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lio III


Andrea Cadioli M. Arch II Southern California Institute of Architecture


lio III


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Andrea Cadioli M. Arch II Southern California Institute of Architecture

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Andrea Cadioli is a designer architect operating in the field of applied and theoretical arts. Born in Italy, he worked as a musician and tv presenter for EMI and MTV before moving to Beijing to complete his master studies with a double degree programme in partnership with Polytechnic of Turin and Tsinghua University. After years of practice in Graft Architect, Plasma Studio and Sou Fujimoto he is the recipient of SCI-Arc’s merit assessed European Union Scholarship which leads him to continue his research in Los Angeles.





S C A R I F Y THE M I S F I G U R E Splines have long been used in the field of Architecture and from the early 90’s they became to be widely explored and used to research in to new Architectural Possibilities. Architects like Greg Lynn, Zaha Hadid or Neil Denari, just to name a few, have been pioneers in regards. With attention to forms and unconventional thoughts, they have mapped a new era in Architecture. Splines are no longer seen only like a curve, but they have begun to morph into surfaces and volumes. Also thanks to computation the outcome was a myriad of new curvilinear geometries, resembling both, nature and movement. By taking as a formal precedent a Thonet chair as a strong and clear example on the use of splines to create an object, the project looks mainly at two things: the use of splines as a generative design tool and the de-contextualization of an object, where the chair is enlarged to the scale of a building and translated from a domestic context to a urban one. The exploration is therefore not only geometrical as it touches upon theoretical aspects of psychological oppositions like uncomfortably comfortable objects, uncanniness familiar and Object Oriented Ontology. The proposal for the campus will then be a flourishment of new architectural forms to house five start-up incubators buildings, each of them with a different program oriented towards clean technologies. 10

north elevation



LOCATION Los Angeles, California

with Qi Jia

Curves and volumes. Starting from a spline, the linear element organizes the space, constricts the volumes or frees them from the imposed directive. Here, iterations of Thonet chairs develop the original chair in unexpected organizations.



west elevation



If the spline defines the volume space, two different manipulations reorganize the surfaces. New perceptional identities are created through both the manipulation of 2d supergraphic and 3d scarifications of the mass.


The new skin, broken and imperfect, maintains traces of the manipulation with scars, imperfections, misbehaviors that generate new congruences in between misperceptions and accidents.


The same organization of the external skin perpetuates in the inner tissues of the organism and in its bones, blending the perception of this dichotomy and creating sublayers of new spaces.


1st floor


Multi-layers of tectonic elements create deep surfaces of different materials, finitures, functions that sometimes oppose the ones to the others. The separation of the instances bleeds in a new heterogeneous tissue with special moments and intentions that are unrelated to the function or the volumetric organization of the object. Similarly, the inner spaces recess or adhere to the skin in autonomous organizations, free behaviors and independent intentions. Structurally, the building is supported by the linear elements and waffles structures. This allows an higher lever of freedom of design. The voxels are built as an independent field of 1x1 feet boxes that connects to the structural system through joints through the poche’. In the attempt to promote the vagueness of the singular elements, the free organization of the boxes is further emphasized with the coloration that produces shades and gradients.




What is the regime of thought and writing of non-standard aesthetics which, without being a form of knowledge, uses a form of knowledge, that without being philosophy, uses concepts? It is neither pure philosophy nor pure art, (if that even exists) nor is it their mixture. It is a form of fiction proper to the multiplicity of heterogeneous regimes of thought which are assembled without being synthetically composed, and which come from a final cause without being analytically decomposing it. This being of truth, we can also call it a Last Instance. The Last Instance is this under-determinate and even indeterminate causality, the conjugation of the four causes having a part of their power become diminished. The Last Instance is split between being a real object which is the generic matrix as it is constructed and a veritative knowledge of this produced object upon completion of the experience/experiment. - Francois Laruelle






The project challenges multiple disciplines and understanding of both mass vs volume, as much as the concept of skin and texture. Starting from a primitive that belongs to a totally different scale and interaction with the user, the final result acquired a relevant level of mystery and uncertainties. I organized every phase of the design as its own ontologically independent object, allowing every single moment of the process to be the foundation of the next step as much as having its own identity. At the end, the enclosed volume is still separate from the structural system, that finds its own 26

independence from its function and related building. Similarly, the skin escapes the restricted position of cladder of an enclosed volume and acquires its own volume by the process of peeling off and scarifying. And again, the graphics while being related to the original skin gets new reading and misreading of the subject. More than once, I had the feeling of having to deal with an object with its own autonomy and consciously decided to let it grow and develop in its own nature. Till finally understanding that I was not dealing with a control issue but with an ontological independence.


S CARIFY THE M I S F I G U R E Instructor Casey Rehm With Qi Jia ©2016





| Tutor Casey Rehm _Kristy Balliet




Can an object be itself and the perception that humans have of it at the same time? Is it possible to recombine and ultimately compress two perceptions in one instance? From this premise, objective of the study is to rethink representation from the correlationist point of view, having as its central topic the transformation of vision, image and cognition. In this, machine vision is an agent of transformation and understanding of the object instead of a mere reproduction of the instance. Vision is now an activity beyond and outside the human subject - a product emerging from the realm of machines and apparatus of capture - one that retroactively conditions and manufactures “human� vision. By defamiliarizing the ways in which images and objects are constructed and perceived; positioning the viewer in unexpected discourse with foreground and background, form and space, objecthood and artifice, these new optical regimes have the potential to provoke new aesthetics and themes for architecture and art practice. 30




| Los Angeles, California

with Luca Beltrame and Eugenio Superchi

From line to mass to volume. The vessel is designed to produce exterior and interior identities, not intended as the final outcome but the matrix of its own evolution.












Virtual reality instance from a bodily sketch in True Vision. The object is central as the designer that designs from the inside and for the first time not from the outside. A new configuration of the object and its perception.


Real virtuality of the object mapped with its own image. The designer experiences the vessel through different non-human medium of representation and appropriation.


What is so important in the images and in the inscriptions scientists and engineers are busyobtaining, drawing, inspecting, calculating and discussing ? It is, first of all, the unique advantage they give in the rhetorical or polemical situation. “You doubt of what I say ? I’ll show you.” And, without moving more than a few inches, I unfold in front of your eyes figures, diagrams, plates, texts, silhouettes, and then and there present things that are far away and with which some sort of two-way connection has now been established. I do not think the importance of this simple mechanism can be overestimated. We are so used to this world of print and images, that we can hardly think of what it is to know something without indexes, bibliographies, dictionaries, papers with references, tables, columns, photographs, peaks, spots, bands. - Latour Bruno












“WELCOME TO MOUNTAIN. YOU ARE MOUNTAIN. YOU ARE GOD.” With this statement I enter Mountain, a $1 game created in 2014 by David OReilly, animator and video designer. Described as “Mountain Simulator”, the game forces the player in a no control world, where time moves forward, natureexpressesitselfandtheonlysubjectofmatteristhe geomorphic formation floating in a cloudy atmosphere. Deprived of any power, the user can only rotate or zoom the view around the mountain and play a synthetic sound on a diatonic keyboard but, as the game’s menu advises, controls do “nothing”. You can save, but if you don’t, the game will just do so automatically anyway. The game specifies no objective. 50 hours of declared gameplay. Seemingly, Mountain is an ambient procedural game, a virtual representation of a mountain and its real environmental variables (weather, dawn and sunrise, seasons) accelerated pace. According to this logic, the mountain changes subtly over time, while plants and trees die and grow anew, snow melts and clouds aggregates and disperses.



From the beginning, despite the opening words, the player hardly identifies himself in the role of God: besides the aerial point of view, the impossibility of interactions with the object deviates from the allmighty figure of the divine generally represented in theology. At the same time, it is visible the user is not being part of a mountain simulation either: there are sunsets and sunrise but no sun is present since the atmosphere itself is emitting light; none of the geological processes associated with ground formations are exposed (erosion, plate tectonics, volcanic accretion); a series of man-made objects collide as meteors with the mountain and stick to its surface. Moreover, Mountain communicates with user through a line of feedback at screen top: here existentialist prophecies alternate self-reports of emotions and thoughts similar to the ones human have. alternated “ Now Mountain is green and lush, with sporadic stones to low-poly trees.

It is however only through a longer play that the rejected mere representation expose the real intentions of the game: “Mountain invites you to experience the chasm between your own subjectivity and the unfathomable experience of something else.”1 The “you” in “you are mountain” doesn’t refer to the terraformed 3d game object but the game itself, Mountain, and the relation that creates in between the


Ian Bogost, Mountain, Personal Blog,


alpine and the human viewer. At the same time, it is not the mountain communicating with the user but the game challenging this duality and its unexpected consequences. The idealized visualization of a mountain hides a deeper understanding of its condition for the human user and these are noticeable only through a longer and more involving experience of its representation. Avoiding the production of fast consuming images by exposing all the deeper layers of understanding embedded in the object, the viewer is forced to engage on a new level of knowledge and grasp new informations from the view. Is it possible to apply this approach to the architectural field? Under which point of view representation and time can be engaged to properly address the purpose? Which can be new tools to apply this new strategy? While sharing part of the conversation with the researches of Ian Bogost and Levi R. Bryant, this work stands under the umbrella of Object-Oriented Ontology and Speculative Realism to produce first answers to the former questions

The previously analyzed game Mountain is an example of the concept of “alien phenomenology” by Ian Bogost2, or the invitation to speculate on what it’s like to be a thing. Not intending to promote here representation only as a possible medium to foster this condition, it is however interesting to analyze how fundamental is the role of representation. In a flat ontology condition3, the image, being it animation or frame still, is not a consequence of an object but becomes a new Object itself unrelated to the represented. By acquiring a form of independence from the represented, the new object cannot be defined in a vertical stratification and consequentially a predefined function for it needs to be reconsidered.

2 Ian Bogost, Alien Phenomenology, or What It’s Like to Be a Thing, University of Minnesota Press, 2012

“ .Now Mountain ask Is this some kind of game? ”


3 Terminology borrowed by Levy R. Bryant from Manuel DeLanda’s Intensive Science & Virtual Philosophy: “[...]while an ontology based on relations between general types ad particular instances is hierarchical, each level representing a different ontological category, an approach in terms of interacting parts and emergent wholes leads to a flat ontology, one made exclusively of unique, singular individuals, differing in spatio-temporal scale but not in ontological status”.

different “hertz”, distinct cycles per second of a periodic phenomena, that force it to perceive the world on a different speed. Humans perceive at a rate of 60 Hz, while houseflies perceive at a rate of 200 Hz. However, by the same talking the Us government oscillates at a rate of 2, 4, and 6 years (according to the various election cycles), which is visible in the relatively blindness that shows for slow moving catastrophes like climate change. Because of this extended list of variables, hardly we can imagine to address specific strategies to specific monad. Arguably, to solve this impasse, we can approximate the experiencer of our representations to the human category. However, if the definition of time is theoretically coherent with the proposed framework, unknown are possible precise definitions of time ranges or strategies to apply.

In the specificity of the architectural field, the built itself as frequently been a representation or visualization of external forces, being them the milieu, the specificity of a site, or the power.4 Still today, architecture is frequently undermined and over-mined by external forces derived from economical or social constraints as much as “big top down ideas” that affect and impress their presence in the final image.5 In this new scenario, considering the preexisting conditions, easy is the adaptation of the new proposed model. If easily applicable is the new representational method to the architectural field, less inclined is to time. In fact, each type of object is an observer or experiencer of the world with its own structure of temporality.6 Each monads (as Leibniz call this indivisible units) perceive the world according to

“ Now Mountain asks Can i do better than this? More precise and defined can be instead the strategies aimed to produce the relation of perception and temporal engagement desired. In the chapter two of “Alien Phenomenology or What

4 David Ruy, The Object Turn, A Conversation, Log 33, Anyone Corporation, February 2015 5 Mark Foster Gage, Killing Simplicity: Object-Oriented Philosophy In Architecture, Log 33, Anyone Corporation, February 2015 6 Levi R. Bryant, Onto-Cartography: An Ontology of Machines and Media, Edinburch University Press, April 30, 2014


It’s Like To Be a Thing”, Ian Bogost introduces the concept of ontography, or “the practice of increasing the number and density […]. Instead of removing elements to achieve the elegance of simplicity, ontography adds (or simply leaves) elements to accomplish the realism of multitude. […] This explosion can be as figurative or as literal as you like, but it must above all reveal the hidden density of a unit”. Both theoretical and empirical practice, ontography directly challenges the immediacy and superficial appearance of the objects and so also of the representational object. To do so Bogost proposes two different tools: the Latour litany and the visual ontography. Both have the effect of thickening the amount of informations available for the viewer and aiming for him to engage on a deeper level the representation. The former ones, also called “list of lists”, are devices capable of grouping together disparate elements with no implied hierarchy and with no regard for regimes or knowledge and power. The only similarity that elements share within such a litany is the fact that they exist, and that none exists more or less than the other. The name itself is a reminder to Bruno Latour’s works in which he makes use of extensive lists that posit human beings as “mere” objects existing on equal basis with other non-human objects: “Elliott Yamin, Satellite Awards, Small nucleolar RNA SNORD78, List of Occupy movement protest”. This specific strategy can be compared to the Fields of Images of Peter Testa, where 5x5 squared images of chunks and point of view are aligned and juxtaposed creating a wider definition of a singular monad from a series of separations.


Visual ontography instead, rather than registering the world through a framework governed by human subjectivity or functionality, it catalogs objects as they appear in the world. The objects are not perceived as a singular coherent frame but rater they are a figuration of a variety of separate (yet equal) units. Visual ontography emphasizes the notion of meanwhile rather than the idea of now instead of narrowing its scope and designating one particular object to be the primary subject, it seeks to document everything on an equal basis. A proposed example of this strategy is Francois Blanciak’s Siteless: 1001 Building Forms, a collection of seemingly randomly ordered visual depictions of hypothetical architectural shapes and compositions. This objects exist for themselves and still are compose a larger representation of relations. A similar approach can be found in the Embryological Houses7 from Greg Lynn where no hierarchies or preferences are applied to the collection of variables.

Understanding representation as engagement with the user, related to perception and time, creates new possibilities of communication and challenges for the designer. Through the creation of deep readings for the multiple meanings of the object, the image acquires an everyday more important value. Moreover, the late philosophical branch of ObjectOriented Ontology provides new degree of freedoms and expressive tools to produce this effects. The representational object is not anymore a forced consequence of a design, it is a second but not secondary design, ontologically aligned to its primitive but with different purposes and potentials. BIBLIOGRAPHY • • •

7 Greg Lynn, Greg Lynn: Embryological Houses, AD Contemporary Processes in Architecture 70,3, London: John Wiley & Son, 2000.


Ian Bogost, Alien Phenomenology, or What It’s Like to Be a Thing, University of Minnesota Press, 2012 Levi R. Bryant, Onto-Cartography: An Ontology of Machines and Media, Edinburch University Press, April 30, 2014 Mark Foster Gage, Killing Simplicity: Object-Oriented Philosophy In Architecture, Log 33, Anyone Corporation, February 2015 Greg Lynn, Greg Lynn: Embryological Houses, AD Contemporary Processes in Architecture 70,3, London: John Wiley & Son, 2000 David Ruy, The Object Turn, A Conversation, Log 33, Anyone Corporation, February 2015



Months after the first download of Mountain, the virtual experience is still running on my pc. Mountain died a couple of times, I have been able to save it too some, but in general being able to have a fresh and clean start allows you to experience the whole in a new way. David ORelley released a new game called Everything in which you can play as every entity of the universe, being it an atom, a leaf or the solar system. Ironically, not a mountain. Ian Bogost haven’t commented yet the game, but liked it on Facebook.

Representation is still at the center of attention and the ontological position of the viewer in the role game visual-viewer is just at the beginning of the investigation.



FOR REPRESENTATION Instructor Marcelyn Gow ©2016


| Tutor Maxi Spina


LIATEDDETAIL The course paired areas of investigation and speculation are tectonics-predominantly building envelopes and performance largely consisting of technical, technological, cultural and environmental dimensions. The team analyzed and documented a Precedent in order to formulate a series of hypotheses in an attempt to construct a number of interrelated tectonic conjectures. In scrutinizing building assemblies, the team attempted to position construction analysis so as to produce both technical knowledge and critical awareness of embedded cultural habits. The team then seek out an alternative understanding of the tectonic; one that not only mirrors the realm of construction, materials, methods, sequences, tolerances, etc. but also embraces architectural processes of expression, encompassing issues of geometry and technique; posture and charters, etc. Methodologically, the team framed its object of study through the possibilities of a sectional approach.




LOCATION Shanghai, China

with Eleonora Orlandi, Dennis Schiaroli, Eugenio Superchi

The Shanghai Soho Tower from Kengo Kuma and Associates relies on an aluminum vertical shading systems to filter the light of the curtain wall tower. This produce a diffused light in accordance with the needs of the function.



Subdivided in 3 separate elements, the shading system is composed of a metal triangulating grid that support the randomly distributed pattern of 5 silhouettes.




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Through a system of 6 5-sided profiles randomly stacked vertically and then connected with metal mesh panels that create an undulating effect in the facade.

Advance Tectonics 3200 Advance Advance Tectonics Tectonics 3200 3200 Andrea Cadioli _ Dennis Schiaroli Andrea Andrea _ Eugenio Cadioli Cadioli __Superchi Dennis Dennis Schiaroli Schiaroli _ Eleonora __ Eugenio Eugenio OrlandiSuperchi Superchi __ Eleonora Eleonora Orlandi Orlandi 66

Advance Tectonics 3200 Advance Advance Tectonics Tectonics 3200 3200 Andrea Cadioli _ Dennis Schiaroli Andrea Andrea _ Eugenio Cadioli Cadioli __Superchi Dennis Dennis Schiaroli Schiaroli _ Eleonora __ Eugenio Eugenio OrlandiSuperchi Superchi __ Eleonora Eleonora Orlandi Orlandi

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1:16 chunk model


| Tutor Peter Testa



“A Non-so White House� explores the perception of white in human and post-human vision and in the recursive relation of the two. While the former projects cultural and emotional accidents in the understanding of this color, the latter discerns its appearance in discreet points in a cloud first and RGB pixels then. If the first faces the impossibility of fully grasp the multitude of subjective values associated to this empty canvas, the second struggles in capturing its vanishing materiality, form and silhouette. From the compression of this two unstable and defective perceptions, new structures of representation and logic of comprehension are generated. With the use of The White House as a testing ground, its historical and cultural iconicity faces the indifference of the machine before being re appropriated and reprocessed by the conscious viewer. During the process, the white color fosters the misunderstanding and misfiguration of the object, obliging both the user and the tool to recalibrate their own frameworks. 70

with Luca Beltrame











| Tutor David Eskenazi

IN SERPE VERITAS Topic of this Introduction to Digital Design is the creation of hyper-realistic snakes in constrained conditions. Approaching the practice of the tool inside the frame work of Still Life, nature is rebuilt, rethought before being reified in a second nature through the digital. With the study of the different skin qualities, body deformations and creases, nature is analyzed in general massings, specific definitions and textures before being recomposed. Fundamental here is also the choice of the object, the snakes, feared and fascinated by humanity, with deep connotations political and religious. Through the study of nature, the object looses the mythological connotations and reduces its own presence to a higher and deeper level of human perception and understanding. 80



The snakes become an index of the inner relations that they create while layering on top of each others. Here, the attempt to escape the transparent cage is expressed by their heads grasping freedom outside the borders.



| Tutor Curime Batliner


TOMO GR APHIES Tomography is imaging by sections or sectioning, through the use of any kind of penetrating wave. The method is used in radiology, archaeology, biology, atmospheric science, geophysics, oceanography, plasma physics, material science, astrophysics, quantum information. But not in architecture, so far. The workshop aim of using analog projections to produce sectional representations of digitally scanned bodies. After using robots to scan the subject, the object is completed in virtuality before being processed and projected on a plasma screen. Here a camera captures the overlapping sections to produce a complete representation of the object. This process can be iterated at different scale and time to create stills of a specific moment or graphic animations to archive human movements, expressions, volumetric organizations. The investigation ignores the reality of the body, while projecting new understandings of it through machine vision Instead of emulating reality, new understandings unfold. 86




Machine perception alienates the human from the human, by being the inhuman register of the non-human. Operating side by side with human centered perspective machine vision may be understood as the media for the inhuman. It is neither human nor nonhuman, and it exists in aliminal, undecidable inhuman space. McKenzie Wark 91


| Tutor Maxi Spina



The workshop investigates the potential of fabrique and textiles in the architectural environment. New solutions, both aesthetic and functional, arise from the most advanced technologies in the field. The proposed project is a system of silk knots, stretched and deformed to welcome a thick layer of wax to create a shading system for a building in Beijing. In the attempt to solve the problem of pollution and dust of big cities, this system take advantage of the melting properties of the wax to create a self cleaning interface that catch the particles and, through gravity and the natural solar heat, move them to specific collecting spaces. This produces not only a functional element but also a new approach to the facade of a building, becoming variable in time and seasonal condition.





with Eugenio Superchi

Atmospheric particulate matter – also known as particulate matter (PM) or particulates – are microscopic solid or liquid matter suspended in the Earth’s atmosphere. The term aerosol commonly refers to the particulate/air mixture, as opposed to the particulate matter alone.[3] Sources of particulate matter can be man-made or natural. Particulates are the deadliest form of air pollution due to their ability to penetrate deep into the lungs and blood streams unfiltered, causing permanent DNA mutations, heart attacks, and premature death.. In 2013, a study involving 312,944 people in nine European countries revealed that there was no safe level of particulates and that for every increase of 10 μg/m3 in PM10, the lung cancer rate rose 22%. The smaller PM2.5 were particularly deadly, with a 36% increase in lung cancer per 10 μg/m3 as it can penetrate deeper into the lungs.







2GBX DESIGN STUDIO Tutor Elena Manferdini

OSMOSIS S C I - A r c Academia as a political act that through exploration and discoveries rethink and reorganize the world we live in. Communication and physical\ideal circulation become then primary needs of a contemporary society, no matter of the economical or social conditions of the environment. Our project defines new boundaries of inter-relations in a city built on the sprawl and low density urbanism as Los Angeles is, taking advantage of SCI-Arc to enhance its impact on the cultural panorama and to use it as a seed of a wider reorganization. In a 2 phase project, the extension of SCI-Arc is composed of a semi-public block of administration and facilities of the school and a second residential and commercial block. The ground is carved to accommodate a sunken plaza and a new circulation system that forks in a vertical linear park crossing the site till the original roof of the school and a horizontal connection east-west passing below the linear building. While rethinking the circulation in the site, the general accessibility around it is enhanced and implemented of public transportation underground and overground. Taking advantage of the flows around the space, the building becomes a showcase for the school and an interactive scenario that change its aspect according to users and positions in space. 100



Location Los Angeles, US

with Eleonora Orlandi

Matter with form - study I This studies allowed a first understanding of concepts of scales and relations in the framework of facade needs of opacity/transparency.



Matter with form - study II Proportions, colors and materials acquire different understandings in accordance to the overlapping and organizations of the tectonics.


New relations emerge in the realm of the 3 dimensions. Tectonics and supergraphics create new perceptions and relations in the different materials and shapes.


Considering the materials in the space and even more in the relation with movement, the studies start a conversation on movement and perception that are further reified in the project.



LOCATION Los Angeles, California



1st floor plan The SCI-Arc expansion develops from the reorganization of the functions in the school, relocating the main entrance under the legs of the bridge, form indexing functions.


2nd floor plan The extension creates a new semi-public circulation of administrative functions that continue the original vertical public circulation on a new level.




Thicken ground and dense functions. The project is intended as a multilayered organized system where vertical functions relates different public to the site for different uses and moment of the day. Different are the connections implemented in the project. In the underground, the creation of a subway system introduces new users and relates the development with the entire city, promoting pedestrian circulation and decreasing the importance of private transportation systems. On the ground the pedestrian paths are both horizontal and vertical. With a first circulation passing under the original building of SCI-Arc we solve the barrier produced by the length of the building itself in the west-east direction. Moreover, the introduction of a new landscape stretching till the roof of the school becomes a linear plaza and park increasing new users in the site.



The subway directly relates with the above plaza and underground circulation. The entrances are located in the under passage, activating what it could be long unattractive tunnel and the emergency exits connected with the open air plaza .


The different functions directly relate to the organization of the spaces. If the residential is a linear repetitive compact module, the semi public areas of the extension are open and broad to create poches and niches in the built.






The loop, moving from the roof of the school to the underground passage west-east, unrolls a leisure circulation that take advantage of the wall-like linear presence of the school.


The extension works as a three dimensional loop, where the vertical elements are semi public functions (little shops and exhibition areas) and the horizontal semi private with the administrative and library spaces.



The exhibition blends with the circulation, creating a space that take advantage of its functionality to make experience the work of the school in a subtle and osmotic perception. Moreover, the location of the exhibition on the edge of the internal courtyard will make the space perceivable also from the sunken plaza.



1:16 chunk model



Engaging with a site so familiar has been part of the reason that pushed the project to a highly speculative proposal. Instead of taking for granted the everyday experience and propose a natural answer to the issues of the site, making the building a problem solving instrument imposed top down to the site, I challenged my direct understanding to propose a further step in the conversation. While going against the car-oriented framework of the city of Los Angeles and promoting new sustainable pedestrian oriented systems, the project

acquired an unexpected turn into movement and circulation, resulting in a continuous questioning of the role of the user in relation of the building, its functions and even more the way its skin operates as a medium of democracy.


OSMOSIS S C I - A r c Instructor Elena Manferdini with Eleonora Orlandi ©2017




| Tutor Ryan Martinez


FAKERIES and diptique In the attempt to understand the concept of fake in the product of art, the project studies the realm of misleading/misunderstanding/ misconceived in a series of test grounds. In particular, here this concept is expressed through the acting of two identities, both in opposition and connection. A duality of gestures and topics counterbalances a diptique of different readings on the same subject or behavior of the tools. The jungle becomes then the battle field of the two actors. Here, the topics of mystifying and mesmerizing are expressed in fields of vegetation and animals that hide sensual elements and tempting organs. In this game of dualities, while when separate the two elements are clearly distinguished, when collapsing and interacting they become new coherent objects with unique identities and performances, making the two sides of the same coin one single value again.



with Eleonora Orlandi

From mass iterations, the use of litterings allows new mystifications of meanings on the surface of the object. Without texturing that will be applied after that with a second understanding.




By applying two different sets of textures to massings and letters, the binary relation of identities find new meanings and misreadings.


Field of Objects I A jungle of trees, fruits, animals in coherent etherogenic field of denser moments and overlapping identities.


Field of Objects II A jungle of parts from the previous totalities: leaves, seeds, mouths downsize the level of understanding and propose new sensual meanings.





Fields of Objects 1 in movement. The field acquires its own identity and dynamic with new possible meanings of its own existence.



Fields of Objects 2 in movement. If the first movement is a consequence of the viewer in deepening in the field, this second acquires animal behavior.




T H ET H E ALIENDWELLING On one side OOO unleashes the object from the human presence, excluding the viewer perception from the understanding of the real by producing effects of alienation, estrangement and unfamiliarity. On the other side phenomenology and the dwelling are aspects present in our reality and hardly we can exclude them from the architectural definition. In between this two position, apparently irreconcilable, is now a free ground where researches and speculations can find aspects to relate the two positions. From the understanding of the practical and philosophical positions of defamiliarization and dwelling, the analysis moves to the definition of the specific case study of the Japanese Architecture where the two coexist and reciprocal need.

The stream ever fl and yet t never is t Foam upon th scattering, r never linge

So it is w and all his plac


yuku kawa wa taez shikamo mo ni ar yodomi n utaka kattsu k musubite todomarita nas

yononaka ni sumika to m goto 142

ming river flows the water the same. floats he pools, re-forming, ering long.

with man s dwelling ces


a no nagare zushite oto no mizu razu ni ukabu ata wa kie katsu Hisashiki aru tameshi shi

i aru hito to mata kaku no oshi. 143

In the framework of OOO, different are the point of view and the architects arguing the role of architecture in an ontologically flat world. David Ruy approaches the subject of reality through the argument of representation. Since the architectural object is withdrawn from the human perception then the image of the architectural object is never essential, never associated with a specific truth. Architects then can represent the world not for what it could be but for what they think it should look like. This produces an effect of defamiliarization or estrangement in the viewer, the perception of a ‘weird real’. Similarly Wiscombe advocates a “world made of discrete, withdrawn entities, things that vex and exceed definition through relations alone“1. By doing so, the relation world-human perceiver that relates architecture to phenomenology and other modes of direct human access is released in favor of a “strange subphenomenal world that we can’t see or know but can try to imagine.“ This focus of the object is produced through the estrangement of the real, defamiliarizing them, recontextualizing or mashing them up into something new. This is visible in the practice of his projects. In the Griffith Park House for instance, using a strategy of figure in a sack, are created relations in between container and contained, giving hinges of what is inside from the external surface as much as confusing and mystifying the content with poche’ and cavities. “Objects are never fully visible but their shape is implied; sometimes objects are entirely removed, and their impressions are left on sack and linear as a kind of visual subterfuge“. In another case of residential building, the Lo Monaco House, the defamiliarization is promoted also through 1

Tom Wiscombe, The Object Turn: a Conversation, Log33


the use of tattoos. Instead of using panelization systems and meshes to subdivide the nurbs, the use of tattoos expresses a secondary level of surface articulation. In fact, not being considered mere ornaments since they don’t hang off of architecture2, but at the same time not being the Venturi supergraphic simply floating on a surface, tattoos becomes an embedded element in the mass, still maintaing its own individuality deviating from the surface underneath (as intended in a framework of Object Oriented Ontology) or tracking the geometries organization.

but intellectual and sensible perception. In Being and Time, 1927, he further analyzes the experience of familiarity by introducing the metaphor of the broken hammer, where implements are used without consciousness of the matter unless there is some kind of breakdown of intentional activity. Dwelling here acquires a facet of continuous experience and memory. However, the same Heidegger in the same Being and Time describes humans as generally absorbed in a pseudo-familiarity with things, a life of “tranquilized self-assurance”4; when this familiarity with existence get exposed, for instance in the moment of perception of the mortality, the Dasein5 is called back from an attachment to curiosities by the experience of estrangement. “Estrangement brings this entity face to face with its undisguised nullity, which belongs to the possi­bility of its own most potentiality-for-Being … back to one’s thrownness as something possible which can be repeated. And in this way it also reveals the possibility of an authentic potentiality-for-Being6”. Heidegger here refers to what he calls poetic dwelling,

In OOO then the will of defamiliarization produces an estrangement in the object and the lost of the emphatic connection in the form of phenomenology in between the human and the object itself. This position follow the point of view of Heidegger from his book History of the Concept of Time, 1925. Here he asserts how the dwelling is produced by a feeling of peace and safety, from the elements and beasts, but also “being familiar with rather than anything spatial”3. The dwelling is the not only a matter of physical well-being

2 Jeffrey Kipnis, The Cunning of Cosmetics, El Croquis 84 3 Martin Heidegger, History of the Concept of Time, p. 19


4 Martin Heidegger, Being and Time, p. 233 5 German terminology, “being there” or “presence”. Used by Heidegger to define the human being in his abstraction. 6 Ibid. p. 320

only the source of intimate feelings but also the ‘skeletons in the closet’ space that produces estrangement. In Freud, the sense of estrangement is always co-present with familiarity. the activity of “taking a measure”. This measuring is not an attempt to capture the interval between two points but the perception of the spanning in between the Dasein and the object. This distance is not precisely perceivable, either univocal but “stretches out the interval and blurs the boundaries”7. This specific act, that leads to an arbitrariness of the experience of place, building and consequentially dwelling, with the consequence of the impossibility of defining precisely the last one, is specified by Heidegger in “What is Called Thinking?” where he clarifies that the poetic dwelling can’t be specified inside an intellectual framework but is experienced through kindness, friendliness, neighborliness: in the same way that a poet measure-takes the world in poetic metaphors rather than rational analogies, so the Dasein through this feelings unconsciously experiences the estrangement. The estrangement is then an experience not adverse to the dwelling but previous and necessary. Sigmund Freud moreover, writing on the estrangement in Das Unheimliche, analyzes how the German word ‘Heimlich’, homelife (familiarity and intimacy) can include its apparent opposite, secrecy and stealth. From this point of view, the familiarly life is not 7

Michael Lazarin, Footprint 3, p. 102

The idea of dwelling being at the same time familiar and estrangement is deeply radicalized in Japanese architecture. Because of the natural conditions of the site, a storm-tossed, volcanic island, the will to impose permanent architecture never developed and consequentially the understanding of dwelling relates with both the concept of preservation/ familiarity and ruination/estrangement. According to Karatani Kojin in Architecture as a Metaphor instead it emerged the need of constructing spaces for transient, accidental encounters that became the essence of the Japanese aesthetic. Here too, similarly to Heidegger’s point of view on how dwelling is not only a physical wellbeing but an intellectual and sensible perception, the consequences are both in form and practice, in the tectonic/ materiality of the built and in the habits/ intellect projected into the space. From a materic point of view, it favors the use of natural elements, visibly vulnerable to the effects of weathering and human treatment. The fragility, temporaneity, dematerialization of the matter is not hidden but exposed


and valued in its process of rusting, tarnishing, staining, warping, shinking, cracking, discoloring. Dimensions are generally small and compact, quite and inward-oriented giving a sense of intimacy that ‘reduces the psychic distance between one thing and another, between people and things8. At the same time, irregularity and malform, exhibiting the effect of accidents or unexpected results, are not rejected. The same unstable attitude in between familiarity and estrangement is visible in the social and function of the built in Japanese architecture, as visible with the feature of the Genkan. The Genkan roughly corresponds to the foyer or entrance hall of an house, but when in Western housing it is clearly part of the interior space of the built, here is an intermediary zone between private and public space. This ambiguity is also expressed in the two characters that make up the word genkan: the first (gen) means profound, abstruse, occult or mysterious; the second (kan) means barrier, connection or turning point. Typically, a visitor enters the genkan before calling the owner of the house. In here the majority of the interactions between the two actors happen, both for a brief amount of time or for extended period, standing or seating. The main difference however is that in this space in between private and public is maintained the informality and the ambiguity concerning the relationship between the parts. The guest does not enter the private space and the ‘skeleton in the closet’ are hidden. The built environment is organized then to comply social functions and provide a way of being familiar with someone who is also estranged, to provide dwelling through estrangement. 8 Leonard Koren, Wabi Sabi for Artists, Designers, Poets and Philosophers, p. 62


Moreover, also the interior of a traditional Japanese house is subdivided by movable walls and partition that, instead of framing areas for defined functions, as in the case of Western spaces, create multiple levels of privacy and public, intimacy and informality. The basic word for interior rooms is ‘ima’ which means ‘the interval of animate being’. In here interval expresses both a value of time and space. In fact, while the reduced ‘ma’ defines a specific unit of space, an ‘ima’ is bounded by an interior or exterior sliding doors. However, since the doors can be opened to connect one room with another, or the interior with the exterior, then the framework change and flexibility in time becomes the key feature of the planning of a japanese house. Thus, “the feeling of being-athome, depends on the season and circumstances, in different moments of time,butmostofall,itdependsonasense of indeterminacy and restlessness”9. In conclusion, with the need of OOO for a return to the object, reconsidering the role of the human being in the ecosystem and the dialectic subjectobject, architecture is investigating in alienation, estrangement and

9 Michael Lazarin, A Phenomenology of Japanese Architecture: Heidegger and Derrida, p. 107

unfamiliarity to create a detachment. Consequentially, the elimination of a possible participation of the subject in the understanding of the object produces the lost of phenomenological empathies and dwelling. In traditional Japanese architecture however estrangement is co-present and anticipatory to familiarity and dwelling. This happen with the constant promotion and recover of the perception of novelty with the role time, social interactions and natural phenomenon that contribute to the final object more than the design itself. New possibilities opens then for the production of architecture in the framework of OOO where concepts of time and caducity of materials are not considered yet and the role of the subject could find new perspectives without contrasting the autonomy of the object..

BIBLIOGRAPHY • • • • • • • • • • •


Freud, Sigmund. Das Unheimliche. Europäischer Literaturverlag. 1919. Hedegger, Martin. What is Called Thinking? Harper and row. 1968 Heidegger, Martin. Being and Time. Harper and Row. 1927 Heidegger, Martin. History of the Concept of Time. Bloomington. 1992 Karatani, Kojin. Architecture as Metaphor. MIT Press. 1995 Kipnis, Jeffrey. The Cunning of Cosmetics. El Croquis 84. 1997 Koren, Leonard. Wabi-Sabi for Artists, Designers, Poets and Philosophers. Imperfect Publishing. 2008 Lazarin, Michael. A Phenomenology of Japanese Architecture: Heidegger and Derrida. Kyoto University Press. 2004 Lazarin, Michael. Footprint 3. Delft Press. 2008 Wiscombe, Tom. Discreteness, or Towards a Flat Ontology of Architecture. Project 3, A Journal for Architecture. Consolidated Urbanism, Inc. 2014 Wiscombe, Tom. The Object Turn: a Conversation. Log33. Anyone Corporation Publishing. 2015




| Tutor Greg Otto



Task of the project is to create a long span structural system for an airport using repetition and low-res modules. To do so, the classic simple pattern A-B is enhanced in a series of subsystems that uses the same elements and strategies to create a complex behavior: light distribution and linear organization. The module A creates two sided extruding openings in between a branching system of columns. To diffuse the direct light produced, a cable structure branching out from the primary columns supports a light tent reverberating the movement of the openings above it. The module B creates opaques beam structures that wave in between the elements A. To increase this effect and hide the exposed bracing structural elements, a tertiary system of lamellas runs along the linearity of the system with different heights and tensions.



The product of the repetition is a deep skin of elements relating in complex and still defined behaviors. The inner surface is then a medium of function and aesthetics.


If from below the roof the structural systems are hidden and misperceived, from the top the single element are still distinguished and their specific structural function emphasized.



| Tutor Curime Batliner

DEEPER t h a n a WA L L From the model of wall as monolithic flat retention to the idea of a deep shading system of niches and openings. The project takes advantage of the potential of the parametrics and robotic fabrication to develop a system of interlocking plastic tiles pressure-formed without repetition of identical components. After the design and engineering of the system in Grasshopper, the creation of a wood mold allows the plastic sheet to be perfectly aligned to the digital space and shaped through pressure with a Staubli TX200. Each of the tiles is then cleaned from the extra borders, perforated in the location of the joints and finally re-assembled in a final semi-rigid composite. Through the definition of different depth in the design of the single tiles and the use of variable thicknesses of the materials, it is possible to control the shading and blurring effect produced by the material to hide or emphasize specific views in the framed view of the wall. The wall becomes a tool of perceptions and understanding of the surroundings that involves the viewer on a new and unexpected level of empathy. 154

Mold production Composed of multiple layers of plywood and with different holes where to constrain the plastic sheet, their fundamental role is to align the materic objects to the digital space in a precise condition.


Tile production and definition Once pressure formed, the single tiles are unmounted from the wood mold and remounted on an acrylic silhouette before being cleaned from the extra parts.


The precise definition of the robotic pressure allows the wall to acquire precisions impossible to achieve in alternative production systems.


However, no matter the precision, the materic properties of both the wood and the plastic created multiple discrepancies that have been manually solved and corrected during the production of the final wall.



Field of Objects. The wall becomes a fields of objects related by indices



This wall required an high level of precision and care in the connecting point between digital and physical. Multiple has been the discrepancies that required reiterations and reconfigurations of both the robots, the wood casts and the plexiglas profiles. Moreover, allowing the system to have different degree of freedom allowed us to reorganize and solve issues emerging during the process in the physical domain instead of going back to the digital. Even if intended to be located facing a window, the installation at the center of the room allowed a


different perspective on the role of the user with it. New possibilities unfolds, the wall looses the function and becomes an object again.


DEEPER t h a n a WA L L Instructor Curime Batliner ©2016





DS4000 VERTICAL STUDIO Tutor Peter Testa


PROMENADE t e m p o r e l l e The studio explores architecture’s aesthetic possibilities linked to a post-digital materialism of the “phygital” and “fugly”. We believe this is an imperative condition of today’s instance, not supportable but necessary, not futurable but actual, tangible and ephemeral. Because of that, this project challenges spatial perception and assemblage of parts in different temporalities of the physical built environment through the collaboration of Augmented Reality. From the relation of the two, the actual and the digital, new organization, expressions, influences and behaviors are generated. By analyzing and deconstructing the original objects and organization of the roof de l’Unite’ d’Habitation of Le Corbusier, we capture the actual by augmenting its presence with digital temporal instances to create a new phygital object. With processes of multiplication and cloning then, the objects are reconfigured and recaptures to create new broken and reconnected instances in a new time/space framework. In the new design, the integration is developed to maintain both the codependency and the independence of the two instances. Ontologically separate and still implied in each others, the objects reorganize the roof following a series of paths that create a new idea of promenade architectural. 166



Objects _ Side Elevations


Objects _ Top Elevations


with Alessio Grancini, Adriane Yi and Runze Zhang

Photogrammetry Through the use of a digital series of pictures of the physical object, we reintroduce it in the digital as a model where new qualities and behavior emerge from the design.


Photogrammetry - Slicing According to different uses of AR for the photogrammetry, different are the resulting behaviors of the parts produced. Here the objects is sliced to produce porosity.



Photogrammetry - Reoriginating The original foot is lost, freeing the object to reoriginate in its function, behavior, intention and structures.


Capturing - Tower I With the use of AR to produce photogrammetries, the original objects of the roof loose their physical ground and acquire new spatial organizations.


Capturing - School The original foot is lost, freeing the object to reoriginate in its function, behavior, intention and structures.


Cloning - Clashing | Multiplication In a second phase of cloning, the new objects accumulate in a series of operations - clashing, multiplications, overlapping, nestings.


Cloning - Overlapping | Nesting Each of this operations produce behaviors and new design opportunities, allowing the object to operate each time in a different iteration.


No material is off-limits. No “thing” is excluded from the catalogue of possible building materials. Doors, windows, walls - all the familiar elements of architecture are building blocks. Baser parts like stone, glass, concrete, and acoustic tile are perfect. Garbage, detritus, and ruins can be used too, almost without remediation, as can symbols, words, and pictures. Everything that can be seen and surveyed is ready for assembly - perhaps no longer so distinct and shiny but universally ready. There is nothing but bricks. There is no atomistic substance lower than the station of the brick “thing”. No matter how tiny or dust-like the particulate, a charge of meaning and significance always attaches to make them ready slabs - bearing, if nothing else, a trace of quarrying from the ground , the factory, or the dump. - Andrew Holder



Composing - New Tower South In the third phase, the objects are recomposed to create a new roof for l’Unite d’Habitation, maintaining their ontologically independence and their familiarity with the design of Le Corbusier.


Composing - New Ground North In between actual and digital, the new roof is organized around buildings, grounds and paths to create a new promenade architectural where the user becomes active on the design of the space.


Tracker masked to camera


Still from the Robot House - Actual composition without digital The composition is complete with missing parts. Its function is defined and organized while still implying the presence of an “extension�.


Tracker exposed to camera


Still from the Robot House - Actual and digital composition When augmented through AR, the composition acquires new completions, while maintaining parts alone and together at the same time.


Trackers - Paths I What is a need of the machine vision to detect and augment the digital in the physical, we use it as an index of the implied but “hidden� geometries to be exposed in AR.


Trackers - Paths II By flattening the outlines, the shadows and the surroundings paths, the trackers become new ground, foreground and background according to their organization.


Composition: Actual

Composition: Actual and Digital


Composition: Digital


Still from the Robot House - Actual composition without digital Objects, parts and trackers in motion create a choreography of varying relations in time and space.


Still from the Robot House - Actual and digital composition Through the use of AR, a new character in the motion is considered, pushing the objects in the phygital framework.



Still from the Robot House - Composition elevation in movement The composition on the roof, composed of objects and parts, becomes a brick too and, splitted into two objects, acquires new organizations in time and space.



From promenade architecturelle to promenade temporelle. Moving from the understanding of the space as architecture to the point where it becomes a space/time environment. In this framework, users and designers operate in different times, with different tools but with the same built material. This project challenged from the beginning both the use of AR - relegated today to a mere representation of preconstructed realities, - and the role of the built environment as a defined preorganized space. By breaking the first in the attempt to find new

potentials, we discovered an incredible tool to push the second. Promenade temporelle is a first step in a phygital world of new politics and powers in between perceptions, functions and users.


PROMENADE t e m p o r e l l e Instructor Peter Testa With Alessio Grancini, Adriane Yi and Runze Zhang ©2017



| Tutor Herwig Baumgartner, Brian Zamora


Moving from design to development, the project investigates issues of technology implementation, materiality, advanced construction methods, building code analysis, structural and mechanical systems, environmental solutions, as much as representation and communication as part of a complex actual technical project documentation. The design development becomes then not only a technical advancement but a disciplinary one, where challenge representation in search for relevancy in an era where documentation of design and manufacturing are in flux and are increasingly based on three-dimensional live data. By reconsidering the representation of the building components as one, single entity, we hack, peel, cut, slice, explode pieces apart in a multi-layered framework. Through the creation of different chunks of building fully detailed in their components, we define new understandings of the architecture as sizes, descriptions, energies, systems, performances, materials, colors, scales. To do so, we selected the project from 2GAX in SCI-Arc, where layerings and complex geometries can be ground to fully challenge the status of the technological discipline. 198




LOCATION Los Angeles, California

with Jennifer Dow, Ross Fernandes, Evan Mason and Eleonora Orlandi


Aerial view


The building is a non-residential Metal Building with Structural framing and continuous insulation. Its area is around 65,000 square/feet for an expected price of 2,400$ per sq/ft. The building envelope is composed of 3D GFRC Panelization atop Piped Steel Substructure. The structural system is a steel grid cage with C.H.S. Steel piping and box trusses/shear cores. For the glazings, the building takes advantage of a metal thermal break structure with fixed clear double curved panels. The FAB:LA incubator is by no means a conventional office building. Entirely bulbous, its morphology lies balanced above the ground locked in place by pipes with absolutely no rectilinear points of reference or grid. While it has been quite a task to detail, three major issues are worth highlighting: the structural form finding; the envelope panelization and the natural daylighting systems.


Gravitational Force Resistance Two interlocked structural cages are formed by 1’ thick steel sections; these are held in place by 1’ thick hollow circular steel piping that wraps around the cage and meets the ground. The cages act as unitized shells and are connected to the pipes via perimeter beams at every floor level.


Primary and Secondary Structure A secondary carcass cage is wrapped around the primary structure to allow for the erection of the rainscreen envelope with the outerleaf clad by GRP extrusion panels as well as the glazing at key areas of the building. The backing frame is structural in nature and is generally used to support not only the panelization itself; but the vapor control layer.


South Elevation The facade expresses the complexity of the building in it organization with GFRC extrusions, textured panels and the structural pipes that entangle the functions.


Longitudinal Section In section, the same complexity arises in the previously described structural cage that entangle the two separate volumes in one single entity. The floorplates connect with the structure through a series of joints.




Typical Floor Plan The floorplan is organized around a central core and two separate egress stairs. For the ADA, two separate elevators connect with the groundfloor.


Lighting System and RCP Definition The lighting systems is organized around a 2x2ft square grid as a placeholder for further developments with the possibility of higher budgets.


Facade Detail: Oculus

Roof Detail: Skylight


Facade Detail: Glazing mega frame _ Basement slab junction

Facade Detail: Floor _ Wall _ Pipe junction


Wall 3d Detail Moving from 2d to 3d details, the double curvature geometries produce new organizations because of dimensional limitations. In particular, the double glazed windows have been redesigned as flat elements.


Wall-Gradeslab Junction 3d Detail Same limitations of the glazing system happen at the structural level, where the double curvature of the panels is organized around both primary and secondary structure in 3d curvature.












Moving from complex design to advanced tectonics brought different fundamental changings both in the way the original design was and in the understanding of materialities we were speculating about. This process brought back in the conversation questions of geometrical developments as much as general organization of the space. Working in a cost-less framework allowed us to fully exploit the potential of the intentions in the building leaving outside however an important part of the problematics on developing such an

unique architectural object. Moreover, the use of innovative technologies required us the use of sophisticated procedural softwares to achieve a quality in the result that was achieved with the least amount of errors in the production. This allows us not only to achieve a more precise final outcome but also in the possibility of easily reiterate technical solutions that during the process of the material investigations had multiple variations.




Instructor Herwig Baumgartner and Brian Zamora With Jennifer Dow, Ross Fernandes, Evan Mason and Eleonora Orlandi ©2017


| Tutor Dwayne Oyler


MATTER m a t t e r s Starting from the original scupper of the TWA Terminal, the design reorganizes the original intentions and elaborates new understandings of the scupper as an object, as a sign and as a functional accessory. Taking advantage of the native weather conditions of the site, and the consequent presence of abundant snow during the cold season, the new scupper treats differently the two states of the water: liquid and solid. In the first case, the water runs from the roof to the scupper through an inclined extended surface. The length of the object migrates the water far from the entrance of the building, bridging the street, till the facing green area, where it is released in a free fall. This original solution take advantage of the function to change the sign of the scupper making it a something more similar to a fountain. In winter, the snow is collected and packed through a series of aluminum rods that channel and cage it. By doing so, the scupper operates as a barrier for the dangerous detaching of big chunks of snow from the double curved roof of the TWA. More, the constant accumulation of material, with the natural thawing during the day and night solidifying, will start creating organic formations and temporary crystals that will become the new sign of the reorganized scupper. Detail to be completed by February 2018. 226


LOCATION Los Angeles, California

with Runze Zhang

Exploded Axo For the production of the object we relied on the use of milled foam to produce the main volume that got covered with a concrete layer in the assembly phase.



Section through the scupper Once the main body is assembled, the .2 inch aluminium rods, separately welded together in two pieces, are then placed in the sockets of the material.


Foam milling To ensure the lightness of the scupper we used CNC foam instead of solid concrete for the main body.


Clamping After a first layer of concrete to cure the foam from deterioration, the parts have been assembled in a single body that will later host the metal rods.





PUBLIC for BATH CRIMINALS and other penitents A diagram is a way to imply reason in a schematic form, or as a behavior, that I can grasp and finally appropriate. It is a tool to produce power, that I exploit to understand first and to apply then. In complex environments, either natural processes, as the definition of a sloped site, or mathematical relations, for example a Mozart fugue, diagrams are the logics needed to approach the information. If the diagram has the innate capacity to escape from logics of representation, and consequentially the mere aesthetic and perceptual copy of an instance, it is also true that its potential has been deeply exploited and abused in logics of continuous variations. It is in fact with the introduction of the digital that the diagram, already discussed as new tool previously to it, becomes a production machine fed with lists and data. In here, the derived power from it is used to produce similarities, or copies with alterations, more than alternatives and novelties.


Perspective Render


For the creation of “Public Bath for Criminals and other Penitents” in Hong Kong, my interest was in the creation of a space able to reoriginate the emotions that the original Voom Portrait of Robert Wilson2 was able to produce. In particular I am interested in the way the piece of art was exposed in the exhibition in Palazzo Madama, Turin in 2012. Here the video installation is presented in the Verdi Room, inside the frame of a door, substituted with a screen showcasing the video in a 1to1 scale. Brad Pitt becomes a figure in the room, exiting from the original medium, becoming theatre, human performance art. “The artist is present”3. Even more, the original walls of the space are left uncovered, exposing the paintings from the Antonello da Messina4 from the late 14th century, human figures looking at the viewer, or at the new piece of art in the room. This double nature of the actual person represented here in a digital or paint medium and the viewer

Re-origination is instead a concept that moves away from representation, without rejecting it per se, in favor of the use of a diagram in a new field with the creation of effects that the original environment was not able to produce1. As an architect with an academic and practice background in music, I find this approach very familiar and intuitive. I do believe in the potential of the medium and also in its limitations, that becomes values and qualities to exploit. More, I always look for the point of contact in between disciplines in the attempt to create a bridge for attitudes and approaches that were not possible before. In this, I believe senses and perceptions, mind and logic, both have to coexists in unexpected integration and final organization, mostly unclear, waiting for interpretations and still open for new originations. The function of the diagram here, as a precise conscious system, finds its limitations, forcing the sensibility and intuition of the creator to overcome any strict logic. 1 Jeffrey Kipnis in conversation with Federico Diaz, 2013

2 Wilson Robert, Video Portrait - Brad Pitt, 2004 3 Quote from “Marina Abramovic: The Artist is Present”, 2012 4 Antonello da Messina, Ritratto d’Uomo, Oil on canvas, 1476


initiates a game of views, of perceptions and spies. The mixed feeling of fear and attraction; the nude criminality of a person, exposed in his guilt as much as in his body; the staticity of a body, that is a body of crime, here becomes a statue, and still dares the viewer to interact with him. With the intent to create a genealogy, the original discoveries of Wilson’s piece are researched and analyzed inside pieces of precedents architectures. In the Ancient Roman Terms of Bath5, multiples have been the effects that can be assimilated to Voom Portrait. First, the function of the space in conjunction with the colonnade allows the central space to operate as a stage. Not a coincidence, in the space the users were both taking advantage of the healthy and sanitary functions of the thermal water but also the social side effects of it. The public bath was then becoming a plaza where contracts were stipulated, sometimes legal, sometimes not. Moreover, the presence of statues all over the colonnade in the overhead terrace, looking at the users of the bath, creates the same relations of view and viewed of Voom Portrait in Turin. By taking the same diagram, but completely reversing it, OMA creates the Koepel Panopticon Prison6. A circle of cells with the all-seeing eye of the observatory as its center. In the original organization then, the “eye� looking at the prisoners is at the center. However, in time, this organization 5

Roman Bath in Bath, England, 60-70 AD

6 OMA, Koepel Panopticon Prison, Arnhem, Netherlands, 1980, Commissioned Study


drastically reverse with the conversion of the observatory in a canteen for the guards. The former observers are now themselves observed by the prisoners, who are also no longer kept locked in their cells at all times, but could circulate freely on the rings and have access to the ground floor. This case becomes then a reference of the power and control being abstractions gained from the sense of sight and easily shifts in time and uses. From this genealogy, the project locates in Hong Kong, at the ground floor of the internal courtyard of a non-specific high dense residential block. Here, the floor is flooded with water, still and cold, a reminder of the baptismal gesture of cleaning the original sins. The guns, generally the tool and in Voom Portraits the index of crime, form a peripheral colonnade. In here, viewer and viewed blur in an in between space that reverberates in the windows of the surroundings apartments where people can look at you, but generally they don’t. Still expressing the original voyeuristic diagram of the body exposed in an overly dense environment, the architectural element takes an illogical use of the tool of crime that become structure and shop window, a stage to be seen and an index of cell bars that probably will encounter the users of the space soon. BIBLIOGRAPHY • • • •

Deleuze, Gilles. The Logic of Sensation. Continuum Publisher. 1981 Kipnis, Jeffrey. A Question of Qualities: Essays in Architecture. Alexander Maymind. 2013. Koolhaas, Rem and Mau, Bruce. S,M,L,XL. Jennifer Sigler Publishing. 1995 Wilson, Robert. Ritratti a Palazzo Madama, Space/Time. La Feltrinelli Editori. 2013


Perspective render The site is a flooded ground floor of a courtyard in Hong Kong. A residential space that operates mostly as a theater, sometimes as a prison.



In my previous studies and work experiences I have been deeply influenced by the writings of Jeffrey Kipnis. Because of that, in this project I tried not only to take advantage of his researches in the use of the diagram and the process of re-origination but also in approaching a more speculative and theoretical stand on my architectural production. First, the will of choosing a site that is non specific, but definitely not generic in his consequences on the narrative, has been a fundamental step for the final work. Similarly, I wanted to create an architectural space, not only

a performative object or an installation, but still being able to maintain the freedom from economical/political constraints by having a familiar typology twisted with a theatrical gesture. The space operates then as a new diagram generated from the piece of art. Siteless but not site-free, not real but realistic, and speculative but not fantasy.


PUBLIC for BATH CRIMINALS and other penitents Instructor Jeffrey Kipnis ©2017


AS2711 APPLIED STUDY Tutor Peter Testa


PHYGITAL S A M P L I N G The project explores the limits of Architecture’s representational and material possibilities linked to the emergence of new digital-physical workflows. Phygital Sampling is the facility of synthetic constructions against established conventions of representation, including Architecture’s privileging geometry over image and Computer Graphic’s photorealism. In a world where craftsmanship is becoming synonymous with digital fluency, with its man made choices and computer-generated forms, the phygital can be considered the new normal, a new generic dealing with the physical and digital architecture of our surroundings. In this framework, the project aims at the production of incoherent and unexpected organizations starting from familiar forms and objects. On top of this, a new layer of informations are expressed through the augmented reality and the possibility of expanding the role of the viewer from a passive receiver to an active designer. New understandings of the space, the relation in between objects, them self and the viewer arises from the representation. By reducing data in the first appropriation of the object and the image, we create an index of implied data, alone and together in the design. 242



LOCATION Los Angeles, California

with Alessio Grancini, Adriane Yi and Runze Zhang

Starting from a process of photogrammetry we re-introduce the physical in the digital. In this, by scanning both in reality and augmented reality objects, we create a third framework with no native but only hybrids and forms of cross-feedings.



clashing objects in elevation




Composition I Objects and parts work in coherence to produce new compositions and machines.


Composition II The blurred objects acquire new definitions in the use of traces and outlines that become indexes for the machine vision of the AR. The tracker is the composition.


From Origin The connection of actual and digital creates new understandings of the object, materialities, organizations and finally appropriations from the user.


To Original The user becomes then a designer that can imply its intentions in the object, its representation and finally the way the parts behave.



This seminar was a test ground for the developments I approached later on in Peter Testa’s design studio. In here in fact we started researching the idea of AR as a design tool where, while photogrammetring the ice creams, the potential of including a temporal element in the design process emerged and finally prevailed. Every composition is the product of both digital and physical objects and parts, plus time. This can be expressed in the melting cream or in the rusted design tools. We are looking for a new kind of phygital, the one where the greatest lack of physical values is

missing: the digital time. Another important aspect in the research has been the creation of a apparatus, again physical and digital, to allow the user to interact and participate in the understanding of the perception. Instead of allowing each user to interact with the piece through his/ her own device, we created a series of clamps with tablets. By doing so, by using a tool that you don’t own, you start by interacting with a different consciousness in the experience, and more you allow people next to you to operate in the same device in a collective experience.


PHYGITAL S A M P L I N G Instructor Peter Testa With Alessio Grancini, Adriane Yi and Runze Zhang ©2017




DS5000 VERTICAL STUDIO Tutor Mark Foster Gage




d re a m

In Book II, Chapter III, of his Ten Book of architecture, Roman architect Vitruvius writes of the architect’s responsibility for building private structures as only a secondary pursuit and that their primary function is the design of “works for general use in public places”- best translated into contemporary parlance as ‘infrastructure.’ The project therefore assumes the simple counterfactual that architecture is still today, and solely, responsible for not only buildings but the design of all nation. Looking at the specific topic of aquatic cities in US, the project defines Barrow, Alaska, as the most controversial and stategic location for future developments. With the climate change affecting the Arctic in fact, the political and economical interest of all the nations facing the North Pole are exposing the weakness of today jurisdiction of the area. New forms of colonization are unreveling, challenging the outaded idea of the gold rush in the neo liberal capitalsm world. In this, by taking accelerationist positions for the production of the architectural infrastructure, we propose massive developments in strategic positions at the border of international waters. In here, while extracting the already present natural resources of oil and gas, we create systems of cryptocurrancies mining and high-frequency trading apparatus that take advantage of the environmental conditions to create new international economies. 256



| Barrow, Alaska

with Aja Zarrehparvar

Case Study I - Papahanaumokuakea, Hawaii A marine national monument excompassing 583,00 square miles of shallow ocean waters. The infrastructure is a channel for waves and sand to create new habitable land.



Case Study II - Seatlle, Washington Located on the border with Canada, the city is considering the possibility of inhabiting the archipelago facing the Strait of Juan de Fuca to create new underground infrastructures.



Objects _ Side Elevations


Objects _ Top Elevations


Selected Site - Barrow and the International Waters, Alaska The analysis of the movement of the Artic exposes the constant reduction of masses of ice, in particular during the hot seasons.


With the creation of aquatic cities at the edges of the 200 nautical miles from the actual costal line, the infrastructure becomes a physical flag celebrating, defining and protecting the national property of the land, as much of the one of the underground oil. The city are composed of different functions and users. Organized on top of stilts reaching the lower level of the sea, the structures are organized around the latest technologies for the oil extraction. Because of the political and economical value of the infrastructure, the area is controlled by private and public guards, protecting both the government and private owners of the property. Moreover, thanks to the presence of both substantial energy availabilities and the natural cooling effect of the environment, the structure includes underwater servers for cryptocurrancies mining. that are used for economical speculative



Trying the emulate the geometrical properties of the icebergs, the servers are clamped on the sides of the steilts, declaring their physical presence only in the tip emerging from the sea level before expanding and reaching out below water.


In the attempt to maintain separation in between the robotic activities and the human one, the project relies on two separate circulation systems. Data work faster on straight lines, human legs can enjoy the view on the spiraling ramps



On a secondary line of infrastructural developments, we organize cities around communities of “workers offshore� - fisherman, technicians and diplomats - to create leisures spaces. Where once there was the garden city, now is an iced city.


Nature The natural element is a brick, a part of a larger whole that is exploited to create new natures.


New Nature Artificial icebergs are used as floating structures to store the extracted resource, either oil, gas or fish.



Similarly, ice formations are produced on the external surfaces of the facility to create a natural shield from the extreme winter conditions.


Mega Axo The facility operates on multiple levels, intentions and users, according to the typology of resource extracted or stored.


Roof Plan The artificial becomes natural evolving according to the seasonal variations, the consequences of climate change and the extracting needs of the country.













Composition: Actual

Composition: Actual and Digital

In the attempt to use the precedent experience with Peter Testa in the understanding of the object - either physical, digital or phygital - this project becomes a new testing ground for strategies of accumulation, misreading, defamiliarization, deorganization. On the other side, with the intent of taking accellerationst positions in a neo liberal capitalst society, the design shifts soon from the image of the object to the parafictional narrative. Inside this framework, little shifts from the actual reality produce understanding and questioning of the object and the use of familiarities ,recognizible traits allows


the user to be involved. I found fascinating and deeply challenging the interaction of this two separate entities and I am looking for the next months for the final refinement of both the narrative of the object and the relation of it with the binominal presence of contrasting necessities.


Composition: Digital



d re a m Instructor Mark Foster Gage With Aja Zarrehparvar ©2018





| Tutor Elena Manferdini


inANIMATE The project looks closely at the relationship between animate and inanimate matter in art and architecture. By investigating the use of digital and analogue optical effects, the exploration challenges the boundaries between still life and representation of multiple realities. Starting from the creation of hyperrealistic still life paeonies, the digital flowers are organized around compositions that escape the physical constraints of the real world. In here, with the use of the technique of chiaro scuro, we are interested in generating affects of wonder and curiosity. At the same time, the use of cangiante allows the viewer to recognize the object as familiar while creating a daze from the wide color palette. Finally, through the use of digital technologies, we challenge the concept of “animate� by simulating natural effects on the flowers before printing the images on lenticular paper able to enhance the perception of movement in the time and space of the analogue environment.




Composition XI - Cangiante Chiaro Scuro From the same species, new digital varieties unravel to create a multiple generations of families of colors, gradients and abstractions.


Composition XV - Blooming flower The digital space is injected with natural evolution, growth and decay. Flowers bloom, leafs gray, lights change.



Composition XIII - Cangiante Chiaro Scuro New natures and digital materialities overlap in a autopoietic influence of behaviors and aesthetics.




Andrea Cadioli

Thank You




Andrea Cadioli _ Academic Portfolio _ SCI-Arc M.Arch II 2016/2018