ACA0.0 | Brief
[P]a develops a consistent portion of the research in Performative Design Processes for Architecture through an international teaching practice. Marco Verde teaches within Undergraduates, Graduates Design Studios and Workshops held at EsArq-UiC (Spain), Pratt Institute (USA), Elisava (Spain), and Hyperbody at TU Delft (the Netherlands). Digital Design and Manufacturing, Material Systems Laboratory, and DeepFormations series are the three strands through which [P]a aims the explorative search for alternative architectural repertories and a contemporary approach to architectural practice. According to the three agendas, students are encouraged to experiment innovative production strategies while combining studies on Advanced Computational Design Techniques, Digital Fabbrication Techniques and Materials' Performances. One of the challenges of [P]a teaching practice is the understanding of the linkage between these three components and their integration. Therefore, since the early phase, emphasis is placed on a negotiation among design strategy, materials properties, manufacturing and assembly logic. In this framework, empiric explorations, physical prototyping and learning-by-doing become critical to the process of design. Indeed, the development of a cross-disciplinary attitude is at the core of [P]a teaching praxis. MV
ACA1.0 | DIGITAL DESIGN AND MANUFACTURING
The Digital Design and Manufacturing Academic line challenges the exploration of generative design strategies supported by CAD/CAM/CAE systems. Through true computer-based design techniques, students approach and formulate innovative design and manufacturing strategies. This series aims experiencing the friction with contemporary information technology for design and manufacturing while conducing and integrating studies in materials properties to develop an integral approach to the practice of architectural design.
ACA1.2.NL08-09 | Hyperbody | TU Delft
Digital Design and Manufacturing. Undergraduate School 2.5 days immersive Workshop
Students’ works: Daniele Brossa, Valentina Sumini, Bart de leeuw, Agata Kycia, Krzysztof Gornicki, Roxana Palfi, Gustavo Nascimento, Marcus Chaidez, Oladunjoye Oladayo, Nam Dongho, Christopher Tan, Martin Schorn, Bernadette Luger, Tieme Zwartbol, Nicolas Fabre, G-J Bijl, Dennis Cloppenburg, Cem Berdan, WU Penghan, Ruzbeh Ghofranian, Yang Shi, René-Paul van Leeuwen, Durand Pauline, Niek Kramer
workshop director : Marco Verde workshop instructor (MSc1+MSc3): Marco Verde
workshop student assistants: Ran Berman, Marcus Chaidez
Read more on Hyperbody web page
ACA1.1.ES06-08 | EsArq | UiC
Digital Design and Manufacturing. Undergraduate School Design Studio
Students’ works: Laura Gómez, Laura Ribas, Albert Serradell, David Hernandez, Maria Matamalas, Carol Amoros, Jorge Salinas, Patricia Palacin, Oriol Carrasco, Oriol Casanova, Anna Naomi Amano, Diego Navarro
Studio Director: Jordi Truco studio instructors: Jordi Truco, Marco Verde
Read more on http://www.ma-s-lab.blogspot.com/ and http://www.digitaldlab.blogspot.com/
ACA2.0 | MATERIAL (S)YSTEMS LABORATORY
Ma(S) Lab series is an academic framework directed by Jordi Truco and internationally held since 2004 at EsArq (Spain), Pratt institute (NY), Elisava (Spain). Ma(S) Lab agenda, focusing on the relevance of new data-driven processes combined with strong studies in materials, merges experimental design and research. For the propose of this studies, the Laboratory proposes the exploration of architectural design oriented morphogenetic processes. Within Ma(S) Lab, research is the main instrument employed; therefore, the process of development itself takes a strong role.
ACA2.1.ES06-08 | EsArq | UiC
Material (S)ystems Laboratory. Graduate School. Design Studio within the Bio-Digital Architecture, Master’s degree Program
Students’ works: Natalia Karakosta, Marcio Arioli, Franz Zahra,Eleni Kouneli, Gabriel Moreno, Daniel Terán, Anna Hartofili, Anke Pasold, Isak Foged, Alessio Erioli, Pau Ginés, Viviana Hernaiz, Andrea Macruz, Lamila Simic, Diego Cuevas, Antonio Vacca, Aref Maksud, Julian Ardella, Anas Katramiz, Elif Erdogan, Joana Pinho da Costa, Juan Cardenal, Theodoros Theodoridis
Studio Director: Jordi Truco studio instructors: Jordi Truco, Marco Verde
Read more on http://www.ma-s-lab.blogspot.com/
ACA3.0 | DEEPFORMATIONS
DeepFormations series (DFs) is a third teaching series created by Marco Verde in 2009. The new series is strongly intertwined with the Digital Design and Manufacturing and Material Systems Laboratory series. In addition, DFs seeks further development of Multiperformative Efficient Systems research line. The exploration of qualities and performances of materials and the experimentation with computational systems are common pivots to all [P]a teaching series. Although unfolded through different strategies and techniques within each series, the research on materials points to the finding of criteria and principles to inform the design process, while the research on computation and contemporary CAD/CAM/CAE systems becomes instrumental to further development of the physical experimentation and to support an interdisciplinary explorative take to the design process.
THE ROOTS. In the field of industrial production, the adjective “deep” is employed to describe certain specific physical features of a given object or production process. In metal forming, for example, Deep Drawing is a stamping production technique whereby a metal blank is drawn into a forming die by the mechanical action of a punch. A part is said to be deep-drawn if its depth is at least half of its diameter. While the deep drawn stamping process is occurring, matter is driven into the die through a controlled flow. The three-dimensional complex articulation of the continuous shape produced is a distinctive feature of deep drawn items. Automotive body and structural parts are examples of deep drawn components. Thus, in Deep Drawn parts, the geometric complexity of the shapes can collaborate to the structural stability of the part itself. Thus, in this context, the adjective “deep” gains multiple meanings and emphasizes the linkage between materials properties, geometric/structural features, manufacturing process, and global performative features of the product.
The definition of DeepFormations borrows the connotation of the term above described and couples this with the concept of Formation. Defined as “The process by which something develops into a particular thing or shape” (Longman), this term put a special accent on the internal nature of the process of development of a certain entity. In developmental biology, this process of formation is known as Morphogenesis: the process of growth whereby the Phenotype develops in time under the direction of the Genotype. The Phenotype is the actual state of an organism that manifests the physical properties, physiology, morphology and behaviour of the organism while the Genotype is the set of internal inherited instructions that govern the growth. At the same time, Phenotypes result from the influence and possible interactions with environmental conditions. Such interaction, by a process of self-organization, results in the production of organized configuration of matter in space and over time and contributes to the differentiation of phenotypes of same genotype. Within the process of differentiation, heterogeneity, intended as the quality of a system that results by the adaptation of its constituent parts, becomes a crucial quality of complex systems. Under a broader viewpoint, adaptation itself, as pointed by Kevin Kelly (1998), is one of the true organizing principles intrinsic to the development of systems:
In heterogeneity is creation of the world. A uniform entity must adapt to the world by occasional earth-shattering revolutions, one of which is sure to kill it. A diverse heterogeneous entity, on the other hand, can adapt to the world in a thousand daily minirevolutions, staying in a state of permanent, but never fatal, churning.
Rising from the concept discussed, DeepFormations aims a design approach rooted in Systems Thinking through which challenges the exploration of alternative spatial repertories and architectural futures through experimental generative design strategies.
THE AGENDA.For the purpose of these studies, DeepFormations series put special emphasis on the departure from conventional fragmented design approaches rooted in criteria of mono-functional optimization. Within DFs studies, architectural formations are conceived as systems whose phenotype manifests as deep three-dimensional patterns. Key emphasis is especially on the exploration of not cave-like morphologies. These, by means of physical modulation, differentiation and redundancy, can be integral catalysts of architectural, structural, environmental and construction features while resolving simultaneously multiple functions.
The phenotype of such formations would show neither mono-functional specialization of parts nor explicit physical distinction among structural frame, environmental threshold or habitable space. Such artefacts, while behaving as integral systems, may be an efficient catalyst of multiple architectural, structural and environmental features, rather than a simplistic no efficient over position and repetition of optimized layers and standardised parts. The understanding of the emerging spatial and programmatic opportunities of such material organizations becomes crucial to the success of the studies taken.
Through Deep Formations agenda, [P]a seeks the exploration of novel generative techniques whereby the integration of studies on computational systems, material auto-organization, material performances, and manufacturing and assembly logics is achieved through an interdisciplinary attitude. Finally, DFs firmly fosters such cross-disciplinary attitude towards the development of an innovative understanding of energetic-efficiency and sustainability as emergent qualities of a different way of thinking and producing architecture. MV
DFs KEY STUDIES
K1.0_ Composite materials
K1.1_Bent Fabrics Workshop.
Undergraduate School within MSc3 Master’s Degree Program | Hyperbody | NL
Prof. Adriaan Beukers and Ed van Hinte (WS Director) in collaboration with Marco Verde
Architectural development and realistic form experimentation is hampered by a gap between design methods, which may be strongly influenced by algorithms and computation, and traditional artisan building technology, characterized by producing smaller and larger parts and assembling them rather crudely on the building site.
Nevertheless there is an evolution going on. Buildings can become much lighter and lot more efficient in the building process and consequent use through integration of physical functions in composite structures. Composites consist of two or more materials that complement each other’s properties. Reinforced concrete is a relatively crude composite. Band-aid and tapes are the most common ones. A very successful technology in yacht building is vacuum injection: laying woven fibres in a mould, covering it with foil and then suck out the air from underneath to be replaced by polymer resin. Structures can be manufactured in relatively simple ways by weaving and impregnating.
The most commonly applied composites consist of high-grade fibres (aramid, carbon, glass) and polyester or epoxy resin. They are supposed to compete against steel and aluminium. This struggle has distracted us from the fact that metal can very well be a composite ingredient with several advantages. Metals guide electricity and heat, they can be welded, and they can be plastically bent: they keep their shape after deformation. Woven metals are much easier to deform than plate, also in doubly curved shapes. Freezing an acquired shape with a resin, or perhaps plaster or some other dough is still possible. Metal fabrics deserve experimentation. EH
LIGHTNESS STUDIO | Ed van Hinte Lecturing at Hyperbody Tu Delft | Fall Semester 2009
Students’ works:
K2.0_MATERIAL INTELLIGENCE.
K2.1. FORM-FINDING. Spatial formations through Material Intelligence. Within the PostGraduate Master’s Degree Program in Advanced Design of Spaces and Materials. Jordi Truco, Marco Verde (WS Director) | ELISAVA | ES
Robust studies in materials performances and material organization can provide designers with important criteria to inform their strategies and can foster a robust linkage between the processes of formation (generation of the artefact) and its materialization (manufacturing and construction).
Under this assumption, an integral approach to the design practice, that integrates studies on materials, can strongly support the search for novel spatial repertories while exploring complex material organizations. In this framework, the development of strategies enriched by a “Material Intelligence” becomes critical to the innovation of designers’ practice.
However, by and large, the architectural domain seems not geared with a consistent exploration of materials as instrumental to the project practice. Indeed, a serious disconnection between the design phase (often only restricted to the subjective desires of the designer) and the manufacturing-construction process (only addressed in phase of a post-design optimization) affect the actual production. Many times, for instance, shape is imposed to matter without regards for its qualities or the consumption of resources. Moreover, rationalistic top-down approaches driven by logics of standardization and monofunctional optimization, as well as a mechanistic understanding of the project flow often limit designers’ practice. As result, spaces are generally developed as over position of monofunctional-optimized layers and the amount of energy required to carry out their construction and to “keep up the fabric” is enormous.
In contrast to this trend, an alternative way of thinking rooted in the principle of integration and driven by the exploration of material performances could strongly contribute to find new designs and to reduce the energy consumption as well. Thus, the move towards a holistic approach to the project practice becomes crucial to innovation. Exploring material performance is at the core of this move.
Through a series of hands-on empirical and computer-based experiments, the workshop engages with a number of different Form-Finding techniques. The workshop aims the exploration of new habitable spatial repertories through the manipulation of materials. Thus, in order to conduct an extensive research on the subject, the research focuses on:
1_MINIMAL SURFACES
2_PNEUS
3_CATENARIES: TENSILE-STRESSED SUSPENDED FORMS
4_ GRID SHELLS: COMPRESSION-STRESSED INVERTED FORMS
5_MINIMAL NETS/SPATIAL NETS/CABLE NETS STRUCTURES
6_STRUCTURES IN SPACE AND TIME. WAVES / TORBOLENCE
Students’ works:Cristina M.Perez, Irene P.Villa, Laura G.Garrido, Nuria G.Garrido, Oriol Carrasco, Carolina Pereira, Justin Piercy, Marilia Coutinho, Miguel Huelga, Xavi Montuxa, Iria de la Peña, Laia Mogas, Jorge Duró, Laura Liberal
[ Extended content inside ]
Marco Verde presents his paper 
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