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“The Germ is the real thing;   the seat of identity. Within its delicate mecha-nism lies the will to power:  the function which is to seek and eventually to find its full expression in form.”

– Louis Sullivan, Remember the Seed Germ, 1924

The natural world is an impressively complex system which, by a rigor-ous genetic code and mathematical construction, brings form to life and new landscapes. When the natural world and the artificial world are the same, knowledge of underlying formal and kinesthetic frameworks that generate the physical composition of our planet are exchanged across communities with instant speed. This dream which taps into Louis Sullivan’s theory of the Seed Germ is expressed through a hybridized collage and superimposition of indifferent natural and artificial systems.

Expressing organic flora was characteristic of Louis Sullivan’s architec-tural ornamentation and theory of efflorescence. Sullivan’s mantra of the Seed Germ articulates the rigid and ordered geometric logic that acts as the skeleton for the intricacies of his sculptural representations of natural phenomenon. Our artificial world, as developed through technological, algorithmic and digital means holds the capacity to provide the seed germ for a context in which both nature and the artificial are identical.

Envisioned landscapes, fantastical in our perceptions of the future can be approximated with technology at increasing degrees of precision. They are, thus, charged with an energy to become the efflorescence and foliated forms of Sullivan’s Seed Germ. The constant regenera-tion and co-generation of new cellular assemblies proven in today’s stem cell and robotic technologies will increasingly blur the distinction between the natural and artificial. Through the breakdown of predict-able and rigid of structural grids and systems that once defined our man-made world, one is capable in creating elastic landscapes and built environments that could work in favor in better succeeding an in-tegration of the two worlds. We must, however, consider the elegance of the natural world which also brings conflict to our human activities. Climate change is the current crisis of an artificial world’s clash with its natural counterpart. The collage captures the frictions between cur-rently indifferent unnatural and natural systems as well as to suggest an energy embodied in the skeleton of a future technology that will blos-som and disperse into a natural flora that once brought Sullivan’s orna-ments to life. This reminder of the potential behind a future technology expresses mankind’s increasing understanding of natural and complex geometric frameworks necessary to achieve true world identicality.