Difference between revisions of "Team:Pasteur Paris/Design Biology"
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<h2><B>Biodesign</B> </h2> | <h2><B>Biodesign</B> </h2> | ||
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To introduce you to «Biodesign», you will find below an extract from William MYERS, BIO DESIGN, Thames & Hudson, 2012.</br></br> | To introduce you to «Biodesign», you will find below an extract from William MYERS, BIO DESIGN, Thames & Hudson, 2012.</br></br> | ||
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« Designers’ fascination with science is today reciprocated by a generation of scientists who are eager to get their brains dirty with reality. As explored first in the 2008 exhibition ‘Design and the Elastic Mind’ at the Museum of Modern Art, New York (full disclosure: yours truly was the curator), these novel collaborations are often joyous contaminations in which scientists feel, even if just for a moment, liberated from the rigor of peer review and free to attempt intuitive leaps. Indeed, physicists, mathematicians, computer scientists, engineers, chemists, and bioethicists have leaped at the opportunity, their contribution encouraged and celebrated in a few centers of ‘irradiation,’ such as London’s Royal College of Art Design Interactions program or Le Laboratoire, an idea incubator in Paris. The results (based on current research) have the lyrical and demonstrative power of art and the realistic possibilities of design. It is, however, the experiments with biologists that have garnered the strongest momentum, and a new form of organic design is rapidly evolving—the biodesign. Biodesign harnesses living materials, whether they are cultured tissues or plants, and embodies the dream of organic design: watching objects grow and, after the first impulse, letting nature, the best among all engineers and architects, run its course. It goes without saying that when the materials of design are not plastics, wood, ceramics, or glass, but rather living beings or living tissues, the implications of every project reach far beyond the form/function equation and any idea of comfort, modernity, or progress. Design transcends its traditional boundaries and aims straight at the core of the moral sphere, toying with our most deep-seated beliefs. In designers’ ability to build scenarios and prototypes of behavior lies a power that they should protect and cherish, and that will become even more important in the future.</br></br> | « Designers’ fascination with science is today reciprocated by a generation of scientists who are eager to get their brains dirty with reality. As explored first in the 2008 exhibition ‘Design and the Elastic Mind’ at the Museum of Modern Art, New York (full disclosure: yours truly was the curator), these novel collaborations are often joyous contaminations in which scientists feel, even if just for a moment, liberated from the rigor of peer review and free to attempt intuitive leaps. Indeed, physicists, mathematicians, computer scientists, engineers, chemists, and bioethicists have leaped at the opportunity, their contribution encouraged and celebrated in a few centers of ‘irradiation,’ such as London’s Royal College of Art Design Interactions program or Le Laboratoire, an idea incubator in Paris. The results (based on current research) have the lyrical and demonstrative power of art and the realistic possibilities of design. It is, however, the experiments with biologists that have garnered the strongest momentum, and a new form of organic design is rapidly evolving—the biodesign. Biodesign harnesses living materials, whether they are cultured tissues or plants, and embodies the dream of organic design: watching objects grow and, after the first impulse, letting nature, the best among all engineers and architects, run its course. It goes without saying that when the materials of design are not plastics, wood, ceramics, or glass, but rather living beings or living tissues, the implications of every project reach far beyond the form/function equation and any idea of comfort, modernity, or progress. Design transcends its traditional boundaries and aims straight at the core of the moral sphere, toying with our most deep-seated beliefs. In designers’ ability to build scenarios and prototypes of behavior lies a power that they should protect and cherish, and that will become even more important in the future.</br></br> | ||
[…]</br> | […]</br> | ||
