Abyssal Plumes

2023/24 The Design Museum/Future Observatory Program
Continuous Research Project

Role: UI/UX Design, User Research, Information Architecture, 3D Designer, VR and Unity Developer. In Collaboration with researcher and artist Rhiarna Dhaliwal.

Duration: 3 Month Research/4 Weeks Design Development (Project in continuations)

Tools: Illustrator, Figma, Premier Pro, After Effects, Unity, C#, 3ds Max, Blender, Ableton Live (Sound Design), GIS Mapping & Zephyr 3D Scanning.

Project Achievements:  Exhibition at the Design Museums Future Observatory program for aspiring researchers and designers.

About

The deepest areas of our oceans, once considered alien abysses distant from our lives, are currently at the centre of debates on green energy and submarine biodiversity. The presence of valuable metals and minerals on the sea floor – including cobalt and nickel – has drawn the attention of mining companies hoping to use them in ‘green’ technologies such as wind turbines and solar panels. However, as with mining for fossil fuels, the extraction of these metals may have damaging environmental consequences for the animal species living in the deep, as well as nearby island communities.

The research dives into this contested terrain and introduces us to microscopic creatures and polymetallic nodules: mineral-rich rocks found on the sea floor. She draws from cutting-edge biological research to discredit perceptions of the deep sea as an empty space primed for mining and takes us closer to those lively marine depths.

Problem & Solution

Key Readings

Research & Analysis

Mapping the Depths

Research & Analysis

Examples of Found Online Images

Part 1: Empathise, Define & Ideation

Untangling The Abyss
Visualising the interconnected narratives of deep-sea mining.

Interview with marine biologist
Louise Guillot

01. Interviews & Key Insights

Empathise, Define & Ideation

Key Insights

Empathise, Define & Ideation

Below are a series of diagram created as key insights into the extraction and stakeholders of deep sea mining. The Research highlights the steakholders and the uses of rare earth materials in both present and future technologies.

02. Image Building

Empathise, Define & Ideation

The process of mapping found images in this project was aimed at creating a new cartography of the deep sea, based on data and imagery sourced from online platforms. By using Unity, I was able to stitch together these fragmented images to visualize a speculative yet cohesive representation of an environment that is largely unmapped. The decision to use Unity, a real-time 3D development platform, allowed me to combine these disparate data points into an interactive digital space, offering new visual insights. This not only highlighted the gaps in our understanding of deep-sea environments but also emphasized the absence of substantial data, challenging the assumptions made by companies exploiting these uncharted territories. Through this process, the project engages with how digital tools can be used to address and visualize environmental and ethical concerns around data scarcity and deep-sea mining.

Image Stitching Unity World Building:

Acquiring a polymetallic nodule was a key element in creating a digital archive of deep-sea resources. The sample, which came at a significant cost of £80 for a small fragment, symbolized the rarity and value of these nodules. Despite its size, the nodule offered critical insight into the minerals and resources found deep below the ocean's surface.

After obtaining the sample, the next step involved scanning it using 3D imaging technology. This digital process captured the nodule's intricate surface and internal structure in fine detail, transforming the physical object into a digital artifact. The aim was to preserve its form for further study while also integrating it into a broader visual narrative exploring the environmental and ethical concerns surrounding deep-sea mining.

By creating a digital archive, the project allows for a wider audience to engage with these hidden elements of the Earth's geology, which are often inaccessible due to the deep ocean's remoteness and lack of comprehensive mapping.

Polymetallic Nodule - Digital Archives

03. Value Proposition

Empathise, Define & Ideation

Part 2: Design & Test

01. Workshop & Storyboarding

Design & Test

During the whiteboarding sessions, we focused on storyboarding both qualitative and quantitative data related to the environmental impact of extracting polymetallic nodules via rovers. The research highlighted that nodules large enough to be mined only form over a 6 million-year period. Additional insights from the data revealed that the rovers leave behind visible track marks, and their activity disturbs the seafloor. The velocity and sound of this disruption agitates the deep-sea fauna and flora, causing large plumes of dust to rise, which ultimately impacts the broader ecosystems above.

The objective of these sessions was to simulate and visually represent these disturbances using the data and maps collected. We explored how to accurately replicate the deep-sea conditions—particularly the movement of particles—by developing a simulation in a game engine. The physics and density parameters from our research were vital in mimicking the effects of deep-sea pressure, providing a realistic portrayal of the environmental changes triggered by the extraction process.

This process allowed us to begin designing a comprehensive simulation that could serve as both an educational tool and a stark visual warning about the long-term effects of deep-sea mining. The resulting simulation, when completed, would offer a detailed visual account of the underwater turbulence and its cascading impact on marine ecosystems.

After the whiteboarding session, the next step was to transform the outlined concepts into detailed wireframes. These wireframes represented the six key sequences of the simulation, which spanned a period of 6 million years. The sequences began by illustrating the rapid creation of the polymetallic nodules in hyperspeed, followed by a real-time simulation of the sediment plumes generated from rover disturbances. Each frame was designed to visualize specific stages, including the impact of sediment particles suspended in the water column and their effects on the larger marine ecosystems. This methodical process allowed us to focus on both the visual storytelling and the real-time physics essential to accurately simulate deep-sea conditions.

In parallel to the visual work, we incorporated found audio footage from actual deep-sea rovers into the project archive. These audio clips, which captured the sound of the rovers navigating the seafloor and the grinding of machinery disturbing the seabed, were used to create an immersive sound installation. The noises, which echo the mechanical disruptions of deep-sea mining, added another layer to the narrative by emphasizing the sensory impact of such processes on an already fragile ecosystem. These sounds, when paired with the visual simulation, created a holistic, multi-sensory experience, underlining the long-term environmental consequences of deep-sea exploitation.

Final Composed Soundpiece frrom Archival soundscapes; Made with AbletonLive

Rover Sounds

02. Simulation Testing

Design & Test

  • Due to its higher density, the plume will sink quickly to the seabed, from where it will propagate as a turbidity current. 

  • Mining can disturb sediments to approximately 150 mm depth

  • specifically designed to create a plume, with an increase in suspended particles of 300% (from 49 to 150 mg per m2 day-1) observed during disturbance

  • the highest observed was 244 mg suspended particles m2 day

  • The effects of this plume were observed to a maximum distance of 250 m from the tracks

  • but only about 20% of the circular field was directly ploughed, the remaining larger part received an up to 30 mm thick sediment blanket (Schriever and Thiel, 1992).

  • The modelling studies on the abyssal plain have, in particular, emphasised the long distances over which individual (fine) sediment particles, disturbed by mining, would travel before re-settling onto the bed

  • The mixture of water, sediment and fine-grained nodule debris that is discharged behind the mining vehicle can be characterized as a negatively buoyant jet or plume. Due to its higher density, the plume will sink quickly to the seabed, from where it will propagate as a turbidity current.


    Game Simulation Physics Testing:

Rare Earth colour chart through radiation scanning:
The Design utilises the rare earth colour chart to indicate different desnities and movement of each rare earth through the simulation particles.

Rover phases :
These series of images indicate the rover environment and phases of movement.

03. Simulation & Design Itirations

Design & Test

Exploration of Scale: Initially, we experimented with different scales, considering both wide and close-up perspectives to represent the deep-sea environment. These iterations allowed us to assess the impact of scale on the viewer's understanding of the vastness and ecological complexity of the deep sea.

Focus on the Rover's Viewpoint: After trialling multiple viewpoints, we ultimately decided to adopt the perspective of the rover. This decision was driven by the desire to immerse the audience in the direct experience of the mining machines, highlighting their proximity to the sea floor and the damage caused by their movements.

Contextualising Impact: By using the rover's viewpoint, we were able to convey a more intimate and disturbing sense of how these machines interact with the delicate deep-sea ecosystems, showing the fine details of sediment plumes and disturbed fauna.

Balancing Scale with Detail: Through multiple iterations, we refined the balance between wide-scale environmental mapping and the granular impact of the mining process, ensuring that both the vastness of the seabed and the fine details of the rover's disruption were visually clear. An additional element of live feed through After Effects indicating all the information of the simulation and the mineral types with a timeline.

Design & Test

04. Final Simulation Prototype & Exhibition

Through various testing of plume simulations and technical requirements from the Design Museum the final simulation would have ideally have been an interactive installation, however due to constraints we decided to pursue a film and sound istallation. We created a frame suspended from rare earth wires aquired from an industrial waste site as design element highlighting the issues with rare earth mining and electronic goods waste that come from them. Below are a series of images from the final exhibition and the film piece.

Lessons Learned & Continued Practice

The research project on deep-sea mining was particularly challenging due to the scarcity of available data and the secretive nature of the companies involved. Visualising the impact of deep-sea mining, given the complexity of marine ecologies and stakeholders, proved difficult. However, using gamification as a way of aestheticising data emerged as an effective tool for protest, showcasing the environmental issues in a way that mainstream media often neglects.

A key takeaway from the project was the importance of adopting innovative methods to draw attention to underrepresented environmental concerns. Together with Rhiarna, we've chosen to continue exploring other environmental typologies and are planning to conduct public workshops. These workshops, which primarily target young people, will focus on storytelling through research methods, encouraging participants to use creative approaches to challenge the dominant narratives around environmental exploitation.

Public Workshops

Continued Practice

Public Workshop Presentation Link

We hosted a public workshop to share our research methods with designers, focusing on how visual media shapes extractivist narratives of the deep sea. Participants explored the role of visual archives, uncovering biases in how the ocean is represented. Using an object from the Design Museum archive, they reimagined its narrative, emphasizing forgotten communities and untold stories. Through worldbuilding fiction and more-than-human perspectives, participants produced new outputs like collages and digital maps, which were presented to showcase alternative perspectives. The workshop also introduced the five stages of critical design theory to guide participants' reflections.