Sequential origin in the high performance properties of spider dragline silk

Major ampullate (MA) dragline silk supports spider orb webs, combining strength and extensibility in the toughest biomaterial. MA silk evolved ~376 MYA and identifying how evolutionary changes in proteins influenced silk mechanics is crucial for biomimetics, but is hindered by high spinning plasticity. We use supercontraction to remove that variation and characterize MA silk across the spider phylogeny. We show that mechanical performance is conserved within, but divergent among, major lineages, evolving in correlation with discrete changes in proteins. Early MA silk tensile strength improved rapidly with the origin of GGX amino acid motifs and increased repetitiveness. Tensile strength then maximized in basal entelegyne spiders, ~230 MYA. Toughness subsequently improved through increased extensibility within orb spiders, coupled with the origin of a novel protein (MaSp2). Key changes in MA silk proteins therefore correlate with the sequential evolution high performance orb spider silk and could aid design of biomimetic fibers.

Correlation Between Processing Conditions, Microstructure and Mechanical Behavior in Regenerated Silkworm Silk Fibers

Regenerated silkworm fibers spun through a wet-spinning process followed by an immersion postspinning drawing step show a work to fracture comparable with that of natural silkworm silk fibers in a wide range of spinning conditions. The mechanical behavior and microstructure of these high performance fibers have been characterized, and compared with those fibers produced through conventional spinning conditions. The comparison reveals that both sets of fibers share a common semicrystalline microstructure, but significant differences are apparent in the amorphous region. Besides, high performance fibers show a ground state and the possibility of tuning their tensile behavior. These properties are characteristic of spider silk and not of natural silkworm silk, despite both regenerated and natural silkworm silk share a common composition different from that of spider silk.

Identification and dynamics of polyglycine II nanocrystals in Argiope trifasciata flagelliform silk

Spider silks combine a significant number of desirable characteristics in one material, including large tensile strength and strain at breaking, biocompatibility, and the possibility of tailoring their properties. Major ampullate gland silk (MAS) is the most studied silk and their properties are explained by a double lattice of hydrogen bonds and elastomeric protein chains linked to polyalanine β-nanocrystals. However, many basic details regarding the relationship between composition, microstructure and properties in silks are still lacking. Here we show that this relationship can be traced in flagelliform silk (Flag) spun by Argiope trifasciata spiders after identifying a phase consisting of polyglycine II nanocrystals. The presence of this phase is consistent with the dominant presence of the –GGX– and –GPG– motifs in its sequence. In contrast to the passive role assigned to polyalanine nanocrystals in MAS, polyglycine II nanocrystals can undergo growing/collapse processes that contribute to increase toughness and justify the ability of Flag to supercontract.

The variability and interdependence of spider viscid line tensile properties

True stress-true strain curves of naturally spun viscid line fibers retrieved directly from the spiral of orb-webs built by Argiope trifasciata spiders were measured using a novel methodology. This new procedure combines a method for removing the aqueous coating of the fibers and a technique that allows the accurate measurement of their cross sectional area. Comparison of the tensile behaviour of different samples indicates that naturally spun viscid lines show a large variability, comparable to that of other silks, such as major ampullate gland silk and silkworm silk. Nevertheless, application of a statistical analysis allowed identifying two independent parameters that underlie the variability and characterize the observed range of true stress-true strain curves. Combination of this result with previous mechanical and microstructural data suggested the assignment of these two independent effects to the degree of alignment of the protein chains and to the local relative humidity which, in turn, depends on the composition of the viscous coating and on the external environmental conditions.

Caracterización de las Propiedades Dinámicas de la Seda de Araña

El término Biomimética se ha hecho común en los medios científicos, se refiere al trabajo de diversos científicos (ingenieros, químicos, físicos, biólogos, etc.) que tratan de copiar los procesos biológicos y aplicarlos en distintas áreas tecnológicas y científicas. En este campo científico, uno de los productos naturales que llama más la atención es la telaraña. Numerosos científicos en todo el mundo tratan de copiar las propiedades de la seda que produce la araña, y lo más interesante es que hasta intentan reproducir el método que usan las arañas para fabricar la seda De la bibliografía consultada, se desprende la importancia de la seda en la vida de las arañas, pues toda actividad que realizan tiene que ver de alguna manera con este elemento. Uno de estos elementos es la tela de araña orbicular, que representa el objeto principal para la supervivencia de la araña y su especie. Las investigaciones realizadas en esta línea nos proporcionan información sobre sus magníficas propiedades mecánicas como de resistencia, elasticidad y tenacidad del hilo de seguridad (seda MA) segregada por una araña de la especie Argiope Argentata. El enfoque de la presente tesis se realiza desde una perspectiva analítica-experimental, tomando a la tela de araña como una clase especial de sistemas pretensados, llamados Tensegrity Structures. Se desarrolla un modelo conceptual que describe en forma aproximada el comportamiento dinámico de una estructura hecha de seda MA. Haciendo uso de las técnicas experimentales de vibraciones libres se realizan los ensayos experimentales. La evaluación de los resultados analíticos y experimentales reflejan claramente que la función principal de la tela de araña es la de convertir energía cinética en energía de deformación y primordialmente en energía de disipación, el cual se efectúa gracias a las propiedades viscoelásticas de la seda. La araña en forma instintiva recurre a la ayuda del aire (como elemento disipador) para el buen funcionamiento de la tela de araña al momento de la captura de las presas, disipándose el 99% de la energía total en los tres primeros ciclos de oscilación de la tela de araña luego del impacto de la presa. ABSTRACT The term Biomimetic has become a very common word in the scientific world to describe the reproduction of the biological processes and its application in the different technogycal and scientific areas. One of the most notably natural product of this field is the Spiderweb. In the present days, many scientists of the world are active working in the reproduction of the proprieties of the Spiderweb. Most interesting even more, is the attempt to reproduce the process of the production of the Spiderweb by the spider. Most of the bibliography references deals whit the importance of the Spiderweb silk in the life of the spiders and the orbicular Spiderweb represents the spider survival and of the species. The research conducted in this field provide information about the excellent mechanical proprieties such us strength, elasticity and tenacity of the safety fiber (silk MA Drag-line) segregated by a spider of the Argiope Argentata species. The present work is oriented to an analytical and experimental study considering the Spiderweb as a special class of pre-stressed systems called Tensegrity (tensional integrity) structures. A conceptual model maked up by a cord und a point mass has been developed. This model approximates the dynamics performance of the structure made of the silk MA. The evaluation of the analytical and experimental results clear described that the main function of the Spiderweb is the transformation of the kinetic energy in deformation energy, and mainly in dissipation energy thank to the viscoelastic proprieties of the Spiderweb. With the help of the Spiderweb, the spider instinctively resorts to the help of the surroundings air as a dissipation element. This permits to dissipative the 99% of the total energy during the three first oscillations cycles of the web after the impact of the victim.

Mechanical behaviour and formation process of silkworm silk gut

High performance silk fibers were produced directly from the silk glands of silkworms ("Bombyx mori") following an alternative route to natural spinning. This route is based on a traditional procedure that consists of soaking the silk glands in a vinegar solution and stretching them by hand leading to the so called silkworm guts. Here we present, to the authors’ best knowledge, the first comprehensive study on the formation, properties and microstructure of silkworm gut fibers. Comparison of the tensile properties and microstructural organization of the silkworm guts with those of naturally spun fibers allows gain of a deeper insight into the mechanisms that lead to the formation of the fiber, as well as the relationship between the microstructure and properties of these materials. In this regard, it is proved that an acidic environment and subsequent application of tensile stress in the range of 1000 kPa are sufficient conditions for the formation of a silk fiber.

Minor ampullate silks from Nephila and Argiope spiders: tensile properties and microstructural characterization

The mechanical behavior and microstructure of minor ampullate gland silk (miS) of two orb-web spinning species, Argiope trifasciata and Nephila inaurata, were extensively characterized, enabling detailed comparison with other silks. The similarities and differences exhibited by miS when compared with the intensively studied major ampullate gland silk (MAS) and silkworm (Bombyx mori) silk offer a genuine opportunity for testing some of the hypotheses proposed to correlate microstructure and tensile properties in silk. In this work, we show that miSs of different species show similar properties, even when fibers spun by spiders that diverged over 100 million years are compared. The tensile properties of miS are comparable to those of MAS when tested in air, significantly in terms of work to fracture, but differ considerably when tested in water. In particular, miS does not show a supercontraction effect and an associated ground state. In this regard, the behavior of miS in water is similar to that of B. mori silk, and it is shown that the initial elastic modulus of both fibers can be explained using a common model. Intriguingly, the microstructural parameters measured in miS are comparable to those of MAS and considerably different from those found in B. mori. This fact suggests that some critical microstructural information is still missing in our description of silks, and our results suggest that the hydrophilicity of the lateral groups or the large scale organization of the sequences might be routes worth exploring.

Material, espacio y color en Mies van der Rohe. Café Samt & Seide: Hacia una Propuesta Estructural

La aparición de varias fotografías del Café Samt & Seide no publicadas hasta 2008 en las que se observaba la luz natural de la exposición; los planos a escala de la nave donde se realizó la exposición textil; y los croquis inéditos de la instalación de la seda localizados durante el transcurso de la Tesis Doctoral por el doctorando en el plano de la Sala de Cristal, han sido las principales aportaciones de la búsqueda documental que ha tenido por objeto el conocimiento espacial e interpretación gráfica del proyecto expositivo realizada durante el transcurso de la Tesis Doctoral para poder profundizar en el alcance de la propuesta protoarquitectónica y, a través de ella, en la obra y pensamiento de Mies van der Rohe. Material, espacio y color son elementos propuestos como capítulos que estructuran la disertación y que son empleados por Mies van der Rohe como factores de una nueva expresión espacial en la exposiciones como ensayos identificados con su idea de arquitectura. En el Café Samt & Seide, Mies van der Rohe y Lilly Reich proponen una sensibilidad en el empleo del material y color trasladada al espacio mediante una atmósfera rítmica y en movimiento de superficies abstraídas e iluminadas. La estructura visual de opuestos nace del doble material textil de la exposición desplegándose en un orden espacial y constructivo de elementos independientes iniciado en los apartamentos de la Colonia Weissenhof y Sala de Cristal de Stuttgart 1926-1927, y que será trasladado desde los espacios experimentales de 1927 a las series de mármoles y cristales del Pabellón Alemán 1928-1929. La síntesis intelectual (arte-ciencia-filosofía) guía el proceso de formalización y la técnica en una intención que será trasladada a su arquitectura en el empleo de la tecnología. La creatividad y repercusión de las vanguardias en la instalación muestra la voluntad integradora de la exposición y arquitectura como arte total. Los aspectos interpretativos de las artes plásticas, visuales y musicales se integran como criterios y sensibilidades aplicadas a las estructuras yuxtapuestas material, espacial y de color. Modernidad y tradición tectónica convergen en este espacio construido cuyas superficies cubren un armazón metálico oculto. La construcción mínima textil será incorporada como idea de forma en la futura construcción del pilar metálico, la pared flotante de sus viviendas y pabellones abiertos a la naturaleza, y la gran fachada tecnológica del espacio público de sus agrupaciones en la ciudad. El espacio total del Café Samt & Seide dentro de la gran nave de Berlín anticipa las exposiciones artísticas e industriales realizadas junto a Lilly Reich en el interior de las espaciosas salas de estructura metálica como instalaciones conceptuales de gravedad y luz antecedentes de los pabellones de grandes dimensiones y espacio universal. Arquitectura, construcción y lugar son integrados en la instalación por el principio estructural como propuesta de una idea de arquitectura que es desarrollada en las exposiciones. Oscilador y bastidor son construcciones escaladas dentro de la gran nave iluminada, expresando el conjunto un orden de partes que reflejan un todo integrado en la naturaleza y lo universal. Las múltiples relaciones espaciales, constructivas y conceptuales de la exposición con su arquitectura desvelan al Café Samt & Seide como un exponente y antecedente de su obra e idea a la que definió como una propuesta estructural. La estructura, entendida como un conjunto de valores culturales y medios técnicos, es el concepto con el que Mies van der Rohe identifica la síntesis intelectualtecnológica de su tiempo, constituyendo la finalidad de su expresión material, espacial y de color. ABSTRACT The unpublished pictures of the Café Samt & Seide appeared in 2008 in which the natural light in the exhibition can be seen; the scaled plan of the nave where the textile exhibition was held; and the unpublished sketches of the silk exhibition located by the doctoral candidate while preparing his dissertation have been the main input of the data search aiming at a better understanding of the space and a graphic interpretation of the exhibition project made by the doctoral candidate during the dissertation as a basic requirement to deepen in the scope of this protoarchitectural proposal and, though it, into Mies van der Rohe’s work and thinking. Material, space and colour are the elements put forward as the chapters structuring this dissertation and were used by Mies van der Rohe as factors of a new spatial expression in expositions as tests identified with his idea of architecture. In Café Samt & Seide, Mies van der Rohe and Lilly Reich present material and colour sensitivity transferred to space though a rhythmic and moving atmosphere made up by abstracted and lit surfaces. Such a visual grammar and oppositions unfolds into a space and constructive order of independent elements originated with the apartments of the Weissenhof Colony and Glass Room in Stuttgart 1926-1927, and which were transferred these test spaces 1927 to the series of marble and glass in the German Pavilion 1928-1929. The intellectual and formal will (art-science-philosophy) guides the technical expression, which is transferred to architecture through technology. The creativity and impact of avant-gardes in the installation reflects exhibition and architecture’s will to integrate as a Total Art. The interpretative aspects of plastic, visual and musical arts are part of a sensitivity applied to the overlapped structures of material, space and colour. Tectonic modernity and tradition converge in this space built with surfaces covering a hidden metal framework. The minimal textile construction is integrated as a shape idea in his subsequent construction of the metal pillar, floating wall in his housing and pavilions open to nature, and the great technological façade of the public space of his urban clusters. The total space of the exhibition inside the great nave in Berlin anticipates the artistic and industrial exhibitions done together with Lilly Reich inside the spacious Halls built with exposed metal structures as conceptual installation of gravity and light prior to the big-dimensioned pavilions and universal space. Architecture, construction and place are integrated by the structural principle. Oscillator and framework are scaled constructions integrated inside the great, lit nave, and the whole conveys order of its parts reflecting a whole integrated in nature and the universal. The many conceptual, space and constructive link of the textile exhibition to his European and American architecture add a greater knowledge of the time when Mies van der Rohe stated he gained a “new awareness” 1926, revealing Café Samt & Seide as a valuable example and the experimental precursor of his work and idea defined by himself as a “structural proposal”. The structure, understood as a set of cultural and material values expressed by architecture, is the notion used by Mies van der Rohe to identify the intellectual-technological synthesis as the idea of a time and which is the goal of its material, space and colour expression.