Everyday Algae

E V E R Y D AY A L G A E F O R A S U STA I N A B L E F U T U R E

BY ALEXANDRA RICHARDSON

EVERYDAY ALGAE

L I V E E V E RY DAY A L GA E

EVERYDAY ALGAE

CONTENTS 3

CHAPTER 1: INSPIRATION

Background of the brief and initial research that inspired the project.

39 CHAPTER 2: GROWING ALGAE

Knowledge gained through first-hand research growing algae.

91 CHAPTER 3: VESSELS

Designs for vessels to house algae within domestic and commercial environments.

156 COVID-19: ADAPTATIONS TO WORKING 159 CHAPTER 4: APPLICATIONS

Exploring some of the different uses that algae could have within the design industry.

255 CHAPTER 5: BRANDING

Developing professional materials for the project.

279 CHAPTER 6: PROPOSAL

Design proposal for where to take the project next.

297 CHAPTER 7: EVALUATION 320 REFERENCES 327 APPENDICES

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EVERYDAY ALGAE

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C HAPTER ONE INSPIRATION

CHAPTER 1: INSPIRATION This chapter outlines the background of initial research and inspiration which helped with the formation of my project. Included are informative exhibitions and shows that I visited prior to or in the early days of the LIVE module which have helped to determine my design brief and direct the beginning of the project.

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PREVIOUS WORK

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THAT’S CAFFEINE

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MANIFESTO

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FOOD: BIGGER THAN THE PLATE

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FASHIONED FROM NATURE

Inspiration from the 2019 V&A Exhibition

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STELLA MCCARTNEY Sustainable luxury fashion as inspiration

BIO DESIGN VS. WASTE MATERIALS Deliberation over preferential path

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BARE FASHION

DESIGN BRIEF LIVE module design brief and context

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CESARE GRIFFA

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STUDIO NIENKE HOOGVLIET

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OLAFUR ELIASSON: IN REAL LIFE

Reflections on the MA Design work completed in previous modules, highlighting common themes and processes A summary of my personal design ethos

Inspiration from the UKs first Vegan Fashion Show

15 NOSTALGAE

Brand working with natural textile dyes

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NEW DESIGNERS

Inspiration gathered from the 2019 showcase

TY SYML

Bio Design project utilising waste coffee grounds V&A Exhibition exploring the sustainability of our food production cycle

Architecture firm exploring the potential of micro-algae An inspirational artist and designer working with seaweed

Visit to the 2019 Olafur Eliasson exhibition at Tate Modern and further artist research

Bio Design project using mycellium (fungus)

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INSPIRATION PREVIOUS WORK

PREVIOUS WORK To determine my focus for the LIVE module, I revisited the work I completed for the previous modules: PLAY, MAKE and Professional Practice. I think it is important to value my strengths and create work that I appreciate and enjoy making (like the above list) but also to push myself out of my comfort zone and create work that is more innovative and original.

My goal for the LIVE module is to create work with a great impact, that I can be proud of and that can help to launch my design career. With this in mind, I am considering from the start that this work will be exhibited at the UWE degree show in the summer of 2020 (hopefully other exhibitions too) so I need to create a project that will stand out and impress in this context.

Within my previous work, I have identified some KEY THEMES AND PROCESSES: • animals & plants • sustainability • colour • jesmonite • surface pattern & texture • screen print and painting • laser cutting and engraving wood

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INSPIRATION PREVIOUS WORK: SUS TAIN ABILIT Y

SUSTAINABILITY Throughout my work, a focus on sustainability has become more prevalent and has informed my choice of materials, subject and process.

This is a quality that I want to embody within my work on the LIVE module. Over this spread I have included images showing some of the sustainability focused projects I have worked on over the past year, mostly as part of the Professional Practice module and the Enterprise Summer Scholarship. Both of these followed a project in which I investigated the need for alternative forms of leather, which conform to more modern values around sustainability and ethics. This was the idea that I originally wanted to pursue further into the LIVE module.

My plan was to eventually create a campaign/ exhibition scene formed of objects that would usually require the death of an animal to make (e.g. taxidermy pieces, leather goods) but instead made from alternatives to leather with the intention that this would pre -ceed the launch of my own brand (developed through the Summer Scholarship). While I still really like this concept, for the LIVE module I want to do something different, pushing myself further and using this opportunity to create more unique and pioneering work, e.g. creating my own new material, rather than making products from an existing material.

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C HAPTER ONE INSPIRATION

A R T I ST S N E E D TO C R E AT E O N T H E S A M E S CA L E T H AT S O C I E T Y H AS T H E CA PAC I T Y TO D E S T R OY - L A U R E N B O N , 20 0 6 -

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INSPIRATION MANIFES TO

MANIFESTO Design naturally starts with a problem, so as designers we are here to find solutions. It is my belief that design should always endeavour to make the world a better place, by solving small and big issues alike. Design should always have a positive impact.

There are many issues of a global scale around the depletion of our planet’s resources and the harmful impact that humankind has upon the world. Designers are responsible for much of what is produced worldwide, so I see it as a designer’s responsibility to ensure that whatever they are releasing into the world does not further antagonise the already delicate balance between humankind and nature.

SUSTAINABILITY IS KEY. L I V E E V E RY DAY A L GA E

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C HAPTER ONE INSPIRATION

FA S H I O N E D FROM

N AT U R E

FASHIONED FROM NATURE VICTORIA & ALBERT MUSEUM LONDON AUGUST 2018 10

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INSPIRATION FASHIONED FROM N ATURE

I visited the V&A FASHIONED FROM NATURE exhibition in August 2018, shortly before joining the MA. This exhibition has since inspired much of my design work and influenced my outlook on the world. The exhibition displayed a variety of responses relevant to the concept “Fashioned from Nature” which took many forms, from posters to campaigns and items of clothing.

There were lots of visual interpretations of the theme and I particularly enjoy the surreal figures included on the exhibition posters (left page, top left).

This exhibition showed some of the efforts made to change the way that consumers think, to stop just accepting what is already being done and to challenge unethical and unsustainable processes.

I’ve always had a passion for animals and nature, my work prior to visiting this exhibition had focused around themes of sustainability and conservation. This exhibition showed me how the interests that I had were shared by so many others and had been for centuries! It was really inspiring to see evidence of sustainable, ethical and environmentally sound practices being chosen such a long time ago. I have felt like a minority at times due to the moral conflicts I experience around certain common animalbased items such as leather or down, which are often justified as “traditional” materials or byproducts, with the logic that it’s always been done, so why stop now?

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C HAPTER ONE INSPIRATION

STELLA MCCARTNEY WORLD OF SUSTAINABILITY

Stella McCartney is a brand I have admired for some time and would potentially like to pursue a career with, based around their principles in relation to the treatment of animals and the planet which reflect my own values. While they have always maintained an avoidance of animal-based materials, many of their more recent ranges now also consider the use of materials as a solution to environmental issues such as pollution and waste. In my opinion their behaviours are now leading the way for the luxury design industry (and the fashion industry) to work towards lowering its overall environmental impact. The benefit of brands within the luxury market exhibiting these values is that it shows that ethical and sustainable can still be attractive, encouraging others to adopt these philosophies too.

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INSPIRATION S TELL A MCC ARTNEY

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C HAPTER ONE INSPIRATION

BARE FASHION Bare Fashion is the first Vegan Fashion Show held in the UK. I visited the exhibition in August 2019 to perform research for the ethical and sustainable brand I developed through the Professional Practice Module and the Enterprise Summer Scholarship.

The show was obviously full of vegan brands, many of whom were just using faux leathers and suede made from plastics to create their products - very frustrating! However there were some brands that had embodied the value of sustainability as well as vegan and were using some really interesting materials like recycled plastics, Pinatex (which I have already explored myself), washable paper (image second from the bottom on the right), apple leather and more.

BARE FASHION VEGAN FASHION SHOW LONDON 10TH AUGUST 2019

The show was somewhat underwhelming, I had high hopes of finding really inspirational and pioneering methods as it’s the only Vegan Fashion Show in the UK, but I was left disappointed.

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INSPIRATION BARE FASHION

N O ST A L GA E Nostalgae are a sustainable brand that I discovered at Bare Fashion. Their garments are made from natural materials and are dyed using entirely natural pigments.

It looks like they struggled with dying using algae pigment as the only algae -dyed garments on show were the blue/ green tops barely visible below, with the pink and yellow pigments achieved with avocado and turmeric respectively.

While I like the concept in general and some of the images of the products and process (shown on the instagram feed to the right), I think the overall appearance lacks consistency and could be presented more professionally.

IMAGES ABOVE AND RIGHT IMAGES SOURCED FROM THE NOSTALGAE INSTAGRAM FEED: FOUND AT @NOST.ALGAE IMAGE LEFT ORIGINAL PHOTOGRAPH TAKEN SHOWING THE NOSTALGAE STAND AT BARE FASHION EXHIBITION

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MICHAEL ANDERSON KELP WEAVE THIS PROJECT IS BAGS MADE FROM WOVEN SEAWEED WHICH GIVES A STRONG LEATHER-LIKE QUALITY, WHILE BEING NATURALLY AND SUSTAINABLY SOURCED AND WILL DECOMPOSE NATURALLY ONCE USED

MAT T TATE SEACYCLE FISHING GEAR UP-CYCLED TO PREVENT IT FROM POLLUTING THE SEAS

CATARINA ABEND SUSTAINABLE PRODUCT DESIGN AND DEVELOPMENT

HIGH SOCIETY ORGANIC WASTE MATERIALS FROM THE CREATION OF WINE, TOBACCO AND HEMP USED TO MAKE LIGHTING STRUCTURES

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NEW DESIGNERS 2019 BUSINESS DESIGN CEN TRE LOND ON JU N E/JU LY 2019

C HAPTER ONE INSPIRATION

INSPIRATION NEW DESIGNERS

NEW DESIGNERS

NIAMH MUNDY BLENDED THIS PROJECT UTILISES WASTE COTTON FROM THE FASHION INDUSTRY TO FORM NEW MATERIALS WHEN MIXED WITH A BIOPLASTIC RESIN. I REALLY LIKE THE COLOUR VARIATIONS IN THE OUTCOMES AND THE CONCEPT OF MAKING USE OF WASTE.

NEW DESIGNERS 2019

JORDAN MORRIS FURNITURE AND PRODUCT DESIGNER JORDAN’S WORK AT NEW DESIGNERS WAS CREATED FROM JESMONITE AND HE HAD USED WASTE MATERIALS LIKE OLD STAR WARS FIGURINES TO ADD INTERESTING TEXTURAL AND COLOURED ELEMENTS IN A TERRAZZO STYLE

I VISITED NEW DESIGNERS IN THE SUMMER OF 2019 TO GATHER INSPIRATION FOR THE LIVE MODULE. I FOUND THAT MUCH OF THE WORK ON DISPLAY WAS FOCUSED AROUND SUSTAINABILITY AND SOCIAL ISSUES - COMPARED WITH JUST A FEW STUDENTS IN 2018 WHO HAD FOCUSED ON THESE ISSUES. WHILE ENCOURAGING TO SEE SUCH INTEREST IN THESE ISSUES, IT DID ALSO FEEL QUITE SATURATED WITH LOTS OF SIMILAR PROJECTS AND MEANT THAT FEW STOOD OUT FROM THE CROWD.

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C HAPTER ONE INSPIRATION

VICTORIA POT T GAIA

A RANGE OF PATTERNED REUSEABLE HOUSEHOLD PRODUCTS SUCH AS FOOD BAGS AND BEESWAX WRAPS, WITH PRETTY PATTERNS ON THEM. I REALLY LIKE THIS PROJECT BECAUSE NOT ONLY IS IT SUSTAINABLE, BUT IT IS ALSO USEFUL ON A WIDE SCALE. SMALL PRODUCTS LIKE THESE PROVIDE A GREAT SOLUTION AND A STEP TOWARDS LOWERING THE USE OF PLASTICS IN THE HOME. THIS PROJECT IS ALSO VERY WELL CONSIDERED AND PRESENTED PROFESSIONALLY, APPEARING AS THOUGH IT IS READY FOR SALE IMMEDIATELY COMPARED WITH MANY OF THE OTHER EXHIBITORS AT NEW DESIGNERS WHO HAVE CONCEPTS WHICH HAVE BEEN EXPLORED SLIGHTLY, BUT ARE NOWHERE NEAR READY FOR SELLING.

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KIERAN DEVLIN PRODUCT DESIGNER

KIERAN’S PROJECT USES OLD CDS WHICH ARE THEN SMASHED UP INTO SMALL PIECES AND FORMED INTO A PLASTIC MATERIAL. THIS MATERIAL HAS THEN BEEN MOULDED INTO DIFFERENT FORMS TO CREATE SOME PRODUCTS THAT WOULD USUALLY BE MADE OF PLASTIC. I THINK THE CONCEPT IS GREAT AND I ALSO REALLY LIKE THE PRESENTATION OF THE PROJECT, SHOWING THE RECORD PLAYER AS A COMPLETED PIECE - ALSO LINKING BACK TO THE THEME OF MUSIC AND THE USE OF CDS TO MAKE THE PLASTIC - ALONGSIDE A BOARD SHOWING A SUMMARY OF THE PROJECT’S DEVELOPMENT. I THINK SHOWING THE SAMPLES AND DIFFERENT STAGES THE MATERIAL GOES THROUGH ADDS VALUABLE CONTEXT TO THE PROJECT.

INSPIRATION NEW DESIGNERS

NEW DESIGNERS

BEN ELLIS RAW

RAW USES WASTE FRUIT AND VEGETABLES THAT ARE UNSUITABLE FOR SALE OR CONSUMPTION AND TAKES THE FRUIT SKINS AND PEELS, WHICH ARE THEN BLENDED INTO A PULP, LAID OUT IN SHEETS AND DRIED TO FORM THESE NATURAL AND SUSTAINABLE SHEET MATERIALS

MOLLY ALLEN DESIGNER MAKER

MOLLY HAS USED SHED SNAKE SKIN TO CREATE ACCESSORIES, SHOWING THAT PRODUCTS CAN COME FROM THE NATURAL WASTE OF LIVING CREATURES AND THAT SNAKES DON’T NEED TO BE SLAUGHTERED FOR FASHION

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INSPIRATION T Y SYML

T Y SYML

TY SYML are a studio based in Wales, that I discovered at New Designers 2019. They create functional pieces for the home using natural materials such as mycellium (a type of fungus) and seaweed.

The aesthetic of their work is quite rugged and organic-looking which reflects the natural and living materials from which they are made. The materials used have a surprising array of finishes, from the terrazzo-style of the mycellium surface at the top of the left page, to the brown and earthy seaweed lamp shade at the top of this page - they make it difficult to determine the material used, which makes the pieces all the more intriguing.

The work of TY SYML has really opened my eyes to bio-design and I have found seeing the pieces in person really inspiring.

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INSPIRATION THAT’S C AFFEINE

AT TICUS DURNELL has created sustainable pieces using a material formed from used coffee grounds. Another designer I discovered at New Designers 2019, his work has provided me with further inspiration to look into bio-design. The rich, high-quality, polished finish of THAT’S CAFFEINE contrasts strongly with the work of TY SYML, showing two interpretations of applying bio-design to the home.

AT T I C U S D U R N E L L : T H AT ’S C A F F E I N E

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WE WERE ABLE TO VISIT THE KITCHEN TO GET A CUSTOM MADE SAMPLE DISH (THE SIZE OF A TEA SPOON) CREATED BY LOCI FOOD LAB TO OUR OWN SPECIFICATIONS, BASED AROUND THE DIETARY PRIORITIES WE DIGITALLY SUBMITTED

P I N AT E X LEATH ER ALTER N ATI V E MADE F R O M P I N E A P P LE LE A F F I B R E & SI LKY TEXTI LE MADE FROM ORANGES

C HAPTER ONE INSPIRATION

BELOW POTS MADE FROM A CLAY DERIVED FROM COW DUNG, BY-PRODUCT OF DAIRY FARMING

ABOVE SAMPLES FOR PARBLEX CHIP(S) BOARD A DURABLE BIOPLASTIC MADE FROM MCCAIN CHIPS’ WASTE POTATO PEELINGS

BELOW ITEMS AND DECORATION MADE FROM THE BYPRODUCT OF CORN: CORN HUSKS

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INSPIRATION F OOD: BIGGER THAN THE PL ATE

FOOD:

BIGGER THAN THE P L AT E

I visited the FOOD: Bigger than the Plate exhibition in the summer of 2019. The exhibition was set out in the order of the food cycle and went through the many extensive ways that designers have found to utilise waste and streamline processes in food production at every stage. The overall point of the exhibition was to encourage people to consider where their food comes from and the sustainability of this, by showing the journey it goes on before reaching our plates. The exhibition was eye -opening to the amounts of waste products that come out of common foods. It was frustrating to see that while some designers have found truly innovative ways of utilising this waste, in general the food industry still produces so much that just goes to landfill - even when these uses are apparent.

FOOD: BIGGER THAN THE PLATE VICTORIA & ALBERT MUSEUM LONDON JULY 2019 L I V E E V E RY DAY A L GA E

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C HAPTER ONE INSPIRATION

BIO VS WASTE DESIGN MATERIALS I chose to base my LIVE design brief around ways to make design more sustainable, staying true to my values and design ethos. I wanted to challenge myself technically and mentally for this project to get as much out of it as possible and produce a truly useful outcome. I began by comparing biodesign to the use of waste materials that would otherwise be destined for landfill. My first concept was to create a new, useful material from something that was either naturally grown (bio-design) or a waste material. Bio-design is beneficial to the environment during the production of the raw material, as well as the outcome being natural and sustainable (dependant on process and any additives). This is in comparison to using waste materials, which can utilise existing rubbish (not needing the energy to grow anything afresh) while decreasing the pressure on landfill/wherever the waste ends up by using the material to make something new.

In the Netflix series Abstract, the designer Neri Oxman proposed the idea of GROWTH AS OPPOSED TO ASSEMBLY which to me summarises the efficiency of bio-design: growing the product from the natural material, as opposed to growing/creating a material, processing it and then assembling into a product. Oxman also discussed the idea of nature inspired design a familiar and historic design concept - being reformed as design inspired nature, which is a really interesting idea!

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INSPIRATION DESIGN BRIEF

Initially, my plan was to look to waste materials for inspiration and find a way to create a new and useful material from something that would otherwise be discarded, further contributing to pollution of the environment. I proposed this idea during the first group tutorial of the year, but somehow the conversation ended up turning to the work of Cesare Griffa - an architect who has worked with living algae to develop a cladding system that the algae lives in, with the result that the cladding utilises an otherwise un-used space on the walls of large buildings, in order to grow the algae while cleaning the air around the building.

After discussing the algae cladding in the tutorial, I was still thinking about the concept when walking through Bristol city centre, specifically the area by the fountains and in front of the Hippodrome.

I was looking at the large, open space, in the middle of the polluted city centre and wondered why this kind of design isn’t being utilised in locations like this. We have so many water features around the city centre, providing no clear purpose other than to look nice and break up the pavements, so why not instead introduce a functional and attractive centrepiece to locations like this - for example, a sculptural structure that is constructed to provide optimum conditions for algae to grow. The structure would provide a point of interest to passers by, while housing the living algae, which would naturally be improving the air quality of the polluted city centre and also could be harvested for a multitude of purposes once grown.

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INSPIRATION DESIGN BRIEF

DESIGN BRIEF:

A N E X P LO R AT I O N OF A LGA E A N D H OW I T CA N B E I N CO R P O R AT E D I N TO E V E R Y DAY L I F E Algae is a group of water-based plants that ranges from large formations like seaweed and kelp, down to the small edible micro-algae: Spirulina. Algae is gradually increasing in popularity, with the benefits of being a photosynthetic organism (uses sunlight to convert CO2 into O2) but without the requirement for the vast amounts of land needed by other plants to perform the same exchange.

While environmentally beneficial to grow, algae also has a multitude of applications once harvested. Various types of algae can provide a healthy source of food, alongside multiple uses within other industries, such as a sustainable dye for the textile industry, bio-fuel, a natural and edible form of plastic food packaging and a fastgrowing material to make paper from.

The challenge that currently prevents algae from becoming a more prominent feature within many industries (such as food, textile and design) is the public’s preconceptions about it. Algae is often assumed to be a gross, undesirable and potentially harmful life -form, which makes people recoil at just the mention of it. My goal is to NORMALISE THE USE OF ALGAE, enabling it to become a popular material which can be used on an industrial level and replace less sustainable alternatives.

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C E S A R E G R I F FA ARCHITECTURE LAB

MICRO-ORGANISMS LIKE ALGAE ARE LIKE BACTERIA–IT’S ONE OF THOSE THINGS THAT IN OUR CULTURE PEOPLE TRY TO GET RID OF... BUT ALGAE OFFER INCREDIBLE POTENTIAL BECAUSE OF THEIR VERY INTENSE PHOTOSYNTHETIC ACTIVITY. - CESARE GRIFFA -

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INSPIRATION CESARE GRIFFA

Cesare Griffa is an Italian Architect and amateur algae farmer. He previously worked for several big architecture practices including Zaha Hadid Architects, before setting up his own Architecture Lab. Much of his recent work has focused on micro-algae and creating artificial environments for them to live in within built-up landscapes. His interest in algae is formed by a curiosity into the idea that it was one of the earliest life -forms on the planet and may hold answers as to where all life originated from, as well as the many possible uses for algae, such as food, air cleaning and bio-fuel.

I first encountered Cesare Griffa’s work years ago in an article about one of his architectural systems WATERLILLY: a facade comprised of small chambers containing a living algae solution that can be used to clad buildings, with the algae harvested periodically (images at top of right page). The article discusses some of the obstacle preventing this concept being used on a wider scale, most note -ably the fact that as living, photosynthetic life -forms, algae can be quite temperament and requires the right level of sunlight for it to survive, as too much sun will cook the algae. Griffa makes the point that the walls and roofs of buildings worldwide provide a huge surface area that could be utilised for algae production, helping to clean the air in polluted and built-up environments while providing somewhere for the algae to grow. While it is true that walls and roofs of many city buildings are an un-tapped source of space to grow vegetation, there remains the issue of aesthetics - Griffa’s wall facade is an acquired taste and may not appeal to all, additionally when considering the public perceptions of algae as a very undesirable material.

CESARE SPENT THE LAST YEARS WORKING WITH MICRO-ALGAE AS LIVING MATERIAL FOR DESIGN AND ARCHITECTURE. ON A FUNCTIONAL SIDE, MICRO-ALGAE APPEAR AS A PROMISING ECO-TECHNOLOGY TO OPTIMIZE ENERGY CONSUMPTION, AND PURIFY AIR AND WATER. ON A SYMBOLIC SIDE, MICRO-ALGAE ARE THE FIRST LIVING ORGANISM APPEARED ON EARTH 3.5 BILLION YEARS AGO. - CESARE GRIFFA WEBSITE IMAGES SOURCED FROM HTTPS://CESAREGRIFFA.COM ARTICLE REFERENCED ADELE PETERS THESE ALGAE FARMS COVER THE WALLS OF BUILDINGS AND SOAK UP CARBON HTTPS://WWW.FASTCOMPANY.COM/3029309/THESE-ALGAE-FARMS-COVER-THEWALLS-OF -BUILDINGS-AND-SOAK-UP-CARBON 28 APRIL 2014 L I V E E V E RY DAY A L GA E

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INSPIRATION S TUDIO NIENKE HOOGVLIET

ST U D I O N I E N K E H O O GV L I E T

Studio Nienke Hoogvliet is a design studio based in The Hague, The Netherlands. Their work has a focus on “materials that can contribute to a more holistic world” with projects designed to build awareness of environmental problems within areas of society such as the textile, leather and food industries. The studio has conducted extensive research into the use of natural materials within design, working alongside the textile industry on projects such as ‘Colors of the Oosterschelde’ in an attempt to see if unsustainable traditional dyes and yarns could be replaced with alternatives formed from seaweed - images from this project shown above.

The work of Studio Nienke Hoogvliet has inspired me, as the forwardthinking and problem-solving nature of projects like these (especially when in collaboration with those invested in the textile industry) is the sort of design research that can attain results which have the ability change unsustainable practices permanently, improving the environment in the long-term. I also really like the clean and contemporary way that the projects have been displayed. An issue with lots of sustainable design projects is the amateur and unprofessional presentation, which often lets down innovations realised within the work. Here, the photography is beautiful, refined and clean which successfully expels any notion that work involving seaweed or other natural materials is dirty and unappealing.

STUDIO NIENKE HOOGVLIET HTTPS://WWW.NIENKEHOOGVLIET.NL L I V E E V E RY DAY A L GA E

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OLAFUR ELIASSON: IN REAL LIFE In October 2019 I visited the Olafur Eliasson exhibition at Tate Modern. The exhibition showed a range of his work spanning decades, much of it focused around the elements and workings of the natural world, from arrays of lights to a window that looked like it was always raining, tanks of tidal liquid, a living wall of moss and light refracting through falling water droplets.

This was one of the best and most inspiring exhibitions I have ever been to. Olafur’s use of a scientific method to research the natural world, alongside a playful approach to design provide inspiration for his pieces in a unique and engaging way, unlike any other designer I have ever seen. This way of approaching design as a problem to be solved in a more scientific way and incorporating elements of nature to form functioning and living outcomes really appeals to me.

OLAFUR ELIASSON: IN REAL LIFE TATE MODERN LONDON OCTOBER 2019

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INSPIRATION OL AFUR ELIASSON: IN REAL LIFE

LIGHT IS LIFE

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A R T WO R KS H AV E C A R B O N F O O T P R I N T S TO O

ALL PHOTOS ARE MY ORIGINAL PHOTOS, TAKEN AT THE EXHIBITION OLAFUR ELIASSON: IN REAL LIFE TATE MODERN LONDON OCTOBER 2019

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INSPIRATION OL AFUR ELIASSON: IN REAL LIFE

TRUST IS A RESPONSE TO TRUSTWORTHINESS

OLAFUR ELIASSON: IN REAL LIFE Shortly after visiting this exhibition at Tate Modern, I watched the Netflix series Abstract, which begins with an episode all about Olafur Eliasson and his work, including works towards this exhibition! The episode was really interesting and offered further insight into the thinking and concepts behind his works, which gave them a whole new meaning to me and made them even more inspiring.

A significant message that I took away from Olafur Eliasson on Abstract was the importance of designing things with a POSITIVE NARRATIVE; NOT EVERYTHING ABOUT THE ENVIRONMENT SHOULD BE DOOM AND GLOOM. This really resonates with me in relation to my own work, highlighting the importance of encouraging positive change and showing a way forwards, rather than just focusing on how bad and sad reality is - be proactive.

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C HAPTER T WO ALGAE

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C HAPTER T WO ALGAE

CHAPTER 2: ALGAE In this chapter I have tried to gain the knowledge necessary to inform the designs for my algae growing vessels and to find other ways that I may be able to normalise algae. I have done this through internet/book based research and first-hand research by growing algae myself.

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WHAT IS ALGAE?

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THE CONCEPT

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CHALLENGES

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GROWING ALGAE DOCUMENTED

A photographic log showing the growth of my algae cultures, with interesting highlights and learning points along the way.

77 MY EXPERIENCE OF GROWING ALGAE

A summary of the ten months I spent growing

algae and what I learnt.

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EATING THE ALGAE

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AIDES TO GROWING ALGAE

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SEAWEED

A taste review of eating buth my home grown algae and the shop-bought alternative.

To overcome some of the issues that I found

during my time growing algae, I explored

some pottential aides to assist with the process.

After testing the three types of algae that could be home-grown, I chose to compare the results against seaweed.

78 PAT TERNS LEFT BY STRAINING ALGAE

Interesting abstract patterns remained on the fabrics used to strain the spirulina when cleaning the cultures.

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C HAPTER T WO ALGAE

W H AT IS A L GA E ?

As briefly outlined for my brief in Chapter One, algae is the name of a group of waterbased organisms that live in both marine and freshwater environments. Certain types of algae can live in some of the most hostile environemtns on the planet, such as within natural geothermal springs or even in snow. Algae survives due to its ability to photosynthesise: taking light energy from the sun to convert carbon dioxide, water and minerals into oxygen and carbohydrates. The carbohydrates sustain the algae, while the oxygen is released into the air. By exchanging CO2 into O2 algae can improve air quality, which could pottentially have a big impact in a polluted environement if algae was grown on a large enough scale.

Algae comes in many forms - both large like kelp and very small like spirulina. Many forms of algae are not only edible but actually highly nutritious, however the term “algae� has negative associations due to the toxicity of some blue -green algaes.

Algae is not only environmentally beneficial to grow, but also has a multitude of applications once harvested. The different types of algae can be used to provide a healthy source of food, alongside multiple uses within other industries, such as a sustainable dye for the textile industry, bio-fuel, a natural and edible form of plastic food packaging and a fastgrowing material to make paper from.

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ALGAE WHAT IS ALGAE?

THE CONCEPT The concept for this project is to normalise the use of algae in order to encourage its wider use within the design industry, as a sustainable alternative to more commonly used and environmentally-harmful practices.

Unfortunately, due to the common presumption that algae is toxic (which has been the first response of many people when I have mentioned using algae, as well as many internet results for algae being instructions on how to remove algae rather than grow it) perceptions need to be challenged before it is feasible for the use of algae to become more mainstream.

CHALLENGES The main challenge I face that is currently preventing algae from becoming more widely used within many industries is public preconceptions about it. Algae is often assumed to be a gross, undesirable and potentially harmful life -form, which makes people recoil at just the mention of it. This needs to be addressed at the level of all decision makers: people designing, manufacturing and consuming products which could be made from algae. My challenge will be finding ways to normalise the use of algae, and allow it to become a popular material which can be used on an industrial level and replace less sustainable alternatives.

Another significant challenge I face is the fact that algae is a living thing, so it is naturally unpredictable and needs care and a particular environment to be able to flourish.

Additionally, as algae is not currently a popular material for use within design, not many individuals have looked into creating work using it. This means that there is a very limited amount of research and information available to me to help with the project. Because of this, I will be starting the project relatively in the dark and will have to do my own tests and experiments with algae to progress within the project - I’m actually quite excited about this as I like the idea of my project being unique.

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C HAPTER T WO ALGAE

G R OW I N G A LG A E I thought that the best way to begin my exploration into algae and find a way to answer my brief was to attempt to grow algae myself.

The first element of my project was to look at ways to introduce algae into a domestic environment, based on the logic that if people are able to grow their own algae and have it as a feature within their home, then algae becomes normalised and this in turn works towards making algae a more mainstream material. Growing my own algae holds several benefits: firstly, the experience of growing algae would help to inform my designs for vessels used to grow algae within domestic environments. Secondly, growing algae myself would help me to gain a more thorough understanding of algae as a material, through how to grow it, learning it’s needs and any little quirks or features that would not be learned through second hand research.

Finally, growing my own algae would enable me to use fresh algae for my experiments looking at it’s pottential design applicatons, both offering a comparison to the more easily-available dried forms and allowing me to save money by growing my own resource.

To begin my exploration into algae, I ordered some Spirulina to grow myself at home. I ordered from a European company, Health Algae who are a Swedish producer and seller of Spirulina. I chose to start by growing spirulina rather than any other type of algae, as my research had highlighted several benefits: • Spirulina was the easiest to source live cultures for - most types of algae available online are in dry or tablet form for human consumption, so would not be able to grow • It is edible - an added benefit on top of other potential applications for sustainable design • Highly pigmented • Reasonable price • Suitable for growing on a small domestic scale - many other types of algae (like kelp) are much larger and so require vast expanses of water, domestic environments cannot accommodate this

A I M : TO N O R M A L I S E T H E U S E O F A LG A E I N O R D E R TO E N C O U R AG E I TS W I D E R U S E W I T H I N T H E D E S I G N I N D U ST RY

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ALGAE SPIRULIN A

BEST CONDITIONS FOR GROWING

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B AS E D O N A M I X T U R E O F MY R E S E A R C H I N TO S P I R U L I N A A N D T H E I N F O R M AT I O N P R OV I D E D I N T H E H E A LT H A L GA E G U I D E B O O K T H AT A R R I V E D W I T H MY S P I R U L I N A C U LT U R E , I D E V I S E D T H E A B OV E I N F O G R A P H I C S H O W I N G T H E B E ST C O N D I T I O N S FOR GROWING SPIRULINA.

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O C T O B E R 2 019 Alage arrived on 9th October and was placed onto the windowsill with the lid off to breathe and acclimatise to the light, as reccomended in the growing handbook.

The culture was then decanted into 2 different glasses with a small amount left in the original culture bottle, which was then stored in the fridge in case the other samples died.

The glasses I used for the algae were simple glass jars with cork lids from Tiger (ÂŁ3 each). The natural cork lids allowed for a little breathability when placed on the jars at an angle, while also helping to prevent airbourne things from falling into the algae and offering some protection from UV lgiht when needed.

I also bought a fermentation jar from Lakeland (ÂŁ7.99) which I thought may offer some breathability too, however the holes at the top of the jar were so small in comparison to the open space at the top of the cork topped jars used here that I decided that the fermentation jar would not allow enough airflow to the algae.

The spirulina arrived with a growth medium to help feed the algae essential minearls and keep it at a healthy PH level, in addition to the energy it obtains from UV light.

I began by growing the algae cultures in natural light on the windowsill, I then placed the glasses on a microfibre cloth to try and insulate the base of the jar and keep the algae warm, as algae grows best in temperatures around 38C and when placed on my bare windowsill the algae was only at 18.8C. Over time, the algae created interesting formations within the water in response to the changing conditions. Sample 2 (right of all images on this page) contained twice as much algae culture than sample 1, which seemed to help it to grow better. Sample 1 was always in small clumps, often floating in the middle of the water, whereas Sample 2 was a more consistent and dense green.

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GROWIN G ALGAE: OCTOBER 2019

P R OT E C T I N G T H E A L GA E I sourced this material from the offcuts bin at fabricland and thought it was perfectly poreous to suit the purpose of protecting the alage, while being breatheable too. After washing, I cut the fabric down to size to make small coverings for the individual glass jars of algae which I secured in place with (clean and freshly washed) hairbands. They fit perfectly and covered the jar, while still being breatheable and also due to the white colour, would reflect UV light into the algae better than the previous cork lids. Due to the pourous nature of this fabric I am comfortable with leaving it to cover the jars entirely as it allows better airflow for the algae than offered by the cork lids - as the cork only enabled ariflow when the lids were half off - which then meant that they were less sucessful at preventing anything falling into the algae.

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C HAPTER T WO ALGAE

VÄ X E R I discussed my plans to grow spirulina in one of the group tutorials and a fellow student reccomended this VÄXER UV lightbox from IKEA - designed to grow small plants indoors. I bought one to test in the hope that it would provide my algae with the necessary conditions to grow well and create a high yield.

The VÄXER UV lightbox contains lights that mimic natural conditions tailored for plantlife, comprised of 25% blue, 35% green and 40% red light. IKEA states the energy consumption is rated A++ and uses 4.8 kWh per month, if used for 16h per day.

Before putting my algae under the lightbox, I performed some tests to compare the temperature difference between glasses of the same size in different locations: 26/10/19, 6:25pm Room temperature: 20C Algae on windowsill: 19C Water covered under lightbox: 21C Uncovered water under lightbox: 22.5C

I carried out further tests to compare temperatures between the windowsill, lightbox and covered glasses. Every time the results showed that UNCOVERED glasses UNDER THE UV LIGHT had the WARMEST water temperature, at 1.5C warmer than the covered water in the lightbox and 3.5C warmer than the algae on the windowsill. I therefore decided to place the algae cultures within their glass jars underneath the UV lightbox with their cork lids halfoff, as this was the warmest spot. I kept the light on overnight and turned it off during the day to give the algae a rest from the light and to save energy.

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GROWIN G ALGAE: N OVEMBER 2019

N O V E M B E R 2 019

After growing the algae for three weeks, it semed to be the right time to change the jars/water and add fresh nutrients. I used some more of the fabricland offcut material to create more circular lids which I used to strain the algae, before giving it fresh water and nutrients. The fabric worked well to strain the algae, as shown on the left the water strained off was clear with no loss of algae. I then cleaned the beakers, added fresh water and nutrients and scraped the algae from the fabric to put into the freshly mixed solution using a metal spoon.

The algae appears to have increased in volume over the three weeks since I originally started growing it which is definately a positive.

The strained algae leaves really interesting “splat” shapes behind on the fabic, they have lovely curly details.

I re m o v e d t he l i d s f ro m t he a l g a e c o n t a i n e rs t o a l l o w t he a l g a e t o a b s o r b as much UV light as possible and have a w a r m e r t e m p e ra t u re w h i l e i n the new VÄ X E R u n i t . I t he n u s e d s o m e o f t he re m n a n t s o f t he b re a t h a b l e w a s t e f a b r i c t o c o n s t r u c h a ro u g h “ t e n t ” o v e r t he u n i t . The “ t e n t ” i s o n l y p i n n e d t o g e t he r , b u t w o r k s t o p re v e n t a n y t h i n g f ro m f a l l i n g ( o r a n y i n s e c t s f ro m f l y i n g ) i n t o t h e o p e n j a rs o f a l g a e , a s I re a l l y w a n t t o p re v e n t t he m g e t t i n g c o n t a m i n a t e d .

Th e “ t e n t ” a l s o i n s u l a t e s t he l i g h tb o x a re a w h i c h w i l l ho p e f u l l y a l l o w i t t o re t a i n t he he a t f ro m t he U V l i g h t a n d k e e p t he a l g a e i n a w a r m e r c l i m a t e .

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C HAPTER T WO ALGAE

D E C E M B E R 2 019

Algae growing well within the UV lightbox + “tent”, temperature still consistently higher within the “tent” than in the rest of the room.

Algae has been growing for over a month now without having the water changed (water has just been topped up when levels were looking a litlle low) and looks really dense and a nice healthy green. As the algae had been growing for over a month without fresh water and nutrients, I refreshed it. Straining the algae has become more difficult now that the cultures have grown so much, so I have mixed the new solution with an increased volume of water to further dilute the algae. The refreshed algae separates from the water within days to form clumps again.

Over the new year I placed my algae cultures back on the windowsill (pictured below) for aesthetic reasons as I had guests to stay. I think that the algae growing in jars like this on the windowsill looks so much nicer than the big ugly illuminated white tent. Unfortunately, the tent provides much better conditions for the algae to grow so I do not think that the algae would last as well on the windowsill. Also, I am aware that even though I think the algae looks nice in these neat little jars, it’s still not going to be appealing to many people, even in this format. I still need to find ways to improve the apperance of the algae growing vessels, whcih I will explore further in Chapter 3.

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GROWIN G ALGAE: DECEMBER 2019

A L GA E “ S P L ATS ” Above are images of the algae “splats” created by straining the spirulina, showing how much the algae has grown! The shapes are really interesting, I think they could inspire pieces of abstract art. The process of straining could do with some improvment as it is currently quite a long-winded process and I feel that this would be something to put people off growing their own algae. I think it would also be a good idea to test and compare using different fabrics to carry out the straining of the algae, as although this fabric is pourous and so the water drains through quickly, it also has quite a fibrous surface texture so some algae is lost when it gets attached and can’t be scraped off of the fabric.

I installed a smart plug (pictured below) for the UV lightbox to enable better control, this now means that I can turn it on and off remotely, place it on a timer and track how much energy the lightbox is using, which will help me to establish the environemtnal and financial cost of growing spirulina.

I found that the algae was developing vibrant blue patches around the waterline on the glass and this concerned me - the algae was otherwise healthy so I wasn’t sure what could be causing the blue patches (pictured below right).

I have been labelling my algae samples using small copper shower curtain hooks (pictured below left) with the sample name written on an attached piece of paper. As I have been filling the jars up with so much water to account for the increased volume of algae, the copper hooks have been partially sumberged so I wonder if the reaction between the copper and water has left behind this blue residue. I ahve therefore removed the hooks from the tops of the glasses and hope that this shall prevent any further blue residue from appearing.

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C HAPTER T WO ALGAE

J A N UA RY 2020

On 30/12/19 I refreshed the water and nutrients in the spirulina - for Sample 2A I did a test to see whether the nutrients were necessary to healthy algae (as the nutrients come at an additional cost) by not adding any fresh nutrients. The images above show how all four samples compare after less than 2 weeks, with all other samples looking healthy and Sample 2A an unhealthy purple (shown closer below middle). I then added the nutrients to Sample 2A to see if I could revive it, one week later it ended up with weird solid clumps of algae in cloudy water (below right) and did not improve. From this, I have learnt that ALGAE NEEDS NUTRIENTS!

ALgae Samples 1, 2B1 and 2B2 are all doing well and look a nice healthy green. They don’t seem to be growing as quickly as last month, however that may be down to colder winter temperatures, being diluted between more glasses and a brief period of time on the cold windowsill.

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GROWIN G ALGAE: JANUARY 2020

C O N ST R U C T I N G A T E N T

F O R T H E VÄ X E R U N I T

In January, I fixed the fabric that had been pinned around the VÄ X E R u n i t b y s e w i n g t he e d g e s t o g e t he r a n d s e w i n g a t u b e a ro u n d t he b o t t o m o f t h e f a b r i c f o r a p i e c e o f e l a s t i c t o f l o w t h ro u g h , e n a b l i n g t he “ t e n t ” t o b e s e c u re d a ro u n d t he b a s e o f t he u n i t . I h a d a l w a ys p l a n n e d t o s e w t h e f a b r i c t o f o r m a s e c u re t e n t - l i ke s t r u c t u re t o p re v e n t a n y a i r b o r n e t h i n g s f ro m e n t e r i n g t he a l g a e ( s u c h a s b u g s o r d u s t ) b u t a s i t h a d f u n c t i o n e d q u i t e w e l l w h i l e t h e f a b r i c w a s j u s t p i n n e d , I di d n o t f e e l t he n e e d t o r u s h t h i s . The “ t e n t ” i s q u i t e b a s i c b u t i t d o e s s u c e s s f u l l y c o n t a i n t he s t r u c t u re t o p re v e n t n y t h i n g f ro m e n t e r i n g a n d c o n t a m i n a t i n g t he a l g a e s o I ’ m h a p p y w i t h i t . I t a l s o l o o k s s o m u c h n e a t e r n o w t h a t t he f a b r i c i s p ro p e r l y s e w n t o g e t he r a n d c o n t a i n s t he l i g h t a n d he a t b e t t e r t o o .

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C HAPTER T WO ALGAE

F E B R UA RY 2020

Algae not looking too healthy, Sample 1 has hardly grown and Samples 2 and 3 have some blue bits.

Algae is getting even more difficult to strain as there is so much, strained water from Sample 1 is also still very green which is not good. Lots of algae residue left on fabric used to strain this time, really need to test out other materials. Once given fresh water and growth medium, the algae has returned to a nice healthy deep green (3 images at the bottom).

Alongside growing the algae, I have been working on designs for more appealing vessels for the algae to live in. I was planning to cast these in recycled glass, however I realised that many of the shapes I would be casting can be found in existing bottle shapes. Using existing bottles is more environemtally sound as they are already finished vessels, without needing to use extreme heat in a kiln or unsustainable moulds. I have placed the algae into a range of used glass bottles and jars to test how it grows in vessels of different shapes.

I like how the algae looks in the variety of shapes, it’s more interesting than the original glasses.

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GROWIN G ALGAE: FEBRUARY 2020

I used some waste algae gunk (left) and algae water (far right) to test out painting with algae onto ctton paper. While both “paints” have come from the same algae culture, they have such different consistencies that the experience of painting with each and the outcomes are very different. The algae gunk has a thich consistency similar to acrylic paint, whereas the algae in water separates on the page to show the individual algae fibres.

Algae still healthy and doing well, all a good green (except Sample 1 which is still a bit too yellow) even in the unusual shaped bottles. While still healthy, the algae doesn’t seem to have grown very much at all. The algae is distributing itself differently throughout each container which is interesting.

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C HAPTER T WO ALGAE

F E B R UA RY 2020 Algae cultures still look fairly green and helathy, they have all formed interesting patterns where they have dispersed throughout the water. Sample 1 is still a very fluorescent yellow/green and the algae has now transformed into large flakes (like it did with Sample 2A). There are some bright blue bits on the surfaces of some samples, no copper near these any more so unsure what it could be or if it is safe for consumption.

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GROWIN G ALGAE: FEBRUARY 2020

Algae not looking so healthy any more - even more blue bits on surface so not happy for this algae to be consumed any more. Have done some research online and it appears that algae goes blue as it ferments and the inside of the organism is expelled into it’s surroundings (clear that this is what happened with Sample 2A when it was not fed). This might be the cause of the blue, however I have no way to test so I am uncomfortable that my cultures may be contaminated with something toxic. Also possible that there is still residue in the water/algae from the copper if that was causing the blue patches originally.

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C HAPTER T WO ALGAE

Spirulina samples are still a strong green, although some are looking unhealthy - particularly 2B1A (top right) which has developed a ghostly blue haze across the surface. Although the surface of 2B1A looks really unhealthy, it also looks quite interesting - like a galaxy. I really like the composition of this page with the nine squares showing photos of all of my algae samples in the different shaped jars.

I have tried a new method to strain the spirulina (top of right page) using organic bamboo silk stretched over the top of a glass and secured with a hairband. I tried one with the silky side up, one silky side down. I poured the algae water onto the fabric to allow the water to drain through into the cup beneath and leave the spirulina on top. This process involves less work for me but is a much slower process as the water takes so much longer to drain through the fabric when over the cup as the bamboo silk on the cup forms a vaccuum - it took so long that I actually reverted to the original process for straining. It was easier to scrape the algae off the bamboo silk at the end too and there was less waste left on the fabric.

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GROWIN G ALGAE: MARC H 2020

MARCH 2020

Algae samples all strained onto cloths and laid out in image directly above to compare yield.

This is all from the small 30ml algae culture I got in October, it’s grown this much in just 5 months! I scraped off the spirulina using a metal ruler (left) which worked really well and was so much quicker than scooping with a spoon as I was before. On the far left is a photo of all of the algae I have managaed to collect from all of the samples, which fills a whole mini jam jar. I’m really impressed with how much algae I have accumulated - it will be used for my algae application experiments for dyes/paints etc. I ahve already ordered a new culture of spirulina to enable me to continue growing it for further testing.

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F U N N E L TO ST R A I N A LG A E After the issues I had with the amount of time the algae water took to strain over the cup and with straining the greater volume of algae in the original way, I tried making a simple card funnel. The straining fabric (bamboo silk) was placed within the top of the funnel, with a tube holding it steady in the glass beneath. I poured the algae water onto the fabric and because the funnel alowed air to flow down the sides, this did not create the same vaccuum issue that I had when using just the fabric and a cup previously. The funnel positioned the straining fabric so that I didn’t have to hold onto the edges while pouring like before and also enabled me to pick it up easily to squeeze it further afterwards. I’m now wondering if I could create some form of device that would funnel at first and then contract to squeeze any last dregs of liquid fron the solution, to make the whole process easier.

RIGHT PAGE: NEW ALGAE

ISOCHRYSIS GALBANA (GOLD ALGAE) PORPHYRIDIUM CRUENTUM (RED ALGAE) After the sucess I have had with growing the spirulina culture myself, I decided to branch out and try to grow some new samples of algae in different colours.

From the beginning of this project, I was always hoping to be able to use different colours of algae as I love colour and the applications for multiple algae colours offer greater pottential than just green algae alone (e.g. clothing dyes). After much careful research, I eventually found an American company that sold more of a variety of different types of algae, so I purchased cultures of isochrysis galbana (gold algae) and porphyridium cruentum (red algae). These cultures were so much more expensive than the spirulina had been - about £140 for 50ml of each + growth nutrients (because of excessive shipping fees from the US) compared to £37.71 for 30ml spirulina + growth nutrients. These cultures are also marine algae which means that they require sea water, as opposed to spirulina which is a fresh water algae.

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GROWIN G ALGAE: MARC H 2020

INSTRUCTION BOOKLET THAT CAME WITH THE NEW ALGAE

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NEW SPIRULINA

Around the time that I purchased the new red and gold algae, I also bought a new culture of spirulina to replace the spirulina I had deemed to be contaminated. This new culture cost ÂŁ50.54 for 250ml + growth nutrient (so much cheaper than the red & gold algae!). I spread the new spirulina between three large glasses under the UV lightbox - it looks such a deep, healthy green (images above).

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In contrast to the spirulina, red and gold algae do not respond well to direct UV light, therefore I placed them in the lightbox (for warmth and protection against anything airborne) with their lids half-on to protect against some of the light. When these algae samples arrived, the supplier had packed the incorrect growth nutrient (I orderd nutrient for marine algae - they packed spirulina nutrient which is for fresh water algae) so I avoided adding any and contacted the supplier to rectify the issue. Over the first few weeks, the algae increased in volume but the colours dulled without any growth nutrient, shown below.

GROWIN G ALGAE: MARC H 2020

MORE RED AND

GOLD ALGAE The supplier corrected the issue of the incorrect nutrient being provided for the algae and also replaced the red and gold algae cultures, as these had suffered without any nutrients. I kept the original red and gold algae cultures to see if feeding them the nutrient could save them. I also tested feeding some of the samples the incorrect growth nutrient to see the impact that this would have on the algae. The results were unexpected, with the samples that were fed the incorrect growth nutrient developing a more vibrant pigment and looking healthier than the algae that was grown with the correct growth nutrient. It is much more difficult and time -consuming to tent to the red and gold algae due to the fact that they are marine algae, which requires mixing up the correct salinity of sea water at the correct temperature, then changing the algae water without being able to strain the algae as the red and gold algaes stick to the inside of their environments, unlike spirulina which moves freely within the water.

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DESIGN APPLICATIONS

FOR MY SPIRULINA Part of the reason for growing my own algae at home was to produce enough to be able to perfom my own tests to discover the DESIGN POTTENTIAL that algae could hold. After straining all of the original algae culture that I had been nurturing since October, I had a jam jar full of home -grown spirulina to test with.

The algae proved to be just as useful as I had hoped, although ran out quickly as I performed multiple tests with it - full extent of these tests can be found in Chapter 4. Below are some of the most sucessful outcomes which use my home grown spirulina as a pigment for paper (bottom left) and for jesmonite (right). I also compared the effect of using fresh spirulina against outcomes produced in the same way but with (shop bought) powdered spirulina instead. I found that on a whole, fresh spirulina produced much nicer outcomes with a more subtle, pale green colour, whereas powdered spirulina had produced more patchy outcomes with odd patches of vivid blue. The downfall of using fresh spirulina was that as it was a more subtle pigment, it took a much larger volume to create the same depth of colour which meant that my store of fresh spirulina ran out very quickly.

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ALGAE APPLIC ATIONS FOR ALGAE

DESIGN APPLICATIONS

FOR MY RED AND GOLD ALGAE I performed the same tests with some of my samples of red and gold algae that I had done with my spirulina. I found the red and gold algae much more difficult to work with, as the inability to strain them in the same way as spirulina left the cultures much more watery which meant that he pigment they produced was a lot more subtle. I used a much greater quantity of red and gold algae for these tests than I had used with the spirulina, yet the results are far less pigmented than I had hoped. While I am dissappointed that I have not been able to achieve the same strong pigment with the red and gold algae as I managed to get from the spirulina, this has been a valuable lesson in the differences between different types of algae and their pottential design applications. From the results of these experiments, I have found spirulina to be a much more sucessful, versatile and user-friendly type of algae.

IMAGES AT THE TOP OF THIS PAGE: RED AND GOLD ALGAE USED TO PIGMENT JESMONITE IMAGES ON LEFT: RECYCLED PAPER PIGMENTED WITH RED AND GOLD ALGAE

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APRIL 2020

I have continued to grow the red and gold algae, separated between multiple different jars to try and ensure that if any of the cultures were damaged, I’d have replacements. As a whole, the cultures do not look very appealing. They have lost their original vibrant colours to be replaced with more dull, earthy tones while the algae has sunk to the bottoms of the jars. Samples 2B of both red and gold algae look best - these are the samples that I gave the incorrect growth nutrient to (the fresh water spirulina food) but it seems to have really worked for them! I will therefore feed more samples that growth nutient in the hope that it helps to revive them too. As far as I can tell, the samples are all increasing in volume, although not at the same speed as the spirulina. The red and gold algae are also much more difficult to maintain, with the process of changing their water taking up to about 4 hours in total due to the extensive time spent getting the sea water ready - this has really put me off doing any maintenance so I’m afraid they have become neglected.

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GROWIN G ALGAE: APRIL 2020

In contrast to the red and gold algae, the new spirulina is growing well and increasing in volume quickly and consistently between the different glasses.

On the left I tested straining the spirulina from it’s old water using different types of fabric - as shown in the images on the third row, the bamboo silk (left) is much easier to scrape spirulina from and leaves very little behind, compared to the porous fabric (right) that I have been using since the begining of my time growing algae. The results of this are even more evident in the image second from the bottom, on the left hand side. The bamboo silk is shown in the middle with the porous fabric on either side, showing how much residue remains on the fabric!

Going forward, I think I will stick to using bamboo silk for straining as it enables me to collect the maximum amount of spirulina with minimal waste.

Below are the red and gold algaes, slightly less dull since they have been fed with the incorrect growth nutrient - it obviously seems to have helped! The algae seems to have increased more in volume since too which is definately positive. I am occasionally stirring the samples but unsure how much difference this makes.

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Spirulina began to look a bit clouded and unhealthy so I decided to refresh the water. I recently bought some organic linen so I thought that I would test that as a straining fabric in comparison to the original porous fabric. While it seems to strain equally as well, the linen is also very difficult to remove the algae from and a lot of residue is left against the ridged texture of the surface. The linen is worse in fact than the porous fabric and definitely much worse than the bamboo silk was for removing the algae after straining. I will avoid using linen again.

Algae samples on a whole looking okay, one of the samples of red algae has really lost it’s pigment, turning pale yellow and one of the samples of yellow algae has turned a deep amber colour. I’m a bit concerned about how well they are surviving as I have not been providing the red and gold algae with their optimum survival conditions (a fair bit warmer) and they don’t seem to like this. I had assumed that because the spirulina found it easy to adapt to conditions within the UV lightbox that other types of algae would too, however clearly this assumption was wrong.

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GROWIN G ALGAE: APRIL 2020

APRIL 2020 The red and gold algae is beginning to look a bit more vibrant - I have recently removed the lids from their glasses while in the UV lightbox and this seems to have helped, along with the change in growth nutrient. The lids were originally on to protect the algae from the strongest of the UV light, as red and gold algae prefer indirect sunlight, however they have actually responded better to full light - perhaps the lids were blocking out too much light. I have enjoyed photographing different colours of algae and have found it much more rewarding to look on now that I don’t have just samples of green algae. I think that I should have been paying more attention to the algae, with more frequent monitoring and cleaning, however I have found the time commitment really offputting - if this puts me off then it is something that I need to address and improve upon before encouraging others to introduce algae into their homes.

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GLASS FUNNEL I created a funnel using the neck of a waste glass bottle (used to be a J2O bottle) which I cut down with a borrowed bottle cutter. I had hoped that this would offer a sustainable solution to creating a funnel, after the card one worked so well. Unfortunately, the glass bottle did not cut straight (see more in Chapter 3) and the width of the funnel was too small and resulted in a lot of spillages.

After the issue with the glass funnel I created, I decided to test plastic ones - also cut from waste juice bottles. Usually I would avoid using plastic for sustainability reasons, however in this situation the bottle had already been used and was otherwise destined for the recycling. I tested making funnels from two different plastic bottles, both large bottles (about 1 - 1.5L) so they had a large cavity for the cloth to sit in while straining to avoid spillages and make the process easier. One of the bottles was circular, the other was a more square shape. I found that the square shape allowed the water to drain away quicker than the circular one as it allows for air to flow where the straight edges leave gaps against the curve of the cup, so the square funnel doesn’t create a vaccuum (like I was having issues with before). While the square funnel works well for straining the algae now, I would like to improve upon the design for a more permanent and better quality solution - taking inspiration from what I have learnt here.

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GROWIN G ALGAE: MAY 2020

M AY 20 20

The algae is beginning to look really unhealthy, with the spirulina growing mould across the top. I have scouped out the mould and gross looking bits from the algae but I’m concerned that the samples will now be contaminated. The pH levels for the spirulina are too low which I think is why the mould is growing (they are at 7-8 but should be above 9.5) but I don’t know how to increase the pH in a way that is safe for the algae, so I strained it and gave it new water and growth nutrient in the hope that this solves the issue. Topped up the water for the red and gold algaes too - as we are in lockdown and at home all of the time, I am no longer turning the UV lightbox off during the day, which combined with the warmer weather means that the algae is living in a much warmer climate - algae should like this, but it does mean that the water is drying up much faster than before.

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Even though I topped up the water for the algae recently, I had neglected it and from not keeping a close enough eye on my samples, some of the algaes’ water has completely dried up! As shown below, one of the samples of red algae had become so dry that the algae has crystalised across the bottom of the glass. While this looks pretty, this algae needs to live in water so this level of drying out is really bad. I considered taking the crystalised algae out of the jar and trying to use the dry form for some of my experiments as a pigment, but there isn’t much there and I really would prefer to grow more before using up any of the algae. I’m really disappointed in myself that I let the algae get to this point - I’ve been looking after it for so long, I should have been more vigilant and prevented this when I saw that the water level had begun to drop slightly.

Luckily the algae seems to have kept it’s colour fairly well, so I have given all samples fresh water and growth nutrient. After wetting the crystalised algae, it looked as though it was returning to it’s normal consistency which is promising.

I really hope that the algae survives this, I have many more tests that I woud like to use it for (making paints etc) so it would be really disappointing if it died at this point, also I would be gutted if it were to die due to neglect.

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GROWIN G ALGAE: MAY 2020

M AY 20 20 The spirulina was not looking very healthy - but not mouldy again thankfully. The samples were becoming increasingly yellow, as opposed to the ideal healthy deep-green they have been in the past. After scooping off all of the gunky and unhealhty looking clumps from the surface, I strained each of the samples (shown in second image down on the left) which shows a graual yellowing from samples 1 - 3. I weighed each (strained) sample of spirulina to see how they compare - Sample 1 = 177g, Sample 2 = 179g and Sample 3 = 180g, so really there’s not much difference between them! Samples were given fresh water and growth medium but they still look a bit more yellow/brown than I would like.

Samples of red and gold algae have lost most of their colour, as shown in the above right image they are looking very pale, almost white - which is really bad. The samples still somehow seem to be increasing in volume, but I think that they got really badly damaged when I allowed the water to dry out.

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JUNE 2020 The spirulina samples seem to have regained their previous deep green colour which is fantastic.

Unfortunately, the samples of red and gold algae are still much whiter than they should be. I have tried placing the lids back on the red and gold algae samples at an angle, to see if this protection from the UV light helps them to recover at all.

Spirulina samples are starting to get gross growths across the top again. Every time I notice these, I scoop them off, but unfortunately I think the spirulina itself must be contaminated as they keep coming back. Feeding the spirulina fresh growth nutrients also did not increase the pH so I’m a bit stuck as to how to recover the samples. The guide book provided with the spirulina cultures suggests occasionally increasing the pH to about 12 or 13, then bringing it back down to about 9.5 - 10.5 to kill off anything else living in the algae, but I don’t have the resources to be able to safely increase the pH to this level.

I’m wondering if the increased temperatures are causing these growths.

Recently I’ve not been looking after the algae as much as I should be - I’m put off by the length of time it takes to change the water and how messy the process is. I also feel disheartened every time I see the algae looking nhealthy like this and I don’t feel like there’s much I could do to help. Since the samples of spirulina have started looking this unhealthy and the red and gold algaes have become so pale, I have considered replacing them again, but it’s such a lot of money (about £190) and I’m so close to the end now, I don’t know if I want to keep growing them after I’ve handed in this project.

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GROWIN G ALGAE: JUNE - JULY 2020

J U LY 2 0 2 0 I have neglected the algae cultures again this month. After the red and gold algae turned white I really lost all motivation to continue maintenance on the samples and I found that the guilt of having let them get to this stage actually put me off even looking at the algae to see how it’s doing. This has made me think more than ever that if I want to encourage domestic algae growing, it is not only the process of cleaning the algae that needs work, but also monitoring the algae. I’m thinking maybe an app connected to the vessel that the algae lives in that can monitor key things like temperature and pH and send alerts to your phone when the algae conditions are not optimal.

I think the algae is now beyond saving. All of the cultures are looking unhealthy, although there is no smell which I’m surprised at, as previously when the algae has looked bad it has smelt bad too. I have considered replacing the spirulina, however not the red and gold algae as I found when testing them for their pottential use in design applications (see Chapter 4) that they weren’t well suited to it. I’m so close to the end of the project that I have chosen against ordering new spirulina too. It would have been nice to have healthy spirulina at the end of the project, however the reality of growing a living material is that it is unpredictable. Though I have been frustrated at times with how the algae has not lived up to my expectations, I have come to the realisation that this is just part of working with living materials and I just have to embrace the uncertainty!

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LO G S D O C U M E N T I N G

A L GA E G R O W T H

I started documenting the growth of my algae through photographs and notes in these sketchbooks, showing changes in the algae when the cultures experienced different conditions. When the pandemic hit and all submissions were moved online, I stopped documenting the algae growth in these books. I continued to take extensive photos of the algae and how it was developing and I wrote down all of the changes I made to the cultures, including: when I checked temperature, pH readings, quantity of new water and growth medium added and frequency of cleaning out the algae. I then condensed my algae growing logs into the month-by-month summaries that I have used in this chapter. I have found the most useful part of my documentation to be the recordings of changes I made to the mix of the culture, as I have been able to refer to these when I wanted to follow the same process again.

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ALGAE MY EXPERIEN CE OF GROWIN G ALGAE

MY EXPERIENCE OF GROWING ALGAE

I have spent the last ten months growing approximately 480ml of algae costing £227.98, and with a total cost of £334.17 (including the cost of the algae) plus electricity and water used for maintaining and cleaning the algae. The process has not been as easy as I had hoped, but I do feel like I have learned a lot about algae by doing this. When I set out on growing algae myself at home, I expected it to be fairly simple, like growing a houseplant. Growing algae is not simple. There are many elements of the algae’s environment to consider and just neglecting one of these elements can have disasterous consequences, as I found out. I am really glad that I chose this approach to gain first-hand knowledge about algae, rather than just researching the experience of other people because I feel like I have a much more thorough understanding of and appreciation for algae now.

I have enjoyed growing algae. There is something nice about beginning with a small 30ml culture of algae (as I did in October 2019) and seeing it grow so much under my care in just a few months, to the point that it has to be separated out into numerous different vessels because there was too much! It has also been extremely satisfying growing my own material to use within my work from scratch, seeing final pieces that have been months in the making within my own home.

After finishing this project, I’m going to take a break from growing algae for a while but I may return to it in the future - definitely if I am able to find a way to continue my research into algae and create vessels to house it as I have been working towards in Chapter 3. I think that algae has real pottential in the future as a food source, method of improving air quality and material to be used within the design industry to replace some less sustainable practices, so I’m excited to see where this project takes me next, and the commercial future of algae.

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ALGAE PATTERNS

PAT T E R N S L E F T BY S T R A I N I N G A L GA E - Across these pages are some photos showing particularly interesting fomations left on the fabric from straining the spirulina. I particularly like the abstract spirulina dots remaining on the circular pieces of fabric on this page.

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E AT I N G T H E A LG A E D E C E M B E R 2019 TAST I N G F R E S H S P I R U L I N A I tried eating a small amount of my fresh, home -grown spirulina. I scooped a bit out on a spoon and at it on it’s own. The texture was a little slimy, but mostly watery with a slight flavour of salt - but it didn’t have a particularly strong flavour at all.

I felt uncomfortable eating the spirulina - I’ve grown it and nurtured it, it feels like a betrayal to then eat it. I’ve grown attached and fond of my algae. I don’t think this would really be an issue if I had just grown algae with the sole purpose of eating it, I think because I’m trying to learn from it and about it by growing it I’m more invested in the algae living well than I otherwise would be.

J U LY 2 0 2 0 2 M E A L S B AS E D A R O U N D A L GA E For these meals I used shop-bought spirulina and seaweed, not the algae that I have grown and collected myself as I was concerned about how hygenic this was.

MEAL 1: BREAKFAST/BRUNCH • Spirulina Yoghurt • Spirulina Pancakes • Spirulina Fruit Smoothie MEAL 2: LUNCH/DINNER • Spirulina Brownies • Spaghetti Carbonara with Seaweed rather than Pancetta • Spirulina Hot Chocolate

For my algae meals I chose a mixture of normal food and drink that I added algae too, alongside some recipes that I had found which were specifically designed to contain algae. I found mixed results. The pancakes were amazing. They took on the green colour of the spirulina (below left) and the smell as soon as they started cooking was incredible. The spirulina adds a sweet and fruity aroma which mixes really well with the pancakes - I think it would go well with other sweet carbs like cakes or rasin bread too. The smoothie was also quite nice with the flavour of kiwi completely overpowering the spirulina. The brownie was also good, tasting very chocolatey but looked a gross cow-poo kind of green inside which was a bit offputting. The dulse leaves that I had on the spaghetti were disgusting, the flavour was much to strong (salty and fishy) for me and I had to throw the dulse away, unfortunately the flavour lingered on the spaghetti too. The yoghurt was also gross as the spirulina powder did not go well with the sourness of the yoghurt. The hot chocolate was also not good, although it smelt lovely. Overall I think I will definitely be having spirulina again in things like cake or fruit smoothies, but I think I will avoid seaweed in future.

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ALGAE EATIN G ALGAE

MEAL 1

MEAL 2

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A LGA E M O N I TO R I N G PHONE APP

When growing the algae, it would have been really useful to have a place to store information and receive notifications about events to do with the algae. I think an app would be really useful to anyone growing algae, as you could add the water changing schedule to a calender and get reminders to check on the algae and give it a stir.

The app could also be fully integrated into the algae growing container and even monitor things like temperature and pH, giving notifications if there’s anything wrong with the algae. I have designed a mock up of the home screen of an app just giving the basic, important information about the algae.

Something this simple would have really helped me and so I think if I go on to grow algae again in the future, I might create a system that follows this principle to help manage it.

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ALGAE AIDES TO GROWIN G ALGAE

A L GA E S T R A I N I N G D E V I C E I found the most frustrating part of growing algae to be the regular changing of the water and nutrients, as this was such a messy and labour intensive job. If I were to reccomend anyone to start growing algae at home, I think a straining device would be needed. I found the bottle top funnels to be of great use with a piece of fabric inside to catch the algae, which made me think of coffee filters like above. Also a squeezing function like the collander above right would really help to get rid of the excess water. I’ve not created a strainer for the algae as I preferred to focus on other areas of the project, but I think it would be a worthwhile venture.

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ALGAE SEAWEED

S E AW E E D

In addition to the micro algae I have been growing, I want to do some tests with another, larger type of algae: seaweed. I forraged for some seaweed at Clevedon beach and collected three different types, identified as Spiral/Twisted Wrack (Fucus Spiralis), Channelled wrack (Pelvetia canaliculata) and Egg Wrack (Ascophyllum Nodosum).

It was enjoyable taking a trip to the beach to colelct these seaweeds. I always prefer using materials that occur naturally and that I can collect myself, so gathering seaweed from the beach was great. It fits in well with my sustainable design principles, especially as the seaweed was forraged only a few miles away.

I’m not sure if these are necesarily the best types of seaweed for my project, however it has been impossible to source large enough quantities of seaweed to order for a reasonable price, as all seaweeds I have found have been edible and so cost a premium. There have also been limitations as to how far I can/want to travel to collect seaweed considering that the country has been in lockdown for several months, so I will try to make the best of the situation with these seaweeds.

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ALGAE SEAWEED

CO L L E C T I N G S E AW E E D On the trip to collect seaweed, I made sure to take lots of photos as it was a really nice day. Much of my inspiration for this project has come from Nienke Hoogvliet and I think the reason her work comes across so well is in part down to the beautiful photography that accompanies it. I want to make sure that I have lovely photos throughout this project to provide a context to how the designs arose and the story behind them. I am really happy with these photos of seaweed in the wild as they show the authenticity of this sustainable project, through capturing the origins of materials used.

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C L E A N I N G T H E S E AW E E D When I collected the seaweed from the beack I gathered the different types in seperate plastic bags and put these into a closed box. I planned to used them quickly but I didn’t get around to reopening the box for almost three weeks. By the time I opened the box, the spiral wrack had started to grow mould. The channelled wrack and egg wrack did not seem to have any mould on, but as I was washing the spiral wrack I decided to do the same to the other two, after all I had collected them from an open beach, they could have anything on them. I washed the seaweeds seperately in dettol, then rised them thoroughly and laid them out to dry in front of a window on towels. The spiral wrack went mouldy again within days so I washed it through again, this time in a bucket of hot water using a pH neutral, natural ingredients washing up liquid as I didn’t want to interfere with any properties of the seaweed. I then left this in a small amount of water in a covered pan while I used small quantities of it and it didn’t go mouldy again. The channelled wrack and egg wrack did go mouldy though (image top right) so I gave them another thorough clean with the same natural washing up liquid and hot water. After this washing I began to feel ill, so when the egg wrack went mouldy again within just days of this washing (image bottom right) I decided to throw it away as I didn’t feel it was healthy to go through washing it again.

Luckily the channelled wrack didn’t get quite as mouldy after the second washing, so I just rinsed any mould I could see off as I used the seaweed.

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ALGAE SEAWEED

USING THE

S E AW E E D

After cleaning the seaweed, I tried to use it as quickly as possible because I was worried about my stores of seaweed going mouldy again. I managed to perform some sucessfule experiments with the seaweed, using it for dyes (top photos), pigmenting jesmonite (middle photo) and to make paper from scratch (bottom photo).

In some ways seaweed is a more versatile algae than spirulina, as it has a dense and large enough body that it can be used for things like making new materials, whereas spirulina being so small would require so much more to achieve outcomes that could be obtained from just one piece of seaweed.

There is still some way to go to finessing the outcomes that I have achieved with seaweed, dying in particular definitely needs some work! But overall I have been able to create some interesting outcomes using the seaweed, so I am glad that I decided to branch out and explore the pottential of other types of algae.

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C HAPTER THR EE VESSEL S

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C HAPTER THREE VESSEL S

CHAPTER 3: VESSELS Through this chapter I have designed different vessels that could be used to house algae in either a domestic or commercial environment. As with all of my work, I have taken into consideration the sustainability and environmental impact of the materials used. See Sustainability Assessment in Appendix K for full review.

92 INITIAL IDEAS

First designs inspiring the concept for this project.

120 SANDBLASTING

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VESSELS TO GROW ALGAE Examples of the existing algae growing containers available to buy.

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LAVA LAMP INSPIRATION RECYCLED GLASS BOTTLES

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GROWING ALGAE Using my experience of growing algae at home to inform the designs for vessels.

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VISUALISATIONS: LAVA LAMP STYLE VESSEL

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TECH SPEC SHEET: LAVA LAMP STYLE VESSEL

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CASTING RECYCLED GLASS

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FUSED GLASS TILES

100 GLASS CUTTING

101 SLUMPING

104 HOLLOW ALGAE TILE WALL

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VISUALISATIONS: ALGAE TILE WALL

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TECH SPEC SHEET: ALGAE TILE WALL

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TYPOGRAPHIC CONCEPT

106 PERSPEX TILES

110 JESMONITE + TEST TUBE HOLDER

146 VISUALISATIONS: OUTSIDE VESSEL CONCEPT

96 BIO PLASTIC

97 RECYCLED GLASS

98 INSPIRATION: MEGAN COWLEY

99 GLASS INSPIRATION

117 VISUALISATIONS: TEST TUBE HOLDER

124 LIGHTING

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RECLAIMED WOOD

HYUNSEOK AN

118 TECH SPEC SHEET: TEST TUBE HOLDER

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VESSEL S VESSEL S TO GROW ALGAE

VESSELS TO GROW ALGAE

In this chapter I plan to explore ways in which I could design and create vessels to grow algae in. Although I have tried growing several different types of algae throughout this project (spirulina, red algae and gold algae) for the purposes of designing these vessels I will focus on just spirulina, as this has been the easiest to grow and has the additional benefit of being edible. The intention of my designs for vessels is to create a functional and aesthetically appealing device, a device that not only enables the growth of algae within, but also looks appealing so that people would be happy to have one of these vessels growing algae on display in their home. The purpose of this whole project is to allow the public to become more familiar with algae and to eradicate common assumptions that algae is a toxic pest that should be destroyed. I believe that creating these vessels will help to achieve this goal by firstly creating something interesting and unique to begin the conversation about algae, and secondly, by enabling people to bring algae into their homes they naturally become familiar and fond of it (I can speak from my own experience on this!) when they have to nurture and grow it themselves. On the left page are some of my very first ideas about vessels that could be used to grow algae in an unusual and innovative way.

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MY EXPERIENCE OF GROWING ALGAE

Alongside the designs I have been working on for more aesthetically-considered algae vessels explored in this chapter, I have been growing algae myself. I felt that this was necessary as I will need to test any vessels I make by placing algae inside them to grow, as a way of ensuring that the design is fit for purpose. My experience of growing algae has been documented thoroughly in Chapter 2 - the main findings were that spirulina is by far the easiest algae to grow, as it is able to grow in fresh water and is not quite as particular about it’s environment as red and gold algae were. Spirulina also has the additional benefit of being edible (highly nutritious) and was the most successful algae for use within design (shown in Chapter 4).

Therefore, I have focused the designs of the vessels in this chapter predominantly around facilitating the growth of spirulina.

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VESSEL S GROWIN G ALGAE

BEST CONDITIONS FOR GROWING

SPIRULINA

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N E C E SS A RY C O N D I T I O N S

F O R H E A LT H Y A L GA E The above infographic shows the necessary conditions to grow healthy spirulina, as I plan to in these vessels. These are the elements that I will need to consider for the vessels I am designing: light, breath-ability, temperature, fresh water, pH level, circulation and growth medium (food). Without these elements being considered, it is likely that the algae would not survive in the vessel. There are ways of adding features to support most of these factors onto normal fish tanks to monitor the fish and plants, however many of these are bulky, loud, expensive, unattractive and unsustainable so I will need to consider carefully how to implement each feature.

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B I O P L AST I C

CORN STARCH + COOKING OIL + WATER The first plastic I attempted to make followed a recipe that I found online.

The recipe asked for: 1 TBSP Corn Starch : 1.5 TBSP Water : 3-5 Drops of Cooking Oil Once the ingredients were all mixed together, the mixture was then microwaved for 25-30 seconds which made it mould-able. I then moulded the mixture into different shapes and left them to dry (image above right). As the pieces of “plastic” dried, they cracked and shrunk until looking like the image to the left. I think that the pieces needed to be kept slightly moist so that they dried out slower and could handle the shrinkage without cracking.

Due to the cracking, lack of transparency in the outcome and my concerns that the “plastic” wouldn’t be able to cope with the intended use of holding the water and algae.

DAMAR RESIN is secreted from the Dipterocarpaceae family of trees, found in South East Asia, obtained by tapping trees. As well as being naturally sourced, the resin is has a transparent yellow finish which I thought would be good for holding algae and letting light in. The plan was to heat up the resin until liquid enough to pour into a mould, unfortunately this didn’t happen and the resin just remained solid and a bit sticky.

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VESSEL S BIO PL AS TIC VS GL ASS

R E C YC L E D G L ASS

To create vessels for algae, I want to adhere to my design principles and carefully consider the environmental impacts of the materials I use to construct the vessels. The main requirement for the vessels is to be transparent to allow light in and to enable viewers to see the algae growing inside. This immediately made me think of plastic and glass as the obvious material choices. Unfortunately, neither are particularly environmentally friendly to create, so I’ve been searching for more sustainable options.

Bio-plastics were the first material I tested, made from natural ingredients that were present in my kitchen cupboard. The hope was to create a transparent material that could be poured or moulded into any custom vessel shape I wanted, unfortunately this bio-plastic composition was not suited for that. I also experimented with a natural tree resin with no success. While contemplating the idea of bio-plastics, I found some ranges of recycled glass in Flying Tiger which gave me the idea of recycling glass to create my algae vessels. Glass is stronger, more durable and long lasting than the bio-plastics would have been and also has a much better quality finish and aesthetic - an important consideration as algae does not have the most appealing look, so the vessel really needs to make up for this.

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“I AM A MAKER SPECIALIZING IN COLD GLASS WORK, SPECIFICALLY THE KILN SLUMPING PROCESS. I CREATE MILD STEEL MOULDS USING WATER JET TECHNOLOGY. THE MOULD DESIGNS ARE TRANSFERRED ONTO THE GLASS VIA THE SLUMPING PROCESS. I WORK ON A LARGE SCALE. MY WORK IS INSPIRED BY ARCHITECTURAL GLASS, TAKING INSPIRATION FROM MY SURROUNDINGS.”

M E GA N C OW L E Y Megan Cowley is an artist I discovered at New Designers 2019. I find her glass-work really inspiring, the detail that she captures within the surface of the glass is something that I’ve never seen before and a direction I would be keen to explore. The delicate details within the surface of the glass create elegant pieces of art in their own right, then there’s the effect that light has on the pieces. Light is a carefully considered element of the designs, as evidenced in the photographs of her work above. I think that for the purpose of the vessels I will be designing, light will be a very important factor as it is essential for the algaes growth to have enough light. In addition, any glass object naturally has a unique relationship with the light around it due to the transparent nature of glass, so from both aspects I will need to carefully consider how light enters and exits the vessel.

TOP RIGHT IMAGE TAKEN AT NEW DESIGNERS 2019 TEXT AND ALL OTHER IMAGES SOURCED FROM HTTPS://WWW.MEGANCOWLEY.CO.UK 98

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VESSEL S GL ASS INSPIRATION

G L ASS I N S P I R AT I O N Megan Cowley’s work has inspired me to look further into the different methods of altering the surface of glass, from subtle distortions to entire works focused around the patterns and shapes created by the surface of the glass. Due to the natural origins of the algae that will be grown within the glass vessels, I would like to take inspiration from nature for any details I incorporate into the glass. I have therefore collected the small bank of images on this page as inspiration for glass depicting natural forms.

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GLASS CUT TING

After realising that recycled glass was going to be the direction for this project, I considered different sources. There was always the option of used bottles, however I don’t use that many glass bottles, so I would have to find a supplier (restaurant/pub) to obtain enough glass to do tests with, also there is the issue that different drinks would be in bottles made of different compositions of glass, so these may not cast well together. Shortly after deciding to use recycled glass, I started a new job at a print studio, where some of the prints are also framed. The studio does not use any glass that is scratched or damaged for framing, however is unable to recycle any of this waste glass - so I FOUND MY SUPPLIER FOR WASTE GLASS! The benefits of using this framing glass are that it comes in sheets so is much easier to transport than bottles and it is also all of the same type of glass, so I don’t need to worry about differing melting points! To make the glass sheets the right size and shape to use for my work, I have cut down my glass sheets using glass knives.

POINTS TO REMEMBER - wear gloves, oil knife blade before use, use a wooden surface beneath, vacuum up afterwards, scour edges with a diamond scouring pad to remove sharp bits of glass.

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VESSEL S SLUMPIN G

SLUMPING

GLASS SLUMPING was the first test for my secondhand glass. I based the designs on natural forms inspired by the glass inspiration images I sourced. I first moulded the designs by hand in clay and used some waste materials (wool and plastic mesh from the scrap-store) to make abstract impressions in the clay. On this page is a design inspired by the tree -like structure of certain seaweeds (types of algae) which I thought could create a cavity in the glass deep enough for small algae to live in, in the shape of the seaweed. O the next page are the more abstract designs, made using waste materials.

They look a bit scruffy - the plan with these was that they could create textured windows for algae living in a tank-like environment, with the detail in the windows making the tank look more interesting and sculptural.

PLASTER MOULD MIX -

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On the right are the outcomes from my GLASS SLUMPING tests. The glass has taken on the impression from the moulds without any impact the clarity or colour of the glass. The impressions aren’t quite as accurate as I had hoped and the cavities not deep enough for algae, but the texture of the glass feels nice and smooth.

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VESSEL S SLUMPIN G

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HOLLOW ALGAE TILE WALL

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VESSEL S HOLLOW ALGAE TILES

I was inspired by the image on the left which conjured up ideas of a wall of hollow tiles, all full of algae. The great thing about a glass tiled wall like this is the amount of light that will pass through it, creating the IDEAL GROWING CONDITIONS FOR SPIRULINA. The hollow tiles would need to be secure enough for the algae to live in without spilling, while allowing enough air flow to keep the algae healthy. I played around with different formations for the tiles in cardboard first (shown above) to try and create a lidded design that would allow airflow, keep the algae secure and also make harvesting the algae from the tiles an easy job.

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PERSPEX TILES

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VESSEL S PERSPEX TILES

HOLLOW ALGAE TILE WALL After making the cardboard mock-ups of how the hollow tiles could be formed, I then created some test pieces by laser cutting perspex. In an attempt to stay true to my sustainability values, I only used waste and offcuts of perspex (some odd shapes that I had leftover from last year and some damaged framing perspex from work). I tried out a few different ways of putting the tiles together - all with lids. Some lids were on the top of the tile, others on the back - these would need to be sealed somehow so that they don’t fall off while the algae tile is in the wall.

While I have no plans to make the tiles from any kind of plastic (unless I manage to find a plastic that is much, much more sustainable) it has been useful to do these tests, as the plastic has transparency just like the glass I intend to use. This means that from these perspex test tiles, I get an idea of how the glass would look internally depending on which way I put the tiles and lid together, whilst these tiles are much easier to make as the plastic can easily be cut precisely to size and glued.

Unfortunately, the way that I have made these tiles by glueing plastic together means that they are not watertight and so I cannot test how algae would look within the tiles or if it grows well in a structure of that shape, as the algae would drain straight through. The tiles are also a bit too small and awkward in shape to seal with an aquatic/bathroom sealant. I would be curious about how the algae grew in a vessel of this shape, as the spirulina that I have been growing often moves around the water within the glass and changes shape and position quite frequently - this could pose an issue if the algae did not remain evenly distributed throughout the water, as it may ruin the effect of the tiled wall.

In the same session as laser cutting the perspex to make these hollow tiles, I also did some tests on ply wood for the frame that would hold the tiles in place on the wall. This frame needs to be deep enough for the hollow tiles to sit on it and would also need to hold them tightly/securely enough so that they didn’t fall off the wall. I have also considered creating a cavity between two layers of wood for the frame - this has the benefit of using less material to achieve a deeper “shelf” and also the cavity within the frame offers a space where additional lighting could be placed out of sight.

Placing lighting between the two layers of the frame would promote growth within the algae tiles and also illuminate the algae from within which aesthetically would look pretty cool. For lighting in this way, I think LED light strips would be best, as it is possible to get these at a fairly low cost and they can be obtained at great lengths, so could be wound through the structure to cover all of the algae.

The vessels I am exploring in this chapter have the primary purpose of enabling algae to be grown in a more aesthetic way within a domestic environment. This tile wall however could potentially be used for COMMERCIAL INTERIORS too, as it could be adapted for a larger scale site. Having a tile wall in a commercial space would be really exciting - I can imagine it as an external wall for a hotel, or a wall dividing the kitchen and dining area within a restaurant. The concept of having algae growing vessels in RESTAURANTS has another interesting purpose as these could actually provide algae for the diners to eat - they could eat meals made from algae, while sitting next to the tiled wall that the algae was grown in!

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PERSPEX TILES

Another idea that I had along similar lines to the hollow tiles, were these tiles that encourage the algae to grow in specific shapes. Here I also laser cut leftover perspex to make a hollow tile containing a cavity in the shape of the outline of a piece of seaweed. I tested putting a small amount of algae into this shape to see how it worked, above are photos of the algae leaking out of the shape - it did not work, perspex would need to be sealed together to hold the algae in.

I showed these tiles in a tutorial and a fellow student suggested that it would look nice to have a series of tiles like this, showing the growth of something like a plant as a series of tiles. I have explored this idea on the left, however did not take it any further as I don’t think the concept itself would work and the series of a growing plant isn’t necessarily relevant to this topic.

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VESSEL S PERSPEX TILES

Below is a laser cut piece of ply wood in the shape of some seaweed that I was planning to create a mould from to slump glass over, to see if I could achieve a greater definition than before. I never made the mould to slump from though as before I had the chance, the country was put in lock-down and I lost the use of the university’s facilities.

I had anticipated that the algae would not stay in the tile shape when I made it from just perspex sheets pushed together (left page) so I had also planned to create the internal section containing the cavity from a white silicone.

The logic was that silicone is soft, squishy and watertight so if I sandwiched it tightly enough between two sheets of perspex then it should hold the algae water within the seaweed-shaped cavity, which would be visible through the sheet of perspex on the front. This actually worked quite well and I think that if the two sheets of perspex (front and back) were held tightly enough, then no liquid would escape. This construction would however cause issues for filling, harvesting algae and then cleaning as the shape is very small and awkward. The algae may also suffer as by making the tile watertight, this has also made it airtight and so the algae may suffocate if left inside.

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T E ST T U B E H O L D E R I acquired some test tubes from the scrap-store as I really like the shape and simple aesthetic of them. Some research into the nutritional benefits of algae showed that the recommended daily consumption of spirulina is about 5ml 20ml, which is exactly the capacity as these test tubes. I had the idea that a test tube offers a daily dose of algae, so if you had seven test tubes that would offer 1 week of daily doses.

The concept I have explored here is for a way of holding a week’s worth of algae within a test tube holder, providing the algae with light and stability in an original looking device. I think that the use of test tubes to contain spirulina is a nice reference to the scientific approach necessary when working within the area of bio-design, that I have used to carry out this project.

BELOW is an image taken from Blond & Bieber showing some of their algae dyes displayed at an exhibition within different sized conical flasks. I like the way that aesthetically this looks really interesting and clean, while also referring to the scientific approach to design involved in extracting these dyes.

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VESSEL S TES T TUBE HOLDER

I constructed a template for the device from laser cut pieces of ply wood, which I designed to be the correct size to hold the seven test tubes, with a concealed space for the lighting and batteries to power the lights. I assembled the wood into the different sections of the structure and glued them together to make moulds from. Above are photos of my test to make sure that the test tubes, lighting and battery pack all fitted within the structure as intended.

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JESMONITE + TEST TUBES I made silicone moulds from the laser cut ply wood in4 parts, to then cast the test tube holder in jesmonite. I wanted the test tube holder to look nice and in keeping with modern interiors, so I went for a contemporary terrazzo surface pattern.

Due to a combination of limited access to the university (facilities closed most Wednesday afternoons) and my own busy schedule on other weekdays, I bought my own jesmonite to use at home. This meant that I did not have the same pigments as university, so I coloured my jesmonite using acrylic paints - the colour was successful but I think it decreased the strength of the jesmonite. Unfortunately, the design also included a lot of very thin walls of jesmonite which broke in numerous places when removing from the moulds. I also came to the conclusion that the terrazzo finish was not helping this, as the large chunks of acrylic-paint-colouredjesmonite appeared to be weakening the overall structure of the piece. I therefore left this concept for a while, considering how best to approach it and if a redesign or different materials would help.

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ALGAE PIGMENTED JESMONITE I came back to the test tube concept after the country had entered lock-down. I had been doing some tests as to the effect of pigmenting jesmonite using spirulina powder, which were a real success. I then decided to re -attempt this design using my spirulina pigmented jesmonite. I think the colouring provided by the spirulina is much more appropriate to the vessel than the terrazzo was - it’s cool having the spirulina-growing-device coloured by spirulina! The subtle, natural dotty effect created in the surface of the jesmonite by the spirulina powder really makes this jesmonite more interesting than the bright colours of the terrazzo I used previously - terrazzo is very popular and common, whereas this is unique. I also think the more natural shade works in the favour of this vessel.

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TO MAKE THIS PIECE I USED: Just over 1/8 tsp spirulina powder 62g:25g jesmonite 40g:16g jesmonite The cast dried in 2 hours 20 minutes and removed from mould without cracking, was then left for about 24 hours before sanding on wet + dry paper, some areas snapped at this point and were super glued back together.

VESSEL S TES T TUBE HOLDER

I glued the different sections of the jesmonite structure together, with the lights held inside.

As shown on the left page, the lights are visible through the jesmonite, as well as illuminating the test tubes. I’m not sure if I like being able to see the lights through the jesmonite - I may need to make this section thicker to avoid this.

I do like how the structure looks in the spirulinapowder-pigmented jesmonite, but I think that there are too many different pieces and having them glued on top of one another does not look as professional as I would like. My sanding facilities at home are also worse than they would have been at the university, so the finish is not what I would have liked.

I also have an issue with the design, in that I have the lid of the structure held on and up by the test tubes. As the test tubes are intended to contain wet spirulina, this is not a good idea. I need to find a way to create the holder with a lid that is held up independently from the test tubes to provide a more secure and stable environment for the algae.

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After making the test tube holder vessel in jesmonite, I found that the design is not sufficient to hold the test tubes safely upright. The test tubes end up being the part of the structure that connects the base to the lid - not ideal when they are unstable and supposed to contain algae as they could fall over easily. I therefore have redesigned the concept, taking inspiration from the flower holders above to create a “C� shaped vessel which can hold the test tubes upright via a supporting piece of timber down the back. I also have sustainability concerns about the use of jesmonite in this vessel (see Appendix K for full sustainability report) so have chosen to swap materials to reclaimed wood. I attempted creating the vessel using reclaimed wood at home during lock-down, but was unsuccessful due to the lack of tools available.

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REDESIGN

VESSEL S TES T TUBE HOLDER: VISUALISATIONS

VISUALISATIONS As I have not had the facilities at home to be able to make my redesign of the test tube vessel (shown on left page) I have created some simple visualisations to show an idea of how it could have looked. I used Adobe Dimension for the first time to create the images on this page. I think they show enough detail to form an idea of how the test tube holder design could genuinely have looked, however without being able to make it in real life I will not be able to find out conclusively whether the new design would have been a success. I am quite happy with the visualisations though - Adobe Dimension was much easier to work with than expected and the outcome is much more realistic than I could have created using other software (Illustrator/Photoshop). I did consider using Rhino, however I don’t have any of these designs in Rhino already and it is not a software I have used much.

The results I achieved using Adobe Dimension are better than I would have been able to create in Rhino based on my skill level, so I did not attempt to create visualisations through Rhino as well.

I think that the visualisation at the top of this page gives the best idea of how the test tube algae vessel would look in the context of a home. The background image is one that I licensed externally from Adobe Stock, so the test tube holder does not fit into the scene as naturally as it has on the backgrounds supplied by Adobe Dimension, shown in the images below. I am impressed with the overall look of the vessel. I was able to create a “glow” beneath the test tubes to illuminate them in the way that the LEDs would in the real vessel.

I also used an image of my real spirulina as the fill for the test tubes to make the visualisations as realistic as possible. I think the visualisations could still be improved and if I was doing them professionally then I would employ a specialist to create the images, but for this purpose I think they work well enough and give a fairly accurate idea of how the vessel would look in real life.

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VESSEL S TES T TUBE HOLDER: TEC HNIC AL SPECIFIC ATION SHEET

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VESSEL S SANDBL AS TIN G

Following on from the success I had with distorting the surface of the glass through slumping, I chose to explore sandblasting. The purpose of this was to create subtle patterns and shapes on the sheets of glass that would be effective in front of algae, for example on the front of a hollow tile. I used algae as the inspiration for my designs, with some showing seaweed and others showing water patterns (as algae lives in water). I experimented with using a hot glue gun and cutting through sticky back plastic to create the stencils to sandblast over.

Both methods were successful for creating patterns and shapes, however the hot glue gun was much better as it allowed for a drawing-style freedom of creating shapes on the glass and didn’t peel off under the pressure of the sand, as the sticky back plastic did in places.

SA N D B L AST I N G

Unfortunately, my original outcomes smashed (left page). I made a selection of new ones, this time learning from and adapting the process I had followed with the first round of sandblasting. For my second attempts, I cut down all of the glass to A5 size which saved on time and waste, as I realised that I didn’t need samples as big as A4. I recreated a refined version of the designs from my favourite outcomes from the previous batch (above).

The second round of sandblasting was not as easy as the first. While based on my previous experience I went in more prepared (backs of glass already taped to protect from bouncing sand) which saved me time, the sandblaster got weaker throughout the session and eventually failed (I think there may have been a leak which the sand was escaping through and meant there wasn’t enough sand left in the system) - luckily this was after I had finished creating my pieces.

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LIGHTING

One of the most important features to include within the containers for algae is the lighting. As photosynthetic creatures, ALGAE RELY ON LIGHT TO SURVIVE. I visited James in the tech lab to learn the basics of wiring lights. He showed me how to wire lights along with offering some recommendations for the types of lighting to suit the purpose of my designs. Since looking at lighting as a necessity for the vessels, I have had the idea that it might be interesting to consider lights as an obvious feature of the vessels too, rather than just as a necessity, because creating vessels that work as lights as well as algae growing stations adds a second function to the piece, making it more useful and maybe more desirable?

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VESSEL S LIGHTIN G

LIGHTING From my research into algae and referenced in the spirulina growing guide that I received with my algae, normal LED lights are effective at providing the right light for algae to grow healthily - they don’t actually need the plant-specific colour spectrum lights (which are much more expensive).

I then ordered some different types of LEDs from Amazon to test which would be the best size/shape/style/intensity for use within the different algae vessels I have been designing. They are all powered in different ways, but I think the easiest for my current testing needs are the batterypowered fairy lights shown in the photos below. It is these fairy lights that I designed the test tube holder vessel around, as it is much easier to have the power contained within the vessel rather than having to wire it to a mains power supply.

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VESSEL S L AVA L AMP INSPIRATION

L AVA L A M P I N S P I R A T I O N

Following on from my thoughts about having the lighting as an additional selling point for the algae growing vessels, I have looked to lava lamps (left page) for inspiration. Lava lamps actually offer much of what I need to incorporate into the vessels to grow algae: they have a liquid-containing section which the algae could grow in, a light concealed in the base of the lamp which would help the algae to grow and a cap over the top to conceal the entrance/exit for the liquid within the lamp, necessary for algae to be harvested and the vessel to be cleaned. I have shown some of my lava lamp inspired designs across these pages, I think this would be a really interesting and functional concept for an algae growing vessel.

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R EC YC LED GL ASS B OT TLE S I realised part way through the process of designing vessels to contain the algae, that many of the vessels I was designing were shapes that mirrored standard bottle shapes. From this I then decided to test out adapting and applying my designs concepts to existing bottles. Glass bottles are readily available as drink containers, which means that no additional energy is required to create the shape - unlike any shape I design which would require energy and resources to create the template, mould and to cast glass.

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VESSEL S RECYCLED GL ASS BOTTLES

Before creating any vessels from glass bottles (or from other materials to achieve a similar shape) I tested how algae grew in the bottle shape, to check that the shape was well suited to the needs of the algae. The algae grew just as well in the bottles as in the original large glass cylinders, which is a positive result!

The formations that algae created within the different shapes of the bottles were more interesting and would need to be considered when designing a vessel based around this. If the algae were to form clumps at the base or top of the vessel then this area would need to be visible to be able to see the algae.

The bottles also have smaller openings so cleaning and harvesting algae may need to be adapted for this, but I don’t think that will cause too much of an issue - I managed to thoroughly clean and sterilise all of these bottles easily.

GROWING

ALGAE

IN GLASS

BOT TLES

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C U T T I N G G L ASS B OT T L E S

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VESSEL S CUTTIN G GL ASS BOTTLES

One of the potential issues with using glass bottles to contain algae is the necks of the bottles. In my vessel designs, the necks would be concealed to give a smoother cylindrical appearance - if the bottles have long necks then the material to conceal these would need to be large and may throw off the proportions of the vessel if top-heavy. Additionally, if the algae were to rise to the top of the bottle and stay in the neck, it would be out of sight from viewers.

I attempted to use a bottle cutter to cut off the tops of some waste bottles, leaving behind just the base and cylindrical sides. I also wanted to try out using the neck and top of the bottle as a funnel for my home -grown spirulina.

Unfortunately, my attempts at using the bottle cutter did not go smoothly and all of the bottles broke apart unevenly. The tops of the bottles were also not very good as funnels.

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VESSEL S RECL AIMED WOOD

RECLAIMED WOOD While considering what materials to use around the recycled glass to make the vessels, in a tutorial I was recommended to look at using wood. Wood is one of my favourite materials aesthetically and the natural origins of wood fit in with the project. I found a local reclaimed wood yard and bought a big post of a “non-native hardwood� which I cannot identify any further. With the help of Ryan, I cut this post and sanded to a level that the post was squared off on all sides and ready to use. I was considering using the reclaimed wood for the tops and bottoms of the vessels containing the waste bottles, as well as potentially for the test tube holder. My plan was to use a drill with a really big drill bit (like the image on the left) to cut an indent into the wood for the bottle to sit in and use different size drill bits to create space for the lighting and for the neck of the bottle in the top half of the vessel. Unfortunately, just after I had got the wood nicely prepared for use, the country went into lock-down and I was unable to carry out my original plans.

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P R O G R E SS WITH RECLAIMED

WOOD

AT H O M E

I had plans to create lava lamp inspired vessels using used glass bottles and reclaimed wood, however the lock-down came into effect at the point that I was ready to cut the wood down to fit the glass bottles and form the vessels.

I attempted to cut down some of the reclaimed wood at home, using my Granddad’s old mitre saw. Unfortunately due to it’s age and the fact that it probably hasn’t been used or maintained for the last 10 years, the saw didn’t work and actually broke as I was cutting with it, with small pieces of metal flying off as the saw went.

After the mitre saw broke, I attempted to use a small hacksaw instead. The blade on my hacksaw is designed for metal rather than wood, and this didn’t work either. I also tried using a carving knife to shave off the wood that needed cutting and an electric sander to do the same. None of these worked.

I looked into purchasing a better saw to complete the job, however I would also really need to get a proper workbench and clamps too and I just don’t have the space or money to be able to justify this for cutting out one piece. It’s a real shame that I wasn’t able to finish this vessel as I think this is the design that held the most potential, however there’s not much more I can do.

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VESSEL S RECL AIMED WOOD

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L AVA L A M P I N S P I R E D V E SS E L As with the visualisations for the test tube vessel design, I used Adobe Dimension to create these images. Using a double -layered cylinder I managed to get the glass effect externally with the algae image imposed on the water internally. I think that using a photo of my own spirulina to create the texture for the water has really helped to capture a sense of the algae that would be living within this vessel, which would not have been accurately represented by a flat green. I also included a small glowing sphere in the wooden base of the vessel, visible in the image above. This is in the position that I would have added a real LED light into the vessel if I were able to create it myself, and so in the renders it should glow in a similar manner to how the real light would, illuminating the algae from within. I made the top and base of this vessel in a natural wood effect as this too was what I had planned for the real vessel.

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VESSEL S L AVA L AMP S T YLE: VISUALISATION

L AVA L A M P I N S P I R E D V E SS E L

VISUALISATION I am happy with how this visualisation has turned out. I think the simpler design has been more effective than the complex test tube design for visualisations. I also think that the scene I have chosen for the background is a fair depiction of how I envisage this vessel to be displayed within a home - it even fits in quite well with the clean minimalist style and other decorative items. One of my biggest concerns for creating algae vessels was the somewhat unpleasant appearance of algae, but if this visualisation is anything to go by then this vessel design seems to allow the algae to form an attractive piece of decor, as I had hoped.

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VESSEL S L AVA L AMP S T YLE: TEC HNIC AL SPECIFIC ATION SHEET

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VESSEL S C AS TIN G RECYCLED GL ASS

C ASTING RE C YC L E D GL ASS I attempted several different methods to get my waste sheet glass into a state that would be easier to cast from. On the LEFT PAGE are images of the process of SHAT TERING GLASS BY HEATING it in the enamel kiln, then submerging it quickly in a bucket of very cold water with the hope that it shatters. The glass appeared to have some sort of coating (maybe shatter-proof) which meant that it shattered within but remained in as full sheets of glass, as shown in some of the photos in the middle - the effect of this was really cool. This meant that I had to manually break down the glass further, first by shaking the bucket containing it, then by grinding it with a pestle and mortar until it reached a finer consistency.

Shown on THIS PAGE - I also attempted to reach smaller pieces suitable for casting by CUTTING THE GLASS BY HAND, using the same cutting tools as before, this time cutting the glass into thin slices (about 5mm wide) and then some of these slices cut further into small squares. This was a very time -consuming process and nowhere near as fun as shattering the glass from the kiln had been.

To COMPARE these different methods of breaking down the glass, I made three plaster moulds in which to cast the different formations (shown below). The aim was to fill each mould with the different cut of glass, cast them all at the same time in the test kiln (I designed the moulds to all be small enough to fit in the test kiln) and see how the outcomes compared in order to determine which type of crushed glass showed the most promise for my future casting, in terms of COLOUR, CLARITY AND DEFINITION. Unfortunately, before the tests were able to be fired the university was closed for Covid-19 so I was unable to complete this experiment.

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MAKING HOL LO W G LASS TI LE S

Following on from my perspex tile tests, I attempted making some lid-less tiles from glass to test if 1. my method worked and 2. if spirulina would survive in a vessel this shape. I cut down some of my reclaimed glass sheets to a similar size as the test perspex tiles and affixed them with a UV glass glue. I then filled in any gaps with hot wax (glue gun did not work) to make the tile watertight, which I tested by filling with water. I was hoping that the tiles would be sealed by fusing them in the kiln - using the heat to bind the touching pieces of glass. Fusing would be better than casting as the glass wouldn’t need to change it’s structure as much so there would hopefully be less distortion and clouding. Fusing also uses lower temperatures which is quicker and more energy efficient.

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VESSEL S FUSED GL ASS TILES

FUSING GLASS TILES

To fuse the tiles together, I made plaster moulds to hold the tiles securely with all of the glued sides touching in the hope that they fuse correctly and don’t warp. This involved creating these big blocks of plaster containing the glued hollow tiles, which should have been fired in the test kiln. I made sure that the proportions of the moulds were still small enough to fit in the test kiln, as it is much quicker to gain access to than the bigger kilns so I could complete my different temperature tests more efficiently.

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REMOVING THE FUSED GLASS TILE FROM ITS MOULD The university closed on the day that I collected this glass tile from the kiln so I had to remove it from the mould at home. Ryan recommended to do this underwater due to the plaster used in the mould, so I soaked the tile and mould in a bucket of cold water and chiselled the mould off carefully with a knife.

While the mould came away from the outside of the tile well (although it looked like the corners at the bottom had chipped off) unfortunately scraping the plaster out from within the cavity of the tile caused the tile to break apart.

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VESSEL S FUSED GL ASS TILES

FUSED GLASS TILE

On THIS PAGE are photos of the “FUSED” TILE. The fusing had not been thorough enough to keep the sides of the tile together and as the tiles are intended to contain water and algae, they need to be thoroughly watertight. Based on this test, I think that if I fuse any more tiles in the future, I will need to keep them in the kiln at a HIGHER TEMPERATURE and/or for a LONGER PERIOD OF TIME. While the fusing of the tile itself was not a success, I had originally been warned that the surface of the tile may be warped when fusing and would likely lose clarity. I do however really like the SUBTLE SURFACE TEXTURE that the glass has attained during its time in the kiln and so would be happy to achieve this finish on a successfully fused tile too.

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A LG A E T I L E WA L L

The algae tile wall is the concept for which I was testing fusing glass to create hollow tiles. These hollow tiles would sit neatly within the wooden frame to create an interesting feature wall within a commercial environment like a restaurant or business lobby. I think they may also work on a smaller scale for a domestic setting - the hollow tiles could potentially be sold individually with their wooden frame to hang anywhere. As with the other visualisations, I used Adobe Dimension to create these images and I am happy with how they have turned out. The tiles were all created individually as hollow glass boxes, filled with “water” that had been given the texture of spirulina using my own photos. I used about ten different photos of my algae to try and achieve a random, varied look on the wall and so that the tiles didn’t all look the same. I applied a frosted glass effect to the exterior of the hollow tiles to mimic the warped surface texture of my first fused tile (previous page). This effect is only visible in the images at the top of this page, but I think it shows a fairly realistic impression of how the fused tiles may have turned out.

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VESSEL S ALGAE TILE WALL: VISUALISATION

A LG A E T I L E WA L L

VISUALISATION I am really pleased with this visualisation - I think it may be my favourite. I used a fully licensed Adobe stock photo for the restaurant setting, as I see the hollow tiles as components of a large feature wall within a hospitality/commercial setting. The algae tiles add a nice green and natural element to an otherwise blank wall behind where the diners would sit. I think it would be an interesting concept to eat in a restaurant which has algae growing within the walls - potentially eating meals containing spirulina that had been grown in those very walls! I also like the idea of having a feature wall containing a living organism, as the feature would be constantly changing as the algae grows and no two days would ever look the same.

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VESSEL S ALGAE TILE WALL: TEC HNIC AL SPECIFIC ATION SHEET

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VESSEL S T YPOGRAPHIC CON CEPT

TYPOGRAPHIC

ALGAE VESSEL CONCEPT A later idea that I had for an algae growing vessel is in a typographic style, inspired by neon lighting. This would be ideal for use at trade shows particularly, potentially along with custom designs for commercial environments.

I have three different ways that I can see this being composed ALGAE LIVING IN A TUBE This is the method that would be most similar to a neon sign - where the light would be on a neon sign, the algae would flow through hollow tubes in the shape of the typography. Probably would be the most effective way, but also the most difficult as would require creating a custom hollow tube in the shape of whatever typography I chose. Difficult for me to achieve normally, never mind with recycled glass.

LETTERS CUT OUT OF A FRONT TO EXPOSE THE TANK BEHIND I think this is the most viable option - using a front (made from wood perhaps) with the typography cut out so that the letters are see -through. This front would then be placed in front of a thin, illuminated tank of algae so that the algae was visible through the cut out sections of the front. This could be laser cut into a sheet of wood. Only issue I can see would be when the algae forms clumps, that may look weird through the typography.

TYPOGRAPHIC SHAPED CAVITY CUT IN THICK FRONT FOR ALGAE TO GROW IN Another fairly difficult option would be to create a cavity within a thick material in the shape of the typography. This would need to be waterproofed and sealed from the front with glass. Would be very difficult to clean out too.

Above are some neon signs I have used as inspiration for this concept. Most are photos from trade shows - I really think that is the ideal environment for a show-piece like this would be.

Below are some photos I took of a feature at Bristol Zoo which has tubes of bubbling water with different coloured lights shining through. This is how I envision the algae looking when illuminated.

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The visualisations across these pages show one of my very first ideas of an outside algae growing concept, inspired by the colourful illuminated bubbling tubes at Bristol zoo (photos on previous page). The idea explored here is comprised of several different glass tubes, each containing a separate algae culture (could even be different types of algae). The tubes are housed within a lightbox - similar to those used to advertise on the ends of bus stops like in the visualisation above. This concept could potentially use existing or old light-boxes and re -purpose them to house algae, as the lighting and electronic fixtures are already in place. The main consideration needed would be for breath-ability, but there is enough space within the base of the light-boxes to easily conceal an air pump to circulate the polluted city air into the algae and take the cleaner O2 out of the algae, releasing it back into the city.

The visualisations on the right page show the light-box algae vessel outside at various locations around Bristol city centre and harbour, using my own photographs of the city for backgrounds. As walking through this busy part of the city centre first sparked the idea for this project, I felt as though I had to create these visualisations as a way to represent the original concept. The visualisations actually bare a strong resemblance to how I pictured these vessels to look in a city centre setting so I’m quite happy with how they have turned out.

As with the other visualisations, I am aware that they could look much more realistic and detailed, but they successfully capture the vision I had. The light-box vessels are a bit clunky and unusual for a piece of art, but they use an existing structure within the city environment (advertising light-boxes) and I think this would help to draw in people’s attention and engage the public with the algae as it’s so unusual and out-ofplace. I tried out using wood and brass for the frame of the light-box as I felt that a warm toned material would look best against the cool green algae, the wood especially matched the existing materials used to build the city centre (top two images). Throughout this project I have focused on vessels designed for growing algae inside, so I have not had to give much consideration to any outside threats like weather and therefore have not got a good idea of the best material to use for this concept. Exploring ways to create algae housing structures in public may be the next stage of the project.

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I N B R I S TO L

VESSEL S OUTSIDE CON CEPT

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VESSEL S HYUNSEOK AN

HYUNSEOK AN: THE CORAL ‘THE CORAL’ IS AN INDOOR MICRO-ALGAE FARM DESIGNED TO REBUILD A RELATIONSHIP WITH ALGAE, CRITICAL FOR SUSTAINABILITY YET LESS APPRECIATED, IN OUR EVERYDAY LIVES. THIS WALL -MOUNTED BIOREACTOR PROPOSES A DAILY RITUAL FOR ALGAE CONSUMPTION FOR A SUSTAINABLE ALTERNATIVE OF NUTRITIONAL DIETS. THE CORAL ALSO HIGHLIGHTS ALGAE’S ENVIRONMENTAL BENEFITS THROUGH A SYMBOL OF REVITALIZING CORAL FROM ‘CORAL BLEACHING.’ BESIDES, THE REPRESENTATION AUGMENTS AN INDOOR EXPERIENCE, ALLOWING US TO WELCOME THE ALGAE FARM AT HOME FOR AESTHETIC PURPOSES. THE CORAL SUGGESTS A SOCIALLY ACCEPTABLE WAY OF BRINGING ALGAE, WHICH HELPS US TAKE ONE STEP FORWARD TO A BETTER SUSTAINABLE WAY OF LIVING.

Hyunseok An has created a wall panel of individual containers which contain growing algae - named The Coral. This is very similar to my concept with the tile wall, however clearly Hyunseok An has managed to progress further with their concept. I am really disappointed that this project exists, as I thought my concept was quite unique and different - The Coral has a very very similar purpose to my work and to only find this so close to the end of the LIVE module (June 2020) is really quite disheartening.

As mentioned in the quote above, the concept for The Coral takes on the appearance of corals on the outside of the algae containers and uses the changing colour of the algae cultures to demonstrate the bleaching that corals experience as a result of climate change. Coral survive due to the symbiotic relationship they have with a certain type of algae (Zooxanthellae), which live within the coral and provide it with a source of food. Bleaching occurs when the algae leaves the confinement of the coral due to changes in the environment, which can result in the coral dying. While the link between Zooxanthellae and corals is clear, Hyunseok An’s project uses an edible algae (presumably spirulina) which is an entirely different type of algae to the Zooxanthellae that live within the corals, so I find the link between growing this type of algae and coral bleaching slightly tenuous, especially as the algae within corals is an inedible marine algae, whereas spirulina is an edible fresh-water algae.

I think that Hyunseok An has executed the design well and professionally, even though the link to coral isn’t entirely necessary. I think they could perhaps improve upon the design slightly to make it more appealing for use in a domestic setting and I would also question the sustainability of materials used - the containers look like plastic which is not very sustainable and presents a conflicting message to the awareness this project hopes to build around environmental issues.

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ADAPTIN G TO C OVID-19

COVID-19:

ADAPTATIONS TO WORKING WO R K TO C OMPLETE:

PROBL E M S C OM PL E TIN G THI S WOR K :

•Continue growing the three strains of algae •Algae containers (for spirulina):

Lighting

Glass containing algae Glass tile design Test tubes

Lava lamp style

Bespoke, e.g. neon writing

Structures to hold the glass (wood etc)

Elements of the ALGAE CONTAINERS (like the unique glass shapes and the structures to hold them) are pieces that I need specialist fabrication facilities to create and will not be able to substitute with at-home solutions. Also lighting for the algae containers may not be available to purchase.

•Algae filter:

Test different fabrics (absorption and sheen)

Funnel Design

Material tests for funnel (non toxic) Ceramic Glass

Bio-plastic like seaweed

Due to limited access to shops and reduced shipping, I may only be able to test a limited range of FABRICS to strain and filter the algae.

•Applications for algae:

Food and drink Paper

Mixed with other materials, e.g.. jesmonite

Pigment for paint/dyes (textile applications)

Plastic? (would need seaweed/kelp •Elements for digital design:

Photography Infographics/diagrams

Book/editorial piece

Branding and marketing materials

Mock-ups of algae growing in context

Tech spec boards

Business plan

Algae care app mock-ups

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The materials I would like to test for FUNNELS may also be difficult to acquire during lock down and would likely also need fabrication facilities to construct the devices.

PHOTOGRAPHY facilities at home are limited so the quality of my photos may not be as good quality at home as they could have been if using the university facilities.

ADAPTIN G TO C OVID-19

THOUGH IT SEEMS AT THE MOMENT THAT THE ONLY IMPORTANT JOBS ARE THOSE DIRECTLY RELATED TO CORONAVIRUS, I THINK IT’S REALLY REALLY IMPORTANT THAT PEOPLE WHO ARE ABLE TO DESIGN AND CREATE ART/SCULPTURE/PHOTOGRAPHY ETC REALISE THE IMPORTANCE OF WHAT THEY’RE ABLE TO DO.

IT’S WHEN EVERYTHING LOOKS DARK THAT WE MOST NEED CREATIVE PEOPLE TO PROVIDE SOMETHING POSITIVE AND BEAUTIFUL. THERE’S A HYPOTHESIS THAT THE BLACK DEATH OF THE MIDDLE AGES LED DIRECTLY TO THE ITALIAN RENAISSANCE, SO MAYBE GOOD AND BEAUTIFUL THINGS CAN COME OUT OF THE CORONAVIRUS PANDEMIC TOO. - J RICHARDSON, 2020 -

At the beginning of the lockdown I found it difficult to focus on this project. This was due to many factors: the change in format of delivery of the project from physical to digital submission, the loss of the university facilities, the pandemic killing so many people, the loss of socialising etc.

I spoke to my mother about what I and my friends were feeling: that creating pretty art and focusing on promoting ourselves and our work seemed trivial in a time when so many people were literally fighting for their lives. She sent me the message above, about how even though art may feel trivial it is what gives people hope and a reason to enjoy life. This really put things into perspective and gave me a big boost of motivation to continue.

ART IS THE HIGHEST FORM OF HOPE - OLAFUR ELIASSON -

Pandemic work location - study in my spare room

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C HAPTER F OUR APPLIC AT IONS

CHAPTER 4: APPLICATIONS FOR ALGAE For this chapter I have been exploring some of the various different applications and uses for algae. My initial motivation for using algae as the focus for the LIVE module was twofold - for it’s environmental benefits as a photosynthetic organism (converting CO2 into O2) and also its practical uses within design. While algae has a multitude of different uses, I have focused on the design-based applications alongside a small exploration into the other uses that I can explore at home, like consumption for food and drink.

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BLOND & BIEBER Inspirational Berlin-based design studio 210 that create fabric paints using algae

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JASMINE LININGTON Creating fashion from seaweed

SEAWEED PAPER Creating paper from pure seaweed

222 NIENKE HOOGVLIET

Further inspiration for dying with algae

162 PAINT 223 DYE

Algae used as a natural and sustainable Algae used as a natural textile dye

alternative to paint 244 HOMEWARE COLLECTIONS 168 JESMONITE

Two collections of prototype products

Algae used as a natural pigment to

created in this chapter

colour jesmonite 246 FOOD AND DRINK 184 HORS STUDIO

Exploring recipes containing Spirulina,

Inspiration for a sustainable composite

while showing the collection in context

as an alternative to jesmonite 252 REVIEW 186 RECYCLING PAPER

A comparison of the types of algae

Making recycled paper using algae as explored in this chapter and their

a natural and sustainable pigment

potential uses going forwards 199

POTENTIAL COLLABORATION Potential collaboration explored with fellow designer Rosie

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B LO N D & B I E B E R

Blond & Bieber are a Berlin-based design studio who have created dyes and paints made with algae.

As part of this project, they have created a special printing machine (above middle) which can be used at exhibitions to roll the paint onto fabric in geometric patterns. I am passionate about printmaking and patterns so this project is really inspirational, as it uses the same material I am working with.

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APPLIC ATIONS BLOND & BIEBER

J AS M I N E L I N I N G TO N

Jasmine Linington is a Scotland based artist working with seaweed to produce fashion and accessories. Her work includes yarn and fibres made from locally-sourced seaweed, as well as earrings (below right) made from a form of plastic extracted from the seaweed. Her work inspires me as she has taken an unattractive, smelly, natural material and made it into something delicate and beautiful. The innovative use of seaweed to create a substitute for sequins (which are not environmentally friendly) is really unusual and cleaver.

In addition to the concepts behind her work, I also really like the way that Jasmine Linington has photographed her materials (below left) and the outcomes. The clean, organised and soft style really allows the interesting detail in the work to be seen, which is something that I would like to incorporate into my own work on algae.

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APPLIC ATIONS PAINTIN G

PA I N T I N G W I T H FRESH SPIRULINA

FIRST AT TEMPT: 15TH FEBRUARY 2020 For my first attempt at painting with my fresh Spirulina, I took some of the spirulina out of the glasses when I was giving my cultures fresh water.

For the first example (left above and on the page to the left) I used some of the unhealthy-looking gunky bits of the Spirulina, which I collected from the top of the algae when it was in it’s water. For the second sample (right above and on the page to the left) I painted using some of the fresh Spirulina, which was mixed in with the water and growing in the glasses.

Both attempts at painting used just the algae on a paintbrush, without any special process, treating, or the addition of any other ingredients.

These two samples differ in both colour and texture, with the gunky Spirulina creating a more yellowish-green tone and a more dense “paint”, compared to the watery Spirulina, which had a more fibrous texture with the individual pieces of spirulina still visible and in a much darker green, but a less-dense “paint”. I like both outcomes, however I think that the more gunky texture is better suited to a paint due to the dense pigment. I think that I can achieve a similar consistency to this by straining the healthy spirulina from it’s water, so perhaps I would be able to get a stronger and darker tone this way.

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PAINT IN G W I T H SPI RULINA P OWDER

To paint with the spirulina powder, I mixed specific volumes of the spirulina powder each with 1 TBSP of cold tap water in an ice cube tray. I then tested different methods of applying spirulina powder as a paint, starting with sprinkling it onto water, followed by dripping water onto the powder (images in the middle row on the left).

The water dripped onto the powder had the most interesting effect when dry (page on right) with a more subtle bleeding of pigment than the powder sprinkled on water.

The main swatch-style samples were applied to the paper using a paint brush and have a quality like WATERCOLOUR PAINT when dry, which I really like!

When I first stirred the spirulina powder into the water it was still quite grainy, so I decided to leave the powdered algae soaking in the water and test the quality of the “paint” intermittently to see if time soaking made a difference. The consistency is changed most within the fist hour of the spirulina powder soaking in water, with a much better and less grainy “paint” after this time. With extra time, the quality of paint only improves slightly and develops a more blue -hue with some sections of a more yellowishbrown tone appearing after 2.5 hours of soaking.

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APPLIC ATIONS PAINTIN G

EACH “PAINT” CONTAINED 1 TBSP WATER, MIXED WITH THE FOLLOWING QUANTITIES OF SPIRULINA POWDER:

1/8 TSP 1/16 TSP 1/32 TSP 3 SPOON TAPS 2 SPOON TAPS 1 SPOON TAP L I V E E V E RY DAY A L GA E

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SEAWEED PAINT I tried two approaches to painting with seaweed. For the first, I followed an online tutorial which advised to boil seaweed with soda ash and a small quantity of water for half an hour, then strain the material and add gum Arabic as a thickener and thyme to prevent mould. I set up two saucepans with channelled wrack in one and dulse in the other in an attempt to do this.

Unfortunately, using so little water it boiled off very quickly and burnt the seaweed in the bottom of the first pan. I could see the same thing happening with the second pan, which hadn’t added any colour to the water that was there anyway, so I took both off the hob and finished this experiment unsuccessfully. I would have liked to try again, but this used up the last of my seaweed.

For the second test, I used leftover dye water from channelled wrack and spiral wrack dye baths that had also used soda ash. I was hoping that these reddish/brown waters would leave a nice watercolour style paint, like the spirulina powder had. These solutions were too pale to create much of a mark though (image on the right). The channelled wrack (left in the image) left a faint pink which may work if more highly concentrated, but the spiral wrack (right in the image) left only a dirty looking water.

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APPLIC ATIONS PAINTIN G

T E X T I L E PA I N T I attempted to make a textile paint using spirulina powder. To begin, I followed a basic “How To Make Fabric Paint� online tutorial.

Ingredients needed to make homemade fabric paint medium: White Vinegar Glycerine Tap Water A couple of artist sites suggest adding glycerine to acrylic paints, to make them act more like oil paints. Glycerine is found in coconut oil, which is what I used.

I mixed up three different pots of paint, one containing vinegar, coconut oil, cold water and spirulina, one without the coconut oil and another without the vinegar. I found that the paint containing the coconut oil solidified into a waxy mix after being out on the side, the one containing just vinegar also caused the spirulina powder to separate from the water.

I used a sponge and a paintbrush to apply each paint to both chunky cotton canvas and bamboo silk to test how the paints worked on the different surfaces - images showing this are below left, with the cotton canvas on the left bamboo silk on the right and each test having the sponged paints on the left and those painted with a brush on the right. Below right are the fabrics after having been washed on a cold setting with no detergent for an hour. The paints have not adhered to the fabrics very well, almost completely coming off the bamboo silk.

Overall, I do not consider this test a success - the paint did not look nice on the fabric when freshly applied and did not stay on well when washed. I think there may be a way to create fabric paint from spirulina, but this is not it.

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SPIRULINA POWDER AS A PIGMENT FOR JESMONITE

During my FIRST ATTEMPT at colouring jesmonite with spirulina powder (3 photos at the top of the right page) I stirred random quantities of the powder into the jesmonite because I had no idea of the effect it would have. The first sample (square) turned out quite a pale mint-green with lots of nice darker-green speckles on the top. The 2nd and 3rd samples (rectangle and circle) used greater quantities of the spirulina powder which were less successful - creating a really dark green like a wax crayon, taking significantly longer to dry and distorting and cracking while drying.

My SECOND ATTEMPT at using spirulina powder with jesmonite was more successful (2 photos at bottom of right page). Although I still found some areas of shrinkage and some samples took a really long time to dry, in general the outcomes were much better. For these samples I used much smaller amounts of spirulina powder (measures as fractions of a teaspoon rather than in grams). I also found that mixing the algae powder with the jesmonite powder before adding the liquid allowed for a more even tone. Initially the samples were deeper shades of green, but I sanded them down with wet + dry paper to remove some uneven parts of the surface and the sanding has now paled the samples. The best looking samples are samples 4 & 5 which only contain 1/16tsp and 1/8tsp of spirulina powder. As a result, these samples have avoided the distorting that occurs to the samples with greater quantities of spirulina powder.

I elected to create all samples for my second attempt using the same large circular mould (8cm diameter) which meant that the process took longer as I could only cast one sample at a time, but the samples are much easier to compare when the same size and shape and look much nicer as a collection.

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APPLIC ATIONS PIGMENT F OR JESMONITE

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F R E S H S P I R U L I N A AS A P I G M E N T F O R J E SM O N I T E

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APPLIC ATIONS PIGMENT F OR JESMONITE

Using my home -grown fresh spirulina as a pigment for the jesmonite was more successful than the powdered spirulina I had tested previously. The fresh algae has a more subtle colour and as such needs a much larger quantity to reach the same depth of colour when compared to the powder. In spite of needing a greater volume to achieve strong colours, the outcomes of the fresh algae and jesmonite have a much more even tone than the spirulina powder allowed for, which looks nicer. The fresh algae also creates less of a blue hue than the powdered spirulina. The final pieces have been sanded since casting to remove a small rim they gained from being shaken to remove the bubbles. Sanding has evened out the colour of the jesmonite, however has made the tiles paler than they originally were and has exposed more air bubbles. The surface texture is now more porous than before sanding, but I like the speckled finish this gives. I am considering giving the jesmonite a coat of an oil or varnish to seal the surface and make the colour more vibrant, but I would prefer to find one that is as environmentally friendly as possible.

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SPIRULINA POWDER

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vs

FRESH SPIRULINA

SPIRULINA POWDER IN JESMONITE

FRESH SPIRULINA IN JESMONITE

TOP LEFT = 1/16 tsp powder TOP RIGHT = 1/8 tsp powder BOTTOM LEFT = 1/4 tsp powder BOTTOM RIGHT = 1/2 tsp powder

TOP LEFT = 1/16 tsp fresh algae TOP RIGHT = 1/8 tsp fresh algae MIDDLE LEFT = 3/16 tsp fresh algae MIDDLE RIGHT = 1/4 tsp fresh algae BOTTOM LEFT = 1/2 tsp fresh algae BOTTOM RIGHT = 1 tsp fresh algae

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APPLIC ATIONS PIGMENT F OR JESMONITE

Overall I am really happy with how the spirulina has pigmented the jesmonite and I like the different colours created by the different forms of spirulina. I think the samples look best as a collection (like above) showing the variety of the shades and hues achieved. The fresh spirulina was definitely the more successful pigment, creating a much more even finish for the jesmonite, but I think if I were to stick to smaller volumes of the spirulina powder, I could reach similar results with that.

I have found myself more attached to the samples pigmented by the fresh algae because of my connection to it - having grown the spirulina for several months, it is satisfying to now be able to apply it in this way and it makes me proud that I have grown the pigment myself.

I’ve enjoyed carrying out these tests and I think that these experiments with using algae as a pigment have shown it’s potential and I will experiment further to find other ways that it can be applied, as a natural and sustainable pigment.

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I SANDED all of the spirulina pigmented jesmonite tiles with wet and dry paper to even out the surfaces and remove ridges. Unfortunately, this made the tiles much PALER in colour than they had been originally after casting. Even washing, scrubbing and soaking in water did not restore the tiles to their original colour.

I chose to try using a sealant or varnish to fix the surface of the tiles and attempt to make the pigment show through as vibrantly as before. While I would prefer to use the most ecofriendly and natural substance possible for this, due to Covid-19 and limited funds I chose to test out the resources I already had at home - art supplies and cooking products.

I broke my very fist jesmonite tile from this project (pigmented with spirulina powder) into four pieces to test a different solution on each. For the first, I used Windsor & Newton Professional Fixative, for the second I used Sunflower Oil, the third used Rust-Oleum Clear Sealer Protective Coating: Satin Finish and the fourth I left natural and uncoated for comparison.

SUNFLOWER OIL APPLIED WITH KITCHEN ROLL

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T E ST I N G C OAT I N G S F O R T H E

A LGA E P I G M E N T E D J E S M O N I T E Of the limited number of different liquids I tested, the sunflower oil was by far the best to coat the jesmonite, as it left no brush or spray marks behind (like the fixative spray and clear sealer paint did - shown above) and provided a clear, even coat that intensified the colour of the jesmonite. I have therefore chosen to apply this to my samples of jesmonite pigmented with spirulina in fresh and powdered form, to bring back the vibrancy of the pigment to how it looked when first cast. If I end up using much more spirulina-pigmented jesmonite, I will look at purchasing a more sustainable, natural oil to fulfil this requirement, but for now I’m happy with the results achieved by sunflower oil.

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SPIRULINA PIGMENTED

J E SM O N I T E T I L E S COAT E D

W I T H S U N F LOW E R O I L

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APPLIC ATIONS PIGMENT F OR JESMONITE

Sanding the jesmonite tiles made them paler than they originally were, so here I have applied the sunflower oil to the spirulina pigmented jesmonite tiles to make the colour more VIBRANT. It has been successful, not only for increasing the vibrancy of the spirulina pigment, but also for evening out the surface texture of the tiles. The sunflower oil has slightly adjusted the hue of the fresh spirulina within the tiles, making them a more yellowshade of green than before.

The hue of the spirulina powder pigmented jesmonite tiles hasn’t changed much, the colour has just become stronger.

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SPIRULINA POWDER PIGMENTED JESMONITE BIG CIRCLE I chose to use the spirulina powder to make some big jesmonite circles using a silicone cake mould.

I thought that as a big circle, the jesmonite could provide a plate stand to match the small circular coasters and form a set. I also thought it would be useful to have for taking photos against as it provides the interesting texture of the spirulina powder pigmented jesmonite on a large enough scale to see clearly. I found that it was much more difficult to get an even thickness for the outcomes on such a large scale, as the surfaces around my flat all seem to be uneven.

Based on ratios for spirulina powder pigmented jesmonite Test 4.

Test 4 in 8.5cm circle mould = 1/16tsp spirulina powder : 50g jesmonite powder : 20g jesmonite liquid This mould is much larger, at 24cm diameter.

Surface area of larger circular mould is 8 x the size of my original circular mould, so I will need 8 x as much of the ingredients (as I’m aiming for the same depth) Therefore, I will use the ratios 1/2tsp spirulina powder : 400g jes powder : 160g jes liquid Surface area calculations (surface area = π (Pi) times the Radius squared): Existing circle = 8.5 cm diameter, surface area = π (4.25 x 4.25) = 56.75 Larger circle = 24 cm diameter, surface area = π (12 x 12) = 452.39 Difference between surface areas of the two circles = 452.39 / 56.75 = 7.97 (rounded to 8) 2nd circle - used same jesmonite ratio but with 1tsp spirulina powder

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APPLIC ATIONS PIGMENT F OR JESMONITE

TEALIGHT HOLDERS

Using another existing mould, I also created some tealight holders using the spirulina powder jesmonite formula. Unlike with the circular tiles, for this I have not oiled the jesmonite with sunflower oil as I don’t want to risk setting it on fire. I think that the jesmonite works well as a candle holder, but I think I need to make a better mould as this one leaves the impression of the layers of wood used to make it on the jesmonite, which then takes a lot of sanding - not easy on a round shape.

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I experimented with using some of the fresh red and gold algae varieties as pigments for jesmonite, but with much less success than I had previously when using the fresh spirulina in the same way. The red and gold algaes are much more difficult to harvest and were much more watery pigments to mix with the jesmonite than the spirulina had been, which I think may have impacted their success. As shown above and left, both algaes were bright and vibrant when fresh, up until the point that the jesmonite was added to the algae. At this point, the colour from the algae all but disappeared, leaving behind just a hint of red or gold.

I found that the red algae was much more difficult than the other two algae types to mix in with the jesmonite, leaving small lumps of red, reminiscent of the consistency of jam mixed with thick milk. These lumps did not disappear when the jesmonite was continuously mixed for at least two minutes (consistent with the spirulina jesmonite), nor after drying.

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APPLIC ATIONS PIGMENT F OR JESMONITE

TOPS OF TILES

FRESH RED AND GOLD A LGA E

TO P I G M E N T J E SM O N I T E BOT TOMS OF TILES

Below are the final sanded outcomes for red and gold algaes, used to add colour to the jesmonite red algae on the left, gold on the right. As shown in these photos, any colour provided by the algae is extremely subtle, even though all tests used a very large quantity of algae to create even these pale colours. This does not give me much hope for using these two algaes to create colour for any other applications I am planning to experiment with, for example I don’t think they’ll produce strong colours as textile dyes. This is disappointing, as the red and gold algae have both been much more difficult to grow and more expensive to attain and look after than the spirulina. This does help to show spirulina as a clear winner if I were to be choosing a most useful type of algae, however that had not been my intention.

PURE WHITE JESMONITE FOR COMPARISON

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D U L S E P OW D E R

TO P I G M E N T J E SM O N I T E

I used dulse powder (an edible type of seaweed) to pigment these tiles using a similar process to the spirulina powder tiles. I found that the dulse powder did not blend in with the jesmonite as much and left obvious flecks rather than changing the colour of the whole mix, as the spirulina had done. Because of this, it is necessary to use a much greater quantity of dulse powder in the jesmonite than was necessary with spirulina. I think due to the larger quantity of dulse needed in the mix, this also makes the jesmonite less stable - as shown on the above right when I tried to cast a big 24cm circle of dulse jesmonite, using 10tsp of dulse powder which I think weakened the circle and caused this break. The circle was also distorted while drying and had the texture of rough concrete when pouring, so I think this quantity of dulse only works on a smaller scale.

I also had some dulse sludge leftover from dye tests, so I mixed this in with jesmonite to see if the outcome was different and as I like using all the waste I can. I found that as the dulse sludge was diluted with water, the outcomes when using the same volume were paler than they had been when using the dry powder and they had a less even finish. I think that the dry powder looks a lot better and more even.

On the right is a comparison of the dulse powder tiles (top) and dulse sludge tiles (bottom). Testing docs can be found in Appendix C.

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APPLIC ATIONS PIGMENT F OR JESMONITE

SEAWEED

TO D E CO R AT E J E SM O N I T E I used crushed, dried seaweed mixed with jesmonite to create the tiles below. The seaweed was crushed to different levels (e.g.. leaves still visible vs. flakes) and mixed in with the jesmonite, which was sanded once dry to reveal the surface details shown below.

I particularly like the top left tile, which was larger sections of dried spiral wrack. This has created some really interesting little patterns and shapes, which I think could make an interesting abstract pattern. I was so inspired by the formations within these tiles that I recreated the patterns I saw in ink (left).

L E F T: S P I R A L W R AC K , M I D D L E : C H A N N E L L E D W R AC K , R I G H T: D U L S E L E AV E S

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APPLIC ATIONS HORS S TUDIO

Hors Studio are a French design studio that work to create sustainable products. Across these pages are a composite they have created using shellfish farming waste, mixed with a bio-plastic. The aesthetic of this material is really nice grain and interesting, with colours provided by the shells used to make the material.

I really like jesmonite as a material, casting with it is one of my favourite processes and has been for some time. I think that jesmonite is a fantastic and versatile material, but unfortunately one of the main ingredients is acrylic (see Sustainability Review in Appendix K) which is a plastic and so goes against much of my sustainable design ethos. The material created by Hors Studio offers a much more sustainable alternative to jesmonite, with a similar concept for outcomes. The main difference is that the material created by Hors Studio is already coloured, whereas jesmonite is white, leaving the ability to alter the colour with materials like algae open.

I possibly would not use the composite created by Hors Studio with algae, but it opens up the idea that there is the potential to create a sustainable alternative to jesmonite, using better materials like the waste used here.

This has given me the idea for another project: developing a sustainable alternative to jesmonite, which would be really influential and helpful within my own design work.

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RECYCLING PAPER Due to the important principles of sustainable design which I endeavour to practice within my work, I thought it best to use waste paper and create recycled paper, rather then creating fresh paper for the purpose of this experiment.

To create paper, I used some white sheets of waste paper from my work. This paper is quite thick (used for fine art giclee prints) so I was able to get quite a lot of pulp from only a few sheets. The aim was to use algae as part of the paper, however I decided to test the process first by creating a sheet of white recycled paper as a control (right page).

PROCESS: 1. Tore up the paper into small pieces (about 1 cm across) and soaked in water overnight 2. Blended the wet paper with additional water - tried first in a basic blender but this didn’t work so had to use my Nutribullet which was amazing 3. Placed an empty frame on a framed silk screen (one I made last year for paper making using warped wood with a damaged silk screen from the printmaking department. stretched over the frame) 4. Poured the blended pulp into the empty frame with the silk screen at its back 5. Pressed the water out of the wet pulp using felt sheets 6. Too much water to be absorbed by felt so used a hairdryer to dry the paper in order to get it off of the screen, this caused some sections of paper to flake off 7. Sandwiched paper in felt and tried to dry it out by ironing over it, but this discoloured the paper 8. Left the paper to dry out naturally on the felt It was a good idea to run through the process first before using up any of my valuable algae.

This has allowed me to iron out some of the kinks - using the Nutribullet, drying out the paper before removing from the screen, NOT ironing, etc.

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APPLIC ATIONS RECYCLIN G PAPER

RECYCLING WHITE PAPER

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S P I R U L I N A P OW D E R P I G M E N T

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S P I R U L I N A P OW D E R P I G M E N T

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APPLIC ATIONS PIGMENT F OR PAPER

My FIRST ATTEMPT at using the spirulina powder to pigment the recycled paper are displayed through photos across the PREVIOUS SPREAD. For my first attempts, I blended the waste paper with water into a pulp and stirred in the relative quantity of spirulina powder in by hand. I began by measuring the quantity of spirulina powder using electric scales, however the lowest measurement on these is grams which is not sensitive enough. The first two pieces of paper I made used 5g and 1g of spirulina (Samples 2 & 3) for a larger sheet which just seemed to be way too much and created a really strong pigment. The next two pieces that I created (Samples 4 & 5) used measurements of the powder based on fractions of a teaspoon (1/16th and 1/8th tsp) to create smaller sheets of paper which were much more successful.

For my SECOND ATTEMPT at creating paper using spirulina powder to pigment - shown on THIS SPREAD and the NEXT PAGE OVERLEAF - I learned from my first attempt and chose to use the smaller size frame for all samples. The spirulina was added in fractions of a teaspoon for these samples, with the powder blended into the wet pulp using the Nutribullet for a more thorough and consistent mix. I also blitzed the pulp more in the blender than previously to ensure all of the paper was thoroughly mashed up to avoid the white patches from Samples 4 & 5. This technique worked much better and created smoother pieces with a more even-colour.

Rather than drying the wet paper with a hairdryer, I tried just using sheets of kitchen roll to soak up all of the excess water. This worked much better as the paper was not being disturbed by the fast air of the hairdryer so remained intact, although used a lot of kitchen roll which was wasteful. Drying the paper with kitchen roll also caused it to fall off the screen much easier - in contrast to the previous samples which I had to carefully peel off the screen.

For Samples 2 & 3, I attempted to dry these in the same way as the white test piece - using a hairdryer. As with the test piece, this caused portions of the paper to crack and flake off. With Samples 4 & 5, I chose to use a much smaller frame to create pieces of paper about half the size of the previous samples - this worked so much better and meant that I was able to peel the sheets off the screen with much less hair-drying and so lost none of the paper.

The samples created during the second attempt had a really nice and consistent colour when the paper was wet and fresh (photos on left page) but while drying they attained a strong, blue, inky-looking stain on the backs (the side which had been in contact with the screen) and a blue stain around the edges of the front of the paper.

I think this colour was caused by the highly-pigmented excess water as it evaporated from the samples.

Samples 4 & 5 were definitely more successful and had a nice terrazzo-effect to the surface as there were still some large pieces of un-blended white paper in the mix which didn’t take on the spirulina pigment.

I found that some of the paper samples were bending while drying, leaving them so rigid and distorted when dry that I had to spritz them with water before pressing them to avoid cracking the paper while I smoothed it out.

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FRESH SPIRULINA PIGMENT The recycled paper across these two pages is coloured following the same process of blending and drying as I used previously, except in this case the pigment is created by using the FRESH SPIRULINA (pictured top left) that I have been growing myself since October 2019.

The colour attained from the fresh spirulina is much more subtle and a more yellow-tone of green than the blue -tone from the spirulina powder.

The texture of the paper also appears to be more even, although this may be because my paper making skills have improved with practice.

While it takes a greater volume of the fresh spirulina to reach stronger tones within the recycled paper, I prefer the more subtle and even colour that it achieves. Unrelated to how the paper looks, I prefer this paper because it contains the fresh spirulina that I have grown and taken care of myself over many months, which gives me a small sense of pride.

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S P I R U L I N A P OW D E R

vs

Spirulina has proven to be a successful pigment for colouring recycled paper, with the ability to create a variety of shades dependant on the type of spirulina used (powdered or fresh) and the quantity added. While I did encounter some issues with the process of recycling paper, overall I have found this to be an enjoyable experiment.

With regards to the paper recycling process, I believe that I have refined my technique to enable me to create samples of paper that I’m really happy with.

Unfortunately I have now run out of this “batch” of waste paper so I would need to find an adequate substitute if I wanted to recycle any more. The only area within the process that I would like to improve upon is the use of kitchen roll to absorb the excess water and allow the piece of paper to be separated from the screen. While the kitchen roll is necessary, it is also wasteful and quite a lot is used for each sheet of paper created - possible solutions I can explore are: • Using a re -useable material to absorb the water, which could then be washed out afterwards (would need a large quantity of it and it would need to have a similar surface to kitchen roll) • Finding a way to re -use or re -purpose the kitchen roll after using it on the paper

FRESH SPIRULINA

COMPARING SPIRULINA POWDER AND FRESH SPIRULINA The main difference between the papers containing the two different forms of spirulina is the colour, with the spirulina powder creating a blue -green tone and the fresh spirulina displaying a more yellow-green hue.

The paper coloured with fresh spirulina also has a more even colour and texture (although texture may have improved due to my skills at recycling paper improving).

The other notable difference is the quantity of each form of spirulina required to colour the paper, with the fresh spirulina having a much more subtle pigment than the powdered spirulina. While I usually prefer a blue -er shade of green, in the case of these samples my favourites are the pieces created using the fresh spirulina. In part, this is due to the preferable quality of the outcome (texture etc.) and more even colouring, however I do also feel more attached to these samples because they have been coloured using spirulina that I have been growing myself for over 6 months, seeing it in this context - providing a pigment to this recycled paper - makes me feel proud of what I have achieved with growing this algae.

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APPLIC ATIONS PIGMENT F OR PAPER

FRESH SPIRULINA PIGMENT

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TEXTURES - ROUGH LIKE LEATHER ON THE TOP (ABOVE RIGHT) AND MUCH SMOOTHER ON THE BOT TOM (ABOVE LEFT - BOT TOM = SIDE OF PAPER THAT WAS IN CONTACT WITH THE SCREEN) SIMILAR TEXTURES BETWEEN BOTH THE SPIRULINA POWDER AND FRESH SPIRULINA PIGMENT PAPERS

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P I G M E N T I N G R E C YC L E D PA P E R W I T H

WAS T E S P I R U L I N A P O W D E R

SLUDGE FROM DYEING

After the success I had with the spirulina pigmented recycled paper, I decided to try making it with the spirulina powder sludge that I was accumulating through dying with spirulina. The image above on the left shows my fresh spirulina paper, on the right is my spirulina sludge paper. The colour of the sludge paper is a bit more dull than the fresh spirulina, but I don’t have the issue of the uneven blue patches that were appearing on the spirulina powder paper.

When making this spirulina sludge paper, I also worked out potential pricing for the project on the next page.

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Costing algae paper: A3 sheet = 15p each Water = 2 cups Algae = 20p/ml

- +1/8tsp - 1.5 sheets

Ripping up sheets of paper - 12 mins per A3 for small squares Soaked from 7:00pm - 10:00 pm Blending & Pressing water out - 10 mins per sheet Drying from 3 days ish

Pay = £10 per hour 12 sheets per hour

1 A3 - 1 white sheet - +1/8tsp - 1 Sheet

+ £3.70 postage

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Per A3 = 3 x A6 sheets

2.5 x cost = 10g per sheet

£1 per sheet

APPLIC ATIONS PIGMENT F OR PAPER

C O L L A B O R AT I O N

@ROSIETDESIGNS

I was approached through Instagram by a fellow artist who had seen an image I posted showing my algae pigmented paper. She was working on creating a series of prints to sell and had been searching for a provider of handmade paper for these prints - which coincidentally depict different types of algae and use inks made from bladder wrack (another type of algae). The algae link made the potential collaboration really exciting. I made up some samples of the algae pigmented paper (left) using some of the waste algae I had strained from a dye vat, utilising a CIRCULAR DESIGN approach. From this I also worked out a fair price I could sell the paper for, if she wanted to order more and sending the test samples for free. Rosie tested printing onto the algae pigmented paper I sent her, but unfortunately it was too thick (which is not something I can change while using my current process) and the print was unsuccessful - image shown above. While this collaboration was unsuccessful, it has boosted my confidence in my work and also reassured me that other people within the design community will have an interest in the project too. It’s also made me consider creating some pieces of art myself using the sustainable materials I have created using my algae.

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P I G M E N T I N G R E C YC L E D P A P E R

WITH SPIRULINA POWDER

WAS T E DY E WAT E R

As part of my plan to reuse as much of the waste create in this project as possible, I saved some of the spirulina powder dye water and used this to make some recycled paper. I got a new paper making frame which I chose to follow a different process for paper making with, as I now have a frame small enough to be fully submerged in a plastic box I already have. I blended the old dye water with some more water and paper to create a coloured pulp, then began to pull the frame through the water to create sheets of paper - full testing doc in Appendix D.

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APPLIC ATIONS PIGMENT F OR PAPER

PAPER MADE USING THIS NEW METHOD

PAPER MADE USING THE OLD METHOD

On this page are photos of the outcomes I achieved from creating paper using waste dye water and a new paper-making method. The new method enabled me to create much more sheets from the same quantity of recycled paper, although I think the process used more water. The paper created in this way was also so much thinner than the sheets I was making previously, as demonstrated in the photos on the left. Unfortunately, when using the spirulina powder dye water I was still getting the same uneven colour and bright blue edges which I think are caused by the dye water seeping to these points when the paper is drying. Even though the dye colouring didn’t turn out any better than before, I am pleased that I can now make thinner sheets of paper using this new process.

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F R E S H G O L D A LGA E TO

P I G M E N T R E C YC L E D PA P E R

PRINTER PAPER + IG

I followed the same process to pigment recycled paper with gold algae as I had used for the fresh spirulina previously, but I found out quickly that the gold algae has a much weaker pigment. This may be due to the inability to strain the gold algae completely from the water, which means that the algae mixed with the paper is very diluted. I used a whole sample of gold algae to make this paper and the colour is still very pale. I think this would also be the case if I were to try using the gold algae as a dye.

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WASTE KITCHEN ROLL + IG

APPLIC ATIONS PIGMENT F OR PAPER

JUST CARD

PC + CARD

F R E S H R E D A LGA E

TO P I G M E N T R E C YC L E D PA P E R As with the gold algae and the previous red and gold algae jesmonite tests, this algae is much paler than the spirulina was. The paper took on a lovely shade of pink when wet, as shown in the images above, but this faded massively once dry and it was hardly discernible as having been coloured at all. I think the quantity of red algae that would be necessary to create any amount of recycled paper would be too high and expensive to be worthwhile pursuing.

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P OW D E R E D D U L S E TO

P I G M E N T R E C YC L E D PA P E R

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APPLIC ATIONS PIGMENT F OR PAPER

I used the original paper making method to make paper with the dulse powder, as I wanted to achieve different tones by adding different volumes of dulse, which is difficult when creating a big paper tub to dunk the new deckle in. I also have a limited amount of dulse, so don’t want to be diluting it in the 1L of water necessary to make thinner paper.

While I still followed the original process, I did use the new deckle to make the paper on. It was more difficult to use, but the paper has a nicer surface texture from it.

The paper did not take on the colour of the dulse powder, as it did when blended with spirulina powder. The paper only became a little more tinted as more and more dulse powder was added, with flecks of dulse visible throughout.

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DULSE SLUDGE TO

P I G M E N T R E C YC L E D PA P E R

On this page I created recycled paper using dulse sludge from dying, trying to use up all waste from other processes. This paper has retained a stronger colour than the paper using dry dulse powder, which is really good, flecks still visible too.

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APPLIC ATIONS PIGMENT F OR PAPER

D U L S E P OW D E R WAT E R

TO P I G M E N T R E C YC L E D PA P E R

On this page I used the leftover water from the paper making test on the left (with some more dulse powder added) to create a tub of paper slurry to dunk the new deckle in. I managed to create some nice thin sheets of paper like this, which I thought were going to be the nice pink colour above, but they all came out white with dulse flecks. I am really impressed with how thin I have managed to get this paper.

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U S I N G C H A N N E L L E D W R AC K T O P I G M E N T R E C YC L E D PA P E R I tried out using some of the channelled wrack leftover from dying to make paper pigmented with real bits of seaweed. The paper has taken the strong colour of the seaweed, with small flecks of unblended recycled paper visible in the surface. I am not a fan of the brown colour, but I think the paper has come out well and has used up another waste material from the dying process which is good. While drying the paper, a mould began to develop from the centre. Mould was an issue that I had when storing the seaweed too so Even though I added thyme oil to the paper mix and the seaweed had already been boiled, this has not helped to prevent mould. This is something that would need to be addressed if pigmenting paper with seaweed again. I chose not to do this with any of the other seaweed I had for this project, as all of the other seaweed was a similar colour and outcomes would have probably looked very similar.

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APPLIC ATIONS PIGMENT F OR PAPER

W H AT I ’ V E L E A R N E D

F R O M U S I N G A LGA E TO

PIGMENT RECYCLED PAPER

I have enjoyed the process of using algae to pigment recycled paper and I appreciate the different colours that different types of algae are able to achieve, it’s really nice seeing all of my paper tests together like in the photo above showing the range of colours I have created.

My initial aim with the recycled paper making was to find out if algae works as a pigment which could be added to colour recycled paper, from these experiments I have determined that algae is a very successful pigment and the wide range of colours of algae available make this an exciting prospect. I found throughout this experimenting that there are multiple ways to make paper and achieve different thicknesses - full testing documents available in Appendix D. Making thicker paper is easier, cleaner and less wasteful, but the paper does come out very thick and the thinner paper is probably more useful. There are some issues surrounding the wastefulness of the project that would need to be addressed if this were to be continued (referenced in Sustainability Review in Appendix K) but I think this idea holds real potential.

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M A K I N G PA P E R

Algae has been used to make paper for decades as a way to use up excess algae occurring naturally. While algae is usually mixed with normal paper fibres to create a traditional paper finish, it is also possible to make paper entirely from algae alone, depending on the type of algae.

In my previous tests using algae to pigment recycled paper, I had mixed the different types of algae with used paper fibres to create the outcome. The amount of algae used however was only enough to colour the paper and did not form a significant amount of it’s composition, so I don’t think this method used enough algae to make it a viable way of using up excess.

I have done some research into how to make paper from scratch from different organic materials, as well as from algae specifically. I think algae like spirulina and the red and gold algaes have bodies that are too small to be able to make paper entirely from the algae with the facilities that I have available at home. I think that the seaweed will work better though, as it is available in larger quantities and has a larger structure.

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U S I N G S E AW E E D TO MAKE PAPER INSTRUCTIONS: IF THE FIBRE IS DRY, 1 TABLESPOON OF SODA ASH PER QUARTER POUND OF DRY FIBRE. IF THE FIBRE IS WET, THEN ADD 1 TABLESPOON OF SODA ASH PER QUARTER POUND OF COLD WATER ADDED TO THE FIBRE, UNTIL THE FIBRE IS COVERED WITH WATER. ALWAYS ADD WATER TO THE FIBRE FIRST, AND SODA ASH LAST, AND COOK OUTSIDE FOR SAFETY. YOU SHOULD ALSO USE A NONREACTIVE COOKING POT; STAINLESS STEEL IS IDEAL. (MAKING PAPER FROM SEAWEED: PAPERMAKING WITH ATLANTIC BIOINVADER CODIUM FRAGILE, N.D.)

I have followed the instructions provided by the site mentioned here to try and create paper from seaweed. I am hoping to achieve something similar to the images here included with the article, with a nicely textured and slightly transparent paper. This paper also looks like plastic so I’m hopeful that I may be able to create materials along these lines with my seaweed.

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M A K I N G PA P E R F R OM S E AW E E D :

S P I R A L W R AC K

I used seaweed that I had collected from a local beach (see Chapter 2) to attempt to make paper. I identified the seaweed that I used here as fucus spiralis. The process I followed for this experiment was based on the instructions on the previous spread, provided by MAKING PAPER FROM SEAWEED: PAPERMAKING WITH ATLANTIC BIOINVADER CODIUM FRAGILE, N.D. I boiled 525g of wet seaweed (re -using the pre -boiled seaweed from dye tests 1, 2 and 5) with 2lbs cold water + 8 tbsp soda ash. Boiled for 1.5 hours then filtered out the water (saved for textile dying) and rinsed the seaweed in cold water, although I’m not sure I rinsed it very well. Seaweed fibre then blended with a little bit of fresh water to make a pulp. Pulp then put into a plastic container and mixed with another 1l fresh water.

I first tried to create sheets by submerging the deckle entirely in the pulp and water. It was much more difficult than when I tried this with recycled paper as the blended seaweed was much more inclined to stick to the kitchen roll that was being used to soak up the excess water and so the seaweed broke and ripped around the edges. I think the ratios and general process I used were fairly good but the finishing process (removing from deckle and drying) needs refinement, but that’s fine as this was only my first attempt.

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SAMPLE 1 AIR-DRIED STUCK TO FELT - ALSO SHRANK WHEN DRYING, WITH FELT FLUFF STUCK ON ONE SIDE

SAMPLE 2 AIR-DRIED BETWEEN 2 SHEETS OF DECKLE - SHRUNK AND DRIED RIGID AND BENT

ROW ABOVE: PULP SAMPLE 3 DRIED IN FLOWER PRESS BETWEEN SHEETS OF FELT - MOST FLAT, EVEN AND FLEXIBLE SHEET, ACTUALLY FEELS LIKE PAPER - BEST OUTCOME OF FUCUS SPIRALIS PAPER MAKING TESTS

ABOVE: SAMPLE 4 AIR-DRIED IN SILICONE MOULD SEAWEED WAS EASY TO MOULD BUT DECREASES IN SIZE AND DISTORTS WHEN DRYING, WOULD NEED TO PRESS INTO A MOULD 214

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ABOVE: SAMPLE 5 AIR-DRIED ON SHEET OF BAKING PAPER DISTORTED THE MOST, SHEET REALLY CURLED UP

APPLIC ATIONS SEAWEED PAPER

2. AIR-DRIED BETWEEN 2 SHEETS OF DECKLE 3. PRESSED BETWEEN 2 SHEETS OF FELT IN FLOWER PRESS

1. AIR-DRIED STUCK TO FELT

5. AIR-DRIED ON SHEET OF BAKING PAPER 4. AIR-DRIED IN SILICONE MOULD

MAKING PAPER FROM SEAWEED:

SPIRAL WRACK

For the fucus spiralis paper I tested different ways of drying the paper - on a screen, in a silicone mould, on baking paper, on felt and in between sheets of felt inside a flower press.

From these tests I found that the seaweed paper shrinks a lot while drying which decreases the surface area and distorts the paper to form waves. The best result was the paper that I pressed in a flower press when sandwiched between two sheets of felt - this sheet of paper (no. 3) came out flat and even in thickness, with a real paperlike texture. I found that the felt fibres had attached themselves to the paper when it dried in contact with the felt, leaving a white fluffy residue. To overcome this, I will test the impact of different textiles being used to soak the water from the paper, e.g.. a woven textile would probably not leave so many fibres but would leave the imprint of the weave in the surface of the paper. The colour of the paper is much darker than expected, as I was expecting a certain amount of translucence like the images attached to the instructions I followed from MAKING PAPER FROM SEAWEED: PAPERMAKING WITH ATLANTIC BIOINVADER CODIUM FRAGILE, N.D. L I V E E V E RY DAY A L GA E

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DULSE LEAVES TURNED GREEN

STRAINED WATER USED FOR DYE

DULSE LETS LIGHT THROUGH

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SHEETS PRESSED IN FLOWER PRESS

M A K I N G PA P E R F R O M

S E AW E E D : D U L S E

Using fresh dulse leaves purchased online, I followed the same process for making dulse paper as fucus spiralis: boiling the seaweed with water and soda ash for 3 hours, then straining. I used the strained water as a dye and rinsed the solid bits thoroughly with fresh water before blending with 1L cold water. I used the A6 deckle frame again (pulled upwards through the pulp and water) for 4 sheets of seaweed paper and for the fifth I used my original screen (pulp and water poured onto the screen with a frame containing the pulp). I pressed the first four sheets between different materials - card with felt, bamboo silk with felt and printer paper with felt - to test if I could find a way around the fluff residue that the felt left on fucus spiralis paper, these were then pressed in the flower press as this worked well before. The fifth was scraped into a neat rectangle and left to dry on the screen, with the excess I scraped off going into the small circular silicone mould.

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SEAWEED: DULSE Of all of the materials that I dried the dulse paper on, the most successful was the dulse paper that was dried on the silk screen (image above - bottom right), as this one kept the best shape without distorting when drying and had the most even distribution of seaweed. The dulse seaweed has been the most successful type for making paper, as the seaweed has stayed together in sheets with a nice transparency, allowing some light through like in the images here. The colour of the dulse seaweed is also nicer than the dark browns achieved by spiral and channelled wrack. Moulding the seaweed in the silicone circle mould has caused the seaweed to shrink and distort here too - I think if I wanted to create a 3D object then I would need to use a press to ensure the seaweed doesn’t distort while drying.

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MAKING PAPER FROM SEAWEED:

C H A N N E L L E D W R AC K

Channelled wrack was the least successful seaweed to make paper from. After my previous seaweed paper making tests, I pressed the sheets of channelled wrack paper between sheets of bamboo silk in the flower press, to try and dry them smooth and flat. The paper did not dry in the flower press and so I had to remove it and leave it to air dry on the bamboo silk. All sheets of the paper stuck to the bamboo silk and cracked to the point that they could not be removed from the fabric - shown on the right.

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NIENKE HOOGVLIE T REVISITED As with the beginning of the project, I have once again found inspiration in the work of Nienke Hoogvliet. She has collaborated on a large project with the textile industry looking at ways that seaweed can be used to make textiles from yarns as well as its other potential uses. Her work on Seaweed Research is all beautifully presented and offers a delicate aesthetic for a material that is actually quite dirty and smelly. Images on this page show some of her outcomes which I think look really interesting in the ways that she has used to present them.

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I N D U ST R I A L T E X T I L E DY E S :

S U S TA I N A B I L I T Y

T H I C K , I N K - L I K E WAT E R F LO W S T H R O U G H R I V E R S S U R R O U N D I N G GA R M E N T FAC TO R I E S ; A TOX I C S O U P O F C H E M I C A L S D I S C A R D E D F R O M T H E FAS H I O N I N D U ST RY ’S SY N T H E T I C DY E P R O C E SS E S , F I LT E R I N G I N TO T H E WAT E R SYS T E M S O F T H E P L A N E T. (Ranson, 2020)

The fashion and textile industry is highly polluting, with the current industrial dying process causing many issues for the environment. In Fashion Revolution’s article: The true cost of colour: The impact of textile dyes on water systems (Ranson, 2020) there are several issues highlighted around the current way of dying that I think algae dyes could help with. I have included some important quotes from the article below, but I think one of the main points that algaes could benefit the industry with is the lack of chemicals used, contributing to water pollution - algae grows in water and is natural so there may be other issues with any dye residue going back to natural water sources, but I think it will be an improvement on the issues caused by chemical dyes. Another point is the land used to grow other natural dyes - this is not an issue for algae as it grows in abundance in water, where not many other plants or crops would survive and so does not take space from crops or food sources - the issue with this is that algae still provides a habitat for water dwelling creatures, so by using algae it will be taking away their home.

“As much as 200 tonnes of water are used per tonne of fabric in the textile industry. The majority of this water is returned to nature as toxic waste, containing residual dyes and hazardous chemicals.” “ With production levels continuing to rise, and consumer demand for colour failing to diminish, alternatives to the current dyeing methods and regulations for water processing must be imposed.” “ The chemicals employed to fix the colour to the fibres are [pollutants to water]. These fixative chemicals are called mordants. Ground water and river pollution would occur if metallic compounds were used as mordants and not disposed of responsibly; the same problem synthetic dyes create.”

“Important to consider too is the vast amount of land that would be required to grow enough natural dye stuffs to cater for the entire textile industry.” (Ranson, 2020) L I V E E V E RY DAY A L GA E

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When I first learned about algae and it’s applications, one of the most exciting uses I found was as a dye for textiles. Commonly used textile dyes are often synthetic, which makes them affordable and long-lasting. Synthetic dyes produce a lot of wastewater along with harmful polluting chemicals, which often end up in the environment. Some of these pollutants are toxic or carcinogenic and due to this they can cause issues for the natural world around them, affecting crop growth and destroying natural water supplies for communities. I am hoping that using algae as a textile dye will be able to combat some of these issues and provide a viable alternative to synthetic industrial dyes.

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APPLIC ATIONS TEXTILE DYE

P R E PA R I N G FA B R I C S

I read up on how to do natural dye baths and found that there was lots of conflicting information and also no accounts available online for how to dye with seaweed or algae! I therefore began by testing out some of the methods suggested for dying with other plant material.

All sources recommended using separate stainless steel saucepans for the process of dying to ensure that nothing harmful is passed onto food cooked in the pan later and to make sure that no metals used to make the pan itself react with the dye. My book The Wild Dyer recommended scouring any fabrics first to remove natural oils. After machine washing my fabrics at 60C, I scoured them by boiling for 2 hours in a vat of water (about 3L - enough to cover the fabrics) with 1tbsp of a pH neutral washing up liquid (I used Ecover) and 1tbsp soda ash. When scouring larger bundles of fabrics, I increased the quantities accordingly.

The different reviews then recommended using a mordant to help the dye to “bite” into the fabrics. Most mordants are metallic compounds which I am uncomfortable using, as the dyeing will be done in my kitchen as I have no appropriate outdoor space and I don’t want to be polluting the water supplies with harmful metallic compounds (I don’t know if the water leaving my flat gets cleaned or not). Some places recommended using rhubarb leaves as a natural mordant. I tried to get hold of some rhubarb leaves which proved to be very difficult - rhubarb leaves are toxic so shops don’t sell rhubarb with the leaves attached, I contacted some shops to ask and they are usually supplied with leafless-rhubarb. I contacted some local allotment groups, but none of these were helpful so I ordered a full rhubarb plant online. Unfortunately my rhubarb plant only had three tiny leaves which were not enough to mordant with. Towards the end of the project, a fellow student offered me some rhubarb leaves from her garden so I tried mordanting my fabrics with these. The leaves changed the colour of the fabrics to a dull pinkish-grey, which then affected the colour of the dye on the fabrics too.

As an alternative to using metallic mordants, some sources recommended soaking/boiling the fabrics in vinegar and water before dying them (or salt if dying berries). Some places referred to vinegar as a modifier and others as a mordant but I’m not sure that it is, however I have referred to the process I did as mordanting throughout this chapter and my testing documents, as this was the purpose for which I boiled in vinegar. I found that I had much greater success with dying when boiling fabrics in vinegar first, so I did this for most of my dye tests. I found that adding vinegar to the dye part way through also helped the dye to stick to the fabric.

I also tested soaking my dyed fabrics in a solution of salt, vinegar and water for 24 hours after removing from the dye bath, which also helped the dye to stick and the fabrics were more evenly coloured. The articles also mentioned lemon juice as another modifier to change fabric colours, which worked with the spirulina dye although the outcome was less even in colour.

I found the best results came from fabrics that were: • Scoured in water + soda ash + washing up liquid for 2 hours • Boiled in vinegar and water (1:4 ratio) for 1 hour then added to dye when still wet • Soaked in a solution of 4L cold water : 1/4 cup salt : 1 cup vinegar (or equivalent) after dying

Images above - mordanting with rhubarb, top shows my pitiful rhubarb plant, bottom 2 show comparison between fresh fabrics (left) and colour of fabrics mordanted with rhubarb (right) L I V E E V E RY DAY A L GA E

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S P I R U L I N A P OW D E R DY E T E ST S

For TESTS 1 AND 2 I boiled the spirulina powder and soaked the fabrics in this. The fabrics took on no colour from these tests, as shown above right. The spirulina changed from a really nice bright turquoise to a murky green when boiled - I wanted to try and dye with the lovely blue colour so this was not ideal.

The first dye test was very bitty with spirulina forming a gross sludge on the fabrics, so for the second test I strained the spirulina from the boiled water before adding the fabrics. I think this improved the consistency of the dye water, although the dye still did not stick. Shown in the images on the left is the straining process, with the spirulina sludge removed from the water placed into a pot to make paper with (trying to utilise as much waste as possible).

For TEST 3, I soaked the spirulina in the water overnight which gave me the really nice turquoise colour I was looking for. As the straining improved the consistency of the dye for Test 2, I also strained the algae before dying in Test 3 (photographed below). Once strained, I boiled the fabrics in dye for 1 hour and left overnight again. Boiling the spirulina seems to dull the colour to a horrible muddy green/brown which I don’t want, I was hoping for the nice teal colour below. Sludge also seems to appear when boiling the spirulina as there was lots when I removed the fabrics, even though it had already been strained.

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I used spirulina soaked in cold water for TESTS 4 AND 5, without boiling at any stage and also without straining as it appeared that the sludge had been created by boiling the algae. The colour was much better - closer to the teal I have been aiming for, but it still does not adhere to the fabric fully. I also found that there was residue of spirulina gunk left on the fabric, so I think straining is still necessary.

TEST 6: SOLAR DYE JAR I recently saw an artist on Instagram (@LOOPHCO) dying fabrics using a solar dye method.

I thought this might be a good way to use the sun as a more gentle heat to dye my fabrics, without the heat being too damaging for the spirulina and turning it a gross brown/green. If this method were to work, it would be great as it uses less electricity too as the hob is not needed, which is always good. I set up a dye jar with a soaked and strained solution of spirulina powder and fabrics, but after 18 sunny days the fabrics were just a dull grey/brown colour rather than the bright green I was hoping for.

TESTS 7 AND 8: TO STRAIN OR NOT TO STRAIN 2 jars with spirulina powder soaked in water overnight, before adding fabrics one was strained (7 - far left) and one not (8, directly left). Both jars then left outside for 1 day. Outcomes are a pleasant green/blue but very pale. Test 8 paler than Test 7 which I think was due to not straining it, as excess algae was stuck to the fabric of Test 8. Results from this have made me decide to strain spirulina from all future dyes.

T E S TS 10 A N D 11 : B R E A K T H R O U G H !

A D D I N G V I N E GA R A N D L E M O N J U I C E

I heard that as vinegar is highly alkaline and lemon juice very acidic, these properties can alter how dyes appear.

I was feeling pretty hopeless as all of the fabrics tested so far have come out with pale, dull colours from the spirulina. I reused the dye water from Tests 7 and 8 (strained again) adding 1/2 cup distilled white vinegar to one and 1/2 cup lemon juice to the other, then soaked both for 1 day by the window. The liquids separated within the dye jars leaving a more transparent layer through the top half of the jar. When I took the fabrics out and rinsed them after 1 day, I was amazed at the colour that was left on the fabrics. This is the most vibrant dye so far. Shown on the left is a comparison of the two tests, with vinegar a vibrant blue on the far left and lemon a softer aqua on the right. I am so happy with this outcome and will try further tests with these additives.

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TESTS 12 AND 13: IMPACT OF VINEGAR WHEN ADDED TO ALGAE + WATER BEFORE VS AFTER SOAKING OVERNIGHT (ABOVE) As test 10 was so successful, I wanted to find out if adding vinegar to the dye jar had a different effect if mixed in at the same time as the water and spirulina were added vs. being added after they had soaked (as they had in Test 10). I added the vinegar to Test 12 before soaking overnight, while Test 13 had vinegar added after the spirulina and water had soaked overnight. Consistency was very different between the two tests, with the spirulina in Test 12 separating from the liquid (shown above left) and the spirulina strained from Test 12 was very grainy (above middle) whereas spirulina strained from Test 13 was much more sludgy. The fabrics dyed in Test 12 did not retain any colour at all, whereas Test 13 was very successful and created a vibrant blue dye. Vinegar needs to be added after the spirulina has soaked into the water.

For the next few tests I played around with adding lemon juice as well as vinegar and altering the amount of vinegar added to the dye jar. Lemon juice did not work when used alongside vinegar in he dye jars. Using more or less vinegar than I used on the successful dye tests also gave worse results. I also later tried dying fabrics mordanted with rhubarb leaves, although the rhubarb just dulled the shade of blue rather than letting the colour bite further.

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TESTS 18, 19 AND 20 FABRICS NOT SCOURED, NOT MORDANTED, NOT SCOURED AND NOT MORDANTED I wanted to see if the full process to prepare the fabrics was actually necessary as it is time consuming and uses a lot of energy through boiling all fabrics for a total of 3 hours before dying. I used the same successful process for dying as used for Test 10.

Test 18 - fabrics not scoured but were boiled in vinegar. Patches of bright blue on plain canvas and thick linen, but most of the fabric has been undyed.

Test 19 - fabrics were scoured, but not boiled in vinegar. Fabrics very pale with just small patches of bright blue.

The rest of the fabric around the blue is almost back to it’s original un-dyed colour. Test 20 - not scoured or boiled with vinegar. Patchy and pale outcome.

From these tests, I have realised that scouring and boiling the fabrics in vinegar are both necessary for even and thorough dye adhesion.

APPLIC ATIONS TEXTILE DYE

IMAGE ABOVE (L -R) - TESTS 25, 26 AND 27. FABRICS ALL SOAKED IN SPIRULINA FOR 12 HOURS, THEN SOAKED IN VINEGAR FOR 1 HOUR (T25), 24 HRS (T26) AND 12 HRS (T27)

TESTS 22 - 27: DUNKING FABRICS IN SPIRULINA SOLUTION THEN VINEGAR, FOR DIFFERENT TIMES Above are photos from Test 22, where I dunked the fabrics in a dye jar of spirulina, then dunked in straight distilled vinegar afterwards. Once taken from vinegar the fabric was laid to dry without being rinsed. This test achieved the lovely green colours on the top right, not as vibrant as some of the blues I’ve been getting recently, but still a really nice colour. For the next few tests I tried leaving the fabrics in the spirulina dye and in the vinegar for different lengths of time. None of the other test results came out as nice as the fabrics above, they were patchy when just dunked in straight vinegar after soaking in spirulina, or pale when soaked in the vinegar. I think straight vinegar is too much and just removes the dye, it needs to be watered down.

TESTS 28 AND 29 (RIGHT) For these tests I wanted to find out if using more or less spirulina powder in the dye (for the same quantity of water) would help to create stronger or paler colours. For Test 28 (left) I used just 1tbsp (half the normal quantity) of spirulina powder for 3 cups water. For Test 29 (far right) I used 4tbsp spirulina powder for the same amount of water.

As shown on the right, the lower volume of spirulina powder created a much paler range of fabrics, most of which were fairly uneven in colouring. The greater volume of spirulina did give the fabrics much more colour, but this was also very uneven and patchy.

I think the ratio of spirulina to water I’m currently using as a base (2tbsp for 3 cups water) is the optimal ratio. I will have to find another way to create different intensities of colour.

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S P I R U L I N A P OW D E R DY E T E S TS

TESTS 30, 31 AND 32: TESTING LENGTH OF TIME FOR SPIRULINA + WATER TO SOAK BEFORE ADDING VINEGAR I mixed up the same normal quantities of spirulina and water for all three tests, then left the jars for 3 days for Test 30, 5 days for Test 31 and 7 days for Test 32. When the correct number of days had passed, I strained the spirulina from the water and added the fabrics to each jar the following day.

Fabrics soaked in the spirulina water for about 3 days, then rinsed and moved into a fresh jar of water, vinegar and salt for one day. The mix of spirulina and water (with no vinegar) seemed to ferment over time and smelt absolutely disgusting, it made my whole flat smell like cow poo every time I opened one of the jars. I think that soaking in the water/vinegar/salt solution after being removed from the spirulina has really helped the fabrics to dye evenly, as the patches usually appear when the fabrics are drying off. 5 days was best result.

ABOVE - TEST 33: FABRICS SOAKED IN BUCKET OF DYE FOR DIFFERENT TIMES (3, 5, 7, 10 AND14 DAYS) Mixed up a big bucket of dye in an old jesmonite tub containing water and spirulina powder which were soaked for 24 hours, then strained with muslin and 2 1/2 cups vinegar added along with prepped fabrics. Fabrics removed at intervals stated above and labelled accordingly. As with the soaking tests at the top of this page, 5 days seemed to give the best results with the strongest and most even colour. This dye pot also smelt, although not as bad ad the previous test as this one contained vinegar.

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APPLIC ATIONS TEXTILE DYE

TESTING DYED FABRICS: WASH, RUB AND SUNLIGHT TESTS I wanted to test my spirulina dyed fabrics to see whether the colour would last. I created some larger dye tests as Test 36 (above left) so that I had enough fabric to cut part off to test, then compare against the original. I did a cold machine wash on about 2/3 of each sheet of fabric for Test 36 (right of image) and unfortunately the colour rinsed out. I therefore cut some small pieces from Test 31 (above right) and did the same wash, hoping that setting the colour with a salt, vinegar and water solution would have better set the dye. This worked to an extent and more colour is left on the washed samples of Test 31, however a lot of colour has still been lost, so my dying process still requires improvement. I put the washed version of Test 31 on the window (image below) for a long weekend to see if it faded in the sun, which it did not.

I also did rub tests (below) by rubbing two different types of white, plain weave cotton on each of the different dyed fabrics for both washed and unwashed versions, all of which were fine. My only issue is that the dye washes out, which is a pretty big issue!

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F O R F U L L D E TA I L S O F A L L DY E T E STS PERFORMED, SEE APPENDIX H F I N D I N G S F R O M S P I R U L I N A P O W D E R DY E T E S TS : • • • • • • • • • • • 232

Boiling spirulina makes it go a more dull and brown colour.

Spirulina powder needs to soak with water for days before being used as a dye.

More even results if the spirulina is strained from the solution before the fabrics are added.

Vinegar needs to be added during/after dying for the dye to stick.

Vinegar also has to be added after the spirulina has already had time to soak in the water, otherwise the solution separates and does not dye.

Vinegar quantity of 1 cup vinegar : 3 cups water + spirulina seems ideal.

Scouring and boiling the fabrics in vinegar is necessary for even and thorough dye adhesion.

Optimum time to soak fabrics in spirulina is for 5 days.

Soaking the fabrics in a solution of cold water, salt and vinegar for 24 hours after removing from dye helps dye to stick.

Lemon makes spirulina more green, vinegar makes it a bright blue.

Spirulina really smells once it starts to ferment, this happens around 3 days if no vinegar in solution.

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APPLIC ATIONS TEXTILE DYE

SPIRULINA POWDER DYE TESTS Overall, I dyed almost 200 pieces of fabric using spirulina powder. I have still not reached a dye formula that is 100% effective but I have managed to refine the dye process to a point where the fabrics that are coming out of the dyes are becoming more and more successful. There were so many samples that to fit them all in one photo (for comparison) I had to use the wall of my study, taping each individual piece of fabric with masking tape - shown in the photo below, samples are in chronological order, with the same fabrics in rows for comparison. I am happy with the photos I have got from this piece of research, I think they show clear progression from a mix of natural and green tones at the beginning of the dying, to more consistently blue tones towards the end of the wall. While I still have not reached a dye that is 100% usable, I think this research has helped to further the concept of using algae for dyes within the design industry.

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DY I N G W I T H S E AW E E D :

DULSE

DULSE POWDER Dulse powder is available as an edible flavouring, I bought this online as I was unable to find any fresh dulse nearby to forage. I soaked the dulse powder in water for 3 days as I had done with the spirulina powder previously. The dulse powder turned the water a really nice pink/purple colour, which went to a bluer-lavender shade once the vinegar was added (image above left). I was hoping that the process I followed for dying with spirulina powder would work for dulse too, but unfortunately it didn’t. After adding the vinegar and soaking the fabrics in it for a few days, it went the colour above on the right. The fabrics took on no colour, even when I boiled them with the dulse powder.

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DULSE LEAVES Dulse leaves are also available for food, I bought these from the same supplier as the dulse powder.

The leaves smell really nice, they have a gentle aroma like tea leaves - much better than spirulina. I boiled the dulse leaves with soda ash, following the same process as to make paper and used the water from this for dye. With the other seaweeds I tried, soda ash really helped to release the colour from the seaweed and gave strong colour dyes. With the dulse this was not the case. The dulse leaves went green when boiled with the soda ash, leaving a transparent red colour in the water. This did not attach to the fabrics though. I did 4 different dye tests using dulse leaves, none of which worked.

APPLIC ATIONS TEXTILE DYE

DULSE DYE TESTS Dulse in both powdered and leafy form has been the least successful type of algae to dye with. The powder and leaves are strong in colour, but this does not get passed on to the fabrics.

I think that the dulse is the least successful seaweed because it is processed, whereas the others used are collected fresh and just disinfected. The dulse packaging says that it is smoked, so I can only assume that by smoking the seaweed, any potential pigment for dye is lost. Either that, or dulse just does not work as a dye. It’s a real shame that the dulse did not work, as the natural colour of it is lovely and to have a dye in a similar colour would have been really pretty.

F O R F U L L D E TA I L S O F A L L DY E T E STS PERFORMED, SEE APPENDIX H L I V E E V E RY DAY A L GA E

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DY I N G W I T H S E AW E E D :

SPIRAL WRACK

TEST 4: Seaweed at the top of the dye jar above the water level went mouldy.

Needs to be fully submerged in liquid.

TEST 2: Seaweed simmered for 1 hour then fabrics added and simmered for another hour. Fabrics have retained a soft, warm brown colour.

TEST 7: Using water from making seaweed paper boiled with soda ash. The colour from this dye test has been retained so much better in the fabrics, this is the strongest colour I have achieved yet! Dye water still smelt much more pleasant than spirulina, a sort of sweet, burnt smell. Colour is a warm brown, like tea bags.

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TEST 8: Using the same method that worked well for Test 1 of Channelled Wrack - using the sea water medium (used to grow the red and gold algae cultures). Simmered for a total of 6.5 hours and have managed to achieve this lovely soft pink tone. Linen sewn into napkin for product test.

APPLIC ATIONS TEXTILE DYE

F O R F U L L D E TA I L S O F A L L DY E T E STS PERFORMED, SEE APPENDIX H

The dyed fabrics from Spiral Wrack have a mixture of nice warm tones, from browns to pinks. The tones of this seaweed contrast against the cool greens and blues of the spirulina dyes.

The photos above show all of the fabrics I dyed with Spiral Wrack (except the mouldy Test 4). I think the photos have come out well and it’s really nice seeing all of the different shades achieved from dying with this seaweed side by side like this. While the colours are not particularly dark, there is a nice range here and I think if the process were refined, I could get deeper colours.

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DY I N G W I T H S E AW E E D : CHANNELLED WRACK

DYING WITH CHANNELLED WRACK - Seaweed disinfected before use as it had gone mouldy - see Chapter 2. Boiling the seaweed really smells and causes the whole flat to smell of a planty/salty/fishy aroma, which is not pleasant - especially as the seaweed needs to boil constantly for hours to work.

BELOW: COMPARING TESTS 1, 2 AND 3 Test 1 was dyed with sea water medium, with vinegar added after boiling and left to soak - minerals in sea water are supposed to assist with mordanting the fabric, so thought I’d try with some of the sea water medium used to create the environment for my red and gold algae. Test 2 and 3 use waste water from making seaweed paper with soda ash. Test 3 had vinegar added while Test 2 did not - the difference is really obvious. With Channelled Wrack I have been able to achieve a real variety of colours. I think the use of soda ash and sea water really help with the dying process. From these tests I have achieved a really nice variety of colours for my outcomes.

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APPLIC ATIONS TEXTILE DYE

“SEAWATER HAS TRACE ELEMENTS OF ALUMINIUM, (ONLY ABOUT 8PPB), HOWEVER THERE ARE MANY QUALITIES TO SEAWATER THAT HAVE THE POTENTIAL FOR BEING USEFUL AS MORDANTS.” (Burgess, 2011)

TEST 3: Using the waste water from making paper with channelled wrack. The water was boiled for three hours with seaweed and soda ash, then mixed with vinegar and soaked for 7 days. Fabrics have retained a strong pinkish-brown colour. One of the most pigmented of all of my dye tests. I think the duration of soaking with the water has helped.

Boiling with soda ash also seems to be the best way to extract colour for dying.

F O R F U L L D E TA I L S O F A L L DY E T E STS PERFORMED, SEE APPENDIX H

TEST 1 (LEFT): Testing whether sea water medium (used to create sea water to grow red and gold algae) works as a mordant on fabrics. Water went a nice warm red/brown colour which I was not expecting. Fabrics look a dull purple/red once out of the water but this took a while. Once removed from jar and rinsed with cold water, the fabrics have retained a lovely rosy pink! This is my favourite colour from all of the dye tests so far.

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TEST 5: RHUBARB MORDANT (LEFT) VS BOILED IN VINEGAR (RIGHT) This test reused the seaweed boiled for Test 4, adding more sea water medium along with soda ash. I think that because the seaweed had already been boiled for many hours to dye the first round of textiles for Test 4, most of the colour had been taken by that dye test.

This meant that the fabrics for Test 5 here have not retained a very strong colour at all. The fabrics on the left (which were mordanted with rhubarb leaves) are a darker colour than those on the right, but I think this is more down to the colour that the rhubarb itself gave the fabrics, rather than any dye picked up by this test.

BELOW AND RIGHT PAGE: ALL FABRICS DYED WITH CHANNELLED WRACK As with the other dye tests, it’s really nice seeing all of the fabrics dyed with each type of seaweed alongside one another. The range of colours achieved with channelled wrack is greater than those achieved with spiral wrack, with rosier pinks and darker browns in Tests 1 and 3. I think this range is due to the fact that I did the dye tests with channelled wrack after most of the spiral wrack dye tests, so I learned from those and applied my knowledge to the channelled wrack.

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APPLIC ATIONS TEXTILE DYE

I think the photos of the Channelled Wrack dyes have come out even better than the photos of Spiral Wrack. The colours look really nice together and it’s very satisfying seeing all of my work together like this, as these tests were frustrating and a very drawn-out process. I’m happy with the channelled wrack dye colours, particularly the pick achieved with the sea water medium. If it weren’t for the smell, I would happily keep dying with this seaweed.

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TESTING DYED FABRICS: WASH, RUB AND SUNLIGHT TESTS As with the spirulina dyes fabrics, I wanted to test if these fabrics dyed with channelled wrack would have a better lasting colour. I created some larger dye test fabrics (above) and cut part off each to test, leaving some of the original to compare against. I did a cold machine wash on about 1/3 of each sheet of fabric for the channelled wrack (second row of image above) and although the colour faded a little, there is still a pink tone remaining. As some colour has been lost and the washed results are still not particularly strong, my dying process still requires improvement, but I quite like the soft pink that I have been left with. I put the washed versions of the fabrics on the window (image below, right) for a long weekend to see if it faded in the sun, which it did not. I also did rub tests (below) by rubbing two different types of white, plain weave cotton on each of the different dyed fabrics for both washed and unwashed versions, all of which were fine. Overall I’m happy with the dye results for channelled wrack and I think this seaweed has potential!

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APPLIC ATIONS TEXTILE DYE

S E AW E E D DY E S LESSONS: • Boiling seaweed with soda ash helps to release so much more colour from the seaweed and creates much deeper tones in the fabrics.

• Boiling the seaweed is necessary to release the colour, also helps to boil the fabric in with the seaweed (once the seaweed has already been boiling with water for a while).

• Boiling with sea water medium creates a much softer pink tone from seaweed when simmered for a long time.

• Colour released when simmered for a long time is better than when boiled for a short time.

GENERAL THOUGHTS: The seaweed needs to be boiled for several hours to achieve any dying capability. Boiling the seaweed releases a powerful smell which is not very pleasant and lingers afterwards. I only have a balcony as outdoor space and it is not safe or practical to use this to do any boiling for dyes, so I was dying with the seaweed in my kitchen. This meant that while I was dying (and for some time after) I had to have the extractor fan on, along with another fan/air purifier and all doors and windows open too. The electricity used to try and get rid of the smell, as well as the amount used to power the hob for hours while the seaweed simmered must be quite high. I’m not too concerned about the environmental impact of this, as all of our power is provided through renewable energy sources - however the financial cost is going to be quite high. Because of the limited studio space I have at home where I’m currently working and the fact that we don’t have a physical exhibition, I wanted to get some good photos of all of my dye tests for each type of algae alongside one another. I therefore stuck the individual fabric sheets to my wall with the tests running vertically and the fabric types dyed running horizontally to show a good comparison and I’m really happy with how the photos have come out.

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CO L L E C T I O N 1: S P I R U L I N A CO LO U R S

Collection 1 is based around the blue and green tones of spirulina, which is used to create the dye used for the napkins and the colour of the jesmonite pieces. I have taken photos of this collection against the cool grey stone tile to compliment the cool and bright colour palette.

This collection is currently larger than the collection of pieces for Collection 2, as spirulina is more easy to use - readily available in powdered form online and only a small amount is needed for a large colour change. I think the different shades achievable by adjusting the quantity of spirulina powder mean that this collection could extend much further. I would prefer to create future pieces using a more sustainable material than jesmonite, and as this collection contains a lot of jesmonite this may pose a challenge.

Pieces within this collection: • Napkin • Jesmonite coasters • Jesmonite plate stand • Jesmonite tealight holders (used as small dishes)

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APPLIC ATIONS HOMEWARE COLLECTIONS

CO L L E C T I O N 2: S E AW E E D CO LO U R S

Collection 2 is based around the pink, purple and brown tones of the different types of seaweed I have used during this project. The seaweed has been used to dye the two napkins and pigment/ decorate the small jesmonite coasters. I did also attempt to make a matching dulse powder jesmonite plate stand, but unfortunately this broke.

While this collection is currently more limited than Collection 1 (due to the difficulty of getting seaweed and the less successful results when using it) I think that the seaweed dyes particularly could offer a great deal of potential.

Pieces within this collection: • Napkin (dyed with spiral and channelled wrack) • Jesmonite coasters (pigmented with dulse powder and decorated with dried spiral wrack leaves) • Jesmonite plate stand (pigmented with dulse powder - broke) L I V E E V E RY DAY A L GA E

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FOOD AND DRINK

MEAL 1:

S P I R U L I N A F R U I T S M O OT H I E ( B L E N D E D ) • 1tsp spirulina powder • 1/2 cup coconut milk • 80g strawberries • 1 kiwi • 30g blueberries Topped with cacao nibs, kiwi slice and 2 walnuts REVIEW The smoothie tastes good and I can’t taste the spirulina as the kiwi takes over the flavour, with the strawberries and blueberries adding a nice sweetness. The cacao nibs are a bit too rich, however the crunch of the walnut was a nice addition. I wouldn’t mind drinking this smoothie again, but wouldn’t go out of my way to make it.

S P I R U L I N A PA N C A K E S ( F R I E D ) • 1/2tsp spirulina powder • 1 cup gluten free flour • 1 cups milk • 2 eggs Topped with sugar, lemon juice, maple syrup and strawberries I followed my normal pancake recipe and used half of the mix to make normal pancakes, then added 1/4tsp spirulina and blended with remaining mix.

REVIEW The pancakes were really really nice! I could smell the spirulina as soon as the pancakes were cooking and it made them smell even nicer than plain pancakes. The spirulina adds a gentle sweet and fruity flavour which I was not expecting, it does not match how the spirulina powder smells. Pancake mix and insides were green but this didn’t put me off. Would definitely have them again.

S P I R U L I N A YO G H U RT ( S T I R R E D ) • 1/3 tub lacto free Greek yoghurt (approx. 170g) • 1/2 tsp spirulina Topped with maple syrup and blueberries REVIEW The yoghurt looked interesting once mixed, the spirulina powder was still visible as individual flecks which does not look like the spirulina smoothie bowls I have seen on instagram. I am not a fan of the taste. The sourness of the yoghurt does not compliment the spirulina, the flavours clash and the spirulina flavour really comes through badly.

Would not eat again.

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APPLIC ATIONS F OOD AND DRINK

FOOD AND DRINK

MEAL 2:

B R OW N I E S ( N O B A K E ) • 2 ½ Cups Dates, soaked in warm water for 10 minutes • 1/3 Cup Cacao Powder • 1 ½ Cups Walnuts • 1 Tbsp Spirulina Powder • ½ Cup Cacao Nibs GANACHE • 1 Cup Dark Chocolate Chips (70%) • ½ Cup Almond Milk • 3 Tbsp Coconut Oil REVIEW The brownies taste fine and I can’t taste the spirulina. The consistency is not good though, the brownies are too wet to cut so had to scoop from the tray with a spoon, will see if this changes after longer in the fridge as recipe said to only leave them in the fridge for 30 mins (which I did) but this doesn’t seem very long. The colour of the brownie is a gross brown/ green like cow poo, with the ganache a nice normal chocolate brown. The colour and consistency would have put me off eating the brownies if they had been made by someone else, but as I knew what was in them it didn’t put me off eating them on this occasion. I will eat the rest of the tray, but wouldn’t make these again - more to do with issues with the specific recipe than the impact of the spirulina though.

CARBONARA & DULSE (FRIED) • 1 portion of gluten free spaghetti, cooked in himalayan pink salt • Sauce made from 1 whisked egg with cheddar cheese and a splash of milk • 10g dried dulse leaves fried in olive oil REVIEW Dulse may taste better in much smaller quantities, this amount was way to salty and a little fishy which I think is down to the dulse being smoked. After frying the dulse also smelt a little burnt which spoil the rest of the spaghetti, I think this was also down to the fact that it is smoked. The flavour is much too strong for me and I won’t be eating dulse again. Also tried some fresh leaves before frying, these tasted even stronger and were very salty and fishy. I really don’t like the taste of dulse.

H OT C H O C O L AT E ( U S I N G H OT C H O C O L AT E M AC H I N E ) • 250ml semi-skimmed milk • 4tsp Twinnings hot chocolate powder • 1/4 Spirulina Powder REVIEW The hot chocolate smelt really nice and after the success I had with pancakes I thought this was promising. The spirulina powder gives the hot chocolate a dusty fruity aroma, but doesn’t taste as good as it smells. The taste is closer to the smell of spirulina powder alone and I could only drink half a cup of hot chocolate with it in. I wouldn’t make this again.

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APPLIC ATIONS F OOD AND DRINK

COLLECTIONS 1 AND 2 IN CONTEXT While creating the menus for my algae based meals, I considered the two collections and the colours of these as inspiration for the food pairings. I have therefore been able to take photos of the algae -based meals, using the pieces that I have created from algae with the food complimenting the colours of the collections. My collections are very limited so do not cover all of the implements needed to eat and drink, so I attempted to match the other pieces on the table to the colour scheme of each Collection to create on-brand photos.

Collection 1 used spirulina as a colour base, so all the elements are shades of blue/green and this creates a fresh and bright look, which I thought was suited to an early-morning meal like breakfast or brunch. I therefore paired this with Menu 1, which created blue/green shades within the food and drink to match the table setting. Collection 2 used the different seaweeds, which create a warmer colour palette of pinks and browns, so I paired this with the evening meal, Meal 2, which had chocolate and seaweed within the food and drinks, matching the palette of Collection 2.

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APPLIC ATIONS F OOD AND DRINK

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Throughout this chapter I have explored how the different types of algae can be applied to solve design problems, providing a natural and sustainable source of colour. The main benefits of using algae above other sources are that algae is natural and non-toxic, with no chemicals or extensive processing needed for use. It is also grown in water and can survive in some of the most inhospitable areas, meaning that mass production could take place in underwater locations where most other materials and crops would not survive and therefore would not take up valuable land, which could then be used for crops or forests.

The different types of algae have different properties, different colours and work well for different uses.

The spirulina was really successful as a pigment for paper and jesmonite and also showed promise as a watercolour-style paint and for dying (once the method has been improved). Spirulina offers a range of different shades of green and blue which are appealing and contemporary. Seaweed was a better textile dye overall, with channelled wrack offering a really nice peachy pink and brown. Dulse leaves worked best to create paper with purely from the seaweed and spiral wrack created the most interesting patterns in jesmonite, inspiring some abstract ink drawings. Seaweed offers a very different range of colours from spirulina, with warm tones of brown, purple and pink. In contrast to the spirulina and seaweeds, the red and gold algae were unsuccessful to the extent that I stopped testing with them once I realised the pigment was so pale. I don’t think red and gold algae offer much promise within the design industry, based on my findings here.

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APPLIC ATIONS REVIEW

SUNNY PHOTOGRAPHY SETUP ON THE BALCONY

COLLECTION OF ALL OF MY ALGAE DYED TEXTILES

PROCESS:

SPIRULIN A POWDER

FRESH SPIRULIN A

FRESH GOLD & RED ALGAE

SEAWEED

PAINTIN G

Successful

Semi-successful

-

Semi-successful

PIGMENT F OR JESMONITE

Successful

Successful

Semi-successful

Semi-successful

PIGMENTIN G RECYCLED PAPER

Successful

Successful

Unsuccessful

Successful

MAKIN G PA PER

-

-

-

Semi-successful

DYIN G TEXTILES

Successful

-

Successful

TEXTILE PAINT

Unsuccessful

-

-

-

F OOD AND DRINK

Successful

Semi-successful

-

Not Successful

PL AS TIC

-

-

-

Not Successful

Unsuccessful

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C HAPTER FIVE BRANDIN G

CHAPTER 5:

BRANDING 256 SCHOLARSHIP 257 SWOT ANALYSIS 258 NAMING THE PROJECT 259 WHAT IS EVERYDAY ALGAE? 260 MISSION, VISION AND VALUES 260 TAGRET AUDIENCE 261

COMPETITOR ANALYSIS

264 BRANDING INSPIRATION 266 FONT PAIRINGS 267 LOGO DEVELOPMENT 268 COLOUR SCHEMES 270

FURTHER LOGO DEVELOPMENT

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FINAL LOGOS

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BRANDING MATERIALS

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BRANDING: LOOK AND FEEL

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I have sucessfully applied for the UWE Enterprise Impact and Innovation Summer Scholarship, which runs from June - August 2020. My application (provided in Appendix H) was to create a professional way to engage the public with this project and begin to publically normalise algae. The platform for this has changed since the initial application due to the ongoing restrictions in place because of Covid-19, however the purpose has not.

As part of the scholarship, I have the help of a mentor to guide the marketing side of my ambitions.

I have used the scholarship guidance to develop the professional aspects of this project, which I will explore in this chapter. While the work I am completing for the scholarship has slightly different goals and timescales to this module, I think that working on both this project and the scholarship side -by-side will be really beneficial.

S C H O L A R S H I P G OA L P L A N N I N G S M A RT G OA L S : S p e c i f i c , M e a s u r a b l e , A c h i e v e a b l e , R e l e va n t , T i m e - O r i e n t e d

G OA L S 1. Determine the best platform to allow the public to engage with my project 2. Develop the items to exhibit to the public: algae vessels and library of algae uses 3. C re ate a net work/audien ce to en ga g e wit h t he e xhib it ion

B R E A K D OW N O F E AC H G OA L G OA L 1 - De ter mine the best platfor m t o a llo w t he p ub lic t o en g a g e w it h my p ro jec t STEP DESCRIP TION

Create customer profiles Research target audience - shopping and internet habits Research ways of delivering exhibitions, eg. other examples of virtual exhibitions Assess options for the exhibition - pros and cons for different methods

TIME REQUIRED DEADLINE

3 hours 1 hour 4 hours

22/07/20 24/07/20 24/07/20

2 hours

31/07/20

G OAL 2 - Develop the items to exhibit to the public: algae vessels and librar y of algae uses STEP DESCRIP TION

Create detailed designs for vessels incl. tech spec sheets Using tech spec sheets, assess possibilities of manufacturing vessels Complete tests for algae applications Make library of tests for algae uses professionally presentable

TIME REQUIRED DEADLINE

2 days 4 hours 2 weeks 1 day

31/07/20 31/07/20 31/07/20 04/08/20

G OA L 3 - Cre ate a net wor k/audience t o en g a g e w it h t he exh ib it io n STEP DESCRIP TION

Brand the project - determine name, logo, style Create content for social media to build audience Create delivery channels (social media etc.)

Develop marketing materials Social media strategy

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TIME REQUIRED DEADLINE

1 day 4 hours 2 hours 1 day 3 hours

22/07/20 22/07/20 07/08/20 07/08/20 07/08/20

BRANDIN G SC HOL ARSHIP

S C H O L A R S H I P G OA L P L A N N I N G F U RT H E R P L A N N I N G DE TA IL REQ UIRE D RE SOURCE S Manufacturing facilities - wood workshop, kiln, press. Technical knowledge and guidance.

DEFINE OBSTACLES Pandemic has limited my access to manufacturing facilities as the university has closed, also cutting off most access to knowledgeable individuals.

PLANS FOR OVERCOMING OBSTACLES Look at possibility of outsourcing, purchasing machinery myself or alternative methods of production.

Research through the internet or email professionals rather than aksing technical staff in person.

D E S I R E D O U TC O M E DEFINE MEASUREMENTS FOR SUCCESS - Project completed to a professional level - Holding a public exhibition showcasing this project - People attend the exhibition DESCRIBE OUTCOME OF ACHIEVED GOAL The exhibition enables members of the public to engage with algae, possibly for the first time. Their engagement with this project sparks an interest in algae and causes them to pursue more ethical and sustainable products when they realise that alternatives to unsustainable products are easily available.

They are invested in algae and when products made using algae become more readily available, they are eager to purchse them. The exhibition also alerts potential investors/employers to the project which secures funding to continue the research and development started here.

S W OT A N A LYS I S ST R E N G T H S • • • • • •

• • • • •

Ambitious Passionate about the project Have been working on project for 9+ months Already have a vision Personal experience growing algae Knowledge around sustainability & sustainable design

• • • • • •

W E A K N E SS E S Time management Keeping objectives achieveable Lack of knowledge about algae Lack of confidence Lack of experience (research & professional) Lack of following/network

OPPORTUNITIES T H R E ATS Public interest in sustainability • Competitors doing the same thing faster/better Algae is already becoming more popular • Lack of facilities & resources Public awareness of environmetal issues - • Algae is tempermental people want more sustainable alternatives • Coronavirus - limits travel, public gatherings People are open-minded and interraction Spotlight on unsustainable practices

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NAMING THE PROJECT

P R O J E C T N A M E I D E AS :

CHOSEN PROJECT NAME:

M A D E O F A L GA E literal description of part of the project (Chapter 4: Algae Applications) but limiting as does not cover the vessels section

E V E RY DAY ALGAE

O F A L GA E short and snappy version of “Made of algae” but a bit too vague, doesn’t give away enough information A M A Z I N G A L GA E a bit too cheesy and juvenile B LO O M H O M E : A L GA E F O R T H E E V E RY DAY “Bloom” in reference to algae blooms that appear on lakes etc. “Home” reflects the applications for this project as it is bringing algae into the domestic environment - I like this, but “Bloom” is more commonly associated with flowers so may be misleading - I really like the caption though, it hink “algae for the everyda” sums up this project really nicely A L GA E F O R T H E E V E RY DAY using the caption from above, this really nicely reflects the project and I like the sound of it, but I think it may be too long for a project title - better suited as a slogan E V E RY DAY A L GA E a shortened version of the above - still captures the message of the project and has a nice ring to it while being less of a mouthful - more appropriate for a project title N O R M A L I S I N G A L GA E literal description of the aim of this project, accurate but I just don’t like the sound of it as an action O R D I N A RY A L GA E has a nice ring to it, but doesn’t capture the purpose of the project as well as some other titles

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I chose to go with the name “Everyday Algae” for this project as I believe it sucessfully summarises the work I have been doing over the last 10 months, without being too cheesy/immature/long.

Everyday Algae looks professional and has a nice ring to it, which is important.

TAG L I N E I D E AS :

Along the lines of changing opinions about algae and algae providing a sustainable design alternative.

• • • • • • • • • • • • • •

Open your mind Unleash the pottential A journey to normal Making it the norm Introducing your next design obsession Normalising an underrated material There’s so much more than you may think There’s more than meets the eye More than a nuisance/plant/food/pest Changing the way you think about algae Challenging perceptions Look beyond the obvious Beyond the bloom FOR A SUSTAINABLE FUTURE

I think “FOR A SUSTAINABLE FUTURE” manages to cover the enviromentally conscious side of choosing algae that is missed from the project name.

BRANDIN G N AMIN G AND DEFININ G THE PROJECT

W H AT I S E V E R Y DAY A LG A E ?

E v e r y d ay A lg a e F O R A S U STA I N A B L E F U T U R E Everyday Algae aims to challenge preconceptions about algae; enabling this organic material to become more widely used within the design industry. The collection is comprised of a range of sustainably designed vessels to grow live algae within domestic and commercial environments, along with a physical library showing a few of the pottential applications for algae within the design industry.

T H E S TO RY: Algae is a group of water-based plants that ranges from large formations like seaweed and kelp, down to the small edible micro-algae: Spirulina. Algae is gradually increasing in popularity, with the benefits of being a photosynthetic organism (uses sunlight to convert CO2 into O2) but without the requirement for the vast amounts of land needed by other plants to perform the same exchange.

Algae has a multitude of applications once harvested. Various types of algae can provide a healthy source of food, alongside multiple uses within other industries, such as a sustainable dye for the textile industry, bio-fuel, a natural and edible form of plastic food packaging and a fast-growing material to make paper from.

Live algae has even been used within architectural design to clad tall city buildings in an attempt to improve air quality, without taking up any valuable space on land. One day I was walking through Bristol City Centre thinking about all of the empty spaces I walked past on the pavements, while cars and traffic thundered around me. It seemed such a waste to have this empty concrete space in the middle of such a bustling city. It surprised me that there weren’t even plants filling much of this space, just some grimey looking water features that are rarely in use. The idea came to me that this would be a fantastic location for an installation of growing algae. Bristol is innovative and passionate about sustainability and being “green” so provides the perfect canvas for new and exciting sustaibale design. Also being a busy, polluted city centre, algae could really help to improve the air quality by absorbing the CO2 emmitted by the traffic and producing oxygen. This was the realisation of the project.

The challenge that I faced was the public’s negative preconceptions about algae. Algae is often assumed to be a gross, undesirable and potentially harmful life -form, which makes people recoil at just the mention of it. My aim through Everyday Algae is to normalise the use of algae, enabling it to become a popular material which can be used on an industrial level and replace less sustainable alternatives.

Across these pages I have created the basics for branding the project: a project name, tag line/slogan, a brief description about what the project is and the story behing how the project came to exist. This is material that I have been advised to create by my mentor and will form the beginning of my library of professional materials that I can take forward to publicise the project, apply for funding and to use in my portfolio.

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MISSION

The mission of Everyday Algae is to engage the public with algae and demonstrate it’s vast potential as a design material, while normalising it’s use. Everyday Algae tackles this through the public display of a library showing examples of algae used for a variety of design applications, alongside a range of vessels designed to house living algae in a stylish way that enables people to bring algae into their own homes.

VISION

The vision of Everyday Algae is to promote lasting change within the design industry to support a more sustainable approach to design. Everyday Algae aims to do this by using the natural and environmentally conscious material algae in the place of traditional and unsustainable aprroaches.

Everyday Algae hopes to become a leading provider of beautiful, sustainable products made using algae and offer customers the option of an interesting, innovative and ethical product.

VA L U E S

We aim to create CONSIDERED and INNOVATIVE pieces that are designed for both AESTHETICS and FUNCTIONALITY. Everyday Algae values SUSTAINABILITY throughout the entire process of manufacturing a product. This involves choosing NATURAL AND RENEWABLE materials wherever possible and UTILISING ANY WASTE products to come out of the design and manufacturing process.

TARGET AUDIENCE

There are two main audiences that I will focus on for now. The first portion of the target audience is the general public, specifically those who already have an interest in the environment and living a sustainable lifestyle. The goal with this audience will be to use Everyday Algae to change perceptions around algae and showcase its many benefits as a sustainable, natural material, demonstrating how versatile it can be.

Familiarising the public with algae normalises it as a material and ideally would make them more inclined to choose it in the future (in preference to less sustainable materials), making it a more appealing material for the industry to use, as consumers are already invested in it.

My second target audience is potential collaborators, such as businesses and researchers who have the resources (financial, facilities and knowledge) to help me to further research, develop and produce products based on algae. As with the first section of the target audience, existing perceptions of algae will need to be challenged to enable the audience to approach the concept with an open mind. The goal here is to change perceptions in order to gain support to further the reach of my campaign, normalise algae and to position it as a desirable material to incorporate into industry.

From both of these audiences, the first hurdle is to get the public to engage with the algae and change their preconceptions about it, making it a material that they like and are interested in. This in turn will hopefully push the design industry into seeing that algae is a desirable and viable material to invest in as consumers want it, it’s easy to grow and it is ecologically sound. If the industry adopt algae as a commonly used material, they can then cut the use of unsustainable alternatives currently in use, which will lower their negative environmental impact and help the planet.

I have developed specific and in depth profiles on three different customers as a way to view them as real people and learn moe about their habits, likes, dislikes and how to get them to support Everyday Algae.

See full customer profiles in Appendix I.

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BRANDIN G AUDIEN CE AND COMPETITORS

COMPETITOR ANALYSIS

I began the competitor analysis by searching the internet for the name of my project: Everyday Algae. The results that came back were all either cosmetics, suppliment tablets or articles about wild algae and how to tackle it. There were no companies doing anything like my project, which is a positive, although could mean that I’ve chosen a misleading name for the project, but I don’t think this is the case. My project and any products that come out of it are so niche that I think it’s unlikely that there is anyone doing exactly the same thing.

Product results from algae searches: • Cosmetics • Algae tablets • Buying algae • Algae based packaging • Products to get rid of algae • Algae to eat After some extensive searching, I have fount that my main competitors for the algae market will actually be the brands that I have used for inspiration in this project, I have collected details of the limited products they sell below: • Blond & Bieber - one t-shirt in collaboration with Vollebak, preorder for £85 (sold out) • Nienke Hoogvliet - 3 books of her research at €50 each and blankets between €500 - €750 • Jasmine Linington - a small range of seaweed earrings with prices from £29 - £115.

• Hyunseok An - no shop • Health Algae EU - 30L Photobioreactor for €1,849.90 • NostAlgae - a range of hand-made and dyed (not with algae) garments priced £9.50 - £175 None of these brands offer products similar to anything that I would offer: attractive vessels to grow algae (Health Algae’s algae growing device is huge and ugly) or textiles/homewares. If I were competing for research funding or employment however these brands may be more of a concern.

Across the next spread, I have looked in more detail at a wider range of competitors offering sustainable products similar to mine, that aren’t based around algae as this seems to be a very niche market. From my research I think it is safe to say that any homeware products I make from or with algae will be unique and there isn’t currently anything the same on the market. The issue I face is that there are similar products made from similarly sustainable sources, so the fact that it is the only algae product like this may not give me the edge over other competitors.

COMPETITOR OR COLLABORATOR?

There are also several big, established pottential competitors, like Ikea and H&M for instance. Both produce homewares and both have an invested interest in sustainable design and manufacture. These brands are often the forerunners in innovative design, for example H&M were one of the first big brands to work on a colaboration with Pinatex in 2019. While they are competitors, they may also offer the opportunity for collaborations. A collaboration with a big brand like this would give a small project like Everyday Algae a massive publicity boost, not to mention the benefit that the funding and resources a big company like this could help to achieve. Collaborating with an established and respected large brand would also enable Everyday Algae to be taken more seriously by the public, as consumers are more likley to trus a big brand they’re loyal to, like Ikea or H&M - this could help to fast-track normalising algae.

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COMPETITOR ANALYSIS I think that the main competitors I will face will be other brands making sustainable products, just not with algae: • Buffy - bedding priced $49 - $259 Mission: We’re on a mission to help you live comfortably—without making our planet uncomfortable.

That’s why we use earth-friendly fabrics and manufacturing methods to create more sustainable products, from first sketch to last stitch and beyond.

They don’t just help you feel good today.

They contribute real good for tomorrow. https://buffy.co • Weaver Green - rugs and textiles made from recycled plastic bottles for about £25 - £210 Today, back in their Devonshire home, Tasha and Barney and the Weaver Green team are excited to offer beautiful recycled rugs, blankets, footstools, cushions and bags that offer all of the benefits of plastic without any compromise in style, feel or value. We hand loom all our lovely textiles and use artisans throughout Europe, Scandinavia and Asia to make our gorgeous, soft, practical products.

We take care to ensure that everyone involved in the process of turning a discarded plastic bottle into a beautiful herringbone rug or a Juno bag is treated fairly and paid accordingly. Our South East Asian and Turkish weavers are independently inspected to ensure the safe and fair working conditions of our craftsmen and women, while we finish all of our textiles in our Devon based rug rooms. https://www.weavergreen.com • MAiK - homewares like coasters made from sustainable materials, starting at about £5 At MAiK, we think manufacturing should be done responsibly, to look after the environment and the people involved.

We only work with factories and manufacturers that share the same ethics and values as us. All our products are made with materials that have been sourced responsibly. https://maiklifestyle.com • One Nine Eight Five - range of fashionable and conscious homewares £35 - £185 Supporting British manufacturing, craftsmanship and sustainable processes is at the heart of One Nine Eight Five. We celebrate the talent of British craftspeople, and UK manufacturing. We are proud that each One Nine Eight Five product is designed and made in England by people who take great pride in their work. This is why our products are of exceptional quality. https://www.onenineeightfive.co.uk • Wearth London - a range of sustainably made and reuseable homewares, most under £40 Who we are: Wearth was founded by Imogen and Ed (hello!), we are two people in our twenties who want to live and shop in a more conscious way, yet found that there was limited places to shop online which helped with this ambition. So we started Wearth to make it easier to make informed purchases which help to promote ethical and environmentally-friendly living.

We believe that everyone can make a positive impact and even small changes can make a big difference and helping our customers do the best they can to live a greener lifestyle has been one of the most rewarding parts of creating Wearth. https://www.wearthlondon.com • Ikea - the range of VÄXER plant growing accessories that I used to grow my spirulina, costs about £41 • H&M Conscious Shop - range of clothing, homewares and accessories priced around £2.99 £199.99 We feel you. It can be super tricky to know whether you’re making environmentally-friendly shopping choices. But we want to make it easier! So our aim is for all our products to be made from recycled or other sustainably sourced materials by 2030. This actually already applies to 57% of the materials that we use. https://www2.hm.com/en_gb/hm-sustainability/lets-change.html/conscious 2 62

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BRANDIN G COMPETITOR AN ALYSIS

After internet searches and looking up pottential competitors online, I have chosen to do case studies on two of these competitors. While neither offer products using algae like I will, both offer creative and fashionable solutions to sustainable design for similar products to those I can see myself making, and so these competitors will probably also appeal to the market I am going for.

H&M CONSCIOUS COLLECTION - Primary Competitor - Leading the change, Circular and Climate Positive, Fair & Equal, Responsible Purchasing Practices - Worldwide Customer Base - Mass Produced, Fast Fashion While they claim to be a sustainable fashion brand, H&M only have collections and goals that are sustainable and still sell many products that do not hold these principles. They source thousands of items from external suppliers and contribute to fast fashion.

This brand likely appeals to average, materialistic individuals (like myself) who want to be good and sustainable, but still really enjoy shopping and having new things. H&M offers a surface -level satisfaction that you’re doing the right thing and shopping within the conscious collection may be better than shopping at other fast fashion stores, but it is still not sustainable.

Photography and product styling take a calm, natural and earthy aesthetic in keeping with the natural materials used and earth-supporting ethos.

MAIK -

Primary Competitor UK based Free UK Shipping Hand made in the UK All materials are sustainably sourced Prints designed in-house

Smaller company than H&M and with products made handmade in the UK it is likely that MAiK will be able to ensure the level of sustainability they demand is kept throughout manufacturing. They do not however state what materials most products are made from. They offer blanket statements like “All materials are sustainably sourced” but offer no transparency about what these materials are, or even what they define as “sustainable” as this can be widely interpreted.

Photography and styling is more vibrant than H&M, with vivid unnatural colours. Photos all look clean, light and airy, giving a modern vibe. Site looks very professional and considered. I like the unique simplicity of the logo.

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BRANDING INSPIRATION SPECIMINE LABELS To design branding for this project, I began by looking at specimine labels (like above) for inspiration.

Specimine labels are an iconic visual associated with scientific field research, commonly exlploring living things such as animals, plants and algae. I thought that this visual offered a nice representation for the research and careful growing of the living samples of algae used within this project.

I found that some designs for CANDLE LABELS use a similar format to specimine labels, with a contemporary clean twist that I think would suit this project well.

Inspiration from these across the lower part of this page

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BRANDIN G INSPIRATION

BRANDING INSPIRATION Liz Earle Beauty Co - an example of strong branding adapted to different uses (right) I have used Liz Earle for inspiration as they are the first brand that comes to mind when I think of a versatile logo. Their logo has 3 components: image, company name and slogan.

In different settings the logo is adapted to which elements are necessary and this is done consistently by the brand. The imagery used is also a bit more simplistic than some of the more decorative examples to the left, which I think offers a more professional and mature brand image.

Lima Lima Jewelery (below) Lima Lima has a great set of branding, with a really simple typographic logo usually accessorised with simple line drawn illustrations in a matching style to add interest. I like the sybolic nature of the images used and think that these are a good way to subtly reflect the brand values.

WEBSITE - TYPOGRAPHIC LOGO

PRODUCTS - FULL LOGO

SOCIAL MEDIA - JUST IMAGE

The logos above all use nice line drawn illustratiosn to form part of the logo, along with clear text.

The decorative illustrations make the logos more interesting and pretty, while offering an idea of what the brand has to offer illustrations would also work well as sub marks.

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F O N T PA I R I N G S

FONTS Using the resources in 30 Great Font Combinations For Your Next Design Project (Pack, n.d.) I have developed a group of complimentary fonts to consistently brand this project: Julius Sans One along with Futura offer a clean, crisp and contemporary look which suits the brand and my general design style.

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BRANDIN G DEVELOPMENT

LOGO DEVELOPMENT

I began with my font group and the visual style of specimine labels for developing the logo for Everyday Algae. The logo needs to adapt to suit different formats: main logo, sub mark (social media etc) and monochrome. The logo should reflect the project, so I have beein playing around with using a simple illustration of seaweed as an element of the main logo which can be used as the sub mark. I’ve also tried out some different colours but I think more natural and earthy tones would better suit the project.

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BRANDIN G COLOUR SC HEMES

COLOUR SCHEMES

After settling on a combination of fonts and style of image I liked for the Everyday Algae logo, I explored different colour options. The first colours I tried (on the previous spread) were colours I just picked at random from the colour wheel because I like them. For the branding I need to develop a consistent and sophisticated colour palete to use throughout and I need the logo to also fit in with that. I therefore took inspiration from some photographs of my collections of work for Everyday Algae, as the work naturally creates complimentary colour paletes.

On this spread are 3 different colour schemes taken from photographs of work from this project. Naturally I am drawn to certain colours that seem to reflect this project best. In all the colour palettes there is a warm peach tone which reminds me of sand - this matches the project as many types of algae grow in locations where their is sand (like the sea). There are also some lovely light aqua/green tones which I think reflect the water that the algae lives in. An earthy brown has also come up in each palette and while I don’t like this colour alone, I think it works well to ground the whole palettes and brings a sense of calm. I think the colour palette abouve is lovely but may be a bit too bright, so I think a mix of the two calm purple palettes on the left may be the best combination of colours for branding Everyday Algae.

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FURTHER LOGO DEVELOPMENT

S E AW E E D A R T W O R K

I brainstormed some logo ideas on pen and paper then tried to creat some simple images of seaweed using ink. I tried printing with pieces of real seaweed by covering them with ink, then rolling over them on a fresh piece of card, like a lino cut. I like the outcomes, they’ve managed to get a range of depth but I think the images are too complex to form part of my logo. I tried to convert one to a black and white vector in Illustrator and the shape was too rough and once vectorised was no longer as obviously seaweed. I then tried loosely drawing some of my pieces of seaweed freehand (above right) which worked much better and created images as simple as needed for the logo. I then remembered that I had created an vector artwork containing many images of seaweed, so I took some of the seaweed that I had previously drawn from that.

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BRANDIN G LOGO DEVELOPMENT

FURTHER LOGO DEVELOPMENT I arrived at a logo composition I liked, with a good combination of fonts and a nice layout. I wasn’t sure about the original seaweed image though as I created it as a placeholder to see if I liked the look before spending time designing an image properly. I think using seaweed above the text works really well, but I think a filled design (as opposed to outline) would look more professional. I therefore took the below vectors of seaweed I drew for a previous illustration (left) and tried them out as part of the logo.

At the bottom of this page I have tested out using 10 different styles of seaweed placed above the text on my logo. I really like how they all look togehter as a group. I think this solid vector style really works for both the logo, complimenting the clean cut font, as well as representing the project accurately.

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FURTHER LOGO DEVELOPMENT

I really liked seeing all of the logo tests laid out on the previous page each with a different seaweed drawing above - I think this would be a fun idea for business cards or packaging to offer something a bit more special. However, for what I’m doing now I need just one image for the logo to keep things consistent, so I asked for opinions and the seaweed vector right above was the firm favourite. I tried out different layouts (still keeping the label-inspired rectancle background) and have arrived at a logo I really like. This colour was just for testing, but I think a soft aqua-green like this really suits the project, with links to the water that algae usually grows in and the soft green tone that spirulina created in jesmonite and paper in Chapter 4.

After finding a full logo that I liked, I tested the illustrative element as an Instagram sub mark. On the right I have explored some different colours for this, using the format they would appear in on an Instagram search, as this is where I want people to be enticed enough to click on my page. I really like the deep ochre (third down) and I think it looks like a matura logo, but when viewed alone it’s quite a strong muddy colour and not to everyone’s tatste. I think a blue/green colour like the example right at the bottom is most fitting for the brand, although I do also really like the soft purple above it.

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BRANDIN G LOGO DEVELOPMENT BUSINESS CARD MOCK UPS

I think it’s always useful to see a logo in the context of where it will be used, for example on business cards like on the right. This helped me to decide on the right format and sizing for the logo and I decided against having any additional white space outlining the edge based on this. This also confirmed that the blue/green tone is the right choice for the logo colour.

MONOCHROME LOGO

It is important to also have a monochromeversion of the logo, as not everywhere the logo is used will offer colour. I tried out the two ways this could be done with Everyday Algae’s logo on the left. I think the black-on-white version at the bottom looks best.

LOGO OVER IMAGES It is also important to consider how the logo looks on different backgrounds, as it might not always be shown against a plain white page like it was designed on.

I tried out the logo over several detailed photos on the left to see if it is still effective.

I really like the contrast between the white logos (without the background) and a vibrant photograph, unfortunately the logo for Everyday Algae has not worked in this format. I think for the logo to be displayed over a photo, it needs the solid background box too - like the image top left. I do really like how the seaweed illustration shows up against the photos at the bottom of the page though, so perhaps the sub mark alone could be used on photos if the full box is inappropriate.

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FINAL LOGOS

EVERYDAY ALGAE LOGO VARIATIONS, FROM LEFT TO RIGHT - TOP ROW: MAIN LOGO, MONOCHROME LOGO, BOT TOM ROW: MAIN SUB MARK, SUB MARK (IN INSTAGRAM SEARCH BOX FOR CONTEXT), 2 VERSIONS OF WHITE SUB MARK FOR USE ON PHOTOGRAPHIC BACKGROUNDS.

The complete collection of logos for everyday algae is shown above. I am really happy with them and I think they look professional, modern and clean, while also representing the project through the seaweed illustration as I had hoped. I think the blue/green colour used reflects the project well, matching many of the applications for spirulina as well as being reminiscient for the water that most algae grows in. It’s also a nice calm tone which I think is important for the vibe of the pottential products, which would mostly be designed for domestic use in the home.

BRANDING IN CONTEXT I have applied my logo to marketing materials using Adobe Dimension, to get an idea of how it could look in context. I used the main logo for the business cards and extended the background to form a square (rather than the rectangle) for the label on the bag. I think it looks nice and professional, how I had hoped it to look. I’m also pleased that the colour of the logo compliments the brown paper texture of the bag, as much of the sustainable packaging available is brown card/paper so it really helps for the logo to suit being put on this surface.

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BRANDIN G BRANDIN G MATERIAL S

BRANDING MATERIALS Using the logo, I have also created a small A6 handout that I would intend to provide at any exhibition for Everyday Algae to give a brief explanation of the project. The handout has a simple illustration on the front showing different types of seaweed in the same style as the logo, with the statement explaining what Everyday Algae is that I created at the beginning of this chapter. I have found from previous exhibitions that it is useful to take away something more substantial than a business card that provides further information relating back to the project, as often business cards are so vague that I can’t remeber why I picked them up. I would also include contact details on the back of this 6x4 card, when I have social media etc. setup for this project. These would be printed on the Repurposed Algal Bloom Paper from Jamjar Print.

PRINTED ON REPURPOSED ALGAE BLOOM PAPER - £32 FOR 50 FROM JAMJAR PRINT

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NATURAL - LIGHT - CLEAN - PASTELS - SOFT - CONTEMPORARY - LUXURY - PALE - SAND - WARM EARTHY - ORGANISED - WATER - BOTANICAL - PRETTY - TEXTURE - GLASS - GEOMETRIC - ORDERED 276

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THIS PAGE - MY OWN PHOTOS OF WORK FROM EVERYDAY ALGAE THAT CAPTURE THE FEEL I WANT LEFT PAGE - IMAGES I SOURCED FROM THE INTERNET TO INFORM THE LOOK I WANT, KEY WORDS AT THE BOTTOM

BRANDIN G LOOK AND FEEL

BRANDING: LOOK AND FEEL

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C HAPTER SIX DESIGN PROPOSAL

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CHAPTER 6: DESIGN PROPOSAL 280

EVERYDAY ALGAE The story behind the project

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PROJECT PART 1: GROWING ALGAE My experience of growing algae and what I learned from the process

283 PROJECT PART 2: VESSELS

My attempts to create suitable vessels to

bring algae into domestic and commercial settings 290

PROJECT PART 3: APPLICATIONS Exploration of the potential uses for algae within design

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CURRENT ACTIONS Work I’m currently doing to further this project

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DESIGN PROPOSAL Proposal of what I would like to do next to complete the project

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C HAPTER SIX DESIGN PROPOSAL

E V E R Y D AY A L G A E Algae is a group of water-based plants that ranges from large formations like seaweed and kelp, down to the small edible micro-algae: Spirulina. Algae is gradually increasing in popularity, with the benefits of being a photosynthetic organism (uses sunlight to convert CO2 into O2) but without the requirement for the vast amounts of land needed by other plants to perform the same exchange. Algae has a multitude of applications once harvested. Various types of algae can provide a healthy source of food, alongside multiple uses within other industries, such as a sustainable dye for the textile industry, bio-fuel, a natural and edible form of plastic food packaging and a fast-growing material to make paper from.

Live algae has even been used within architectural design to clad tall city buildings in an attempt to improve air quality, without taking up any valuable space on land. One day I was walking through Bristol City Centre thinking about all of the empty spaces I walked past on the pavements, while cars and traffic thundered around me. It seemed such a waste to have this empty concrete space in the middle of such a bustling city. It surprised me that there weren’t even plants filling much of this space, just some grimy looking water features that are rarely in use. The idea came to me that this would be a fantastic location for an installation of growing algae. Bristol is innovative and passionate about sustainability and being “green” so provides the perfect canvas for new and exciting sustainable design. Also being a busy, polluted city centre, algae could really help to improve the air quality by absorbing the CO2 emitted by the traffic and producing oxygen. This was the realisation of the project, which I have visualised below.

The challenge that I faced was the public’s negative preconceptions about algae. Algae is often assumed to be a gross, undesirable and potentially harmful life -form, which makes people recoil at just the mention of it. My aim through Everyday Algae is to normalise the use of algae, enabling it to become a popular material which can be used on an industrial level and replace less sustainable alternatives.

A VISUALISATION OF AN ALGAE GROWING VESSEL IN BRISTOL CITY CENTRE - THE IDEA THAT STARTED THE PROJECT

LIVE DESIGN BRIEF: A N E X P LO R AT I O N OF A LGA E A N D H OW I T C A N B E I N C O R P O R AT E D I N T O E V E R Y D AY L I F E 2 80

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DESIGN PROPOSAL PAR T 1: GROWIN G ALGAE

P R O J E C T PA R T 1: G R OW I N G A LGA E I started the project by researching algae and purchasing some to grow myself at home, as I thought the best way to learn about algae and how it can be incorporated into everyday life was to make it part of my own everyday life. After some research into the different types of algae and their qualities, I chose to grow spirulina. Spirulina is a popular algae as it is edible and highly nutritious, which also meant that it was easier to get hold of live cultures of spirulina, compared to other types of algae.

From growing spirulina I learnt that an enclosed, warm and light environment suits the algae best.

If the spirulina culture has too much water then it also struggles - spirulina likes to live in a dense clump. It needs a certain amount of airflow and occasional stirring which helps to distribute the light across the whole culture. Even though it’s optimum temperature is about 38C, spirulina can cope with temperatures much lower and managed to grow successfully at around 19C in my home.

The most annoying part of growing the spirulina was the frequent maintenance, as the cultures were happiest when given fresh water and nutrients every 2 - 3 weeks. Giving the algae fresh water and nutrients required straining the whole culture to get the spirulina and putting this in fresh water and food, which was a messy process. The spirulina continued to outgrow it’s containers for some months, until I chose to strain it one last time and found that over the 5 months I had been growing it from a (diluted) 30ml culture, it had grown to fill a mini jam jar.

During the time that my original spirulina culture was growing, I tried eating some and found it an odd experience. The algae itself tasted fine, just a little salty and watery. I felt guilty eating the algae I had grown, as I had spent such a long time trying to make sure it was happy and healthy, to then devour it seemed to go against all I had been doing to look after it. When I ate food made from the powdered spirulina I bought, I did not feel this sense of guilt. I think the difference is that I was more emotionally invested in the algae I had grown, whereas the powdered algae I was less attached to and I had bought it specifically to use and eat.

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I used the spirulina I had grown towards projects to test the potential applications for algae within design. I replaced the spirulina culture with a larger one ordered from the same supplier. As I had such success with growing the spirulina myself, I also ordered cultures of two more types of algae isochrysis galbana (gold algae) and porphyridium cruentum (red algae) to try out growing a more colourful selection. There were no obvious benefits that caused me to buy these two types of algae specifically, apart from their colours, as live algae is actually really difficult to get hold of there isn’t much choice between different types. These two types of algae are marine algaes and need sea water, whereas spirulina is a fresh water algae. Looking after the red and gold algae was much more difficult and time consuming than the spirulina had been. The spirulina floated within the water of the jar, which meant that it could be separated from the old water by straining. The red and gold algae form lumps at the base and sides of their jars and are very difficult to separate from the water. The increased time of having more algae to look after as well as a more complex maintenance process put me off taking regular care of the algae as I had been before. This along with the warmer temperatures in Sprint meant that the algae grew unhealthy and eventually the red and gold algae bleached after their water dried out. The spirulina also suffered from my neglect and became discoloured.

I am not impressed with myself for neglecting the algae, however it does highlight a large flaw in the concept of encouraging people to grow algae at home. Needing to perform such a long, messy and frustrating process to look after the algae so frequently is likely to put people off growing their own algae, so I think there is potential to continue this part of the project by looking at ways around that.

Throughout my time growing algae I refined the process and materials that I used to grow and harvest it best, which could in future be made into a straining device, similar to a coffee strainer, that makes the messy job of harvesting algae a bit easier. I also think that a method to automate the maintenance would be a great help, whether that’s a self-cleaning algae growing vessel, or simply a mobile phone app that’s connected to the growing algae which provides notifications and alerts when action is needed.

These are not ideas that I would actively try to achieve, as I have other projects which would be priorities. Having said that, I may come back to this concept in the future.

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V E SS E LS TO G R OW A LGA E Alongside growing algae at home, I spent time designing vessels to grow the algae inside. I thought that a good way to get algae normalised was to provide a method to allow people to take live algae home and grow it within their own homes, that way it becomes part of their everyday life. I had a look around the market to see if there were any appealing containers to grow algae in, however the only options available were large ugly fish tanks or very expensive tubular devices - none of which appeal as an item to have on show within the home. People are unlikely to invest money or time into growing algae at home if the only device to do this are ugly, so I decided to focus my vessel designs around pieces that offer the necessary functions to keep the algae alive and healthy, while also looking appealing - like a piece of art or decoration.

Growing the algae myself helped me to realise the important features to include for any algae vessel designs, as well as recognising what potential issues people might face when growing algae at home, for example the frequent monitoring and messy process of straining the algae. I took my fist-hand experience and began designing vessels and exploring what materials could be used to create these vessels. I spent all of my time in the fabrication studios exploring different materials that could be used to make vessels, with a focus towards recycled glass used alongside reclaimed wood. Glass and wood are practical materials for the purpose of making algae growing vessels, and using recycled/reclaimed versions kept sustainability a key consideration - the only issue being the power used to turn the materials into a vessel, which in the case of the glass was quite a lot. Before I was able to create physical versions of any of my vessel designs, the fabrication department was closed due to the national lockdown.

During the lockdown, I translated my plans and sketches for the most promising algae growing vessels into renders and technical specification sheets for how I would have liked to have created the vessels.

While I am missing a lot of information (as I don’t know the results of most of the tests I had planned, like temperatures and times for recycling the glass) I think that the tech spec sheets would give me a good starting point if I were to get the opportunity to create the vessels in the future. I would like to have the opportunity to create the vessels, however this is probably not something that I would actively pursue after finishing the course as there were other parts of this project that I enjoyed more and see having more potential.

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D E S I G N A P P L I CAT I O N S F O R A LGA E The very distant dream for this project was that it could encourage change within the design industry to swap out some environmentally harmful materials and processes, in favour of using more sustainable options like algae. There are many benefits to using algae, as it is a naturally occurring and usually low maintenance organism. This means that waste materials from using algae would be unlikely to cause severe issues to the environment if released, for example in water systems. There are so many different types of algae, most of which live underwater. This means that growing algae does not take up any space on land. Land-growing plants can lead to deforestation and loss of land for food crops, so algae growing underwater is a real benefit, but it would also be really important to take into consideration the impact that harvesting industrial quantities of algae could have on marine ecosystems too.

My goal for exploring the potential applications for algae was to create a library of samples to showcase how useful algae can be within design and demonstrate why it deserved to be given a chance.

I tested the three different types of algae I had been growing, along with some edible algae I bought (spirulina powder and dulse - a type of seaweed) and two types of seaweed (spiral wrack and channelled wrack) I collected from a local beach. I explored so many different types of algae as I knew that different algae had different properties and so their potential uses within design would all be different as a result.

I attempted to use algae for the following purposes: • As a paint • To pigment jesmonite • To give colour to recycled paper • To make paper from algae alone • As a textile dye • For food and drink

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A P P L I CAT I O N S F O R A LGA E I found that powdered spirulina was great as a food/drink, as a watercolour-style paint, to colour both jesmonite and recycled paper and it definitely has potential as a textile dye, but this will need further development. The fresh spirulina that I had grown myself did not have as strong a colour as the spirulina powder, however the tone of the colour was a nicer and more even green when applied to jesmonite and recycled paper, although it was not so good as a paint. I found more satisfaction using the spirulina I had grown as opposed to the powdered spirulina, as I had a certain sense of pride in using a material that I had been nurturing for months and finally seeing it fulfilling it’s intended purpose. The red and gold algae were unsuccessful across the board, as they are not edible, substantial or strongly coloured enough to work for any of the applications I tried - although that’s not to say that they don’t have any other uses that I just didn’t test for. The dulse in powdered form made a nice pigment for the jesmonite and recycled paper, but didn’t work well anywhere else. The dulse leaves were the best seaweed to make pure seaweed paper from and had a lovely transparent green outcome, but didn’t suit any of the other applications I explored and tasted horrendous to me. The spiral wrack and channelled wrack were both great as a textile dye, coming out in a range of brown and pink tones. The spiral wrack also made a sturdy, leather-textured pure seaweed paper, but the channelled wrack paper cracked so much it was unusable. Through this I’ve also refined my method for many of these processes and although most still need a little refinement, I think that my work on this area has gone a long way towards showing the many potential applications that different types of algae could have within design.

I have enjoyed this part of the whole project the most, so I would like to carry on with the research I have started here. There are many potential next steps from this section of the project, as I have only done a limited number of tests on a limited number of different types of algae. The obvious direction is to continue to build upon the research I have already started and keep increasing my library of examples of the many applications that algae has to offer, using other types of algae and testing for other uses. The other route would be to choose any promising applications I discovered in this part of the project and focus on these, refining the process further and working out any issues - this is the direction I would like to take.

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C U R R E N T AC T I O N S For my immediate next step I have used the UWE Impact and Innovation scholarship to begin working towards creating a virtual platform to allow the public to engage with Everyday Algae, while travel and social gathering restrictions are still in place.

I think that publicising my work on algae will be a good starting point to gage the public opinion when seeing algae in a different context, as well as to begin working towards normalising algae on a larger scale. To prepare for this, I have created branding for the project and I will soon begin to develop social media accounts for marketing both the project and the virtual exhibition. I have also completed some research into competitors and the target audience to inform decisions I make around the format of the virtual exhibition and how I brand and market the project.

Images on this page: Top - Attaching all of my spirulina dye tests onto the wall to photograph as a collection Directly above - The full set of logos for Everyday Algae Left - Visualisation of logo in context applied to marketing materials (paper bag and business cards) Images on right page: Two on the left - Both sides of an A6 “about the project� handout I have designed Three on the right - Colour palettes I am considering for the branding, taken from photos of my work 292

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Collection 1: Spirulina Colours Collection 2: Seaweed Colours Mood: cool and fresh blues and greens Items: Circular jesmonite coasters, large jesmonite plate mats and napkins all coloured with spirulina powder

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Mood: Warm peachy pinks, purples and browns Items: Circular jesmonite coasters decorated with dulse powder and spiral wrack flakes and napkins dyed with spiral and channelled wrack

DESIGN PROPOSAL THE PROP OSAL

DESIGN PROPOSAL

My proposal is to continue the work that I started on the applications for algae, specifically by building upon the two collections of homewares I have prototyped - shown in photographs on the left page.

The next steps will be: • To improve upon the dying process, ensuring that I can reliably reach an evenly dyed outcome which retains the dye when washed, rubbed and in sunlight. Also to try and make the process more efficient and less water, energy and time intensive.

• To source or develop a sustainable alternative to jesmonite. As a large part of both collections are made from jesmonite this will be a very important step. This will also involve further testing to ensure that any new material carries the qualities necessary within these products: waterproof, durable and won’t fade in sunlight.

• To create more sophisticated designs for a product range so that Everyday Algae can compete within the sustainable homewares market (and potentially the wider homewares market too).

• To develop a method of supplying the products to retail outlets/customers along with all appropriate branding, marketing and legal materials.

• To form a manufacturing process capable of meeting demand for the products, which will involve creating technical specification sheets once the designs and materials have been finalised.

• Determine price range based on the new and improved materials and processes used for the official collection, as the times and material costs I currently have will be irrelevant when jesmonite is changed and the dying process is improved.

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CHAPTER 7: EVALUATION 298 SUMMARY OF PROJECT AND

CRITICAL REVIEW

An critiqued overview of the entire module.

314 SHOWCASE 315 CHALLENGES

Evaluating external unforeseen

circumstances that have impacted this project.

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FUTURE WORK What’s next for the project.

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Entering the LIVE module, I wanted to continue working with themes of sustainability and environmental consideration as the focus of my work. Inspired by visits to several exhibitions over the summer of 2019, I initially planned to look at re -purposing waste materials into assembling new products, as a way of cutting down on waste destined for landfill, while creating something new and useful. I also considered biodesign and growing new materials from natural sources, however I ruled it out as I thought that preventing waste from being discarded and adding to the worldwide pollution issue was a more valuable project. The main goal for me from this module was to challenge myself to create genuinely valuable and innovative work that confronts real-world design issues. If my work benefits the future sustainability of the design industry in even a small way, I will consider it to be a massive success.

The idea for this project was sparked when I walked through Bristol city centre and passed a large area dedicated to water fountains. In a recent group tutorial I had discussed with fellow students the architect Cesare Griffa, who has created a cladding used on large multi-storey buildings in city centres that contains living micro-algae as a space -saving way to improve air quality. As I walked through the city centre, I looked around at all of the empty space with the odd sculpture and considered the idea of algae growing in sculpture -like forms, visualisations of this concept shown below. Growing algae in the city centre would be an unusual and intriguing feature that may be a good way to engage and educate the public about algae, while improving air quality and growing a useful material. Before embarking on plans to grow algae all over our city centres there were a few obstacles to overcome. The first one is that I had absolutely no experience with algae or creating the kind of enclosures that the algae would need to grow. The second issue was that common public opinion of algae is bad - seen as toxic, unattractive, unhealthy and a pest to be removed, not nurtured. I therefore challenged myself to work on both of these issues through this module.

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Throughout this project I have spoken a lot about sustainability, but sustainability is a subjective term.

When I refer to something as sustainable, in my opinion this means that it has the lowest negative impact on the environment possible. It is impossible for anything to have no environmental impact, as something as small as picking an apple from a tree will have a knock on impact. I do not expect anything to be 100% perfect environmentally, what I aim for with sustainability is to do all I reasonably can to avoid a negative environmental impact.

Algae is the term used for a wide range of photosynthetic, aquatic organisms. Variations of algae include seaweed and kelp, along with smaller micro-algaes like cynobacteria (blue -green algae). Different types of algae can grow in a variety of locations and in both fresh and salt-water environments, with some being able to grow in the most hostile environments on the planet.

In order to confront the issue that I had no experience with and little knowledge about algae, I decided to research and grow algae at home. I believed that growing algae myself was the best way to explore it and get an in-depth knowledge along with the necessary experience to begin devising ways to incorporate it into the everyday lives of other people. I also felt that it would be hypocritical of me to be advising others to grow algae at home if I wasn’t prepared to do it myself. After all, the point of the project is to introduce algae to everyday lives, so what better way than to bring it into my everyday life. I began my exploration into growing algae by investigating the different types available: considering the conditions they require, their potential uses, ease of getting and cost. I decided to start by growing spirulina, as my research showed that spirulina is edible (and very nutritious), fairly inexpensive, requires fresh-water (easier to manage than sea water) and can survive well in a varied environment.

I chose to order algae directly from a legitimate retailer rather than trying to forage for algae in the wild, as I wanted to be sure that I got the right type of algae and that it would be safe to grow and consume.

From my research, I found that the only current algae growing containers available are either ordinary fish tanks, or very expensive devices specifically designed for algae growing - neither of which were very nice looking or would be appealing to use in a domestic setting, although I know that people do. I started growing my spirulina in basic glass jars on my kitchen windowsill, but soon found that the temperature and light were too low, so at the beginning of winter I purchased an energy efficient LED plant lightbox from Ikea to create a more consistent, warm and light environment for the spirulina to grow in. Articles and suppliers that discuss growing spirulina advise to keep the algae moving regularly through the use of an air pump, in addition to continuously monitoring the pH, temperature and light levels of the algae. I did not do all of this as I wanted to keep growing the algae in smaller jars and many of the fittings to carry out these functions would have required purchasing a larger aquatic tank, as is often used for growing spirulina.

This was a decision I made primarily for financial reasons, as well as limited space in my home for a big ugly algae tank. If I had followed all of this advice I may have grown a greater amount of algae, however I feel that limiting the resources I used was the right decision. My approach to growing the spirulina has enabled me to learn more for myself about algae and where it’s boundaries are; what it can and cannot cope with and the conditions that produce the highest yield with the least input, which has been invaluable knowledge for this project - especially when planning for creating algae growing vessels.

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The spirulina grew very well, even in my make -shift conditions and I was impressed with how much the volume increased over a fairly short time. After about 5 months of successfully growing the spirulina, I ordered some other types of algae to grow too. Based on some examples I had seen of other designers using different colours and types of algae within their work, I had assumed that other types would be fairly easy to access and grow, I was wrong.

There was very little choice for what types of algae to buy and where to source them from. I ordered red and gold algae cultures from an American company, which turned out to be a significant amount more expensive and more difficult to grow than spirulina had been. The red and gold algae were marine algaes, meaning that they needed to live in sea water rather than fresh water and needed a sea water medium to be mixed in with the culture and monitored for salinity. The red and gold algae cultures also required much more particular conditions in regards to temperature and as they weren’t as mobile as spirulina, the cultures were much more difficult to strain and add fresh water to.

After growing the red and gold algae alongside the spirulina for a few months, I really lost the motivation to continuously keep on checking on the algae cultures: changing their water, adding fresh food etc. The maintenance of the algae took about four hours each time (every other week) and was a very messy and boring process. Alongside this, I was frustrated with my tests for the potential uses for algae which proved red and gold algae to be a very weak pigment and so not suited to the applications I had envisioned. I began to neglect the algae, resenting it for not growing how I wanted it to and for being so expensive and time consuming to look after. From my neglect, the condition of the algae cultures deteriorated to the point that the spirulina cultures looked contaminated with large orange patches in the water, while the red and gold algae cultures lost all of their colour. I regret not taking better care of my algae towards the end of this project, however I think that this feeling of resentment and loss of motivation to continue the intensive care that the algae needs has also been an important learning point. If I have been struggling so much with the maintenance of the algae, then it is reasonable to assume that others would too. I therefore think that when taking this project forwards, it would be necessary to solve the issue of the time -consuming maintenance algae needs.

I have considered ways that algae could be monitored along with any potential aides that would help with growing and maintaining the algae. At the end of Chapter 2 I discussed the creation of a mobile phone app that could potentially link to the algae itself and monitor things such as pH and temperature. An app would have the benefit of automating part of the process, just providing reminders when actions were needed for the algae and alerts if anything was wrong. If I had used an app, I think this would have kept me much more organised with looking after my algae. If I were to continue growing algae in the future, or promoting growing algae to others, I think I would develop an app to help.

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From my experience of growing different types of algae, I have determined that spirulina has been the best small algae to grow. This decision is based on the accessibility of spirulina, it’s edible, reasonably priced, has manageable growing conditions, higher yield and more potential applications with having the strongest pigment. In contrast I found that the red and gold algae took a lot more effort to maintain, cost much more, were more difficult to get hold of and didn’t offer as much potential when grown. As the red and gold algae were not suited to the uses I had planned, I chose to collect some seaweed from a local beach to ensure that I was exploring different types of algae rather than just focusing on spirulina to get an idea of how the different types compare.

After the last 10 months of growing algae, I have become fond of the spirulina and I think it will be an odd change to not have it as the focus of my life any more. Focusing on biodesign and growing my own material to use for this project has been an entirely different experience to any design project I have undertaken before. I think being responsible for something that is alive (even when it’s for work or research) evokes a certain instinct to nurture and a fondness for the living thing when it grows well. One of the highlights of this project has been watching the spirulina flourish when I was taking good care of it, it made me happy to see I was positively affecting it.

One of the main reasons that I chose spirulina was that it is an edible algae, so I tried eating some of my home -grown spirulina in December 2019 after it had been growing for a few months. Usually spirulina is provided for consumption in a powdered-form as fresh spirulina has a very short shelf life, so tasting fresh spirulina is not something I would’ve been able to do if I hadn’t grown it myself. I felt a sense of pride that I had grown the spirulina from such a small amount into a much larger volume - enough for me to eat some without it’s absence being noticed. I also felt guilty about eating the spirulina. It seemed counterintuitive having spent so long nurturing and growing the spirulina, to then take some away and eat it. I think this might be down to the level of involvement I had in growing the spirulina while learning about it too, I was a lot closer to it than if I had just been growing spirulina for the sole purpose of eating it. The added investment I had in the life of the spirulina definitely impacted my experience of eating it and using it within my work. I did not feel this same pride or guilt when eating food made with the spirulina powder I bought online, so I think it is just down to the care I have been taking with it for so long.

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Alongside growing the spirulina at home, at university I was designing and testing materials to create vessels to grow algae inside of. The aim of designing vessels to house algae was to provide an attractive environment that could be used within domestic or commercial settings to grow algae, as many of the existing containers available to grow algae in are bulky and unappealing. My brief is “an exploration of algae and how it can be incorporated into everyday life”. The vessels are a way of introducing algae into people’s everyday lives by enabling them to grow algae on a small scale in their own homes, or to encounter it in commercial spaces they may visit (such as restaurants, or the lobbies of hotels and offices). If lots of people were to begin growing algae in their own homes, this normalise algae while helping to improve air quality as algae photosynthesises, converting CO2 into O2 - using the same principle as my initial inspiration from architect Cesare Griffa using algae in city centres.

I have been growing a few different types of algae, however for the purpose of making vessels I chose to base the features around the requirements of spirulina, as it’s edible, which made it seem a more useful algae to introduce people to and enable them to grow at home.

Creating algae growing vessels did raise some challenges, as algae needs particular environmental conditions to grow and does not have the most appealing appearance. This made me consider the materials used in a different way to my normal approach and I had to prioritise slightly differently - normally appearance and sustainability would be key, with functionality being more of an afterthought. I considered the implications of using a few different materials to grow the algae inside, before settling on recycled glass. While not necessarily the most environmentally friendly material and process, I had to weigh the value of that up against the practicality of needing a material that would not degrade quickly, was watertight and transparent to allow light through as well as looking nice to counteract the swamp green look of the algae (see Sustainability Review in Appendix K for more). Using recycled glass posed some challenges too.

I managed to find a steady supply of waste glass to recycle from my job in a print studio, where glass from picture frames often gets damaged and is then unusable. The main issues with using glass for the vessels were my lack of experience with glass (having never created anything from glass before), not knowing the composition of the waste glass (and therefore having to guess melting points) and the university’s limited experience with 3 02

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recycling glass. This meant that I began the process of creating vessels with a lot of testing the glass to work out the correct temperatures for it to slump, fuse and cast, while also learning the basics about glass. I found that the university takes a very long time to put any work in a kiln, this was especially the case for my recycled glass as the nature of the material meant it had to be put in a separate kiln from other students’ work. After several occasions of waiting for weeks to perform each test, I started to create my tests on a small enough scale that each piece could fit in the test kiln and so would not have to wait anywhere near as long to go through.

At the point when I had my final tests ready for firing, the university was closed due to the national lockdown and so my glass recycling dreams were never realised.

While creating designs for vessels, I found that several were taking a cylindrical shape similar to a bottle. I had the realisation that glass bottles were the perfect ready-made algae containers and would just need some casing to contain other elements like lighting; a feature that all of my designs or vessels would need, as glass is transparent and I wouldn’t want the electronics inside to be visible. Using glass bottles for the vessels is better in several ways than casting similar cylindrical shapes using my waste glass, as glass bottles are ready-made in the right shape so would be quicker to use and also use no additional energy to cast in a kiln, making them a more environmentally sound choice too. I tested growing algae within a range of used glass bottles to make sure that it was happy growing in a container of this shape - a useful test even if I were to make my own glass cylinders. I found that the algae grew as happily in the glass bottles as it did in the jars I had originally used. I then created some designs using reclaimed wood to form a top and bottom to the vessel. I had the wood planed down with some sections ready and cut to size, then the lockdown took effect and even though I tried using my own saw (a hand-me -down mitre saw) to finish, I found that this was not adequate and I could not complete the vessels.

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During lockdown the limited materials and equipment I had available meant that I could not take any of my vessel designs further, so I created some visualisations showing how I had hoped the designs would have looked, had they been created - images on the left page. I am happy with how my visualisations have turned out. They don’t look as professional as the ones that I have seen online, however I have no previous experience with either creating visualisations or using Adobe Dimension, so for a first attempt I am pretty chuffed. In spite of this, I think they are successful in conveying an idea of how the vessels could look in the context of the real world. If I were to produce visualisations for products in the future, I think I would either train myself extensively on the software, or employ a professional to achieve a more polished and realistic finish.

I think that sticking to my principles and trying to use recycled and reclaimed materials to keep this project as sustainable as possible did limit the progress I made. If I had compromised and used the proper casting glass used by many other students, or had created the vessels from plastic instead I think this project would have gone much further before the lockdown and I would have potentially had some completed vessels. There have been times that I have wondered if this was the right decision, however I know that I wouldn’t have been as happy working on the project if I had compromised on the sustainability so easily.

Towards the end of the project, I came across the work of Hyunseok An, a designer based in Korea who had completed a very similar project to the concept of my algae wall tiles, only he had finished it. I found it quite unnerving finding someone who had no connection to me, but had completed a very similar project to one that I thought was quite obscure and innovative. It was interesting seeing another designer’s interpretation of the concept though. Hyunseok An appeared to have created the walls of his vessels using a plastic so I doubt that sustainability was considered in quite the same way for his project.

This part of the project has been one of the most frustrating bits. I like creating work quickly and seeing the result of all my effort, however I have not been able to achieve that satisfaction here, as the tests with the glass took so long and never got finished. It is somewhat frustrating not having any finals or knowing if my designs for algae vessels would even have worked, I also feel like I’ve missed out on valuable skills by not being able to complete the vessels portion of this project, however I did enjoy creating the visualisations and mock ups of what the vessels could have looked like, which I probably wouldn’t have done if I were able to make them in real life.

After making the visualisations of the vessels, I also created technical specification sheets detailing how I had planned to make the most promising vessels (shown in Chapter 3). I enjoyed this process too as it caused me to think about aspects of the design that I wouldn’t have considered otherwise. It also made me realise where I was missing vital information for the creation of the vessels, for example don’t have any successful kiln firing details for fusing and casting with recycled glass, as I did not manage to complete the necessary tests to find out myself. Also without making the vessels, I had to use my best guess as to whether the designs will work, but I work best by trial and improvement so this was hard and I would really need to make prototypes to test and improve upon.

In March 2020 the UK was forced into lockdown by the Covid-19 pandemic, meaning that the university and all of its facilities were no longer available. Due to the nature of the work I had been doing for this project and the necessity for the university fabrication facilities to complete it, I chose to shift the focus of my project away from creating vessels to house algae, and more towards the potential uses for algae once grown. I am glad I made this choice because I’m much more satisfied with how the project has progressed, given that I have been able to carry on working on it while the university has been closed. A lot of the work that I have completed since the lockdown would not have been possible had the project focus remained on the vessels rather than applications, so I’m actually quite glad that the project was forced to change. Even with relaxing the project focus away from the vessels, I was overly ambitious with the amount of work I wanted to complete.

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The pandemic also meant that the submission criteria had to change to allow us to submit digitally.

This meant recreating my physical sketchbook in indesign. I have only used indesign a couple of times previously, but was familiar enough to not have any issues with this. I’m actually really glad that we had to make the change to creating a digital R + D log, as I have enjoyed the process of documenting my work much more and I find it an easier and more efficient way to work. I wish I had started using indesign rather than sketchbooks years ago.

The many variations between different types of algae mean that they have a wide range of different properties, and as such hold a wide range of potential benefits. With the different types of algae I had available, I planned to do many tests to see what they could achieve. Initially I wanted to explore using algae to create paper, create paints for both paper and fabrics, screenprint with algae paints, dye using algae and make plastics. This proved to be more time -consuming and difficult than expected as the tests I carried out were not as straight-forward as I had anticipated.

I started out doing some basic tests with just the spirulina, red and gold algae cultures that I had been growing at home. To my disappointment, the red and gold algae proved to be much less successful as a pigment than the spirulina was. Because of my refocus on the applications for algae during lockdown, I decided to experiment with seaweed as another example of algae. My initial reasons for looking at the red and gold algae were to create a multi-coloured library of the different uses for algae. Without the red and gold algae my library was looking very green from just tests with spirulina. The introduction of seaweed was a welcome addition as it allowed me to expand my colour range and experiment with the algae, without any of the hassle of growing it first. It was also an interesting comparison using a much larger form of algae to test with. The seaweed I used was foraged from a local beach, which gave me the reassurance that it was grown naturally in the wild and hadn’t been transported a ridiculous distance for me to use, supporting my sustainable design ethos.

I found that powdered spirulina was great as a food/drink, as a watercolour-style paint, to colour both jesmonite and recycled paper and it definitely has potential as a textile dye, but this will need further development. The fresh spirulina that I had grown myself did not have as strong a colour as the spirulina powder, however the tone of the colour was a nicer and more even green when applied to jesmonite and recycled paper, although it was not so good as a paint. I found more satisfaction using the spirulina I had grown as opposed to the powdered spirulina, as I had a certain sense of pride in using a material that I had been nurturing for months and finally seeing it fulfilling it’s intended purpose. The red and gold algae were unsuccessful across the board, as they are not edible, substantial or strongly coloured enough to work for any of the applications I tried - although that’s not to say that they don’t have any other uses that I just didn’t test for. The dulse in powdered form made a nice pigment for the jesmonite and recycled paper, but didn’t work well anywhere else. The dulse leaves were the best seaweed to make pure seaweed paper from and had a lovely transparent green outcome, but didn’t suit any of the other applications I explored and tasted horrendous. The spiral wrack and channelled wrack were both great as a textile dye, coming out in a range of brown and pink tones. The spiral wrack also made a sturdy, leather-textured pure seaweed paper, but the channelled wrack paper cracked so much it was unusable.

All of the types of algae smelt strongly when used as a textile dye, with the seaweed I collected being pretty pungent the rest of the time too. This caused quite an issue, as all of my testing is done in my openplan flat, causing the whole place to stink whenever I used a smelly dye. If I were to continue dying I would not be able to do any more at home and would need either an outdoor space or another building to use, because it was really unpleasant living with that smell. The smell may also put people of using algae dyes industrially too, as it’s quite a struggle to be around such a smell.

Through this research I’ve refined my method for many of these processes and although most still need a little further refinement, I think that my work on this area has gone a long way towards showing the many potential applications that different types of algae could have within design and has created a fantastic library of samples for me to show off. Testing the different types of algae for different design applications was my favourite part of the project by far.

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Throughout the first half of this project I had been planning to get some really nice photos of my finished work using the university’s photography studio. I wanted good photos to put in my portfolio and to use for potential exhibition materials, which is why I was planning to take them using professional equipment.

Unfortunately I had not managed to get any photos taken before the lockdown took effect and so I have been unable to use the professional photography facilities. I tried to make up for this by buying a simple photography lamp for taking photos at home, however I found that the light this created was too artificial-looking and made my photos look unnaturally cold. I therefore resorted to taking photos on my balcony, rushing out whenever the sun came out to quickly set up my scene and get photos taken quickly before the clouds returned.

The photos I have come out of this project with are by no means of professional quality, but I’m actually really happy with how they look - considering the amateur setup used. Taking photos of my work has been one of the highlights of this project for me and I’ve really enjoyed trying to find creative ways to make my dirty, organic looking pieces of algae appear attractive and professional.

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SCHOLARSHIP AND BRANDING

I wanted to consider the professional side for Everyday Algae as well as the design and research elements. If I want to carry on working on any part of this project after finishing the module, I will need to source funding which will require presenting this project formally and professionally. I applied for the UWE Enterprise Impact and Innovation Scholarship (see application in Appendix H) to further the professional side of this project in order to create a virtual way to present my Everyday Algae to the public, I was accepted for the award and joined the mentor-ship programme. The scholarship has helped me to create the basic branding items that I need for this stage in the project: title, logo (with different variations for different uses), a font collection and colour themes, which I have created visualisations of to see in context. The name for the project was the part that I found most difficult as I didn’t want it to sound too weird, cheesy or not be relevant. I came up with the name Everyday Algae by writing down words to describe the project. I think this name works really well to reflect the project, while still sounding professional, it has a nice ring to it and I can imagine seeing it on product labels.

I was aiming for a mature, relevant and engaging branding style and I’m happy with the outcomes. I think that the small illustration of the seaweed shape above the text makes the logo more interesting and a better representation of the project than a purely typographic logo would have been. The colours I have selected from photos of my work also form really pleasing colour palettes, and as the colours have come from the work itself they are naturally on-brand with the algae colours.

In addition to branding materials I have also been collecting a bank of target audience research (see customer profiles in Appendix I) and competitor analysis. This research has helped me to define my target audience and competition, which in turn influenced my branding and strategy for marketing. When searching for competition within the algae products market, I found that the competition is mostly the people that I have already researched for inspiration. As none of these people have developed products similar to mine however, I imagine that they will mostly be competition for research opportunities rather than customers. As there is currently no one using algae to make the same products as I plan to, it looks like the main competition will be people within other areas of the wider sustainable design community or just normal non-sustainable shops that I will be competing with.

Before starting the scholarship I had been approaching this project with a view to the professional aspect of it financially, taking not of all my expenses (see Appendix L) and developing a pricing system before potentially collaborating with Rosie. The scholarship has helped to put this into context, with workshops about budgeting and finances.

My goal through doing the Impact and Innovation scholarship is to find a professional way to engage the public with the work I have been doing on Everyday Algae and to begin to publicly normalise algae. The platform for this has changed since the initial application due to the ongoing restrictions in place because of Covid-19, however the purpose has not. The “virtual exhibition” (as I’m calling it) will enable members of the public to engage with algae, possibly for the first time. Their engagement with this project would hopefully spark an interest in algae and cause them to pursue more ethical and sustainable products when they realise that alternatives to unsustainable products are easily available. The aim is that by viewing algae in a new context, they become invested in algae and when products made using algae become more readily available, they are eager to purchase them. The virtual exhibition will also be a way to alert potential investors/employers to the project which could secure funding to continue the research and development started here.

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The part of this project that I enjoyed most was the work that I completed during the lockdown: investigating the potential design applications for algae. My design proposal was realised relatively close to the end of the project, when I placed some items I had created with and using algae together in the context of eating, and found that they formed two coherent collections of homewares.

My proposal is to continue the work that I started on the applications for algae, specifically by building upon the two collections of homewares I have prototyped.

The next steps will be: • To improve upon the dying process, ensuring that I can reliably reach an evenly dyed outcome which retains the dye when washed, rubbed and in sunlight. Also to try and make the process more efficient and less water, energy and time intensive.

• To source or develop a sustainable alternative to jesmonite. As a large part of both collections are made from jesmonite this will be a very important step. This will also involve further testing to ensure that any new material carries the qualities necessary within these products: waterproof, durable and won’t fade in sunlight.

• To create more sophisticated designs for a product range so that Everyday Algae can compete within the sustainable homewares market (and potentially the wider homewares market too).

• To develop a method of supplying the products to retail outlets/customers along with all appropriate branding, marketing and legal materials.

• To form a manufacturing process capable of meeting demand for the products, which will involve creating technical specification sheets once the designs and materials have been finalised.

• Determine price range based on the new and improved materials and processes used for the official collection, as the times and material costs I currently have will be irrelevant when jesmonite is changed and the dying process is improved.

I’m really excited about this proposal as there are many elements to it that I want to pursue immediately and it’s a continuation of doing the work that I really enjoyed. I’m also hoping that the virtual exhibition I am creating will provide an introduction to potential future customers and get them interested in algae based products ahead of the launch.

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P R O P O S A L A N D O U TCOM E S Until a few weeks ago, I had decided that this project was to be purely research based once the pandemic meant that I could not create much of the work I had planned. I had originally decided to create an editorial piece to showcase the research I completed for Everyday Algae. This was for the purpose of making myself happy by having some physical outcome from this project, and potentially in the future taking with me to job interviews and having on display at the exhibition. Throughout much of lockdown I was still planning to create this book, however after careful consideration I decided against it. The purpose of the editorial/book was to display photos of my work in an appealing way for people to browse through, like a coffee table book. With the pandemic and social distancing restrictions still in place, it no longer feels appropriate to create this outcome, as it couldn’t be shared and I don’t think it has the same impact when viewing this format of material through a screen. I also have since developed a real physical collection and proposal linked to this as an outcome, causing my priorities to change in regards to outcomes. I hope for the virtual exhibition environment project I am working on in the scholarship to enable me to showcase my work in a similar way to how the book was intended (more engaging and immersive than viewing pages through a screen). The creation of the virtual showcase also renders the book useless in many ways, as the only way people will be able to see portfolios and images of work is through the internet which is achieved by my website, instagram, uni showcase and hopefully the virtual exhibition too.

I always wanted to showcase this project in a physical exhibition, in fact the prospect of the UWE degree show was one of the reasons I signed up to do MA Design, so it’s such a shame that we don’t have a degree show this year. While the UWE showcase does have some huge benefits like being available for so much longer than an exhibition and being accessible worldwide, I think visiting an exhibition in person is an invaluable experience. Seeing an exhibition in person immerses you as the viewer so much more fully in the work that you see, which I think would have been a real benefit for Everyday Algae. I am hoping that at some point in the future we will get the opportunity to exhibit our work from this year of MA Design because I think it would be such a valuable experience. I am pleased for now with the showcase though, Having a platform created specifically for UWEs design students is a really nice way to end the MA, even if it’s not how we planned. I am pleased with how my work looks on the showcase as I think the photos really do this project justice. Images of my work on the UWE Showcase Site on the next page.

I am disappointed that I never got to complete any of the vessels, however that was not a part of the module that I particularly enjoyed. I am glad I made the switch to focus on the library of samples created using algae, as it has really fulfilled it’s purpose. By showing just some of the potential algae has to offer it provides a strong starting point for further and more extensive research. I think this would be a useful resource if I were to approach potential investors or employers, to show the potential of algae already unleashed in my home and question how much more could be achieved with proper facilities and funding.

Looking back over the last year, it is clear that I was overly ambitious with all the work that I set out to achieve. It has felt like I’ve been working on three full-size final year projects rather than one, because of all of the different elements this project had: growing the algae, designing and making vessels, creating a library of samples of algae used for design and branding the project. I am pleased that I pushed myself to do as much as I have though, it has been worth it. Through this module I have challenged myself more than ever before, and I think the thoroughness of my research and the outcomes achieved reflect that.

I’m leaving this module with a lot more knowledge around algae and material research than I started with in September. This module has challenged my views on design and has changed my plans for the future.

After embarking upon such an ambitious project to research and test algae to this extent, I would really like to continue this kind of work after I graduate. My path now hopefully leads to design research jobs, possibly in an academic environment and ideally in the field of sustainable design, whereas before I was looking to be a print and pattern designer. After this project I have a new appreciation for the amount of work and consideration that goes into creating new and innovative processes and materials and I thoroughly enjoyed it.

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CHALLENGES THIS YEAR In addition to the usual challenges to be expected within any design project, there have been some unusual and unprecedented external challenges that have greatly impacted the LIVE module.

At the beginning of the 2019/2020 academic year, a large portion of the fabrication department at the Bower Ashton campus remained closed, as the relocation of the facilities into the new building had overrun. This meant that when we returned after the summer break in September 2019, we were unable to start on much of the work that required the fabrication studios and lost out on significant time. I think we lost around a month of access to much of fabrication, during which I found it difficult to be motivated to work while waiting around for access to the facilities to be granted.

Following on from issues with accessing the fabrication at the beginning of the term, over the summer a decision had been made to change our designated day in the university to Wednesday. Our course had been consulted before the change of day was put into effect - at that point we had raised concerns over access issues to the department and staff on Wednesdays, as Wednesday afternoons were usually designated for admin and so much of fabrication was off limits. In spite of our concerns, the change of day was implemented for the 2019/2020 academic year and as a part-time cohort, most taught elements of this final year were scheduled for our designated Wednesdays.

The lack of access to fabrications on Wednesday afternoons didn’t initially impact me or my work, as I was free to use the studios on most other days. In November I began a part-time job working 4 days a week (every day except Wednesday) in a print studio, which was when I began to experience difficulties with the loss of facility access on Wednesday afternoons. I worked 4 days a week until February, when I cut my hours down to 2 days a week. Over the 4 months (November - February) where I was only able to make use of the university facilities on Wednesdays, my project really struggled to progress. This was due to the intermittent nature in which I had to work, with long waits of sometimes several weeks before I was able to get the access or help I needed to perform testing/have consultations/complete work due to limited resource on Wednesdays. It was a really frustrating point for the project, as it was difficult for anything to progress without seeing the results of other pieces of work.

It was always my intention to work a lot over the winter to earn money, then to cut my hours back in February and focus on the project full time throughout the spring. Towards the end of February I cut my hours at work and was able to make use of the facilities for 3 days a week. At this point, my project dramatically progressed because I was able to accomplish within days tasks which had previously taken almost a month to achieve. Within 1 month of my hours at work decreasing, the lockdown came into effect. This came at a really unfortunate time. After working with and planning how best to use my recycled glass for so long, I was within about 1 week of realising so many of my vessel designs and finding which processes would or would not work, when the university was closed and teaching moved online. It was so frustrating, as I had been relying on having the spring term to cover most of my project, having sacrificed time in the winter to work.

At the beginning of the lockdown I evaluated the parts of my project that I would and would not be able to complete, given the new restrictions and lack of facilities I was faced with. As I was not able to continue with any of my glass work without the use of a kiln, I instead chose to re -focus my work. Initially, I had planned for this project to focus about 80% on the vessels for the algae to grow in, with 20% focus on the potential applications for the algae once grown. At the beginning of the lockdown, I chose to alter this ratio to about 50% focus on the vessels (using visualisations of the plans of what I had been aiming to achieve, rather than the finished physical outcomes) and 50% focus on the applications for algae (much of which I could experiment with at home). This new approach motivated me and really helped to keep me working with a positive outlook throughout the lockdown, I actually enjoyed working on this section (Chapter 4: Applications) more than I had enjoyed working with the glass (Chapter 3: Vessels) as I had really missed the colour!

Unfortunately, I had underestimated how much work the new focus of this project would entail - essentially it could almost be a whole project by itself. While I am perfectly happy to put in this amount of work, it would not have been possible within the original time frame. This led me to make the difficult decision and utilise the “personal circumstances” allowance activated by the pandemic to extend my LIVE module to a later deadline in August.

Basically, I’m lucky that I really enjoy what I do because I think this year has been full of so many unusual challenges that could easily have been disheartening enough to push me to give up. Instead, I have found that I am quite comfortable with adapting to unforeseen circumstances, which I think will help to prepare me for entering the “real world” after education.

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FUTURE WORK E V E R Y D AY A L G A E H A S B E E N S U C H A U S E F U L P R O J E C T A N D H A S O P E N E D U P M A N Y D I R E C T I O N S F O R W H E R E T O T A K E T H E P R O J E C T N E X T . I H AV E O U T L I N E D MY TO P I D E AS O F F U T U R E W O R K TO C O M E O U T O F T H I S P R O J E C T B E LO W. FURTHER RESEARCH INTO OTHER APPLICATIONS FOR ALGAE AND TEST MORE DIFFERENT T YPES OF ALGAE In Chapter 4 of this project I have explored some of the applications that algae can be used for and created a library of my experiments, but I feel like I have only touched the surface of realising the full potential of algae as a material to use in design. I would really like to continue researching algae as a material and exploring any further uses it has to offer. Limited facilities, time and resources meant that my research and explorations have been equally limited, but I think that with the right funding and support of a partner (business/researcher) within the design industry there could be so much more uncovered about the uses for algae. I think that the work I have done within this project works as a preview to show the potential unlocked from just a few months spent experimenting with algae in an average 2-bed flat, and so how much more could be discovered with more resources and proper facilities? If I were able to continue my research with algae as a whole, I think it would be interesting to look at more different types of algae and unleash their different properties to create more new and exciting outcomes.

H O M E WA R E C O L L E C T I O N If I were able to work out the issues around the sustainability of some of the materials used (see Appendix K for Sustainability Report) my goal over the next few years would be to use the research I have done for this project to inform a homeware collection made from and pigmented using algae, alongside other natural and sustainable materials. I have always been interested in design for interiors and I think that the palette of algae colours (with the addition of some more different types of algae) would be appealing to many people. I am also surprised at the lack of algae based products available on the market. Most of the people working with algae that I have been inspired by only create pieces for commissions or as research projects and there are actually very few algae based products on offer outside of the cosmetics and food markets. I think that the gap in the market for algae -based products along with the sustainable trends currently taking hold make this time an ideal point for a collection like this to be released, potentially in partnership with a big brand already working towards developing more sustainable homeware products (eg. Ikea or H&M).

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FUTURE WORK S U STA I N A B L E A LT E R N AT I V E TO J E SM O N I T E I have really enjoyed working with jesmonite since I first used it at the beginning of my MA, almost two years ago. I find that jesmonite is a really useful, versatile, attractive and enjoyable material to work with, but it is let down by the acrylic within it’s composition (see Appendix K for Sustainability Review).

Jesmonite was a really interesting material to combine with the different types of algae, with some exciting results. I would like to pursue the use of algae as a pigment for the creation of pieces similar to those I made from jesmonite in this project, but with a more sustainable composite. In Chapter 4 I looked at the work of Hors Studio, who have created a material similar to jesmonite by using the crushed waste shells from the sea food industry. While their work is already strongly pigmented so would probably not benefit from the use of algae as a colourant, the concept of using a natural waste material to create a composite is something I’m really interested in. This is the venture I would be most inclined to pursue after completing the masters, as jesmonite is one of my favourite materials to use it would be great to create a sustainable alternative that encompasses the fantastic properties and ease -of-use of jesmonite, which could then be coloured by natural materials like algae.

PA I N T I N G W I T H A L G A E When I first started this project, one of the applications for algae that I was most excited about was creating a natural and sustainable paint from it. I managed to achieve a watercolour paint effect with spirulina powder, but this was the only successful attempt. I really wanted to be able to paint in different colours (as there are so many different and colourful variations of algae) and onto fabric so that I could use an algae paint to screen print. I would have liked to spend more time on developing a working paint within this project, but there were other areas like dying that I chose to focus my time on instead. I enjoy screenprinting and painting in general and have struggled to find genuinely sustainable paints on the market, so this would be a really useful creation for me personally, as well as a potential product to sell.

CREATING VESSELS If the opportunity arose for me to be able to create real, physical versions of the vessels I spent much of this year designing, then I would like to make them to see if they would actually work and could sustain a living culture of algae. I do not think that this is something that I would actively look for however, as I did not enjoy that part of the project very much. It would also be a long job to complete the further testing necessary and I think it is unlikely that I would be able to gain access to the necessary facilities and funding to cover completing this part of the project. I would however be quite happy to outsource the further testing of the recycled glass and the manufacture of the vessels, as I think real functional vessels would be a necessary part of an exhibition displaying Everyday Algae. I would prefer to not completely sell the concept as I would like to have some input into the design of the vessels if they were to be manufactured, but on this occasion I would be happy to release some of the ownership of the project to an investor/business, if anyone was interested.

AIDES TO GRO WING ALGAE: APP Along with creating the vessels, I think that creating other aides to growing and harvesting the algae are necessary. I practically gave up on taking care of my algae because it was so much work and I wouldn’t want that to be the case for anyone else. I think that if the vessels were to be manufactured, it would be essential to develop an app that could be integrated into the vessel to monitor the algae and send notifications to the user as reminders to complete maintenance, or to alert them to any issues with the algae that need to be fixed urgently. Without creating the vessels to work specifically with the app, I think it would be difficult to adapt an existing algae growing tank to enable this functionality, but I think it could be possible to create a small device to pop in the tank and enable the app to collect readings.

This is another venture that I would not actively pursue, however if the opportunity to gain funding and resources to create the app were to arise then I would do it.

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MY NEXT STEPS The purpose of the Everyday Algae project was to work towards normalising algae as a material to enable it to be used freely within the design industry, as a natural alternative to unsustainable practices.

The second part of this project - applications for algae (explored in Chapter 4) - aimed to create a library to show the potential uses for algae within a design context. This library, as well as the vessels explored in Chapter 3 were always intended to be shown to the public in the UWE degree show and potentially other shows like New Designers, to get people used to seeing algae in these contexts and to normalise it.

The pandemic has sadly stopped physical exhibitions from happening this year, so for my application for the Enterprise Summer Scholarship I pitched the idea of creating a platform to showcase Everyday Algae and engage the public through a virtual environment. Now that I have compiled a library of examples of algae used within design, I have what I need to take the next step towards creating this virtual exhibition space.

After completing my masters, I will continue working on this project as part of the Enterprise Summer Scholarship to develop it professionally and to create the VIRTUAL EXHIBITION ENVIRONMENT to display Everyday Algae. If the pandemic restrictions loosen to the extent that physical exhibitions are safe again, I would love to take this project to a real exhibition space in the future to engage with the public face -to-face, while maintaining the virtual exhibition online too.

I think there are benefits to both virtual (online) exhibitions and physical ones. Virtual exhibitions allow anyone, anywhere (with internet) at any time to access the exhibition, so would possibly enable a much larger audience to engage with it. A virtual exhibition would also potentially be lower cost and maintenance, as there is no need for a physical venue or staff to monitor and maintain the exhibition, the main costs here would be creation of the (virtual) environment, hosting and publicity - all necessary with physical exhibitions too. The downside of virtual exhibitions is that physical exhibitions are often more engaging. People will spend much longer at a physical exhibition than looking at a virtual one. Also, being able to engage multiple senses is really important to the experience. A virtual exhibition limits the experience to only two senses (sight and sound) but with a project like Everyday Algae, I think that taste, touch and smell could really elevate the experience for the audience. There is also something nice about physically being in the same room as the work that you are looking at, seeing it first-hand with your own eyes, rather than a cropped and edited version through a screen.

In an ideal world, the exhibition would be noticed by someone who has an interest in pursuing sustainable design research projects like Everyday Algae (investor or brand) and would provide the necessary funding/facilities to continue this project further. I think it is unlikely to be that easy, therefore alongside the virtual (and hopefully at some point physical) exhibition, I will actively look for research and funding opportunities and reach out to some brands that may have an interest in collaborating with me on this project. I would really like to continue doing research into sustainable design (specifically material creation) after the masters. I would consider carrying on to do a PHD in this area in the future - but for now I would like to step out of education for a while and gain experience working within the design industry. My goal is to work within the research side of the design industry, exploring ways to make the design industry more sustainable through the materials commonly used.

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RE FEREN CES

REFERENCES B O O KS Booth, A., 2017. The Wild Dyer. London: Kyle Books.

Braungart, M. and McDonough, W., 2009. Cradle To Cradle: Re -Making The Way We Make Things. London: Vintage Books.

CHICK, A. (2011). Design for Sustainable Change: How Design and Designers Can Drive the Sustainability Agenda. Zurich. AVA Publishing.

DYER, G. (1982) Advertising As Communication. London: Routledge.

Ehrman, E., 2018. Fashioned From Nature. London: V&A Publishing.

FINE, P. (2016) Sustainable Graphic Design: Principles & Practices. London: Bloomsbury.

Godfrey, M., 2019. Olafur Eliasson: In Real Life. London: Tate.

IVORY, M., 1984. Field Guide To The Water Life Of Britain. London: Reader’s Digest Association.

Myers, W., 2012. Bio Design. New York: Thames & Hudson.

Solanki, S., 2018. Why Materials Matter. Munich: Prestel.

Stanton, P., 2018. Conscious Creativity. London: Quatro Publishing.

D O C U M E N TA R I E S

Abstract - Olafur Eliason: The Design of Art. 2019. [video] Directed by J. Zeldes. Netflix.

Neri Oxman: Bio-Architecture. 2020. [film] Directed by M. Neville. Netflix.

P O D C AS T S

BBC Radio 4, 2020. Could Eating Micro Algae Be The Next Big Thing?. The Food Programme.

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I M AG E S

All images are author’s own, unless specified below.

CHAPTER 1: INSPIRATION PAGES 12 & 13: STELLA MCCARTNEY FIGURE 26 first image on page 12 STELLA MCCARTNEY. (2017) Stella McCartney Winter 2017 Ad Campaign. [Image - Online] Available from: http://dmb-shanghai.com/marketing/how-stella-mccartney-became -a-pioneer-in-sustainable -fashionbeauty/ [Accessed 5 April 2020] FIGURE 27 second image on page 12 STELLA MCCARTNEY. (2017) Stella McCartney Winter 2017 Ad Campaign. [Image - Online] Available from: https://www.stellamccartney.com/experience/en/discover-the -winter-2017-campaign/ [Accessed 5 April 2020] FIGURE 28 first image on page 13 STELLA MCCARTNEY. (2017) Stella McCartney Winter 2017 Ad Campaign. [Image - Online] Available from: https://www.alexreiddop.com/following/alexreiddop.com/Stella-McCartney-AW18-with-Johnny-Dufort-1 [Accessed 5 April 2020] FIGURE 29 second image on page 13 STELLA MCCARTNEY. (2017) Stella McCartney Winter 2017 Ad Campaign. [Image - Online] Available from: https://www.thedrum.com/news/2019/07/23/extinction-rebellion-breaks-fashion-stella-mccartneysustainability-campaign [Accessed 5 April 2020] FIGURE 30 third image on page 13 STELLA MCCARTNEY. (2017) Stella McCartney Winter 2017 Ad Campaign. [Image - Online] Available from: https://medium.com/@lilianarodrigues.pr/stellamccartneysustainability-d6992c001ad2 [Accessed 5 April 2020] PAGE 14: BARE FASHION FIGURE 31 image on the left BARE FASHION. (2019) Bare Fashion: Vegan Fashion Show. [Author’s own photograph of leaflet]. 10 August 2019.

PAGE 15: NOSTALGAE FIGURE 36 image top left NOSTALGAE. 2020. For print geeks. [Instagram]. 5 July 2019. [Accessed 26 February 2020]. Available from: https://www.instagram.com/p/Bzh4iFhHMFX/?igshid=v18mtkx63vva FIGURE 37 image on right NOSTALGAE. 2020. NostAlgae’s profile. [Instagram]. [Accessed 26 February 2020]. Available from: https:// instagram.com/nost.algae?igshid=14rq4tep7bio9 PAGES 16 - 19: NEW DESIGNERS 2019 FIGURES 38 & 39 images at the top of p16 ANDERSON, M. (2019) Kelp Weave. [Author’s own photograph of postcard]. 4 July 2019.

FIGURE 40 left of p16, middle row TATE, M. (2019) SeaCycle. [Author’s own photograph of postcard]. 4 July 2019.

FIGURE 41 right of p16, middle row ABEND, C. (2019) Sustainable Product Design and Development. [Author’s own photograph of business card]. 4 July 2019.

FIGURE 43 bottom right of P16 HIGH SOCIETY. (2019) Marketing Postcards. [Author’s own photograph of postcard]. 4 July 2019.

FIGURE 47 bottom of p17 MORRIS, J. (2019) Furniture and product designer. [Author’s own photograph of business card]. 4 July 2019.

FIGURE 56 bottom middle of p19 ALLEN, M. (2019) Designer Maker. [Author’s own photograph of business card]. 27 June 2019.

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PAGES 20 & 21: TY SYML FIGURE 57 top left of p20 TY SYML. (2019) Mycelium. [Image - Online] Available from: https://tysyml.co.uk/mycelium [Accessed 8 April 2020] FIGURE 59 image in centre of p20 TY SYML. (2019) A vegan restaurant has gone zero waste in Berlin! [Image - Online] Available from: https:// tysyml.co.uk/press/a-vegan-restaurant-has-gone -zero-waste -in-berlin [Accessed 8 April 2020] FIGURE 60 bottom left of p20 TY SYML. (2019) Plastic Society. [Image - Online] Available from: https://tysyml.co.uk/plastic-society [Accessed 8 April 2020] FIGURE 62 top of p21 TY SYML. (2019) Algau. [Image - Online] Available from: https://tysyml.co.uk/algau [Accessed 8 April 2020] FIGURES 63 & 64 middle row of p21 TY SYML. (2019) Algae Biomaterial. [Image - Online] Available from: https://tysyml.co.uk/algae -biomaterial [Accessed 8 April 2020] FIGURE 58 top right of p20 Author’s own photograph FIGURES 61 & 65 bottom right of p20 and bottom right of p21 TY SYML. (2019) Marketing Postcards. [Author’s own photograph of postcard]. 4 July 2019.

PAGES 22 & 23: AT TICUS DURNELL, THAT’S CAFFEINE FIGURE 66, 68, 69 & 72 top of p22, bottom right of p22, top left of p23 & bottom of p23 DURNELL, A. (2019) That’s Caffeine. [Image - Online] Available from: https://www.atticusdurnell.com/thatscaffeine [Accessed 8 April 2020] FIGURE 67 bottom left of p22 DURNELL, A. (2019) That’s Caffeine Floor Lamp. [Image - Online] Available from: https://www.atticusdurnell. com/thats-caffeine -lamp [Accessed 11 May 2020] FIGURES 70 & 71 right of top and middle row on p23 DURNELL, A. (2019) That’s Caffeine. [Author’s own photographs of postcard]. 4 July 2019.

PAGES 24 & 25: FOOD: BIGGER THAN THE PLATE FIGURES 81 & 82 right of p25 VICTORIA & ALBERT MUSEUM. (2019) Food: Bigger than the Plate exhibition leaflet. [Author’s own photographs of postcard]. 4 July 2019.

PAGES 30 & 31: CESARE GRIFFA ARCHITECTURE LAB FIGURES 87, 88 & 90 top of p30 & p31 CESARE GRIFFA. (2014) WaterLilly 2.0. [Images - Online] Available from: https://cesaregriffa.com/ waterlilly/waterlilly-2-0/ [Accessed 8 April 2020] FIGURE 89 bottom of p30 CESARE GRIFFA. (2015) Cesare Griffa & EcoLogicStudio. [Image - Online] Available from: https://www. arch2o.com/urban-algae -canopy-carlo-ratti-associati-with-cesare -griffa-ecologicstudio/ [Accessed 8 April 2020] PAGES 32 & 33: STUDIO NIENKE HOOGVLIET FIGURES 91, 92 & 93 page 32 NIENKE HOOGVLIET. (2016) Sea Me. [Images - Online] Available from: https://www.nienkehoogvliet.nl/ portfolio/sea-me -collection/ [Accessed 8 April 2020] FIGURES 94, 95, 96 & 97 page 33 NIENKE HOOGVLIET. (2015) Seaweed Research. [Images - Online] Available from: https://www. nienkehoogvliet.nl/portfolio/seaweed-research/ [Accessed 8 April 2020] 322

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REFEREN CES

I M AG E S PAGES 34 & 35: OLAFUR ELIASSON: IN REAL LIFE FIGURES 98, 100 & 101 top left & bottom row of p34 TATE MODERN. (2019) Olafur Eliasson: In Real Life. [Author’s own photographs of exhibition guide]. 14 October 2019.

CHAPTER 2: ALGAE Algae Filter Inspiration - Image Sources JOLLYCHIC. (n.d) Glass Coffee Pot Set Creative Multi-functional Measuring Coffee Filter Cup Product Listing. [Image - Online] Available from: https://imcut.jollychic.com//uploads/jollyimg/ imageLibrary/201902/514/16/IL201902161230021183.jpg [Accessed 21 May 2020] ALIEXPRESS. (n.d) Filter frame designer creative coffee hand filter frame Product Listing. [Image - Online] Available from: https://www.aliexpress.com/item/32946893546.html [Accessed 21 May 2020] ALIEXPRESS. (n.d) 450ml Creative Hand Made Coffee Pot Filter Ceramic Coffee Filter Cup Set Household Portable Coffee Utensils Kitchen Accessories Product Listing. [Image - Online] Available from: https://www. aliexpress.com/item/4000549689475.html [Accessed 21 May 2020] ALIEXPRESS. (n.d) DROHOEY Creative Reusable Pour Over Coffee Filter Stand,Coffee Dripper Geometric, Permanent Coffee Dripper for Coffee Marker Product Listing. [Image - Online] Available from: https://www. aliexpress.com/i/32961843410.html [Accessed 21 May 2020] NEWBECCA. (n.d) Jiutou coffee filter cup rack universal coffee paper filter paper coffee hand-punch rack simple creative hand-punch coffee set Product Listing. [Image - Online] Available from: https://www. newbecca.com/product/553154221968 [Accessed 21 May 2020] Goat Story & Luka Pirnat . (2016) G-DRIP: DESIGNED FOR CREATIVE COFFEE MORNINGS. [Image - Online] Available from: https://designplusmagazine.com/g-drip-designed-for-creative -coffee -mornings/ [Accessed 21 May 2020] LUKA PIRNAT PRODUCT DESIGN. (2016) gina_smart coffee instrument. [Image - Online] Available from: http://www.lukapirnat.com [Accessed 21 May 2020] GOAT STORY. (2016) GINA. [Screenshots - Online] Available from: https://www.goat-story.com/products/ gina [Accessed 21 May 2020] RINGTONS. (n.d) Sunnex Glass & Chrome 3 Cup Cafetiere Product Listing. [Image - Online] Available from: https://www.ringtons.co.uk/coffee -c6/coffee -accessories-c63/sunnex-glass-chrome -3-cup-cafetiere -p377 [Accessed 21 May 2020] WISH. (n.d) Japanese Style Siphon Coffee Maker Tea Siphon Pot Vacuum Coffeemaker Glass Type Coffee Machine Filter 3Cup Product Listing. [Image - Online] Available from: https://www.wish.com/ product/5dd3bb56600d766a76b43b18?hide_login_modal=true&from_ad=goog_shopping&_display_ country_code=GB&_force_currency_code=GBP&pid=googleadwords_int&c=%7BcampaignId%7D&ad_ cid=5dd3bb56600d766a76b43b18&ad_cc=GB&ad_curr=GBP&ad_price=29.00&campaign_ id=6493229882&gclid=EAIaIQobChMI4NHOsLnF6QIVxuFRCh0xzANsEAQYAiABEgIQQPD_ BwE&share=web [Accessed 21 May 2020]

CHAPTER 3: VESSELS BAUM, A. (2011) Growing Spirulina at Home. [Image - Online] Available from: https://www. algaeindustrymagazine.com/wp-content/uploads/Personal-pbrs-in-window.jpg [Accessed 15 October 2019] HEALTH ALGAE. (n.d) Photobioreactor (30 Liter / 7.9 US gallons) for home cultivation of Spirulina platensis or other microalgae. [Product Listing - Online] Available from: https://www.healthalgae.com/product/ spirulina-and-algae -photobioreactor-bioreactor-of-30-liter-7-9-us-gallons-for-home -cultivation-of-spirulinaplatensis-or-other-microalgae/ [Accessed 15 October 2019]

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ONLINE RESOURCES

1MILLIONWOMEN.COM.AU. (2020) How To Make Natural Dyes To Dye Fabric & Clothes At Home | 1 Million Women. [Online] Available at: https://www.1millionwomen.com.au/blog/how-to-make -natural-dyes-to-dye fabric-clothes-at-home/ [Accessed 4 May 2020].

ALGAE INDUSTRY MAGAZINE. (n.d) Making Paper From Seaweed. [Online] Available from: https://www. algaeindustrymagazine.com/making-paper-seaweed/ [Accessed 26 June 2020] ALLEN, B. (2 March 2018) Viewers react to David Attenborough’s final Blue Planet II conservation rallying cry.

[Online] Available at: http://www.radiotimes.com/news/tv/2018-03-02/blue -planet-2-plastic-waste -finalepisode/ [Accessed 2 March 2020] AN, H. (n.d) ‘ The Coral’ Introduces Humans to the Benefits of Growing Micro- Algae at Home. [Online] Available from: https://www.core77.com/projects/88881/The -Coral-Introduces-Humans-to-the -Benefits-of-GrowingMicro-Algae -at-Home [Accessed 14 June 2020] APPS, R. (2014) Sustainable Fashion: Organic Cotton [Online] Available at: https://www.permaculture.co.uk/ articles/sustainable -fashion-organic-cotton [Accessed 1 August 2020].

BBC. (24 January 2018) NTAs: David Attenborough on Blue Planet II’s Impact. [Online] Available at: http:// www.bbc.co.uk/news/av/science -environment-42806164/ntas-david-attenborough-on-blue -planet-ii-s-impact [Accessed 2 March 2020] BIOPLASTICSMAGAZINE.COM. (2017). Scientists Are Trying To Synthesize Environmentally-Friendly Plastic Alternatives, Using Cyanobacteria. - Bioplastics MAGAZINE. [Online] Available at: https://www. bioplasticsmagazine.com/en/news/meldungen/20171113_cyanobacteria.php [Accessed 22 July 2020].

BLOG | SCHOTT CERAN®. (2016) Innovative Materials: Materials Made From Seaweed. [Online] Available from: https://www.schott-ceran.com/blog/pt-pt/innovative -materials-materials-made -from-seaweed/ [Accessed 20 June 2020].

BOLT, L. (2014). Making Paint, The Natural Way. [Online] Eye on Design. Available from: https://eyeondesign. aiga.org/making-paint-the -natural-way/ [Accessed 20 June 2020].

BUFFY.CO. (n.d.) [Online] Available at: https://buffy.co [Accessed 2 August 2020].

BURGESS, R. (2011). Seaside Day Of Dyes – Fibershed. [Online] Fibershed.org. Available at: https://fibershed. org/2011/01/06/seaside -day-of-dyes/ [Accessed 12 July 2020].

CESARE GRIFFA. (2014). WaterLilly 2.0. [Online] Available from: https://cesaregriffa.com/waterlilly/ waterlilly-2-0/ [Accessed 8 April 2020] CHARALAMPIDOU, D. (2015) Urban Algae Canopy | Carlo Ratti Associati with Cesare Griffa & EcoLogicStudio.

[Online] Available from: https://www.arch2o.com/urban-algae -canopy-carlo-ratti-associati-with-cesare -griffaecologicstudio/ [Accessed 8 April 2020] CHO, R. (2017). The Truth About Bioplastics. [Online] State of the Planet. Available at: https://blogs. ei.columbia.edu/2017/12/13/the -truth-about-bioplastics/ [Accessed 22 July 2020].

CITIZEN SUSTAINABLE. (2020). Is Jesmonite Sustainable? (What You Should Know) - Citizen Sustainable.

[Online] Available at: https://citizensustainable.com/jesmonite -sustainable/ [Accessed 1 August 2020].

CREATE A FASHION BRAND. (n.d.) TECH PACK VS SPEC SHEET. WHAT’s THE DIFFERENCE? - Create A Fashion Brand. [Online] Available at: http://www.createafashionbrand.com/tech-pack-vs-spec-sheet-whats-difference/ [Accessed 1 August 2020].

DENBOW, R., (n.d.) Experimenting With Natural Dyes - A Beautiful Mess. [Online] A Beautiful Mess. Available at: https://abeautifulmess.com/2017/02/experimenting-with-natural-dyes.html [Accessed 4 May 2020].

DURNELL, A. (2019). That’s Caffeine. [Online] Available from: https://www.atticusdurnell.com/thats-caffeine [Accessed 1 October 2019] EARTHHERO. (2018) Silicone: The Plastic Alternative | Eco-Friendly Topics On Earthhero Blog! [Online] Available at: https://earthhero.com/silicone -the -plastic-alternative/ [Accessed 1 August 2020].

ESTAY, B. (2020). How To Do A Competitive Analysis In 2020 [Template Included]. [Online] The BigCommerce Blog. Available at: https://www.bigcommerce.co.uk/blog/how-perform-competitive -analysis/#undefined [Accessed 2 August 2020].

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ONLINE RESOURCES

FLORAMEDIA NEDERLAND. (2017). Seaweed Research, Natural Products Made Of Seaweed - Floramedia News. [Online] Available from: https://www.floramedia.com/netherlands/2017/07/08/seaweedresearch/?lang=en [Accessed 20 June 2020].

GIBBENS, S. (2018). What You Need To Know About Plant-Based Plastics. [Online] National Geographic.

Available at: https://www.nationalgeographic.com/environment/2018/11/are -bioplastics-made -from-plantsbetter-for-environment-ocean-plastic/ [Accessed 22 July 2020].

H&M. (2020) Sustainability | H&M GB. [Online] Available at: https://www2.hm.com/en_gb/hmsustainability/lets-change.html/conscious [Accessed 2 August 2020].

HOOGVLIET, N. (2020). Studio Nienke Hoogvliet. [Online] Available from: https://www.nienkehoogvliet.nl [Accessed 1 October 2019] HORS-STUDIO. (n.d.) Hors-Studio. [Online] Available from: https://www.hors-studio.fr [Accessed 22 July 2020].

IKEA. (2019). VÄXER Silver-Colour, LED Cultivation Light - IKEA. [Online - Product Listing] Available from: https://www.ikea.com/gb/en/p/vaexer-led-cultivation-light-silver-colour-40333455/ [Accessed 21 October 2019].

JAMJARPRINT.CO.UK. (n.d.) Repurposed Algal Bloom Paper. [Online] Available at: https://jamjarprint.co.uk/ printing/algal-bloom-paper [Accessed 10 March 2020].

LEDIFIED. (n.d.) Sustainability And LED Lighting. [Online] Available at: http://www.ledified.com.au/ sustainability-and-leds/ [Accessed 1 August 2020].

LEHNHARDT, P. (2015). 5 Natural Ink Recipes - Hobby Farms. [Online] Hobby Farms. Available from: https:// www.hobbyfarms.com/5-natural-ink-recipes-2/ [Accessed 26 June 2020].

LEON, P. (2019) 7 Sustainable Homeware Brands That We Love. [Online] HYPEBAE. Available at: https:// hypebae.com/2019/12/best-sustainable -homeware -brands-ethical-environmentally-friendly-interior-designfurniture -bedding-tekla-buffy-koala [Accessed 2 August 2020].

LODHI, A. (2020). HOW ECO FRIENDLY IS CERAMIC? [Online] Available from: https://eluxemagazine.com/ living/home/how-eco-friendly-is-ceramic/ [Accessed 1 August 2020].

MAIK. (n.d.) Maik | Ethically Made Socks, Textiles, Homeware & Placemats. [Online] Available at: https:// maiklifestyle.com [Accessed 2 August 2020].

MALOWSKI, D. (n.d.) Natural Dyes For Fabric: All Natural Ways To Dye Fabric Different Colors. [Online] DIY Natural. Available at: https://www.diynatural.com/natural-fabric-dyes/ [Accessed 4 May 2020].

MCLAUGHLIN, C., (n.d.) Making Natural Dyes From Flowers: Biodegradable Dyes From Your Garden. [Online] PartSelect.com. Available at: https://www.fix.com/blog/natural-plant-dyes/ [Accessed 4 May 2020].

ONE NINE EIGHT FIVE. (n.d.) One Nine Eight Five - Luxury British Ethical Homeware. [Online] Available at: https://www.onenineeightfive.co.uk [Accessed 2 August 2020].

PACK, P. (n.d.) 30 Great Font Combinations For Your Next Design Project. [Online] Available from: https:// digitalsynopsis.com/design/best-font-combinations-typeface -pairings-guide/ [Accessed 30 July 2020].

PAPERSLURRY. (n.d) Making Paper From Seaweed: Papermaking With Atlantic Bioinvader Codium Fragile.

[Online] Available from: https://www.paperslurry.com/2013/07/03/papermaking-with-atlantic-bioinvadercodium-fragile/ [Accessed 26 June 2020] PLYWOODPLAINFACTS.BLOGSPOT.COM. (n.d.) Environmental Issues. [Online] Available at: http:// plywoodplainfacts.blogspot.com/p/environmental-issues.html [Accessed 1 August 2020].

PRZYBYLEK, S. (n.d) Textile Dyes: History, Toxicity & Pollution [Online} Available from: https://study.com/ academy/lesson/textile -dyes-history-toxicity-pollution.html [Accessed 20 June 2020] RANSON, B. (2020) The True Cost Of Colour: The Impact Of Textile Dyes On Water Systems - Fashion Revolution. [Online] Fashion Revolution. Available at: https://www.fashionrevolution.org/the -true -cost-ofcolour-the -impact-of-textile -dyes-on-water-systems/ [Accessed 1 May 2020].

ROBERTS, M. (2020) Plant Mordants | Wild Colours Natural Dyes. [Online] Wildcolours.co.uk. Available at: http://www.wildcolours.co.uk/html/plant_mordant.html [Accessed 23 July 2020].

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ONLINE RESOURCES SPINDRIFTCRAFTS.COM. (n.d). Mordants - Naturally Shetland. [Online] Available at: http://www. spindriftcrafts.com/mordants/4578230102 [Accessed 23 July 2020].

STUDY.COM. (2017) Textile Dyes: History, Toxicity & Pollution. [Online] Available from: https://study.com/ academy/lesson/textile -dyes-history-toxicity-pollution.html [Accessed 20 June 2020].

Suomi, P. (2011) Natural Dyes – Rhubarb Leaf Mordant – All Fiber Arts. [Online] Allfiberarts.com. Available at: https://www.allfiberarts.com/2011/how_rhubarb_leaf_mordant.htm [Accessed 23 July 2020].

The Upstyle Wood Guide. (n.d.) Sustainability And Laser Cutter. [Online] Available at: https://www.woodguide. org/guide/laser-cutter/ [Accessed 1 August 2020].

TY SYML. (2019) Work. [Online] Available from: https://tysyml.co.uk/work [Accessed 1 October 2019] ULRIM. (n.d) Website. [Online] Available from: http://ulr.im/pages/thecoral.html [Accessed 14 June 2020] VIDYASAGAR, A. (2016) What Are Algae? [Online] livescience.com. Available from: https://www.livescience. com/54979-what-are -algae.html [Accessed 28 July 2020] WEARTHLONDON.COM. (2020) All Kinds Of Eco Must-Haves | Shop Online At Wearth. [Online] Available at: https://www.wearthlondon.com [Accessed 2 August 2020].

WEAVER GREEN. (n.d.) Weaver Green | Indoor & Outdoor Rugs And Textiles. [Online] Available at: https:// www.weavergreen.com [Accessed 2 August 2020].

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APPENDICES

APPENDICES P

APPENDIX A: RATIOS FOR ALGAE ADDITIVES

P

APENDIX B: ALGAE APPLICATIONS: FABRIC PAINT TESTING DOCUMENTS

P

APPENDIX C: ALGAE APPLICATIONS: JESMONITE TESTING DOCUMENTS

P

APPENDIX D: ALGAE APPLICATIONS: MAKING RECYCLED PAPER TESTING DOCUMENTS

P

APPENDIX E: ALGAE APPLICATIONS: MAKING SEAWEED PAPER TESTING DOCUMENTS

P

APPENDIX F: ALGAE APPLICATIONS: ALGAE DYE TESTING DOCUMENTS

P

APPENDIX G: ALGAE APPLICATIONS: SPIRULINA POWDER DYE PHOTOS

P

APPENDIX H: PROFESSIONALISM: SCHOLARSHIP APPLICATION

P

APPENDIX I: TARGET CUSTOMER PROFILES

P

APPENDIX J: PHOTOGRAPHY INSPIRATION

P

APPENDIX K: SUSTAINABILITY REVIEW

P APPENDIX L: EXPENSES

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APPENDICES

APPENDIX A

R AT I O S F O R A LGA E ADDITIVES S E A WAT E R P O W D E R S O LU T I O N Medium to create artificial sea water for the Marine Algae cultures 1kg salts : 25l water 1000g salts : 25,000ml water 1g : 25ml

Aiming for 35ppt when water is at 25C

= 4g sea water powder solution : 100ml water

M A R I N E A L GA E C U LT U R E S A LTS Food for the Marine Algae 1 bag of culture salts = approx 487g, which is for 5 gallons of water (sea water) 97.4g powder : 1 gallon of water 2.57g : 100ml

= 2 . 5 g m a r i n e a l g a e c u l t u re sa l t s : 100m l se a wat e r

5 gallons = 18,927ml 1 gallon = 3,785ml 97.4 =2.57 37.8542 (to reach qty of culture salts per ml of water)

S P I R U L I N A G R O W T H M E D I U M ( E U - H E A LT H A LG A E ) 1 bag at 220g covers 10L (10,000ml) culture = 2.2g per 100ml culture 21.1g dry nutrient media per litre (1,000 ml) of water = 2.11g per 100ml water = 1.21g/ml

S P I R U L I N A C U LT U R E S A LTS ( U S A - A LG A E R E S E A R C H S U P P LY ) Food for Spirulina (from the company based in the USA) 1 bag of culture salts = approx 294g, which is for 5 gallons of water 58.8g powder : 1 gallon of water 1.55g : 100ml

= 1. 5 g s p i ru l i n a c u l t u re sa l t s : 10 0m l wat e r

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5 gallons = 18,927ml 1 gallon = 3,785ml 58.8 =1.55 37.8542 (to reach qty of culture salts per ml of water)

APPENDICES

APPENDIX B

A LGA E A P P L I CAT I O N S: FABRIC PAINT TESTING DOCUMENTS T E ST I N G : S P I R U L I N A P OW D E R FA B R I C PA I N T DATE

MIX USED

MATERIAL(S) TESTED

PROCESS DETAILS

RESULTS

TEST 1: 16 MAY

1/8tsp spirulina 7ml white vinegar 7ml glycerine (coconut oil microwaved 30 secs) 14ml cold water

Scoured chunky cotton canvas + bamboo silk

Mixed vinegar, glycerine and water together, then added spirulina powder. Mixed thoroughly with wooden lolly-pop stick. Applied with paint brush and sponge.

Application felt uneven as mixture very powdery and glycerine was separating from water/vinegar.

Very dark paint. Sweet smell of coconut oil counterracts the bad smell of vinegar and spirulina though.

TEST 2: 16 MAY

1/8tsp spirulina 7ml white vinegar 14ml cold water

Scoured chunky cotton canvas + bamboo silk

Mixed all together with wooden lolly-pop stick and painted/ sponged onto fabrics.

Much more bitty and powdery than Test 1, really difficult to paint with as just doesn’t adhere to the paint brush.

TEST 3: 16 MAY

1/8tsp spirulina 7ml white vinegar 7ml glycerine (coconut oil microwaved 30 secs)

Scoured chunky cotton canvas + bamboo silk

Mixed all together with wooden lolly-pop stick and painted/ sponged onto fabrics.

Much easier to paint with than Test 2, can herdly tell a difference from Test 1.

OBSERVATIONS:

• The spirulina powder does not leave a good finish on fabric like it does on paper. I don’t think spirulina powder would work as a fabric paint.

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APPENDICES

APPENDIX C

A LGA E A P P L I CAT I O N S: JESMONITE TESTING DOCUMENTS TESTING: FRESH RED AND GOLD ALGAE AS A PIGMENT FOR JESMONITE TEST

JESMONITE RATIO ALGAE QTY (POWDER:LIQUID)

MOULD

SET TIME

COMMENTS

GOLD ALGAE SAMPLE 1

50g:20g

1.5 tsp

BIG CIRCLE (D= 8cm)

1 HOUR

The gold algae was still very watery when mixed in and seems to be diluted somewhat. When removing the jesmonite from the mould it still felt quite damp. Outcome has a very soft colour and is more ivory than yellow. Some slightly darker patches - maybe unmixed algae?

SAMPLE 2

45g:18g

2 tsp

BIG CIRCLE

1 HOUR

Stirred algae with jesmonite liquid and algae dissappeared instantly. Mixed with the jesmonite powder for a further 2 minutes before pouring.

Still feels moist after an hour of setting but solid enough to remove from mould - I remove jesmonite from the moulds ASAP to allow it air circulation all around to dry faster. Looks more yellow than sample 1 but still very pale. Uneven surface colour so looks like lots of bubbles under the surface.

(D= 8cm)

RED ALGAE SAMPLE 1

50g:20g

1/2 tsp

BIG CIRCLE (D= 8cm)

Unlike the gold algae, this portion of red algae 1 HOUR 10 MINUTES was much less watery and felt competely dry

when removed from the mould. Outcome also very light with just a slight pink tinge. Quite large bubbles in the surface.

SAMPLE 2

46g:18g

1 tsp

BIG CIRCLE (D= 8cm)

55 MINS

Mixed the algae with jesmonite liquid for 2 minutes before adding the jesmonite powder.

It was like mixing jam into milk, the algae stays very lumpy and only slightly colours the liquid.

Outcome is definitely more pink this time. Surface has a few openings which I’m assuming are from where the lumps of algae have dried/reacted with the jesmonite.

OBSERVATIONS: • Gold and red algae have a much lower pigment than the fresh spirulina and only allow for very subtle colouring to the jesmonite.

• Both colours of algae are difficult to extract as I’m having to scoop them out of the bottoms of their water-filled jars.

3 30

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APPENDICES

T E ST I N G : S P I R U L I N A P OW D E R AS A P I G M E N T F O R J E S M O N I T E TEST

JESMONITE (POWDER:LIQUID)

ALGAE QTY

MOULD

SAMPLE 1 3RD APRIL

50g:20g

1/8 tsp

BIG SQUARE

SAMPLE 2 3RD APRIL

50g:25g

SAMPLE 3 3RD APRIL

48g:20g

SAMPLE 4 14TH APRIL

50g:20g

SAMPLE 5 14TH APRIL

51g:21g (accidentally overfilled)

1/8 tsp

SAMPLE 6 14TH APRIL

50g:20g

1/4 tsp

SAMPLE 7 14TH APRIL

50g:20g

(10cm x 10cm)

1g

RECTANGLE (8cm x 12cm)

2g

BIG CIRCLE (D= 8cm)

1/16 tsp

BIG CIRCLE (D= 8cm)

BIG CIRCLE (D= 8cm)

BIG CIRCLE (D= 8cm)

1/2 tsp

BIG CIRCLE (D= 8cm)

COMMENTS Powdered algae stirred into jesmonite mixture with metal tea spoon. Created nice mint colour with dark algae speckles, I really like the surface pattern. Did not use enough jesmonite, mould was filled unevenly so outcome is thin in places.

Added extra jesmonite liquid (5g) as the mixture was very dry and seemed like it was setting while I was still stirring.

Outcome is an uneven mid-green, but appears to be more of a solid colour than S1 with no visible flecks of algae.

Piece took several days to dry and developed surface cracks, then cracked in half and has curved. Even dry it still feels brittle. Like S1, mould is not seem full or even.

Used less jesmonite powder to account for the algae powder. Outcome is a very solid dark green, looks like green wax crayons. Sample took days to dry like S2 and cracked during drying process. Quantity of jesmonite was perfect for the size of the mould.

Algae powder added to jesmonite powder, then liquid added and stirred for 2 minutes with a wooden lolly pop stick, poured into mould and bubbles tapped out.

Demoulded after 43 minutes. Really nice mint colour with dark green speckles. Had pale stir marks on base when de-moulded.

Stirred for 2 minutes, the mixture still had a fluid consistency and poured easily. Colour slightly darker than S4 but nowhere near S2 or 3. Green shade has slight blue undertones.

Stirred for just under 2 minutes and mixture became more solid and difficult to stir. Poured into mould and demoulded after 17.5 hours - it was left overnight so was probably dry sooner.

Darker outcome which took a long time to dry and was slightly foamy underneath while drying. Shape seems to have shrunk slightly while drying and sides of circle are not smooth.

OBSERVATIONS: • The pigment combines best with jesmonite when the algae powder and jesmonite powder are mixed first, then adding the jesmonite liquid and mixing for about 2 minutes.

• Larger quantities of algae powder affect the drying time for the jesmonite and can cause cracks and distortion in the outcome.

• A lower proportion of algae powder does not evenly colour the jesmonite, but rather adds a slight tint and shows small specks of dark green algae across the surface - this looks nice.

• Spirulina powder creates a blue -green pigment.

• The top surface of the Jesmonite looks nicer than the bottom (which was in contact with the mould) but is uneven.

• Sanding down the algae -pigmented jesmonite does not fully even out the surface colour, it also makes the colour a little paler.

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APPENDICES

T E ST I N G : F R E S H S P I R U L I N A AS A P I G M E N T F O R J E S M O N I T E TEST

JESMONITE RATIO ALGAE QTY (POWDER:LIQUID)

SAMPLE 1 16TH APRIL

50g:20g

SAMPLE 2 16TH APRIL

50g:20g

SAMPLE 3 16TH APRIL

50g:20g

SAMPLE 4 16TH APRIL

50g:20g

SAMPLE 5 16TH APRIL

50g:20g

SAMPLE 6 16TH APRIL

50g:21g

CONTROL 16TH APRIL

50g:20g

1/16 tsp

MOULD

SET TIME

COMMENTS

BIG CIRCLE 55 MINUTES Looks paler than the other sample that was mixed with the same qty of Spirulina as a powder, (D= 8cm)

color does not appear as even with spots of blue algae visible. Very pale when dry with just odd blue dots of algae.

1/8 tsp

BIG CIRCLE (D= 8cm)

3/16 tsp

BIG CIRCLE (D= 8cm)

1 hour

Mixed the fresh algae first with the jesmonite liquid, before adding the powder. Algae had been left out of the fridge for over an hour so was closer to room temp. Dried outcome is much more even in colour than S1, as a pale green (more towards yellow tone than blue).

Mixed the fresh algae with the liquid first for 1 HOUR 55 MINUTES about 2 mins, then mixed in the jesmonite powder for a further 2 mins. Algae fresh from the fridge could this affect the ease of mixing?

1/4 tsp

BIG CIRCLE (D= 8cm)

Followed same process again. Not much change 1 HOUR 30 MINUTES in the colour in comparison to previous sample.

Many bubbles on surface though.

1/2 tsp

BIG CIRCLE 50 MINUTES Again, followed the same process. Increasing (D= 8cm)

1 tsp

BIG CIRCLE (D= 8cm)

the quantity of the fresh spirulina does not seem to add on extra drying time like increasing the quantity of spirulina powder did.

Still sucessful even with such a large volume 1 HOUR 10 MINUTES of fresh spirulina. The fresh spirulina is so much lighter in colour than the powder was and this quantity still only reaches a mid-green. Nice effect, many bubbles on surface.

None control

BIG CIRCLE 30 MINUTES Created a white jesmonite sample for (D= 8cm)

comparison on times/texture/finish etc. The white jesmonite dried much quicker which is to be expected as the fresh algae adds extra moisture.

Sample 1 is actually more green than I though now that I’ve seen it alongside the white control sample. Texture of white jesmonite is a little smoother with fewer surface bubbles.

OBSERVATIONS: • The fresh algae needs to be mixed with the jesmonite liquid first, before adding the powder.

• Using fresh algae creates greens which have more of a yellow tone than the blue tone achieved with spirulina powder.

• Adding the fresh algae does not increase the drying time to the same extent as the spirulina powder did.

• Sanding the outcomes was necessary because all had a slight rim on the top where I had tried to shake out the bubbles. Sanding makes the jesmonite paler and makes the air bubbles in the surface more visible, but also evens out the surface colour.

• Bases of each sample (the side of the jesmonite that was in contact with the mould) have small damp-looking dots on, even days after drying.

• Difference in colour between samples is much more subtle and difficult to distinguish than with the spirulina powder samples of jesmonite.

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APPENDICES

T E ST I N G : D U L S E P OW D E R AS A P I G M E N T F O R J E S M O N I T E TEST

JESMONITE RATIO (POWDER:LIQUID)

ALGAE QTY

MOULD

COMMENTS

SAMPLE 1 1ST JULY

50g:20g

1/8 tsp

BIG CIRCLE (D= 8cm)

Algae powder added to jesmonite powder, then liquid added and stirred for 2 minutes with a wooden lolly pop stick, poured into mould and bubbles tapped out. Demoulded after about an hour.

Jesmonite is slightly speckled and has a purple tinge from the dulse.

SAMPLE 2 1ST JULY

50g:20g

1/4 tsp

BIG CIRCLE (D= 8cm)

Same process as above. Outcome is a bit more densely speckled than Sample 1 making this one look better and more even. Also demoulded after about an hour.

SAMPLE 3 1ST JULY

50g:22g

1/2 tsp

BIG CIRCLE (D= 8cm)

Same process as above. Accidentally added more jesmonite liquid but not concerned as the volume of dulse powder has also increased. Still not set after 1 hour, but set by 2. Some dents in surface of outcome, look like burst bubbles of air.

SAMPLE 4 1ST JULY

50g:20g

1 tsp

BIG CIRCLE (D= 8cm)

Same process again for mixing. Took over 1 hour to set but unsure exactly how long as left overnight.

Significantly more colour in this sample, the jesmonite seems to have been slightly tinted too, wehreas the previous samples were only coloured by the flecks of dulse while the jesmonite remained pretty white.

SAMPLE 5 11TH JULY

50g:20g

1 tsp DULSE SLUDGE

BIG CIRCLE (D= 8cm)

Using waste dulse “sludge” acquired from straining the dulse powder from water for dying. Mixed the dulse with the jesmonite liquid for about 30 secs before adding powder, then mixing for a further 1 minute - 1.5 minutes. Mixes more thoroughly than the dry powder and seems to colour the jesmonite background more, although dried jesmonite looks paler than Sample 4, even though both use the same volume of dulse - must be because dulse sludge has a higher content of water so is more diluted than dry powder.

SAMPLE 6 11TH JULY

50g:20g

2 tsp DULSE SLUDGE

BIG CIRCLE (D= 8cm)

Used same process as Sample 5. Result is slightly more pigmented than Sample 5 with a subtle beige tinge to the jesmonite around the dulse speckles.

Dulse is not as evenly distributed as it was for Samples 1 - 4.

SAMPLE 7 11TH JULY

50g:20g

3 tsp DULSE SLUDGE

BIG CIRCLE (D= 8cm)

Same process used again with similar results. More purple than Samples 5 & 6 but a bit dull and uneven.

OBSERVATIONS: • Unlike the spirulina powder, dulse powder does not seem to mix well enough to fully colour the jesmonite itself, rather it just leaves flecks of the solid powder in the mixture.

• Drying times seem to be fairly consistent with the spirulina.

• Dulse sludge does not work as well as dulse powder - less even and less pigment.

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APPENDICES

T E ST I N G : S P I R A L W R AC K ( F U C U S S P I R A L I S ) I N J E S M O N I T E TEST

JESMONITE RATIO (POWDER:LIQUID)

ALGAE QTY

MOULD

COMMENTS

TEST 1 11 JULY

50g : 20g

3g dry leaves

BIG CIRCLE (D= 8cm)

Dried out the seaweed and began to grind it down but it looked interesting as just slightly smaller leaves. Mixed into jesmonite and dry within about an hour. Some of the formations of the leaves were showing through a thin layer of jesmonite making interesting patterns, so I sanded down the tile to expose these. I really like the abstract pattern created when slivers of seaweed show through the white jesmonite - this could make a really cool pattern.

TEST 2 11 JULY

50g : 20g

3g dry ground

BIG CIRCLE (D= 8cm)

The spiral wrack ground down well and has created a consistent terrazzo style pattern in the jesmonite.

Sanded back to achieve a more even surface and reveal some of the darker colour from the seaweed.

Quite a few bubbles in the surface - difficult to shake bubbles out when there is something so big and solid in the solution, as it kept distributing the jesmonite unevenly over and around the seaweed.

T E ST I N G : D U L S E L E AV E S I N J E S M O N I T E TEST

JESMONITE RATIO (POWDER:LIQUID)

ALGAE QTY

MOULD

COMMENTS

TEST 1 16 JULY

50g : 20g

3g dry leaves

BIG CIRCLE (D= 8cm)

Dulse left to dry out for a few days. Was difficult to grind down the dulse seaweed so used small leafy bits, as I already ave jesmonite pigmented with dulse powder. The peaks created by the seaweed over the surface of the jesmonite were really interesting, so I chose not to samd this test down.

TEST 2 16 JULY

50g : 20g

3g dry smaller leaves

BIG CIRCLE (D= 8cm)

Dulse ground down a little smaller than test 1. Mixed into the jesmonite then left to dry. Sanded down once dry to reveal the pattern created by the crosssections of the seaweed. The dulse is evidently more purple in colour in the jesmonite than spiral wrack was. Surface colour is less white than other tests, has a dull beige tinge.

T E ST I N G : C H A N N E L L E D W R AC K I N J E S M O N I T E TEST TEST 1 17 JULY

JESMONITE RATIO (POWDER:LIQUID)

ALGAE QTY

MOULD

50g : 20g

3g dry ground

BIG CIRCLE (D= 8cm)

COMMENTS Dried out the seaweed, tried to grind it down in pestle and morter but this didn’t work (was much easier to grind the spiral wrack/fucus spiralis) so instead I chopped it into smaller flakes using scissors.

OBSERVATIONS: • Seaweed does not appear to colour the jesmonite itself, but creates an interesting pattern across the surface • Cross sections of seaweed exposed by sanding create interesting patterns across jesmonite

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APPENDICES

APPENDIX D

A LGA E A P P L I CAT I O N S: MAKING RECYCLED PAPER TESTING DOCUMENTS TESTING: SPIRULINA POWDER AS A PIGMENT FOR RECYCLED PAPER TEST

PAPER QTY

ALGAE QTY

SIZE

SAMPLE 1 3RD APRIL

Unknown

None - control

16 x 21cm

Tried drying with hairdryer and iron which discoloured paper, took days to dry fully.

Nice thick quality and texture, some parts of paper have flaked off leaving gaps around the edges.

SAMPLE 2 3RD APRIL

150g wet pulp

5g

16 x 21cm

Mottled green/yellow/blue shades, some holes.

SAMPLE 3 3RD APRIL

150g wet pulp

1g

16 x 21cm

Spirulina powder stirred in with teaspoon, attempted to dry with hairdryer but this caused cracking, have decided that it would be better to test making smaller sheets of the paper.

SAMPLE 4 3RD APRIL

100g wet pulp

1/16 tsp

10 x 15cm

Really nice light “mint� colour, some large chunks of paper remain visible in white creating nice terrazzo effect, looks like the pulp was blended inconsistently.

SAMPLE 5 3RD APRIL

100g wet pulp

1/8 tsp

10 x 15cm

Used smaller frame so size of outcome is roughly halved and less pulp needed to do this, dried by pressing with sheets of kitchen roll which is much easier and disturbs the paper less than the hairdryer. Was still difficult to remove the paper from screen, had to use hairdryer to help.

Spirulina powder stirred by hand, colour not absorbed by the larger pieces of paper which remain white.

Dried naturally for days.

SAMPLE 6 14TH APRIL

30g wet paper + 80g water

1/8 tsp

10 x 15cm

Amount of paper = 1 x A5 sheet ripped up and soaked for days. Wet paper blended in nutribullet with the spirulina powder. Pulp was much more fine and even with pigment mixed more thoroughly. Soaked excess water with kitchen roll again and the papers fell straight off the screen in one piece.

Nice, light and even colour.

Texture much better quality, smoother surface and no cracks or holes. No white chunks of paper so longer blend in nutribullet helped. Dried with blue colour concentrated on the top (which was the part of the paper in direct contact with the screen) and around the edges.

SAMPLE 7 14TH APRIL

30g wet paper + 80g water

1/4 tsp

10 x 15cm

SAMPLE 8 14TH APRIL

110g wet pulp

1/2 tsp

10 x 15cm

SAMPLE 9 14TH APRIL

110g wet pulp

1 tsp

10 x 15cm

+ 6g extra water

PROCESS NOTES

COMMENTS

Even more mottled than S2, missing large chunks and has big cracks.

Similar to S4, large white chunks of paper visible, more yellow tint.

More even colour like S6, but some patches that have a slight brown tinge. As with S6, this sample has dried with one side much bluer than the other.

Used remaining pulp rather than new soaked paper. Blended in nutribullet with spirulina powder, as with S6+S7.

The consistency is much more even when given this more-thorough blend (unlike S1-5). With the higher concentration of algae, the water I am soaking with the kitchen roll is so dark with that it looks like an ink - feels like a waste to just pour/throw the excess away. Paper curved while drying so sprayed it with some water and left to dry sandwiched between two heavy tiles.

Quite a lot of blue pigment, much more than any of the other samples. Some brown patches appearing across the middle. I really like the blues. Dried with lots of blue tone on the top and edges.

Very dark with some intense patches of almost-black in the middle. Mottled effect like the earlier high-algae-content samples.

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335

APPENDICES

TEST

PAPER QTY

ALGAE QTY

SIZE

PROCESS NOTES

COMMENTS

SAMPLES 10 & 11 1ST JULY

40g (2 x A4) +165g spirulina powder dye water + 10 drops thyme oil, jug topped up to 2L with cold tap water

165g spirulina powder dye water

A6 New Deckle

Blended waste paper with spirulina powder dye water, then poured into plastic container and added more water which was mixed in by hand. Placed the deckle into the water and pushed under the surface so that it was fully submerged. Shook the deckle back and fourth under water while lifting to the surface to ensure even paper thickness.

Deckle balanced across the top of the plastic container and excess water pushed out with kitchen roll and a towel. Samples then laid onto sheet of felt to dry.

This process allows the sheets of paper to be thinner than my previous process. In comparison to my previous process, I believe this method may cause more water wastage, however I do get more paper out of it - 8 x A6 rather than 4 x A6. The process allows the paper to be different thicknesses with a more consistent texture which is good, however it is much messier. Outcomes look good although a little wrinkled so I may need to refine the process somewhat.

Colour is even on both sides - a green in keeping with the samples I made using the waste sludge from dying for Rosie, with just a little bit of a blue tint around the edges.

I’m just so happily surpried at how thin the paper is!

SAMPLES 12 - 15 1ST JULY

Leftovers from above

+ 1 tbsp

A6 New Deckle

Using the same plastic container with the paper/algae/water solution from Samples 10 & 11, added a further tbsp of spirulina powder and mixed by hand. Followed same process of submerging deckle and then bringing back to the surface covered in a thin layer of paper pulp. Paper sheets also pressed out for excess water and dried on sheets of felt.

These samples are naturally darker in colour than Samples 10 & 11 due to the higher quantity of spirulina powder. The colour is less even and dries with a bluer side - this could either be because the fresh spirulina powder has not had the same time to combine with the water as the spirulina in the bottle of old dye water had, or it could be because the spirulina powder was not thoroughly blended with the paper, it was mixed by hand.

I think the first is more likely, so for future paper making I plan to soak the spirulina in water some time before making the paper.

SAMPLES 16 & 17 1ST JULY

Leftovers from above again

+ 1 tbsp

A6 New Deckle

Same process as above using same container of paper/ algae/water with another tbsp of spirulina powder added. Also used same process for creating paper on deckle.

Again, samples are darker and less even in colour. I think the even colour really helps the paper to look more professional and appealing so I will try to avoid this uneven finish in future.

OBSERVATIONS:

• Paper needs to be soaked and blended thoroughly in the nutribullet to a fine pulp, if it is not thoroughly blended then the larger pieces of paper do not take the pigment and leave white patches on outcome • Size of finished recycled paper sample = 1/2 x size of original recycled paper • Spirulina powder colours the paper much better when added to the blender, rather than being mixed in by hand after blending • Kitchen roll is the best way to soak up excess water and evens out the surface texture of the paper better than a hairdryer or iron • Smaller samples are easier to make and control the ratio of PULP:ALGAE - at this stage it is probably better to make small samples as it is also less wasteful 3 36

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APPENDICES

TESTING: FRESH SPIRULINA AS A PIGMENT FOR RECYCLED PA PER TEST

ALGAE QTY

SIZE

PROCESS NOTES

COMMENTS

SAMPLE 1 26g wet paper 16TH APRIL + 84g water

1/16 tsp

10 x 15cm

SAMPLE 2 26g wet paper 16TH APRIL + 84g water

1/8 tsp

10 x 15cm

Blended 52g of wet paper + 168g water in nutribullet, with 2/16 tsp fresh spirulina for samples 1 & 2. Had to add extra water because the mixture was too dry to blend properly.

Both samples 1 & 2 turned out really well, with a nice thick and luxurious texture to the paper. They dried easily with the use of kitchen roll to soak up the excess water. These quantities for paper and water worked perfectly for this size of outcome - with each sheet containing the same amount of paper (in the form of pulp) as 1 x A5 sheet of the original water paper I tore up to make the pulp.

SAMPLE 3 16TH APRIL

35g wet pulp + 71g water

1/4 tsp

10 x 15cm

Blended 105g wet pulp + 210g water for samples 3, 4 & 5.

Added 6 x 1/8tsp scoops of fresh spirulina, then took out 1/3 of the overall blended mixture (106g) to make sample 3. This means that each 1/3 of the mixture contains 1/4tsp of fresh spirulina.

SAMPLE 4 16TH APRIL

35g wet pulp + 71g water

1/2 tsp

10 x 15cm

After removing sample 3 from the mixture, I then added a further 4 x 1/8tsp of fresh spirulina and blended again - leaving the two remaining portions of paper mix containing 1/2tsp fresh spirulina each. I then took out half of this mixture (further 106g) to create sample 4.

Samples 3, 4 & 5 actually contained slightly less paper than samples 1 & 2 - this was because I ran out of the waste paper that I had been recycling and so used my pre-made pulp (made from the same paper) but this pulp was already wet so weighed more than it would have done in its dry form. This lower mass of paper meant that the pulp was spread more thinly across the screen within the frame and so created a thinner paper as a result - particularly thin for sample 5.

SAMPLE 5 16TH APRIL

PAPER QTY

35g wet pulp + 71g water

1 tsp

10 x 15cm

I then added another 4 x 1/8tsp of fresh spirulina to the remaining mix which I blended to form Sample 5: containing a total of 1 tsp of fresh spirulina.

The thinner paper was not too much of an issue and stayed together well, considering.

While the paper was drying, I experienced the same issue that I had with the spirulina powder papers where samples 3, 4 & 5 became distorted and rigid when dry, so had to be spritzed with water and pressed to attain a flat finish.

OBSERVATIONS:

• Fresh spirulina creates a more yellow-green pigment than the blue -green hue of the spirulina powder.

• The colour attained by the fresh spirulina is much more even than that of the spirulina powder.

• Fresh spirulina creates a more subtle pigment than spirulina powder and needs a much greater volume of the algae to create a deep shade.

• The papers created using a fresh spirulina pigment are much more useable and closer to being professionallooking than the papers containing the spirulina powder.

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APPENDICES

T E ST I N G : F R E S H R E D A N D G O L D A LG A E AS A P I G M E N T F O R R E C YC L E D PA P E R TEST

PAPER QTY

ALGAE QTY

SIZE

PROCESS NOTES

COMMENTS

GOLD ALGAE SAMPLE 1

22.5g wet paper + 17.5g wet card + 80g water

1.5 tsp

10 x 15cm

Blended 45g paper + 35g card + 160g water for S1 & 2 + 1.5 tsp wet gold algae, ended up using just half of this for S1.

Gold algae is so pale it made no noticeable difference to the recycled paper. Paper had a slight violet tinge which may have cancelled out the yellow tone.

SAMPLE 2

47g damp kitchen roll

Jar of gold algae (Sample 1)

10 x 15cm

As the gold algae is so pale, I mixed the whole of “IG Sample 1” and used all of the water and algae within this mixture to colour the kitchen roll. Used the used kitchen roll as had run out of paper to recycle.

This quantity of algae seems to have more of an impact, although still really pale in comparison to the spirulina.

10 x 15cm

Used 11 sheets of kitchen roll

Very pale still. Sheet dried almost white. Uses so much algae to get even the slightest hint of a colour.

Really not worthwhile.

RED ALGAE SAMPLE 1

3 38

31g wet card + water (110g water + algae from PC sample 2) + further 55g water (taken from algae sample 1)

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APPENDICES

TESTING: DULSE POWDER AS A PIGMENT FOR RECYCLED PAPER TEST

PAPER QTY

ALGAE QTY

SAMPLE 1 1ST JULY

2 x A4 paper = 40g + 300g water + 10 drops thyme oil

1/16 tsp

SAMPLE 2 1ST JULY

SAMPLE 3 1ST JULY

1/8 tsp

worked out as 85g wet pulp for each paper sample

SAMPLE 4 1ST JULY

SAMPLE 5 19 JULY

1 x A4 card

SAMPLE 6 19 JULY SAMPLE 7 19 JULY

1/4 tsp

SIZE

A6 Soaked 2x torn up sheets of New Deckle A4 waste paper in water for a few hours, then blended with 1/4 tsp dulse powder and 10 drops of thyme oil.

A6 New Deckle 85g of wet pulp used for each sheet of paper.

Added more dulse powder each time a piece of paper was made, to increase the A6 quantity of dulse powder for New Deckle the next sheet.

1/2 tsp

A6 New Deckle

1/2 tbsp (sludge)

A6 Old frame

1 tbsp + (sludge)

A6 Old frame A6 Old frame

1 x A4 card

PROCESS NOTES

COMMENTS Paper still quite white with odd specks of the dulse powder.

Paper colour has become slightly darker but only by a miniscule amount.

More visible flecks of dulse powder.

Paper for Sample 3 is much more of a grey colour with even more flecks of dulse powder.

This sample is a much darker colour and the flecks of dulse powder are much more concentrated.

Added 2 cups water to torn paper and blended.

Added 1tbsp dulse sludge and blended more. Poured 1 cup of mixture into frame for Sample 5. Added the remaining dulse sludge (about 2 tbsp) to rest of paper slurry and blended again. Poured into frame for Sample 6 but there was so much paper that I was able to create Sample 7 too - a little thinner. Saved the excess water for further paper making.

Using excess water from Samples 5 - 7. Poured this (already pink) water into jar and topped up to 1L, added remaining sachet of dulse powder + 1 sheet chopped up A4 waste card to soak.

Soaked for

Next tests: - Use pre -soaked water with dulse powder in different quantities - Use proper paper making process

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APPENDICES

APPENDIX E

A LGA E A P P L I CAT I O N S: MAKING SEAWEED PAPER TESTING DOCUMENTS T E ST I N G : M A K I N G PA P E R F R O M S E AW E E D D U L S E L E AV E S TEST + DATE TEST 1: 10 JULY

340

PURPOSE OF TEST

INGREDIENTS

PROCESS DETAILS

STARTING POINT SIMILAR PROCESS TO FUCUS SPIRALIS TEST 1

50g (1.7oz) dry seaweed + 2L water + 8 tbsp soda ash

I boiled 50g of dired seaweed 1L cold water + 1 tbsp soda ash.

Nothing really happened in the first hour and the water had all but boiled away so added another 1L of water with a further 3 tbsps of soda ash. After another hour added another 1L water and 4 tbsp soda ash. Removed from hob after a total of 3 hours, drained and rinsed with fresh water. Wet seaweed weighed 200g. Used the A6 deckle frame again (pulled upwards through the pulp and water) for 4 sheets of seaweed paper and for the fifth I used my original screen (pulp and water poured onto the screen within a frame). I pressed the first four sheets between different materials - card with felt, bamboo silk with felt and printer paper with felt - to test if I could find a way around the fluff residue that the felt left on fucus spiralis paper, these were then pressed in the flower press. The fifth was scraped into a neat rectangle and left to dry on the screen, with the excess I scraped off going into the small circular silicone mould.

L I V E E V E RY DAY A L GA E

RESULTS

The seaweed needed more soda ash than was specified for the weight in the instructions I followed.

The dulse went green from boiling with soda ash and smelt like smoked mackrel.

Paper and card stuck to the sheets of seaweed paper.

APPENDICES

T E ST I N G : M A K I N G PA P E R F R O M S E AW E E D FUCUS SPIRALIS TEST + DATE TEST 1: 5 JULY

PURPOSE OF TEST STARTING POINT

INGREDIENTS

PROCESS DETAILS

RESULTS

525g of wet seaweed 1 + 2lbs cold water + 8 tbsp soda ash

I boiled 525g of wet seaweed (reusing the pre-boiled seaweed from dye tests 1, 2 and 5) with 2lbs cold water + 8 tbsp soda ash. Boiled for 1.5 hours then filtered out the water and rinsed the seaweed in cold water, although I’m not sure I rinsed it very well. Seaweed fiber then blended with a little bit of fresh water to make a pulp. Pulp then put into a plastic container and mixed with 1l fresh water.

Paper water solution was very dark and managed to get quite a lot of paper from the seaweed. Smelt okay while simmering. Had issues with the pulp sticking to the deckle and couldn’t remove it easily. Pulp was very mouldable when wet and had a leathery consistency while drying. There is significant shrinkage for the sheets that were air dried with much curling. The most sucessful outcome was the seaweed pulp that I pressed in between felt sheets in my flower press, with the only issue being that the felt fibres stuck to the paper and gave it a white fluffy surface.

T E ST I N G : M A K I N G PA P E R F R O M S E AW E E D CHANNELLED WRACK TEST + DATE TEST 1: 17 JULY

PURPOSE OF TEST STARTING POINT

INGREDIENTS

PROCESS DETAILS

RESULTS

300g wet seaweed + 2L cold water + 8tbsp washing soda

I mixed 300g wet seaweed (about 200g pre-boiled seaweed from the dye test that had been stored in the fridge + 100g fresh seaweed) with 2L cold water and 8tbsp washing soda/soda ash. This is a different brand of washing soda and I think it may be stronger than the one I previously used. Boiled the mixture for 3 hours. Strained off the water into a jug to use for dying (more water leftover than before and it has a strong rusty-brown colour) and rinsed the seaweed in cold water. Seaweed is a much more pulpy consistency than I achieved with previous tests. Seaweed blended with 1L water and poured into plastic container.

The outcomes have all stuck to the fabric they were drying on. This paper is the most flimsy out of all tests and does not hold it’s shape at all.

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341

APPENDICES

APPENDIX F

A LGA E A P P L I CAT I O N S: ALGAE DYE TESTING DOCUMENTS T E ST I N G : S P I R U L I N A P OW D E R TO DY E T E X T I L E S TEST + DATE

342

QTY SPIRULINA POWDER

MATERIAL(S) TESTED

PROCESS DETAILS

RESULTS

TEST 1: 11 MAY

1 TBSP in 2 kettles of boiled water

All - scoured but Spirulina simmered for 1 hour, not mordanted fabric added when off the hob and left soaking for 42 hours then removed and rinsed in cold water, hung to air-dry.

TEST 2: 16 MAY

2 TBSP in 2 kettles of boiled water

All - scoured and mordanted in cold vinegar + water (1:4)

Spirulina brought to boil, then simmered for 1 hour. Removed from heat and strained to remove any residual powder. Fabrics mordanted in cold vinegar and water for 1 hour before adding to dye bath. Dye bath returned to boil and simmered for 1 hour.

Fabrics then left in dye overnight.

Very faint discolouration, not a successful dying. Will try mordanting with hot vinegar and boiling water as cold has made no difference. Will also increase quantity of spirulina in water. I think straining has helped the consistency of dye.

TEST 3: 18 MAY

8 TBSP in 3 kettles of cold water

All except natural linen - scoured and mordanted in boiling vinegar and water

Spirulina powder soaked in cold water overnight. Fabrics boiled in vinegar and water (1:4) to mordant. Spirulina powder strained from water and mordanted fabric added, boiled for 1 hour and left for 24 hours.

Rinsed off with cold water.

Soaking spirulina powder in cold water overnight has left colour of water very strong and more blue.

Mordanting in boiling vinegar + water has made un-dyed fabrics much brighter, like bleaching.

Straining didn’t collect any sludge or other material, just coloured the linen green. Fabrics obtained strong blue colour from first dunk. When boiled with fabrics, dye turned more brown and developed a sludgey residue like cow pat. Fabrics were definitely dyed, but the colour is horrible. I think boiling ruins the spirulina colour.

L I V E E V E RY DAY A L GA E

Very faint discolouration, not a successful dying. Will try with mordant nest time - have read about using salt/white vinegar so will test further. Vat was also very bitty and uneven so the spirulina powder will be strained out next time.

APPENDICES

TEST 4: 20 MAY

6 TBSP in 3 kettles of cold water

All except natural linen - scoured and mordanted in boiling vinegar and water

Spirulina powder soaked in cold water overnight. Fabrics boiled in vinegar and water (1:4) to mordant. Mordanted fabric dunked in dye and rinsed off with cold water.

Dunking gave a fairly strong colour, much more pleasant than previous tests although not as blue as I had hoped. Outcomes still quite vibrant even once dried. Will try again with higher concentration of spirulina powder. Will also strain out powder as some left on fabric created uneven colouring.

TEST 5: 20 MAY

6 TBSP in 3 kettles of cold water (same vat as Test 4)

All except natural linen - scoured and mordanted in boiling vinegar and water

Spirulina powder soaked in cold water overnight. Fabrics boiled in vinegar and water (1:4) to mordant. Mordanted fabric soaked in dye overnight (23 hours) and rinsed off with cold water next day.

Outcomes paler than Test 4 which is surprising due to extended length of soaking. Dye vat also smells unbearable. As with Test 4, will try stronger concentration of algae next time.

TEST 6: 20 MAY

2TBSP in <1 kettle cold water

All except natural linen - scoured and mordanted in boiling vinegar and water

Spirulina powder soaked in cold water overnight. Fabrics boiled in vinegar and water (1:4) to mordant. Mordanted fabric soaked in dye outside in sunny weather for 18 days.

Outcomes more of a dirty brown/ grey again like boiled samples.

Smell really bad, to the extent I had to leave them on the balcony as they made the flat stink. I think the spirulina fermented after being left for this long so will leave for less time next time.

TEST 7: 11 JUNE

2 TBSP in 1L cold water

“

Spirulina powder soaked in cold water overnight, spirulina strained from dye water next day. Fabrics boiled in vinegar and water (1:4) to mordant. Mordanted fabric soaked in dye for 1 day, then rinsed out with cold water and left to dry.

Dye jar left outside on balcony for 1 day. Weather was about 19C but rainy so not much sun. Rinsed fabric looks pale blue, not a very vibrant colour but a nice shade.

Colour does not seem to adhere to bamboo silk or the thin linen particularly well, I have noticed this across my previous tests too.

TEST 8: 11 JUNE

2 TBSP in 1L cold water

“

Spirulina powder soaked in cold water overnight. Fabrics boiled in vinegar and water (1:4) to mordant. Mordanted fabric soaked in dye for 1 day, then rinsed out with cold water and left to dry.

Dye jar left outside on balcony for 1 day. Weather was about 19C but rainy so not much sun. Rinsed fabric looks pale blue, colour less even than Test 7 which I think is due to not straining the excess spirulina from the jar before dying, as the spirulina sticks to fabric making it more grey/green in those places which is not good.

TEST 9: 12 JUNE

2 TBSP in 1L cold water (re-using dye from Test 8)

“

Reusing the spirulina powder dye jar from Test 8, excess spirulina strained from dye water.

Mordanted fabric dunked in dye, then left to dry on a towel without rinsing.

Fabrics have left dye solution looking quite a deep green/blue even shade across all fabrics which is interesting. Dried less even with some dull sections.

2 TBSP in 1L cold water (re-using dye from Test 7) + 1/2 cup of white vinegar

“

Reusing the spirulina powder dye jar from Test 7, excess spirulina strained from dye water.

Mordanted fabric soaked in dye + vinegar for 1 day, then rinsed out with cold water and left to dry.

Most vibrant outcome yet, very vivid blue - like electric blue and colour quite even. Dried a little patchy but I think if soaked in water/vinegar when removed from dye then colour may be more even.

Dye smelt revolting after removing fabrics.

DUNKING FABRICS TEST 10: 12 JUNE

ADDITION OF VINEGAR TO OLD DYE JAR

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34 3

APPENDICES

TEST 11: 12 JUNE ADDITION OF LEMON JUICE TO OLD DYE JAR TEST 12: 18 JUNE

2 TBSP in 1L cold water (re-using dye from Test 8) + 1/2 cup of lemon juice

All except natural linen - scoured and mordanted in boiling vinegar and water

Reusing the spirulina powder dye jar from Test 8, excess spirulina strained from dye water.

Mordanted fabric soaked in dye + lemon juice for 1 day, then rinsed out with cold water and left to dry.

Not quite as vibrant as test 10, but outcomes still much more coloured than previous tests, more of a green tinge. Dye smelt revolting after removing fabrics. Dye does not adhere to the bamboo silk.

2 TBSP in 3 cups water, 1 cup vinegar, left overnight then strained

All organic chunky cottan canvas, cotton canvas, white linen and thick white linen

Spirulina + water + vinegar mixed, left overnight and then strained next day. Mordanted fabrics added. Jar sealed and left on shelf by a window for 1 day. Fabrics removed and rinsed in cold water.

Spirulina powder has separated from the liquid overnight (assuming due to the vinegar) so the dye solution was in layers. Spirulina strained from dye after 1 day was grainy, like coffee grounds and water was only tinted green and still very transparent. Fabrics have barely change colour since being in the dye.

ADDITION OF VINEGAR TO FRESH DYE JAR - PRE SOAKING TEST 13: 18 JUNE ADDITION OF VINEGAR TO FRESH DYE JAR - POST SOAKING TEST 14: 20 JUNE ADDITION OF LEMON JUICE TO OLD DYE JAR WITH VINEGAR TEST 15: 21 JUNE RATIO OF VINEGAR : WATER 0.5 : 3.5 TEST 16: 21 JUNE RATIO OF VINEGAR : WATER 2:2 TEST 17: 24 JUNE ADDITION OF LEMON JUICE TO FRESH DYE JAR - PRE SOAKING 34 4

2 TBSP in 3 cups water, left overnight then strained and 1 cup vinegar added

“

Spirulina + water mixed and left overnight, strained next day and then vinegar added. Mordanted fabrics added. Jar sealed and left for 1 day on shelf by window.

Fabrics removed and rinsed in cold water.

Fabrics have taken on the dye well and have come out a bright blue, very similar to Test 10 - this mix and process seems to be working well. I will continue to test altering small elements of the mix/process to see if it can be improved or if I can get any different colours.

Re-using dye solution from Test 13 + 1 cup lemon juice

“

Taken the fabrics out of Test 13, added 1 cup lemon juice and mordanted fabrics. Solution left for 1 day on shelf by a window, then fabrics removed and rinsed in cold water.

Fabrics have come out a very pale green, with a few darker green patches on the plain canvas.

Pouring away the mixture smelt a bit like vomit which was gross, I think this is from the combination of acidic lemon juice and the pungent vinegar with fermented algae.

2 TBSP in 3.5 cups water, left overnight then strained and 0.5 cup vinegar added

“

Spirulina + water mixed and left overnight, strained next day and then vinegar added. Mordanted fabrics added. Jar sealed and left for 1 day on shelf by window.

Fabrics removed and rinsed in cold water.

Colour stronger than T16, but patchy on the two canvas fabrics. Nice and even on the linene though. Don’t notice much difference from using one full cup of vinegar.

2 TBSP in 2 cups water, left overnight then strained and 2 cups vinegar added

“

Spirulina + water mixed and left overnight, strained next day and then vinegar added. Mordanted fabrics added. Jar sealed and left for 1 day on shelf by window.

Fabrics removed and rinsed in cold water.

Fabrics are paler than when less vinegar is added. Colour is still a bit patchy in places too. More vinegar does not help.

2 TBSP in 2.5 cups water + 1.5 cup lemon juice, left overnight then strained and 1 cup vinegar added

“

Lemon juice added to spirulina + water, mixed and left overnight, strained next day and then vinegar added. Mordanted fabrics added. Jar sealed and left for 1 day outside on balcony (30C and sunny). Fabrics removed and rinsed in cold water.

The mix of spirulina, water and lemon juice smelt strongly of sulphur when strained 12 hoours after first mixing. As with Test 12, the spirulina seemed to have separated from the liquid and was grainy so easy to strain but dye solution is very transparent.

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APPENDICES

TEST 18: 24 JUNE

FABRICS NOT SCOURED TEST 19: 24 JUNE

2TBSP in 3 cups water, soaked overnight then strained and 1 cup vinegar added

All organic chunky cottan canvas, cotton canvas, white linen and thick white linen

Spirulina + water mixed and left overnight, strained next day and then vinegar added.

Fabrics scoured but were NOT MORDANTED, then were added to jar. Jar sealed and left for 1 day outside on balcony (30C and sunny). Fabrics removed and rinsed in cold water.

“

“

Patchy and pale outcome. Plain Spirulina + water mixed and left canvas seems to have kept the overnight, strained next day and colour best, but still very very pale. then vinegar added. Fabrics NOT SCOURED OR MORDANTED and added to jar. Jar sealed and left for 1 day outside on balcony (30C and sunny). Fabrics removed and rinsed in cold water.

“

Spirulina + water mixed and left overnight, 1 cup of vinegar added the next day. Dye solution left to soak for another day and then strained. Fabrics added to jar, jar sealed and left for 1 day outside on balcony (30C and sunny).

Fabrics removed and rinsed in cold water.

Fabrics have retained a very light colour which is even but not very strong or vibrant. Dried almost completely white.

Spirulina + water mixed and left to soak overnight, then strained the next day. Fabrics dunked in the dye jar, then removed and submerged in straight vinegar immediately. Fabrics removed quickly then left to dry on a towel without rinsing.

Shade of this dye is more green than the usual blue. Colour is quite light. Dried even lighter. Really nice shade.

Spirulina + water mixed and left to soak overnight, then strained the next day. Fabrics soaked in the dye jar for 6 hours, then removed and submerged in straight vinegar immediately. Fabrics removed quickly then left to dry on a towel without rinsing.

A pleasant shade of light khaki.

Colour is fairly even but with some small patches of spirulina sludge remaining in the fabric.

TEST 21: 24 JUNE

2TBSP in 3 cups water, soaked overnight (12 ADDITION OF hours) then 1 VINEGAR TO cup vinegar added, soaked FRESH DYE again for 1 day JAR - POST then strained SOAKING, PRESTRAINING

DUNKING FABRICS IN SPIRULINA THEN VINEGAR IMMEDIATELY TEST 23: 26 JUNE DUNKING FABRICS IN SPIRULINA THEN VINEGAR AFTER 6 HOURS

Once dry, fabrics are very pale with just small patches of bright blue. The rest of the fabric around the blue is almost back to it’s original undyed colour.

“

FABRICS NOT SCOURED OR MORDANTED

TEST 22: 26 JUNE

Patches of bright blue on plain canvas and thick linen, but most of the fabric has been undyed.

“

FABRICS NOT MORDANTED

TEST 20: 24 JUNE

Spirulina + water mixed and left overnight, strained next day and then vinegar added. Fabrics NOT SCOURED but were mordanted and added to jar. Jar sealed and left for 1 day outside on balcony (30C and sunny). Fabrics removed and rinsed in cold water.

3TBSP in 6 cups water, soaked overnight and strained

Thin white linen and thick white linen

Same vat as Test All organic 22 chunky cottan canvas, cotton canvas, white linen and thick white linen

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34 5

APPENDICES

TEST 24: 26 JUNE

Same vat as Test All organic 22 & 23 chunky cottan canvas, cotton canvas, white linen and thick white linen

Spirulina + water mixed and left to soak overnight, then strained the next day. Fabrics soaked in the dye jar for 24 hours, then removed and submerged in straight vinegar immediately. Fabrics removed quickly then left to dry on a towel without rinsing.

Very green and patchy outcome.

A dark khaki colour. Still lots of spirulina sludge stuck to fabric and smells as not rinsed after.

TEST 25: 5 JULY

Same vat from test 22

“

DUNKING FABRICS IN SPIRULINA FOR 1 HOUR THEN SOAKED IN VINEGAR

*1 pin

Fabrics prepped then soaked in the old dye vat for 1 hour, then removed and soaked in vinegar and water solution (reusing solution of vinegar and water from fabric prep) for 1 day.

A very slight colour has been retained by the fabrics, although very very pale. Colour does look even though, a nice light blue. Vat smells awful, I think it’s because it has been fermenting for so long but it smells vile - like cow dung.

“

Fabrics prepped then soaked in the old dye vat for 24 hours, then removed and soaked in vinegar and water solution (reusing solution of vinegar and water from fabric prep) for 1 day.

Strong colour, similar to Test 10.

There are some patches of a rusty orange like the effect of acid hitting the fabric, I think these are caused by the safety pins that I have used to hold the fabrics together (to differentiate between Tests 25, 26 & 27) however now that I know this method works, I won’t need to use safety pins again.

“

Fabrics prepped then soaked in the old dye vat for 12 hours, then removed and soaked in vinegar and water solution (reusing solution of vinegar and water from fabric prep) for 1 day.

Colour not quite as strong as Test 26 (probably due to less time soaking) and colour is less even with green patches where algae clumps have congealed. I think patchyness is more due to poor technique rather than the changed variables.

1 tbsp spirulina powder + 3 cups water

“

Spirulina + water mixed and left to soak for 1 day, then strained.

1 cup vinegar added along with prepped fabrics, then soaked in the dye jar for 2 days.

Fabrics are rather pale but a nice even blue tone, although some bleached looking patches at the edges.

4 tbsps spirulina powder + 3 cups water

“

Spirulina + water mixed and left to soak for 1 day, then strained.

1 cup vinegar added along with prepped fabrics, then soaked in the dye jar for 2 days.

Fabrics have retained much more dye but dry with very uneven bright blue patches.

DUNKING FABRICS IN SPIRULINA THEN VINEGAR AFTER 24 HOURS

TEST 26: 5 JULY

“ *3 pins

DUNKING FABRICS IN SPIRULINA FOR 24 HOURS THEN SOAKED IN VINEGAR TEST 27: 6 JULY

“ *2 pins

DUNKING FABRICS IN SPIRULINA FOR 12 HOURS THEN SOAKED IN VINEGAR TEST 28: 10TH JULY 1 TBSP SPIRULINA POWDER TEST 29: 10TH JULY 4 TBSP SPIRULINA POWDER

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APPENDICES

TEST 30 14 JULY

2tbsp spirulina + 3 cups water

SOAKING SPIRULINA + WATER FOR 7 DAYS TEST 31 14 JULY

All organic chunky cottan canvas, cotton canvas, white linen and thick white linen “

Water and spirulina powder mixed and soaked for 5 days. Strained on 19th, fabrics added on 20th and soaked for 3 days. Fabrics removed on 23rd, rinsed in cold water then put in clean 1L jar of cold water with 1/16 cup salt and 1/4 cup vinegar. Soaked for another day.

This sample has the strongest and most even colour compared to Tests 30 and 32. Smelt really bad straining the spirulina after soaking with no vinegar.

“

“

Water and spirulina powder mixed and soaked for 3 days. Strained on 20th, fabrics added on 21st.

Transferred fabrics into vinegar, water and salt solution on 24th.

Removed and rinsed with cold water on 26th.

Colour is a nice, even pale blue paler than the previous tests. The dye vat really smelt bad when I strained the spirulina after 3 days.

I think the spirulina starts to ferment at about 3 days onwards (unless vinegar is added).

“

Water and spirulina powder mixed and soaked for 24 hours, then strained with muslin and 2 1/2 cups vinegar added along with prepped fabrics. Fabrics removed after 3 days (22nd) 5 days (24th) 7 days (26th) and 10 days (29th) and 2 weeks (1st).

Fabrics appear to reach an optimum colour at around 5 days, before this the colour is a bit more patchy and after it gets a bit paler, though no ovbious difference between the 7 - 14 days.

Water and spirulina mixed, left to 1 x set of fabrics boiled in soak for 1 day then strained and rhubarb leaves 1 cup vinegar + fabrics added. All soaked for 4 days, then drained and fabrics rinsed in cold water.

1 x set of fabrics boiled in Air dried. rhubarb leaves, then boiled in vinegar

When wet, colours are strong but tones look more dull than other tests - rhubarb coloured the fabrics so this may be why. The dried results are not much different.

Water and spirulina mixed, left to soak for 1 day then strained and 1 cup vinegar + fabrics added. Linen soaked for 2 days, then removed and rinsed with cold water. Denim soaked for a total of 4 days, then drained and rinsed in cold water.

Fabrics came out a nice pale blue.

I think the bigger pieces of fabric would have benefited from a larger dye jar with more room to move freely. I sewed the linen to make a neat edge for the napkin and used the denim for my wash/sun/ rub tests. I cut the denim down and washed 2/3 in cold water with no detergent for 1 hour. The colour has left only a slight greyness behind.

SOAKING SPIRULINA + WATER FOR 3 DAYS TEST 33 18 JULY

7 1/2 cups water + 5 tbsp spirulina

SOAKING FABRICS IN DYE FOR DIFFERENT TIMES TEST 34 28 JULY

3 cups water + 2 tbsp spirulina powder

RHUBARB AS A MORDANT

TEST 35 28 JULY LARGE LINEN AND DENIM

Fabrics are an even pale blue.

The dye vat smelt so bad when I opened it to strain the spirulina the the entire flat had to be disinfected and smelt for about a day after of manure.

“

SOAKING SPIRULINA + WATER FOR 5 DAYS

TEST 32 17 JULY

Water and spirulina powder mixed and soaked for 7 days. Strained on 21st, fabrics added on 22nd.

Transferred fabrics into vinegar, water and salt solution on 26th.

3 cups water + 2 tbsp spirulina powder

1 x large sheet prepped organic linen 1 x medium sheet prepped organic denim (approx 11 x 19cm)

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347

APPENDICES

TEST 36 28 JULY

3 cups water + 2 tbsp spirulina powder

RFABRICS FOR WASH/ SUN/RUB TESTS

All organic chunky cottan canvas, cotton canvas, white linen and thick white linen (sheets approx 11 x 19cm)

Water and spirulina mixed, left to soak for 1 day then strained and 1 cup vinegar + fabrics added. All soaked for 4 days, then drained and fabrics rinsed in cold water.

Fabrics came out a slightly patchy, pale blue. I think as I used larger fabrics that they would have benefited from a larger dye jar with more room to move freely. I cut the fabrics down and washed 2/3 of each sheet in cold water with no detergent for 1 hour. The colour has completely washed out of both canvas fabrics and the thin linen, leaving only a slight greyness on the thick linen and denim.

Observations: • Spirulina powder does not suit being boiled, it goes a deep green/brown - much better results when dying cold • Vinegar is essential to getting the dye to stick to the fabrics • Scouring is also essential to prepare the fabrics • Soaking in vineagr/water/salt solution also helps the dye to stay when the fabrics are washed • Spirulina smells really bad when left to ferment with water • Rhubarb as a mordant also colours the fabric, dulling the colour of any dye • 5 days is the optimum to soak spirulina to dye

348

L I V E E V E RY DAY A L GA E

APPENDICES

V1

Leave spirulina powder in cold water overnight

V2

Boil spirulina powder in water

V3

Leave spirulina powder in boiled water overnight

V4

Strain spirulina powder from water

V5

Mordant fabrics in cold vinegar

V6

Mordant fabrics by boiling in vinegar

V7

Boil fabrics in dye vat

V8

Leave fabrics in dye vat overnight

V1 DYED INSIDE ON THE HOB

SOLAR DYE JAR OUTSIDE

V2

TEST 1 11 MAY

/

TEST 2 16 MAY

/

V3

V4

/

V6

/

V8

SUCCESS

/

No - hardly any discolouration

/

/

No - hardly any discolouration

/

/

Semi - fabrics have retained colour from dye but it is not the colour I was aiming for - gross brown

/

TEST 4 20 MAY

/

/

TEST 5 20 MAY

/

/

/

TEST 6 20 MAY

/

/

18 DAYS

TEST 7 11 JUNE

/

/

/

Yes - pale blue but nice shade

TEST 8 11 JUNE

/

/

/

Yes - pale but nice shade, uneven in places due to not straining

NIGHTS

TEST 10 12 JUNE

NIGHTS

TEST 11 12 JUNE

NIGHTS

2

2

2

/

/

V7

TEST 3 18 MAY

TEST 9 12 JUNE

/

V5

Yes - strong green colour, blue in places but uneven Yes - paler green colour, still uneven Semi - grey/brown discolouration but pale, smells really bad

/

/

2x

/

/

Yes - colour retained in fabric and outcome is a vibrant blue - best test yet!!!

/

/

/

Yes - not quite as bright as test 10, but coulour retained much better

Yes - strong colour but have a feeling this may rinse out, uneven

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349

APPENDICES

T E ST I N G : S E AW E E D TO DY E T E X T I L E S DULSE P OWDER TEST + DATE

3 50

PURPOSE OF TEST

INGREDIENTS

PROCESS DETAILS

TEST 1: 5 JULY

BASELINE TEST - BASED ON SUCCESSFUL SPIRULINA POWDER DYE FORMULA

3 cups water + 2 tbsp dulse powder

2 tbsp dulse powder soaked in 3 cups water for 3 days. Solid dulse strained from the solution, 1 cup vinegar added along with prepped fabrics and soaked for 5 days.

TEST 2: 11 JULY

BOILED DULSE POWDER

2 cups water + 2 tbsp dulse powder

2 tbsp dulse powder simmered in 2 cups water for 1 hour. Fabrics were added after 30 mins. Entire solution decanted into jar once cool and soaked for 5 days. 1/2 cup vinegar added (16th) and soaked for further 2 days.

L I V E E V E RY DAY A L GA E

RESULTS

Dulse turned the water a lovely mauve colour, which when mixed with 1 cup vinegar turned into a lavender. Liquid looked very translucent so was not convinced it would be sucessful for dying. Water dulled in colour to an amber, fabrics have not retained any colour.

Much darker than Test 1, fabrics have a slightly grey shade. Still only very slightly coloured but itâ&#x20AC;&#x2122;s an improvement!

APPENDICES

T E ST I N G : S E AW E E D TO DY E T E X T I L E S D U L S E L E AV E S TEST + DATE TEST 1: 10 JULY

TEST 2: 12 JULY

TEST 3: 11 JULY

TEST 4: 24 JULY

PURPOSE OF TEST

INGREDIENTS

PROCESS DETAILS

I boiled 50g of dired seaweed 1L cold water + 1 tbsp soda ash. Nothing really happened in the first hour and the water had all but boiled away so added another 1L of water with a further 3 tbsps of soda ash.

After another hour added another 1L water and 4 tbsp soda ash. Removed from hob after a total of 3 hours, drained off the water into a jug and added to a jar with fabrics once cool. Soaked for 1 day, then placed into vinegar water.

FULL DULSE 25g dulse Dulse leaves and water BOILED leaves + 2 simmered for 1 hour, cups boiling then fabrics added and water simmered for another hour. Once cool, solution including water, seaweed and fabrics sealed into jar.

1/2 cup vinegar added after 3 days (15th) and soaked for further3 days.

REUSING TEST Reusing dye Added 1 cup vinegar and 1 DYE VAT + water from prepped fabrics to dye VINEGAR Test 1 + 1 water remaining from Test cup vinegar 1. Soaked for 5 days, then fabrics removed and rinsed with cold water.

USING 50g dulse Simmered all together for SUCESSFUL leaves + 1.5L 1.5 hours, then added METHOD boiling water fabrics and continued to FROM OTHER + 1/2tbsp simmer for another hour.

SEAWEED DYES soda ash Once cooled, all poured + 1tsp into a jar and soaked for sea water 2 days. 1/16 cup salt and medium 3/4 cup vinegar added on 26th and left to soak.

Rinsed with cold water and dried on 1st August.

FULL DULSE BOILED WITH SODA ASH

Water strained from paper making - 50g dry seaweed + 2L water + 8 tbsp soda ash

RESULTS

Fabrics have not retained any colour at all, still look a freshly-washed crisp white.

Seaweed at top of jar started to go mouldy after 3 dyas. Fabrics have also not retained any colour.

Fabrics are slightly coloured, a arm cream colour. Colour still very subtle so Iâ&#x20AC;&#x2122;m not counting this as a sucess.

There is no colour in these fabrics. I think it may be due to the process they undergo before being sent to customers - I think they are smoked which must remove pigment.

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APPENDICES

T E ST I N G : S E AW E E D TO DY E T E X T I L E S SPIRAL WRACK (FUCUS SPIRALIS) TEST + DATE TEST 1: 26 JUNE

TEST 2: 26 JUNE

TEST 3: 26 JUNE

TEST 4: 26 JUNE

352

PURPOSE OF TEST

INGREDIENTS

100g seaweed added to 6 cups water and boiled on hob for 1 hour (water reduced to about 3 or 4 cups). Solution then transferred to jar with fabrics (pre -soaked for 10 mins in vinegar). Jar sealed and left on shelf for 1 day.

Fabrics removed and rinsed with cold water.

BOILING 6 cups 100g seaweed added to FRESH, WHOLE water + 6 cups water and boiled SEAWEED + 100g whole on hob for 1 hour (water THEN BOILING seaweed reduced to about 3 or 4 WITH FABRICS boiled in cups). Fabrics then added water for to vat (pre -soaked for 10 1 hour, mins in vinegar) and boiled prepped for another hour. There was fabrics not much water left in the added along vat when fabrics added so with another I also added another 100g 100g of of fresh, whole seaweed seaweed + and another 6 cups of 6 cups of boiling water. Removed water and after an hour and all water, boiled for seaweed and fabrics another hour poured into a jar to soak further.

SOLAR DYE 3 cups water 100g wet seaweed added TEST ON + 100g to 3 cups water and left to FRESH, WHOLE seaweed soak in the sun for 9 days.

SEAWEED soaked in Decided not to go through sun for 9 with the test as the water days before had hardly changed colour fabrics after 9 days and would not added on 5 have dyed the fabrics.

July SOLAR DYE 3 cups water 100g wet, fresh seaweed TEST ON + 100g added to 3 cups water FRESH, WHOLE seaweed and prepped fabrics and SEAWEED + fabrics soaked in the sun for 9 WITH FABRICS (soaked in days. vingegar) left in jar in sun for 9 days BOILING FRESH, WHOLE SEAWEED

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6 cups water + 100g whole seaweed boiled

PROCESS DETAILS

RESULTS

Boiling seaweed smelt strongly to others but not to me. Water turned a brownish colour while boiling. Dyed fabrics have a subtle tint of a pinkish/brown colour. Not very strong colour.

Water in jar stronger colour than Test 1, but much less water remained in jar after seaweed and fabrics removed. Fabrics have a stronger colour than Test 1 but still not a particularly strong colour, again a warm pinkish-brown.

No outcome, have discovered that solar dye jars donâ&#x20AC;&#x2122;t work for seaweed, seaweed needs to be boiled to release colour for dying.

Seaweed at the top of the jar (above the water level) went mouldy.

APPENDICES

TEST 5: 27 JUNE

TEST 6: 5 JULY

TEST 7: 5 JULY

TEST 8: 29 JULY

200g seaweed added to 12 cups water along with prepped fabrics and boiled for 1 hour

Seaweed boiled in water for 1 hour along with fabrics. After 1 hour transferred the water + seaweed + fabrics into a glass jar to leave solution to soak. Solution soaked for 9 days.

When I tried to transfer the solution to the jar straight from the hob, the bottom of the glass jar I was pouring into broke off in the sink so I lost most of the dye liquid down the drain. I caught what was left in a new jar, but the colour of the fabrics is quite weak (paler than Test 2) and I think the lack of dye water might be the reason for this.

DYE WATER Remnants of Added 1 cup vinegar to Dye has hardly altered the MIXED WITH dye water the dye water left over colour of the fabrics, they VINEGAR left from from dye Tests 1 & 2 (had look pretty much the same Tests 1 & been sitting for 9 days after as before soaking so this 2 + 1 cup boiling). Prepped fabrics attempt has not worked. vinegar, added and soaked for 3 Waste dye water smells so fabrics days. much nicer than the spirulina soaked for 3 powder dye water. days USING Water used To make seaweed paper I The colour from this dye test WATER FROM to make boiled the seaweed from has been retained so much SEAWEED seaweed previous dye tests 1, 2 & better in the fabrics, this is PAPER BOILED paper 5 in water + soda ash for the strongest colour I have WITH SODA (boiled with 1.5 hours. The water went achieved yet! Dye water still ASH soda ash) much darker than when smelt much more pleasant + 1 cup the seaweed was boiled in than spirulina, a sort of vinegar, water alone so I saved it. sweet, burnt smell. Colour fabrics Water poured into jar with is a warm brown, like tea soaked for 3 1 cup vinegar and then bags. days prepped fabrics submerged for 3 days.

TRYING 284g wet Mixed all together and Fabrics have achieved that SUCESSFUL DYE seaweed + simmered for 2.5 hours. lovely dusty rose colour METHOD WITH 2L boiled Fabrics then added and I managaed to get with SEA WATER water + simmered for a further 4 Channelled wrack test 1.

120g sea hours. All left on hob in Luckily I put linen for a water saucpan overnight. Vinegar napkin in this dye and itâ&#x20AC;&#x2122;s medium and salt added next day come out a lovely pale pink. and left to soak for 2 days, Sea water really helps. then rinsed with cold water and dried.

BOILING FRESH, WHOLE SEAWEED WITH FABRICS

Observations: - Boiling the seaweed is necessary to release the colour, also helps to boil the fabric in with the seaweed (once the seaweed has already been boiling with water for 1 hour) - Pouring boiling water into glass jars causes the glass to crack - wait for water to cool down - Boiling seaweed with water + soda ash releases far more pigment into the dye water - Boiling with sea water medium creates a much softer pink tone from seaweed when simmered for a long time

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APPENDICES

T E ST I N G : S E AW E E D TO DY E T E X T I L E S CHANNELLED WRACK TEST + DATE TEST 1: 15 JULY

TEST 2: 17 JULY

TEST 3: 17 JULY

TEST 4: 28 JULY

TEST 5: 29 JULY

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PURPOSE OF TEST

INGREDIENTS

Mixed the boiling water, sea water medium and wet seaweed in a pot on the hob. Simmered for 2.5 hours, then added fabrics and simmered for a further 3.5 hours. Once cool, solution decanted into jar (barely any liquid left) and separated from remaining leaves. Left for 2 days, then added 1 cup cold water + 1/4 cup vinegar and some salt, shaken and soaked for 9 days.

USING 500ml Using waste paper making WASTE WATER waste water water + 300g wet seaweed from paper + 2L cold water + 8tbsp FROM PAPER making washing soda/soda ash, MAKING, NO boiled for 3 hours and VINEGAR seaweed strained out.

500ml of this water added to jar with prepped fabrics and soaked for 7 days.

USING WASTE 500ml Using waste paper making WATER FROM waste water water + 300g wet seaweed + 2L cold water + 8tbsp PAPER MAKING from paper making + 1 washing soda/soda ash, + VINEGAR cup vinegar boiled for 3 hours and seaweed strained out. 500ml of this water + 1 cup vinegar added to jar with prepped fabrics and soaked for 7 days.

RECREATING 530g Mixed the boiling water, TEST 1 FOR seaweed sea water medium and (wet) + 3L wet seaweed in a pot on FINALS boiled water the hob. Simmered for 2.5 + 120g hours, then fabrics added sea water and simmered for a further medium 4 hours. All left in the pan overnight, then decanted into 2 glasses next day (1 x 1L, 1 x 1.5L) with 1 cup vinegar and a dash of salt. Soaked for 1 day then rinsed under cold water.

REUSING Seaweed Mixed all together then SEAWEED from test 4 simmered for 1 hour 45 + 1L boiled mins, then added fabrics FROM TEST 4 water + and simmered for a further WITH SODA 1tbsp soda 4 hours. Left to soak ASH ash + 60g overnight, then 1 cup sea water vinegar added and left to medium soak for a further 2 days.

Rinsed under cold water and left to dry.

TEST IF SEA WATER HELPS AS A MORDANT

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1.5L boiling water + 60g sea water medium + 300g wet seaweed

PROCESS DETAILS

RESULTS

Water went a nice warm red/brown colour which I was not expecting. Fabrics look a dull purple/red once out of the water but this took a while. Once removed from jar and rinsed with cold water, the fabrics have retained a lovely rosy pink!

This is my favourite colour from all of the dye tests so far.

Fabrics have taken on a dull yellow-green colour but are still so pale in comparison to Test 3 - they really need to soak with vinegar!

Fabrics have retained a strong pinkish-brown colour.

One of the most pigmented of all of my dye tests. I think the duration of soaking with the water has helped.

Boiling with soda ash also seems to be the best way to extract colour for dying.

Fabrics have been sucessfully dyed but have a more orange/brown colour than the previous dusty rose.

Colour still lovely though and can use linen napkin for photos.

Used to compare rhubarb mordanting vs. just vinegar.

Rhubarb fabrics definitely darker, but this is probably just the colour the rhubarb adds. Not much pigment, must have been used up in Test 4.

APPENDICES

APPENDIX G

A LGA E A P P L I CAT I O N S: SPIRULINA POWDER DYE PHOTOS

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APPENDICES

WHITE LINEN DUNKED IN DYE VAT WHEN FIRST MIXED

TEST 1

Dyes with all fabrics, scoured but not mordanted unsucessful. Very little colour achieved, fabrics just look a bit dirty. Need to mordant fabric before dying.

Spirulina powder was also very bitty as seen in photos, so will strain powder out of solution next time.

DYED FABRICS

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APPENDICES

PASTE SCRAPED FROM STRAINING CLOTH

TEST 2

Dyes with all fabrics, scoured and mordanted with cold vinegar still unsucessful. Very little colour achieved, fabrics look similar to Test 1. Strained spirulina/water before adding fabric which seemed to help consistency and attained a spirulinapowder paste which could be used for painting.

DYED FABRICS

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BOILING IN VINEGAR + WATER TO MORDANT

TEST 3

Dyes with all fabrics except from natural linen, scoured and mordanted with boiling vinegar and water. Spirulina added in greater ratio (8tbsp : 3 kettles of water) and left to soak overnight. Water a really nice teal colour in the morning (photo bottom row on left).

Strained excess powder from water but there was hardly anything there. Boiled fabrics in dye for 1 hour and left overnight. Boiling the spirulina seems to dull the colour to a horrible muddy green/brown which I donâ&#x20AC;&#x2122;t want, I was hoping for the nice teal colour above.

Sludge also seems to appear when boiling the spirulina as there was lots when I removed the fabrics, even though it had previouslybeen strained.

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DYED FABRICS

APPENDICES

TEST 4

After the awful colour change when boiling the spirulina in Test 3, for Test 4 I left the spirulina in cold water and didnâ&#x20AC;&#x2122;t strain, as this had seemed unnecessary.

Also tested out lower ratio - 6tbsp spirulina powder : 3 kettles cold water. When I returned to spirulina powder/ water after 1 day, it was warm. Submerged fabrics into dye vat then removed and left to dry, rinsed once dry.

Outcome is more blue, though not as strong as the dunk test from Test 3 which is what I was aiming for.

DYED FABRICS

TEST 5

Used the same dye vat as for Test 4 for this test.

Left fabrics in cold dye vat overnight (23 hours) then removed and rinsed.

Outcomes paler than those from Test 4 which I did not expect. Also have a more green tone than the blue of Test 4. Happy that the colours are improving slightly, but would still prefer outcomes to be more dark/vibrant. Will therefore continue dying in a cold spirulina soak, but with a higher volume of spirulina powder. Will also strain before dying as residue left on fabrics.

DYED FABRICS

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APPENDICES

S O L A R DY E T E ST W I T H

S P I R U L I N A P OW D E R

TEST 6

I am testing out a solar dye jar for Test 6 - this seems like a good idea as heat helps dye to lock into fabric, but spirulina becomes discoloured when heated on the hob so hopefully solar dying will be sucessful as it provides a more gentle heat. Fabric prepared in same way: scoured and mordanted in boiling vinegar and water. Fermentation jar used, contains 2tbsp spirulina powder in just under 1 kettle full of cold water. Jar sat out on the table on my balcony to get sun. Left for 18 days. Dyed outcomes are more of a grey/brown colour rather than the bright green I was hoping for.

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APPENDICES

TESTS 7 AND 8

Spirulina was left to soak in water overnight, before one jar (Test 7) was strained to remove any solid bits of spirulina, Test 8 was not strained. Dye jars were both left outside on the balcony for 1 day in rainy 19C conditions. Outcomes are a pleasant green/blue but very pale. Test 8 was less even in colour than Test 7 which I think was due to the different straining approaches to each test, with excess algae clinging to the fabric of Test 8 in places. Results from this have made me decide to strain spirulina from all future dyes.

IMAGES ABOVE - USING LINEN TO STRAIN THE SOLID SPIRULINA FROM THE DYE WATER OF TEST 7 BEFORE ADDING FABRICS

TEST 7 - STRAINED

TEST 8 - NOT STRAINED

TEST 7

On this side (left) are photos of dye tests 7 & 8 when they were still wet.

They had been freshly removed from the dye bath and rinsed with cold water.

TEST 8

On this side (right) are photos of the fabrics once they have had time to dry after being removed from the dye.

The colours have changed quite a lot and grown paler, with small patches of vivid blue.

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APPENDICES

TEST 9

TEST 9 - WET

Fabric dunked in the dye jar from Test 8 - after fabrics from Test 8 were removed and contents of dye jar strained to remove solid bits of spirulina.

Fabrics dunked and left to dry without rinsing.

TEST 9 - DRY

RHUBARB LEAVES

Rhubarb leaves contain certain tannins that when boiled with fabrics, allow natural dyes to “bite” much more effectively and show better colours. After all of my unsucessful dye tests, I renewed my search for rhubarb leaves (not available in shops, nor garden centres, no response from local allotment groups when contacted asking for waste rhubarb leaves, no friends or family grow rhubarb) and resigned to ordering a rhubarb plant online, to grow my own leaves at home. The rhubarb plant does not look too healthy, however soon after it arrived I had sucess with adding vinegar for Test 10 so it may not be needed after all!

UNEVEN COLOURING

RIGHT PAGE - TESTS 10 AND 11

COMPARING EFFECTS OF VINEGAR AND LEMON JUICE I wanted to test adding lemon juice and vinegar to the dye as I have heard that due to being very acidic and alkaline respectively, they can both alter the brightness and tone of different natural dyes. Reusing the dye water from Tests 7 and 8, both strained after fabrics removed, I added 1/2 cup of white vinegar added to dye water from Test 7 and fabrics added - becoming Test 10.

After dunking fabrics for Test 9, 1/2 cup of lemon juice added to the dye water of Test 8 and fabrics added - becoming Test 11.

Fabrics soaked in jars for 1 day near a window (not sunny or warm enough to leave outside). The spirulina powder separated from the liquid with the addition of the lemon juice and the vinegar - shown in top left image on page to the right. Image also shows the difference in colour of the dye solution caused by the vinegar - more blue (left) - and the lemon juice - more teal/green (right).

I was really pleasantly surprised by the colours that these dye baths achieved. My previous dye tests haven’t revealed particularly bright or vibrant colours on the fabrics which disappointed me, as I was expecting strong colours due to the rich pigment of the spirulina powder I am using. The addition of vinegar particularly to the fabric when in the dye bath seems to have made all the difference, and gave Test 10 a range of lovely vivid blues (images on right page). The lemon juice for Test 11 has not given quite such vibrant shades, but still a stronger colour than previous tests and more of a green-tone than the vinegar. This is the breakthrough that I have been hoping for! Now to do more experimenting and check that the colours don’t wash out!

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APPENDICES

TEST 10 - ADDED VINEGAR

TEST 11 - ADDED LEMON JUICE

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APPENDICES

TESTS 12 AND 13

TEST 13

TEST 12

EFFECTS OF VINEGAR WHEN ADDED TO ALGAE + WATER BEFORE VS AFTER SOAKING OVERNIGHT For Test 10 I added vinegar to pre -soaked alage (spirulina had been in water for about 2 days already) and this was the most sucessful dye test Iâ&#x20AC;&#x2122;ve had so far. I wanted to check if adding the vinegar earlier (at the beginning when the spirulina and water are first mixed and left to soak) would give even better results vs. adding vinegar after the spirulina had been left to soak in water overnight , like before. I used the same quantities of everything and left for the same times, only altering when I added the vinegar. Test 12 had vinegar mixed with water and spirulina powder before soaking overnight, Test 13 had vinegar added after the spirulina and water had soaked overnight.

Consistency was very different between the two tests, with the spirulina in Test 12 separating from the liquid (shown in image on left) and the spirulina strained from Test 12 was very grainy, whereas spirulina strained from Test 13 was much more sludgey.

TEST 12 - GRAINY SPIRULINA POWDER WHEN STRAINED

TEST 12

TEST 13

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Test 12 was entirely unsucessful with the dye not staining the fabrics at all, whereas Test 13 (which used the same composition as previous sucessful Test 10) was very sucessful and created a vibrant blue dye. The results of these two tests show that the optimum time to add vinegar to the dye is after the spirulina and water have been left to soak and strained.

TEST 12

TEST 12

TEST 13

TEST 13

APPENDICES

TEST 14

ADDING LEMON JUICE As adding lemon juice to Test 11 altered the colour of the dye to a more green shade, I thought Iâ&#x20AC;&#x2122;d test adding lemon juice to my already sucessful mix with vinegar. My hope was that using the vinegar would bind the dye to the fabric while the lemon juice alters the colour.

At this point, I realised that my documentation of all of the individual dye tests was becoming far too extensive and I needed to condense the information I was putting into the log, so I moved this section to the Appendix and have summarised the rest of my findings in Chapter 4.

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APPENDICES

APPENDIX H

PROFESSIONALISM: S C H O L A R S H I P A P P L I CAT I O N

I M PAC T & I N N OVAT I O N S U M M E R S C H O L A R S H I P WHAT IS THE IMPACT & INNOVATION SCHOLARSHIP? The Faculty of Arts, Creative Industries & Education is funding up to 10 Impact & Innovation Scholarships, delivered by the UWE Enterprise team. The scholarship provides a funding opportunity and an 8 week programme of support aimed at any student with an innovative idea around public engagement. You will be assigned a mentor and receive one -to-one support to help develop your ideas.

IDEAS COULD INCLUDE: • Installation artwork • An art, cultural or media exhibition around a particular theme • A collaboration with a student in another faculty, for example a health or social issue communicated through a visually appealing experience/exhibition • An interactive educational experience for the general public • A dramatic performance or film showcase • Research into the public's views on a particular issue AM I ELIGIBLE? The Impact & Innovation Scholarship is open to all UWE undergraduate and postgraduate students. In order to take up a scholarship you must agree to: • spend a minimum of 14 hours a week working on your idea • attend three virtual meetings with UWE Enterprise and maintain regular contact with your mentor • complete all necessary paperwork and a pre and post questionnaire to help us evaluate the scholarship

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APPENDICES

S C H O L A R S H I P A P P L I C AT I O N : AMAZING ALGAE

CONCEPT

A short, sharp description of your idea! Provide a brief and simple overview of your Concept including what it is and what it does. It could also include what problem it solves or need it meets. You can add images or a video link if it helps!

Algae is a group of water-based plants that ranges from large formations like seaweed and kelp, down to the small edible micro-algae: Spirulina. Algae is gradually increasing in popularity, with the benefits of being a photosynthetic organism (uses sunlight to convert CO2 into O2) but without the requirement for the vast amounts of land needed by other plants to perform the same exchange.

While environmentally beneficial to grow, algae also has a multitude of applications once harvested.

Various types of algae can provide a healthy source of food, alongside multiple uses within other industries, such as a sustainable dye for the textile industry, bio-fuel, a natural and edible form of plastic food packaging and a fast-growing material to make paper from.

The challenge that currently prevents algae from becoming a more prominent feature within many industries (such as food, textile and design) is the publicâ&#x20AC;&#x2122;s preconceptions about it. Algae is often assumed to be a gross, undesirable and potentially harmful life -form, which makes people recoil at just the mention of it.

My goal is to normalise the use of algae, enabling it to become a popular material which can be used on an industrial level and replace less sustainable alternatives.

KEYWORDS Algae, Bio-Design, Sustainability, Ecological, Interiors, Environmental, Pollution, Architecture, Glass, Recycling, Textiles, Design, Air, Diet

SCHOLARSHIP WHY ARE YOU THE RIGHT PERSON FOR THIS SCHOLARSHIP? Think about what makes you the ideal person to take your idea forward.

As a previous beneficiary of the Enterprise Summer Start-Up Scholarship in 2019, I am familiar with how the process works and found it to be an extremely beneficial experience. Immersing myself in the scholarship program last summer greatly helped the progression of my ideas and provided a format in which I found I was able to produce some of my best work. I believe that the Impact and Innovation scholarship is the best fit for this concept, as the overall goal is to engage the public in order to normalise and promote the use of algae.

Algae has been the focus for all of my work throughout this academic year, which has enabled me to gain a full appreciation of it at all stages of its lifecycle - from growing it myself, nurturing and maintaining the living algae, to creating vessels for it to live in, harvesting the algae and then exploring some of its applications for the food and design industry. Being immersed in the whole circular use of the algae has given me a passion and appreciation for it as a plant and as a material, which I want to engage the public in too.

Over the last academic year I have tried growing various different types of algae. Through my experience and additional research into the types of algae, I believe that Spirulina is the most viable type as it has been the easiest to source, grow, has had the highest yield and has the most uses. This is the type of algae that I intend to focus on for the scholarship.

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APPENDICES

WHAT WOULD YOU AIM TO ACHIEVE BY THE END OF THE 8-WEEK SCHOLARSHIP? Think about how the ÂŁ1000 could support you/your idea and how the eight weeks of support and mentoring will help you to take your idea forward.

I intend to begin the 8 week scholarship by determining the best platform to use in order to engage the public with the algae. Ideally, this would have been through an exhibition or installation that could be visited in person, however due to the current situation caused by the Covid-19 outbreak, the format of this will need to be re -assessed.

I will then continue my research into algae by performing further tests and experiments to help develop a rage of pieces that the public can engage with, while considering the best approach to suit the format of display I will have to use - probably through a digital channel.

I envisage the outcomes being a range of vessels made from sustainable and recycled materials to contain and grow the algae (focusing on Spirulina - the edible micro-algae) with innovative solutions as to how to maintain and harvest the algae. This range of vessels will ideally be self-contained and selfsustaining, with one large scale example as a focal point and several smaller-scale pieces better suited for domestic use, making algae more accessible to the public as they can buy the smaller pieces to grow algae in their own homes. I have certainly found that growing the algae myself has made me more fond of it and has increased my knowledge around the subject, so I think that offering the public the opportunity to raise and nurture algae themselves would be a great way to normalise it and make them feel more positively towards algae.

In addition to the vessels to grow algae, I would also like to develop a sophisticated library showcasing examples of algae being used as an alternative for other, less-sustainable materials, such as for dying textiles or painting. The aim of this is to show the potential of algae as a material with many different applications.

Alongside further practical research into algae and the development of outcomes, I will utilise the enterprise facility to get help with finding contacts and establishing my place in the market. This is quite an important area for me to develop, as the success of the project really relies on accessing additional funding to continue and build the project to a scale that could be industry-impacting. As such, I also need to carefully consider how to market such an idea, both to the public and to potential collaborators (like businesses who could help with research/funding/facilities) and will need to develop a mature presentation to pitch for further funding.

At the end of the 8 weeks, the outcome of this project should have been realised and I will be able to engage the public through whatever means are most appropriate at the time. This will be through some form of showcase exhibiting the algae growing in my vessels and the many uses for harvested algae. I think it would be good to display all of this together in some form, to show the full story of the algae like a life -cycle. In addition, I hope to have the relevant materials prepared by the end of the scholarship to be able take the concept to the next step and attain additional funding and assistance.

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APPENDICES

CUSTOMERS & MARKET MARKET/RESEARCH/IMPACT Who is your project targeting and what impact will your research/project have?

At this stage there are two main audiences that I will focus on. The first portion of the target audience is the general public, specifically those who already have an interest in the environment and living a sustainable lifestyle. The goal with this audience will be to change perceptions around algae and showcase its many benefits as a sustainable, natural material, demonstrating how versatile it can be.

Familiarising the public with algae normalises it as a material and ideally would make them more inclined to choose it in the future (in preference to less sustainable materials), making it a more appealing material for the industry to use, as consumers are already invested in it.

The second audience to be targeted will be potential collaborators such as businesses and researchers who have the resources (financial, facilities and knowledge) to help me to further research, develop and produce products based on algae. As with the first section of the target audience, existing perceptions of algae will need to be challenged to enable the audience to approach the concept with an open mind.

The goal here is to change perceptions in order to gain support to further the reach of my campaign, normalise algae and to position it as a desirable material to incorporate into industry.

From both of these audiences, the desired impact is for the public to engage with the algae and change their preconceptions about it, making it a material that they like and are interested in. This in turn will hopefully push the industry into seeing that algae is a desirable and viable material to invest in as consumers want it, itâ&#x20AC;&#x2122;s easy to grow and it is ecologically sound. If the industry adopt algae as a commonly used material, they can then cut the use of any unsustainable alternatives currently in use, which will lower their negative environmental impact and help the climate.

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APPENDICES

APPENDIX I

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Fast fashion, unethical ingredients, animal cruelty

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2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

NameGive your persona a descriptive name, e.g. Arty Anne AgeEg. 60s GenderEg. Cis het Woman EthicnictyEg. English but loves travel and exploring other cultures Where do they live?Eg. Homeowner from Dulwich Relationship StatusEg. Married (advertise to their partners for xmas gifts) KidsEg. Children are adults, has fincial freedom Education level / employementEg. Art History MA, works as a curator InterestsEg. The Arts, Ceramics, Cyclings, Travelling, Cooking, Photography Political StanceEg. Liberal, Left Wing, Feminist Dislikes / Pain PointsEg. Painful joints, busy places, bad quality mass produced products Lifestyle choicesEg. Vegan, loves cycling, and hiking Listens toEg. World Music, Jazz, Acoustic WatchesEg. Grand Designs, Classic Movies, Cooking and Gardening shows News sourceEg. The Guardian, BBC Radio, LBC Fashion/StyleEg. Comfortable, colourful and quirky Where do they shopEg. Craft Fairs, Waitrose, Farmers Markets, Art Galleries Fave brandsEg. Anthropologie, M&S

Sustainable Stephanie 20-35 Heterosexual female, but strong LGBTQ+ supporter White British, enjoys experiencing other cultures Renter in Bristol Single No children, has financial freedom Educated to at least degree level, works in a start-up/independant shop Art, travel, the environment, photography, interiors, causes Liberal, left wing, feminist, animal rights activist, environmental activist Fast fashion, unethical ingredients, animal cruelty Vegetarian/vegan, shops at the local whole foods store Reggae, indie Unsolved murder mysteries, Grand Designs The Guardian, Greenpeace Vintage, hippy, florals, knitwear, quirky Farmers markets, Pret, Etsy, charity shops/vintage stores, independant book shops, record shops The Body Shop, Urban Outfitters (but feels guilty about contributing to fast fashion)

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What products do they like?

Anything that says it's "sustainable" or "ethical", love clothes and homewares, collector of tote bags and reuseable coffee cups

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What problems does your brand solve for them?

How do they feel when they use products/services?

Sustainable alternatives to issues they face when shopping at fast-fashion retailers, products which offer a conversation starter Guilty if it's from a big brand, proud& helpful if it's from a small independant shop

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CUSTOMER 2: M AT E R I A L I ST I C M A N DY Arial

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Alexandra Richardson APPENDICES

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Customer Profile

2

NameGive your persona a descriptive name, e.g. Arty Anne

Materialistic Mandy

3

Age60s

35 - 50

4

GenderEg. Cis het Woman

Heterosexual female

5

EthicnictyEg. English but loves travel and exploring other cultures

White British

6

Where do they live?Eg. Homeowner from Dulwich

Reading

7

Relationship StatusEg. Married (advertise to their partners for xmas gifts)

Married

8

KidsEg. Children are adults, has fincial freedom

Kids at school/college/uni, has to balance work and childcare

9

Education level / employementEg. Art History MA, works as a curator

Degree educated, works in finance, hates her job but likes having a chat with colleagues

10

InterestsEg. The Arts, Ceramics, Cyclings, Travelling, Cooking, Photography

Gin, brunch, shopping, celebrities

11

Political StanceEg. Liberal, Left Wing, Feminist

Middle, benefited by Conservatives but prefers Labour views

12

Dislikes / Pain PointsEg. Painful joints, busy places, bad quality mass produced products

People who ignore homeless people, missing out on a discount

13

Lifestyle choicesEg. Vegan, loves cycling, and hiking

Enjoys walking and brunch, tries to do regular yoga and mindfullness activities

14

Listens toEg. World Music, Jazz, Acoustic

Pop

15

WatchesEg. Grand Designs, Classic Movies, Cooking and Gardening shows

Bake off, Dramas, Soaps but only when she's ill

16

News sourceEg. The Guardian, BBC Radio, LBC

Facebook, Sky News Channel (husband's choice)

17

Fashion/StyleEg. Comfortable, colourful and quirky

Stylish, jeans and a nice top with heels/boots

18

Where do they shopEg. Craft Fairs, Waitrose, Farmers Markets, Art Galleries

House of Fraser, Designer Outlet Villages, Tesco

19

Fave brandsEg. Anthropologie, M&S

Mulberry (only has one bag but wants them all), Next, Ted Baker

20

What products do they like?

Bags and shoes, she has a wardrobe for each

21

What problems does your brand solve for them?

Provides them with the information to enable them to consider the environmental impact of their shopping habits, also provides mor

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B Customer Profile

2

NameGive your persona a descriptive name, e.g. Arty Anne

3

Age60s

Business Bob 45

4

GenderEg. Cis het Woman

Heterosexual male

5

EthicnictyEg. English but loves travel and exploring other cultures

White British

6

Where do they live?Eg. Homeowner from Dulwich

Surrey

7

Relationship StatusEg. Married (advertise to their partners for xmas gifts)

Married

8

KidsEg. Children are adults, has fincial freedom

Has children but can afford to spend money freely, children in private schools

9

Education level / employementEg. Art History MA, works as a curator

Probably has an MBA, has started several businesses which he's still involved in

10

InterestsEg. The Arts, Ceramics, Cyclings, Travelling, Cooking, Photography

Technology, photography, travel, fine dining

11

Political StanceEg. Liberal, Left Wing, Feminist

Conservative

12

Dislikes / Pain PointsEg. Painful joints, busy places, bad quality mass produced products

Poor quality products, anything "cute" or fussy, complainers, tat

13

Lifestyle choicesEg. Vegan, loves cycling, and hiking

Goes for a 5k run every morning before work, buys British produce, likes to pay a little more to get good quality

14

Listens toEg. World Music, Jazz, Acoustic

Smooth jazz, classic rock

15

WatchesEg. Grand Designs, Classic Movies, Cooking and Gardening shows

Grand designs, the gadget show, tour de France

16

News sourceEg. The Guardian, BBC Radio, LBC

BBC news app alerts

17

Fashion/StyleEg. Comfortable, colourful and quirky

Good quality, smart/casual, nice jeans/chinos and a shirt (top button undone)

18

Where do they shopEg. Craft Fairs, Waitrose, Farmers Markets, Art Galleries

John Lewis, department stores, Waitrose

19

Fave brandsEg. Anthropologie, M&S

Apple, Hugo Boss

20

What products do they like?

The newest tech and gadgets, smart home equipment

21

What problems does your brand solve for them?

Provides them with an investment opportunity in new innovative sustainable company, feeling of contributing to a "better future"

Customer 1 CalculaDon Mode: AutomaDc

Customer 2 Workbook StaDsDcs

Customer 3 Help Improve Office

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APPENDICES

APPENDIX J

P H O TO G R A P H Y I N S P I R AT I O N

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APPENDICES

Natural Dye Photography Inspiration

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APPENDICES

Food Photography Inspiration -

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APPENDICES

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APPENDICES

APPENDIX K

S U STA I N A B I L I T Y R E V I E W BIOPLASTICS

Bioplastics are plastics made from a biological material (plant or other) rather than petroleum.

I briefly experimented with creating my own bioplastics at the beginning of Chapter 3, then have considered it since to create a composite to use as an alternative to jesmonite.

POSITIVES • Bioplastics like PLA can be carbon neutral as only carbon absorbed when the plant was growing is released as the plastic degrades • Produce significantly fewer greenhouse gasses over their lifetimes than conventional plastics • If bioplastics were made using renewable energy, this could reduce greenhouse gas emissions by over 50-75% • Promising alternatives in production, including a type of bioplastic made using algae and bacteria (Bioplastics Magazine, 2017)

N E GAT I V E S • Pollution from fertilisers and pesticides used to grow the materials that become bioplastics • Chemicals used to convert natural materials into bioplastics (soaked in sulphur for example) • Extensive land usage for growing crops to become bio plastics - deforestation issues • Bioplastic production competes with food production for the plants it uses like corn • Need high temperature industrial composting facilities to break down • If bioplastics are deprived of oxygen (like in landfill) they may release methane which is 23 x more potent than CO2 • Contaminating other plastics would mean that other plastics can no longer be recycled and would have to go to landfil • 20 - 50% more expensive to create/buy bioplastics than conventional plastics

C L AY

I have used clay when slumping and casting in glass to help create moulds. I also considered using clay to create the supporting elements of some vessels in Chapter 3, but did not carry this out.

POSITIVES • Long lasting • Durable • Can withstand heat and wet • Clay is a natural and plentiful material • Needs little processing once extracted from the ground • Mouldable and versatile

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N E GAT I V E S • Harmful chemicals in glazes • Glazes can mean ceramics take centuries to break down • Ceramics require temperatures in the thousands of degrees to be fired which uses a lot of energy - in industry this may fire a lot of pottery, but not at uni

APPENDICES

F O R R AG E D S E AW E E D

I used seaweed collected from Clevedon beach for some tests in Chapter 4.

POSITIVES • Natural material • Grows naturally without farming (in the case of the seaweed I collected) • Plentiful across the world • Generates oxygen as it grows (up to 5 x more than most land plants) • Carbon neutral as any CO2 released will just be CO2 it took in while growing • Sourced locally (12 miles away) so low transport emssions

N E GAT I V E S • Taking away part of the marine habitat, may displace small creatures • Transported by car so some emissions

GROWING ALGAE

10 months growing spirulina, red and gold algae at home in an LED lightbox.

POSITIVES • Only renewable energy used to power LED lightbox (our home electric is only from renewable sources) • Don’t require much water to grow • Only power used was energy efficient LED, no other electronics used • Only requires some nutrients every few weeks • Waste water not toxic

N E GAT I V E S • Algae shipped a long distance to reach me (two shipments from Sweden, two from USA) • LED lightbox made from plastic • Lots of water used to clean out algae growing containers and wash up filter fabrics • Accessories like thermometers etc. not made from sustainable materials - really difficult to find info about this • Plastic dymo labels to label each culture

JESMONITE

Jesmonite is a water-based composite made from gypsum and acrylic, commonly used as a building material. Some refer to jesmonite as an “eco-resin”.

I have used jesmonite as a test vessel (test tube holder) in Chapter 3, before deciding to switch to reclaimed wood. I also used jesmonite extensively in Chapter 4 as a composite coloured with algae.

POSITIVES • Gypsum, the main component in jesmonite, is a naturally occurring mineral and found in abundance across the planet • Gypsum is usually sourced near the manufacturing facilities, limiting transport distance • The durability of jesmonite enables it to have a long lifespan, even outside (pottentially many decades) • Process of manufacturing gypsum is often energy efficient • Versatile • Safe to use without needing specialist PPE • Jesmonite is made in accordance with BS EN 9001:2015 - an internationally recognised symbol of quality • Jesmonite is water based so less dangerous than many alternatives • Mix exact amount required so minimal waste

N E GAT I V E S • Jesmonite contains acrylic which is a plastic and so not natural or able to decompose • Acrylic can release harmful chemicals into the air

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APPENDICES

LASERCUT TING

I used lasercutting to create some templates from plywood and acrylic off-cuts. These templates were used to create mock ups for algae vessels in Chapter 3. If the fabric paint tests had been sucessful, I would have also planned to use laser cutting to create stencils for screen prinitng.

POSITIVES • Time saving • Saves materials - less waste than other ways of cutting wood as can digitally plan designs to fill entire surface of material and edges are usually cleaner cut so less waste material through sanding and finishing • Can use offcuts/waste materials

N E GAT I V E S • High power consumption

LED LIGHTS

LED lights only used in tests as no vessels completed, but would have provided light to algae living in the vessels.

POSITIVES N E GAT I V E S • Up to 80% more efficient than traditional • Not made with natural materials lighting • No harmful materials used in construction • Longer lasting and more durable than other lights • Made from recyclable materials

PLASTER

I used plaster to make moulds for glass slumping, casting and fusing tests.

POSITIVES • Can withstand the high temperatures of a kiln • Easy to use and versatile • Mix exact amount required so minimal waste

N E GAT I V E S • Water pollution from cleaning up • Moulds are single use, unlike silicone • Can be harmful to inhale

P LY W O O D

Ply Wood used for laser cutting templates for vessels in Chapter 3.

POSITIVES • Made from wood: a renewable resource • Strong • Carbon neutral (in the material, not for energy used to cut, store and transport)

N E GAT I V E S • Deforestation if not sourced sustainably • High energy consumption for transportation • Chemical pollution

RECLAIMED WOOD

Reclaimed wood was supposed to be used to create vessels in Chapter 3.

POSITIVES • Made from wood: a renewable resource • Reusing a material that would otherwise be thrown away • Strong • Carbon neutral (in the material) • Reclaimed locally so less energy used for transportation - I collected my reclaimed wood on foot

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N E GAT I V E S • N/A

APPENDICES

R E C YC L I N G G L A S S

I sourced damaged glass from my place of work to use within this project. Work are unable to recycle the glass as it is in sheets and so does not fit in conventional bottle-shaped recycling holes.

Waste glass recycled through casting, slumping and fusing.

POSITIVES • Using material that would otherwise be sent to landfill • Using less natural resources than would be used making glass afresh

N E GAT I V E S • High energy consumption for kiln • More energy used as have to use a whole kiln to myself for a small amount of work • More testing required as don’t know the composition of the glass = more energy used in firing tests in kiln • Recycled glass could be weaker as is being re bonded • Lack of clarity in surface

R E C YC L I N G PA PA E R

Waste paper blended with algae to create coloured recycled paper.

POSITIVES • Only energy required is for blender which uses renewable power • Using waste material (damaged paper) • Waste is natural

N E GAT I V E S • Lots of waste water - could overcome this by using water from baths/rain etc • Uses lots of kitchen roll - can reuse kitchen roll once dry, or could swap for a machine washable, absorbant fabric • Time consuming

SANDBL ASTING

Sandblasting used to create surface patterns in sheets of waste glass in Chapter 3.

POSITIVES • Sand is constantly reused within machine • No chemicals used • No heat as pressure of sand is enough to create impressions in surface of glass

N E GAT I V E S • Energy consumption of machine (although much lower than kiln)

S E AW E E D PA P E R

Paper sheets made entirely from foraged seaweed.

POSITIVES • Only energy required is provided by renewable sources • Using natural material (seaweed) • Waste will all be natural

N E GAT I V E S • Lots of waste water - could overcome this by using water from sea/baths/rain etc • Time consuming • Lots of faliures • Boiling for hours with soda ash uses lots of energy and affects air quality, water pollution

SHOP BOUGHT ALGAE

Shop-bought algae used in tests for Chapter 4, including to eat.

POSITIVES • Algae is a natural material • Improves air quality while growing • Renewable resource • Can grow in hostile areas so doesn’t take land from crops/animals

N E GAT I V E S • Energy consumption through transporting as most algae is grown around China • Energy consumption through transporting to me • Energy consumption through any processing by the retailer/maufacturer L I V E E V E RY DAY A L GA E

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SILICONE

SIlicone is a polymer mostly comprised from silica found in sand.

Silicone used to create moulds for casting in jesmonite in Chapter 4 and 2, as well as to create part of a vessel mock up in Chapter 3.

POSITIVES • Durable and long-lasting • Mould can be reused numerous times unlike plaster • Mix exact amount required so minimal waste • Easy to clean • Made from sand which is more abundant than oil (which plastics are made from) • Non toxic, even when it breaks down (eventually) • Recyclable multiple times • Versatile

N E GAT I V E S • Uses sand to creat silicone, some areas are already losing their sand and so are losing land • Also uses extracts from oil, so non-renewable • Uses a great deal of energy to create

TEXTILES

All textiles used in this project were made from natural, certified organic fibres sourced from Welsh company Organic Textile Company.

POSITIVES N E GAT I V E S • Renewable resource • Transportation of fabrics from India to UK, then • Grown without harmful synthetic chemicals and from Wales to me fertalisers - less harmful to insects and wildlife, • Take up land which could otherwise be used less polluting for food • Ethical working conditions • Water consumption/waste (although not as bad as non-organic)

T E X T I L E DY E S

Dying organic textiles using different types of algae.

POSITIVES • Renewable materials • Energy used is all from renewable sources • Textiles are permanently dyed • Natural materials used for dyes • All substances used (except soda ash) are safe for human consumption • Can do large quantities at once

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N E GAT I V E S • Lots of waste water • Polluting - soda ash and vinegar, could adjust pH of water and form harmful substances • Worsens air quality • Smells really bad at times • Energy consumption (although all renewable) is high from multiple times boiling fabrics and materials to use as dyes - all fabrics boiled for 2 hours to scour and a further hour with vinegar, then pottentially a third time for up to 6 hours with the seaweed

APPENDICES

APPENDIX L

EXPENSES DATE

PRODUCT(S)

QUANTITY

23/09/20

1

30/01/20 08/02/20

Recycled Textile Samples Spirulina Culture Growth Medium Sketchbook Ringbinder Large Glass Jars Punched Wallets Fermentation Jar Electric Thermometer PH Meter pH Test Paper Rolls Small Glass Jar Glass Thermometers Tiles for photography Filtered Beeswax Black Beeswax Damar Resin Eco Soya Wax Pellets Water for Algae Laser Cutting Large Glass Jars Labelmaker Basket of Supplies Printer Cartridges Jesmonite AC100 Red Silicone Clear Silicone Laser Cutting Lights Eco Washing Up Liquid Flexible Spatula Measuring Jugs Crank Clay Reclaimed Wood

08/02/20

Glue Gun Sticks

03/10/19 08/10/20 10/10/19 10/10/19 10/10/19 14/10/19 22/10/19 24/10/19 25/10/19 26/10/19 31/10/19

04/12/20 05/12/19 09/12/19 28/12/19 09/01/20 13/01/20 15/01/20

21/01/20 21/01/20 23/01/20

30ml 10L 1 1 2 1 1 1 1 2 rolls 1 3 3 1 1 50g 100g 2L 1 hour 2 1 1 2 3.5kg 1.1kg 550g 1 hour 3 1 1 2 1 1 12

MERCHANT

TOTAL COST

I-Did

£17.53

Health Algae EU

£37.71

Stationary World

£12.88

Tiger Wilko Lakeland Amazon

£6 £1.25 £7.99 £15.99

Amazon Tiger Amazon Topps Tiles LiveMoor

£5.99 £2 £7.91 £18.74 £12.46

Tesco UWE Fabrication Tiger Ryman Scrapstore Amazon MB Fiberglass

£0.50 £20 £6 £11.69 £5 £36.37 £61.99

UWE Fabrication Amazon Wilko

£25 £19.05 £4.35

Scrapstore Bristol Wood Recycling Project Hobbycraft

£9.59 £8.50 £1.80 L I V E E V E RY DAY A L GA E

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APPENDICES

29/02/20

DATE 29/02/20 02/03/20

05/03/20 08/03/20 10/03/20 11/03/20

12/03/20 13/03/20 16/03/20 18/03/20 21/03/20 25/03/20

01/04/20 05/04/20

05/04/20

09/04/20 10/04/20 14/04/20

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XL Colour Ink Cartridge 1 Amazon XL Black Ink Cartridge 1 Metal Edge Ruler 1 Labelmaker Black Tape 3 Pritt Sticks 5 PRODUCT(S) QUANTITY MERCHANT Spirulina Culture 250ml Health Algae EU Growth Medium 10L Isochrysis Galbana 50ml Algea Research Supply Porphyridium Cruentum 50ml Algae Culture Salts 19L Secchi Stick 1 Spirulina Powder 500g Amazon Marine Sea Salt 8kg Amazon Salinity Tester 1 Photography Light 1 Amazon Tiger Large Glass Jar 1 Small Glass Jar 2 2 A4 Folders A2 Ply Wood 2 UWE Art Shop A2 Carry Case 1 Large Glass Jar 1 Tiger Himalayan Salt 1 Tiger Matcha Green Tea 50g Amazon Powder Kraft Tags 20 The Range A4 White Card 500 Isochrysis Galbana 50ml Algea Research Supply Porphyridium Cruentum 50ml Algae Culture Salts 19L Seaweed Selection 4 packs Cornish Seaweed Napkins 2 H&M Bowls 4 Chopping Board 1 Bamboo & Cotton Scarf 1 Organic Textile Double Sided Cloth 3 Company Thick Linen 1m White Linen 1m Natural Linen 1/4m Lolly Pop Sticks 2 Wilko Domain 1 year Squarespace Sodium Carbonate 500g Amazon (Soda Ash)

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£18.95 £18.99 £3.50 £6.19 £7.33 TOTAL COST £50.54 £106.11 + £33.62 import fees £10.99 £38.31 £31.99 £11

£10.80 £3 £1 £6.89 £5.99 FREE Replacements due to their error £15.50 £40.95

£42.94

£2 £19.20 £3.99

APPENDICES

17/04/20

Plastic Fibre Flax/Linen Top Hemp Top Egyptian Cotton Top Seacell Top Pineapple Fibre Top Bamboo Top

DATE 21/04/20

PRODUCT(S) Cacao Powder Cacao Nibs Saucepan and Metal Spoon Stock Pot 18L Glass Jars (1L) Rhubarb Plant Bottled Water A4 Notebook Website Pestle & Mortar White Felt Sheets Safety Pins Dulse (Seaweed) Powder Spirulina Powder Paper Making Frame & Deckle Thyme Oil Gum Arabic Powder Side Plate Pasta Bowl Dried Dulse Seaweed White Vinegar Dried Dulse Seaweed Dulse Powder Unfinished Canvas Denim Natural Seeded Unfinished Muslin Unfinished Calico Jesmonite Glass jars Vinegar Soda Crystals Felt squares Mountboard Clips Safety pins lolly sticks Weighing Scales

27/04/20 15/05/20 22/05/20 29/05/20 13/06/20 17/06/20 21/06/20 24/06/20 24/06/20 25/06/20 25/06/20 26/06/20 27/6/20 30/06/20 08/07/20 12/07/20

12/07/20

12/07/20 16/07/20

17/07/20 17/07/20 17/07/20 17/07/20 19/07/20

1 1 1 1 1 1 1

World of Wool

QUANTITY MERCHANT 1 Holland and Barrett 1 1 of each Sainsburys

£28.80

TOTAL COST £8.99 £6.99 £16.50

1 2 1 2L 1 1 year 1 4 1 40g

Wilko Asda Dobbies Garden Centre Tesco Paperchase Squarespace Tiger Fabricland

£20 £3 £14.94 £0.50 £7 £144 £5 £1.73

Amazon

£7.98

250g 1 x A6

Amazon Amazon

£9.94 £14.99

10ml 100g 1 1 100g 5L 100g 40g 1m 1m 1m 2m 3.5kg 2 3 1kg 4 2 2 1 1 1

Amazon

£2.50 £4.95 £1.50 £2 £12.95 £7.99 £12.95 £7.98 £37.89

Wilko Amazon Amazon

Organic Textile Company

MB Fiberglass Asda

£27.99 £4.87

Fabricland Craft and More Tiger Wilko

£1.48 £6.98 £2 £2

Amazon

£9 L I V E E V E RY DAY A L GA E

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