Fabric Forms

Team Members: Joseph Sarafian & Ron Culver
Instructor: Julia Koerner
UCLA Architecture and Urban Design
Website: Form Found Design

Why should casting concrete be a static process? Variation in design has necessitated a variable formwork, capable of adapting to new forms and new methods of construction. This independent study at UCLA AUD combined the flexibility of fabric with the precision of 6-axis robot arms to stretch fabric for concrete casting.

Traditional casting methods promote repetition of forms. Any variation in the design requires a new form to be built (usually out of plywood), not to mention the difficulty of casting compound shapes without breakage when the mold is removed. Robotically-positioned fabric formwork will make these barriers a thing of the past.

Joseph Sarafian, Assoc. AIA and Ron Culver, AIA took what they gained in a technology seminar with Julia Koerner and expanded it into a process for realizing variation in parametric geometry. Sewn Lycra sleeves are attached to 6-Axis Kuka robots and stretched into position. Concrete with a fiber admixture is then poured into the sleeves and hardens. The fabric is stripped away with minimal waste, the robots re-position themselves and a new piece is cast.

Connecting the pieces is achieved through bolting with a 3D printed node. And since the entire composition is designed in 3D, each unique connection angle can be coordinated for a seamless connection in the physical world. Gravitational and stretching simulations were also conducted using Grasshopper3D and Kangaroo. This project is currently being scaled up to achieve building-scale elements including facades and primary structure. Ron Culver and Joseph Sarafian began this project as an independent study while at UCLA Suprastudio with lecturer Julia Koerner. Early experiments were aided by Peter Vikar, Shobitha Jacob, Oscar Li, and Qi Zhang.

Parametric design has created a need for variable formwork to achieve new forms. Ron Culver and Joseph Sarafian saw that as a design opportunity to combine the precision of 6-axis robots with the flexibility of fabric, creating a novel method for casting concrete. Two robots position pre-sewn Lycra sleeves into which concrete is poured. The robot arms can position the fabric into any shape within their reach, creating a truly variable formwork. When the concrete has cured, the fabric is stripped away and the robots re-position themselves based on a coordinates sent from 3D software. Each piece is unique and fits together with a bolted 3D printed connector piece.

Design Manifestos: Israel Olmos of BBGM

Israel Olmos, AIA, LEED AP BD+C is an Associate and Senior Designer with BBGM in Washington, D.C. He carries a wide skill-set in design and extensive knowledge in the planning and development of projects. His vast rendering expertise also enhances the translation of the design for a project, allowing clients to maintain and enhance their vision throughout the design process. Modelo spent some time learning about Israel’s journey through the profession and about what continues to inspire him today.

On becoming an architect
The truth is that I became an architect by accident. I started a business right after finishing high school, which I ran with my brother for ten years. Life circumstances took me back to school, and when it was time to pick a major, I chose architecture because I had some regular clients in my used car dealership that were architects. They would receive cars as payments and then would sell them to me for an excellent price. So I saw Architecture as a way to expand my business, little did I know that I would fall in love with design and architecture. I have not looked back since.

On discovering his voice as a designer
I believe any architectural designer could never forget the first presentation they give directly to a client. Seeing a group of people paying close attention to what are you saying, understanding, and appreciating the work that you and your team put so much effort into is extremely memorable. At that moment I realized the kind of responsibility we as designers have to create meaningful projects that, in one way or another would change people’s lives. Since design is so subjective, it’s hard to pick somebody specific that influenced me as a designer. I am convinced that I have learned something from every single person I worked with in multiple projects. This includes, of course, junior staff that remind you of those big dreams that you had when you first finished school.

On joining BBGM 
In 2005, right after I finished my Bachelor’s degree, a good friend of mine who worked for BBGM called me and told me that the firm was hiring. I was coming from a small firm out in Greenbelt, Maryland, so BBGM seemed like a good step up for my young career. I had the opportunity to work on the design team ever since I started at BBGM. This enabled me to be in the first row when concepts were conceived. I supported the different designers at the firm at that time, and this gave me many new tools and approaches to design until I found my path.

A turning point in my search for my own formula for design was one day after I presented a project to a client. One of the partners pulled me into his office and told me that my presentations were “too architectural.” By this he meant that I was presenting using too much architectural lingo like rhythm, datum, transparency, etc. Some clients could not care less about the architectural jargon. The clients needed something more meaningful that would make them feel related to the design. Then I realized that I did not have to change my presentations only, but actually I had to change my approach to design radically. Although aesthetics are always going to be a crucial goal for a designer, the first step that changed was looking for a story, a phrase, a word, a soul for the project even before I start thinking about any kind massing or architectural solution. This approach indeed delivers unique projects.

On specific principles he strives to adhere to
Every project has to start with a meaningful story, a phrase, a word, that will became the core and spine for the project and lead the design decisions through the rest of the project’s life in the firm.

On his role at BBGM
I have had the fortune to be involved and lead the design efforts for most of the Base building projects at BBGM.

On recent projects that represent the firm’s unique approach

The Arts Hotel (411 NY AV)

• An important part of this project is that the site has an existing building that we needed to keep. When this building was built, it served as grain storage for an Italian family.
• The concept is based on the grain life-cycle. The existing building represents the grain, and the addition represents the growth. The copper boxes and material picked from the existing building’s fenestration, represent the grain about to fall to the ground to start the cycle all over again.
• The existing building serves as studio for local artists.
• The new hotel will offer permanent spaces and programs to continue with the art creation.

White Flint Residences

• Since the building is located in a crucial corner of the area, it needed to be an iconic building for the new master development.
• The concept idea was based on the dynamic of this area, which keeps up with the big cultural changes with big moves.
• In the 1950s, the city transformed into a super block car-oriented area. In the 1970s, one of the largest malls was built here. And presently it is going through a huge re-planning to fit the building and cultural trends of life, work and play.
• The angles, bends and relationship among its elements try to represent the dynamic and the resilience of the area.

Water Street Residences

• This project is located in the iconic neighborhood of Georgetown in Washington D.C., where historic architecture dominates the scene.
• An existing building would need to be retained.
• Aquatic sports are a big part of the area and we wanted to celebrate that in this building. The new addition houses three “Sails,” made out of the traditional material of the area, brick steel, and glass.

Charlottesville Hotel

• This hotel is located in Charlottesville, Virginia which is the town that houses University of Virginia, one of Thomas Jefferson’s masterpieces.
• New and old buildings in Charlottesville feature traditional architecture. But its inhabitants, mainly students, are energetic, full of life and looking to the future. This relationship of elements creates a unique scenario that is the base of the conceptual idea for this project.
• We decided to design a hotel that would better represent its residents but recognizing the importance of its architecture. We achieved this by using contemporary materials and dynamic architectural gestures, but paying close attention to colors, textures, and proportions of its context.

On his design toolkit
After conceiving the Conceptual Idea, the next step always involves trace paper and pen. After conceiving a preliminary massing idea, I move to Revit to fit the program within the zoning regulations to obtain a massing model. From there it’s a back and forth between trace paper and modeling in Revit. If necessary, once the Revit model is detailed enough, and goes through multiple meetings with the partners, I move to 3ds Max to make the renderings a bit more realistic and give the renderings a little bit more soul.

On the state of software today
We have many tools for design these days, and software keeps getting better and easier to use. 3D printing is a tool that I believe has a tremendous potential to be an essential tool for designing. Now it is not practical and affordable, but 10 years ago people said the same about 3d modeling/renderings.

On the future of architecture in the next 5–10 years 
The industry as a whole needs more appreciation for design. We are lucky to have clients that get excited about design and let you do your thing, or even ask you for more, while others not so much. It is hard to deliver good design when not all the main players believe in design as a good business model.

Our cities and buildings are going to be more innovative overall when everybody involved in the design-development business sees design as a great business model, and takes on the responsibility that entails transforming spaces where people live, work and play.

In the coming years, we might be witnesses of another shift in the industry. The Work, Live, and Play, or Mixed-use concept was the latest remarkable shift. Now with new ideas like “We work” or “We Live,” there is more sharing of spaces. We might start seeing completely different uses not only in the same building, but even on the same floor. Design-wise it might take longer, but with all the new tools, like 3d software, 3d printing, etc., buildings might become more organic, free-form looking, and respond better to the natural environment.

On the future of BBGM in the next 5–10 years
Although BBGM has expertise in most of the building types, such as residential or offices, the firm is well-known and recognized in the hospitality industry. I am sure that as soon as we have the next shift in the architectural and hospitality industry, BBGM will be one of the first firms to get involved in it. I do not know exactly what the shift will be but it’s going to be getting more creative in the use of public spaces in a building. Creativity is something that we appreciate very much at BBGM.

On advice he would give his younger self
Although I owe my early involvement with the design team to my skills in graphics and 3d software, I think I would advise myself to spend way more time using ink and trace paper. Balance more the aesthetics and the soul of a project.

Archelectic: Manifold Pavilion | Modelo Blog Series

The Minafold Pavilion is an exploration in material performance. Rather than treating sustainability as a checklist of material choices, this canopy poses the question, “Can the properties of a single material be maximized to achieve minimal waste and compose a visual performance?” The pavilion encompassed a 10x10x8’ volume, while only weighing 100 lbs. The Minafold Pavilion was asked to accomplish much with very little.

This structure removes traditional columns and beams and uses the curvature of a minimal surface, designed using the physics simulation software, Kangaroo3D for Grasshopper3D. The Minafold Pavilion uses 177 square feet of recycled sheet material (18 Gauge Aluminum) and turns it into a self-supporting structural element through bending (at the macro scale) and folding at the micro scale. The surface is then triangulated and perforated with a variable size aperture. The perforations transform from small holes at the base, where stiffness is required, into a lattice at the top where flexibility is needed. Each of the 192 unique panels is laser cut with holes and labels built into the algorithm.

A brake form is used to fold the connection tabs where a rivet is driven through to join them. All aspects of the design were parametrically controlled from the location of rivet holes to the laser-etched connection labels. The construction process was streamlined by a “paint by number” catalogue system that made it easy for someone to build without prior experience, or even an understanding of the final design intent. A 3D file and 2D drawing of each component was provided on site to create a set of easily-understood instructions. The Minafold Pavilion invented a construction process that re-thinks traditional notions of lightness, sustainability, and structure. The Pavilion made its debut at the 2016 Greenbuild Expo in Los Angeles on October 6th, 2016 and was warmly received by attendees, gaining its own following with the hashtag #Minafold.

Architecture: Perkins + Will
Project Designer: Joseph Sarafian
Coordination/Planning: Sandra Cervantes, Yuriva Bueno
Sustainability Coordination: Eric Brossy de Dios, Lorraine Polanski
Fabrication: Ampersand Contract Signing Group
Videography: Nathan Ingalls
Photography: Carlos De La Rosa Jr.

Build Team:
Hrant Varozian, Eric Brossy de Dios, Davon Johnson, Oliver Aus Der Muhlen, Anish Reddy, Justin Brechtel, Tim Pettigrew, Andrew Tsay Jacobs, Sandy Ghaly, Jorge Mutis, Aram Hernandez, Kylie Gaines, Mohsen Ghanbari, Eric Aukee, Doug Mayer, Devika Tandon, Jessica Radparvar, Abby White, Tina Giorgadz, Joseph Sarafian

Design Manifestos: Sarah Hempstead of Schmidt Associates

Sarah Hempstead is an expert at combining inspiration and perspiration alongside owners to deliver signature solutions with a purpose. As the CEO of Schmidt Associates in Indianapolis, Indiana and the Principal-in-Charge of the Higher Education Studio, she brings her master-led approach to each project and to the many happy owners of those projects.

Sarah understands that building trust comes before building consensus, and that there isn’t a building without both. That’s why she leads her team to collaborate within a framework that’s proven to produce results on time and on budget. That’s why owners and stakeholders love working with her and following her direction. Modelo spent some time learning about how Sarah got started at Schmidt Associates and about her current role.

On becoming an architect
I had taken every math class offered at my High School. One of my favorite math teachers suggested I try one of his other classes, Design & Drafting. I loved it, and he recommended I become an engineer. I researched it and decided I wanted be an architect. He said I should be an engineer because they have better hours and make more money. I started touring architectural and engineering schools, applying, and receiving my acceptance letters. It looked like architects were having more fun, and the rest is history.

On discovering her voice as a designer
I’m not a disciple of one type of style per say, what influences me is thoughtfulness — what does someone need a building to do and how the piece fits into a larger puzzle. How does it need to work for them to succeed? Every project can have a sense of wonder and delight, every project can enhance mission and build community — with a thoughtful sustainable approach to design.

On joining Schmidt Associates
I accidentally ended up at Schmidt Associates. My fiancé, now husband, was working here and said, “you should meet Wayne (our Founder), you would really like him.” We met, I really liked him, and thought I could learn from him. So I came here and 15 years later I am now CEO.

Since joining the firm, I’ve had the opportunity to push design further, while still maintaining a sense of Midwestern sensibility. We can push the box from both the architectural and engineering sides, while meeting the needs of the clients. Culturally, the understanding the public has of design has shifted, which is a great opportunity to go even further.

On specific principles she strives to adhere to
Projects need to be mission driven and form must follow function. It’s been said so many times, it is almost boring, but it is still true.

Schmidt Associates functions out of the premise that our designs aren’t our building. They are our clients building. Acting through Servant Leadership, we lead our clients through a process to meet their needs. This includes thinking holistically about the life cycle of the structure from the architecture to the engineering and the buildings sustainability. The building can’t just meet their needs today, but needs to look into the future.

On her role as CEO of the firm
As we move into our next chapter as a firm, our core DNA remains exactly the same. We remain laser focused on excellence and service to our clients, our community, and to each other. That said, we are faced with a period of enormous opportunity to build on a strong foundation of unparalleled expertise and service. We are going to capitalize on this opportunity by:

• Fostering new design and ideas through a renewed commitment to excellence
• Expanding the firm’s service offerings
• Growing our client base
• Growing our geographic reach
• Growing our people through a renewed commitment to training, culture, and expanding opportunities for merit based career growth.

On projects that represent the firm’s unique approach
Yes, for us the drivers of design are context, mission, and stewardship. We start each project by asking the client what their mission, vision, and goals are for the project. We push the envelope. We work to make the process collaborative with a result that delights and serves the mission. Some recent projects that represent this include the following:

Illinois Fall Creek Center (Old St. Vincent hospital)
The Illinois Fall Creek Center (Old St. Vincent Hospital) consisted of an incredibly complex restoration, renovation, and addition. Originally built in 1911, the building had long been abandoned when it was given to Ivy Tech Community College by the City of Indianapolis. Working with the college and the community, Schmidt Associates developed a plan to restore the historic southern facade and central stair to renovate 50,000 s.f. of the existing building, demolish the central and northern building bays, and create a new modern 180,000 s.f. addition — contrasting the historic façade.

The award winning result serves as the campus center including classrooms, labs, a cafeteria and kitchen, as well as student commons and community meeting rooms. A new elevated pedestrian bridge connects to an additional historic structure — the AUL building — Ivy Tech’s first academic building on the Fall Creek campus.

“Schmidt Associates developed a creative design solution that preserved more of the Fall Creek building and saved us more than $2,000,000 in costs. The result has been lauded by members of the college community, as well as many outside constituents.” — Richard Tully, Assistant V.P. for Facilities Planning

Marian University, Evans Center for Health Sciences
When Marian University decided to start the first Catholic College of Osteopathic Medicine (COM) in the country, they called on Schmidt Associates to lead the design process. Balancing the needs of the School of Nursing (the facility’s other key occupant and one of the most respected programs currently on campus) and the needs of the new COM was an exercise not only of building programming, but of academic programming. Ultimately, the facility was designed around a shared culture of respect and shared experiences for nurses and doctors learning together. The $49,000,000 new facility is home base for 600 medical students, and includes labs for anatomy, osteopathic manipulation, practice clinical labs, simulation labs, lecture halls, classrooms, and offices. The project achieved a LEED Gold designation. The overall design — strategically situated on the very edge of campus — enhances the architecture of Marian University and its visual presence to the City of Indianapolis.

Hoosier Energy Headquarters
Hoosier Energy Rural Electric Cooperative, Inc. identified the need for a new headquarters building, through a year-long strategic master plan effort that would pay particular attention to energy usage and consumption. Schmidt Associates produced a plan accommodating Hoosier Energy’s unique business model and designed a simplified prairie-style structure located in a heavily wooded site. The prairie elements include long horizontal roof lines, the use of brick masonry as a means of exterior structural expression, and windows in darker colors which visually recede, giving the roof a floating effect. With LED lighting, geothermal heating and cooling, and natural light illumination in work spaces, the building will consume nearly 45 percent less energy than a comparable building of this application and size. The resulting building is LEED Gold Certified, delivering on Hoosier Energy’s goals for a headquarters designed around energy use and consumption.

Regenstrief Institute
The Regenstrief Institute provides research, development, and education to further health care deliver in their new 80,000s.f. facility anchoring the recently improved IUPUI healthcare campus entrance. The Institute had several goals when design began.

• Demonstrate the company’s mission — “to make a difference in healthcare.”
• Create a facility Sam Regenstrief would have been proud of — a facility to define his legacy in healthcare and the city.
• Encouraged cross discipline collaboration and partnership within the institute and with key external partners.

To fulfill the goals, the facility integrates branding and information sharing — with robust static and digital storytelling throughout the building. Department specific layouts met the unique needs of each group, with institute wide collaboration spaces conveniently located next to the main entry. Small group focus areas and collaborative environments on every floor allow for creativity and ultimate workplace flexibility. All 250 researchers benefit from the location — between key partners in a campus environment — allowing easy access to external partners and enhancing the institutes ability to advance medical research.

The 4-story brick and metal panel structure complements both the historic brick campus and the new modern Eskinazi Hospital.

Sustainable features include:

• construction on a brownfield site
• walking accessibility to amenities and public transportation
• white/green roof
• low water use fixtures
• high efficiency mechanical system
• storage and recycling areas
• natural daylighting to over 75% of the building.

On her design toolkit
Schmidt Associates has so fully integrated Building Information Modeling (BIM) into our design process that we have altered our physical office layout to maximize the software’s capability by creating project design labs. These labs accommodate our inclusive process of bringing each of the building systems through design and development simultaneously (rather than allowing architecture to finish, then engineering, etc., in a lineal fashion). Each lab has multiple large, flat screen monitors between work stations, allowing visual access to the physical impact of each building component as it develops. The process is an ongoing and immediate development of design concepts. It allows for easy visualization of the reality of building support systems and resolution of issues.

Using BIM, we are able to maximize our ability to communicate project information internally between disciplines, as well as with Owners. The Building Information Models become the origin of early energy models, design visualizations, mechanical load analysis, cost analysis, and a central point of coordination throughout design and construction. The development of these aspects allows the entire team to accelerate their understanding of the project and make important scope and performance decisions earlier in a collaborative design process than ever before. These early studies establish a communication framework that is developed throughout the design.

On the state of design software today
It gets better and better, but we worry about the detachment of human from a pen. There is something to still being able to draw and sketch. When it is so easy to create a 3D object, sometimes the complexities of executing it in real life, hands on, gets a bit lost. You have to balance 3D model with actually modeling and building something to fully understand design implications.

On the future of architecture in the next 5–10 years
More and more things have been removed from the architect’s sphere of responsibility. Architect as the ‘master craftsman’ is long gone. For change to happen, the architect needs to take back some of the authority and responsibility they once had. Now that you might have 17 sub-consultants, it limits the architect’s ability to make decisions, and their authority to do so as well.

We’re going more digital. More will be done in 3D. Onsite observation will be done digitally, it’s already headed this way. You’ll see more construction in factories (by robots essentially) offsite, and onsite. More machines.

New materials will also change both what we build and how we build. This will be in direct response to sustainability, what materials are available, where are they coming from, how expensive are they, how healthy are they (will they off gas poison). This is particularly exciting as new materials will allow us to make new things.

On Schmidt Associates evolving in relation to these industry changes
We try to have a large family of experts in-house so we can retain the ability to influence design at a core level. We have a strong commitment to understanding changes in the profession, the materials, etc. This is manifest through continued learning with AIA, Schmidt Academy, etc. to make sure we are on the leading edge.

On advice she would give her younger self
I tell everyone to learn to draw and to travel. Otherwise you get limited pretty fast. Actually, I still give myself that advice — its critical to staying thoughtful and fresh in my approach.

Design Manifestos: Hannah Hackathorn of Unispace

Hannah Hackathorn is a Design Principal at Unispace in New York, New York. She lends 15 years of large-scale corporate workplace expertise to the design of progressive environments for a myriad of client types. Human-centered in her approach, Hannah believes that workplaces should function for the people who inhabit them. She encourages her team to challenge the industry’s pre-conceived notions, leading to greater learning opportunities for our people, clients and collaborators. Modelo spent some time learning about Hannah’s unique approach and design philosophy at Unispace.

On becoming an interior designer
I have always been drawn to creative disciplines and I originally wanted to be a potter. I love the act of creating something that combines a tactile experience, function, and beauty. Once I got to college – and after some soul searching – I found that interior design functions very much in the same way that pottery does. The most successful interiors also combine function and aesthetics to positively impact those who inhabit them. After that, the segue into interior design was a no-brainer – and my parents were very relieved!

On discovering her voice as an interior designer
Most of my peers wanted to go into residential or hospitality design after graduation – which to me always felt like emotionally driven practice areas.

Instead, I found myself at Gensler working on 1M square feet corporate projects. I was privileged to work with E.J. Lee who creates functional and visually arresting interiors that drive interaction. E.J. remains a mentor to this day and from her, I learned how critical decisions are made based not just on money as so many assume but on culture, brand, and the human needs of an organization – and all of these decisions are grounded in facts and metrics. I’ve been in love with workplace interiors ever since.

On joining Unispace
I feel that many designers lack an understanding of the end-to-end project cycle. They don’t involve themselves in budgeting or stop their work when construction takes over. I came to Unispace because I’ve always wanted to bridge the gap between disciplines. Unispace is driving for excellence across strategy, design, and construction by investing in top talent and really thinking about new and better ways to deliver projects. The firm’s global footprint was also a selling point – I can connect with colleagues around the world to share intelligence, best practices, and lessons learned that directly benefit local projects.

On specific principles she strives to adhere to
Everyone talks about creating a bespoke client space but I find that most firms invariably apply their own brand. I strive to understand as much about my clients’ culture, needs (current and future), as well as their aspirations. To me, the most successful projects are those where the client walks in and is overwhelmed by the beauty of the space but two months later realizes the full functionality it offers and how it can drive their business and culture. We recently completed the NY headquarters of Slate, which is a great example of form and function – every detail we planned for – from the phone booths to the collaboration areas – is used as we envisioned.

On her role at Unispace
Unispace is relatively new to the market so I’m working on sharing our process with the industry and familiarizing clients with our approach so they can come to see us as a trusted resource for problem solving through space. Internally, I’m working with our teams to rethink how we present design to our clients. I am constantly asking designers: are we getting our message across as clearly and effectively as we can? Are we showing our clients the full value of a design? Can they experience the space before it’s delivered? I want to push the envelope and try things that haven’t been done before – which is where recent advances in technology become truly critical.

On recent projects that represent the firm’s unique approach
Our approach allows designers to break down traditional silos and seamlessly transition back and forth between design and construction. We explore cost and issues of buildability from the start of a project rather than through a post CD value engineering phase so we’re able to maximize time and budget with solutions that provide high design value. Two projects that stand out are Slate and DoubleVerify – both in New York.

On her design toolkit
This may sound old fashioned but I start with trace paper. I need to sketch first before I can move on to Revit and 3D technology.

We sometimes forget that our clients are not taught to read plans & elevations. Even 3D renderings can sometimes fail to convey the volume, scale and proportions, and adjacencies, which can make it hard for clients to fully experience and appreciate the thinking and story behind our designs. This makes me and my team work harder to find better ways to communicate with our clients.

On the DoubleVerify project, we brought in 3D modeling as early as the test fit phase and virtual reality in schematic design. This allowed us to effectively communicate all the right volumes and help our client understand the flow of their new space and the relationships within. The client felt that they experienced the space before it was built and felt confident in making decisions quicker than they would have through a traditional process.

On the state of design software today
There are so many incredible tools available to us now which help us design more effectively and accurately but this can also feel a bit overwhelming to designers who may have gone to school a few years ago. I think it’s important not to get lost in the technical possibilities of today’s software at the expense of a design’s intent. I tell my teams not to focus exclusively on creating beautiful renderings – we still need solid concepts to build upon and create meaning from. I sometimes ask myself if we’re losing some of the art and romance of design as we forget how to draw by hand.

On the future of architecture in the next 5-10 years
I’ve been asking myself that question from the start of my career. The traditional model is segmented and pits disciplines against each other which ultimately doesn’t work to the advantage of the client. Disciplines need to come together, integrate their processes from the onset, and collaborate to create and deliver projects.

Silos will break down thanks to technology allowing us to collaborate across disciplines, use building materials we couldn’t before, and conceptualize space in a more complex way. Our processes will also continue to become faster and more efficient translating to shorter delivery times.

On the future of Unispace in the next 5-10 years
Unispace is disrupting the industry. We’re bringing together top talent from the fields of design, technology, strategy, and construction and pushing ourselves to rethink the way the workplace is conceived and delivered. We have started to incorporate BIM technology into our workplace strategy offering to provide clients with more accurate test fits and cost models far earlier than the traditional design process allows. I believe we’ll continue to work in this vein, push boundaries, and use technology in ways traditional, siloed firms cannot.

On advice she would give her younger self
I would tell my younger self to intern at not just design firms, but with potential clients, lighting manufacturers, and construction companies. These disciplines are interwoven like a spider web – understanding this has changed my perspective on the industry and how best to approach a project. I’d also tell myself to pay more attention in 3D tech classes!

UNBUILT: Synesthesia by Joris Putteneers

Joris Putteneers
Experiment, Sint Lucas Architecture 25/10/2016
Docent: Corneel Cannaerts

Synesthesia is a project influenced by the works of Francois Roche. It is made with the intentions of creating an architecture that defies classification and reductionism. I try to explore unexplored levels of resolution and topological complexity in architecture by developing a series of compositional strategies based on purely geometric processes. In this project, I use a coalescence of two algorithms to create a growing structure that appears at once synthetic and organic.

This single process generates many scales of architecture, from the overall form with its broad curvature, to local surface development, down to minute textures.

The design process strikes a delicate balance between the expected and the unexpected, between control and relinquishment. Although the algorithms do not incorporate random values, the results are not necessarily entirely foreseeable either. In order to create an extension from the vertical system, the protocol receives input information that is extracted from surface directionality of the structure.

A seed is planted from the moment of removal in the vertical system, and from that point on, every location on the terrain is mapped with a directionality that points towards the void and the sun. Once a system reaches the edge of the structure, an illusion of parallel cities is projected, and the information acts with gravity until it disappears.

As the system evolves, vines bundle up, then twist and bind to each other. The bundles then split and separate around volumes of spaces that are translated into chambers. As the vines lose attachment to the structure or each other, they are partially affected by gravity and by the search radius of the nearest vine.

Towards the end of the bundle extension into the void, the aggregated vines that have bound with other bundles begin to converge and overlap in an interior space. These vines are collected and woven into a central pattern. The repetition of this action causes a symmetry to occur. These images are only visible to the occupants of the chambers.

The machine works on the logic of its own point of view. As it navigates away from the vertical structure, a signal is given which results in a feedback loop. The machine begins to read its own past projections as current vision and navigates towards it. The result is a differentiation of behavior in three different stages. Initiation, Transition and serenity.

Towards the final stage of the machine’s journey, it becomes hyperactive and overfills with its collection of vines. As a consequence, the machine expels a coating of resin, leaving behind a structural membrane on its vines as a continuous weave. the resin solidifies and captures the modification of the vines, defining the outer boundaries of the chambers. The processes can devise truly surprising topographies and topologies that go far beyond what one could have traditionally conceived.

Synesthesia is between chaos and order, both natural and the artificial. Any references to nature or existing styles are not integrated into the design process, but are evoked only as associations in the eye of the beholder. Such a hierarchical differentiation can also be found in classic architecture. Yet unlike traditional architectural design processes, here a single process is used both to sculpt the overall form, and to create the surface details.

This articulation can be used to create features that exceed the threshold of human haptic or visual perception that would be entirely un-drawable using traditional means.

Virtual:
• Algorithmically generated geometry

• 18000 vectors

• 9 million surfaces

• 2,6 billion voxels

• 12 GB production data

Design Development:
˜80 hours in the course of 5 weeks

Team
Fabrication: Joris Putteneers
Video / Photo: Joris Putteneers
Mentor: Corneel Canaerts