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    VAMO proposes an alternative to architectural permanence

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    The International Architecture Exhibition of La Biennale di Venezia holds up a mirror to the industry — not only reflecting current priorities and preoccupations, but also projecting an agenda for what might be possible. Curated by Carlo Ratti, MIT professor of practice of urban technologies and planning, this year’s exhibition (“Intelligens. Natural. Artificial. Collective”) proposes a “Circular Economy Manifesto” with the goal to support the “development and production of projects that utilize natural, artificial, and collective intelligence to combat the climate crisis.” Designers and architects will quickly recognize the paradox of this year’s theme. Global architecture festivals have historically had a high carbon footprint, using vast amounts of energy, resources, and materials to build and transport temporary structures that are later discarded. This year’s unprecedented emphasis on waste elimination and carbon neutrality challenges participants to reframe apparent limitations into creative constraints. In this way, the Biennale acts as a microcosm of current planetary conditions — a staging ground to envision and practice adaptive strategies.VAMO (Vegetal, Animal, Mineral, Other)When Ratti approached John Ochsendorf, MIT professor and founding director of MIT Morningside Academy of Design (MAD), with the invitation to interpret the theme of circularity, the project became the premise for a convergence of ideas, tools, and know-how from multiple teams at MIT and the wider MIT community. The Digital Structures research group, directed by Professor Caitlin Mueller, applied expertise in designing efficient structures of tension and compression. The Circular Engineering for Architecture research group, led by MIT alumna Catherine De Wolf at ETH Zurich, explored how digital technologies and traditional woodworking techniques could make optimal use of reclaimed timber. Early-stage startups — including companies launched by the venture accelerator MITdesignX — contributed innovative materials harnessing natural byproducts from vegetal, animal, mineral, and other sources. The result is VAMO (Vegetal, Animal, Mineral, Other), an ultra-lightweight, biodegradable, and transportable canopy designed to circle around a brick column in the Corderie of the Venice Arsenale — a historic space originally used to manufacture ropes for the city’s naval fleet. “This year’s Biennale marks a new radicalism in approaches to architecture,” says Ochsendorf. “It’s no longer sufficient to propose an exciting idea or present a stylish installation. The conversation on material reuse must have relevance beyond the exhibition space, and we’re seeing a hunger among students and emerging practices to have a tangible impact. VAMO isn’t just a temporary shelter for new thinking. It’s a material and structural prototype that will evolve into multiple different forms after the Biennale.”Tension and compressionThe choice to build the support structure from reclaimed timber and hemp rope called for a highly efficient design to maximize the inherent potential of comparatively humble materials. Working purely in tension (the spliced cable net) or compression (the oblique timber rings), the structure appears to float — yet is capable of supporting substantial loads across large distances. The canopy weighs less than 200 kilograms and covers over 6 meters in diameter, highlighting the incredible lightness that equilibrium forms can achieve. VAMO simultaneously showcases a series of sustainable claddings and finishes made from surprising upcycled materials — from coconut husks, spent coffee grounds, and pineapple peel to wool, glass, and scraps of leather. The Digital Structures research group led the design of structural geometries conditioned by materiality and gravity. “We knew we wanted to make a very large canopy,” says Mueller. “We wanted it to have anticlastic curvature suggestive of naturalistic forms. We wanted it to tilt up to one side to welcome people walking from the central corridor into the space. However, these effects are almost impossible to achieve with today’s computational tools that are mostly focused on drawing rigid materials.”In response, the team applied two custom digital tools, Ariadne and Theseus, developed in-house to enable a process of inverse form-finding: a way of discovering forms that achieve the experiential qualities of an architectural project based on the mechanical properties of the materials. These tools allowed the team to model three-dimensional design concepts and automatically adjust geometries to ensure that all elements were held in pure tension or compression.“Using digital tools enhances our creativity by allowing us to choose between multiple different options and short-circuit a process that would have otherwise taken months,” says Mueller. “However, our process is also generative of conceptual thinking that extends beyond the tool — we’re constantly thinking about the natural and historic precedents that demonstrate the potential of these equilibrium structures.”Digital efficiency and human creativity Lightweight enough to be carried as standard luggage, the hemp rope structure was spliced by hand and transported from Massachusetts to Venice. Meanwhile, the heavier timber structure was constructed in Zurich, where it could be transported by train — thereby significantly reducing the project’s overall carbon footprint. The wooden rings were fabricated using salvaged beams and boards from two temporary buildings in Switzerland — the Huber and Music Pavilions — following a pedagogical approach that De Wolf has developed for the Digital Creativity for Circular Construction course at ETH Zurich. Each year, her students are tasked with disassembling a building due for demolition and using the materials to design a new structure. In the case of VAMO, the goal was to upcycle the wood while avoiding the use of chemicals, high-energy methods, or non-biodegradable components (such as metal screws or plastics). “Our process embraces all three types of intelligence celebrated by the exhibition,” says De Wolf. “The natural intelligence of the materials selected for the structure and cladding; the artificial intelligence of digital tools empowering us to upcycle, design, and fabricate with these natural materials; and the crucial collective intelligence that unlocks possibilities of newly developed reused materials, made possible by the contributions of many hands and minds.”For De Wolf, true creativity in digital design and construction requires a context-sensitive approach to identifying when and how such tools are best applied in relation to hands-on craftsmanship. Through a process of collective evaluation, it was decided that the 20-foot lower ring would be assembled with eight scarf joints using wedges and wooden pegs, thereby removing the need for metal screws. The scarf joints were crafted through five-axis CNC milling; the smaller, dual-jointed upper ring was shaped and assembled by hand by Nicolas Petit-Barreau, founder of the Swiss woodwork company Anku, who applied his expertise in designing and building yurts, domes, and furniture to the VAMO project. “While digital tools suited the repetitive joints of the lower ring, the upper ring’s two unique joints were more efficiently crafted by hand,” says Petit-Barreau. “When it comes to designing for circularity, we can learn a lot from time-honored building traditions. These methods were refined long before we had access to energy-intensive technologies — they also allow for the level of subtlety and responsiveness necessary when adapting to the irregularities of reused wood.”A material palette for circularityThe structural system of a building is often the most energy-intensive; an impact dramatically mitigated by the collaborative design and fabrication process developed by MIT Digital Structures and ETH Circular Engineering for Architecture. The structure also serves to showcase panels made of biodegradable and low-energy materials — many of which were advanced through ventures supported by MITdesignX, a program dedicated to design innovation and entrepreneurship at MAD. “In recent years, several MITdesignX teams have proposed ideas for new sustainable materials that might at first seem far-fetched,” says Gilad Rosenzweig, executive director of MITdesignX. “For instance, using spent coffee grounds to create a leather-like material (Cortado), or creating compostable acoustic panels from coconut husks and reclaimed wool (Kokus). This reflects a major cultural shift in the architecture profession toward rethinking the way we build, but it’s not enough just to have an inventive idea. To achieve impact — to convert invention into innovation — teams have to prove that their concept is cost-effective, viable as a business, and scalable.”Aligned with the ethos of MAD, MITdesignX assesses profit and productivity in terms of environmental and social sustainability. In addition to presenting the work of R&D teams involved in MITdesignX, VAMO also exhibits materials produced by collaborating teams at University of Pennsylvania’s Stuart Weitzman School of Design, Politecnico di Milano, and other partners, such as Manteco. The result is a composite structure that encapsulates multiple life spans within a diverse material palette of waste materials from vegetal, animal, and mineral forms. Panels of Ananasse, a material made from pineapple peels developed by Vérabuccia, preserve the fruit’s natural texture as a surface pattern, while rehub repurposes fragments of multicolored Murano glass into a flexible terrazzo-like material; COBI creates breathable shingles from coarse wool and beeswax, and DumoLab produces fuel-free 3D-printable wood panels. A purpose beyond permanence Adriana Giorgis, a designer and teaching fellow in architecture at MIT, played a crucial role in bringing the parts of the project together. Her research explores the diverse network of factors that influence whether a building stands the test of time, and her insights helped to shape the collective understanding of long-term design thinking.“As a point of connection between all the teams, helping to guide the design as well as serving as a project manager, I had the chance to see how my research applied at each level of the project,” Giorgis reflects. “Braiding these different strands of thinking and ultimately helping to install the canopy on site brought forth a stronger idea about what it really means for a structure to have longevity. VAMO isn’t limited to its current form — it’s a way of carrying forward a powerful idea into contemporary and future practice.”What’s next for VAMO? Neither the attempt at architectural permanence associated with built projects, nor the relegation to waste common to temporary installations. After the Biennale, VAMO will be disassembled, possibly reused for further exhibitions, and finally relocated to a natural reserve in Switzerland, where the parts will be researched as they biodegrade. In this way, the lifespan of the project is extended beyond its initial purpose for human habitation and architectural experimentation, revealing the gradual material transformations constantly taking place in our built environment.To quote Carlo Ratti’s Circular Economy Manifesto, the “lasting legacy” of VAMO is to “harness nature’s intelligence, where nothing is wasted.” Through a regenerative symbiosis of natural, artificial, and collective intelligence, could architectural thinking and practice expand to planetary proportions? More

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      in Environment

      Taking the long view: The Deep Time Project

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      How would we design and build differently if we learned to live at multiple time scales? How would human communities respond to global challenges if the short-term mindset of contemporary life was expanded to encompass new dimensions of past and future — diving into the depths of geological history and projecting forward to imagine the consequences of our actions today?

      These are questions that Cristina Parreño Alonso addresses in her practice as an architect, artist, and senior lecturer in the MIT Department of Architecture. Her field of research, which she has termed “Transtectonics,” explores the cultural and environmental implications of expanded temporal sensibilities in architectural material practice. A building, Parreño argues, is a “material event,” part of a process of construction and deconstruction that is shaped by the past and directly impacts the future — an impact that has become all the more apparent in the epoch of the Anthropocene, in which humans have become the dominant force influencing the physical composition and regulating systems of the planet.

      Parreño’s classes at MIT have included design studios that position architecture in relation to geological processes, and historical surveys of building practices that embrace traces of time and rhythms of maintenance. She recently devised a new class, 4.181 (The Deep Time Project), which launched in fall 2022 with the support of a 2022 Cross Disciplinary Class Grant from the MIT Center for Art, Science and Technology (CAST), in addition to the d’Arbeloff Fund for Excellence in Education.

      Learning deep time literacy

      “The course proposes that architects must develop deep-time literacy if we are to become true planetary stewards,” says Parreño. “Rather than attempting to identify solutions, the course is intended to provoke new ways of thinking that lead to greater accountability — a recognition that we, as architects, are intervening in something larger than ourselves, and that the consequences of our actions extend far beyond the timescales of our human lives and civilizations.” The class, which was offered to master’s students in the School of Architecture and Planning and the Harvard Graduate School of Design, culminated in a series of “material essays” that seek to bring deep time into contemporary consciousness. These multimedia projects — which include physical prototypes, text components, sound, and video  — are on display until March 24 at the Wiesner Student Art Gallery.

      “Being part of the exhibition has made me realize the advantages of belonging to a collective that recognizes the urgency of addressing the idea of time at different scales,” says architecture master’s student Christina Battikha, whose material essay “Plastic Time” imagines a future when plastic is integral to the geological structure of the Earth. Envisioned as a jagged plastic “rock,” the sculpture interprets the ubiquitous synthetic material as a natural phenomenon, a human-made product that far outlasts a human lifespan.

      Taking the form of a clay “Rosetta Stone” inscribed with multiple languages, architecture student Tatiana Victorovna Estrina’s material essay explores how the evolution of language impacts the built environment. “My project identifies a gap of imagination in deep time research,” she explains. “The installation became a futuristic exploration of opportunities for the adaptive relationship between the human body and its prosthetic additions of language and architecture.”

      Provocative perspectives

      “Developing the class here at MIT grants us the capacity to hold conversations across disciplines,” says Parreño. “That’s all the more necessary, because deep time literacy requires a very holistic way of thinking; it raises awareness of the fact that we are inherently interconnected, and makes it clear that we can’t afford to operate in compartments.”

      This attention to interdisciplinarity is exemplified by the guest speakers invited to share their ideas with the class, each providing a new way of accessing the deep time paradigm. Among the speakers were Marcia Bjornerud, a structural geologist and educator who argues that a geologist’s temporal perspective can empower us to make decisions for a more sustainable future. Richard Fisher, a senior journalist at the BBC, and Bina Venkataraman, journalist and author of “The Optimist’s Telescope: Thinking Ahead in a Reckless Age,” both shared their experiences of engaging the public in the perils of short-term-ism and the positive effects of taking the long view in daily life. The historian of science Jimena Canales provided a philosophical background to the conundrums of time perception, citing the renowned debate between Albert Einstein and the philosopher Henri Bergson.

      Alongside these large-scale thinkers and academic researchers were practitioners who directly apply planetary perspectives at a local level. Joseph Bagley is Boston’s city architect, investigating the layers of time that constitute the urban fabric. Faries Gray, the sagamore of the Massachusett Tribe at Ponkapoag, advocates for Indigenous ways of knowing that recognize the continuity between human cultures and the living history of the land. Together, these different ways of relating to deep time offer a toolkit for contemplating a concept too large to be held in the human mind.

      Thinking through art

      Parreño’s own way of conceptualizing deep time is informed by her artistic and philosophical inquiry into the paradoxes of time, tectonics, and materiality. Exhibited at the Schusev State Museum of Architecture in Moscow, her installation Tectonics of Wisdom focused on the typology of the library as a way of demonstrating how architecture is intertwined with geological and civilizational history. Carbon to Rock, shown at the 2021 Venice Architecture Biennale, explores new artificial manipulations of the geological timescales of the carbon cycle, rethinking igneous rocks as a resilient material for high-carbon-capture architecture. In addition, Parreño has published several essays on the subject of deep time for journals including Strelka Magazine, Log, and JAE Journal of Architectural Education. Her work as a writer and theorist is complemented by her art installations — or material essays — that serve as a research methodology and a means of communication.

      Likewise, the exhibition component of the Deep Time Project is a way of giving thoughts physical form. Estrina’s installation was initially prompted by the need to communicate the presence of buried nuclear waste to future generations — or even future species. Battikha’s sculpture is a response to the vast buildup of plastic generated by cycles of supply and demand. However, rather than making value judgements or condemning human actions, these works are intended to disrupt conventional patterns of perception, experimenting with longer-term perspectives that have the potential to change ingrained assumptions and daily habits. “There needs to be a paradigm shift before we can effectively address the enormity of the challenges ahead,” says Parreño. “The Deep Time Project is about taking a step back, reframing these problems in ways that will allow us to ask the right questions.” More

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      in Environment

      Advancing public understanding of sea-level rise

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      Museum exhibits can be a unique way to communicate science concepts and information. Recently, MIT faculty have served as sounding boards for curators at the Museum of Science, Boston, a close neighbor of the MIT campus.

      In January, Professor Emerita Paola Malanotte-Rizzoli and Cecil and Ida Green Professor Raffaele Ferrari of the Department of Earth, Atmospheric and Planetary Science (EAPS) visited the museum to view the newly opened pilot exhibit, “Resilient Venice: Adapting to Climate Change.”

      When Malanotte-Rizzoli was asked to contribute her expertise on the efforts in Venice, Italy, to mitigate flood damage, she was more than willing to offer her knowledge. “I love Venice. It is fun to tell people all of the challenges which you see the lagoon has … how much must be done to preserve, not only the city, but the environment, the islands and buildings,” she says.

      The installation is the second Museum of Science exhibit to be developed in recent years in consultation with EAPS scientists. In December 2020, “Arctic Adventure: Exploring with Technology” opened with the help of Cecil and Ida Green Career Development Professor Brent Minchew, who lent his expertise in geophysics and glaciology to the project. But for Malanotte-Rizzoli, the new exhibit hits a little closer to home.

      “My house is there,” Malanotte-Rizzoli excitedly pointed out on the exhibit’s aerial view of Venice, which includes a view above St. Mark’s Square and some of the surrounding city.

      “Resilient Venice” focuses on Malanotte-Rizzoli’s hometown, a city known for flooding. Built on a group of islands in the Venetian Lagoon, Venice has always experienced flooding, but climate change has brought unprecedented tide levels, causing billions of dollars in damages and even causing two deaths in the flood of 2019.

      The dark exhibit hall is lined with immersive images created by Iconem, a startup whose mission is digital preservation of endangered World Heritage Sites. The firm took detailed 3D scans and images of Venice to put together the displays and video.

      The video on which Malanotte-Rizzoli pointed to her home shows the potential sea level rise by 2100 if action isn’t taken. It shows the entrance to St. Mark’s Basilica completely submerged in water; she compares it to the disaster movie “The Day After Tomorrow.”

      The MOSE system

      Between critiques of the choice of music (“that’s not very Venice-inspired,” joked Ferrari, who is also Italian) and bits of conversation exchanged in Italian, the two scientists do what scientists do: discuss technicalities.

      Ferrari pointed to a model of a gate system and asked Malanotte-Rizzoli if the hydraulic jump seen in the model is present in the MOSE system; she confirmed it is not.

      This is the part of the exhibit that Malanotte-Rizzoli was consulted on. One of the plans Venice has implemented to address the flooding is the MOSE system — short for Modulo Sperimentale Elettromeccanico, or the Experimental Electromechanical Module. The MOSE is a system of flood barriers designed to protect the city from extremely high tides. Construction began in 2003, and its first successful operation happened on Oct. 3, 2020, when it prevented a tide 53 inches above normal from flooding the city.

      The barriers are made of a series of gates, each 66-98 feet in length and 66 feet wide, which sit in chambers built into the sea floor when not in use to allow boats and wildlife to travel between the ocean and lagoon. The gates are filled with water to keep them submerged; when activated, air is pumped into them, pushing out the water and allowing them to rise. The entire process takes 30 minutes to complete, and half that time to return to the sea floor.

      The top of the gates in the MOSE come out of the water completely and are individually controlled so that sections can remain open to allow ships to pass through. In the model, the gate remains partially submerged, and as the high-velocity water passes over it into an area of low velocity, it creates a small rise of water before it falls over the edge of the barrier, creating a hydraulic jump.

      But Malanotte-Rizzoli joked that only scientists will care about that; otherwise, the model does a good job demonstrating how the MOSE gates rise and fall.

      The MOSE system is only one of many plans taken to mitigate the rising water levels in Venice and to protect the lagoon and the surrounding area, and this is an important point for Malanotte-Rizzoli, who worked on the project from 1995 to 2013.

      “It is not the MOSE or,” she emphasized. “It is the MOSE and.” Other complementary plans have been implemented to reduce harm to both economic sectors, such as shipping and tourism, as well as the wildlife that live in the lagoons.

      Beyond barriers

      There’s more to protecting Venice than navigating flooded streets — it’s not just “putting on rainboots,” as Malanotte-Rizzoli put it.

      “It’s destroying the walls,” she said, pointing out the corrosive effects of water on a model building, which emphasizes the damage to architecture caused by the unusually high flood levels. “People don’t think about this.” The exhibit also emphasizes the economic costs of businesses lost by having visitors take down and rebuild a flood barrier for a gelato shop with the rising and falling water levels.

      Malanotte-Rizzoli gave the exhibit her seal of approval, but the Venice section is only a small portion of what the finished exhibit will look like. The current plan involves expanding it to include a few other World Heritage Sites.

      “How do we make people care about a site that they haven’t been to?” asked Julia Tate, the project manager of touring exhibits and exhibit production at the museum. She said that it’s easy to start with a city like Venice, since it’s a popular tourist destination. But it becomes trickier to get people to care about a site that they maybe haven’t been to, such as the Easter Islands, that are just as much at risk. The plan is to incorporate a few more sites before turning it into a traveling exhibit that will end by asking visitors to think about climate change in their own towns.

      “We want them to think about solutions and how to do better,” said Tate. Hope is the alternative message: It’s not too late to act.

      Malanotte-Rizzoli thinks it’s important for Bostonians to see their own city in Venice, as Boston is also at risk from sea level rise. The history of Boston reminds Malanotte-Rizzoli about her hometown and is one of the reasons why she was willing to emigrate. The history encompassed in Boston makes the need for preservation even more important.

      “Those things that cannot be replaced, they must be respected in the process of preservation,” she said. “Modern things and engineering can be done even in a city which is so fragile, so delicate.” More