produce a different reaction on its growth thus its patterns as well.

denditriC

polar parallel

centripetal

On its initial state, the cells would fan out into a dendritic geometry. It is a fractal tree-like branching shape and it is a very common phenomenon in nature. This term is used to describe branched projections of neurons, and thanks to this type of growth and its behaviour, the slime mould is considered to be “intelligent”. With this geometry many component branches are merged together into one main channel. Fractal models have a capacity to reduce complexity and at the same time conserve the full richness of its structure. It was also observed that the Physarum could manifest a polar parallel and centripetal geometry on its growth, which also resembles drainage patterns in geomorphology. In this case, it is not related to slopes or topography but only to the slime mould’s sensorial capabilities.

In this state, the amoeba would display a dendritic growth and when it expands and finds a food source, it starts its own network. When the food source is abundant and reliable the Slime would begin a process of densification. After foraging the whole space, it retracts and optimizes its network leaving traces and highlighting the main connections. In this phase, all the geometries explained before are fully visible. When the nutrient sources are completely processed, the slime retracts almost completely, starting its dormant phase where it changes into sporangium. In this last phase, the geometry resembles other type of pattern-making and geometrical adaptations; such as voronoi, delaunay triangulation and convex-hull diagrams.

The Physarum’s geometry is also strongly related to its different phases of its growth. On its initial state of foraging, the slime mould would expand its plasmodium, creating multiple protoplasmic tubes that would cover the area with its own streaming force of growth.

initial foraging

FOOD NETWORKING

DENSIFITACTION

RETRACTION /NETWORK OPTIMIZATION

SPORANGIUM

[ LIVING SCREENS ]

CONCEPT 49

[ LIVING SCREENS ]

Cogno 50

SISTENCE

CONCEPT

hen it comes to the human-organism coexistence, one can imagine that both organisms are reciprocally feeding. There is the human providing the food for the organism, and the organism growing and in time displaying patterns of light intensities that alter the occupied space. In this same scenario, the human-made space (architecture) and the exterior biological organism (Slime Mould) correlate with each other in which information is exchanged. There is a direct interaction between the species: the user through the strategic customization of the nutrients arrangement, and the incorporated organism by the anastomosis of intricate patterns. These interactions evolve into a dialogue between the two organisms cognition where both of them acquire knowledge and experience from each other. This narrative performance is in constant mutation in which the user does not acknowledge the organismâ&#x20AC;&#x2122;s behaviour, and the Slime Mould does not know where the user will arrange the nutrients source. The exercise of foraging and systematization generates a new language where the user-organismâ&#x20AC;&#x2122;s coexistence becomes a discernment of the physical space where visually and atmospherically, the space is significantly altered by both entities.

[ LIVING SCREENS ]

EXPOSED P H YS I C A L L I T Y 52

CONCEPT

aterial is more than just an element that encloses and harbors protection; it is the play of textures, color and light that sets the mood of a space and characterizes its existing reminiscence. It’s the physical interpretation of the designed space where it gives it life and allows a set of multiples correlations between the user and the architectural artifact. The Living Screens project adopts an organism to create a new material system. The growing Slime Mould inside the panels will display its own natural behaviour. Human, Mould and Machine directly work together to enhance and transform the narrative of the space through a living material. This improvement and physicality is not only constituted by the organism’s performance but also for the user’s experience inside the phenomenological reality. Experience in built structures also contributes to neutral and less positive states of mind and shapes of how broadly the user takes in the environment. The ways we experience architectural objects may contribute to how we comprehend and interact with those objects1. The content and properties of the architectural experience most likely include emotive, sensorial and cognitive attributes.

1. “Phylosophy of architecture” Saul Fischer (2015)

CONCEPT

The human experiences of space, light, color and shape concede multiple interpretative possibilities across the architectural object. These perceptual tasks are constant and sometimes include other sensory modalities. The architectural experience should be proprioceptive, incorporating visual information into a broader set of stimuli to grasp bodily position and movement in relation to the built environment2. Experiencing movement around an architectural artifact highlights the design and contributes to the cognition and apprehension of the artifactâ&#x20AC;&#x2122;s formal features such as spatial patterns and rhythm, and perhaps other aesthetic attributes. The experience of movement captures and connects the relation between the spectator and the built artifact, as well as the immersion in its context transmitting a sense of location. Therefore, light and movement are basic physical notions for the construction of the formal space and primal experiences that articulate the perceptual and sensorial cognition of said space. The perception of space is directly proportional to the way light integrates with it. The lightning situation is capable to determine the dimension of how the user analyses space, material and color. Light is an intangible maker of material that constitutes a fundamental relevance for the design in architecture and conceives the atmosphere related to the psychological mood and general character.

2. â&#x20AC;&#x153;Phylosophy of architectureâ&#x20AC;? Saul Fischer (2015)

[ LIVING SCREENS ]

>> ...the atmosphere of a building seems to be produced by the physical form. It is some kind of sensuous emission generated by the stationary object. To construct a building is to construct such an atmosphere. Atmosphere might even be the central objective of the architect. In the end, it is the climate of ephemeral effects that envelopes the inhabitant, not the building. To enter a project is to enter an atmosphere. What is experienced is the atmosphere, not the object as sucH...

(Mark Wigley, 1998)

CONCEPT

Levels of brightness, shadows, reflections, colors and glare are fundamental notions to spatiality where itâ&#x20AC;&#x2122;s able to alter the interpretation and experience in which it can be perceived as monotonous, cheerful, private or public. Visual experiences enhance the ambiance of social interaction in a designed space; lightning is not only important but should be well thought out to intensify such enhancements that enrich the space in terms of health and psychological well-being. The Living Screens project reconstructs the space through an organism that is constantly altering the optical phenomena, the conceived physicality and the materialization of light and motion as an architectural element. The space is no longer static as the play of transparency is continuously being modified. The organismâ&#x20AC;&#x2122;s density can be controlled in how it grows providing a layering effect that increases or lessens the amount of light that goes through the panel. In the project, the patterns produced naturally by the slime mould are the material which adds not only a functionality to the space but also an aesthetic value. The patterns and densities are always different and therefore the spaciality will always be different, producing a different experience.

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PROTOTYPES O

ne of the main concerns for the prototype was how to provide a constant food source for the Physarum to grow inside the panel. Since it is an airtight capsule, a food distributer machine was designed and fabricated: â&#x20AC;&#x153;F.L.O.K.Iâ&#x20AC;? (Food Location for Organizational Kinetic Interaction). The machine is based on an X and Y axis CNC milling machine, that would move according to the users inputs (See Food Distributor diagram). It drops a small amount of food that later is directed to the panel. For this task a peristaltic pump was needed so the food could travel from the source to the point of distribution. Initially, the concept includes a series of distributing tubes that are connected to the food distributor and the food is pumped inside the panel. For the first design prototype, we decided to build the panels as a set of transparent layers of methacrylate. Since a network of tubes were entering the panel, space was needed. We fabricated the first layer using a thermoforming technique allwoing the layer to have a smooth and curved finish that would leave enough space for the incoming tubes adding a magnifying effect to the panel (See Capsules diagram). The system is designed to be self-standing or hanging. The food distributor is located on top of the panel so the food irrigation is enhanced by gravity.

| FOOD DISTRIBUTOR Arduino

X , Y Axis Machine Nutrient Inyector

Nutrient Container

Power Supply

Acrylic Base

Peristaltic Pump

Tubing System

| CAPSULES

Food Distributor’s Base Food Distributor

Tubing System

Acrylic Panels

Structure

Physarum’s Surface

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f.l.o.k.i

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molds for

thermoforming 66

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FINAL PROTOTYPE 70

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or the final prototype, major modifications were done in order to improve the systemâ&#x20AC;&#x2122;s performance. We decided to simplify the panel design allowing the natural patterns of the Physarum Polycephalum to be the main attractor for the project and not the overall design of the components. By simplifying the panel, the patterns are visually enhanced allowing it to perform correctly, altering the atmospheric experience in the space. We decided to modify the food-distributing system, by substituing the tubes network by small methacrylate platforms inside the panel. The platforms were designed with a genetic algorithm for the optimization of the platforms position in each panel. Instead of fabricating multiple components we created one single panel with 3 layers of 4 mm transparent methacrylate. Each layer is coated with a hydrophobic spray (to prevent the excess of condensation), a anti-static spray (to prevent the adhesing of dust particles) and a 2 mm layer of agar (to keep the optimal levels of humidity inside the panel). The panel is airtight in all of its sides with a 2 cm sealant of silicone, and is joined with 6mm screws, bolts and nuts. The system is a floating wall capable of dividing spaces and performing alterations of light phenomena.

DIAGRAMs PA N E L C O M P O N E N T S

F I R S T L AY E R M E T H A C RY L AT E

S E C O N D L AY E R M E T H A C RY L AT E + s c r e w j o i n t

FINAL PROTOTYPE

T H I R D L AY E R m e t h a c ry l at e

F O U R T H L AY E R m e t h a c ry l at e

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m e t h a c ry l at e + silicone airtight sealant

m e t h a c ry l at e O P T I M I Z E D F O O D p l at f o r m s

FINAL PROTOTYPE

FOOD DISTRIBUTER AXIS MACHINE

FOOD DISTRIBUTION L I Q U I D O AT S

FINAL PROTOTYPE

C U LT U R E S ARRANGEMENT P. P O LYC E P H A L U M

PAT T E R N G R O W T H

ARDUINO STEPPER MOTOR

FLOKI FOOD

SCREWS

FOOD PLATFORMS

SILICONE SEALANT

PHYSARUM POLYCEPHALUM

METHACRYLATE LAYER

FINAL PROTOTYPE

APPLICATIONS

A P P L I C AT I O N S

iving Screens is a final product and a design tool which adjusts its performance to any interior environment. Living Screens may take on a multitude of scenarios, evolving in situ and evoking dynamic experience between the users and the architectural artifact. The flexibility of its performance allows it to be a suitable element for many events concerning the location. Altough, Living Screens is not only limited to the interior space, it can be placed as an exterior element such as the north facades for buildings where the solar radiation is not harmful for the Physarum Polycephalum’s natural development. Living Screens is capable of filter the light in the spaces. Its dynamic patterns and conditional growth system can create transparent, translucent and opaque effects, as well as shadow projection and changes in pigmentation (See Diagrams of Performance). Depending on the spatial program and interior conditions, different emergent patterns display can be executed. In order to visualize said performance, the food distributor machine “F.L.O.K.I” translates the userss desires into g-code, where is interpreted as coordinates for the food’s arrangement. The system and the research has shown that it can be adjusted to the needs of each situation. Regarding the scale of the material system, two case studies will be highlighted for an existing area: an interior chamber where the panels are performing between the Translucency and Opacity mode and a facade system proposal for the W Hotel in Barcelona (See Case Studies).

Food Position

Physarumâ&#x20AC;&#x2122;s position

Foraging

Traces

Main veins

TRANSPARENCY

TRANSLUCENCY

OPAQUE

Food Position

Physarumâ&#x20AC;&#x2122;s position

Foraging

Traces

Main veins

CONTROL DIRECTION

PIGMENTATION | OPAQUE

PIGMENTATION | TRANSLUCENCY

EXPOSED PHYSICALLYTY

SLIME MOULD

display LIVING SCREENS

dialogue

COGNO-SISTENCE

PATTERN MAKING

EMERGENCE cognition

LIVING MATERIAL foraging SYSTEM LIGHT PHENOMENA

ATMOSPHERE

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SIMULATIONS

P L AT F O R M S O P T I M I Z AT I O N

In order to improve the Physarumâ&#x20AC;&#x2122;s pattern densification, we used a genetic algorithm to find the best position for the food to be dropped. Since the food is settled by gravity by the axis machine (F.L.O.K.I), we needed the organism to grow in the whole surface of the panel. We used Galapagos for Grasshopper to optimize the foodâ&#x20AC;&#x2122;s position in a series of platforms, where the food would land. We used different widths and lengths to be able to cover the most surface area where the food was deployed to optimize the physarums growth. The inputs for this optimization are: (1) All of the surfaces need to stay within the panel, (2) they cannot intersect within their own layer, (3) the surfaces position cannot overlap between the 3 layes, and (4) they all need to be exposed to the axis food drop.

P L AT F O R M S O P T I M I Z AT I O N

optimal condition

P L AT F O R M S O P T I M I Z AT I O N

3rd Layer

2nd Layer

1st Layer No intersection of the food platforms between the 3 layers.

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S I M U L AT I O N S

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case study 95

VISION T

he vision of this project is beyond the idea of visually-seamless spaces, where the exposed relations are always shape-shifting the space and its relations with the outside context. With this symbiotic concept of co-design with nature, the system is projected to always change the architectural program through a transmogrified materiality, and the users social interaction engages a more direct relation with the architecture and within themselves. Hence society participates in the creation and customization of their own personalized environment, through the insertion of a natural organism that at the same time is making the space alive. Furthermore, the living space has its own performance without the implementation of high energy-consumption systems. The space then, has aquired its own intelligence and sensorial adaptations that responds to the humansÂ´emotions and experiences. In terms of the mechanics of the prototype, Living Screens is envisioned as a system linked to an interface, where users can take advantage of the new technologies to project their inputs into the artifact. The panels also include a humidifier system that substitutes the layers of agar so the amoeba can grow as expected. The panels use a food-distributor machine that can adapt to any geometry that the design would require. In terms of pigmentation, the Slime Mould could be used as bioluminescent organism or material if fed with a phosphorescent pigment and be employed for sustainable nightlight applications. Moreover, Living Screens is an adaptable system to not only outdoors applications but can also work as an hybrid system to display information (As contemplated before, See Phase 4). A data-driven artifice where data can change aesthetics: form follows information. The natural system would grow in order to visualize data such as circulations, events or concentrations of people. Even in a bigger scale, it can work as a predictive system for applications in the city related to traffic, weather and more by its natural optimization of its networks. The system could be envisioned as a potential receptor of environmental conditions thanks to the Physarumâ&#x20AC;&#x2122;s sensorial properties. Patterns of the organism can be seen and compared as patterns of the urbansphere and the society itself. Hence, the system is a natural simulation of the humans behaviour through the physicallity of its traces.

SLIME MOULD CHECK CURRENT STATUS CURRENT HUMIDITY : 75% OUTSIDE HUMIDITY : 50% INTERNAL TEMPERATURE : 45 OUTSIDE TEMPERATURE : 28

PROGRAM 1 : TRANSPARENT PROGRAM 2 : 25% OPACITY PROGRAM 3 : 50% OPACITY PROGRAM 4 : 75% OPACITY PROGRAM 5 : 100% OPACITY HUMIDIFY PANEL AIR CONTROL

DROP FOOD FLOKI CALIBRATE

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101

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102

103

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105

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BIBLIOGRAPHY “Quasiperiodic Near-Living Systems: Paradigms for Form-Language.” Alive: Advancements in Adaptive Architecture. (2014) Philip Beesley http://philipbeesleyarchitect.com/publications/Near_Living_Architecture/Near_Living_Architecture-libre.pdf

Maze-Solving by an amoeboid organism (2000) Toshiyuki Nakagaki, Hiroyasu Yamada, Ágota Tóth https://www.scribd.com/document/227297942/Intelligence-Maze-solving-by-an-Amoeboid-Organism

Phylosophy of Architecture (2015) saul fischer https://plato.stanford.edu/entries/architecture/

ACTIVITY (Emergence, Complexity and Computation 21) (eds.)-Advances in Physarum Machines_ Sensing and Computing with Slime Mould-Springer International Publishing (2016) Andrew Adamatzky

HEATHER BARNETT (PYSARUM EXPERIMENTS) http://heatherbarnett.co.uk/work/the-physarum-experiments/

CREATIVE RESEARCH INSTITUTION (CRIS) Hokkaido University | Toshiyuki Nakagaki http://www.cris.hokudai.ac.jp/cris/en/research/ob/ob_innovative/nakagaki.html

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MIT | Slime Mould to make music https://www.technologyreview.com/s/508531/physicists-use-electrical-signalsfrom-slime-mould-to-make-music/

HARVARD https://harvardsciencereview.com/2015/03/06/slime-mold/

BBC Nature | Brainless Slime Mould has an external memory http://www.bbc.co.uk/nature/19846365

SCIENTIFIC AMERICAN | How Brainles Slime Molds Redefine Intelligence https://www.scientificamerican.com/article/brainless-slime-molds/

NASA Science for Everyone https://www.nasa.gov/mission_pages/station/research/experiments/1808.html

OTHERS https://universe-review.ca/R10-18-slimemoulds.htm https://exploringtheinvisible.com/2014/01/06/a-life-contained/ http://www.sciencedirect.com/science/article/pii/S0928493110001633

PICTURE REFERENCES http://www.philipbeesleyarchitect.com/sculptures/ 1312_MMCA_Epiphyte-Chamber/PBAI_02.jpg http://4.bp.blogspot.com/-VK67u_wFo4o/Uy9oHJUg8zI/AAAAAAAABU4/2xhu8FUoIUw/s1600/ mam_Algae-Cellunoi+frontal+view.jpg http://www.ecologicstudio.com/v2/lab/project.php?idcat=53&idsubcat=71&idproj=144 http://68.media.tumblr.com/tumblr_m65kwoCXCq1rra1j7o3_1280.jpg

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MASTER IN ADVANCED ARCHITECTURE LIVING SCREENS CATALINA PUELLO FABIO RIVERA JOHANA MONROY 201 7