“Design meets Synthetic Biology” has been selected to be part of the session“Futures” during the BLACK BOX Pop-up Cinema event @ Bio-Medicine West Wing Foyer, Newcastle upon Tyne, from 4 Feb – 1 Mar 2019.
Thank you to Louise Mackenzie for giving me the opportunity to show this Video clip I made while I was a Research associate @ Design Informatics in 2016.
It was the first time this video was publicly shown, and even thought I could not attend the screening, I am very proud and happy that this creation finally made it out from my computer 🙂
On 12th July 2016, in Edinburgh, during ‘Design meets Synthetic Biology workshop‘, biologists, engineers, designers, artists and social scientists were invited to discuss issues of representation, access and perception of synthetic biology. We asked them to share their vision of the future synthetic biology, their hope and fears… This video aims to represent the voices of a range of practitioners gravitating around the discipline but disconnected from each other. Far from a single united vision, it depicts the complexities of working with living material (working and understanding living materials, prediction of long term effects, ethic concern…) and paradoxical opinion surrounding the discipline (complex boundaries between positive outcomes of the research and dangerous usage…).
It as a scene in Shanghai metro I have captured during my first trip back in 2016.
I have painted it with water-colours pencils, water-colours paint and water-soluble wax oil pastels.
It is signed and is strictly limited to a unique edition so once it is gone it is gone.
Frame size: 300mm x 400mm.
In 2016, The Design Informatics Pavilion was designed by Biomorphis, an Edinburgh-based architecture practice led by Pierre Forissier. Interested in how digital technology can be efficiently used to design an affordable modular structure, Biomorphis developed an algorithm to test and generate different cellular divisions to form a self supporting lightweight building envelope. For this 2017 edition I have been employed to give it a facelift, inspired by the 70 years anniversary of the Edinburgh Festivals starting from the launch of the first festivals in 1947 to 2017, by the Design Informatics research topics and data from Edinburgh.
The graphs painted on the pavilion give the local context in which the festivals and Design informatics are taking place: the top line graph represents rainfall in Edinburgh in August in 5 year periods between 1947-2017. The bottom of the pavilion represents the elevations of Edinburgh during a walk through the cities most popular venues so starting on George Street and going to the Castle, the Meadows, The pleasance etc.
Then, the idea was to situate the history of the festivals in an international context, represented by technological breakthrough: each panel of the pavilion represents 5 years, creating a time line where icons (vinyls on acrylic) representing carefully chosen innovations, as well as some of Edinburgh festivals. Moreover, it established a link to Design Informatics, where students are trained and researcher worked on developing tomorrow innovations.
The pavilion become a time travel vessel: the outside is displaying the past of innovations, leading to the inside with the exhibition where you can imagine what the future might look like.
To realise this project, I worked in collaboration with Sigrid Schmeisser, to designed the icons. She realised the exhibition graphics, panels and brochure.
I created a poster for James McCallum, who broke the record for riding the North Coast 500 non-stop, back in June. It’s a 516 mile route which takes you round the very north of scotland starting and stopping in Inverness. He broke the record by 7 hours. He completed the ride in under 31 hours spending only just under 29 hours in the saddle, riding through the night, raising over £15000 in the process in aid of thrombosis UK (more about the exploit here).
I have been commissioned to create a print to commemorate this achievement and using the huge amount of data collected along the way (power numbers, speed, gradient’s etc…). Ultimately they wanted “something that looks visually simple, that tells the story of an epic journey but that when you stare a little bit longer there is some hidden detail” Gareth Edwards.
I used the route codified with colour gradient corresponding to the average speed speed, almost like a heat map. Along the route I symbolised the elevation and the time stamps and time of the day, while using grey scale on the route to represent when he rode in darkness. I used the colours scheme from their promotional website Ride for Charlene.