Issuu

IOA Institute of Architecture (Ed.) Cover Alma Kelderer Moritz Kühn Andreas Schermann Special thanks to Roswitha Janowski-Fritsch Graphic Design Jade Bailey Adriana Boeck Emma Sanson Patricia Tibu Published with Gerin Gmbh Wien, Austria 2021

Editors Lisa-Marie Androsch Jade Bailey Zach Beale Adriana Boeck Velina Iantcheva Xavier Madden Emma Sanson Patricia Tibu

Abstrakt is the exploration of concepts, thoughts and ideas. The intent is to develop a unique and diverse perspective into how the future of architecture will be juxtaposed with other disciplines and developed through a scope yet undiscovered, achieved by discussing global, social and technologically pertinent matters.

ISSUE 02

Dissecting aspects of architecture, design and the future through conversations with creatives.

AUTOMATION, FABRICATION AND DESIGN This issue is a compilation of interviews, thoughts and designs that investigate the role in which automation of digitalisation and expanding research and involvement of fabrication techniques will play in the architectural profession, specifically, how we design and who we design for. In an interview with Mario Carpo, we can start to see the emergence of a crosssectional future that synergizes currently disparate processes, with the introduction of adaptable robotics and computational analytics allowing us to return to an artisanship that may have been lost prior to the Industrial Revolution. This is joined by a discussion with Lidia Ratio on digital fabrication and the potential limitations and uses of robotics within the design industry, which calls for a level of authorship never before seen. Also included is a series of thoughts on the short-term future of architectural design, undertaken by members of the Institute of Architecture at the University of Applied Arts Vienna.

In Conversation with Mario Carpo

Student Projects

In Conversation with Lidia Ratoi

pg 8

pg 14, 20, 28, 34

pg 22

Interview

Studio

Graphic Novel

Mementos

Near Futures

Surgery Center by Dieter Fellner

Angewandte Institute of Architecture

pg 18, 32

pg 42

pg 44

Thoughts

Interview

mario carpo Interview

MARIO CARPO Mario Carpo is a professor of architectural history and theory with a focus on the early modern period as well as on contemporary digital design theory. He has published several books - his recent one being The Second Digital Turn: Design Beyond Intelligence (MIT Press, 2017). He has taught at several renowned universities including Bartlett School of Architecture, at UCL London, and since 2020 he has been the head of the Theory of Architecture departement at the University of Applied Arts, Vienna.

Mario Carpo, portrait © Marija Nišić

<1> You’ve been regarding the current situation as a wake-up call for the necessity of transitioning towards a truly digital world. How do you think this transition will materialize in the field of healthcare or even construction? What will the area of expertise be for the future professionals of such domains? It is evident that the Corona crisis has proven what has already been said for 20-30 years: that the standardised, mass-produced way of modernity is wasteful. The mass customised approach of the digital world is more respectful of human resources, of material resources, and of energy. The entire mentality of modernity is predicated on the assumption that resources are unlimited, that transportation cost nothing and that energy is available at zero cost and forever. These premises are not true anymore. We now know that resources are limited. The typical modernist approach to the problem of making a teapot is to standardise the teapot, conceive of a universal teapot, and then build a colossal, humongous factory somewhere, say, in Mongolia, where clay is cheap and energy is cheap. This universal factory is built for the global teapot, and the factory makes a gazillion teapots a day and then from there teapots get distributed around the world. But during the lockdown, factories around the world shut down. And the network of global transportation, of which the entirety of our life depends, froze. In the space of one weekend in March, all the airports shut down, which means that in Europe, we thought “Well, we don’t need to produce face masks because we can import

“The mass customised approach of the digital world is more respectful of human resources, of material resources, and of energy. The entire mentality of modernity is predicated on the assumption that resources are unlimited. These premises are not true anymore.” them from China”. The moment the flights from China were stopped, we ran out of face masks because import was no longer possible, so this idea of the global transportation chain was upturned. During the lockdown, airports shut down globally, factories shut down globally, but small robotic factories and the local FabLabs kept functioning, because they were local, because robots don’t infect one another. If you only need to put three people in a robotic shop it’s possible because they have enough distance. And so when we realised that we could no longer import stuff from China, we converted our FabLabs into production facilities for personal protection equipment - all in the span of a weekend. This is exactly what robotics can do: it is versatile, it is flexible, a robot can make a spoon today and a protective mask tomorrow, and it is local. This is the alternative we have, instead of a global factory which we have learned we can no longer depend upon: the local FabLab, where everything is made where you need it, when you need it, as you need it, on time, on spec, on demand, and locally.

mario carpo Interview

<2> Once architects have mastered automation, or in fact maybe the digital tools that are used to create architecture have automated themselves, what do you think will come next? What is the next necessary step that architects have to face in terms of social and climate responsibility? Automation, if you think in the terms of the history of robotics, was very trendy in the early ‘60s when robots were introduced in America to automate the mechanical assembly lines. Industrial robots started to be developed to replace the mechanical industrial worker. So, these were robots trained to imitate a human worker, to repeat the same gesture from sunrise to sunset because this is what the workers, which they were replacing, were meant to do. They are cheaper than actual human workers, they never get tired, they never sleep, they never strike; so from the point of view of a capitalist - that is a good thing to do. But for what we do in architecture, these kinds of robots don’t have any use, because even the most advanced building site that we may conceive is still a very artisanal environment. So, for our job, robotics only becomes useful if

“This is the future of automation. Automation which allows us to avoid the wastefulness of the modern way of building; going back to the economics, to the daily rules of a society which was used to coping with limited resources, limited workforce, and almost no energy.”

we can have intelligent robots who can perform intelligent movements by adapting themselves to different working conditions. This is called ‘adaptive robotics’, ‘versatile robotics’ or ‘flexible robotics’ which now exists. This is not a robot meant to replace an industrial worker, this is a robot meant to replace an artisan, an artisan dealing with the unpredictability of natural materials. This is the next frontier of robotics, which is probably important for some industries, but it is crucial for us. Because in architecture, in buildings, we mostly deal with unpredictable conditions. And we have to deal with a lot of natural material, and not with industrial material. Steel is a case in point. Steel is standard because it is an industrial material. Steel is always the same, which is why engineers can calculate steel so easily. Now, this is the modern mentality: Standardise materials so you can calculate them using modern mathematics, and when you put all the pieces together you know in advance what each piece will do structurally because it has been tested before it leaves the factory. This is the modern, industrial frame of mind. Today we can envisage a new way of using machines. Imagine a robot that can scan a tree when it is still in the field, and can model the different branches and can understand from the building you’re building which branch you’ll need. And then it will cut that branch, to measure, knowing in advance that it’s the branch you will need, so there is minimal waste from what it has taken from the tree, from the forest to the building site. So it is possible to use advanced robotics and computation to work with natural timber, in the way artisans always had before the Industrial Revolution. So, paradoxically, the next step of

computational automation is to go back to artisanship. We have to go back to a way of all being artisans because it is more efficient. The carbon footprint of traditional artisanship is much smaller than the one created by all the waste generated by the modern, industrial way of working. From the point of view of the use of materials, the use of energy and the carbon footprint, going back to artisanship is the future, because traditional artisanship was parsimonious by virtue of its own mentality. This is the future of automation: automation which allows us to avoid the wastefulness of the modern way of building; going back to the economics, to the daily rules of a society that was used to coping with limited resources, limited workforce, and almost no energy. All the waste, the carbon waste, the energy waste, the material waste that we have today is based on this colossal misunderstanding: bringing the standardised logic of modern industrialisation to the building site. With today’s machines we are not obliged to standardise.

In your opinion, robots can replace physical and sensory work. Now with recent developments of artificial intelligence, do you think AI could replace the ‘thinking’ work of designers in the future? You know the idea that artificial intelligence can replace design - can produce design automatically - was a very strong idea at the beginning of the age of cybernetics. It was strong in the ‘60s, it imploded in the ‘70s, it disappeared in the ‘80s, and then computers came back in

“It is possible to use advanced robotics and computation to work with natural timber, in the way artisans did before the industrial revolution. So, paradoxically the next step of computational automation is to go back to artisanship.” the ‘90s as personal computing. Nobody used computers to replace the designer, the computer was a tool that the designer was using and exploiting to create new forms. It was a tool to support the designer - not to replace the designer. But now it is coming back and today it works! Artificial intelligence today can solve problems, basically problems of optimization. Say you want to find the best span for a bridge to save steel or the best size of a city if you want to minimize the wastefulness of air conditioning. These optimization problems, which are mathematical problems, is what artificial intelligence can do today. However, even the most banal architectural problem has such a huge number of variables that there is no way to optimise them all at the same time. You cannot ask the machine to optimise everything because that is a paradox. You can only optimise some parameters to the detriment of some others. So the idea that the computer will replace our design solutions is first of all technically meaningless, because you cannot optimise all parameters at the same time, and it is not within reach. Even if it were at some point, if a computer could emulate the maximisation of the optimisation of certain numbers of parameters - this is not going to

mario carpo Interview

happen next year, not even in 10 years. Because if it did, it would always be a very expensive solution, and honestly I don’t see who would want to have a very expensive machine to replace humans to do what humans can do so well, which is to create, after all, forms of art. To do that we need machines, we need computers, as tools that we use to optimise problems that we formulate. But the idea that we devolve the formulation of the problem to a machine is an abomination. First of all, it’s technically unlikely. Secondly, it’s against the spirit of what we do. We solve problems in architecture in an intuitive, problematic, ideologic, biased, personal way because that’s what a work of art is about.

What do you believe is critical to take into consideration when designing with the future in mind? When we design, we always have the future in mind, because a design is something that does not exist yet; so you should design it because you have an expectation, you can anticipate the forecast something that does not yet exist, but you want to make it happen. If you are a designer, you have a certain confidence that the future can be better than the past - it’s as simple as that, it’s optimism - and if you think about it, many people would disagree. I remember at the beginning at the first Coronavirus lockdown, the French writer Michel Houellebecq, like many other people, left Paris and went to the countryside, waiting. He published an article in a French daily newspaper and his last line was “and you think that the Coronavirus is going to change everything? No.

“If you are a designer, you have a certain confidence that the future can be better than the past - it’s as simple as that, it’s optimism.” It is going to change nothing; when it is over, everything will be the same as before, only a little bit worse.” This is the real mentality of someone who does not want to design. We design because we think that things can be the same as before, but a little bit better; which is why we try to design. Without optimism we wouldn’t be designers. We have this messianic optimism. We always think we can make a drawing and that will help to make things better; to make better things for more people, using fewer resources, diminishing our carbon footprint - that’s what we try to do, better, cheaper things, especially for housing, infrastructure and cities; this is after all our vocation. If we do not have some optimism, whereby we think that by working six months, day and night on a project, we can bring our little contribution to making better cheaper housing for more people, then we should not be in this trade. interview from September, 14th 2020 conducted by Jade B., Adriana B.

“Artificial intelligence today can solve problems. [...] But the idea that the computer will replace our design solutions is first of all technically meaningless, because you cannot optimise all parameters at the same time, and it is not within reach. [...] And honestly I don’t see who would want to have a very expensive machine to replace humans to do what humans can do so well, which is to create, after all, forms of art.” Mario Carpo

studio hani rashid

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Studio Project

SS10 Project by Denis Karandiuk, Monika Kalinowska

Protocell - Building from CO2 “Protocell” is a prefabricated mechanism, that allows every new owner to grow a fully custom house from water and CO2, in a freely chosen location. It’s a project for domestic living, which superimposes the efficiency of prefabricated structures with the flexibility of custom design and adaptable space. The proposal is based on an invention made by an MIT group led by engineer Angela Belcher, with which they have been able to generate 1 kg of carbon bricks out of 0.5 kg of CO2. This method was inspired by marine animals that build their own rock-solid shells from CO2 and mineral ions dissolved in seawater. Instead of using marine animals, researchers developed a way of using genetically modified yeast with the gene codes of abalones. The transformation happens through the process of mineral carbonation, during which CO2 emissions are converted into sustainable building material.

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The main aim for developing this project was to find an alternative way to build domestic housing. Protocell is a system which allows inhabitants to develop their own elastic spatial concept. It provides an opportunity to build a fully custom-designed house for a price comparable to that of cheap prefabricated housing. Furthermore, the expansion allows owners to engage with and contribute to the development of their public space. Our project is aimed at cooperation between humans, nature and technology.

(1-3) Denis Karandiuk, Monika Kalinowska

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studio hani rashid

Diploma Project

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SS20 Project by Jan Kovaricek

The Eutopian Factory “The Eutopian Factory” outlines an alternative to the current model of industrial manufacturing. Leaving behind excessive production and environmental exploitation, it embraces key concepts of pre industrial labour, updated for the 21st century. It offers a comprehensive vision for both the shortand long term future of localised work and the phenomenon of digital craftsmanship. The synthesis between sustainable harvesting and maintaining the natural habitat with an architectural program focusing on a man machine collaboration aimed at (re)training blue collar workers in using digital fabrication tools addresses current fears in regards of the automation’s effect on the labour market and offers a speculation on a future where further robotisation of our built environment is not a threat to humans or to nature and can possibly course correct the current stance towards production and resource management. (1-4) Jan Kovaricek

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present futures Thoughts

“Story telling - Technological advancements in both the building substance as well as the architectural design - will provide solutions for coping with new global challenges but also require a highly controlled and predetermined environment. Where the architect’s responsibility will be lies in becoming observers of social activities and therefore provide space that enables individuals to tell and live their own storylines in which unpredicted activities can happen as a breeding ground for innovation and culture.”

“Liberation - With the emergence of advanced technologies and devices, architects as social and cultural drivers can reintroduce new, unexpected combinations and unpredictable kinships which no longer have any trace of physical constraints or regulations in their digital manifestations. An enormity through imagery creation facilities generating superficial details will lead to a new visual quality through which conglomerate objects form a fictional depiction of the city.” SABA MAHDAVI

“Durability, openness to renovation, encouraging new activities - There are many answers to this question, each of which varies based on perspective. Currently, I doubt that architecture can survive over the next 50 years unless there is significant change. Architecture is believed to be a highly inclusive and forwardthinking discipline, however it is the complete opposite. Inclusion of immediate technology or thinking is

GEORG POPP

“SUSTAINABILITY AWARENESS” “INTELLIGENT ROBOTIC USE” “SOCIAL RESPONSIBILITY”

“DYNAMIC” “SYNTHESIS”

EMMA SANSON

still between 5-10 years behind within the architecture community, and it is a game of catch up. Technologies which should be weaved into architectural discourse are ignored, and typically only adopted once their relevance has subsided. Generally, the role of the architect has been diluted, and continues to be, this is of course due to the demand and complexity of the built environment.” KYLE KOOPS

“A new life balance - There will be a shift in our performance-oriented society where living and working must be balanced with personal well-being and happiness. Living and working spaces will need greater flexibility, not only through digital tools but through architectural spatial intervention.”

LISA MARIE ANDROSCH

“CADENZA”

ADRIANA BOECK

“Intra - acting - Collaborative imagination coupled with advanced automation processes and our constant striving for resilience are becoming the basis of the systemcreation process. The relationship between architects and new potential technological tools will feel more organic - the output action will emerge from within, rather than dictated or constrained by one another.” GAKKU JUMANIYASOVA

Architecture in 50 years - however it will be manifested by then - will respond to the ultimate coexistence of all living things and beings. One will not even remember what the Anthropocene was...

BAERBEL MUELELR

I think at that time, resource scarcity and population growth will have reached a level at which demolishing and tabula rasa are impossible, even economically. Any architectural project entails an incorporation and transformation of existing local stocks, inducing a complexity that requires both sophisticated technology and creativity.

LUKAS ALLNER

“TECHNOLOGY FETISH” “SOCIAL IMPARITY”

Architecture in the next 50 years will be more diverse than ever, but I believe because of our changing climate, as well as the growing number of rapidly developing economies, the three most important factors that will define the profession will be the political nature of architecture, the material conditions that it works with and a need to deal with a vastly different programmatic and functional landscape thanks to new technologies. JONATHAN PLAJOR

“Forming kinships with former strangers - in 50 years the economic and social landscape will be redefined by the ‘third industrial revolution’ and put millions of manual labourers out of work, due to automation. Professions that were taken for granted at the turn of the millennium, will become obsolete in the year 2070. While a lot of processes will be automated, the human care industry will likely remain a human bastion for a long time. Architecture will have to reinforce a tribe-like living style with social interdependency, leading to an architecture for the public space that is supporting the care-taking of the weak and the elderly, with a new societal frame that can only be described as forming kinship with former strangers.”

“Phygital - Equipped with OOO and Unity, we now don’t treat an apple as an apple anymore, but as an assemblage of properties and qualities. An apple is now a collider, a mesh rendering with UV maps, a surface, a series of particles, a behavior tree, a taste, a scent, a glossy reflection, a commodity, an icon, a cryptocoin, a Schrödinger’s object depending on whether you’re gonna bite it or not. The possibility of working with both digital and analog is the greatest gift for architects in this era. We have just figured out how to simulate geometry, material, motion and behavior, now is the time to rewire the workflow and move towards phygitality.” KAIHO YOU

“CLIMATIC CHALLENGE”

ANDREI GHEORGHE

OLIVER ALUNOVIC

studio lynn

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Pre-diploma Project

WS19-20 Project by Chien-hua Huang

The New Vehicle-Oriented Market What has transformed the market from a social hub into a non-human distribution centre serving online shopping is the lack of updates in our ways of commuting. A lesson learned from the 1920s failure of an experiment that implemented a car-centered supermarket in Los Angeles is the consequence of the exaggerated accidental behaviour of human plus machine. This calls for a new standard of architecture beyond reference to a human figure and each automobile movement involves informing the space. A new age of self-driving cars is starting to dominate the market. The way we see in such a car is different and it extends both our physical ability and efficiency. The innovated in-car experience has great potential to reintroduce the social aspect of a vehicle-oriented market and can thus inform the space. (2)

(1-2) Chien-hua Huang

Studio Lynn

Pre-diploma Project

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SS20 Project by Georg Popp

The Social Butterfly A Micro-Mobility Take-out Restaurant for Delivered Food. A ‘social butterfly’ is broadly defined as a person who is socially dynamic, networking, charismatic, and personally gregarious. To reflect and incentivise the networking behavior of the social butterfly, in this building: Dining-in becomes take out which leads to meeting-up, performed at different speeds ranging from fast to slow. The building is digitally interlinked with nearby vendors and kitchens. The food is picked-up at its location by gig-workers or delivery drones on demand, brought to the dedicated drop-off and pickup volumes and is ready for take-out or transferred to table-delivery. Every step implies human interaction. It is a three-storey landmark with gradual transition from high flux to intimate space.

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(3-4) Georg Popp

lidia ratoi Interview

Lidia Ratoi is a computational designer, robotic fabrication researcher and architect. She graduated from IAAC Barcelona where she specialised in robotic fabrication and has worked at The Royal Danish Academy, Denmark. Currently she teaches at the Faculty of Architecture at Hong Kong University and as a DesignMorphine member, she regularly conducts workshops related to digital fabrication.

LIDIA RATOI 22

Lidia Ratoi, portrait ©HKU

<1> How do you see the more traditional skills and the human touch being translated by means of digital tools and automated fabrication processes? Are there any limitations that are occurring now that we rely more on robotics? In the architecture studio where I teach (editor’s note: at HKU), we focus a lot on housing and especially the second semester is dedicated to traditional architecture in rural China. This is something that has to do a lot with crafts, with vernacular architecture, with natural materials and on the other side I work with robots and state-of-the-art technology, and so it begs the question: Is there any kind of connection between the two or are these completely separate entities that I am working with? My personal view on this is that there is no such thing as going only one way in the 21st century. Right now, everything is possible at the same time. We have rural areas where architecture is very traditional and we have robots; we have all these kinds of different environments, but I think right now the best architects are the ones who are capable of mixing all these things together. Throughout history, the best architects were the ones who were generalists. An architect needs to be a craftsman, engineer, artist and psychologist – you need to have an understanding of social situations, of people and what people need. The fact that we now have AR, AI, robots and all these kinds of tools, this is all they are: tools. Therefore, as architects, as designers, we are still the ones who control them and still the ones who kind of make them form decisions. Even if it is machine learning, we are the ones who are feeding the input, so we are still the generators. I think it’s

“The best question to ask is: who are we working with and who should we pair with to make design that is relevant, design that helps this world that we are living in? Who are the best people to work with in order to create something that is worth doing?” not really a limitation that we have robots, if a robot becomes a limitation, it is because it is not used in the right way; as long as we take control and we understand these are just tools that we are using – maybe to improve or to optimise our workflow – we have an even broader range of design parameters to work with rather than being limited. <2> In your recent project “Reformative Coral Habitats’ you worked together with marine scientists to create this man made habitat for corals in HK. As a designer and robotics researcher, what was your experience working across different disciplines like and how do you see these collaborative projects becoming a greater part of young designers’ futures? It was extremely rewarding and it was a process that I learned a lot from. We were a team of three marine biologists, David M. Baker, Vriko Yu and Phil Thompson, and originally three architects, Christian J. Lange, myself, and Dominic Co, and then we were also joined by another research assistant, Lim Jason Hu. It was quite a small team, but the roles were really well defined; that

lidia ratoi Interview

made for a really good workflow, because as architects and people working with robots, we had no idea about marine biology and marine biologists did not really know about 3D printing and design. We would always have meetings where they explained to us every single thing that needed to be incorporated in the design: we knew that it had to be a tile, we knew that there were going to be people who were going to dive and deploy this tile underwater – so we had to find the simplest way of getting them underwater and putting them all together, that is why we came up with the hexagonal tile, just so we could have normal tiling that would be really easy for the divers to put underwater. Another important factor was Hong Kong’s subtropical climate, which leads to underwater sedimentation. Due to this reason, we could not have a tile that was like a solid tile, it had to have a lot of perforations in it, but with 3D printing, you cannot have traditional round perforations – so how do you create the shapes? Every single piece of information that we came across, had to be incorporated in the

design and then the design needed to be made feasible for 3D printing. The tiles were supposed to be quite large, around 70cm each, but clay is a material that has a certain behaviour, it has fluidity, it dries, it shrinks, it cracks. It was always this loop between what we learned we needed to do from the marine biologists and what we could do with the machine and the material. This was a process that I, personally, learned a lot from and I think this is really important for architects in the 21st century. Right now we are witnessing the world changing, so we have to be flexible and we have to design in a new way. The question is not whether we need to work in an interdisciplinary way, because we already know that we do, the best question to ask is: who are we working with and who should we pair with to make design that is relevant, design that helps this world that we are living in? Who are the best people to work with in order to create something that is worth doing? What are the skills that we need to cover that we ourselves do not have as architects?

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(1) Implanting corals on to the reef tiles (2) Reef tiles of the project Reformative Coral Habitats ©HKU

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<3> It is already widely accepted that versatile robotics have more potential than other standardised robotics because on the worksite there is a need for adaptive intelligence. Is there a future where intelligent robots and people can work alongside each other and not only on a small scale, but on larger-scale projects? Different kinds of tools have different kinds of behaviours: one robot does not have more potential than the other, it just has a different potential. Robots like Gantry or cable bots or robotic arms are being used more in the construction industry because they can replicate this type of process that we are already used to. Even though it is maybe 3D printing instead of casting, it is still similar to what we have been doing, so of course we have a new formal language, but it is rather similar to architecture that we have been doing for hundreds of years and it is especially similar to modernist architecture – yes, we are not living in a modernist time anymore in the 21st century, but we live in a modernist way. For this reason, these types of robots have been more popular and there is more architectural construction being

done with them, but I also see a lot of potential in soft robotics, minibots and different kinds of robots. This gap happens because, for example, if you are going to do a project with soft robotics, of course you need a different types of structure, a different type of design, a different type of architecture – for this reason we are going to need more time and we are going to have to go through a switch in mindset and we need to embrace a new type of architecture and design that can be done with these tools. Each tool has its own personality and its own unique qualities, so with more adaptable robots and more flexible robots you also have to have different types of structures that we are not used to seeing as architecture; we are used to seeing them as pavilions or prototypes – this is where we have to provoke the switch in order to have a renewal of architecture, and a complete renewal of the tools we use. <4> What do you believe is going to be a critical thing to take into consideration when designing with the future in mind? In order to think about the future, you have to be really aware of the present and the past. The first thing we have to do is take into consideration the current realities: we do not have the same luxuries as the architects did 100, 200 years ago, to basically experiment with structure, with form, with material just for the sake of it. Right now, everything that we do has to be very environmentally conscious. Actually, that was a luxury we should have never had, because that is what brought the world to the stage where it is right now. The first and most important thing is to work with biomaterials, to work with architecture that is worth doing, that responds to

lidia ratoi Interview

problems, but on the other hand, I would hate to be part of a generation that is only associated with solving what the previous generation did, and only with optimisation. I do have this fairly bohemian view of architecture; I still think beauty matters and aesthetic matters and that architecture is an art. It is just a matter of how we are going to treat it like an art while being conscious of what we do. Although we have all these tools like AR and AI and although even in the general construction industry things have changed, we still need to be in control, there still is a certain human factor that is irreplaceable. As strong, as intelligent and as amazing the robots can be, they are only as good as the person programming them. That is why I would advise all young architects and all young designers to take into consideration that they are humans designing for humans and a good architect is a person who has a lot of knowledge and who has a certain personality and who has something to say in this world. It is not a matter of saying what the robot wants you to say, it is a matter of the robot saying what you want to say. Always take control of what you do. If I had to look towards the future, I think we have to be a lot more conscious about what we are doing, but not fall into this trap of over-rationalisation. If you read articles now, people are really afraid to talk about beauty, about aesthetics, about form-finding

“In architecture we are quite intelligent about the way in which we use robots, so I would advise architects to be part of the teams that are advocating for ethical use of technology and always using sustainable materials.”

techniques, because we always want to overrationalise everything. It needs to be a given that it is rationalised, it is optimised, it is for a purpose and then we should not omit the actual design part of it.

“Different kinds of tools have different kinds of behaviour - one robot does not have more potential than the other, it is just having a different potential.” <5> Is there any general advice you would have for young architecture students? Even if you think you are not very digitally inclined or tool-inclined, it is very important that you learn this kind of code-based software and that you learn to work with contemporary tools. This is a reality that we really have to embrace. It is not at a stage anymore where it is about your personality, or your personal preferences. In the future, in 10-20 years, this is going to be a given, so it is better to stay ahead of the times and start working with these tools. What I really like about architecture right now is that humans are working together with robots – if you look at the weapon industry, it is very scary what a robot can do, but in architecture we are quite intelligent about the way in which we use robots, so I would advise architects to be part of the teams that are advocating for ethical use of technology and always using sustainable materials. The reality is that technology is here, we just have to be very smart about the way that we use it. interview from October, 28th 2020 conducted by Emma S., Patricia T.

“Although we have all these tools like AR and AI and although even in the general construction industry things have changed, I still think we need to be in control, I still think there is a certain human factor that is irreplaceable. As strong, as intelligent and as amazing as the robots can be, they are only as good as the person programming them.” Lidia Ratoi

studio díazmoreno garcíagrinda

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Pre-diploma Project

WS20-21 Project by Mira Al-Suradi

The Local Hub Located on the site of an existing bread factory complex, this project aims to reuse and conceptually redefine outdated models of mass production into ones more in tune with human subjectivity and potential. Contrary to the notion of industrialized labor, understood as a series of repetitive tasks, this project instead highlights smallscale industries that are reliant on the proliferation of craftsmanship and design-in-making. In order to break free from outdated models of hierarchical systems, in which mass production and assembly lines divide human lives into separate spheres of production and free time; the project spatially explores systems of circulation in order to create a new form of productive space, one intertwined with moments of leisure, rest and rejuvenation. Thus, “The Local Hub” creates a new form of publicness, aiming to decentralise the typical factory, maximising its access to a multiplicity of actors, through the use of digital and contemporary methods of production. The result is a network of working and leisure spaces that facilitate collective and idiorrhythmic sharing of space. (2)

(1-2) Mira Al-Suradi

studio díazmoreno garcíagrinda Studio Project

WS20-21 Project by Nohar Agadi, Katja Banovic

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The New Glacis “The New Glacis” tests the feasibility of a domestic response to the millennial interpretation of traditional commerce. Throughout history, the Viennese Glacis served as a physical platform for trading, contributing to the urban, economic, and social growth of the city. Contemporary e-commerce practices have redefined the nature of trading with a new digital interface, advocating for the absence of physical shopping. By introducing a domestic fulfillment center as a part of the living typology, our project compromises physical retailing for the inclusion of an ample pleasure landscape. The FOYER is a new infrastructural component of the dwelling, linking the tenants to the global network of trading and commerce, allowing them to participate in the contemporary practice, both as resellers and consumers of fast-moving goods. Our project tests a new protocol, in which the production of local craftsmanship within a new suburb of Vienna could link the resellers to a global commercial scheme while simultaneously recontextualizing e-commerce.

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(3-4) Nohar Agadi, Katja Banovic

studio lynn

Studio Project

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SS20 Project by Ebrar Eke, Martin Lai, Yannik Kaiser

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Common Sense Food With the increasing possibility of autonomous robots being used in the restaurant sector, the question arises about the space in which existing and new participants meet. To align the dining experience with the contemporary culture of human-machine cooperation, we see a potential for a spatial type that is organized around both human and robotic movement.

of different expectations and speeds of the users. Two dining styles emerge out of the diverse movements of the customers and the rational movement of the serving robots. In order to handle these diverse layers of movement, the video game design method of using ‘core mechanics’ to design space responding to movement is applied on an architectural scale.

The project aims for a dining experience which is a mix of table and buffet service to be able to meet the need (1-4) Ebrar Eke, Martin Lai, Yannik Kaiser

present futures Thoughts

“Shameless indulgence - in the core competencies of architecture (architectural form, tectonics) obviously, we all want certain pseudo-architectural big ticket items like carbon neutral/negative, all IoT everything and mixed reality environments. However, these things, which are currently being expressed in academic work as qualities of a future architecture, are in fact not architectural qualities. Rather, they are cultural agendas, within which architecture plays a fractional role. So knowing our place in these efforts and how to contribute to them as architects is very important, now and in 50 years.”

“Integrated - Architecture and its context would be considered as one integrated ecosystem represented as both virtual data and immediate physical forms through which interaction might take place. The virtual representation of the physical reality would suggest an alternative workflow in which the emergent social-cultural phenomenon is integrated into an architect’s design articulation.”

“Responsive-Virtual and physical environments would have mutual responses, not only physical responses but also socio-spatial logic. The rapid development of the virtual environment would challenge the architectural agency as it is growing faster than the adaptability of the physical one.”

JOYCE LEE

NEAR FUTURE ARCHITECTURE <> KEY ASPECTS?

“Revolutionize - Technology advancement and transformation of the industrial system are the main variables that result in an architecture that takes an even more preponderant role, engendering illimitable boundaries. Whether it’s utilization, resplendency, or any dimension that people can perceive; it could be verbalized that architecture has become a living thing.”

MICHAEL TINGEN WITCHAYA JINGJIT

“Instead of composing specific complex programs and longing for durability, future architects will focus on comprehensive systems with energy flow, dynamic uses, and immediate synchronization between physical and virtual systems. The future architecture will be composed of soft programs that immediately react to both fast-changing, domesticated land and nature as a whole.”

CHIEN-HUA

“ADAPTATION” “AUTONOMY” “ABSOLUTE”

ZACH BEALE

“Hybrid - through a combination of the accommodating factors for human, non-human and the environment, architecture will channel symbiotic relationships. This will bring an unparalleled hybridisation of the anatomy of architecture. ”

JAN KOVARICEK

“Maximum adaptability - Over the last few decades, we have witnessed the effects of our daily activities on our planet. Climate change, natural disasters and diseases are amongst those problems that architecture should be better equipped to tackle. One key feature that the field should acquire, in my opinion, is the capacity to adapt to the new scenarios that we will be dealing with. The role of hybrid architecture will be fundamental in the next 50 years.”

“ADAPTABILITY” “INCLUSIVITY” “AWARENESS”

TALA SAWMEH

“Robotics - Assisting robots and 3D printing are the two main technologies that architecture will certainly incorporate in its daily development. These will become essential, not just in the execution of certain tasks that a human cannot do, but also in terms of the efficient management of finite resources, allowing us to produce an entire new set of geometric expressions with nontraditional materials, and an optimal use of them.”

ALEJANDRO ESTRELLA

“Responsibility, Willingness to compromise - Recently, our efforts to implement optimisation of refurbishment, to be “more efficient” or to be “environmentally friendly”, haven’t made a difference. With the found ideal of profit, the gradial reduction of architecture towards an exoskeleton, which could finally enable us to engage fully in our self-developed, alternative world - the digital, leaves behind our one and only known physical one. The important parameters have become information, and while we are all concentrating on fusing worlds and copying our already best, state-ofthe-art sensories into it, the actual remains, as ever, known, but, not yet fully explored or understood. The current ecological and climate crisis has reached another discursive peak, which is currently enabling us to see the urgency with which we need to act, removing us from our ‘comfort zone’ and demanding us to rethink and evaluate our actions and ideas instead, before we allow for it to cause devastating and irreversible effects and ultimately induce fearful future scenarios. SIMON HIRTZ

“Big Data driven - digitization can enable these urban issues to be better responded to in the future, such as social space analysis, urban transportation planning, public participation and interaction, multicultural and multi-community integration. With the further development of AI-based applications, future cities will be smart ecosystems driven by Big Data.”

“Confrontation- Given the demanding aspects that architects, among other professionals, will deal with today and in the future, a direct and precise confrontation with the respective area of interest together with a reversed attitude towards its related difficulties is advisable, perceiving them not as a rival, but rather as a companion.”

QIAN YU

CARMEN EGGER

studio díazmoreno garcíagrinda

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Studio Project

WS20-21 Project by Patrik Drechsler, Xavier Madden

The Fourth Nature “The Fourth Nature” proposes a new, speculative suburb for Vienna, aiming to connect the cultural and historical constitution of the site’s soil with our conception of urbanism as an evolutionary tool, negotiating the city across arrhythmic scales of time. The project introduces a contemporary notion of vernacular architecture, evaluating the different properties and layers of the soil and combining it with new modes of fabrication and materials. Fabrication reacting to timespans is integral to the vision, blurring notions of the suburb and domestic spaces being seen as static entities. Accordingly, we propose a constructed ‘super landscape’, inhabited by a circular system of CLT components capable of offering adaptive spaces for living, consuming and working. Attached to the main earth structure, these components can be combined into over 60 different variations and later be disassembled, expressing a contemporary way of living in a sustaining, yet changing urban environment.

(1-5) Patrik Drechsler, Xavier Madden

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studio hani rashid

WS20-21 Project by Jade Bailey

Pre-diploma Project

Traces of Global Warming The incentive is to juxtapose current theory, political and cultural discourse with the unintended and unexpected through a speculation on ideas and spaces. The instigating premise of the project is based on the ecological crisis we currently find ourselves in. The project uses traces of global climate change, silt residue left after intense flooding, along with recycled and harvested materials to rebuild the Red Hook Grain Silo in NY into an artisanal studio hub and material research institute. The project explores the essence of how we as humans can inhabit and perceive the effects of the future and the sub-natures it will create. Using ecological theory to ground a conceptual process driven approach to constructing space.

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studio díazmoreno garcíagrinda Studio Project

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WS20-21 Project by Alma Kelderer, Moritz Kühn, Andreas Schermann (1-4) Alma Kelderer, Moritz Kühn, Andreas Schermann

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Landscape of Collective Movement The “Landscape of Collective Movement” is defined by newly emerging lifestyles, introduced on site, where inhabitants are in constant movement towards different communities and their personal interests and only temporarily rent their residential spaces. Two production areas are established which connect to the existing local and international transportation hubs to provide the supply of local timber. Within these production clusters the prefabrication of construction elements takes place, which will be used to build the residential housing in a modular way. Through easy assembling

and disassembling of the modules by the residents themselves, the structure may react to specific needs of the inhabitants and their respective preferred activities in the communal areas. In order to bring these prefabricated elements to the specific construction site as well as make the constant moving of inhabitants comfortable, a transportation system for exactly those elements, goods and furniture is spread throughout the city.

studio lynn

Diploma Project

WS18-19 Project by Dieter Fellner

Surgery Center multidisciplinary health care machine Sufficient access to medical care poses a complex set of problems. In his book Being Mortal, public health researcher Atul Gawande advocates for a return to humane conditions in hospitals and urges the architect to make it the central focus of the designing process. As modern healthcare should focus on the patient, new institutions should also be designed from the patient’s point of view. My design process follows the ideas of a storyboard rather than employing a conventional Cartesian design method. One of the biggest challenges in hospitals today is the lack of time a doctor is allowed to spend with the patient. In order to change this condition, people working in the health care sector need additional assistance. I propose that robots and machines can assume those tasks which do not require humans. Humanoid robots are very common in the “Hello Kitty” society of Japan. There is a Gundam statue (a robot-like character from a science fiction media franchise) at Diver City in Tokyo, which can serve as a symbol for this society. Surgery centers are not typically hospitals and first appeared in the early 1970s. They are health care facilities where mainly surgical procedures are performed. Those facilities are normally not equipped with medical imaging devices that take CTs or MRIs, for example. But they are health care facilities,

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very densely equipped with machines and robots, which are seamlessly integrated into our health-care system. This resulted in a complex vertically orientated building which is assembled out of three distinct towers; the Staff Tower, the Patient Tower and the Robotic/Machine Tower. The machine tower is mainly an automated storage space which has openings to service levels underneath the surgical areas where robots can move around and automated sterilization can happen. In this section, human and machine space is differentiated. All three “towers” are connected via ramps so that robots and human beings can move in the same space simultaneously and without any barriers.

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(1-2) Dieter Fellner

STANDS STANDS THETHE NEW NEW sURGICAL sURGICAL cENTER cENTER

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(1-4) Dieter Fellner

0101 Entrance Entrance TokYo TokYo 20402040

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tHEtHE BUILDING BUILDING ApPEARS ApPEARS DIfFERENTLY DIfFERENTLY DEPENDING DEPENDING ON ON HOW HOW YOUYOU ApPROACH ApPROACH IT IT

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0303 Recovery Recovery && Rehab Rehab

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As the As Journey the Journey endsends for for one, one, it wilL it wilL be be just just the beginNing the beginNing for for another another person person

As the As the Journey Journey ends ends forfor one,one, it wilL it wilL be be justjust the the beginNing beginNing forfor another another person person

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HI Markus, HI Markus, howhow are are you?you?

Hi Markus Hi Markus howhow are are you?you?

.... A human .... A human in the in City the City

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0404 EXIT EXIT

It was It was alL alL perfect perfect . thank . thank you you Stephanie. Stephanie. SeE SeE you you in two in two weEks weEks

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angewandte institute of architecture mementos

ANGEWANDTE

angewandte institute of architecture mementos

DEEPFUTURESLAB VR Diploma Reviews, winter semester 20/21 @Studio Rashid

ISSUE 02

AUTOMATION, FABRICATION AND DESIGN

Dissecting aspects of architecture, design and the future through conversations with creatives.

ISSUE 01

HEALTH