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生命結構（建築串聯系列的一部分）
Living Structures
由 ecoLogicStudio 創始人、建築與設計創新專家 Claudia Pasquero 教授及 Marco Poletto 博士，攜手學術合作夥伴因斯布魯克大學，共同打造的最新裝置作品「深林探微」（Deep Forest），亮相於丹麥路易斯安那現代藝術博物館舉辦的 「生命結構」（Living Structures）展覽。該展覽於 2024 年 11 月 8 日開幕，將持續至 2025 年 3 月 23 日。
Deep Forest 是路易斯安那博物館（Louisiana Museum of Modern Art）於 2023 年委託設計的裝置作品，旨在重新審視建築與科技的自然化過程，並逆轉現代主義機械化自然的項目方向。作為博物館 “建築串聯”（Architecture Connecting） 系列的一部分，展覽「生命結構」（Living Structures）由策展人 梅特·瑪麗·卡勒豪格（Mette Marie Kallehauge ）和凱爾德·凱爾德森（Kjeld Kjeldsen ）策劃，探討氣候危機時代中建築在社會、文化及政治層面的演變。
Prof Claudia Pasquero and Dr Marco Poletto, founders of architecture and design innovation firm ecoLogicStudio www.ecologicstudio.com, together with academic partner Innsbruck University, present their latest installation Deep Forest within the exhibition “Living Structures” www.louisiana.dk/en/exhibition/living-structures held at the renowned Louisiana Museum of Modern Art in Denmark from November 8th, 2024 to March 23rd, 2025.
Commissioned by the Danish museum in 2023, Deep Forest celebrates the naturalisation of architecture and technology, in itself a reversal on the modernist project to mechanise nature. The exhibition “Living Structures” is part of “Architecture Connecting”, a new series curated by Mette Marie Kallehauge and Kjeld Kjeldsen, spotlighting the evolution of architecture in an era of climate crisis and the social, cultural and political challenges this reality poses.
「走進一片森林，就像深入其交錯的生態系統中，暫時忘卻自我，沉浸於彼此聯繫的多重過程中。在當代世界中，這些過程既是生物性的，也是數字位化的，我們與森林共同構成了‘菌絲體有機網絡’；就像深森林展覽入口處迎接參觀者的菌一樣，它既是生物學和數學的理論和知識，有助於開發與人類和自然互動的新數位工具、材料和建築結構。」 —— ecoLogicStudio 聯合創始人 Claudia Pasquero 教授如此表示。
這項作品的複雜性和相互關聯性只有透過體驗才能真正理解，Living Structures運用沉浸式空間設計語言，表達 ecoLogicStudio 及其學術合作夥伴在生物數字化設計領域二十年的研究成果。
“Diving deeply into a forest means losing oneself into the multiplicity of interconnecting processes that defines its very existence; and with it our own identity. In our contemporary world these processes are biological and digital, as both us and the forest are cyber-organic networks. Like the slime mould greeting visitors at the entrance of the Deep Forest exhibition, it serves as both a woodland fungus and a biological computer—a form of wetware AI infrastructure with the capacity to plan a city.”
— affirms Prof. Claudia Pasquero, ecoLogicStudio’s co-founder.
The complexity and interconnectedness of this work can only be truly understood through experience, which is why ecoLogicStudio’s exhibition at the Louisiana employs the immersive language of spatial design to express the innovative essence of their and their academic partners twenty years of research and bio-digital design advancements.
展覽Living Structures的靈感來自路易斯安那博物館的特殊地理環境，以當地可採集與製造的材料為基礎，核心則是森林的“木網絡”——菌絲體（mycelium）。菌絲體在展覽中不僅組織了展品的平面結構、光合作用反應器的通風系統及參觀路線，還作為“活的建築材料”，塑造了生物降解柱的形態與實質。
雖然菌絲體在生物設計中的應用沒有限制，但Deep Forest聚焦菌絲體與微藻的共生關係。菌絲體作為“森林的網絡”，與光合作用微藻結合，形成共生地衣（lichen），支持這個互聯生態系統的運作。
Drawing upon the unique landscape setting of the museum, the Deep Forest installation is shaped by the territorial diversity of the region and by the very materials that can be collected and manufactured on site. King among them is the mycelium, the organism that forms the Wood Wide Web as it has been called, the internet of the forest. In this exhibition mycelium dictates the planar organisation of the projects on show, it arranges the aeration system of the photosynthetic reactors, it guides visitors along suggested paths. And, it also emerges as a living architectural material, giving forms and substance to bio-degradors columns.
While there are no limits to mycelium’s applications in biodesign, Deep Forest focuses on its symbiosis with photosynthetic microalgae. The forest’s circularity relies on photosynthesis, not only from tree leaves but also from algae, which form a symbiotic bond with mycelium, creating lichens that sustain this interconnected ecosystem.
Living Structures由回收102 個樺樹幹製成的碳儲存器，在展覽中容納了大量的真菌物種，並為空氣淨化與碳封存提供了44組光合作用裝置，每天可從大氣中捕捉600克的二氧化碳，相當於一片小型成熟森林的吸碳能力。
這些裝置由 ecoLogicStudio 設計與工程製作，其中，分為15組含當地海岸巨藻的高單位及 29組較低的單位則含有螺旋藻 SP的微藻品種小球藻，為空間注入新鮮氧氣。
102 carbon storers made of salvaged birch trunks host plenty of fungi species in the exhibition and provide context for the photosynthesizers: the 44 glass vessels hosting living cultures of cyanobacteria and seaweeds that supply the museum’s room with fresh oxygen and carbon sequestration.
The 44 photosynthesizers designed and engineered by ecoLogicStudio, capture 600g of CO2/day from the atmosphere, the equivalent of a small mature forest. Among these, 15 taller units contain macroalgae species typical of the local shores, while 29 shorter units house microalgae varieties of Spirulina SP.
它們因斯布魯克大學合成景觀實驗室創建 3D 列印 20 個生物降解器提供生物質。Living Structures 的外部結構是注入藻類的生物聚合物 3D 列印的，創新製造技術與生物降解結構由含藻類的生物聚合物外殼與 300 公斤咖啡渣填充物組成，並接種活性菌絲體。這些菌絲體柱在地下培育三週後取出，乾燥形成具有結構性與美感的建築材料，局部區域保留濕潤以促進新鮮蘑菇會從 3D 列印樹皮的縫隙中生長出來。Deep Forest 以建築形式呈現光合作用的循環過程，實現從城市污染物中“生長”可持續建築的夢想。這項作品不僅是建築創新，更是對當前生態問題的深刻回應，象徵自然與科技在未來建築中的共生。
These also provide biomass to 3D print 20 biodegraders that were created at the Synthetic Landscape Lab at the University of Innsbruck. Their external structure is 3D printed with algae infused biopolymer and their infill is made of 300kg of spent coffee grounds. They are inoculated with colonies of living mycelium, feeding on the sugars in the coffee grounds, and growing to form a new space filling network, a solid synthetic trunk. The proprietary bio-fabrication process involves burying the synthetic mycelium trunks in the ground for up to 3 weeks to allow mycelium to fully develop its networks and reach the designed material and aesthetic consistency. At this stage the trunks can be extracted and dried to acquire mechanical resistance and beauty. Occasionally some areas can be kept wet to allow fruiting bodies to grow, with fresh mushrooms popping out from gaps in the 3D printed bark. In synthesis, Deep Forest gives architectural form to the micromanagement of photosynthesis as a circular process. It embodies the dream of growing sustainable architecture from the waste and pollution emitted in the contemporary Urbansphere.
“光合作用是火的逆向過程。當世界有太多的火時，我們需要更多的光合作用，而且需要設計它，定製它。”— 引用Mario Carpo教授為展覽目錄錄製的 Claudia Pasquero教授和Marco Poletto博士的採訪
“Photosynthesis is fire in reverse. There is too much fire in the world, so to counteract fire we need more photosynthesis and we need to design it, to customise it.”
— quotes Prof Mario Carpo from its interview with Prof Claudia Pasquero and Dr Marco Poletto recorded for the exhibition catalogue.
