collectively shared framework. I also believe though that good ideas need to be protected and maybe they require a period of incubation before being publicly shared. I often see a very positive collaborative spirit in sharing codes that provides a great source for constant updates. Great ideas, though, need a bit more privacy. Thus, Open Source goes beyond the boundaries of architecture. I follow with great interest the debate between those who enthusiastically advocate the advent of the “hive mind” and those who predict a more “human”, less impersonal development of the web culture; I tend to appreciate the clear advantages of the former while I share some of the skeptical takes of the latter. I guess the question is not whether OS is good or bad but whether is sustainable on the long run. Anyone interested in further readings regarding this debate I suggest Chris Anderson’s (OS savvy) and Jaron Lanier’s (OS skeptical) books. DDG03: You are currently working with Adams Kara Taylor investigating complex geometries. What kind of architectural technologies are you exploring at the moment? MV: At AKT we are working on several competition projects trying, at the same time, to develop a mid-long term research agenda: we are verifying the opportunity to develop what we call post-vernacular or digital-vernacular projects. Essentially this line of research consists of experimenting with the latest digital fabrication technologies to be applied in local/vernacular context. Over the past few years we have been working on several occasions in the African continent. There, we had the chance to get in contact with the local vernacular architecture. We are intrigued by the proto-parametric qualities of some of the local traditional construction processes. Our idea is to find opportunities to develop a pilot project to explore the implementation of digitally–driven vernacular projects in an attempt to address a more sustainable use of local resources. More to come in 2011. DDG04: Recently you worked on the tessellation of double curved surfaces by employing planar elements, a process that creates a complex system with simple rules. What can you tell us about the process of design and possible fabrication of these projects? MV: Besides my professional commitments with AKT, I develop my personal research with OPENSYSTEMS (www.opensysdesign. com). I’m currently working on several different avenues of research. I use the Blog as a platform to share my ideas and develop generative protocols for design. In this respect, what I tend to publish on OPENSYSTEMS are ideas in search for a project. An effective metaphor is the samurai that builds his own weapon before getting into the fight; similarly, developing my own tools for architectural design gives me the freedom to master the project on my own terms. With OPENSYSTEMS I explore form and its emerging performative qualities. Through the use of digital tools I investigate form-generating and organizational processes. One of the recurrent ideas is, for instance, to develop complexity through recursive implementation of simple rules. The study of nurb surfaces and their tessellation is one classical example: in these exercises I study complex surfaces formed by simple flat panels. The flat panels can be easily fabricated by using a common laser-cut machine and subsequently assembled by means of simple rivet joints. In my work I study the generative formation process emerging from organizational, structural, manufacturing and environmental performances. www.opensysdesign.com
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