NATURAL HYGROSCOPE by Zalán Szakács

natural hygroscope

natural hygroscope The research and concept about animal bladder bioplastics

Zalรกn Szakรกcs

Module 1 Man and Well-Being

natural hygroscope Zalรกn Szakรกcs

Photography

Allison Crank Michiel van Gageldonk

content.

research about the historical applications of the animal bladders material experiments with pig bladder and pig intestine description of the concepts

historical applications.

research about the historical applications of the animal bladders.

During the past centuries animal bladders (urinary bladders) were used in several applications from the early lampions (1) in the stock-yard till scientific experiments. The variety of this material shows the different qualities of it, based on its properties as a lightweight, semi-transparency and stretchable container that could be filled and tied off. From Eastern – till Western Europe this material found usability in the daily life. In the 18th century glass was an expensive material and poor people could not effort it. Therefore they stretched animal bladders on the window frames, which had good isolation and transparency characteristics. The pig bladder has several traditional ceremonial uses in Alps countries during the Fasching period, were people carried inflated bladders on sticks. In the early times pig bladders was used in sports as inside of footballs and rugby balls. Richard Lindon (2) reinvented the usability of this material in the manufacture level for the rugby balls. This was the first specifically designed four-panel rugby ball and the start of size standardisation. Stretched bladders were not only used for windows but as well for musical instruments. The most common bladder instruments produce sound primarily by way of a vibrating stretched membrane. Friction drums (Rommelpot) (3) are folk instruments found all over Europe, which were invented in the middle ages. This a percussion instrument consisting of a single membrane stretched over a sound box, whose sound is produced by the player causing the membrane to vibrate by friction. The sound box may be a pot or jug or some open-ended hollow object. To produce the friction, the membrane may be directly rubbed with the fingers or through the use of a cloth, or a stick or cord

which is attached to the centre of the membrane and then rubbed or moved with a hand, sponge or cloth, generally wet. The membrane may be depressed with the thumb while playing to vary the pitch. Another curiosity is the Bladder Fiddle (poispil or bumbass) (4) This is an arched stick 1 to 1.5 metres in length with a single string tied at both ends. At the lower end a pigs bladder filled with air acts as a resonator. The string is sounded with a horsehair bow, and the pitch can be changed by pressing down on the string. The bladder pipe (5) is a very distinctive loud instrument which has a reed which is enclosed by an animal bladder. The performer blows into the bladder through its mouthpiece, a wooden pipe. Like the bag of a bagpipe, the bladder serves as a wind reservoir keeping the lips from touching the reed directly. The bladder pipe‘s sound is unusual because the player is unable to tongue or otherwise control the reed. This medieval instrument was one of the principal early wind cap instruments and is considered the forerunner to the crumhorn. In the world of science animal bladder was used for diverse experiments by Otto von Guericke (7), whose scientific achievements were the establishment of the physics of vacuums. An other scientist Michael Faraday experimented on the field of air pressure with this material. (6) The bladder is used as a casing for several traditional food items, including the traditional transsilvanian disznófősajt (Head cheese). (8) The container quality of this material found a different function in the Native American culture, where it was filled by water as a water bottle. (9) This varienty in the cultural as well in the applicability sense of this material shows the rich history of it.

01 The translucent character made the animal bladder to one of the most popular lampion material in the 19th century

Bladder lampions

02 He reinvented the usability of this material in the manufacture level for the rugby balls

Richard Lindon

03 Friction drums are membraphonical music instruments

Rommelpot

03 Around the world this bladder drums were popular

Rommelpot

04 Is also called poispil or bumbass is a music instrument in the Baltic countries

Bladder Fiddle

04 This is an other type of this music instrument

Bladder fiddle

04 The mediaval music instrument was on the first bag pipes

Bladder pipe

04 It created an unique and deep sound and it was used in combination with other instruments

Bladder pipe

06 He experimented on the field of air pressure with animal bladders

Michael Faraday

07 In the 17th century he establishment of the physics of vacuums using animal bladders

Otto von Guericke

08 Disznófősajt is the hungarian name of it

Head cheese

09 Native Americans used this material for storaging water in it

Bladder water bottle

material experiments with pig bladder and intestine.

pig intestine and pig bladder.

As Transsylvanian born person I took part of lot of pig slaughteries in my childhood during the wintertimes. Since then I became conciouse about this unique tradition, the slaughtery process and the anatomy of the mammals. After the process every part of the animal is processed and conserved. Nothing was thrown away. From this personal interest I started my bioplastics experiments to find, combine and create similar materials from pig origin. During the experimental process I found out my own way of working with this materials, starting with a question. Afterwards sketching the possible solutions, but sometimes those ended up with completely new and different interesting results, which I never thought before (for example the wet plaster colouring bacteriaâ&#x20AC;&#x2122;s). My curiosity drove me into challenging situations, because of the smell (urine stink of the pig bladders, boiling bones), working overnight in the kitchen (otherwise my house mates would became shocked) and technical solutions (blowing up two pig bladders with the bicycle pump in four hours). In this book I documented my way of working, thinking and the results of the experimental processes.

1, 2, and more layers

2D (flat) layering

mould 3D (shapes)

combination with different resins, starch, gelatin combination with textiles natural layering (no addition) combination with flour glue or resins (shellack) combination with textiles (yarns, fabric)

methods

after the drying process cutting off the ends

Blowing

1 piece coiling (straight shape, different shapes)

oven

colouring natural ways

drying

wet plaster bacterials smoking

open air

salt

hair dryer oven

smoking

pig intestine

This conclusions are based on the experimental processes.

fixative

preservation

Moulding process

Blowing

methods

Stretching

Shellack

Smoking

drying

open air

salt

hair dryer

shellack smoking

colouring

preservation

pig bladder

pig intestine Layering 2D

methode 2 layers characteristics beautiful details created by a textile underground

methode 3 layers characteristics the layers are glued together with flour glue

methode 3 layers (flour glue) characteristics stretched on a bambus cube mould. the material shows a lot of details

04+05

methode 1layer characteristics interesting structure was created by a woven textile surface. the material dried on it

methode 1 layer (shellack coating) characteristics the material dried on an aluminium surface

methode 1 layer characteristics dried in oven. (100â&#x20AC;&#x201C;120Â°C) Brownish colouring by the heat. The material became very fragile

08 09

methode 1 layer characteristics natural pig intestine dried

09+10

methode blowing characteristics after the drying process cutting off the ends (it became a precise layer)

methode 1 layer characteristics dried on a wet plaster surface beautiful colouring by bacterials

methode 1 layer covered with gelatin+starch characteristics dried on a wet plaster surface (Bacterial colouring) almost snake skin structure

methode 1 layer+wool+1layer characteristics strong layering created by the wool fibres

14+16

methode 1 layer in combination with textile characteristics strong and flexible material attitude

methode 2 layer (mould press) characteristics pressed in a plaster wood mould the material became similar with the mould structure

pig intestine Layering 2D Mould

methode gelatine starch (pressed into mould) characteristics the material combination is applicable for moulding.

methode 2 layers (pressed into mould) characteristics pressed in a plaster wood mould the material became similar with the mould structure

methode pig skin + pig intestine (mould) characteristics the combination didnÂ´t worked out well, because of the fat quantity of the pig skin

methode pig skin + textile (mould) characteristics the textile addition created a strong character for the material

A1+A2

positiv and negative (plaster+Wood) moulds

B1+B2

positiv and negative (foam+plaster) moulds

pig intestine Layering 3D

methode 1layer (textile underground) characteristics interesting structure was created by a woven textile surface. the material dried on it

methode 1 layer characteristics the natural material was stretched on a mould and dried naturally

methode layering (covered with starch) characteristics dried on a mould. the starch created an interesting structure surface, although the material is very moisture sensitive

methode layering (combination with flour glue) characteristics the material took off the glossy surface of the mould

25 24

methode layering (shellack release agent and coating) characteristics experimenting with the material transparency

methode layering (combination with wool) characteristics through the textile fibres the material became stronger

methode layering (combination with textile yarns) characteristics the combination creates an flexible and strong touch of the material

29 28

methode layering (shellack release agent and coating) characteristics experimenting with the material and layer thicknesses. problems with the shellack release agent

methode layering (shellack release agent and coating) characteristics natural layering, but big difficulties with the releasing part. shellack stocked on the mould

33 30

pig intestine Blowing

35 30

methode blowing (covered with flour glue) characteristics the material got a fragile surface after the drying process

31+32

methode blowing characteristics natural drying process

methode blowing (coiling covered with shellack) characteristics No more air inside of the intestine interesting sound effects

methode blowing (coiling covered with flour glue) characteristics the flour glue changes the material into more fragile character

methode blowing (coiling covered with shellack) characteristics interesting transparent effects the material became stronger because of the coating

pig bladders Moulding+Blowing

methode moulding (covered with shellack) characteristics the material is very compatible for the moulding

methode blowing characteristics strong material attitutes sensitive for moisture

methode blowing (covered with shellack) characteristics because of the coating the material became stronger

Moulding process pig bladder+pig intestine

methode moulded pig bladder characteristics he material is very compatible for the moulding

methode layered pig intestine (covered with shellack) characteristics natural layering, but big difficulties with the releasing part. shellack stocked on the mould

aluminium mould

smoking process pig bladder+pig intestine

methode blown pig intestine characteristics the smoking process (2h in 80째C) colored the material and made it stronger (nylon touch)

42+43

methode blown pig bladder (shellack coating) characteristics the material became less sensitive of the temperature change

methode blown pig bladder (bone mould) characteristics through the smoking process the two materials became one in colour and tactility

stretching process pig bladder

methode stretched pig bladder characteristics the stretched pig bladder was glued on the metal mould with animal bone glue

stretching process pig bladder

methode stretched pig bladder characteristics the pig bladder was stretched in two wooden rings

concepts.

The urinary bladders of the animals are waste products of the slaughter process and are considered as worthless and valueless. During the experimental phase I found out that this material has unique qualities which are hardly not found in chemical polymers. The lightweight, semi-transparency, stretchability, membranophonical sound amplifier and the humidity sensibility shows itÂ´s potentials. This natural container could be filled by air or stretched over a frame. The most interesting qualities of it are the reaction on the different air humidity changes (if it is a low humidity level the surface of the material becomes strong and if it is a high humidity the surface becomes warped.) and the membranophonical (sound amplifier) qualities. Based on this qualities I created two concepts, whose create statements and give in a new context new values and awarenesses to the animal bladder material, which was declared as waste product.

Outside cold wet humidity 60%–70% humidity Characteristics deep tones–no tones the material has a wave effect on the surface if you blow air on it

Normal inside room humidity 40%–60% humidity Characteristics middle tones material amplifies echo the surface of the material stays straight

Warm wet humidity 80%–100% humidity Characteristics the surface changes totally no sound the amplifier qualities are gone

Dry warm humidity 0%–20% humidity Characteristics sharp and good echo sound the material becomes a stronger touch little white line are visible

Pig bladder humidity experiments.

After the observation of the bladders reacting on air humidity I decided to test the material on different humidity levels. I was curious about the differences of the material surface and about the sound of the material, which I created with a hand air pump. My starting thought was, if the surface changes based on the moisture in the air, so the sound of the bladder membrane has to change as well. For this experiment I imitated different humidity scenarios : dry hot air humidity (0-20 %), normal room humidity (40-60 %), wet cold humidity from outside (60-70%) and wet warm steam-bath humidity (80100%). I recorded the different sound changes of the material and visualized my observation in form as an infographic (see left page). The results of this observation tests were a big surprise for me, because I understood the moisture sensibility of this living material better, which acknowledged my starting thought. One of the most interesting characteristics of the bladder is that within five minutes reacts on the air humidity of its surrounding. So its show in the surface the density of moisture.

inspiration and the concept sketch

up to the mouintains.

Natural material as the animal bladder shows itÂ´s air humidity sensibilities on the variate changes on the surface. Based on this reactionary characteristics the application would find place in the natural environment of the mountains. The concept was inspired by the Golden age of alpinism, which was the most adventurous period for the European mountaineers in the 19th century, when many major peaks in the Alps were climbed. At that time scientific pursuits were intermixed with the climbing sport, so mountaineers carried a variety of instruments up the mountain with them to be used for scientific observations. Nowadays technological high developed tools and instrument are used by mountaineer for different navigation purposes, compasses and meteorological instruments. But what if the technology does not works properly in dangerous situations up in the mountains? The dependency on these high technological products is enormous.

The concept is a statement about the use of the natural materials as animal bladders in the natural environment based on their qualities as alternative solutions to high developed instruments. The survival kit for the mountains contains five items made out of animal bladders for different purposes. It underlines the different production process of the material and their application in different whether conditions.

inspiration

natural hygroscope.

The animal bladder possesses a unique relationship with air humidity, manifesting in a visible change of the material surface. High humidity yields a slightly corrugated, wrinkled surface whereas low humidity yields a taut, smooth surface. An organic hydrometer was created to connect animal bladder material phenomenology and natural weather phenomena. By forcing air through a bladder hand pump onto the stretched membrane surface, the instrument transforms the air humidity into sound, which varies in moisture sensitivity (high tones for low humidity and deep tones for high humidity). This rudimentary tool translates an invisible reality (air humidity) into a visible and audible one. It generates an awareness and better understanding of material and nature; a new way of interpreting and perceiving weather phenomena. Todayâ&#x20AC;&#x2DC;s technologically saturated world largely features digitalized weather measuring devices. The logistics behind these tools are difficult to understand and the technical aspects greatly overshadow the humanistic acts of measuring, sensing and experiencing weather phenomena.

Although animal bladder is similar to polymer plastic in both translucency and density, the bioplastic uniquely boasts humidity sensitivity, while its membranous appearance and tactile qualities calls to mind the material sublime. The interaction with hygroscope formulates a new connection between man and nature, activating and stimulating the tactile, auditive and visual senses. The hygroscope instrument concept represents the relevance and the reappropriation of this natural material in the 21st century.

Special thanks to

Anna Kacsó Allison Crank Isabel Mager Imola Bene Andreas Bene Géza Lóránd Szakács Emöke Mária Gönczi László Gönczi Brecht Duijf Michiel van Gageldonk Joost Dingemans Andrea Trimarchi Simone Farresin (Studio Formafantasma) Frank van Heck Ruud van Gool