Aidan Newsome 2021 RIBA Part 1 Academic Portfolio

Studios

A new supply-chain architecture for the Arctic and beyond

Nicolas Hannequin, Odile Decq & Jieun Kim

This studio researched and proposed prospective ideas on the ocean as part of the United Nations’ “2021-2030 Decade of Ocean Science for Sustainable Development.” The studio explored themes such as tides, flooding, living on and inside the sea, expanding territory, unexplored areas, energy, food, offshore activities, and water, drawing inspiration from architects such as Kiyonori Kikutake, Kenzo Tange, Jacques Rougerie, and Didier Faustino, and engaging in workshops with artists and architects such as Nicolas Floc’h and Marc Van Pethegem.

In my project, I explore the colonial perspectives on the Arctic and the Arctic Sea, and how they influence our perceptions of the region. I discuss the need for solutions to problems created by colonial systems, and propose that Canada should surrender its sovereignty over the Arctic and the Arctic Sea to the Inuit, who are the rightful stewards of the Arctic land and seas. I believe that by connecting the Inuit to the global supply chain through the Northwest Passage, they could go from impoverished to empowered, and create their own economy. To achieve this, I propose the development of floating decentralized ports that act as temporary hubs for transportation of people and goods, and autonomous tenders that load and unload people and goods onto container ships of the future.

Please refer to the corresponding text in Appendix 1.1 for more information.

Concept of a floating port, created using paper models and collaged in Photoshop

A second concept for a floating port design

A compilation of individual paper models or building typologies for the floating port concept

Concepts for vessels from various nations that could attach themselves to the floating port

Perspective sketches of the floating port collaged into a section-like drawing using Photoshop

Paper mache models of vessels

Experiments with a floating port concept model constructed from paper and plastic wrap

A diagram comparing the existing Arctic supply chain to my proposed alternative, showcasing the potential distance & time saving benefits and differences between the two

This perspective diagram shows the potential frequency of container ship traffic through the Northwest passage, assuming it becomes a year-round trade route in the future

This zoomed-in version of the diagram highlights Ulukhaktok, red, to showcase its location in relation to the potential container ship traffic through the Northwest passage

This perspective diagram showcases Ulukhaktok and outlines the key components of my proposed supply chain

The movement of goods between the container ship and the floating port via the tender, as well as the transportation of goods between the floating port and the land via personal vessels.

A swarm robotic system can be utilized to facilitate the loading and unloading of wooden pallets onto and off of the container ship

This abstract diagram provides an overview of the potential imports and exports that could be facilitated through Ulukhaktok

This perspective section illustrates the tender that would shuttle between the container ship and the floating port in the proposed supply chain system, featuring passenger seating

A proposed attachment to container ships, inspired by the Falkirk wheel

The tender arriving from the floating port

STD-2 ARCHITECTURE - FALL ‘21

New Hollywood: Architecture’s role in the metaverse

Colin Fournier

During the Covid-19 pandemic, cities around the world suffered economic and social devastation as schools, offices, museums, shops, and restaurants were forced to close. Hospitals were overwhelmed, while traffic and air travel decreased dramatically. This unprecedented event raised the question of whether cities could be made more resilient to pandemics and environmental problems. Some suggest exploring alternative forms of human habitat beyond the city. A studio in Los Angeles sought to do just that by exploring potential future habitats beyond the traditional urban paradigm, encompassing the coastal area, islands, mountains, and deserts beyond the city’s current footprint.

For my project, I developed a virtual city called New Hollywood, which exists purely virtually and, therefore, has no physical site. Inspired by Hollywood’s movie-making business, I envisioned this paradigm as the next version of Los Angeles.

Unknown Photographer, 1905. “Panoramic View of Hollywood”.

Julius Shulman, 1960. “Koenig, Case Study House #22”.

Unknown Photographer, 1916. “Belshazzar’s Feast”.

Unknown Photographer, 1916. “Grounds where photo play Intolerance was staged”.

Unknown Photographer, Unknown Year. “Huntington Beach Oil Derricks”.

J.F. Hoyer, Unknown Year. “Long Beach Oil Derricks”.

Unknown Photographer, Unknown Year. “Long Beach Street Flooded From High Tides”.

Salvador Dali, 1948. “Elephants”.

Guy Debord, 1957. “The Naked City”.

A sketched version of the urban plan situated in the desert north of LA and consisting of enormous walking platforms operated by humanoid robots using AI technology

This is another more zoomed in sketch of the initial version of New Hollywood

A view from the physical model of my second iteration of New Hollywood

An alternative perspective from the physical model of my second iteration of New Hollywood

The concept for the third version of New Hollywood involves a vast linear metaverse augmented on a physical location that stretches from Long Beach to Antelope Canyon

Another render of my third iteration

A perspective on my augmented third iteration of New Hollywood, which intersects with existing infrastructure

The first of three contact sheets containing frame extracts from my midterm proposal on New Hollywood

https://youtu.be/TLS6vOJqSK4

This photo depicts a virtual production set used in the making of the Mandalorian, which is an innovative approach to film making and served as a source of inspiration for my project

The concept of the “metaverse” also served as a major inspiration throughout my project

A plan of Decentraland. Decentraland is a virtual reality platform powered by blockchain technology where users can create, experience, and monetize their own digital content and applications

This is a photograph of Jaron Lanier, the founder of VPL, an early VR startup, and the author of “The Dawn of the New Everything,” which was a major inspiration for my project

A photograph from VPL showing their VR headsets and DataGloves

“Twenty-first-century art form that will weave together the three great twentieth-century arts: cinema, jazz, and programming.”

“You are having interesting experiences but you look preposterously nerdy and dorky to onlookers.”

“A way to try out proposed changes to the real world before you commit.”

“Digital implementation of memory palaces.”

Some of my favourite definitions from Lanier’s book,“The Dawn of the New Everything”

This is a photo taken by Max Cavallari that captures people absorbed in their devices with their faces glued to the screens

This sketch, taken from “The Dawn of the New Everything” by Anne Young and Jaron Lanier, illustrates the distinctions between reality, mixed reality, and virtual reality

This photo, taken by Antoine Geiger, portrays a man walking down the street with his face glued to his device, not unlike someone using a VR headset

The October 1987 issue of Scientific American featured the DataGlove on its cover, which was developed by VPL

Some examples of contemporary brain-computer interface (BCI) devices

In my project, I extrapolated upon Neuralink, which is a brain-computer interface (BCI) that aims to connect human brains with computers to enhance human capabilities

This simple sketch of a Zoom meeting in New Hollywood illustrates how virtual spaces can accommodate multiple instances personalized to each user within the same environment

The master plan of New Hollywood exists purely as a computer program or DAO (decentralized autonomous organization), with no physical manifestation or presence

Components

(Infra)structure of the Embodied Internet

1 Chassis

An enclosure for the computer that may take different forms.

2 LAN & Power

Provides networking capabilities and power respectively.

3 Cooling fan(s) Cools down hard working components.

4 Motherboard Transports bits from one destination to another.

5 HDD(s)/SSD(s) Stores all bits in the entire network.

6 Battery(s) A reserve power source.

7 CPU(s)

A systems logic, governance and labour.

8 RAM

Stores bits needed for the CPU and GPU for quick access.

The infrastructure and organization of New Hollywood can be compared to that of a conventional city

9 GPU(s) Builds and creates digital life.

Modern server (2021)

The bidirectional process utilized to create a 3D virtual world using a BCI

This is an exploded view that illustrates some of the various layers comprising a virtual world

A series of frame extracts from the short film I developed to showcase New Hollywood

https://youtu.be/TLS6vOJqSK4

This is a diagrammatic view of a metaphysical cross-dissolve, which is one method by which individuals can navigate within New Hollywood

Workshops

W-01 ART - 02/21

Taking patterns from the sea and creating a living architecture

Nicolas Floc’h

Nicolas Floch’h is a contemporary French artist who creates multimedia installations, sculptures, and performances. His works often involve a mixture of materials and technologies, including sound, video, and lighting. He is known for his use of organic forms and themes related to ecology, nature, and the environment. Floch’h’s works have been exhibited in various galleries and museums throughout France and Europe, and he has been the recipient of several prestigious awards and grants.

During the workshop, we explored different ways of using water as inspiration to create something new. Personally, I found the patterns of water particularly inspiring. I was interested in the concept of photogrammetry and how it could be combined with cutting-edge interactive tools to create a living, interactive structure.

The sea offers beautiful patterns, from its landscapes above and below the water to its flora and fauna, and I would like to replicate them in architecture.

As a guide for my research and inspiration, I have crafted the following sentence

1. Take a photograph

2. Perform color correction

3. Crop the photograph to the desired pattern

4. Extract necessary maps such as color, normal, height, ambient occlusion, roughness, etc.

5. Apply the extracted maps to the architectural element and export it as a 3D model (mesh)

6. Utilize the 3D model for fabrication, such as ceramics or paneling

The steps taken to create the first part of my research process will be detailed in the following pages

This is the first photo in a series of five featuring flowing water

Next I would crop the desired pattern from the flowing water photograph into a square

Then I would extract the necessary maps such as color, normal, height, ambient occlusion, roughness, etc.

Combing these maps results in the formation of a three-dimensional digital material

Here is a render of the material applied to a two-dimensional grid of tiles

Having investigated the use of static water pattern images in architectural design, I then delved into the potential of incorporating real-time live video for similar applications 100

This is a technical drawing of what I define as a “living wall,” which is a wall that responds in real-time to live video footage of flowing water

These are frame extracts from the real-time demo, showcasing the dynamic response of the living wall to live video of flowing water

https://youtu.be/o727IsfBf2w

Individual frames extracted from an animated image illustrate the movement and transformation of a living wall in both plan and section

This drawing demonstrates how a gradient from black to white from an image or frame extract can be employed to generate the height values of the mechanical telescoping poles

W-02 ARCHITECTURE - 03/21

My Personal Junkish Island

Didier Faustino

During the workshop, participants were tasked with designing an island, envisioning a house on it, and crafting a fictional story that tied all these elements together. The island was seen as a metaphor for the world, complete with its unique ecosystem, endemic species, indigenous peoples, and political autonomy. Depending on how it was conceived, the island could evoke feelings of dependence or autonomy, and could be either a harsh or idyllic place. The house, meanwhile, needed to be intrinsically connected to the island and reflect the our status and motivations. Finally, the fiction had to weave a strong narrative that fully immersed the reader in the world created, shedding light on the island’s scope and the interplay between myself, the house, and the island.

As my response to the workshop, I decided to construct an island using items I gathered both inside and outside my house. By using materials like sticks, towels, and clothing, I sculpted an island and then scanned it using photogrammetry. Afterward, I enlarged the island to a scale that was true to life. For the house, I also used photogrammetry and a mix of materials such as newspaper, string, tape, and even a pop can that I cut into. With these tools, I created a detailed and unique house that was deeply connected to the island I had designed.

Please refer to the corresponding text in Appendix 1.2 for more information.

A photo of a make-belief island crafted using wooden logs, rocks, and clothing from my room to form the landscape. Right: A different perspective.

I created a conceptual model that I believe could fit inside a soda can, and I used photogrammetry to scan it and generate a 3D digital representation of the model

The exterior shell of a fictional home situated on an imaginary island

Another perspective render of the island

W-03 NAVAL ARCHITECTURE - 04/21

Bonbibi Boat

Marc Van Peteghem

The task for this workshop was to create a project that reimagined naval architecture, focusing on simplicity, coherence, and essentiality. As an architect, it is crucial to consider how to balance humanity and nature. This workshop aimed to bring value to people’s lives, whether for pleasure or professional use, and featured zero-emission propulsion and bamboo as the construction material.

During the workshop, we were organized into groups of three, and I worked on designing the main deck level of a three-level boat constructed entirely of bamboo. The boat was intended to function as a mobile hotel/ferry, providing passengers with comfortable and eco-friendly transport.

My approach to designing the main deck of the boat involved creating a drawing, building a physical model, scanning it with photogrammetry, and creating a NURBS digital model

An exploded drawing that shows the different components that make up the main deck

Michael Heizer “Double Negative” study & Hudson Valley study

Alessandra Cianchetta

This workshop consisted of two parts. In the first part, we created a video presentation of a significant cultural project, including drawings, archival images, and texts. My partner and I chose Michael Heizer’s “Double Negative” for our presentation. In the second part of the workshop, we focused on rethinking the concept of private art galleries and their interrelationship with art, culture, and the economy in unconventional locations. As part of this group assignment, we researched and gathered information about the local and regional art market, cultural heritage, socio-demographic data, logistics, potential sites, threats, and opportunities for Hudson Valley. During this assignment, I contributed by creating various maps analyzing different topics related to the Hudson Valley region, including socio-demographic data, cultural data, and infrastructure.

An isometric drawing of Michael Heizer’s ‘Double Negative,’ located in the Moapa Valley in the eastern Mojave Desert. The drawing was created in part using open source LiDAR data.

Here is another isometric view of Michael Heizer’s ‘Double Negative’ artwork, with a material applied

https://youtu.be/3FR_7XPeIq4

This is the first map in a series of critical analysis maps focusing on the Hudson Valley Region

W-01 ART - 10/21

The Social Contract

Andrea Blum

Andrea Blum is an American artist known for her interdisciplinary approach that combines art, architecture, and design. Her work often explores themes of urbanism, social space, and public intervention. Blum has exhibited her work in many prestigious venues, including the Whitney Museum of American Art, the Museum of Modern Art, and the Venice Biennale. She has also received numerous grants and awards for her work, including a Guggenheim Fellowship and a National Endowment for the Arts Fellowship.

In this workshop, we were divided into groups of three and tasked with designing a small, publicly accessible bathroom in Paris that provides clean water and a safe and hygienic environment for users. I worked with my group to come up with a unique concept: a collage of different bathroom designs that could be set up on the Covid terraces of Parisian restaurants. The idea was that the restaurants would pay for the washroom, and since it would be located on their terrace, they would take good care of it. The other side of the bathroom would be open to the public for use.

This group project started with each of us sketching their own concepts for an outdoor public restroom. This is the initial sketch in a series.

As a group, we collaged our model to create the final design of our proposed outdoor public restroom on a terrace in Paris. The following is a daytime render of the design.

W-02 ARCHITECTURE - 11/21

The Crystal Flower Market

Jeanne Gang

This workshop aimed to address the needs of migrants in Paris by proposing a hybrid program that included shower facilities and changing rooms, as well as a flower market and urban agriculture market. The proposed site was located along the Seine River in the 4th arrondissement of Paris. The main objective of the building design was to create a relationship between the different programs and users that would preserve individual dignity and reduce the existing boundaries between them.

During the workshop, we worked in groups of three and our group proposed a project using glass blocks as the building material. The glass blocks would not only be visually appealing but also reflect the water of the Seine, creating a connection to the river. Additionally, the glass blocks would be similar in typology to the stone blocks currently used to build the river walls.

Here is a progress picture of our team constructing the initial version of our model. We used sugar cubes to simulate glass blocks.

The third iteration of our model

This is one of several photos from a series showcasing the fourth iteration of our model

The final iteration of our model being built

Our final model taken just prior to its completion

Designing a space to “feel” like a shower

Harald Fernagu

Harald Fernagu is an artist who explores the aesthetics of commerce, markets, and the value of objects. He often uses found materials to create assemblages that resemble war machines, but his focus is not to glorify war. Instead, he adapts and acclimates objects and ideas. He also collaborates with the Emmaüs community, using people who have been marginalized by society as models and subjects in his work.

During the workshop, the focus was on creating a space that embodies a feeling using simple means of representation such as drawings and models made of basic materials. For this exercise, I feeling I chose was that of wrapping oneself in a soft, dry, warm towel after showering.

This photograph is one of a series showcasing my physical model of a space designed to evoke the sensation of wrapping oneself in a towel after taking a shower

My model is designed to evoke the sensation of wrapping oneself in a towel after a shower, while my partner Amadou’s space focuses on the “steam” aspect of showering

Before creating my physical model, I created a watercolor sketch to visualize the design concept that my partner and I had developed

A watercolor and pencil drawing depicting a person moving through the space I designed, to give a sense of how the design would look and feel in use

Seminars

A new supply-chain architecture for the Arctic and beyond

Bruno Dehan

Bruno Dehan, the CEO of Sequoia Ingenierie, led this seminar on envelope and climate that explored this semester’s studio theme of the sea. Having been with the company since 2002, Dehan brings extensive experience in engineering and project management to the construction industry. He is also a graduate of the prestigious Ecole Centrale de Nantes, cementing his expertise in the field.

Please refer to the corresponding text in Appendix 1.4 for more information.

S-T-10 ENVELOPE & CLIMATE - SPRING ‘21

Left: Preliminary concept diagrams and sketches, Right: Completed envelope and climate work

Figure 6: Shortening the length of the maritime supply chain would drastically reduce energy consumption globally

Figure 1: Both the port and tender have been designed with thick insulated walls to create a controlled and comfortable internal environment

Figure 2: The port’s envelope utilizes tiny pores filled with seawater that warm under solar exposure and increase insulation value

Figure 3: Batteries will store solar energy in the deep hulls of the port and tender for use in the winter. Hydrofoils are used to reduce drag while the tender moves through the water.

Figure 4: Boat lift to bring the tenders from sea level to deck level while under sail.

Figure 5: The lift utilizes the hydrostatic properties of water to help lift the boats and balance the forces applied upon the wheel

A new supply-chain architecture for the Arctic and beyond

Gaetan Kohler

Gaetan Kohler led this seminar on structure and geometry, which was related to the sea-themed studio of the semester. He identifies with an expressionist architecture that values emotions and social experiences over a perfectly controlled project, incorporating a romanticism that questions the mathematical calculations of static construction. Kohler’s architecture is phenomenological, influenced by Kant and Japanese culture’s concept of the spirit of matter, and values the temporal reality of materials and their interaction with occupants. His approach can be applied at different scales, from a vision device to an entire city.

Please refer to the corresponding text in Appendix 1.3 for more information.

STRUCTURE & GEOMETRY - SPRING ‘21

Figure 1: Existing structure of an 18 m used barge in southern Canada

Figure 2: Shell of aluminum elements constructed around barge to transform it into a port

Figure 3: Gantry crane construction

Figure 4: Gantry crane BESO optimization Completed structural work

S-T-20 STRUCTURE & GEOMETRY - FALL ‘21

The computer as the infra(structure) of

future cities

Theo Pagnon & Anas Koubati

Theo Pagnon and Anas Koubati, two young architects, led this seminar on structure and geometry. Theo works for Rogers Stirk Harbour + Partners, an architecture firm founded by renowned architect Richard Rogers. Anas works for Studio Odile Decq, a Paris-based architecture firm known for its innovative designs.

Components

(Infra)structure of the Embodied Internet

1 Chassis

An enclosure for the computer that may take different forms.

2 LAN & Power

Provides networking capabilities and power respectively.

3 Cooling fan(s) Cools down hard working components.

4 Motherboard Transports bits from one destination to another.

5 HDD(s)/SSD(s) Stores all bits in the entire network.

6 Battery(s) A reserve power source.

7 CPU(s)

A systems logic, governance and labour.

8 RAM

Stores bits needed for the CPU and GPU for quick access.

The physical structure of New Hollywood is not tangible, but it can be compared to the components of a computer

9 GPU(s) Builds and creates digital life.

Modern server (2021)

S-T-50 DIGITAL TOOLS - FALL ‘21

Thomas Sicouri

Using a BCI to generate a 3D virtual world

Thomas Sicouri, a computational designer, architect, and founder of POOLP, led this seminar on digital tools.

This is an exploded view that illustrates some of the various layers comprising a virtual world

A new supply-chain architecture for the Arctic and beyond

Julien Verhaege

The Arctic presents a vast opportunity for the future of global trade. In 20-30 years it could be a “silk road”, but that depends on how fast the Earth warms. Overall, I would agree with the majority of people, and argue that climate change is a terrible thing. However, as parts of Earth become uninhabitable, other parts of the world like the Arctic become more desirable. For centuries, small aboriginal communities like the Inuit called the Arctic home centuries, but more recently, colonizers from the USA, Canada, Denmark, Norway, Sweden, Finland, and Russia have made their presence visible, as well as France, China, and Japan through various political agreements. Countries like the USA and Russia are interested in the Arctic because it hasn’t been exploited for either its natural resources or proximity to potentially our most significant future trade route: the Northwest Passage. The result of these actions is further geopolitical tension, economic, and environmental stress among and within global superpowers and small Arctic communities.

If the Arctic is a silk road of the future, a significant architecture must exist. It must not remain an empty void that gets passed by without acknowledgment. I imagine that the Arctic could be a new global hub via its geographic proximity to both the Northeast and Northwest passages. Over time that hub would develop into complex local routes trading goods, ideas, technologies, and beliefs among the vastly different cultures and people that call the Arctic home.

I propose creating a floating island composed of a diversity of prefabricated components made by different Arctic communities currently living in or are planning to come to the Arctic. Each community specializes in their area of expertise and will create specific functions, thus creating a living system that mimics an individual human cell. The islands are made of many different pieces of recycled prefab because, at first, it’s hard to build in the Arctic, given it has minimal materials and infrastructure for construction. So these pieces will be made off site and have to meet a certain standard so that they’re able to connect easily. Version 1 of the island will begin with a master plan, and the designs of each component will have to be designed to fit that initial plan. However, as the island grows, Version 1 will need new features, and unique pieces will be developed, created, and joined accordingly, thus creating Version 1.1. Conversely, when parts of the island separate, new pieces will be required. They will be brought by their home country’s vessels and assembled over time. Eventually, these islands will evolve into a port for passing ships in the Northwest and Northeast passages and develop an economy of their own that will produce locally and sustainably in the Arctic. Think of the International Space Station on a grand scale. The floating island will initially travel along the new global trade routes in the Arctic, separating critical points to develop an existing or create more permanent settlements when necessary.

I hope that this architectural approach promotes inclusiveness, participation and diversity, which is the polar opposite of the architectural practices that have failed in the Arctic in the past. Those include prefab structures built cheaply and without concern for usability or local cultures or city plans that reflect a Western city imposed on the Arctic. My proposal involves each community having the right to be their architect and let the towns develop naturally. Suppose the Arctic reverses’ climate in the future and the Arctic passages freeze. In that case, these prefab pieces can be recycled and moved elsewhere globally, a more sustainable approach than letting them become wasted colonialist ruins left for the aboriginal people to deal with.

My Personal Junkish Island

Didier Faustino

CONCEPT

A YouTube does a stream to his audience of subscribers of a virtual island made of personal junk that his friend tells him about. He takes his subscribers on a short tour of the island.

SCRIPT (WIP)

VOICEOVER

Hidden within a seemingly infinite virtual world in the middle of the Aquarius Sea, there’s an island made of personal junk. This island first became known to our world when it was spotted by John John on a strike mission to the Cibilic Archipelagos just a few weeks ago. John John gave me its coordinates, and I’m doing a flyover tonight and streaming it live to my YouTube channel.

ME (YOUTUBER)

Look, there it is! A beautiful scene. Wow! How incredible. A graveyard of discarded game assets has naturally assembled into a beautiful island.

I wonder if anyone lives there? I’m going in for a closer look.

What’s that there? A Bubly? They’re everywhere! A great time to stop for our sponsor.

This video is brought to you by bubly sparkling water beverage, now available in “tall boys”! Now back to the stream.

Wow, it appears to be home. I’m going to land to take a better look. It seems that whoever lives here has used the Bubly can as a shell to create a home. What a clever idea. Let’s go inside.

This must be the door. Let’s climb in. Woah, this is beautiful. Whoever lives here has used this metal grid as an interior structure that holds this person’s mementos, and wow, how clever, a spiral staircase made of scrap paper. I love their taste. Let’s go upstairs. Look! It’s Mr. Zog’s Sex Wax. Here in the virtual Aquarius Sea.

I think I’ll go to the top and then leave, so we don’t disturb the owner. What a view this is. Okay, let’s go.

All right, that’s all for tonight, guys. I hope you enjoyed the stream. Don’t forget to smash that like button, subscribe, and turn on that notification bell. Until next time. Peace!

A new supply-chain architecture for the Arctic and beyond

Gaetan Kohler

Ulukhaktok is a hamlet on the western coast of Victoria Island in the Canadian Arctic. The name translates to “ulu material” in English, referring to the copper found in the area and used to make traditional knives called “ulus.” As of 2016, this small community had a population of 396 people. Most of its residents are Inuvialuit.

The Inuvialuit are nomadic people that have been living off the land for thousands of years. However, as a result of Canadian colonialism in the Arctic, they’ve been forced to settle. Their primary income comes from hunting, fishing, trapping, and their strong artisan community. However, suppose they wish to import food from additional sources or sell their products globally. In that case, they face economic barriers that stem from their separation from the global supply chain.

As a byproduct of climate change, the Northwest Passage will be ice-free 24/7 in 20-30 years and could replace the Panama Canal as one of the most popular shipping lanes worldwide. As the rightful owners of the Arctic, I believe the Inuvialuit and Inuit should have the opportunity to prosper economically from their proximity to this future trade route.

My architectural proposal is to alter the maritime supply chain to decrease the cost of moving people and goods to and from remote communities. I have designed a physical interface for small communities to trade with the container ships while under sail.

There are three components to this new supply chain that require architectural intervention. Using Ulukhaktok as a case study, the first component is a floating port, which in my project, is built upon a reclaimed barge. The second component is an addition to container ships that would transform a segment of their business into a direct-to-consumer fulfillment centre. The final component is an autonomous tender that would carry goods and people from the port to the passing container ship and vice versa.

Cost is the major constraint informing the structural design of my project. My site is situated in the water, in an accessible area, with little economic means. How can it afford to develop the infrastructure it needs to connect itself to the global supply chain?

Per discussions with Gaetan, I decided that one could save the high costs of constructing on the water by upcycling old vessels. In the case of the floating port, a community like Ulukhaktok would purchase a medium-sized used barge for around CAD 100,000 (EUR 68,000) from southern Canada1. Then with traditional aluminum construction elements, an external shell would be constructed around itself to transform it into a port.

For certain elements that could be too heavy to place on the floating port, such as the gantry crane for moving 10’ containers, a BESO algorithm was used to remove inefficient material while simultaneously adding efficient material to their structure3, 4. BESO is a finite element-based topology optimization method used to create custom structural elements. I used Grasshopper plugin Ameba to help me implement the algorithm on aspects of my design.

Using the gantry crane as an example, first, I drew a simplified boundary representation of the crane’s structure in section. Then I placed support and load points on the boundary representation that mimicked the real-world forces it would experience. I instructed the algorithm to optimize for 1020% of the section’s area (material). I then used the result as a blueprint to reconstruct the element with traditional aluminum structural elements. The result is a lighter structure that’s more optimal for placing on a boat and costs less material.

A new supply-chain architecture for the Arctic and beyond

Bruno Dehan

Ulukhaktok is a hamlet on the western coast of Victoria Island in the Canadian Arctic. The name translates to “ulu material” in English, referring to the copper found in the area and used to make traditional knives called “ulus.” As of 2016, this small community had a population of 396 people. Most of its residents are Inuvialuit.

The Inuvialuit are nomadic people that have been living off the land for thousands of years. However, as a result of Canadian colonialism in the Arctic, they’ve been forced to settle. Their primary income comes from hunting, fishing, trapping, and their strong artisan community. However, suppose they wish to import food from additional sources or sell their products globally. In that case, they face economic barriers that stem from their separation from the global supply chain.

As a byproduct of climate change, the Northwest Passage will be ice-free 24/7 in 20-30 years and could replace the Panama Canal as one of the most popular shipping lanes worldwide. As the rightful owners of the Arctic, I believe the Inuvialuit and Inuit should have the opportunity to prosper economically from their proximity to this future trade route.

My architectural proposal is to alter the maritime supply chain to decrease the cost of moving people and goods to and from remote communities. I have designed a physical interface for small communities to trade with the container ships while under sail.

There are three components to this new supply chain that require architectural intervention. Using Ulukhaktok as a case study, the first component is a floating port, which in my project, is built upon a reclaimed barge. The second component is an addition to container ships that would transform a segment of their business into a direct-to-consumer fulfillment centre. The final component is an autonomous tender that would carry goods and people from the port to the passing container ship and vice versa.

Through an environmental analysis of my site along the Northwest Passage, two significant local environmental constraints arose. The first is the freezing temperatures and the lack of sunlight during the winter. Both the port and tender have been designed with thick insulated walls to create a controlled and comfortable internal environment1. Their envelopes utilize tiny pores filled with seawater that warm under solar exposure and increase insulation value2. Secondly, the vast range of solar exposure at poles has advantages and disadvantages. During the summer, the energy coming from the sun will be captured by solar panels. Batteries will store this energy in the deep hulls of the port and tender for use in the winter3. Additionally, these structures are optimized to be as lightweight as possible to require the least amount of energy. For example, the tender used hydrofoils to reduce drag while moving through the water3

In addition to the first and third components, the container ship addition involves a massive boat lift to bring the tenders from sea level to deck level while under sail4. The lift utilizes the hydrostatic properties of water to help lift the boats and balance the forces applied upon the wheel5. It also uses a simple gear system based on the “Falkirk Wheel” that consumes only 1.5kWh to complete one full revolution.

Lastly, besides the local environmental considerations I’ve made in my designs, the most impactful ecological decision is to make the global supply chain more efficient. Shortening its length would drastically reduce energy consumption globally6. By decentralizing the coastline, you would reduce the need for centralized ports that are bottlenecks, in the sense that a person or product must pass from one economic centre to another, etc., before reaching its final destination.

Architecture is tourism’s best friend, and vice versa

Julien Verhaege is a professor of aesthetics and art theory, as well as an art critic and curator. He has published extensively on contemporary art and cultural theory, and his research focuses on the relationships between art, politics, and society. In addition to teaching, Verhaege has organized numerous exhibitions and events, including the contemporary art festival Les Instantanés de l’art contemporain in Lille. In the seminar on research and writing, he likely shared his expertise in crafting well-written and persuasive texts in the context of the art world.

Is the main attraction to travel to a place its architecture? Can we say that the entire identity of Canada would change with the absence of the CN Tower, Beijing without the Sunrise Kempinski Hotel, or India without the Taj Mahal? Without question, these architectural monuments have helped form each countries’ cultural, political, and national identities. For example, the CN Tower defines Toronto, and it’s the symbol of “the six,” a brand regularly expressed by Drake and The Weeknd to the world. One can say that architecture, in part, is the process of “place making.” In other words, architecture is the primary communication tool of places which results in prosperous tourism industries, a significant component of a healthy economy today. Iconic architecture like the CN Tower, Kempinski Hotel, and Taj Mahal signal cultural vitality, sophistication, innovation, creativity, among other positive values to the world.

Place making is one of architecture’s most powerful tools. In Bilbao, for instance, what appeared to be a distressed economic outlook as of 1993, was arguably saved by the installation of Frank Ghery’s Guggenheim Museum. It sparked many similar projects of its kind to follow suit. That effect spread outwards, manifesting itself in projects such as the Rioja Winery (also by Gehry) 80 kilometres south of Bilbao only a few years later. Bilbao is just one instance of many urban and rural tourist destinations that have invested in the practice of place making through iconic architecture crafted by starchitect brands such as Zaha Hadid, Norman Foster, and BIG. However, isn’t there much more to tourism than major public works, stadiums, museums, galleries, hotels, and resorts? Not to mention, place making tends to involve “starchitects’’ and isn’t even accessible by the rest of the profession. Not only is the DNA of a place composed of the built environment, but also its inhabitants, culture(s), and even its climate. One might ask, what does it even mean to be a tourist today? Can taking a photo for one’s Instagram photo be justified as tourism, or does it say something alarming about society today, that we regularly ignore the context that leads(s) to create the architecture appearing in the background of our online photos? Are we only focused on building our digital tourist personas?

There’s no question that the beginning of photography in the early 19th, but significantly more mainstream photography about a century later, changed architecture and our relationship with it. However, in the past two decades, architecture’s relationship with tourism has been further exaggerated and arguably worsened by social media photo-sharing platforms like Instagram. The new term “Instagrammability” is now the primary design goal or constraint of some architects, developers, and clients. Today, Instagram influencers drive the tourism industry forward, traveling to destinations primarily for their Instagrammable experiences, often shared with their followers through a cliché photo of themselves with the architecture as the backdrop. This gesture seduces their followers to travel to that place, and if that is not possible, it, at the very least, paints a picture in their heads. However, these images often leave the visitor or viewer with no context of the history or culture hidden behind the photo.

Nevertheless, it could be such that the history or culture behind an architectural monument is no longer critical. Many of today’s Instagrammable destinations tend only to represent something stunningly visual, and some architects purposely try to recreate that phenomenon. One can even say that creating a tourist destination today is as formulated as designing the best lighting for selfies creating tillable floors, stunning backgrounds, and perfect proportions to free to house. There are endless examples of Instagrammable architecture today, but one of the best ways to create a list for sharing is to pick a city and then a program. For example, the most photogenic bathrooms in London include Sketch, Nopi, and Annabel’s. Each fits the mold of Instagrammable architecture perfectly.

In addition to architecture’s curb appeal, one can also say the aesthetic of architecture helps further define the brand of a place. Take the dichotomy between Tokyo and Kyoto, for example, the two most important cities in Japan. Kyoto, Japan’s previous capital, serves as an authentic Japanese cultural hub with shrines, temples, and traditional houses. During a trip to Kyoto, an architectural blogger stated that “[Kyoto’s] heritage is easily accessible and tangible, unlike Tokyo’s, which has been hidden and eroded by the rigorous modern development” (Alex). Tokyo, the modern capital of Japan, is known for its commuter rail network, whereas in Kyoto, it’s more common to travel via bicycle or bus. Perhaps most prominently, Tokyo is the center of Asian pop culture, and it is the base

of Japan’s commerce sector. Hence it’s scattered with skyscrapers, swanky cafés, shopping and commercial centers.

The two cities are in contrast with one another. While Kyoto represents open spaces, ancient cultural experiences, serene interactions with nature, Tokyo represents crowded spaces, livelier spaces, and an exorbitant nightlife full of neon lights. However, looking through the lens of “Instagrammability,” neither falls short of the other. The demographic of the crowd touring Tokyo will post the same picture at the Shibuya Crossing on social media as the crowd touring Kyoto will with the Shimogamo Shrine. In this context, can it be said that the demographics of tourists reflect a place’s aesthetic style? Does the urban fabric of Tokyo disregard open spaces and calm spots as a part of the city, and similarly, does Kyoto not consider having lively, crowded areas in its development? This dichotomy is internationally repeatable such as Beijing and Xi’an, London and Edinburgh, or even Paris and Provence.

In addition to the popularity of projects that aim to use architecture as the primary attraction point of a place, there have also been numerous projects which aim to revive cultural heritage and historical monuments. The e-Heritage Project in India, for example, aims to digitally enhance the heritage of certain cities in India through virtual expressions and helps the world see these places as “living cultural resources,” boosting their prominence. An e-Heritage-like movement is not restricted to Indian cities but can be replicated worldwide in rich-cultural hubs. Can digital advertising attract more tourists? If so, does that mean that such ancient monuments most justifiable raison d’être their aesthetic? Can the same be said for a building? Is being photogenic a contemporary program that must be considered during a building’s conception?

Whatever one decides to call it, whether “Instagrammification” or marketing, it is clear that an architectural movement has gained traction with the popularity of social media. It is constantly rising without any foreseeable curbing in its growth. Its scope is massive, as the state of economies in certain places continue to be stimulated by provocative architecture projects, whether commissions by “starchitecture” or antique and trendy. Photogencity now fits itself into the scope of architecture. One can argue that it has broadened it, growing a new wing of architecture that focuses more on the visual spectacle than the programs within.

Works Cited

“Archilovers. On Social Media Architecture.” Performance by Giulia Pistone, and Fabiola Fiocco, YouTube, Strelka Institute, 14 Sept. 2020, https://www.youtube.com/ watch?v=mwTPZrrwY2Q. Accessed 10 Nov. 2021.

“Kyoto vs Tokyo: Differences you need to know” by Alex from Via Travelers, 13 July 2021. https:// viatravelers.com/kyoto-vs-tokyo/

Peluso, Salvatore. “Instagram as a Window to the Social Side of Architecture.”Domus, Domus, 23 May 2019, https://www.domusweb.it/en/rchitecture/2019/05/22/inastagram-and-the-socialside-of-architecture.html.

Pistone, Giulia, and Fabiola Fiocco. “Good Content vs Good Architecture: Where Does ‘Instagrammability’ Take Us?” Strelka Mag, 16 Dec. 2019, https://strelkamag.com/en/article/ good-content-vs-good-architecture?utm_medium=website&utm_source=archdaily.com.

Stevens, Terry. “Place making: Attractions and Tourism Are Inextricably Linked, and Architects Play a Vital Role.” CLAD, 2017, https://www.cladglobal.com/architecture-designfeatures?codeid=31276&ref=n.

Wilkinson, Tom. “The Polemical Snapshot: Architectural Photography in the Age of Social Media. ”Architectural Review, 21 July 2020, https://www.architectural-review.com/essays/ photography/the-polemical-snapshot-architectural-photography-in-the-age-of-social-media.

Zhao, Xiaoxin. “Game of Capitals: Production of Influential Online Architecture.” Frontiers of Architectural Research, Elsevier, 20 Apr. 2020, https://www.sciencedirect.com/ science/article/pii/S2095263520300200?via%3Dihub.

Dissertation 1: Santiago

Calatrava: Unearthing The Authentic Virtuosity Beyond The “Starchitect” Label

Long before I knew the name Santiago Calatrava, who he was or what he did, I formed many memories passing through one of his first significant projects, more specifically, his first in North America, the Allen Lambert Galleria in Toronto, Canada, completed in 1992. I grew up outside of the city, about a one-hour drive from Toronto, but my parents would regularly take my sister and I there for special occasions. Coincidentally, many of these special occasions happened downtown near the Allen Lambert Galleria. Situated in the heart of Toronto, one street adjacent to Union Station, it would be rare for most visitors to Toronto not to have passed through it, as part of its function was to create a sheltered pedestrian shortcut between major streets and a major access point to Toronto’s subterranean pedestrian network. I believe in part that these early memories of when I was only 6 or 7 years old shaped my love for architecture later, which didn’t come to fruition until my early twenties. At such a young age, one doesn’t have the vocabulary to describe how a space makes them feel. All that I can recall is that I knew it was one of my favourite spaces to be in every time I visited downtown Toronto. My childish description would be that it made me feel like I was in another world, more specifically, an ice palace dreamt up in my imagination, likely inspired by a TV show or book I was immersed in at the time. Ironically, my description isn’t far off from reality. The space is 85 feet tall, 45 feet wide, and 380 feet long, and supported by enormous white structural columns arcing where they meet its glass roof. Now, around twenty years later, after experiencing Calatrava’s work for the first time, and almost four years into my architectural studies, I want to learn more about him.

Since beginning my architectural studies, I’ve found a greater appreciation for the figures who’ve shaped our art form, and Calatrava’s work, specifically, continues to inspire me. I believe, in part, is due to there being a little discrepancy between his pedagogy and my own pedagogy, which I’m beginning to form as a young designer. His works seem to be both organic and technologically advanced, but perhaps most importantly, I’ve always thoroughly enjoyed the spaces he creates and the emotions they provoke inside me. In fact, out of any architect of his status, I believe that I’ve seen or been inside his projects the most, and he doesn’t have as many compared to his “starchitect” colleagues. Coincidentally, my first semester of architecture school was in Lyon, France, and to this day, the Lyon-Saint Exupéry Airport Railway Station, my first ode to Lyon, is one of, if not my most favourite, transportation space that I’ve been in. Therefore, for all these reasons, I wanted to use the opportunity of my first architectural dissertation to learn more about Santiago Calatrava, his beginnings, his education, his inspirations, and his career.

Born July 29, 1951, in Benimàmet, a suburb of Valencia, Spain, Calatrava described his childhood growing up in the Mediterranean city as beautiful (CNN Interview, 2006). It wasn’t until he was 17 years old that he became “seriously” interested in architecture (CNN Interview, 2006). Prior to then, he was practicing other forms of art, specifically painting and sculpture, which he continues to do today. When he was 8 or 9 years old, he began attending an applied arts and crafts school in Valencia. In 1964, when he was 13 or 14 years old, he visited France as an exchange student, and visited Switzerland before returning home to finish high school. After completing high school in Valencia, he went to study at Ecole des Beaux-Arts in Paris. However, he arrived during a student uprising and turmoil in Paris in 1968 and returned home shortly after his arrival. When he returned home, he is said to have discovered a book about the architecture of Le Corbusier, but it’s also been said that he was tremendously impressed after seeing a building by Mies van der Rohe. Either way, it was at this moment that he was persuaded that he could be both an artist and architect, and so in 1969, he enrolled in architecture school at the Escuela Técnica Superior de Arquitectura de Valencia, where he also studied urban planning.

After graduating from architecture school in 1974, the following year, when Calatrava was around 23 years old, he enrolled at Eidgenössische Technische Hochschule (ETH Zurich) to study civil engineering. In the book, Calatrava, he told biographer Philip Jodido that, “The desire to start all over at zero was very strong in [him]. [He] was determined to put to one side all that I had learned in architecture school, and to learn to draw and think like an engineer. [He] was fascinated by the concept of gravity and convinced that it was necessary to begin work with simple forms” (French Biography Book). Calatrava was fascinated by the construction of large, load-bearing buildings and believed that the technical expertise he would gain at ETH would later help make his name as

an architect. In his lecture on Calatrava at Lehigh University in 2006, Tom Peters, a friend and colleague of Calatrava, who also studied with him at ETH, said that Calatrava wanted to expand his knowledge, and he wanted to be taught by Christian Menn, the renowned Swiss civil engineer and designer of bridges like the Ganter Bridge in Ried-Brig, Switzerland. In 1979, when he was around 27 years old, Calatrava graduated as a qualified civil engineer from ETH. In 1981, when he was 29, he completed his PhD at ETH and his dissertation was titled, “On the Foldability of Space Frames”. In the same year, he married his wife, Robertina, a student at Zurich, and started his first architectural and engineering practice in Zurich. Calatrava and his wife are still married, and they share four children, three boys and one girl, some of whom are pursuing careers in law and civil engineering.

Calatrava’s early influences and inspiration formed while growing up in Valencia, a city with an enormous patrimony of art and architecture. His paintings and sculptures serve as vessels into his influences. He regularly paints photos of humans and animals in motion. This fascination with anatomy transcends his artwork and is representative of his bridges and buildings. An example of this is represented in his residential skyscraper, Turning Torso, in Malmo, as its name implies. Perhaps his greatest influences, however, were formed during his time in Switzerland. There’s a school of thought in Switzerland, and taught at the ETH, which has been passed down for generations from civil engineers such as Robert Maillart to Menn and which closely resembles the Baroque idea of the “master builder”. During the Industrial Revolution, the “master builder” was naturally deconstructed into its component parts, creating a dichotomy between the architect, engineer, and craftsman and creating separate specialized professional societies. However, in Switzerland, due to geographical and cultural forces, their institutions were largely unaffected by major change. Today, Switzerland remains the only country to have a combined society of architects and engineers, called the Swiss Society of Engineering and Architects (SIA). As a result, Calatrava’s work is greatly influenced by this school of thought, where the structure is the architecture.

With his background in art, architecture, and engineering, Calatrava can be described as a true “master builder” or a modern renaissance man, which perhaps is why his work is so unique. All these components are identifiable in his sculptures, which at the smallest scale, represent his architectural pedagogy. His choice of material is limited to metal, wire, wood, and granite. His lighter forms, like his paintings, capture kinetic qualities and are “Calder-esque”, whereas his heavier forms invoke influences of Gaudi and Saarinen but in a colour palette like that of Richard Maeir. And finally, each sculpture is an impressive mastery of engineering representative of an unstable equilibrium. For me, his earliest works, which include a neo-gothic balcony, a warehouse, multiple decorative roofs and even a concert space, are, although at a smaller scale, some of his most beautiful pieces. However, it was the 200-metre-long Alamillo Bridge over the Guadalquivir River that cemented his reputation on the world stage. This bridge, like one of his sculptures glorified, features a single pylon 142 meters tall, leaning at an angle of 58 degrees. Attached to this pylon are 13 cables that together hold up the entire bridge, which resembles that of a harp, and, although strong, appear delicate. Since then, Calatrava’s office has worked on a wide range of significant projects worldwide, specializing in bridges, transportation hubs, and cultural institutions. Each project is grounded in the same language as his early works of art. As a result of his success and the revitalizing impact of his architectural work on economically depressed areas, he has been dubbed a “starchitect” by the architectural community. However, this label should not undermine the high-quality artistry he consistently delivers. In 2016, his office completed the World Trade Center Transportation Hub at the site of the fallen “twin towers’’ in New York City. Unfortunately, this project went significantly over budget and schedule, as almost all projects do, and faced much criticism by the public and unappreciative critics of architecture and engineering propped up by the fierce American media outlets. Nonetheless, Calatrava persevered, and the result, also nicknamed “The Oculus”, is, as The Guardian critic Jimmy Stamp reports, an “…optimistic vision, one based less on present realities and more on future possibilities. Less Blade Runner, more Star Trek.” (Guardian Article).

It was when I read more into the WTC project that my respect for Calatrava was cemented. Although he speaks eight languages, I can’t imagine how much courage it must take a foreigner

to come to New York City, with all its complicated politics, controversy, and scandal, to complete a project of this stature and remain true to the vision he first pitched in 2004. In fact, of the 4 billion dollars spent over 12 years, Calatrava’s firm received 83 million (BI Article Perhaps) or 2% of the project’s cost in fees which is the smallest line item on the budget shared by the article. The following 98% were distributed to and amongst the numerous other parties involved in the project. While researching and writing this dissertation on a prominent architect, I gained a crucial insight: it is essential not to underestimate the quality of an architect’s work simply because they have achieved popular status. It’s difficult not to fall into this trap with architectural meme accounts on Instagram regularly poking fun at the “starchitects” of the industry, dismissing the quality of their work when it has economic or capitalistic roots. Ironically, however, Calatrava’s WTC project shows that the “starchitects” fee is still very disproportionate amongst the other stakeholders, despite the risk both professionally and publicly taken. In my opinion, Calatrava is an inspiration, a true “master builder”, and someone I look up to professionally. Considering that my passion for architecture emerged through similar avenues, and his pursuit of comprehending all aspects of creation, from engineering to craftsmanship, aligns with the path I’m taking, I find his journey truly inspiring. Although the notion of a “master builder” today might look slightly different tomorrow, the career Calatrava embodies is inspiring and should be admired, and hopefully, we can look forward to many more of his projects in the future.

In conclusion, Santiago Calatrava’s work has left an indelible mark on the architectural world, and his contributions continue to inspire young architects like myself. From his earliest projects to his most recent, Calatrava’s work has been characterized by a unique blend of art, engineering, and architecture, earning him the nickname of a “master builder.” His upbringing in Valencia and his studies in Paris and Switzerland influenced his unique perspective, and his use of materials and kinetic qualities in his sculptures are reflected in his larger-scale works, such as the Alamillo Bridge and the Oculus. Despite being labeled as a “starchitect,” Calatrava’s dedication to his vision, his willingness to take risks, and his pursuit of excellence in all aspects of creation continue to inspire. Through my research, I have gained a greater appreciation for his work and learned the importance of not dismissing an architect’s quality of work based solely on their popularity. As a young architect following in Calatrava’s footsteps, I look forward to seeing what new projects he will create in the future.

Works Cited

“A Glorious Boondoggle: Will the New WTC Station Permanently Taint Santiago Calatrava’s Career?” Intelligencer, 12 Mar. 2015, nymag.com/intelligencer/2015/03/santiago-calatravaworld-trade-center-path-hub.html. Accessed 19 Apr. 2023.

“CNN.com - Santiago Calatrava - Mar 14, 2006.” www.cnn.com, www.cnn.com/2006/ TRAVEL/03/08/valencia.santiagocalatrava/. Accessed 19 Apr. 2023.

Jodidio, Philip. Calatrava. Taschen, 2016.

Stamp, Jimmy. “New York’s Oculus Transit Hub Soars, but It’s a Phoenix with a Price Tag.” The Guardian, The Guardian, 4 Mar. 2016, www.theguardian.com/artanddesign/2016/mar/04/ the-oculus-review-world-trade-center-transport-hub-new-york.

Dissertation 2: The Art of Virtual Architecture: Building for the Digital World

Virtual architecture (VA) is a rapidly growing field in contemporary architecture and design. Although there is no universally accepted definition for VA, it can generally be described as the creation of architectural spaces that are experienced digitally or virtually. This can include virtual reality (VR), augmented reality (AR), and other immersive digital experiences. In this dissertation, I will explore the field of VA, drawing on my own experiences and research to provide a comprehensive overview of the topic. I believe that VA is a fascinating subject, not only because it allows for the creation of immersive virtual worlds but also because it has the potential to revolutionize the way we think about architecture in general.

To start, I will establish a theoretical foundation for VA by outlining its historical evolution and development. Furthermore, I will examine VA from the perspective of a virtual project design process, detailing the methods, tools, and software employed. In addition, I will investigate the ways in which the latest developments in artificial intelligence (AI) are influencing VA and driving its progression. Next, I will conduct a critical analysis of VA, examining its limitations and obstacles. Additionally, I will investigate the intersection between VA and the metaverse, a concept that has garnered substantial attention, both positive and negative, in recent times. To provide a deeper understanding of the field, I will conclude by presenting real-world instances of VA projects that highlight its capabilities. Additionally, I will provide my own perspectives on the future of VA, including suggestions for further research. Overall, this dissertation seeks to offer a comprehensive overview of VA, drawing on a variety of sources to provide a thorough understanding of the field and its potential applications.

The progression of VA has been impacted not solely by the implementation of digital tools and workflows in the architectural domain but also by the advancements made in computer graphics, visual effects, and the film and gaming industries, among other external influences. The gaming and film industries have had a significant impact on VA, providing techniques and technologies such as real-time rendering and advanced 3D modeling that architects have adopted. Moreover, the field of computer graphics, particularly the advancements in GPUs and the use of AI and machine learning algorithms, has enabled architects in the virtual realm to create complex designs and optimize their work efficiently. Together, these external influences have played a crucial role in shaping the field.

VA diverges from physical architecture in that it resides exclusively within the digital realm and does not rely on tangible materials for construction. However, there are numerous parallels between virtual and physical infrastructures. For example, a computer’s motherboard serves as a unifying link for diverse components, analogous to the way urban infrastructure – such as roads, bridges, and utilities – interconnects various segments of a city. Similarly, the central processing unit (CPU) orchestrates, manages, and oversees operations like the governing systems that regulate and maintain order in the physical world.

VA’s ability to allow for design without physical constraints is particularly thrilling because it fosters a closer link to one’s imagination, which opens up the potential for extraordinary projects that may not be possible in the physical world. This advantage allows architects to explore and create without the limitations inherent in traditional architecture. However, it is important to note that VA projects still have limitations, particularly related to computational performance, optimizations, networking capabilities, streaming, and hardware, among others.

To further explore this topic, let’s discuss the design process and the tools employed in VA projects. While there is no standardized design workflow for VA projects, they typically address the key questions of who, what, where, when, why, and how. Notably, these questions are relevant to both physical and virtual projects. To enhance our comprehension of the virtual design process, we can examine these questions in the context of VA and draw comparisons with a physical project.

The first question we address is “who” the project is designed for. In the physical world, buildings cater to human occupants, while in the virtual world, humans remain the target users but interact with the space in distinct ways. For instance, users “teleport” within a virtual environment rather than walk, use a wheelchair, ride a bike, or travel by car or train. Another key difference

in virtual architecture (VA) is the ability to tailor architectural spaces for specific user subsets or even individual users, resulting in highly personalized designs. Virtual spaces can encompass multiple instances for each user and, through the use of algorithms, can be dynamically generated to adapt to users’ preferences and biometric data. This approach enables designers to create fully immersive experiences that engage all the user’s senses. Ultimately, VA offers the potential for greater personalization and interactivity compared to physical architecture, presenting designers with exciting opportunities to craft unique and captivating environments.

Now let’s explore the “what” aspect. Unlike real-world architecture, virtual architecture (VA) can assume a vast array of forms and scales, encompassing or excluding any of the human senses (sight, hearing, taste, smell, and touch). While digital twins of physical environments are frequently cited examples of VA projects, they represent just one typology among many. VA provides the opportunity to design not only the space but the entire world encompassing it, complete with all its intricate details. Designers can choose whether users appear as avatars or take the form of invisible cameras and whether the space is populated by artificially intelligent beings. The possibilities are boundless, ranging from environments that rely solely on spatial audio to those featuring complex economic or social structures. Although there is no definitive answer to what VA entails, it undoubtedly offers greater scope for creativity and storytelling compared to traditional architecture. The Walking City by Archigram, conceived initially for the physical world, serves as an example of a concept that could thrive entirely within the virtual realm. VA enables architects to push the boundaries of conventional design and bring visionary ideas to life in digital spaces.

When it comes to virtual projects, unlike physical architecture, the possibilities for “where” are endless. There are no constraints of geography, site elements or physical space. In the realm of video games, environment design is a specific discipline that involves creating the world in which the game’s mechanics and story take place. However, creating a unique and compelling virtual environment can be a challenge. While some designers rely on real-world references to create a convincing environment, others try to come up with something completely new. Despite the vast potential of virtual environments, it is relatively rare to encounter truly distinctive and inspiring differences between them in various games. ArtStation, a platform where environment artists showcase their creations, often features numerous iterations of similar environments, reflecting a certain degree of repetition in the field. As an architect, your skill set is not limited to physical structures but rather encompasses the ability to envision and create entire worlds. In this sense, a virtual architect can be viewed as an environment designer but with the added capability to think beyond the bounds of what has already been done. Rather than simply emulating previous architectural designs, your goal is to produce something genuinely distinctive and novel. To accomplish this, a virtual architect must take a holistic approach to the design process. By acquiring the skills of an environment designer, you can extend your thinking beyond the individual object and actually terraform the surrounding environment. This means considering how the various elements of the environment interact with one another to form a cohesive whole and how they can be manipulated to bring your entire concept to life. By doing so, you can create immersive, fully-realized virtual environments that are unique and compelling.

In the realm of VA, the “when” of a design is not as important as the “why.” While the purpose of a virtual design ultimately lies with the designer or client, my belief is that VA should strive to establish a stronger connection to human emotions than physical architecture. In doing so, it can become a tool for healing or altering the way in which people perceive the world around them. For me, the true strength of VA lies in its ability to create temporal spaces that elicit specific emotions in the user. These emotions can be either matched or challenged by design, and the dynamic and useful nature of VA makes this possible. Ultimately, the “why” of a virtual design is unique to each user and can be programmed into the architecture itself. This creates a personalized and bespoke experience that is different and unique to each individual.

Finally, the “how” of VA is constantly evolving. In order to create a successful VA project, we can draw inspiration from the tools and techniques used by game developers. Game developers often

use powerful software such as Unity and Unreal Engine, which allow for the creation of immersive and interactive virtual environments. These tools provide the ability to create dynamic lighting and environmental effects and incorporate elements such as physics and artificial intelligence. By utilizing these tools and techniques, architects can take advantage of the latest advancements in technology to create unique and compelling virtual spaces. It is crucial to acknowledge that recent progress in artificial intelligence (AI) and procedural content generation (PCG), especially in the past six months, has been instrumental in rapidly advancing the field of VA. AI-driven technologies are enabling new possibilities, transforming how virtual environments are designed, and significantly impacting the evolution of VA. Previously, creating a digital replica of a physical space required painstakingly modeling and texturing every object, which was a difficult and time-consuming process. However, with the emergence of NeRF, it is now possible to recreate a digital twin of a real-world location using just a few photographs. While the results may not be perfect, this is a significant improvement over the previous methods, such as photogrammetry or LiDAR scanning, which were also time-consuming and often resulted in artifacts. Moreover, PCG using Houdini, integrated with Unreal Engine, as well as the recently released PCG Framework by Unreal Engine, empowers smaller teams to create vast, exceptionally high-quality virtual worlds. This capability was once reserved for large teams with substantial financial resources. In addition to NeRF and PCG, there are AIs that can assist in writing code and creating animations for virtual worlds while also helping programmers with research to improve digital tools. These advancements are democratizing the field of virtual architecture, enabling more creators to produce immersive, intricate, and visually stunning environments, regardless of their team size or budget.

While virtual architecture (VA) is a rapidly progressing field with numerous benefits and opportunities, it faces certain challenges, including the lack of physical and social presence, limited realism, dependence on technology, intangibility, and high creation costs. The absence of physical and social presence in VA is a significant concern for many, and the industry is actively striving to enhance these aspects. Technological advancements are facilitating the development of wholly sensory, hyper-realistic experiences to address this issue. Some argue that VA lacks social presence; however, this perspective may be misinformed, as the technology aims to complement, rather than replace, real-world social interactions. Limited realism has also been cited as a drawback of VA, but rapid technological advancements are helping to increase the level of realism achievable, even on low-cost devices. Currently, creating high-quality virtual environments entails significant costs, primarily allocated to labor, software, and servers rather than the material expenses associated with physical projects. However, as AI technology continues to advance, labour costs are expected to decrease, making VA more accessible. And while VA faces its share of critiques, the field is swiftly improving and evolving in various areas. Ultimately, as technology progresses and costs decline, VA will become increasingly accessible while providing even more realistic and immersive experiences.

It is important to recognize the negative impact that the over hype surrounding the Metaverse in late 2021 and early 2022 has had on the field of virtual architecture. VA projects are now frequently associated with the Metaverse, a concept envisioning a vast, interoperable network of real-time rendered 3D virtual worlds accessible by millions of concurrent users. Although VA projects may eventually be integrated into the Metaverse, it is essential to differentiate between the two and not dismiss VA as mere hype. Furthermore, the Metaverse is often linked to cryptocurrency and Web 3.0, terms that can carry negative connotations depending on the audience. However, these elements are not mandatory for the Metaverse’s existence, although they may contribute to its development. Additionally, some architects might view the Metaverse negatively due to its association with Meta, a company tied to capitalism. Despite this, VA offers opportunities to create worlds with entirely different economic systems, aligning with the ideas that underlie cryptocurrency and Web 3.0 technologies. These possibilities should ideally capture the interest of architects with this perspective. Unfortunately, I believe that some media coverage has conflated the diligent work and research in VA with the fraudulent activities that often arise during hype cycles, further contributing to misunderstandings surrounding VA and its potential. In conclusion, while the Metaverse may have had a negative impact on the perception of VA projects, it is important to recognize that they are not the same thing. VA offers unique opportunities to create new worlds with different economic

systems, and it should not be dismissed due to a misunderstanding of the Metaverse concept.

Discovering exemplary VA projects can be challenging, as many contemporary examples are entangled in the over hyped Metaverse trend. While historical examples showcased avantgarde ideas, most modern projects are restricted to virtual real estate and 2D renders in the form of NFTs, lacking fully explorable 3D rendered worlds. Many architects and artists still rely on software that generates static 2D images, which AI tools like Midjourney, Stable Diffusion, and DALL-E are gradually replacing. However, the Circadian House, a meditative VA experience by Studio Colin Fournier, presents a promising example. Employing advanced real-time rendering technologies, the Circadian House creates an immersive world where visitors can explore, interact with characters and sentient flowers, and engage with all aspects of the environment. Distinct from other Metaverse hypedriven projects, the Circadian House seamlessly blends architecture, film, and game development expertise. Situated on a digital twin site, it is rooted in realism while integrating elements unattainable in the physical world, such as floating furniture and intelligent flowers. The ultimate goal is to make the Circadian House accessible to a wide range of users, from smartphone owners to those with the most advanced immersive devices, further demonstrating the potential and versatility of VA in today’s digital landscape.

In conclusion, VA offers a groundbreaking domain for architects to investigate and innovate. The diverse examples discussed in this dissertation showcase the potential of VA to take various forms, from interactive installations to virtual reality homes and entire worlds. While non-architects have created successful VA projects, architects bring a unique perspective, applying their physical space design expertise to the digital sphere. Future research in VA could delve into the social and cultural implications of its influence on our interaction with and perception of the built environment. As VA progresses, observing its integration with physical architecture and urban planning will be intriguing, potentially generating hybrid environments that merge the digital and physical worlds. VA inspires architects to experiment with new forms, textures, and materials, akin to a jazz musician exploring novel chords or rhythms. It also enables architects to examine new presentation methods and spatial experiences, much like a filmmaker experimenting with camera angles or lighting techniques. VA serves as a powerful creative tool, allowing architects to transcend the boundaries of traditional architecture and explore innovative ideas and forms unrestricted by the physical world’s limitations. Like a jazz instrument or a movie camera, VA is a medium fostering experimentation and invention, holding immense potential for the future of architecture.

Internship External Field

Anintroduction

DuringmythirdandfinalRIBAPart1internshipatConfluenceInstitute,Ihadtheprivilegeofworkingwith ColinFournier,arenownedarchitectandprofessoremeritusattheBartlettSchoolofArchitecture.My interestinColin'sworkwassparkedwhenIstudiedtheKunsthausGrazbuilding,whichhedesigned.He latersupervisedmysixthsemester(Fall2021)studioprojectonvirtualarchitecture,whichturnedoutto beoneofthemostmemorableandinvestedpiecesofworkIhaddoneinmytimeatConfluence.Itwas duringthisperiodthatIdevelopedakeeninterestinvirtualtoolssuchasgameenginesandtheirabilityto transformthefieldofarchitecture.Ihadalreadydevotedcountlesshoursbeyondmyformaleducation, teachingmyselfhowtousethesetools,andIcontinuedtodosoduringmyinternshipandbeyond. Coincidentally,duringthisfinalsemesterofmine,ColinwascommissionedbyEPFLPavilionstorealizea projectofhisvirtually,andheeventuallyinvitedmetohelphimwithitafterIgraduatedPart1in December2021.

Colinoftensentourteamamusingsketchesfeaturinghisarchitecturalformsseeminglycomingtolife, sometimesevenaccompaniedbyimaginarycreatureslikedinosaursandbears.Tome,thesesketches providedarefreshingbreakandhelpedkeepmemotivatedtocontinueworking.

Inordertoorganizethisinternshipreport,Ihavechosentocreateanall-inclusivelistofthetopicsthat haveinfluencedmyexperience.Eachtopicwillserveasasectionheadingandwillincludeabrief overviewofmyresponsibilities,aswellastheessentialinsightsandlessonsIhaveacquired.Itisworth mentioningthatwhilemyinternshipwasoriginallyintendedtolastonlytwomonths,itunexpectedly extendedto16monthsandisstillongoing.

Craftingasuccessfulproposal

Althoughnotasexciting,itisimportanttohighlighttheadministrativeaspectsoftheproject.Imust commendColinforhisremarkableskillindelegatingsignificantresponsibilitiestoothers.Ibelievethathe recognizedmyeagernesstotakeonmorechallengesbeyondthetypicalscopeofaninternshipand entrustedmewithsomesignificantadministrativeduties.Iambeyondgratefulforhismentorshiponthis partofthedesignprocess,asthisisaskillthatisnotoftentaughtinacademicsettings.

Sadly,therewasnosunlightonthedaythispicturewastaken,whichshowsaviewoftheEPFLPavilions fromtheoutside,justafewdayspriortotheexhibitionopening

AlthoughIwasaskedtojointheCircadianHouseteamattheendofDecember2021,itwasn'tuntil January2022thatIstartedworkingontheprojectfulltime.TheCircadianHousewasoriginally conceptualizedbyColinandhisfellowarchitectandfriend,YufanZhang,severalyearsago.Whileit appearedtohavebeenputonthebackburnerforthelastfewyears,wordofanupcomingexhibitionon circadianrhythmsanddaylightcuratedbyProfessorSarahKenderdineoftheLabforExperimental Museology(eM+)atEPFLprovidedanidealopportunityforitsrealization,atleastvirtually.Excitingly,at theendof2021,theCircadianHousewaschosentobefeaturedintheexhibition,whichhasnowopened asofMarch2023.TheCircadianHousehadbeenalong-standingdreamofColin's,andhehadbeen searchingforaclienttobringittolifeforyears.Thisexhibitionprovidedanopportunitytostartrealizing thatdreamandsecurefundingfortheproject.

FollowingarequestfromSarahKenderdineforavirtualversionoftheCircadianHouse,ourteam,which iscomposedofColin,CharlesLincoln,LorenzKleemann,Yufan,andmyself,workedtogethertodevelop aproposalforahyper-realisticvirtualsimulation.Thissimulationwouldallowvisitorstonavigatethrough thehouse,interactwithit,andexperiencethenaturallightprovidedsolelybythesun.Weaccomplished thisbyutilizingthelatestreal-timeandincrediblyaccurateglobalilluminationsystemfromUnrealEngine, calledLumen.Thisallowedustodevelopameditativeandimmersiveexperiencethatisintentionally designedtocontrastthefast-pacednatureofvideogames.Thephysicalinstallationwouldconsistofa4K rear-projectionscreenmeasuringthreebyfivemetres,displayingastereo3Dversionoftheproject, viewedthroughVolfoniEdge3Dglasses.Toenhancetheimmersiveexperience,acustominterfacewith controlsfornavigationandinteraction,aswellasa5.1channelsurroundsound,wouldbeused.

ThisphotoshowsthecustomphysicalinterfacedesignedbySylvainCardin,whichwedidabetterjob cleaningbeforetheexhibitionopening.Movingforward,ourteamwouldliketocreateitsownbespoke controllerthatalignsmorecloselywiththedesignlanguageoftheCircadianHouse.

Formoreinformationontheprojectandtheexhibition,onecanvisittheEPFLPavilionswebsitehere: https://epfl-pavilions.ch/archive/circadian-house.

Theprocessofdevelopingtheproposalandfinalizingthecontracttookseveralmonths,fromJanuary 2022toMay2022.Duringthistime,ourteamengagedinaback-and-forthexchangewiththeclient (Sarah)torefinetheproposaluntilbothofusweresatisfied.Inadditiontothewrittenproposal,Iwas responsibleforcreatingacomprehensiveprojecttimeline,outliningkeydeliverablesanddevelopinga detailedbudgetfortheproject.

Here'sascreenshotofthePureRefboardweusedinJune2022toaidinthecreationofEPFL'swebsite. Forthosewhomaynotknow,PureRefisaprogramthatallowsuserstoorganizeanddisplayvisual referencesinaflexibleandcustomizableworkspace.

Duringthisperiod,wehadseveralZoommeetingswithSarahandhercolleaguesfromtheeM+lab, SamyMannaneandLoicSerafin.Toaccommodatethetightschedule,wealsostartedworkingonthe virtualprojectitselfasearlyasJanuary2022.Therefore,inadditiontodiscussingtheproposalatthese meetings,Ialsopresentedinitialversionsoftheprojecttokeepalltheproject’sstakeholdersup-to-date withourteam’sprogress.

InlateApril2022,Colin,Lorenz,Charles,andIvisitedEPFLPavilionstoviewtheexhibitionspace,which includedunderstandingitstechnicalcapabilities.Duringthisvisit,Ialsocollectedreferencephotographs

thatwouldaidindevelopingthevirtualsiteoftheCircadianHouse,EPFL'scampus.Takingphotographic referencesofasiteisimportantwhencreatingavirtualenvironmentordigitaltwinbecauseitprovidesan accuraterepresentationofthereal-worldlocation,resultinginamoreimmersiveandrealisticvirtual experience.Followingthisvisit,inlateMay2022,acontractwassignedbetweenEPFLandStudioColin Fournier.

Inadditiontothevirtualversionoftheproject,therewerealsodiscussionsaboutcreatingaone-to-one scaleinflatableversionoftheCircadianHouseonEPFL’scampus.Unfortunately,therewasn'tenough budgettorealizethis.However,Iassistedinthatadministrativeprocessaswellbycontactingcapable inflatablemanufacturersworldwideandorganizingmeetingswiththem.Weputtogetherapackagefor themtobidon,andintheend,wereceived3-6bidsfromfabricators.Unfortunately,theCircadianHouse inflatabledidnotprogressfurtherthanthat.

Navigatingadministration

Duringmyinternship,Inotonlycontributedtotheinitialproposalbutalsohandledarangeof administrativetasks.Oneofmykeyresponsibilitieswasmanagingourteam'sprimaryexpensesbudget andsubmittingreimbursementrequeststoEPFL.Thisprocessinvolvedsourcingthedigitalandphysical toolswewouldneedtocarryouttheproject,aswellasotherassetsrequiredfortheproject.Icompiled detailedassetlistsandsubmittedthemtoEPFLforapproval,whichenabledustoacquirenecessary resourcessuchasanimationandmotioncapturesoftware,motioncaptureequipment,3Dmodels,and high-qualitysoundfiles.

Toensuretheprojectstayedonschedule,Idevelopedandmaintaineddynamicto-dolistsprimarilyfor myselfandLorenzandprovidedfrequentprogressupdatestotheteamviavideo.Iwasalsoresponsible forcreatingmeetingminutesandwork-in-progressreportsforallclientmeetings,whichkepteveryone informedofourprogressandpotentialissues.

Towardstheendofthedevelopmentprocess,IagaintravelledtoLausannetwicetooverseeboththe physicalandvirtualinstallationoftheproject,meetwiththeclient,andcoordinatewiththeEPFLPavilions Productionteam,scenographers,andtheeM+team,whoprovidedassistancewiththevirtualintegration. Additionally,Ihandledvarioussmallertasks,suchasconfirminghotelreservationsforotherteam members,toensurethateverythingransmoothlyupontheirarrival.

Workingremotely

Duetofamilialandeconomicreasons,IrequestedColin'spermissiontoworkremotelyfromCanada, whichhegraciouslyallowed.Itwasnotaschallengingasonemighthavethought,asImaintained constantcommunicationwiththeteamonadailybasisthroughemail,text,phone,orvideocalls.

Astheleaderofdigitaldevelopment,oneofmyfirstcrucialtaskswastocreateanAmazonAWSserver runningPerforce,asourcecontrolsoftware,toenableremoteworkonalarge-scaledigitalproject.This allowedaccesstothelatestprojectversion,filecheckouts,andconflictavoidanceformyself,Lorenz,and latertheeM+technicians.SourcecontrolissimilartoanadvancedGoogleDoc,facilitatingcollaboration onmultiplecomplexfilescontainingvariousdatatypes.

ThisisaphotoofmyremoteworkdesksetupinCanada.Overtheyears,Ihavecollectedmultiple monitors,andhereIhavethree.Althoughthey'renot4Kmonitorsandnotthathigh-end,havingavariety ofmonitorsisactuallyusefulbecauseitallowsmetoensurethatcoloursappearthesamewayonall typesofscreens.Towardtheendofmyinternship,Iinvestedinasmall4KTVdisplaytoproperlytestour project'sframeratein4K.Viewingin4Krevealedartifactsthatweren'tvisiblein2K.Additionally,my remotesetupincludesahigh-qualitymicrophone,anamateuraudiomixingworkstation,anXbox controller,andotheressentialdevelopmenttools.

Despitebeingmorefocusedandproductive,workingremotelyhaditsdownsides,suchaslonelinessand theneedtoaskquestionsonlineinsteadofhavingsomeonemoreproficientwithacertainsubjectinthe roomtoconsultwith.However,Idon'tbelievethesedrawbackshinderedtheproject'screative development.

Managingdeliverableswasalsoapriority,especiallyforLorenz,whowasworkingpart-time.Toensure productivityandcoordination,Icreatedaliveto-dolistusingTrello/GoogleDocsandutilizedimage boardslikePureReftokeepusonthesamepage.ForfilesnotrelatedtotheUnrealEngineproject,we usedDropboxandGoogleDrivetosharethemamongstourselves.

Ironically,eventhoughIworkedremotelyfromadifferenttimezoneinCanada,IbelieveIspentmore in-persontimewiththeteamandclientthansomecolleagueswhoworkedinthesameParislocationbut

remotely.IvisitedtheParisteamtwice,mettheclientonceinToronto,andtravelledtoLausannethree times.

Buildingstrongclientrelationships

SinceIspentthemosttimeinLausanneandworkedcloselywithourclient,Iwasabletoestablisha strongrapportwithherandhercolleagues.Thisexperiencetaughtmetheimportanceofbuildingsuch relationships,askillwhichColinexemplifiedsowell.IamgratefulthatIwasabletovisitSarahinToronto whileshewasthereonbusiness,andourstrongrelationshipevenledtoajobofferatherlabinEPFL, whichIrespectfullyletpassduetomypersonalresponsibilitiesinCanadaandthefulfillmentIalready haveworkingwithColin.TherelationshipsthatIbuiltwiththetechniciansandmuseumproductionstaff provedtobecrucialasitallowedustosecureanew,brighterprojectionscreenjustdaysbeforethe exhibitionopening.Additionally,wewereabletoreceivelast-minutetechnicalassistancewiththe integrationofthe3Dglassesandcontroller.

Creatingandmanagingdigitalassets

Duringmyinternship,IworkedextensivelywithLorenztocreatedigitalassetsfortheimmersive experience,whichincludednotjusttheCircadianHousebuteverysingleitemwithinit,downtothe smallestdetails,suchascutlery.Whilethisprocesswastime-consuming,itallowedustodesignevery aspectofthevirtualprojectwithmeticulousattentiontodetail.Itwasessentialthatour3Dmodelswere highpolyandofhighfidelity,astheywouldeventuallybeviewedupcloseonalarge4Kscreen.Withthe exceptionofafewcommon3Dassetspurchasedonline,LorenzandImodelledeverythingseeninthe project,excepttheCircadianHouse’sshell,whichwasmodelledinRhinobyYufan,andwhichIlater retopologizedinMaya.

Thisisanexampleofaprop,specificallytheexhibitionguidebook,withauniquetextureset-based material.Towardtheendoftheproject,ourteamaddedsomehiddensurprises,knownas'Eastereggs', throughoutthevirtualenvironment.Invideogames,Eastereggsarehiddensecrets,messages,orjokes thatdevelopersintentionallyincludeforplayerstodiscover.Someofthe'meta'Eastereggsweadded includetheCircadianHousejewellerypieces,the3Dprintedmodel,andsomeofColinandourteam's earlysketcheshiddenindrawersforuserstofind.TherearemanymoreEastereggs,butyou'llhaveto exploretheprojectyourselftodiscoverthemall.

CreatingdigitalassetsforaprojectofthisscalerequiresmuchmorecomplexitythanbasicRhino modelling.Infact,webarelyusedRhinoatall,onlyforprecisearchitecturalelements,whichwethenhad toretopologizefromNURBSgeometryintomeshgeometry.Thisisbecausethevirtualworldrunson meshgeometry,notNURBS.Fortunately,Iamskilledinbothmodellingmethods,whichprovedtobeone ofmygreateststrengthsasa3Dgeneralist.Aftermodelling,theassetswereUVunwrappedand preparedfortexturing,withmostobjectsusingproceduralmaterialsduetotimeconstraints.Forspecial props,wecreateduniquetexturesetsusingsoftwarelikeSubstancePainter.

Apartfrommodellingfromreferenceimages,Ialsousedphotogrammetryto3Dscanthesculpturenextto theCircadianHouseonEPFL'scampus.Additionally,Ispenttimecleaningupandcreatingadatabaseof downloadedassetsfrommarketplaceslikeTurboSquidandCGTrader.

Thesculptureshownhereisaphotogrammetryreconstructionofapiecelocatedon-siteatEPFL Pavilions.Photogrammetryisaprocessofcreating3Dmodelsusingphotographstakenfromdifferent anglesofasubject.Thetechniquehasbecomeincreasinglypopularinrecentyearsasitenablesthe creationofhighlydetailed,accurate3Dmodelsofreal-worldobjectsandenvironments.

Creatinghigh-qualitydigitalmaterials

Astheleaderofthevirtualdevelopment,Inotonlyhelpedwithmodellingbutwasalsoresponsiblefor creatingmastermaterialsandmaterialinstancesforevery3Dobjectintheproject.Thistaskwas challenging,consideringthehundredsofobjectsthatrequiredmaterials.InUnrealEngine,master

materialsareusedasatemplateforcreatingmaterialinstances,whichensuresconsistencyandsaves time.Byadjustingandtweakingthesematerials,wecouldcreatevariationsornewmaterialsquickly, allowingforgreatercreativity.Intheproject,weusedacombinationofbothproceduralandtextureset basedmaterialstoachievethedesiredresult.PBRmaterialswereusedtocreatearealistic representationofthematerial'sappearancebyusingseveralcomponents,includingalbedo,roughness, metalness,andnormalmaps.Whileproceduralmaterialsweregeneratedthroughalgorithmsandcould begeneratedatruntime,texturesetsusedpremadetexturesforaspecificlookandfeel,providingmore controloverthefinalappearanceofthematerial.Forinstance,fortheexteriorsite,theconcreteand asphaltwereprocedural,whiletheexhibitionguidebookusedatextureset.

MaximizingperformanceandoptimizationinUnrealEngine

Inthevirtualworld,optimizing3Dmodelsandmaterialsiscrucialforperformance.Polycount,which referstothenumberofpolygonsthatmakeupa3Dmodel,canhaveanegativeimpactonreal-time renderingifit'stoohigh.Toaddressthis,UnrealEnginerecentlyintroduced‘Nanite’,avirtualized geometrysystem,tooptimizeperformancewithhigh-polycountscenes.Avirtualizedgeometrysystemis atechnologythatallowsgameenginestorendercomplex3Dsceneswithhighpolygoncountswithout sacrificingperformance

Asidefrompolycount,materialoptimizationisanothercrucialaspectofcreatingaperformantproject.One shouldconsiderfactorssuchasthesizeoftexturesconcerningmemoryusageandthenumberof materialIDsrequiredbya3Dmodel.UVsarelikethe"skin"ofa3Dmodel.Besidesthis,havinga

ThisimageshowstheNaniteviewmodeoftheCircadianHouse.Gameenginesoffervariousviewor debugmodeslikethisonethatallowsdeveloperstovisualizedifferentaspectsoftheir3Dscenes.

well-structuredmaterialgraphiscrucialforeffectivelycreatingmaterials.It'salsoimportanttofollowbest practices,suchasensuringthatyourUVshaveaconsistentandoptimaltexeldensitythroughoutthe project.Texeldensityreferstothenumberoftexturepixelsperunitof3Dspaceonamodel'ssurface, anditaffectsthequalityandsharpnessoftexturedetailsina3Dscene.

Oneshouldalsotakeintoaccountwhethera3Dmodellingprocessisdestructiveornon-destructive. Destructivemodellingmodifiestheoriginalgeometryofamodel,makingitchallengingtoundochanges. Non-destructivemodelling,ontheotherhand,allowschangestoaseparatelayerordatastructure, enablingeasymodificationsorrevisionswithoutaffectingtheoriginalgeometry.Maintainingclearand organizednamingconventionsfor3Dfilesiscrucialwhensharingthemwithotherstoensureefficient collaborationandeaseofwork.

Anothersmallbutsignificantdetailinvolvesproperlyplacingthepivotpoint,whichisessentialforcreating transformationanimationsinUnrealEngine.Additionally,determiningwhichpartsofamodelshouldbe exportedseparatelyversustogethercanallowformoreprecisemanipulationandanimationofthe model'scomponents.Finally,scalingthemodelaccordingtoreal-worldmeasurements,evenifit'sa fictionalobject,iscrucial.

UnlockingthepowerofUnrealEngine

ThevirtualexperienceoftheCircadianHousewasbroughttolifeusingUnrealEngine,oneofthemost advancedandambitioussoftwareprogramsevercreated.UnrealEngineisagameenginethatactslike the"brain"ofavideogame,enablingdeveloperstocreate,design,andcontroleverythingfromthe graphicsandsoundeffectstothecharactersandgameplaymechanics.Withoutagameengine,creating avideogamefromscratchwouldbedifficultandtime-consuming.AlthoughtheCircadianHousemaynot beconsideredatypicalvideogame,itsharesthesamesoftwareasone,albeitforadifferentpurpose. ThisisreminiscentofhowarchitectFrankGehryadoptedCATIA,asoftwareoriginallyintendedforthe aviationindustry,todesigninnovativestructuresliketheGuggenheimMuseumBilbaointhelate1990s.

IbeganlearningUnrealEngineonlytwoyearsago,butIhavebeenusingitpracticallyeverydayforthe past16months.Ithasbecomemygo-totoolforbothvisualizationandcreatinginteractiveexperiences withdifferentlevelsofimmersion.Tome,theCircadianHousefallssomewhereinbetween semi-immersiveandfullyimmersiveonascaleofimmersion.Whilethesurroundsoundcreatesafairly realisticsoundscape,itlacksthelevelofimmersionthatbinauralaudioprovides.Additionally,thelarge screenand3Dglassesgiveasenseofspace,butitisnotasnaturalasitwouldbewithVRglasses.The experiencedoesnotincludetouch,scent,ortaste,thoughthesearefeaturesthatcouldbeaddedinthe future.

UnrealEngineissuchalargeprogramthatmasteringitismorechallengingthanmostothersoftwareI havelearnedovertheyears.Typically,acompanyorteammakingagamewouldconsistofmany differentpeopleproficientinspecificareasoftheengine.Theseareasincludegraphicsrendering,physics simulation,audio,inputandcontrols,artificialintelligence,networking,scriptingandprogramming,and userinterface,tonamejustafew.Asthededicated"Unreal"personontheteam,Ihadtoberelatively proficientinalloftheseareas,orwhat'sknownasa3Dgeneralistinthegamedevelopmentworld. AlthoughIamnoexpertinanyonearea,Iunderstandthemallwellenoughtocreateashippedprojecton myown.

IhadtheopportunitytoattendUnrealFest2022inNewOrleans,Louisiana,aconferencededicatedto UnrealEnginegamedevelopment.UnrealFestisanannualeventhostedbyEpicGames,wheregame developersandenthusiastscometogethertosharetheirknowledgeandexperienceinworkingwiththe UnrealEngine,aswellaslearnaboutthelatestupdatesandfeaturesoftheengine.

Noteshippingreferstotheprocessofreleasingafinalversionoftheproducttothepublic.Itinvolvesbug fixing,optimization,qualityassurancetesting,andpackagingthefinalproductintoadistributableformat. Aftershipping,thedevelopmentteammaycontinuetoprovideupdatesandsupportfortheproduct,fixing anyissuesthatariseandaddingnewfeaturesorcontent.However,thecoreproductisconsidered "shipped"onceit'sbeenreleasedtothepublic.

TosupplementmyUnrealEngineeducationaljourney,Iactivelyengagedinonlinecommunitieslikethe "UnrealSlackers"DiscordchannelandreliedontheUnrealEngineDeveloperCommunity,aswellas otherdevelopmentcommunities,toseekguidanceonvariouspluginsandtoolsusedinthedevelopment process.Inaddition,attendingUnrealFest2022allowedmetolearnmoreaboutvariouspartsofUnreal Engineandnetworkwithotherprofessionals.

Ultimately,myabilitytouseallaspectsofUnrealwascrucialtothisproject’ssuccess.Therewasn't anyoneelseontheteamwithasmuchexperienceinthatareaasIhad.Myprogrammingbackground priortolearningtheUnrealEnginealsoprovedtobeasignificantasset,asitenabledmetonavigatethe platform'scomplexitiesandsavevaluabletimethatwouldhaveotherwisebeenspentonasteeplearning curve.

NavigatingUnrealEngine’sprogramminglandscape

Havingastrongunderstandingofobject-orientedprogramming(OOP)iscriticalwhenworkingwithUnreal Enginebecauseprogramminglogicisnecessarytoenablevariousfeatures,suchastriggeringcharacter animationsatspecifictimes.Unlikeothersoftware,whereyoucanachieveyourdesiredoutcomeby adjustingafewsettingsandclickingafewbuttons,UnrealEnginerequireshands-onprogramming.There aretwoprimarymethodsforprogramminglogicinUnreal,bothofwhichcanbecombined:writingcodein C++orusingBlueprint,anode-basedscriptinglanguagethatisbuiltintotheengine.AlthoughIhadsome priorexperiencewritingPythonandC#code,thecomplexityofaC++programandthesubstantial amountofcoderequiredforacompleteprojectmadeitimpracticalforme,asolonon-programmer(when comparedtoproperprogrammers),towriteinC++.Therefore,IusedBlueprinttowriteallmycode,which wassufficientforaprojectofthissize.However,certainaspectsofthelogicwouldbenefitfromamore efficientC++versioninthefuture.Fortunately,duetomypreviousexperiencewithvisualscriptingin GrasshopperandOOPthroughcoursesandsomepersonalwebsitedevelopment,thelearningcurvefor writinginBlueprinteffectivelywasnottoosteep.

ThisisascreenshotofaBlueprintnodegraphfromtheCircadianHouseproject,whichallowstheuserto openandclosedifferentpartsofthedishwasher.Forthosewhoareunfamiliar,Blueprintisavisual scriptingsysteminUnrealEnginethatenablesdeveloperstocreatecomplexinteractionsandbehaviours withoutwritingcode.

Bringinga3Dworldtolife

Beforethisexperience,Ihadsomeknowledgeofanimatingobjectsanddigitalhumans,butitwaslimited tolinearanimation,wheretheanimationiscreatedinasequenceandfinalizedinpost-production. Real-timeanimation,ontheotherhand,needstobeoptimizedtoruninreal-time,respondtouserinput, andlookgoodfromanyangle.

Despitehavingsomepriorknowledgeofanimation,Ihadtolearnnewtechniquesduringmyinternship, specificallymotioncapturetechnologyandusingkeyframedadditiveanimationlayersforcleaningupthe mocapdata.Ialsogainedanunderstandingofinverseandforwardkinematicanimationsolversandin

whichsituationseither/orshouldbeused.Forwardkinematicanimationinvolvesanimatingeachjointina chain,whileinversekinematicanimationinvolvesanimatingtheendofthechainandlettingthesoftware calculatethepositionsofthejointsbasedonthedesiredendposition.

Intheend,Icreated30-60minutesofhigh-fidelityanimationsforhumansandobjectsthatcouldbe viewedandevaluatedfromanyangleandplayedbackatanytime.However,Irecognizethatthereisstill ampleopportunityforimprovementintheanimationaspectofthisproject,andIwouldwelcomeadditional assistancefromaprofessionaliffurtherfundingissecured.Ihavecompiledthisdocument thatdetailsallofthepossibleareasofimprovement.

Personal_Notes_On_Animations_For_CH

GettingreadyformotioncaptureofthelunchscenewhilewearingthePerceptionNeuron3Motion Captureinertialsuit.Comparedtoopticalmotioncapturesystems,whichusecamerastotrackmarkers onthebody,inertialmocapusessensorsplacedonthebodytocapturemovements.Whileopticalmocap provideshigheraccuracy,itcanbemoreexpensiveandrequiremoresetuptime.Recentadvancements inAI,however,havemadeopticalmocapmoreaccessibleandaffordablebyreducingtheneedfor specializedequipmentandsimplifyingthemarker-trackingprocess.

Designingdynamicsoundscapes

Priortothisinternship,myexperiencewithsoundwaslimited,butIwasfascinatedbytheabilityof 360-degreeambisonicandbinauralsoundstocreateimmersivespaceswithoutrelyingonadditional senses,suchassight.Infact,Ibelievethatarchitectscouldcreatevirtualspacesusingonlysound. Anyways,duringmyinternship,Ispentaconsiderableamountoftimesourcinghigh-qualitysounds, learningaboutdifferentsoundformats,mixingtechniques,andintegratingthemintothevirtualworld.I

alsolearnedhowtolistentosoundsaccuratelyusingstudiomonitors,open-backheadphones,andan audiointerface.Tocreatethesoundmixforthisproject,IusedtheDAWsoftwarecalledReaper.ADAW, orDigitalAudioWorkstation,isasoftwareapplicationusedforrecording,editing,andproducingaudio files.

Fromdigitaltophysical:3DprintingtheCircadianHouse

Asateam,wecreatedseveral3DprintedversionsoftheCircadianHouseatdifferentscales.Iwas involvedindevelopingtheprintablefiles,whichwerethensenttoEPFL's3Dprintinglabforprintingusing theSLStechnique.SLS3Dprinting,orselectivelasersintering,usesahigh-poweredlasertoselectively meltandfusetogetherlayersofpowderedmaterialtocreatea3Dobject,whilethemorecommonFDM (fuseddepositionmodelling)3Dprintingmethodextrudesmeltedplasticfilamentlayerbylayertocreate theobject.Thefinalresultswereremarkable!

Inthisphoto,atechnicianistakingoutthe1:50scalemodeloftheCircadianHousefromtheSLSprinter locatedatEPFL’s3Dprintinglab.

Othertechnicalknowledgegained

Duringmyexperience,Igainedknowledgeinseveraladditionaltechnicalareasthatarenecessarybut oftenoverlooked.Idelvedintoprogrammingcustomcontrollers,aswellaslearningtheproperwayto calibratescreensusingamonitorcalibrationtoolandunderstandingtheimportanceofdigitalcolour spaces.Ialsodevelopedanunderstandingofscreenrefreshratesandresolutionandhowtheyrelateto essentialtechnicalspecificationsinreal-timeprojects.Myknowledgeextendedtocomputerhardware, suchasoptimizingRAMusageandcomprehendingthedifferencesbetweenCPUsandGPUs. Additionally,Igainedinsightintothenuancesofspeakerandheadphonetypes,differenttypesof projectors,andprojectionscreens,includingthedifferencesbetweenstereoandmonoprojectors. Furthermore,Ilearnedtheintricatedetailsofsettingupexhibitions,suchashowtoconcealwireswith floorcords.Certainly,therearenumerousothervaluablelessonsandskillsIhavenotmentionedthatI acquiredduringmyexperience.

Concludingthoughts

Inconclusion,thisinternshipwasoneofthemostmemorableandenrichingexperiencesofmyyoung career,andIamincrediblygratefulfortheopportunitytohavebeenapartofsuchanamazingteam. WorkingalongsideColinandcontributingtotheCircadianHouseprojectwasanhonour,andIhopeto continuesupportingitsprogressbothvirtuallyandphysically.ThememoriesandskillsIgainedfromthis experiencewillstaywithmeforalifetime,andIlookforwardtoapplyingthemtofutureendeavours.

Reflectingonmyinternshipexperience,Imustthankmyparentsfortheirsupportandencouragement. Theyprovidedmewithemotionalandmentalsupportduringthischallenging16-monthinternship,also allowingmetoworktirelesslyandrent-freefromtheirhome.IwouldnothavebeenabletoachievewhatI didwithouttheirunwaveringloveandsacrifice.

Picturedfromlefttoright:LorenzKleemann,ColinFournier,myself,andYufanZhang,withCharles Lincolnmissingfromthephoto