Spread across a thick field of leeks in the Netherlands is Daan Roosegaarde’s new installation that illuminates the practice of modern farming, highlighting the plants that feed us and their plights. In “Grow,” the Dutch artist and designer, who’s known for glowing, interactive exhibits, implanted the rows with red, blue, and ultraviolet lights that shine vertically across the crop and shift in entrancing motion.
Spanning 20,000-square-meters, the multi-faceted project is both aesthetic and practical: the radiant landscape is visually stunning, while the embedded elements enhance plant growth and cut pesticide use in half. Roosegaarde worked with existing photobiological technology and distinct “light recipes” that are thought to improve crop resistance and their metabolisms without added chemicals. “It gives a new meaning to the word ‘agri-culture’ by reframing the landscape as a living cultural artwork,” the studio says in a statement.
In a conversation with Dezeen, Roosegaarde noted that a trip to a local farm spurred the project, which the designer now hopes will act as a blueprint for similar works. The Netherlands is the second-largest agricultural exporter in the world—the U.S. is first—and is known for innovating more sustainable technologies. With some shifts in the combination of lights and placement, this singular project could have wide-reaching implications for crop production around the world.
“Grow” took Roosegaarde’s studio about two years to complete and is part of Rabobank’s artist-in-residence program. It’s slated to tour 40 countries in the coming months. For more of Roosegaarde’s work that falls at the intersection of art, design, and science, head to Instagram.
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The rattan devotees over at Enter Projects Asia are back with a sweeping installation that swells through a Bangkok restaurant overlooking the Chao Priya River. Occupying the lounge of Spice & Barley, two 30-meter pillars ascend from the ground level before erupting into a mass of black-and-gold stripes.
Patrick Keane, the director of the Thailand-based firm, told Dezeen that the team “used 3D special effects software—Maya and Rhino—to simulate bubbles, foam, and liquids” that reference the array of Belgium beers the restaurant serves. Concealing pipes and ventilation equipment, the spiraling forms also mirror the nearby architecture, while the painted stripes evoke the country’s gilded temples.
Similar to its sinuous yoga sanctuary, Enter Projects Asia utilized only natural materials for the overall design, like leather and of course, rattan. The natural, woody material is a particular favorite of the firm because of its sustainability and ties to local culture. “Many rattan factories are at the brink of extinction due to the rise of importation of inferior plastic products. This project saved two rattan factories from closing down,” Keane said.
Explore more environmentally and culturally conscious projects from the firm on Instagram.
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Modern architectural building methods and Indigenous materials converge in the latest endeavor by Ronald Rael and Virginia San Fratello, titled “Casa Covida.” The earthen structure is part of a MUD Frontiers/Zoquetes Fronterizos that centers on Pueblo de Los Ángeles and the ways technological advances can work in unison with historic mud-based designs. “Casa Covida” contains a bathing pool, sleeping areas, and fireplace seats for two.
To create the three-room home, the duo employs a custom, portable robot that they transport to various sites, allowing them to dig soil and other materials and immediately shape it into the necessary structures. Utilizing clay and mud, the building process is informed by the practices of Ancestral Pueblo peoples and Indo-Hispano cultures of northern New Mexico and southern Colorado. When wet, the natural materials are layered in zigzag-like coils. The undulating, textured facades generally are made with a few rows to provide insulation from the nighttime cold.
MUD Frontiers was a recent recipient of a 2020 Art + Technology grant from LACMA. It strives to consider “traditional clay craft at the scale of architecture and pottery. The end goal of this endeavor is to demonstrate that low-cost and low-labor construction that is accessible, economical, and safe is possible,” a statement says.
Based in La Florida, Colorado, and Oakland, respectively, Rael and San Fratello are known for subversive projects at the intersection of art and architecture, like the neon pink teetertotters slotted through the U.S.-Mexico border wall. Follow their latest sustainable works on Instagram. (via Hyperallergic)
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Recent reports estimate that the world produced 53.6 million metric tons of electronic waste last year alone, a record high that’s expected only to rise. In an effort to prevent digging up precious materials like gold, silver, and aluminum just to return them to the ground later on as trash, the sustainable fashion brand Vollebak has introduced Garbage Watch.
As its name suggests, the upcycled timepiece is constructed with old motherboards, microchips, and computer parts, utilizing bright electrical cords as the strap with an open face and exposed mechanisms. “We’ve taken an ‘inside-out’ design approach with the Garbage Watch, making the functional inner workings highly visible,” said Vollebak co-founder Nick Tidball in a statement to Inhabitat. “Our aim was to reframe an often invisible and hazardous end of the supply chain, and make people think deeply about the impact of treating their wearables in a disposable manner.”
An undertaking in partnership with the Wallpaper* Re-Made project, the timepiece officially launches in 2021, although a waitlist is currently open. Until then, find more of Vollebak’s sustainable designs on Instagram.
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Complete with spiraled tentacles, textured features, and toothy grins, the yarn-based creatures that Indonesian artist Mulyana knits and crochets take a playful, bizarre approach to ocean life. The artist frequently recreates what he refers to as the mogus, or octopus, as a mainstay in his underwater environments. Dotted with multiple sets of eyes, the creature has various iterations ranging in size, color, facial contortions, and number of tentacles. Each billowing mogus is presented suspended from the ceiling, giving it the appearance of floating through the ocean.
While many of Mulyana’s formations are brightly colored, the pieces in his Bety series (shown below) are crafted entirely in white to draw attention to coral bleaching caused by pollution. To maintain his own commitments to sustainability and community, Mulyana re-purposes the yarn that forms his textured corals and ocean life.
If you’re in New York, Mulyana’s sea creatures can be seen at Sapar Contemporary through August 21. Otherwise, keep up with the artist’s vibrant projects on Instagram, and check out where the mogus heads on its next adventure.
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Thousands of Plastic Bottles Are Suspended in Green Tendrils in Artist Jean Shin's Latest Installation
In her installation “Floating MAiZE,” artist Jean Shin employs more than 7,000 plastic bottles to create a stunning suspension above an atrium at Brookfield Place. The window-lined space allows light to refract through the translucent tendrils, which are hung in a staggered, circular shape. Layered with sustainable practices, the latest installation reuses the green, plastic bottles from the 2017 project, “MAiZE,” which utilized Mountain Dew that was consumed and collected in Iowa, the nation’s leader in corn production. Living and working in Brooklyn, Shin also sourced some pieces from Sure We Can, a nonprofit recycling center in her neighborhood.
The recycled piece falls at the intersection of environmental consciousness and commentary on food consumption in the United States. “Following the food chain from industrial-scale agricultural practice producing corn in America that ends up being consumed as high fructose corn syrup in soda and other processed foods, served up in plastics that become harmful pollutants in our oceans,” the artist writes on Instagram.
Shin tells Colossal that her works help to expose “the interdependency of their consumer habits to the larger ecosystem,” which she elaborates on by saying:
I use everyday objects and detritus that are often overlooked or obsolete to transform them into large scale installations. The lifecycle and accumulation of these consumer objects have a huge environmental impact. I am interested in where these materials come from, where they end up and who engages with them.
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