TransDisciplinary PostDigital FrAgility by Marjan Colletti + REX|LAB

CHAPTER TITLE Bartlett Design Research Folios

Marjan Colletti + REX | LAB TransDisciplinary PostDigital FrAgility

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MARJAN COLLETTI + REX | LAB

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BARTLETT DESIGN RESEARCH FOLIOS

Marjan Colletti + REX | LAB TransDisciplinary PostDigital FrAgility

MARJAN COLLETTI

POSTDIGITAL FRAGILITY

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CHAPTER TITLE

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CONTENTS

1 (previous) 350/360 Cohesion/Cocoon, 2019, is a pavilion designed for the University of Innsbruck’s 350th anniversary.

It features a complex geometry comprised of 47 individual segments, fabricated using a bespoke 3D-printing system.

2 Liquid Rock, Wachtberg Sculpture Park, 2018.

Designed with agentbased modelling techniques, growth scripts and analytical tools that calculate the print of each ‘tooth’ for stability.

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Project Details

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Statement about the Research Content and Process

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Introduction

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Aims and Objectives

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Questions

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Context

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Methodology

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Dissemination

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Project Highlights

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Bibliography

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Related Publications

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Project Details Author

Marjan Colletti

Title

TransDisciplinary PostDigital FrAgility

Output Type

Software design and built prototypes

Prototypes (exhibited) Terrestrial Reef, RHS Chelsea Flower Show, London (2019) 350/360 Cohesion/Cocoon, University of Innsbruck (2019) Liquid Curtain, Spielberg (2018) Liquid Rock, Galerie Göttlicher, Krems-Stein (2018); Wachtberg Sculpture Park (2018) Pahoehoe Beauty, Ars Electronica, Linz (2018) Coralloid Cocoons, Ars Electronica, Linz (2016) Porous Cast, Estonian Museum of Architecture, Tallinn (2015) Quaquaversal Centrepiece, Musée d’Histoire de la Médecine, Paris (2015) Prototypes (not exhibited) Plastic Column (2018) Clay Column (2018) Research Projects and Guardians of Time, Linz (2017) Venice Taevatiib, Estonian Centre for Contemporary Art, Tallinn Designed Prototypes (2017) Crystal Net, Wattens (2015–18) Collaborating Architectural Tiziano Derme (Terrestrial Reef); Georg Grasser (350/360 Cohesion/ Designers Cocoon, Liquid Curtain, Guardians of Time); Eftihis Efthimiou, Georg Grasser, Javier Ruiz (Liquid Rock); Tiziano Derme, Georg Grasser, Daniela Mitterberger (Pahoehoe Beauty); Georg Grasser, Johannes Ladinig (Coralloid Cocoons); Kadri Tamre (Porous Cast); Pavlos Fereos (Quaquaversal Centrepiece); Pavlos Fereos, Georg Grasser (Plastic Column, Clay Column); Javier Ruiz, Tiia Vahula (Venice Taevatiib) Collaborating Artists Tom Dixon (Terrestrial Reef); Manfred Kielnhofer (Guardians of Time); Jolan van der Wiel, Iris van Herpen (Quaquaversal Centrepiece) Collaborating Universities École Polytechnique Fédérale de Lausanne; Eindhoven University of Technology; ETH Zurich; University of Innsbruck Cultural Partners Ars Electronica, Estonian Centre for Architecture, Galerie Göttlicher, Tallinn Architecture Biennale

PROJECT DETAILS

Industry Partners Baumit, decode, ExOne, Grassmayr Bell Foundry, Herz, IKEA, PORR, Swarovski, TerraNeo, Tom Dixon, Tyroler Glückspilze Public Partners Austrian Research Promotion Agency, Hypo Tirol, Land Tirol Abteilung Kultur, Royal Horticultural Society, Tyrol–South Tyrol– Trentino Euroregion Robotic Fabrication and Anna Aschberger, David Adrian Christian, Jan Contala, Pedja Gavrilovic, Material Studies Lukas Jonathan Härtenberger, Nina Jotanovic, Chris Mell, Moritz Riedl, Christoph Tobias Schlopschnat, Philipp Schwaderer, Maryna Shovkoplia, Nicolas Stephan, David Christoph Stieler, Lukas Vorreiter Engineering

Franz Sam, Freek Bos

Software, AV and Eftihis Efthimiou, Florian Frank, Georg Grasser, Jonathan Raphael Multimedia Hanny, Damjan Minovski, Galo Patricio Montayo Asan, Yu-Ting Sheng, Shih-Yuan Wang PR, Image and Video Editing Hannah Maria Köll, Florian Offner, Lorenz Pammer, Anne Steinkogler, Emanuel Werner Drone Footage

Marc Ihle, Peter Massin

Professional Photography

Rupert Asanger, Nikolaus Korab, Paul Smoothy

Research Assistants Sandra Al jbali, Kilian Bauer, Aurelien Forget, David Haslgruber, Florian Heinrich, Claire Hentgen, Tobias Hinterschwepfinger, Marina Niederleitner, Cendrine Peters, Erfan Pour Ahmad, Sebastian Rudolph, Tobias Sam, Vivek Sanu, Laura Schwarz, Jakob Sieder Semlitsch, Kristan Walder Funded By Ars Electronica, Baumit, decode, ExOne, Galerie Göttlicher, Grassmayr Bell Foundry, Herz, Hypo Tirol Bank, IKEA, Land Tirol Abteilung Kultur, PORR, Swarovski, Tallinn Architecture Biennale, TerraNeo, The Austrian Research Promotion Agency, Tom Dixon, Tyrol–South Tyrol–Trentino Euroregion, Tyroler Glückspilze, University of Innsbruck, Iris van Herpen Grants £81,500 RCIF Capital Equipment Fund; £88,838.04 University of Innsbruck; £354,311.24 FWF Austrian Science Fund; £250,000 UCL Information Services Division, The Bartlett, UCL Total Funding

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Statement about the Research Content and Process Description

Methodology

This research project is comprised of a series of 13 prototypical transdisciplinary investigations into the agility and fragility of postdigital design. Various teams were established with distinct expertise, with an aim to liberate architectural design from superseded digital techniques while also addressing economic and ecological issues.

Alternative design and fabrication strategies were developed to scale-up, adapt and modify existing 3D-printing technologies for the built environment. Software and hardware innovations developed for the series are now widely available.

1. Successive fabrication of complex and innovative prototypes; 2. Scaling-up of existing and new additive manufacturing techniques using bespoke industrial workflows and craft-related processes; 3. Development of bespoke software; 4. Development of bespoke hardware, processes and equipment; 5. Development of bespoke 3D-printable materials.

Questions Dissemination

1. How can contemporary architecture enable transdisciplinary collaboration and re-engage in a wider social and cultural discourse?

The prototypes have been exhibited internationally, including Ars Electronica in Linz and Paris Fashion Week. Several of the prototypes have been shown on national and international news and television programmes, including ORF Austria, ETV Estonia and the BBC. Colletti has co-edited one book, Meeting Nature Halfway: Architecture Interfaced between Technology and Environment (2018), which features some of the projects in the series. He has authored three articles in Architectural Design and eight book chapters related to the work.

Colletti has presented the project in four keynotes at conferences in the UK, Italy, Czech Republic and Iran; nine invited presentations and ten lectures.

2. How has digital design and theory evolved from previous decades to the postdigital?

3. Which innovative twentieth-century technological solutions, materials and processes are agile enough to allow a scaling-up of 3D printing for future implementation in the building industry?

4. How does postdigitality approach the fragile relationship between the artificial and natural and the technological and environmental, to move towards a hybrid ecology?

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STATEMENT ABOUT THE RESEARCH CONTENT AND PROCESS

Project Highlights

Statement of Inclusion of Earlier Work

The series has brought together skill sets from various branches of industry, other disciplines and crafts to achieve untested transdisciplinary synergies. The research on concrete 3D printing resulted in the development of a software-hardwarematerial package, the Baumit BauMinator®.

It also generated the formation of a spin-off company in Austria, incremental3D. Software packages were developed that are now utilised by international institutions, as was specific hardware to adapt existing industry solutions to the specificities of 3D extrusion by robotic arms. The Chelsea Flower Show pavilion where Terrestrial Reef was installed was awarded a silver medal.

The research expands from the prototype Plantolith (2013), which showcases the affordances and constraints of conventional 3D-printing processes (13).

3 (overleaf) Coralloid Cocoons, Ars Electronica, Linz, 2016. Structural, ornamental and porous coral-like sheltering cocoons were printed in concrete with a filigree layer of PLA using three industrial robots.

The installation symbolises the metamorphosis of robotics in architecture, transforming from clumsy Fordian caterpillars to postdigital chrysalises.

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Introduction The research consists of a series of 13 3D-printed prototypes, fabricated with the aid of industrial robots. The series can be classified into groups, dependent on material and scale (5). This text focuses on the larger concrete prototypes and those made using biodegradable materials.

Liquid Rock (4), Coralloid Cocoons (3) and 350/360 Cohesion/Cocoon (1) reach the pinnacle of research into large-scale 3D printing with robots, measured by their size, complexity and impact, including the successful development of industry-ready products. Terrestrial Reef (7) and Pahoehoe Beauty (6) reach the apex of the research into the fragile rapport between technology (robotic additive fabrication) and the environment (materiality and sustainability).

These projects, together with Quaquaversal Centrepiece (8) and Porous Cast (50–1), exemplify the author’s transdisciplinary approach as they have been developed with a plethora of partners from other disciplines.

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Plastic

Clay

Concrete

Soil

Very Small

Quaquaversal Centrepiece

tests

tests

tests

Small

Crystal Net

vessels; Porous Cast

vases

Medium

vessels

Clay Column

Liquid Rock; Liquid Curtain

Terrestrial Reef

Large

Plastic Column

Venice Taevatiib

Coralloid Cocoons

Pahoehoe Beauty

Very Large

Guardians of Time; 350/360 Cohesion/ Cocoon

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INTRODUCTION

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4 Liquid Rock, Galerie GÖttlicher, Krems-Stein, 2018. The organic and complex shapes cannot be manufactured with such accuracy, replicability and feasibility by any technique other than 3D printing.

5 Table categorising the series by size and material.

6 Pahoehoe Beauty, Ars Electronica, Linz, 2018.

Robots surveyed a volcanic landscape to create a biodegradable 3D print.

A chimera of natural and man-made materials, objects and species.

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INTRODUCTION

The other prototypes were important in establishing the affordances and constraints of large-scale 3D printing, and of the materials that may be used in the future more successfully than others.

3D printing implies a process of material deposition using a digital model to create a physical object. Arthur C. Clarke predicted the technology in 1964, in the BBC Horizon episode ‘The Knowledge Explosion’: ‘the invention to end all inventions… [a] duplicating machine that can make an exact copy of anything’ (BBC Horizon 1964). The technology gained momentum in the 1990s and 2000s as it became one of the most promising ways to directly realise digital design, geometric complexity, parametric modularity and 1:1 prototyping. With its relatively low start-up and production costs, 3D printing has been adopted in numerous industries, from the arts to healthcare. It is, however, affected by several limitations: machinic, volumetric and material.

7 Terrestrial Reef, RHS Chelsea Flower Show, London, 2019. A hybrid garden reflecting on the binary relationship between the built and natural environments as defined by western modernity.

It proposes an alternative to cultural associations of ‘nature’ as ‘green’.

8 (overleaf) Quaquaversal Centrepiece was designed for Iris van Herpen’s Paris Fashion Week show at the Musée d’Histoire de la Médecine, 2015.

Throughout the show, three robotic arms, disguised as fable-like creatures, manipulated a dress worn by the actress Gwendoline Christie.

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The term ‘postdigital’ was coined by the musician Kim Cascone in reference to the context of glitch aesthetics in contemporary electronic music (Cascone 2000). Postdigital can thus be broadly described as translating digital approaches into more organic hybrid forms of digitally aided design. The postdigital is not an anti-digital movement but demarcates an evolution of digital design and theory that postulates hybridity and plurality rather than standardisation and singularity. The prototypes that constitute this research were developed as 1:1 proofs of concept of the potential of making robotic fabrication more dexterous and varied by inventing novel aesthetics, materials, software and bespoke end effectors. As the research progressed, the material palette changed from polymers and concrete to biodegradable clay, soil and mycelium.

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9 The Baumit BauMinator® printing one of the ‘teeth’ for Liquid Rock, 2018.

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INTRODUCTION

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10 Clay Column, 2018.

Complex shapes are created using the flexible and agile 3D-printing system.

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11 Clockwise from top left: television static; Plastic Column, 2018; Liquid Curtain, 2018; glitch background chaos aesthetics of vector.

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12 Colour gradients achieved using additive prototyping techniques.

INTRODUCTION

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As it evolved, the research identified and encountered constraints and affordances, relating mostly to the particularities of the software, hardware, material, weight and influence of gravity, size and shipping logistics, assembly strategies and recycling.

A multidisciplinary team was created for each prototype with partners from various fields across industry, science, design, art and fashion. These collaborations resulted in custom-made processes, personalised materials and tailored tools in order to scale-up and push the impact of additive manufacturing rapid-prototyping techniques.

The series challenges architecture’s inertia, in particular the way we think about buildings as immovable, making them ‘nature active’ through various design strategies.

Some prototypes do this in a technical way by probing structural constraints and aesthetic potential, while others draw more literally on nature through the use of recycled or biodegradable materials.

13 Plantolith, 2013.

Simulating natural processes that blur the boundary between tectonic and natural forms. This unique piece was produced as a uni-material monolith out of silica sand. An additive manufacturing process was used that chemically binds material layer-bylayer into a final shape.

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INTRODUCTION

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Aims and Objectives

Questions

1. Enrich architecture’s vocabulary through collaborative practices with artists, designers and industry partners;

1. How can contemporary architecture enable transdisciplinary collaboration and re-engage in a wider social and cultural discourse?

2. Investigate alternative ways in which postdigital thinking may increase its contribution to, and impact on, contemporary architectural design and 3D-printed production;

This body of research looks at how contemporary architectural design can be more inclusive and integrate art, craft and the sciences into its realm. Knowledgetransfer mechanisms were pursued to hybridise know-how to/from the building industry and other creative disciplines.

Strategies of scaling-up small-size desktop printing into larger dimensions demanded expert knowledge outside of architecture, from construction to microbiology.

3. Create software and hardware for wider industry application; 4. Explore more responsive and responsible processes and materials in the context of ecological and economic uncertainty;

2. How has digital design and theory evolved from previous decades to the postdigital?

5. Engage with public audiences in multiple fields.

The series investigates new skill sets, material innovations and sociocultural manifestations.

It aims to further evolve digital design and fabrication strategies towards a postdigital paradigm that embraces the hybridity of ‘physical, digital and biological worlds’, anticipated in the so-called Fourth Industrial Revolution that will impact ‘all disciplines, economies and industries’ (Schwab 2016).

The designs vary in scale, materiality, function and artistic performance, according to collaborating partners, venues and audiences.

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AIMS AND OBJECTIVES / QUESTIONS

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14 350/360 Cohesion/ Cocoon, University of Innsbruck, 2019.

15 (overleaf) 3D software was essential to the design, evaluation, process and fabrication of 350/360 Cohesion/Cocoon, 2019.

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Part 17a bounding Box: 374/144/268 layerHeight: 0.694116 [cm] printSpeed_average: 380.104874 [mm/sec] printTime: 45.557851 [min] printLength: 1039 [m] amount of targets: 35576

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QUESTIONS

Part 8a bounding Box: 94/69/189 layerHeight: 0.861829 [cm] printSpeed_average: 337.554844 [mm/sec] printTime: 54.409692 [min] printLength: 1102 [m] amount of targets: 36704

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3. Which innovative twentieth-century technological solutions, materials and processes are agile enough to allow a scaling-up of 3D printing for future implementation in the building industry?

Strategies of scaling-up small-size desktop printing into larger dimensions demanded expert knowledge outside of architecture, from construction to microbiology. The project researched the affordances and constraints of known 3D-printing technologies, from desktop printers to industrial solutions, and existing additive manufacturing techniques with robotic arms to develop accomplished software-hardwarematerial packages that would find utilisation in the building industry, e.g. the Baumit BauMinator®. The output is partly innovative, meaning that prevailing solutions were adapted and further advanced.

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4. How does postdigitality approach the fragile relationship between the artificial and natural and the technological and environmental, to move towards a hybrid ecology?

The project asks how larger 3D-printed prototypes might be integrated into twenty first-century architecture, as columns, benches, furniture, façade panels, interior walls, staircases, hollow formwork, etc. It also asks how the extra design and material freedom, e.g. of complex concrete shapes otherwise not possible or too expensive with conventional formwork or biodegradable materials such as soil, can blur the boundary between artifice and nature.

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QUESTIONS

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16 350/360 Cohesion/ Cocoon, University of Innsbruck, 2019. The site consisted of part of an existing retention basin.

After carefully removing the top layer of humus, a fibre-reinforced base plate was constructed out of concrete.

17 Two interlocking sections add stability to the overall shape. At the same time, multi-path printing can increase the structural soundness and stiffness of each section.

18 The complex topology of the pavilion was designed to showcase the agility of 3D printing with concrete.

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QUESTIONS

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Context The research is situated within the emerging field of postdigitality. It also sits within advanced morphogenetic design, defined as draughting, modelling and scripting the relationship between artificiality and nature.

It is thus aligned with architects such as Marcos Cruz, EcoLogicStudio, Gramazio Kohler, Neri Oxman, François Roche, Jenny Sabin, Theodore Spyropoulos and Robert Stuart-Smith; artists such as Olafur Eliasson, Thomas Feuerstein (22), Bart Hess, Anish Kapoor (21), Amy Karle, Henrique Oliveira, Roxy Paine (20), Tomás Saraceno, Jolan van der Wiel, Iris van Herpen and Barry X Ball; and theorists such as Omar Calabrese, Mario Carpo, Timothy Morton, Antoine Picon and Slavoj Žižek.

In generic terms, the project is influenced by the twentieth-century concept of ‘open work’ by Umberto Eco. It embraces a ‘new way of seeing, feeling, understanding, and accepting a universe in which traditional relationships have been shattered and new possibilities of relationship are being laboriously sketched out’ (transdisciplinarity), the ‘organic fusion of multiple elements’ (postdigitality) and ‘controlled disorder’ (fragility) (Eco 1962).

19 (previous) 350/360 Cohesion/Cocoon, 2019.

A continuous object is subdivided into 47 radial vertical segments, partially reinforced by steel and carbon fibres. Several constraints were examined, including geometry, topology, weight, manufacturing processes, structural soundness and assembly.

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20 Roxy Paine, Scumak No. 2, 2000.

21 Anish Kapoor, Between Shit and Architecture, 2011.

22 Thomas Feuerstein, Psilisphere, 2015.

CONTEXT

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CONTEXT

From Collaboration to TransDisciplinarity

The project was fuelled by a late twentiethcentury ‘willingness of architects and architectural educators to look beyond their discipline’ (Harries 1997) and to accept architecture as a ‘weak discipline’ (Hill 1998) with undefined and irresolute boundaries of a ‘multi-disciplinary nature’ (Lewis 1998).

Architecture is thus capable of being synthetic across scales and domains: digital, analogue, virtual, actual, process-based and material-bound. This synthesis serves to redefine ‘the role of the artist’ (Alexenberg 2011) and the notion of authorship in a pervasive, networked and collaborative practice model.

23 Porous Cast, 2015.

An innovative bronze casting technique was employed using reusable clay moulds carved by robots.

24 Reishi mushrooms growing in glass and plastic tubes for Terrestrial Reef, RHS Chelsea Flower Show, London, 2019.

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25 Preparation for Quaquaversal Centrepiece at Paris Fashion Week, 2015.

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CONTEXT

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CONTEXT

From Hybridity to PostDigitality

The series attempts to provide an original and innovative proposition of what postdigitality might entail in the context of advanced design research and ‘different intensities of the computational’ (Berry and Dieter 2015). Originally coined as a means of thinking about the aesthetics of time beyond the digital revolution (Negroponte 1998), in music and the arts in particular, the postdigital is transdisciplinary in nature, mixing architecture with various other disciplines, ‘clothing, biology, engineering’ (Ayala 2015). It shifts attention to tactility, materiality and hybridity, sited ‘between the virtual, the actual, the biological, the cyborgian, the augmented and the mixed’ (Spiller 2009), even approaching ‘critical fusion’ (Benayoun 2008). Postdigitality has several implications for practice. It seeks to reinvigorate both the value and meaning of drawing (Jacob 2017) – here, digital drafting, modelling/simulating and robotic control – and of analogue making (Buck et al.

2012) – CNC fabrication, assembly and robotic manufacturing. Significantly, it seeks to bring about the hybridisation of the two through art, craft and industry (Sheil 2008).

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26 Illustration of Venice Taevatiib, Estonian Centre for Contemporary Art, Tallinn, 2017.

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From Openness to FrAgility

The research project is committed to investigating present and future modes of design operation in today’s fragile ecological context. It stems from a belief that architectural design requires new paradigms in order to turn open (adaptable) buildings into even more agile interfaces. From conception to inhabitation, fragile architectures are fully bound and integrated, and interact across diverse domains, such as analogue and digital fabrication processes, bodily comfort and material performance, and rural and urban settings.

27 Pahoehoe Beauty, Ars Electronica, Linz, 2018. The installation explores the value of design experimentation, the spatial experience of hybrid artefacts and the future toxicity of nature.

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CONTEXT

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Methodology 1. Successive fabrication of complex innovative prototypes

Seriality as methodology is a main characteristic of the author’s research practice and represents his conscious attempt to gain expertise by repetition and iteration, ‘in the domain of scientific observation that is absolutely objective, the “first time” doesn’t count. Observation, then, belongs in the domain of “several times”’ (Bachelard 1994). In this project, seriality meant a succession – parallel or sequential in time – of exercises, and with a large number of similar or contrasting techniques and project partners. Ongoing confrontation with several problems provided a contextually broad record of research significance with weight and impact for wider application in the industry (28–9).

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28 Clay Column, 2018.

Extrusion-thickness tests to evaluate and develop a clay extruder.

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METHODOLOGY

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29 3D-printed concrete.

Several repetitive tests were necessary to develop a printable mortar mix.

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2. Scaling-up of existing and new additive manufacturing techniques using bespoke industrial workflows and craft-related processes

once fully printed and solidified, as well as during the process of printing when the material was still wet and had little structural performance. Overall shape and local contouring were also considered.

Increasing the size of the manufacturing objects necessitated a switch from desktop-sized 3D printers to bespoke techniques involving robotic arms and special tools. Such scaling-up implies an exponential increase of difficulties, as detailed below.

4. Predictability: There is an inherent deformation in the clay prints due to material shrinkage (35). Experience and data, such as 3D scanning to measure the deviation of the digital with the actual piece, helped the team to create a predictable data set for future production.

1. Transport logistics: the design of the large prints such as Pahoehoe Beauty were planned so that all individual elements were printed directly onto EUR-pallets (1800 × 1200 × 145 mm) to simplify handling and transportation (33–4).

5. Equipment capabilities: Large-scale prints made with desktop extruders take a long time to make and deploy a lot of material, which has a repercussion on the reliability of the tools used. Failure is inevitable due to overheating and breakdown of parts.

Industry-standard extruders and end effectors thus needed to be improved, with a rigorous and methodological testing of alternatives (36).

2. Assembly and disassembly strategies: the elements comprising Coralloid Cocoons and Venice Taevatiib were designed to be light and small enough to be assembled by hand (36–8).

3. Material behaviour: 3D extrusions and depositions deploy a large amount of material, with a higher response to forces such as gravity and shrinking.

For the concrete and clay prototypes, all elements had to be designed in order to withstand their own weight

30 Bespoke analogue equipment developed for Porous Cast, 2015. Digital automated processes included metalworking furnaces, crucibles and moulds to cast bronze pieces.

31 Bespoke analogue equipment developed for Pahoehoe Beauty, 2018, and Terrestrial Reef, 2019.

Garden spray bottles and pressure pumps were used to spray stabilising agaragar onto 3D-printed soil.

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32 Terrestrial Reef, 2019.

Bespoke equipment included a rotary compost sifter to separate coarse and fine soil.

METHODOLOGY

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33 Pahoehoe Beauty, 2018. Several tonnes of soil were printed on EURpallets and were shipped to Ars Electronica in crates. The solid parts were concealed within unprocessed soil before being excavated onsite.

METHODOLOGY

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34 Coralloid Cocoons, 2016, was subdivided into small and light segments to be easily transported and assembled at the venue without a need for cranes or lifting aids.

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35 Clay Column, 2018.

Detail depicting unequal shrinking of the top and bottom of each segment.

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36 Bespoke end effectors were developed, designed and built several times to achieve high-quality extrusions.

METHODOLOGY

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37 350/360 Cohesion/ Cocoon, 2019. A segment, manufactured at incremental3D, with inclined print paths and variable extrusion thickness.

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3. Development of bespoke software

IO ports, it is also possible to connect other devices and custom tools to the head, which communicates with Taco.

The head reads and uses the calibration data from a connected controller to ensure that the programming and simulation matches the robot’s movements. This provides a precise digital representation of the physical environment and guarantees the digital-to-physical workflow. The ability to create custom tools as an end effector for the robot allows for a wide range of applications.

Large-scale robotic 3D printing with complex workflows and a wide range of materials, forms and tasks requires specific software, including programs, parametric tools, scripts and simulation parameters, to function properly. Tailored software adjustments and scripts were therefore required to run the robots in new situations and to control adapted end effectors with bespoke materials and processes.

1.

The plugin Taco for Rhinoceros (38) was developed by Shih-Yuan Wang, Yu-Ting Sheng and Florian Frank to program, simulate and control ABB industrial robots directly within Grasshopper and Rhinoceros. Through an active connection with the controller, the user can control the robots with a fast and low-risk workflow. Even without a robot controller, it is possible to use Taco together with ABB RobotStudio as an offline programming solution. The aim is to reduce the expert knowledge required for complex robot movements and to feedback the necessary information to the user in an easy and comprehensive way. It makes it possible to develop movements parametrically and to create a familiar interface for users. A variety of different ABB robot models are supported and others can be added per user request. Taco also provides non-movement related commands for the robot to create more advanced tasks. Through the use of

38 Taco for Rhinoceros, a plugin for Grasshopper to run the multimove ABB system at REX|LAB.

2. For Liquid Rock, a variable growth algorithm was developed for Grasshopper, with the use of Anemone, Boid Library and Kangaroo Physics 2.42 to encode material and process behaviour, capacities, affordances and constraints (39). This algorithm controls growth variation for print optimisation and stability, i.e. amount and degree of overhang to avoid local drips at each deposition layer, and ensure overall stability for the object during 3D printing and in its final morphology.

The agent-based approach proved to be computationally lighter, easier to write and optimise, more flexible to support variability and locality, and more intuitive than the common physics-based pipeline to simulate growth. Parallel comparative tests for differential growth were conducted in Houdini. In addition, the script allowed the team to move from continuous layer height to a discrete variation in feed rate due to the forgiving nature of the mortar.

39 A software script was developed for Liquid Rock

by Eftihis Efthimiou, which minimises fabrication time and evaluates each element for stability during and after printing.

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3. Layercake is a script for Grasshopper developed for Guardians of Time by Damjan Minovksi. It renders concrete-additive 3D-printing extrusions while considering material viscosity (40).

4. A multi-step, iterative script was developed to generate the design of Pahoehoe Beauty and Terrestrial Reef (41–2). This process followed three actions: first, the creation of a multi-agent system expressing a behaviour based on natural systems, i.e. rooting of plants. Specifically, the agents represent a 3D description of a fractal tree index, a peculiar data structure that generates branching entropy with a tendency to merge in one specific direction. Second, isosurfacing operations commonly used in computer modelling were used to generate rough volumetric data from 2D information (lines or points).

Third, details were added to accentuate specific sleeping features, such as venations and openings in the mesh, originating from the first volumetric data.

5. A music/scanning script was developed for Pahoehoe Beauty. Two robot arms were equipped with webcams to record sound and create a unique composition (42). The robots traced the 3D prints along a predefined path, scanning the surface and gathering information about its structure.

These live images were processed individually and as a pair, and were ingested into an algorithm. This converted the grayscale value of each pixel, and their position in relation to each other, to control various parameters of digital synthesizers, including pitch, length and volume to generate tones. The two digital images were then compared and fed back into each other.

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METHODOLOGY

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41 Scripts developed to design the 3D-printed soil mounds for Terrestrial Reef, 2019.

40 Guardians of Time, 2017. Render showing the impact of 3D-printing texturisation. Scaling-up of 3D printing is not a linear direct process but instead requires an equal amount of rigour and invention.

42 Pahoehoe Beauty, 2018. A bespoke end effector with camera that scans the landscape and provides input to the music/scanning script by Jonathan Hanny.

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4. Development of bespoke hardware, processes and equipment

4. Industrial handheld extruders and concrete mixing pumps and mixers were adapted, tested and evaluated for 3D-printing processes for Coralloid Cocoons, Liquid Rock and 350/360 Cohesion/Cocoon, resulting in the Baumit BauMinator® (47).

In parallel to software, end effectors and other tools had to be designed, built and tested, from the most basic, such as the metal scoop used for carving clay for Pahoehoe Beauty to more sophisticated elements such as material-specific extruders.

5. Industrial hand-held extruders were adapted, tested and evaluated for clay 3D-printing processes (48).

1. For Porous Cast, a simple bent metal tool was used to scoop out the forms from a clay bed for the Stewalin cast, which could be used again (43).

6. End effectors that deposit agar-agar and/or Sporosarcina pasteurii bacteria and tools for compacting soil were developed for Pahoehoe Beauty (45) and Terrestrial Reef. In parallel, bespoke end effectors were built for the scanning of the soil (as input for the sound installation) and covering ‘socks’ were tailored to protect the robotic arms from dust, sand and liquid.

2. Plastic printing heads for 1 mm extrusions were developed over three generations for Quaquaversal Centrepiece and Crystal Net 3.

Based on desktop printing hardware, they work in mid-air and have a springy nozzle that can print on irregular surfaces (44).

3. The industrial hand-held Dohle-Herz Robot DX125 extruder was adapted, tested and evaluated for Plastic Column’s 3D-printing processes, to reach an extrusion velocity of 0.8 kg/h dependent on the performance of the extender. In parallel, a bespoke heated glass printing base (1050 × 1600 mm) with 12 self-adhesive silicon heating mats (200 × 400 mm, 230 V, 533 W) was developed, to reduce bending and distortion in the plastic as it cools down (46).

43 Porous Cast, 2015.

Robotic carving of reusable casting moulds.

44 Quaquaversal Centrepiece, 2015. Bespoke 3D extruders ‘stitching’ plastic onto laser-cut fabric.

45 Pahoehoe Beauty, 2018.

Bespoke ‘compacter’ and ‘squirter’ end effectors.

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METHODOLOGY

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44

45

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46 Plastic Column, 2018.

The 3D-printing set-up required specific tool and material solutions, such as a heated bed so that the model does not detach from the base and distort.

47 The Baumit BauMinator® system.

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5. Development of bespoke 3D-printable materials

Various materials were researched and tested in the scaling-up of 3D printing for additive extrusion processes. In order to experiment with alternative rapidprototyping methods, several materials that undergo a phase-change process – melting from hard to soft to hard (plastics) or from powder to liquid to hard (mortar, clay) – were tested, including hot-melt adhesive, plaster, plastic, concrete, mortar, Stewalin, gel, clay compound, sand, soil, agar-agar, mycelium and Sporosarcina pasteurii bacteria. The larger and heavier the prototypes were, the more apparent the ecological aspect of the chosen material became. Clay was introduced and, in the later stages of the research, the biodegradable 3D-printed soil process was developed.

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48 Several generations of 3D extruders were tested for Clay Column, 2018.

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METHODOLOGY

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49 Gel inlays were used to create a porous bronze cast for Porous Cast, 2015.

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50 Porous Cast exhibited at the Tallinn Architecture Biennale, 2015.

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51 Porous Cast, Tallinn Architecture Biennale, 2015. Prosity was achieved in both the bronze and Stewalin casts.

52 (overleaf) Crystal Net, 2015–8. Filigrane and elastic extruded-plastic structures were fabricated and covered with crystals.

The lines were extruded in such a way as to resemble hand-drawn sketches.

53 (overleaf) Crystal Net, 2015–8. Patterns, printing techniques and materials were developed to embed crystals into a flexible and customisable fabric.

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Dissemination

Keynotes

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Colletti co-edited and contributed related chapters to the book Meeting Nature Halfway, Architecture Interfaced between Technology and Environment (2018); He has contributed related chapters to seven other books, including ERA21 (2019), From Latin America to the Hollywood Blockbuster (2016) and Fabricate: Negotiating Design and Making (2014); Colletti has contributed three journal articles about this research to Architectural Design (all 2016); Alongside coverage on various international television programmes (Estonia, Austria, UK), the prototypes were critically and favourably reviewed in multiple print and online publications internationally, including The Observer (2019), Dolomiten (2019) and The New York Times (2016); Coralloid Cocoons was exhibited as part of the S+T+ARTS European initiative to foster alliances between technology and artistic practice; Liquid Rock was installed in Wachtberg Sculpture Park; Gardening Will Save The World by IKEA and Tom Dixon, which featured Terrestrial Reef, was awarded a silver medal at the RHS Chelsea Flower Show 2019; 350/360 Cohesion/Cocoon was installed at the University of Innsbruck for their 350th anniversary; Venice Taevatiib was designed as part of the shortlisted proposal for the Estonian pavilion at the 57th International Art Exhibition, La Biennale di Venezia (2017).

· ·

University of Westminster, London (2017) 15th International Architecture Exhibition, La Biennale di Venezia (2016) Pavilon 1: Adaptive Strategies, Prague and Brno (2016) Klimahouse 2016, Bolzano (2016)

Conference Presentations

· · · · · · · · ·

Ars Electronica, Linz (2018) Venice Biennale (2018) A Sense of Crisis, IKA Vienna (2017) Research-Based Education, UCL (2016) Gestalt vs Design, Architecture Centre Tyrol, Innsbruck (2015) Venice Biennale (2014) EXPO-2017 Astana, Berlin (2014) Ecologies/Exuberance/Elegance, University of Innsbruck (2014) What Does It Mean To Make An Experiment?, The Royal Danish Academy of Fine Arts, School of Architecture, Copenhagen (2014)

Selected Lectures

· · · · · · · · · ·

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University of Nicosia (2019) The Bartlett School of Architecture, UCL (2019) Hangzhou (2019) Nanjing (2019) University of California, San Diego (2016) The Bartlett, UCL (2016) University of Trento (2015) Aristotle University of Thessaloniki (2015) The Architectural Association, London (2015) Academy of Arts Tallinn (2015)

DISSEMINATION / PROJECT HIGHLIGHTS

Project Highlights This research has brought together different skill sets from various branches of industry (building, fashion, software, hardware), other disciplines (microbiology, gardening and material sciences) and crafts (metal casting and pottery) in order to achieve untested transdisciplinary synergies. The projects attracted over £210,000 in external sponsorships and grants from international public institutions and industry partners.

The projects have been recognised individually: Pahoehoe Beauty is one of the largest and heaviest biodegradable 3D prints made to date. Terrestrial Reef, meanwhile, was installed as part of a silver medalwinning Chelsea Flower Show pavilion.

The Baumit BauMinator® is now available as a market-ready product for industry application, creating complex shapes ranging from 50 cm to 5 m. The research also generated the formation of a spin-off company in Austria, incremental3D, who specialise in 3D printing with concrete.

Software packages developed for the series have since become industrially available due to their potential for wider application. Taco for Rhinoceros, which was improved with the production of each prototype, is now utilised by international institutions and has had approximately 3,000 downloads at the time of writing.

Specific hardware was also developed, to adapt existing industry solutions to the specificities of 3D extrusion by robotic arms, e.g. handheld extrusion welders (series ExOn) with Herz.

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54 Liquid Rock exhibited at Galerie Göttlicher in Krems-Stein, 2018.

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55 Liquid Rock permanently installed at Wachtberg Sculpture Park, 2018.

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Bibliography

Jacob, S. (2017). ‘Architecture Enters the Age of Post-Digital Drawing’. Metropolis Magazine. 21 March.

[Viewed 7 October 2020]. www.metropolismag.com/architecture/ architecture-enters-age-post-digitaldrawing/ Lewis, R. K. (1998). Architect? A Candid Guide to the Profession. Cambridge, Mass.: MIT Press.

Negroponte, N. (1998). ‘Beyond Digital’. Wired.

1 December. [Viewed 7 October 2020]. www.wired.com/1998/12/negroponte-55/ Sheil, B. (2008). Protoarchitecture, Analogue and Digital Hybrids (Architectural Design).

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Alexenberg, M. (2011). The Future of Art in a Postdigital Age: From Hellenistic to Hebraic Consciousness. Bristol: Intellect Books.

Ayala, J. (2015). ‘Cabinets of Postdigital’. ayastudio. 19 November.

[Viewed 7 October 2020]. https://cargocollective.com/ayastudio/ following/ayastudio/cabinets-ofpostdigital Bachelard, G. (1994). The Poetics of Space.

Boston: Beacon Press.

BBC Horizon: The Knowledge Explosion (1964).

Produced by BBC London.

Benayoun, M. (2008). ‘Art after Technology’.

Technology Review. 7. Cambridge, Mass.: MIT Press.

Berry, D. and Dieter, M., eds (2015). Postdigital Aesthetics: Art, Computation and Design.

Basingstoke: Palgrave Macmillan.

Cascone, K. (2000). ‘The Aesthetics of Failure: “Post-Digital” Tendencies in Contemporary Computer Music’.

Computer Music Journal. 24 (4). Cambridge, Mass.: MIT Press.

Colletti, M. (2013). Digital Poetics: An Open Theory of Design-Research in Architecture.

Abingdon: Routledge.

Colletti, M. and Massin, P., eds (2018). Meeting Nature Halfway: Architecture Interfaced between Technology and Environment.

Innsbruck University Press.

Eco, U. (1962). The Open Work. Cambridge, Mass.: Harvard University Press.

Harries, K. (1997). The Ethical Function of Architecture. Cambridge, Mass.: MIT Press.

Hill, J., ed. (1998). Occupying Architecture: Between the Architect and the User.

Abingdon: Routledge.

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BIBLIOGRAPHY / RELATED PUBLICATIONS

Related Publications by the Researchers Colletti, M. (2014). ‘Openness and (Fr)agility’. Tellios, A. ed.

Agile Design: Advanced Architectural Cultures. Thessaloniki: CND Publications. pp. 123–31.

Colletti, M. (2016). ‘Artist’s Essay: Post-Digital Neo-Baroque: Reinterpreting Baroque Reality and Beauty in Contemporary Architectural Design’. Moser, W., Ndalianis, A., Krieger, P. eds.

Neo-Baroques, From Latin America to the Hollywood Blockbuster.

Leiden: Brill Rodopi. pp. 307–20.

Colletti, M. (2016). ‘Post-Digital Transdisciplinary’. Digital Property: Open Source Architecture (Architectural Design). 86 (5). pp. 74–81.

Colletti, M. (2016). ‘The Awesome and Capricious Language of Past, Present and Future Digital Moods’. Evoking Through Design (Architectural Design). 86 (6). pp. 118–25.

Colletti, M. (2016). ‘The Sustainability of Aesthetics’. Di Carlo, I. ed.

The Aesthetics of Sustainability: Systemic Thinking and SelfOrganization in the Evolution of Cities. Trento: ListLab. pp. 14–8.

Colletti, M. (2018). ‘Research-led Education: Bottom-up, Experimental, Poetic Pedagogics’. Colletti, M. and Massin, P. eds. Meeting Nature Halfway: Architecture Interfaced between Technology and Environment. Innsbruck University Press. pp. 14–25.

Colletti, M. (2018). ‘Architecture Interfaced between Technology and Environment’. Colletti, M. and Massin, P. eds. Meeting Nature Halfway: Architecture Interfaced between Technology and Environment. Innsbruck University Press. pp. 28–41.

Colletti, M. (2018). ‘Errata – Intrafaced, Nature’. Colletti, M. and Massin, P. eds. Meeting Nature Halfway: Architecture Interfaced between Technology and Environment. Innsbruck University Press. pp. 304–19.

Colletti, M. (2019). ‘Ambiguous, Bipolar Beauty: And Similarly Agile and Fragile Post-Digital Practices’. Beauty Matters: Human Judgement and the Pursuit of New Beauties in Post-Digital Architecture (Architectural Design). 261. pp. 90–7.

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Colletti, M. (2019). ‘PostdigitálnÍ Kukla’. ERA21. 4. pp. 50–1.

Colletti, M., Tamre, K., Grasser, G., Weiler, A. (2014). ‘(Fr)agile Materiality: Approximating Uncertain Fabrication Processes’.

Gramazio, F., Kohler, M., Langenberg, S. eds. Fabricate: Negotiating Design & Making. Zurich: gta Verlag. pp. 216–23.

Related Writings by Others Bateman, K. (2015). ‘Iris van Herpen: Architect of Fashion’.

Harper’s Bazaar. 6 November.

Dexigner (2019). ‘IKEA and Tom Dixon to Unveil “Gardening will Save the World” at Chelsea Flower Show’. Dexigner. 8 May. Dolomiten (2019). ‘Grenzubersschreitende Architektur’.

Dolomiten. 30 October. p. 10.

Drees, U. (2016). ‘Ars Electronica_Postcity: Fragile 3-Coralloid Cocoons Von M. Colletti, J. Ladnig’. Plusinsight. 11 September.

Good Homes Magazine (2019). ‘Chelsea Flower Show Groundbreaking Garden by IKEA and Tom Dixon is a State of the Art Masterpiece in Sustainability, Winning a Silver Medal at 2019’s Show’. Good Homes Magazine.

Hadler, S. (2018). ‘Ars Electronica. Die DNA des digitalen Menschen’. ORF News. 7 September.

Hadler, S. (2016). ‘Die Alchemisten des Informationszeitalters’.

ORF News. 10 September.

Ihle, M. (2019). ‘“Liquid Rock” am Wachtberg’. Digital Landscapes.

Jahn, B. (2020). ‘Betont Schön’. Architect@Work Germany.

11 February.

Marelli, C. (2019). ‘The Chelsea Flower Show 2019 between Hi-Tech Hydroponics and Rainforests’. Elle Décor. 22 May.

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RELATED PUBLICATIONS

McCarty, S. (2019). ‘Grow Your Own Food: Concept for Ikea by Tom Dixon could Popularise Urban Farming’. South China Morning Post. 26 May. Picon, A. (2019). ‘Discourse’. Ponce de Leon, M., ed. Authorship.

New Jersey: Princeton. pp. 35–7. [Extract] Sher, D. (2015). ‘Van Herpen Fabricates Dress onto Games of Thrones Actress at Paris Fashion Week’. 3D Printing Industry.

14 October.

Stocker, G., Schopf, C., Leopoldseder, H. eds (2016). ‘Artist Lab: Marjan Colletti’. Ars Electronica 2016. Berlin: Hatje Cantz. pp. 76–7.

Stocker, G., Schopf, C., Leopoldseder, H. eds (2018). ‘FrAgile 6 – Pahoehoe Beauty’. Ars Electronica 2018. Berlin: Hatje Cantz. p. 90.

Tapper, J. (2019). ‘Robot Gardeners and 3D-Printed Soil: Tech Blooms at Chelsea’. 19 May. The Observer. pp. 24–5.

The Business Times (2019). ‘Gardens of the Future Spring up at Chelsea Flower Show’. The Business Times. 21 May. Tiroler Tageszeitung (2018). ‘Objekte, die von der Architektur von Morgen Erzählen’. Tiroler Tageszeitung. 15 February.

Printed article

Online article (clickable link)

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Image Credits

Bartlett Design Research Folios

All images © Marjan Colletti, unless otherwise stated.

ISSN 2753-9822

1 Drone

footage: Peter Massin; Photogrammetry: Marc Ihle 2 Drone footage and photo: Mark Ihle 4, 6, 27, 54–5 Photo: Nikolaus Korab 7 Photo: Paul Smoothy 9, 37, 46 Photo: Georg Grasser 11a photocritical / Shutterstock 11c Photo: Eduard Artner 11d Photo: pikepicture / Adobe 14 Photo: Rupert Asanger 17 Photo: Hannah Maria Köll 20 Image courtesy of the artist and Kasmin Gallery. Photo from James Cohan Gallery, 2000 21 © Anish Kapoor. All Rights Reserved, DACS 2022.

22 © Thomas Feuerstein / DACS 2022 23, 30, 43, 49 Photo: Pedja Gavrilovic 26 Rendering: Javier Ruiz 28, 48 Photo: Philipp Schwaderer 31–3, 49, 45 Photo: maeid 34 Photo: David Stieler 39 Drawing: Eftihis Efthimiou 40 Rendering: Damjan Minovski 41 Rendering: Tiziano Derme

© 2022 The Bartlett School of Architecture. All rights reserved.

Text © the authors Founder of the series and lead editor: Yeoryia Manolopoulou Edited by Yeoryia Manolopoulou, Barbara Penner, Phoebe Adler Picture researcher: Sarah Bell Additional project management: Srijana Gurung Graphic design: Objectif Layout and typesetting: Siâron Hughes Every effort has been made to trace the copyright holders of the material reproduced in this publication. If there have been any omissions, we will be pleased to make appropriate acknowledgement in revised editions.

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