Author Archives: changyeob

This project explores the potential of various near future smart materials, some of which might be ‘grown’ out of the complex material geology of post-industrial area.

Certain micro-organisms grown and engineered, using the architectural context as a feed is employed to harvest new natural-polymer.

Generating something of new value for local artists in Hackney Wick where have two notable characteristics: one is a historical “pocket of poverty”(Baker 1995); the other shows highest concentration of creative industries per m2 in UK.

The semi-living research interface needs proper environment such as architectural strategy to cultivate nature like system – temperature in a controlled area, feeds provision and metabolic rate, which is transplanted to urban petri dish.

Further research will explore hybrids of new smart materials and materials from existing local buildings and landscape. Building at the end of life provide Caco3 powder , minerals, and water purifier. Empty industrial warehouse generate glucose through algae photosynthesis on the gable roof top. Micro organisms and water are gathered from Lea Canal through glass pipes which also transport harvested materials and by-products.

This bottom up approach questions traditional notions of architectural production as solely ‘building’, instead explores emerging ecologies of ‘growing’ as a new hybrid architectural language. Also, this new spontaneous ecology could offer alternatives for thinking about how we could help local community to revive in an era of late capitalism.

Royal college of art WIP show _ 2012.01.31 ~ 02.06

Royal college of art WIP show _ 2012.01.31 ~ 02.06

Interesting architectural project designed by Severino Alfonso & Xiang Li in (n)certainties unit. This machine re-generates out dated concrete at post-industrial area borrowing human’s digestion process.

Finally, figured out how to post url, images, video, others blogs to our unit blog well… Keep publishing!!


Publisher Springer writesIs science the new art? Starting from this provocative question, art historian Ingeborg Reichle examines in her book fascinating responses of contemporary artists when faced with recent scientific and technological advances. In the last two decades a growing number of artists has left the traditional artistic playground to work instead in scientific contexts such as the laboratories of molecular biology, robotics, and artificial life. New art forms like “Transgenic Art” and “Bio-Art” have emerged from the laboratory. These art forms differ dramatically from traditional artistic approaches that explore the natural: they have crossed the boundaries between the artificial and the natural, and thus provoke passionate debates about the growing influence of science and technology. This first comprehensive survey presents a well-selected number of significant artworks and with over 280 colour illustrations provides a broad overview of this new and relevant development in art.

Edgar Lissel, Domus Aurea, 2005

Right from the introduction to the book, written by Robert Zwijnenberg, a professor of Art History in relation to the development of science and technology at Universiteit Maastricht and Universiteit Leiden, i knew i was going to be the happy customer. His text does far more than act as the token, compulsory entry to a volume. Instead of focusing strictly on the relationship between life sciences and art, Zwijnenberg’s essay comments on the place that, over time, humanities have lost in the conversation with and about life science. He suggests that it is now time for humanities to find a position of their own in the debate about designer babies, the commercialization of life, cloning, heredity, bio warfare, advancements in brain research, etc. According to him, the new breed of artists who have traded their workshops for the laboratories and are exploring issues typical of the study of the human condition could act as mediators and provide humanities with direct access to life science.

Ebener and Winters,BYTE, 1998

The book itself is the outcome of a solid research on art and technoscience. Instead of presenting these new art forms as coming out of the magic hat of some lab renegade, the author brings them into a broader context and explains their kinship with art history (reminding us for example that Kazimir Malevich used bacteria in his work), history, science, etc. Every single fact is documented with many notes, references and photos. Quick parenthesis: the many images that illustrate the text are presented one after the other at the end of the book, an editorial decision i haven’t encountered since my years at the university.

The work of dozens of artists is analyzed in the book. Jane Prophet, Suzanne Anker, Tissue Culture & Art Project, Pam Skelton, Steve Miller, Herwig Turk, Paul Vanouse, Peta Clancy, etc. Some with more depth than others. The chapter titled Art in the Age of Genetic Engineering is all about Eduardo Kac’s career, Christa Sommerer and Laurent Mignonneau get the chapter Art and Digital Evolution almost all for themselves, while the work of Joe Davis is used to examine Genesthetics: Molecular Biology and the Arts.

Catherine Chalmers, Genetically Engineered Mice

If there’s one book that can finally shake off the pure shock and horror stigma from ‘technoscience art’ it’s this one. Reichle does justice to the artists who have chosen to address life sciences but also in many cases the social, economical and political forces that might drive their research. Art in the Age of Technoscience has academic gravitas. It is dense, remarkably well documented and it demonstrates that you don’t have to dumb down a discourse to make it accessible to a broad public. The language of the book is clear, its argumentation limpid. It should interest you whether you know a lot or almost nothing about the theme, whether you have a background in science or are an artist.

Herwig Turk and Paulo Pereira, Labscapes, 2007

Image on the homepage Victimless Leather The Tissue Culture & Art Project.