Through ongoing interviews that we have been conducting at core.form-ula, we have decided to highlight one video in particular for digital futures. We sat down with William Katavolos and got an incite on his experience as a Professor with over 50 years teaching at Pratt.

As we transition from one period to another, understanding the history becomes critical in building upon some of the rich pedagogies within the school and charting a path into the 21st century.

“More or less we have finished with “A”, we are now finishing with “B”, you better pull the “A”/ “B” together before you lose it but you better start on the new “C” and then of course you will have the “CA”, “CB”, the “ABC” and then we will have ourselves a great school” WK

You will be able to see parts 1-12 on core.form-ula over the next three weeks, in addition, digital future will be posting a lecture William Katavolos gave in 1994 that Gamal El-Zoghby has graciously extended to us.

COMMUNITY CENTER FOR AQUATIC SPORT AND LEISURE

PROGRAM SCENARIO
The Community Center for Aquatic Sport is a mixed use and Leisure facility housing Olympic swimming and diving pools, gymnasium, community areas, press areas and administrative spaces in which to serve as a social condenser and venue for water sport events and training. The facility will serve both local Borough competition events at the level of public and private schools, and regional events. The proposal will comprise 115,000 sq. ft. of enclosed space, and approximately 100,000 sq. ft. of outdoor space whose program will be developed during design. Potential programs include: on site water catchment, swimming areas, amphitheater, public plaza, park recreational space and play ground facilities, 160,000 square feet of Parking and Bus loading and unloading areas. This facility will become a premier aquatics community center for Brooklyn located on a 375,000 sq ft site in McCarren Park at the site of the McCarren Park Pool in Greenpoint Brooklyn. This public assembly space will provide a venue for both local city wide events as well as serve as an important community center for the Williamsburg/ Greenpoint area of Brooklyn. The facility will hold classes and serve as a field trip venue for the public (as well as private) school system, year around. In addition to the facilities function as a city destination for aquatic recreational sport the facility will house community facilities that serve the other leisure sport venues for McCarren Park and the Greenpoint /Williamsburg community.

SITE SCENARIO
McCarren Park in GreenPoint Brooklyn is bounded by the neighborhood of Greenpoint to the North and East, a traditionally Polish community now transitioning with an increasing influx of high end condominium development in advance of the proposed extension park redevelopment along the East River to the North, and by Williamsburg to the West which is currently home to the „Hipster Movement‟ along with upscale condominium development and gentrification after the original influx of artists seeking cheap industrial space formerly typical of this area, and finally by the Brooklyn-Queens Expressway to the South. The site exists along an intersection in several urban Grids that developed from historical land parcels. The park land itself was the site of an undevelopable marsh and flood plane with tributaries that feed into the East River. McCarren Pool is currently an abandoned structure since 1984 when it became the site of extensive problems surrounding gang violence and drug sales that ultimately blighted the surrounding neighborhoods. It was the eighth of eleven New York City pools built during the depression through the WPA program, under the leadership of Robert Moses and Mayor La Guardia. It was said that Moses was an avid swimmer. Built in the summer of 1936 the McCarren Park Pool accommodated 6,800 swimmers of the 66,000 swimmers the eleven pools collectively accommodated. Until recently the pool has been used to accommodate music events after the influx of artists and „Hipsters‟ to the Williamsburg/ Greenpoint neighborhoods. Currently the primary monumental building has been Historically Registered and is under restoration with plans for a new pool.

Assets for Arch 302 SP10.

SYLLABUS

Arch 302 spr10_Final_10_01-12b Syllabus PDF > download

MODELS

Arch 302 McCarren Park Site Model Base> download

PROGRAM

Arch 302 Natatorium Program Template PDF> download

Arch 302 Program Templates Final> download

REFERENCE

Arch 302 Architecture of Watter +Humidity> download

Arch 302 Professional Consultants Guidelines V003 PDF> download

READERS

Arch302.04-Sarrach

Structure Form Movement > download

NetworksSwarmsMultitudesP1> download

NetworksSwarmsMultitudesP2> download

things themselves are lying > download

Notes: (Photo by Donald Miralle/Getty Images)

ARCH 565.21

Course Description

Research course. Fillip Tejchman, with John Lobell
Wednesdays, 2 pm – 5 pm

During this research-based seminar, Students will perform a close reading of Course’s Exeter Library through a series of analytical studies directed by theoretical and historic texts. Particular attention will be paid to the material/spatial framework and the programmatic organizations emerging from this Interplay.¶ Kahn wrote extensively about the relationship between his architectural intentions in relation to light, context, history and material. Many of these ideas are described in Between Silence and Light: Spirit in the Architecture of Louis I Kahn which will serve as a theoretical reference for our work.

John Lobell, author of Between Silence and Light, will be present in the course to present the philosophical ideas in Kahn’s buildings.  Some of the work from the class will be used in a forthcoming book by Lobell.

On Thursday, November 19^th at 6pm, the second in a series of lectures by Pratt School of Architecture faculty will take place in the Higgins Hall Auditorium. Fabrications 2 Lecture with Professors Lawrence Blough and David Ruy will be focusing on specific projects that demonstrate new means of digital fabrication and material experimentation. Directly following the lecture, the Fabrications 2 Exhibit with reception will open in the Siegel Gallery.

Title- Fabrication I: 3D Printing

Description- The workshop will serve as an introduction to 3D Printing. Participants will be introduced to the most common issues and concerns one confronts as content is formatted for 3D Printing. Topics covered will include modeling strategies for preparing print files, proper proportioning of models to prevent structural failures during production and finishing, converting to STL format/ troubleshooting mesh irregularities, and file submission protocols. Emphasis will be placed on clean modeling and proper detailing to minimize errors in the printing process to ensure successful printing.

Conductors- Peter VanHage & Sebastian Misiurek

Location- HHN 416

Date + Time- 2009.11.02, 7-10pm

Requirements- Participants are required to bring a laptop with the following software installed:

Rhino3D (SR6)

Grasshopper (v0.6.0019)

Autodesk Maya 2009

Zprint XX.XXX (most recent update)

image credit: prefab china 2007  (Sebastian Misiurek, Alex Drabyk + Ivan Delgado)

Francois ROCHE of the Paris firm Sie(n) and a Professor at Columbia will be lecturing tomorrow evening, October 15^th at 6pm in the Higgins Hall auditorium.

Francois Roche is a French architect whose firm, R&Sie, is aptly pronounced “heresy.” Among his brainchildren is Dusty Relief, an edifice under construction in Bangkok which is surrounded by electrically charged wire that “grows fur” by statically attracting airborne filth. He has also conceived stealth habitats, hypothetical communities hidden from regulators and critics by vast sheets of camo netting. Architects are supposed to draw up plans, erect structures, and finish on time and under budget. Roche is exploring what happens when the usual constraints are allowed to fall away and things get wild and loose.

As a master of conceptual architecture, Roche likes to collaborate with installation artists. This tactic allows him to avoid hidebound European safety regulations when he proposes, for instance, a steel footbridge whose design, sketched using industry-standard CAD software, has been radically distorted by a computer virus. Ask Europeans to cross a buggy footbridge and they’ll balk, quail, and consult the 80,000 regulatory pages of the EU’s acquis communautaire. Tell them it’s art, and they’ll flock to it in droves, sit on it, and drink Beaujolais nouveau.

Roche’s latest project will appear in museums in Paris and Antwerp over the next three years. Titled I’ve Heard About Node 1, it’s as audacious as architecture’s peaks of weirdness in the ’60s; say, the Suitaloon, a combination garment and dwelling proposed by Michael Webb of the London hipster firm Archigram. And yet Roche’s scheme is not just fun to think about, but eerily plausible. He’s exploiting ideas that make perfect sense in computer-driven fabrication but have never been applied to architecture. Imagine a building where the needs and desires of its inhabitants are hot-wired to the shapes of walls and floors, which can be extended and updated ad hoc, ad infinitum.

That’s Node 1. It’s an idea for a building, yes, but it lacks most of the usual architectural accoutrements: blueprints, material suppliers, subcontractors. Instead, Roche imagines a programmable assembly device dubbed the “viab,” a construction robot capable of improvising as it assembles walls, ducts, cables, and pipes.

A viab would produce structures that are not set and specific, but impermanent and malleable – merely viable – made of a uniform, recyclable substance like adobe. The automaton’s output would have no innate design, boundaries, or service life. It would take whatever form was called for at the moment – a great rotting blooming stony bubble of a building that, unlike all previous forms of human habitation, would be unplanned, responsive, densely monitored, massively customized, and rock-solid, with all modern conveniences.

The closest thing to a viab today is a small, modest mud-working robot invented by Behrokh Khoshnevis, a professor of engineering at the University of Southern California. Khoshnevis’ “contour crafter” works more or less like a 3-D printer, but it’s meant to assemble whole buildings. Its nozzle spits wet cement while a programmable trowel smoothes the goo into place. Roche encountered Khoshnevis, and his agile imagination immediately started pushing the idea toward its limits.

The concept isn’t as alien as it may seem; nature has been doing something similar for eons. Termites build skyscrapers by spitting and smoothing mud, then removing the structure if it gets in the way. A mound is shaped by the activity of the society within it. Roche imagines his viab as a busy termite with a body full of wet cement. It crawls ceaselessly across the structure, spewing new form and gnawing out old form, obeying an algorithm directly linked to the needs of the people inside.

It can also work without people entirely. The moon or Mars would be a natural venue for the concept, a place too hostile for mankind, where viabs could work around the clock: Let robots spit out a city, then settle in when it’s ready.

It might be a long time before a scheme this weird is realized. But suppose it is. Churchill once said, “We shape our buildings, and afterwards our buildings shape us.” He was thinking about how nations evolve over generations, but in Node 1, those processes would play out once a week. The old brick-and-mortar rules would be gone, as though the crowded playa at Burning Man were to raise up mud castles rivaling the Transamerica Pyramid.

Do we need a capacity like that? It’s impossible to say, because the notion is genuinely heretical. It’s not every day that an age-old discipline like architecture coughs up an anomaly that’s unthinkable. This is one of those fine moments.

text via wired mag

Digital Tracery Fabrication
The ambition of the seminar was to interrogate digital prototyping as a working method and form of research that differs from classical “iconic” models of representation.  Working within two parallel forms of inquiry – the design/fabrication of laser cut wood models and the analysis of selective readings – the potentials of contemporary digital modeling was exposed as a speculative practice that embraces iterative making as “design intelligence”.  Critical to this method was the scalability of the prototyping process – each consecutively scaled model raises questions about material performance and constructional specificity.

Students were asked to independently analyze a particular flowering plant with an emphasis on organizational and geometric characteristics.  From their research, students attempted to trap, or intensify a particular trait(s) of their plant through notation drawing and detail modeling by developing simple modules of assembly and building complexity from the bottom up. Working in teams, students tested multiple design variations by fabricating ¼”=1’-0” scale jointed lattices and ¼ full scale joint details using a 18”x32” laser cutter. The intent was to limit the size of the components that form the lattices, so students would have to confront the economies of assembly and structure, while still maintaining the effects of continuity and lightness.

The pedagogical heuristic of the model traces a line through research in two ways: 1. as a tool for conceptual thinking – both the drawing as model and the model as prototype marries the “cognitive-perceptive with the figurative-operative”, 2. as a working method to unlock material and structural performance – the scalability of the prototyping process becomes a rehearsal for the realities of one-to-one construction.

The model based approach emphasized the development of part to whole relationships through jointed assemblies and privileged expressive tectonics as a means to confront scale and simulate the exigencies of construction. Although 3D printing has proven itself to be powerful tool to visualize complex form, its use was discouraged because its lack of materiality and its tendency to produce smooth surfaces with no tectonic differentiation.  The laser cutter was the tool of choice because by default, assemblies have to be made of modules.  The limitations of the tool also demands that 3D form be geometrically constituted from sheet stock with a restricted size.  Tectonic innovation using off-the-shelf materials was privileged over new material technologies.

One project from the seminar was selected for fabrication as a full scale installation to be installed in the gallery at the School of Architecture in November, 2009.  A team of two students have done an independent study over the summer to rationalize the geometry of the analogue model by building a parametric digital model in Rhino Grasshopper.  This has allowed the team to refine the geometry globally while maintaining the part to whole jointed relationships of the components.  A ¼ full scale model has been assembled from laser cut pieces to test the structural and construction sequence of the installation before full scale CNC fabrication proceeds in October.

Credits
Lawrence Blough and Aaron White, Faculty
Chelsea Lipham and Laura Wikesberg, Students
Ronnie Parsons and Gil Akos, Digital Consultants

UPDATE

image via Stephen Lyth 2006

“Deleuze and the Use of the Genetic Algorithm in Architecture”, Speaker: Manuel Delanda, Date: April 9, 2004, Art and Technology Lecture Series

Manuel De Landa, (born 1952 in Mexico City), is a writer, artist and philosopher who has lived in New York since 1975. He is an Adjunct Associate Professor at Graduate School of Architecture, Planning and Preservation at Columbia University (New York), the Gilles Deleuze Chair of Contemporary Philosophy and Science at the European Graduate School in Saas-Fee, Switzerland, a lecturer at the Canisius College in Buffalo, New York, lecturer at the University of Pennsylvania School of Design in Philadelphia, Pennsylvania, and adjunct professor at Pratt Institute the School of Architecture in Brooklyn, New York. He has a BFA from New York’s School of Visual Arts.

He is the author of War in the Age of Intelligent Machines (1991), A Thousand Years of Nonlinear History (1997), Intensive Science and Virtual Philosophy (2002) and A New Philosophy of Society: Assemblage Theory and Social Complexity (2006). He has published many articles and essays and lectured extensively in Europe and in the United States. His work focuses on the theories of the French philosopher Gilles Deleuze on one hand, and modern science, self-organizing matter, artificial life and intelligence, economics, architecture, chaos theory, history of science, nonlinear dynamics, cellular automata on the other. De Landa became a principal figure in the “new materialism” based on his application of Deleuze’s realist ontology. His universal research into “morphogenesis” – the production of the semi-stable structures out of material flows that are constitutive of the natural and social world – has been of interest to theorists across many academic and professional disciplines.

We are pleased to be able to share the profile on Dr.Haresh Lalvani of Pratt Institute that was originally posted on core.form-ula Dr.Lalvani has spent the last 30+ years building an incredibly rich body of work that has pushed design to new limits.   Dr.Lalvani has been working on many ideas through out his career, this a small percentage of this work within this profile.  Over the course of the next few weeks, they will introduce some more experimental work coming out his Morph Studio and Milgo-Bufkin and you will be able to see it on core.from-ula.

At the Morphology Studio,  the intersection between design and technology is dealt with everyday to create new architectural surfaces and spaces that can be realized, not just imagined.  The ability of the Morph Studio to prototype ideas is a unique opportunity, one that we all strive for as designers to have.

I have been very lucky to have taken his Pratt studios and be involved with his Morph Studio since 1998;  I know many of the generations of Pratt students alike have been greatly influence by his teachings as well. Enjoy>

10D Quasi-crystalline Model (1985-86), with Pratt students

5D Hyper-grid System (1987, 1998)

(Text by Haresh Lalvani; excerpted from the AD book The Organic Approach to Architecture, eds. Deborah Gans and Zehra Kuz, 2003, Wiley-Academy))

Genomic Architecture

Genomic architecture is based on the manipulation of the architectural genome. Like its biological counterpart, this genome is universal and encompasses all architecture — past, present and future. At its root, this genome is defined by a unified morphological genome, a universal code for all morphologies — natural, human-made and artificial. Morphogenomics, a possible new science, deals with morphological informatics. It includes mapping the morphological genome as a basis for generative morphologies that underlie the shaping of architectural space and structure. Once mapped, the morphological genome will need to be layered with other genomes (also requiring mapping) to cover different aspects of architecture: physical (e.g. materials, construction technologies), sensorial, cognitive and behavioral. Genomic architecture, based on the layered genome, encompasses an integrated world of “artificial architecture” (used in the same sense as “artificial intelligence” and “artificial life”), a world of complexity evolving in parallel with the natural world. It is a morphologically structured network of information that determines architectural taxonomies and phylogenies, permits digital manipulation of form in the design process, and enables mass-customization in digital manufacturing.

Limits of Organic Architecture

The meaning of the term “organic architecture”, which draws its inspiration mostly from biology, keeps evolving with increasing knowledge of nature combined with foreseeable technologies. As new technologies emerge, architecture becomes more organic in its scope, intent and realization. The upper limit to this sort of bio-mimicry would be biology itself. Buildings would grow , respond, adapt and recycle, they would self-assemble and self-organize, they would remember and be self-aware, they would evolve, and they would reproduce and die. Organic architecture, were it to attain biology, would design itself. It would also perpetuate itself. Architecture would then become “life”, and paradoxically, buildings would no longer need architects. Organic architecture, in this limit case scenario, would also define the end of architecture (as we define it now).

11D Portion of the Morphoverse (Morphological Universe).

Extrapolating from projected technologies of the future , a scenario like this one is quite possible, even inevitable, but it is flawed for two reasons. First, biology as a goal for organic architecture assumes that such a biology (namely, existing biology) is frozen in time since it is based on “life” as we know it presently. Extrapolation of architecture from present biology ignores past and future biologies. Nature’s ongoing experiment comprises structures that are extinct, structures that exist now, and structures that have yet to appear. The definition of ‘organic’ must thus encompass all biologies: past, present and the future. Second, it ignores the creation of the new, e.g. new materials (new chemistries) not found in nature, new technologies not found in nature and new organisms (based on known or new biologies) not existing in nature. Besides new natural biologies, the term ‘organic’ must thus include artificial biology as well. This is where the line between human designs and those made by nature becomes a continuum.
Unifying Laws

What unites the natural and the human-made (including the artificial) are fundamental laws, the laws of nature. Our knowledge of nature and human-made constructions evolves such that these laws become increasingly more encompassing, tending towards the natural upper limit of a single unifying law for everything (as in the current search in physics, for example). Whether this limit is attainable is an open question. The natural and the artificial are facets of organic architecture that are joined at this fundamental level. This is true of biology and buildings. The morphologic possibilities within these two worlds fall within a single morphological universe governed by unifying laws of form that are common to both. It is governed by the mathematics of space, structure and form. When physical constraints (size, material, movement, weight, stability, building method or forming process, etc.) are imposed on form, this universe shrinks through the elimination of mathematical structures that are physically unrealizable. The physics and chemistry of form delimits the morphological universe.

(an excerpt of lecture given by Haresh Lalvani at the Noguchi Museum, 2005; Video by Victor Acevedo)

The expensive–and comparatively slow–press brake machine could be made obsolete by Milgo/Bufkin’s AlgoRhythms Technologies. Photo:Robert Polidori for Metropolis

The computerized water jet cutter (above) and the laser cutter, some of the factory’s sophisticated fabricating tools. Photo: Robert Polidori for Metropolis

Following is the article from Metropolis magazine, June 2003, describing Lalvani’s collaboration with Milgo,

Bend the Rules of Structure
A Brooklyn metalworking shop with an unlikely name may hold the key to 21st-century shapemaking.

By Peter Hall

As company names go, Milgo/Bufkin sounds almost Dickensian. Pushing open the hefty rust-coated steel door of the company headquarters, I half expect to be greeted by a scrawny Mr. Milgo and a plump Mr. Bufkin, with polished bald heads and prominent nose hairs. The truth is almost as good. The Milgo/Bufkin factory, founded in 1916 in a toxic corner of industrial Brooklyn, is where the drawings and doodles of designers and sculptors are turned into palpable reality. It is the art-and-architecture world’s little secret.

The chief of this family-owned business is not a Milgo or a Bufkin, but Bruce Gitlin, who offers a hearty handshake and speaks in an accelerated voluminous manner as if someone might be about to interrupt him. “The name never meant anything to me,” he says, adding that Milgo/Bufkin is a fabrication (appropriately enough), a conflation of an off-the-shelf company name Milgo Industrial and Bufkin Enterprises, named after all the first initials of his children, nephews, and nieces. In the last 40 years the firm has built work for the whole canon of art sculptors: Donald Judd, Claes Oldenberg, Jeff Koons, Richard Serra, Robert Indiana, and Matthew Barney. It has fabricated the metalwork in some of New York’s best-known lobbies, entrance doors, and facades–including Tiffany’s, Bloomingdales, Lever House, Trump Tower, the Ford Foundation–and that large number “9″ outside 9 West 57th Street. And this is only the beginning of the tour.

AlgoRhythm Wall System (lacquer finished steel) Photo:Milgo

Gitlin is about to show me a project that he believes will “change all manufacturing in the world.” The brain behind the manufacturer’s bravado waits in the company boardroom–a scholarly figure with a salt-and-pepper beard and a scrutinizing bespectacled gaze. Haresh Lalvani is a professor of architecture at Pratt Institute and a self-described “architect-morphologist.” Together Lalvani and Gitlin have invented AlgoRhythms, a bad pun but a unique initiative involving some large bending machines, a grand theory, and, well, the future of architecture.

AlgoRhythms describes a method for folding a single sheet of metal into complex and elaborate forms, based on Lalvani’s calculations. By way of introduction, Lalvani borrows a sheet of paper from my notebook. The structural engineer Robert Le Ricolais, he explains, established that “by crushing structures we reveal what they want to become.” Lalvani rolls the sheet of paper into a cylinder and then strikes it sharply at the top with the heel of his hand. The cylinder crumples at the center, creating several apparently random folds. To Lalvani these are not random, but the key to the underlying deep nature of structure. “Any skin under some sort of force wants to take on a natural pattern,” he says. “These patterns have some morphological laws. We are working with that idea and applying it to metal.”

The first AlgoRhythms prototypes are arranged around the table and propped against the walls of the studio. There is a ceiling panel of rippling steel, an undulating wall panel, and a series of steel maquettes of column covers that curve and flow in waves. Though the twisting metal might remind one of the by now near merchandised signature of Frank Gehry, they’re not derived from one man’s intuitive sense of proportion or aesthetics but generated from algorithms based on Lalvani’s architectural “genetic code.”

AlgoRhythm Wall (computer rendering)

For more than 30 years Lalvani has located his career at the intersection of architecture, nature, and higher mathematics, where, he says, he is working to “decode the architectural genome” and discover the elemental principles underlying natural and artificial form. In other words, DNA, nature’s building blocks, has a counterpart in the artificial world that can be used to generate structures. Thrust across the meeting table is one of Lalvani’s many diagrams of these structures, showing progressive variations–in several dimensions–of the Buckyball, the 60-atom carbon molecule shaped like a soccer ball (named by scientists after R. Buckminster Fuller’s geodesic domes). Lalvani began identifying such variations on a theme at Pratt in the early 1970s, and in the early ’80s he developed a code for generating variations of Islamic motifs. At Milgo/

Bufkin he has applied automatic shape making to metal manufacturing. Setting out to modulate a stiff metal surface into several rigid curved surfaces without weakening the material, Lalvani developed a series of algorithmically generated geometries. These were then translated (by a former student, Neil Katz) into computer models and fed into computer-controlled machinery that marks and laser cuts sheet metal and readies it for folding (which is currently done manually).

Gitlin holds up a large piece of metal with corrugated curves. “I can only do this with the formulas that Haresh gives me,” he says. “There’s a whole new body of shapes and forms that have come out of his work that allows us to do things that have never been seen before. It’s opened up the design palette enormously.”

AlgoRhythm Wall (lacquer finished steel) Photo:Milgo

Lalvani does not stop there. He argues that if his artificial genetic code were to be combined with biological or physical building processes, buildings could eventually be “grown” into any desired shape. Architecture would be able to design itself. Lalvani is not the first theorist to propose self-generating buildings. His Pratt colleague William Katavolos introduced the idea of growing architecture more than 40 years ago in his book Organics, and more recently architect John Johansen has proposed that with molecular engineering atoms can be encoded with shape information that would permit controlled self-production. But Lalvani appears to be the first to provide a systematic means for this to happen, by borrowing from biology the conceptual model of the genome. This presumptuous adaptation would strike some scientists as audacious, pointless, or even insane. Mathematicians would not be troubled by using algorithms to generate forms, but might balk at the idea of Lalvani’s “hyperuniverse of form,” where all patterns are indexed within a unified database. Indeed wading through one of Lalvani’s papers, replete with his idiosyncratic phrases–his “architectural genome” and “morphological universe”–can be a bewildering experience. But Lalvani has done some homework. Loren Day, a virologist and research professor at New York University School of Medicine, met Lalvani recently and was surprised by the extent of his understanding of molecular biology. “I must say Haresh is very familiar with much of the work being done in viruses,” Day says, adding that Lalvani’s knowledge of the morphology of viruses, most of which are structured like Buckyballs, led him to the concept. As for the validity of applying the genome to artificial forms, Day offers cautious confidence. “I wouldn’t say it’s valid, but it’s very useful as a broad concept–the idea that one can break down forms into their elemental components, which are the building blocks. If I understand it correctly, you apply simple rules to these building blocks and generate remarkably diverse structures. And Haresh is doing just that.”

Algo-Ceilings

Whether or not Lalvani’s AlgoRhythms are the first pillars of a self-constructing citadel, they have immediate potential to structural engineers like Vincent DeSimone, whose firm has worked on a number of Gehry buildings. “If you take a piece of steel and bend it, it gets an inherent strength out of the geometry of the bend,” DeSimone says. “A lot of times when you want to make a warped surface in metal you literally have to stretch it. Lalvani’s algorithms have given you a method where, by folding along perforations, the metal is never stretched.” The distinction between AlgoRhythms and the sculptural steel surfaces of Gehry’s building, DeSimone says, is that “Gehry’s is a free-form surface; Haresh’s is a 3-D solids model.” At Gehry’s new Fisher Center for the Performing Arts, at Bard College, for example, the undulating stainless-steel roof functions as a rain and snow shield, but the load is carried by a series of ribs underneath–the “real roof,” as DeSimone puts it. With Lalvani’s technique, in theory an entire building could be made of load-bearing folded metal.

Algo-Ceilings

The difficulty with using metal for structure is that it has a tendency to perform badly in the intense heat of a fire. DeSimone proposes filling the folded metal forms with concrete. “The panel would be an external form of reinforcing,” he says. “You could come up with a designer’s dream, which would be an exposed structural-steel metal building.” He adds, “I can see walking into a building where the lowest structural columns are magnificently folded pieces of titanium and they’re real: the titanium is not just an appliqué but integral to the strength of the concrete.”

Algo-Structures

Gitlin drives me in his Range Rover toward the Milgo/Bufkin “art shop,” where the AlgoRhythms are fabricated. Through the car windows are the bleak industrial hinterlands of Brooklyn, which have been stamped out of once fecund farmland by a succession of manufacturing industries. Shipbuilding gave way to printing, pottery, glass, ironworks, and finally, oil. When a refinery opened in Greenpoint in 1867 and began draining its refuse into the nearby creeks, the local fish and blue crabs promptly expired, as did most traces of organic life. It seems ironic that the molecular structure of nature might now provide the key to the future of the built environment.

Gitlin’s Russian immigrant grandfather founded the company as a wooden carriage-making shop in 1916. That business dwindled, and the firm, then named Builtwell, turned to making horse-drawn wagons, which were shortly thereafter eclipsed by the motor car. After the depression the firm switched to making truck bodies, another tough business. Gitlin says his grandfather would collect overdue payment armed with a crowbar. When his father took over, most truck buyers were Italian-Americans, and many of his customers seemed to have Mafia connections. In 1963 Gitlin walked in, age 21, armed with a metallurgical engineering degree, and told his father to dump the lot and move into high-end architectural metalwork and art fabrication. “I had no customers–no work–but my father believed in me,” Gitlin recalls. “I didn’t know what the hell I was doing, but we changed the whole business.”

Algo-Structures (truss)

We arrive at an intersection outside the art shop, an area Rem Koolhaas might call “junkspace.” Across the street is Gotcha Auto Salvage and Acme Steel Doors. The art shop is a nondescript brick warehouse building with a giant billboard on its roof, positioned for the benefit of drivers on the Brooklyn Queens Expressway, which roars overhead. The word Milgo is daubed crudely in paint above the door.

Stepping through the door, however, is like entering a fantastical grotto of shining steel, bronze, and oxyacetylene. A technician is filing a small bronze sculpture. Sparks fly from the dark corners of the shop. Shoved against a grille-covered window is a steel tree with perfect shining petals. A packing crate lying casually on the floor bears the stenciled letters “JUDD–RED COPPER PROGRESSION 1985.” As we move toward the back of the shop Gitlin points out a 15-foot-high John Romandi piece named Pyre, and introduces me to the head of the art shop, a looming figure with an iron handshake. Alex Kveton showed up at Milgo/Bufkin’s door one day in 1983, according to Gitlin, and said, “I’m here to work for Milgo.” A renowned sculptor in Czechoslovakia, Kveton and his wife had fled the country and come to Greenpoint with only one goal: a job at Milgo/Bufkin. Gitlin asked how he knew about the firm. “Everybody knows about Milgo,” Kveton said. “I read the art magazines.”

Kveton continues to work as a sculptor (a metal headless horseman currently sits in the shop waiting to be shipped to its client, the town of Sleepy Hollow) but is also responsible for turning Lalvani’s research ideas into metal. I ask him what was the biggest challenge of the AlgoRhythms project. “Figuring out how to make it,” he says bluntly.

Algo-Umbrellas

Lined up side by side, the full-size 12-foot-high AlgoRhythms columns begin to reveal their power as mutable forms. They make a curious platoon, twisting and rippling like some sort of dramatized baroque rebuttal of the machine age’s claim to a rectilinear world. But I am struck by how easily Lalvani and Gitlin’s grand project might be limited by this array of curving steel, how Milgo/Bufkin might be pigeonholed as providers of fancy metal coverings, the stamped tin ceiling of the twenty-first century.

Lalvani is anxious that his work not be portrayed as the development of trendy shapes; this is an entire system for generating infinitely variable form. Like Fuller before him, he cleaves to the idea that when science begins to mimic nature at a molecular level, it moves into a realm outside of fashion. When I raise the possibility that AlgoRhythms might be a victim of architecture’s fickle aesthetics, he protests: “How can you say that life will become outdated?” He concedes that “there’s a danger that if we restrict ourselves to metal it will have a certain life span–and that’s purely circumstantial.” He adds, “This is just one case study.”

Algo-Walls

Lalvani and Gitlin are already at work on another project they refer to as “universal skin.” Though reluctant to divulge details, they hint at a technique whereby any sheet material can be morphed and expanded into any shape following Lalvani’s algorithms. At the more speculative end of his design work, Lalvani has rendered entire virtual environments of morphologically encoded structures. A Column Museum proposes a space filled with a sampling of all possible architectural columns past, present, and future, arranged as physical display or in virtual space with numerous entrance and exit points. The dazzling Waveknot proposes opaque corrugated glass-and-metal modules forming an undulating surface defined by a simple knot, such that the surface becomes both inside and out.

Algo-Columns

In five years, Lalvani says, enough of the morphological genome will be mapped and the project will have a strong enough scientific foundation to make it publicly available to other researchers to help advance. “First I want to make sure it has a foundation,” he says. “When it’s grounded in mathematics, you’re not just giving an opinion.”

The project certainly won’t fail for lack of conviction. When Gitlin was first introduced to Lalvani by his friend and colleague John Lobell in 1996, Gitlin listened to Lalvani for “about five minutes,” he says, and knew he was ready to collaborate. Gitlin’s next hurdle, however, is to finance the manufacture of machinery that can mass-produce–or mass-customize, rather–the AlgoRhythms. So far most of the project has been funded out of Milgo/Bufkin’s coffers. One scheme received additional support from Pratt and a two-year grant from NYSTAR (New York State Office of Science, Technology and Academic Research). Gitlin is discussing partnerships with two research-heavy universities. The result, he imagines, would be a giant “organic machine” capable of producing sections, seats, cars, even tunnels.

Lobell adds that mass customization will present designers with the ultimate ideal: “The designer logs in, sees an image on-screen, starts pulling and distorting it with the mouse to get exactly what he wants, clicks, and the design goes straight to a laser cutter. It’s FedExed to him the next day.” As for the fashionable nature of the project’s implied themes, Lobell–an architect–has no qualms. “The current demand of the profession is for curves,” he says ironically.

Algo-Curtain Wall

Alicia Imperiale, an architectural theorist and author of New Flatness: Surface Tension in Digital Architecture, believes there is a link between Lalvani’s work at Milgo and the architecture of Herzog and de Meuron, Greg Lynn, and Foreign Office Architecture (notably their Yokohama Terminal project). Lalvani, she notes, has arrived on similar terrain from a different starting place. “He has found a logic between morphological change–the way something looks–and how it performs,” Imperiale says. “Because of his understanding of the fluid dynamics of surface, he’s able to manipulate that and use the forces to let it support and sustain itself. I find that compelling and efficient. I would love to see how an environment would be made with these forms.”

The distinction between Lalvani and his more celebrated peers in the realm of commercial architecture is that he did not set out to translate postmodern ideas into headline-grabbing buildings. His goal was simply to continue his graduate studies. The incentive to put theory into practice came from more practical considerations. According to Gitlin, Lalvani wanted to send his son to private school and couldn’t afford to. Gitlin says this with the affable swagger of a Brooklyn businessman. The more measured but beguiling delivery of Lalvani, the academic immigrant from India, makes a striking contrast. They’re an odd pair. But it’s encouraging to think that pure research has met a real-world partner in the form of a family-owned metalworking shop in Brooklyn.

Toward the end of my visit Lalvani takes me out to get coffee from a stainless-steel canteen truck parked under the expressway to serve local factory workers. He tells me, with a gleam of delight in his eye, that he thinks of Milgo/Bufkin as “romantic.” For a theorist immersed in one field for decades to suddenly see his ideas made manifest must be a rewarding experience. As for Milgo/Bufkin, it’s a collaboration that could take the venerable Greenpoint firm well into the twenty-first century.

Algo-Spaces

Soft-Algo

Xurf Ceiling Light Fixture (2009), Na Ok Woo Conference Room, School of Architecture, Pratt Institute (with architect Richard Scherr). Photo: Ajmal Aqtash.

Tri-Hex Xurf (2007), Siggraph2008 exhibit, Los Angeles. Photo: Ajmal Aqtash.

Zig-Zag Xurf (2008), detail; presently on display at the Philoctetes Center, New York.

HyperSpheroid (2008), detail; Siggraph2008 exhibit, Los Angeles. Photo: Ajmal Aqtash.

Xurf Mirror (2008). Photo: Bruce Gitlin.

Lalvini (above, on the left) stands with Milgo/Bufkin chairman Bruce Gitlin in front of AlgoRhythms forms.Robert Polidori for Metropolis

HISTORY

Bruce Gitlin, owner and CEO of MILGO BUFKIN, long desired to create origami in metal. If a delicate bird could be created from a sheet of paper, he wondered if a sheet of metal could be similarly folded to yield elegant new forms.

Gitlin’s grandfather started MILGO/BUFKIN in 1916 as a truck body shop, and his father expanded the company to bend metal for architectural applications. Gitlin discontinued the truck work, added the fabrication of sculpture, purchased state-of-the-art equipment, and developed new technologies, growing the company exponentially. For the past forty years, MILGO/BUFKIN has continually introduced new materials, finishes, and technologies to support the innovations of leading architects, designers and artists.

When Gitlin was searching for new approaches that would transform architecture in the new millennium, he met Dr. Haresh Lalvani, a prominent architect-morphologist, known for his use of higher dimensional mathematics to create structures based on new geometries. Dr. Lalvani has been a professor for the past thirty years at Pratt Institute, the New York based, internationally acclaimed school of art, architecture and design.

Their serendipitous meeting began a collaboration that enabled Dr. Lalvani to combine decades of research and many patented inventions with MILGO/BUFKIN’s cutting-edge fabrication technologies. Their collaboration over four years of research and the filing of several patents led to AlgoRhythm Technologies, a division of MILGO/BUFKIN dedicated to the design, production, and marketing of a unique line of architectural products with curvilinear surfaces.

The transformation of AlgoRhythm Technologies’ designs into products was facilitated by the metal working expertise of Alex Kveton, a sculptor with a fine arts and industrial design background. Also key to the effort was the computer modeling of Neil Katz, a former student of Lalvani’s and now an associate at Skidmore, Owings & Merrill. Katz used advanced software to translate Dr. Lalvani’s algorithmic concepts into computer models used to manufacture the products and to generate some of the images used in this brochure. The images were then computer-rendered by Mohamad Al-Khayer and Ajmal Aqtash, former and current students respectively.

Dr. Lalvani’s new architectural forms can transform the design field, for they facilitate the creation of endless variations of integrated design environments with innovative, curvilinear surfaces. For AlgoRhythm Technologies’ potential economic impact and industry-leading ideas, New York State recognized the project in 2008 with a coveted NYSTAR (New York State Office of Science, Technology and Academic Research) grant in affiliation with Pratt Institute.

Bruce Gitlin and Dr. Haresh Lalvani have created a new architectural language grounded in nature and higher mathematics. They have gone far beyond their initial search for origami in metal.

HARESH LALVANI, Ph.D. AlgoRhythm Technologies is the culmination of Dr. Haresh Lalvani’s career in combining architecture and higher mathematics to create a new architectural vocabulary of surfaces, especially in metal. A professor at Pratt Institute for the past thirty years where he has influenced generations of designers and architects, Dr. Lalvani holds a Ph.D. in Architecture from the University of Pennsylvania. Known worldwide for his morphological, structural, and design innovations, he serves on the editorial boards of Space Structures, (U.K.), and Structural Topology (Canada). He is also affiliated with The Structural Morphology Group (European-based), the International Association of Shell and Space Structures, the Japan Institute of Hyperspace Science, and ISIS-Symmetry (Hungary). An award recipient from the Graham Foundation for Advanced Studies in Fine Arts, the National Endowment for the Arts, and the National Institute for Architectural Education, Dr. Lalvani continues his groundbreaking work as an artist-in-residence at the Cathedral of St. John the Divine in New York and as the Co-Director of the Center for Experimental Structures at the School of Architecture, Pratt Institute. He is a MILGO/BUFKIN Design Fellow. Dr. Lalvani holds numerous patents that combine morphology, mathematics, and design. From his playful and challenging Metapuzzles to his discovery of Hyper-Geodesic Structures for architecture, he has combined his love of both art and mathematics to generate new languages of design. © Milgo Industrial Inc., 2002

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