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volume 01

Innovation doesn’t happen in isolation — Maria Aiolova

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How can we save our cities in the era of polluted air, climate change, and general urban chaos? What does the city of the future look like? Who is responsible for it? Maria Aiolova—co-founder of Terreform ONE, educator, mentor, architect and urban designer, and ecological design specialist—speaks about the most pressing problems currently facing urban societies and problem-solving possibilities.

Maria Aiolova is the co-founder of Terreform ONE, an educator, architect, and urban designer in New York City. Her work focuses on the theory, science, and application of ecological design. In 2013, Maria was appointed Academic Director of Global Architecture and Design of CIEE (Council on International Educational Exchange)[01]. Currently, Maria chairs the ONE Lab NY School for Design and Science and the One Prize Design and Science Award. She is an institutional adviser to New Lab at the Brooklyn Navy Yard. She won the 2013 AIA NY Award for Urban Design[02]. Maria is also an inventor who holds 18 technology patents. www.aiolova.com www.terreform.org

Laka: I was intrigued by your TED Talk, in which you raised the topic of a zero-waste society. For the last few years, I’ve been observing small-scale zero-waste movements—people who have chosen to go zero-waste and change their household habits to support the planet and be healthier. You believe that it is possible to achieve a waste-free world through construction. Could you tell me more about how this could be done?

Maria Aiolova: We started from the idea of the city, looking at the amount of waste a city produces. Today, over 36 thousand tons of waste per day are produced here in New York City, and we don’t have anywhere to put it anymore. It used to go to Fresh Kills landfill, which was the last place we could deposit waste, and that was closed in 2001. It was only reopened for a few months after September 11 to place the debris from the Towers. Currently, New York has to pay a lot of money to other states: waste goes as far as Ohio and North Carolina. It’s shipped by trucks, trains, and barges, which, in addition to being very costly, also contributes to greenhouse gas emissions. This is a very unfortunate situation. We worked with different waste streams to see how waste is being separated and how we can use it to produce building blocks. We’ve done the research and found out that we can start with aluminum cans and organic waste digested by mycelium to produce a building block that has the same strength as a brick. We have illustrated it in what we have called ‘The 24-Hour Tower.’ This model has traveled around the world, and the idea is that by utilizing this technology with New York City’s waste, we can build a 54-story tower every 24 hours.

The technology can be integrated into the construction process. You can have waste brought directly to the construction site, in which case the production happens on site. It is hard to imagine that we will ever employ this technology in building high-rises. However, it applies to places in the developing world, where construction materials are scarce and expensive. We have worked on a grant application for a technology transfer working with a favela [a low-income urban area] in São Paulo, Brazil. We’ve calculated that you can set up a small shop to manufacture these building blocks. In that part of the world, it would cost roughly 500 US dollars. You need a small hydraulic press and a greenhouse-type incubator to grow the mycelium and digest the organic waste.


Fig. 01 ‘Rapid Re(f)use: Waste to Resource City 2120’: a project that remakes New York City by utilizing trash at Fresh Kills. It underlines the idea of a future city that makes no distinction between waste and supply.

Has anyone done any research on the impact of the construction material on people? What sort of impact does mycelium have on the inhabitants, and what are its other properties?

Mycelium is basically the root structure of mushrooms. It’s a material that’s virtually free—it’s a naturally occurring microorganism. You can use it to digest waste or agricultural byproducts. In seven days, you can grow a biopolymer which has very good properties in terms of strength, good sound-proofing, and water resistance ability. It also has a significant R value [a measure of thermal resistance]. You can then use it in combination with other materials to achieve a full construction system. Another advantage is that it’s obviously a method of utilizing waste. At the end of its life cycle, you can basically crumble this material and put it in the garden so it can feed other microorganisms.


Fig. 02 ‘Mycelium Blocks: Mycelia Amalgamation Methods for Urban Growth’: a project that aims to establish a smart and self-sufficient construction technology by combining fungal mycelia with varying types of organic substrates to create a structure that grows from strains of fungi into a 3D fabricated geometry.

Since your area of expertise is also ecological urban design and the cities of the future, I would like to ask your advice on a very recent problem. In Poland, but also in many other areas of the world, we’ve seen a reduction in air quality. It is shocking for us, as we used to consider Poland a very green country of pure nature, and now we’re often being told we should stay at home. In Warsaw, it is believed to be caused by the fact that areas which were planned to be aeration zones to ensure good air circulation in the center are now used as new residential areas, completely built-up. Do you think there are ways of reversing this phenomenon by applying new ecological planning solutions to the existing urban structure?

This field of science is called urban ecology. Traditionally, ecologists studied the environment outside cities. Therefore, we simply don’t have the data to make informed decisions about cities. If you consider urban ecology, you cannot just look into living systems—you have to look into buildings and infrastructure. We have to collect data. With forestry studies, we could look into the watershed, but in the city, we have to look into the sewage shed. We have to investigate the sewage flow to see how it impacts the environment. Similarly, thinking about the air quality, you have to consider how buildings affect air circulation. Fortunately, we now have very sophisticated equipment and technologies, and sensors are getting cheaper. However, we still need the agreement that this has to be addressed and funded so we can gain more understanding.

We have this concept called productive green space. Think of parks and even trees in the cities. They are not just for recreation—they are productive, and they absorb carbon dioxide, producing oxygen at the same time. Productive green spaces also have the ability to absorb stormwater, because they offer a porous surface. However, it is important to understand the production of every single tree in the city. In fact, several years ago, we worked closely with Bloomberg’s administration on one of the projects he implemented here in the city called ‘The Million Trees Project.’[03] It was a part of the 2030 plan for New York City. The projection was that there will be another million residents moving into the city by 2030, so let’s plant another million trees. The Parks Department plan was to do this project as an experiment. To learn what it means to plant a million more trees, you must structure it so that you can have repetition, and you can collect data.

I have been reading about Poland in the New York Times. My deep personal belief is that now we have the knowledge and the technologies to solve these problems. It’s about coming to agreement and using citizen engagement. I think if you have enough citizens participating in a campaign, you can succeed. There was a program right after the disaster in Fukushima in Japan. Joi Ito[04], who had just become the Head of MIT Media Lab, organized a campaign where regular citizens could have Geiger counters and collect radiation data. I think it’s about data and knowledge, but also, it’s about being a citizen. Being active is a way to address these problems. 


Fig. 03 ‘Bio City Map of 11 Billion: World Population in 2110’: an experimental approach to researching a possible development of population density in cities using a living population of bacterial cells (E. coli).

The common efforts of not only citizens but also interdisciplinary scientists are necessary to solve these issues. What will the city of the future look like? What is urbaneering?

Urbaneering is a discipline that combines architecture, urbanism, ecology, media arts, and community building. It strives to reinvent the multifarious elements that comprise a city. Its practitioners are not planners, urban designers, or architects, but urbaneers. And their task will be to facilitate the globe’s next metropolises. Urbaneering undertakes a diverse range of projects as a prescription for maximal design. It practices totalized schemes that rethink all scales of involvement, from the doorknob to democracy. Its projects range from materials to transportation systems, open spaces, buildings, cities, and surrounding regions. Currently, a few urbaneers have shaped phytoremediation[05] ponds, fungi mycelium blocks, in vitro meat habitats[06], living woody plant structures, rooftop farms, soft cars[07], blimp buses[08], e-waste bots[09], urban junkspace, and city-wide action plans. To inspire interdisciplinary innovation and creativity, urbaneers encourage people to switch roles: architects must design cars, automotive engineers must devise eco-systems, and ecologists must draw up buildings. Bridging the realm of experimentation and everyday life, urbaneers seek to envision the complexity that encompasses formative metropolitan regions. At its core is a variety of utopian agitation that dispels the defunct myths of modernism with equitable objectives. An urbaneer replaces implausible rules and master planning with suggestive memes and polemical models. It is hard to argue with amorphous memes like ‘city beautiful,’ ‘garden city,’ or ‘smart growth.’ The public can rally themselves around these open-ended symbolic gestures and phrases. Since the meme is not fully explicit, the concept leaves room for broad cultural interpretations. It’s almost exactly what communities yearn for: freedom to define their own urban spaces.

Everyone should feel responsible. But who are urbaneers?

They are multidisciplinary professionals, and their role is to regenerate, pioneer, and sustain the future of the urban realm. It’s not just up to the architects, planners, designers, and developers, but everybody should participate in this process. Chefs, firemen, teachers, they all play a role in the future city, but that requires a new type of education that is truly interdisciplinary. You still have your own craft and your own expertise, but you are working in a multidisciplinary team, and you have the ability to collaborate and learn new things.

That’s a really innovative way of thinking about a city and a district. For me personally, it was a big surprise to learn that it is possible to transform a city (or a district, in the case of Brooklyn) that uses about 6% renewable energy to one using over 90%. And I’ve been wondering, how much time does such a transformation take to first educate and then incorporate all the solutions?

This study was done eight years ago, so hopefully this number has changed! I think we already have the technologies. We have done quick calculations that if you install photovoltaic panels on the roofs of existing buildings, you can produce enough energy to power a whole city. Our primary assertion for the next city is that all necessities are provided inside its accessible physical borders. In this intensified version, all vital needs are supplied for its population. In this city, food, water, air, energy, waste, mobility, air-quality, and shelter are radically restructured to support life in every form. Infrastructure is celebrated as the new center. The strategy includes the replacement of dilapidated structures with vertical agriculture and housing merged with road networks. Former streets become snaking arteries of livable spaces embedded with renewable energy sources, soft cushion-based vehicles for moving, and productive green rooms. The plan uses the former street grid as the foundation for up-to-the-minute networks. By reengineering the obsolete streets, we can install radically robust and ecologically active smart pathways. These operations are not just about a comprehensive model of tomorrow’s city, but an initial platform for discourse. Urbaneers expect the future will necessitate marvelous dwellings coupled with a massive cyclical resource net. The future will happen; how it’s achieved is dependent upon our planned preparation and egalitarian feedback. We aim to respond to the variety of forces that influence critical thought about design and construction within contemporary local and global conditions. We approach each project with an almost unlimited perspective. Our aim is to counter the confounding and destructive effects of globalization. We hold that globalization’s very nature defies the simple categorization of projects by size or locality. Our design processes and decisions engage with forces that link the smallest elements of construction to the most massive urban sites. We have investigated breakthroughs, from hydrogen power to cellular cultures, and speculated on their future potential in cities. As humans, we aspire to generate an ideal lifestyle. Investigations described through Urbaneering are centered on the comprehension of socio-ecological spheres of living. They seek to produce fresh reifications of the utopian city. This may be best accomplished by further understanding architecture and urban design as instrumental in the development of societal-based innovations. In order to verify this vision in a socio-ecological realm, the aim is to structure an investigation of mutable urban conditions as they pertain to global crises and phenomena. The emphasis is placed on the role of urban designers as key actors in the formation of our environment.


Fig. 04 ‘Cricket Shelter: Modular Edible Insect Farm’: a design that combines a shelter and a modular insect farm into one structure


Fig. 05 ‘Cricket Shelter’: according to Terreform ONE, harvesting insects for food takes three hundred times less water for the same amount of protein.

Basically, the cities of tomorrow are being born today.

Yes, absolutely!

You are very innovative in all of your endeavors, activities, and interests. What is important to provide in order to allow the occurrence of innovative design?

I believe that today innovation doesn’t happen in isolation. You need a kind of charged space. I believe that if you are surrounded by smart, creative, and innovative people, it makes you more creative and more innovative. The world we live in today is so complex that we cannot do things alone. It requires collaboration.

What are your thoughts on the role of competitions such as the Laka Competition in the pursuit of innovation?

I think competitions are very important because they offer a platform for young professionals. You can test your ideas, learn from each other—it keeps them active. Often, your career paths take you in a different direction, and it’s hard especially for young professionals to test ideas very quickly. I think competitions such as Laka are important because they offer the forum of ideas exchange. I ran competitions myself, and I know the amount of work and commitment that it takes, so kudos to you! Continue doing it, and especially in a part of the world where it is needed.

I am also bringing up the topic of innovation because of the workshops you organize through Terreform ONE. What is your design philosophy within the group?

ONE Lab[10] was founded as an urban non-profit group concerned with research and education in the synthesis of design and science. We began as an extraordinary think-and-do-tank of architects, engineers, artists, biologists, designers, urban ecologists, physicists, and planners seeking alternatives to traditional forms of teaching and professional practice. Through this interaction, we discovered the need for an interdisciplinary pedagogical-free zone, where students and practitioners can generously discuss and conduct experiments that have a positive effect on the global community. ONE Lab is dedicated to cultivating change. The laboratory advances professionals towards an intellectual scheme that recalibrates the meaning of ‘city.’ ONE Lab promotes the investigation and erudition needed for the first generation of urbaneers. Each urbaneer is an individual with a different set of versatile abilities that merge previously disparate occupations.

They range from ecological architects and engineers to action-based urban planners and developers. Almost any recombined professional activities can work, so long as they meet the constantly changing needs of urbanization. Ultimately, the job of city creation belongs to everyone—including a new force of highly trained specialists. A few of the projects developed in Terreform ONE were implemented. What are some of your favorites? The very first workshop was focused on urban agriculture. This was a new movement at the time, especially in cities where there is not much land. One of the students was a landscape architect from Chicago who led a team that designed mobile farms. It was a planter box that’s big enough to have a small garden with a sub-irrigation system to keep good moisture and nutrient levels. You can move the farm to track the sun. After the summer workshop, she went back to Chicago and started her own non-profit to teach people how to build mobile farms themselves.


Fig. 06 ‘Plug-in Ecology: Urban Farm Pod with Agronomy’: a cabin that can be adapted to different habitation requirements, locations, and lighting conditions. The design aims to grow and provide daily vegetable needs for its inhabitants.


Fig. 07 ‘Urbaneering Brooklyn 2110: City of the Future’: a future concept of Brooklyn that supplies all vital needs for its population through vertical agriculture, housing merged with infrastructure, renewable energy sources, and a new approach for mobility.


Fig. 08 ‘Post Carbon City-State: Rezoned Circular Economy’: a design that aims to answer New York City’s projected sea level rise by the 2050s by introducing the East and Hudson River in parts of Manhattan.

It’s beautiful to see visible results! Are there other challenges that you would like to take up in the future in Terreform ONE or ONE Lab?

ONE Lab, in partnership with the Council on International Educational Exchange (CIEE), the world leader in international educational exchange, has developed a new interdisciplinary global platform focused on investigating the imaginative uses of technology in architecture and design. The Global Architecture and Design (Global AD)[11] programs will offer a uniform curriculum by assembling a faculty of innovators and thought leaders from around the world. After five years of teaching in New York City, in Spring 2014, Global AD will be offered to advanced architecture and design students in Barcelona, Berlin, and Prague. Using each city as a laboratory, the program rethinks what is essential about the city, in both its forms and its life. The investigations will be based on one illuminating hypothesis: in the future, cities will grow to be self-sufficient in their critical necessities through massive public works and infrastructural support. The Global AD program explores the effects of technological interventions that can have profound impacts on the planet as a whole. Digital fabrication, 3D printing, and synthetic biology have given designers new means of production whereby complexity becomes attainable and virtually free. By overcoming the restrictions imposed by the old manufacturing methods and processes, their technologies will open a broad field of research and experimentation in design. In this new context, the Global AD programs will incorporate some of these technologies as part of its academic agenda and work environment. The Global AD program will create a new platform for disseminated knowledge and collaborative action. Students will connect with their peers, faculty, and researchers in other Global AD cities. Through an online platform, the students will share knowledge, collaborate on projects, and debate common questions. At the same time, they will be in constant dialog with the students on the home campus through online blogs and chat-rooms, which will enable them to maintain connections and the sense of community.

Interview by Laka Perspectives www.lakaperspectives.com – Katarzyna Burzyńska

Picture credits
fig. 01 ‘Rapid Re(f)use: Waste to Resource City 2120’ © Terreform ONE. Credits: Maria Aiolova, Mitchell Joachim, Melanie Fessel, Emily Johnson, Ian Slover, Philip Weller, Zachary Aders, Webb Allen, Niloufar Karimzadegan, Lauren Sarafan.
fig. 02 ‘Mycelium Blocks: Mycelia Amalgamation Methods for Urban Growth’ © Terreform ONE. Credits: Team: Maria Aiolova, Mitchell Joachim, Oliver Medvedik, Dylan Butman, Greg Mulholland.
fig. 03 ‘Bio City Map of 11 Billion: World Population in 2110’ © Terreform ONE. Credits: Maria Aiolova, Mitchell Joachim, Nurhan Gokturk, Melanie Fessel, Oliver Medvedik.
figs. 04, 05 ‘Cricket Shelter: Modular Edible Insect Farm’ © Terreform ONE. Credits: Mitchell Joachim (PI), Maria Aiolova, Melanie Fessel, Felipe Molina, Matthew Tarpley, Jiachen Xu, Lissette Olivares, Cheto Castellano, Shandor Hassan, Christian Hamrick, Ivan Fuentealba, Sung Moon, Kamila Varela, Yucel Guven, Chloe Byrne, Miguel Lantigua-Inoa, Alex Colard
fig. 06 ‘Plug-in Ecology: Urban Farm Pod with Agronomy’ © Terreform ONE. Credits: Mitchell Joachim (PI), Maria Aiolova, Melanie Fessel, Christian Hubert, Vivian Kuan, Amanda O’Keefe. Photo by Micaela Rossato.
fig. 07 ‘Urbaneering Brooklyn 2110: City of the Future’ © Terreform ONE. Credits: Maria Aiolova, Mitchell Joachim, Melanie Fessel, Dan O’Connor, Celina Yee, Alpna Gupta, Sishir Varghese, Aaron Lim, Greg Mulholland, Derek Ziemer, Thilani Rajarathna, John Nelson, Natalie DeLuca.
fig. 08 ‘Post Carbon City-State: Rezoned Circular Economy’ © Terreform ONE. Credits: Mitchell Joachim (PI), Maria Aiolova, Melanie Fessel, Nurhan Gokturk, Oliver Medvedik.

In the name of nature — Dr. Silvia Titotto

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Dr. Silvia Titotto is the principal investigator of the ‘4D Printing and Biomimetics’ interdisciplinary research group. She is currently an assistant professor of the Engineering, Modeling and Applied Social Sciences Center and at the Post Graduate Program in Engineering and Management of Innovation, both at the Federal University of ABC (UFABC). She holds a PhD from Politecnico di Torino (Italy) in the field of Technological Innovation for the Built Environment and a PhD the from University of São Paulo (USP, Brazil) in the field of Architecture and Design. Silvia’s selected research interests are biomimetics/biomimicry, biological systems, prototyping, 3D and 4D printing, reactive sensors, and machine learning.

Laka: What made you decide to dedicate your professional life to the application of biomimetics and robotics in architecture? What was your career path?

Silvia: I took up engineering in 1999, but I soon missed the lack of real examples of kinetics during firstyear classes, so I later decided to take new college entrance examinations for architecture and urban planning, as I thought I would have more freedom to develop moving things sooner. In a highly interdisciplinary-oriented environment, I was really happy making all those models and creating possibilities beyond reality. I excelled in structural engineering subjects, so I was invited to work as a junior researcher of lightweight structures at the Computational Mechanics Lab. At this point, I could not avoid being very influenced by the studies of the German architect and structural engineer Frei Otto about bionics and biomimetics, and I became an architect focused on technological innovation via biomimetics. I relied upon installation artworks as a mean of testing and validating concepts and proposals in a smaller scale that was not dependent on the huge sums of investment that are common in architecture. This approach made a greater number of projects feasible also, due to the reduction in consumption time.

During my time as a doctoral candidate at the University of São Paulo, my focus was on patterns of nature based on fractals and chaos theory, and during my PhD at Politecnico di Torino, my focus shifted to morphogenesis and its responsive prototyping via kinetic sensing. Later, I worked on a nuclear submarine project as an officer of the Brazilian Navy, so I also somehow related to challenging engineering that could be approached via biomimicry, and I started to get closer to the newest additive manufacturing tools in order to update more traditional platforms of physical models. After that, I spent some time as a postdoc doing research on bioinspired deployable structures for aerospace engineering at Federal University of ABC and working on the relationships between robotic fabrication for architectural purposes and social insects’ construction skills as a visiting professor at the University of Bologna, Silesian University of Technology, and Riga Technical University. You see, throughout my career I have been supporting nature-inspired design as a premise for the conception of function, form, and efficiency as a whole. Nowadays, as I am an assistant professor of the post-graduate program in engineering and management of innovation and as a principal investigator of the research group ‘4D printing and biomimetics’ at Federal University of ABC, this necessarily imposes on me the need of a transdisciplinary approach with a group of very tuned collaborators from different backgrounds. In my research group, there are designers, biologists, structural/robotics/aerospace engineers, and materials/computer scientists, just to name a few.

Fig. 01 ‘Wings of Desire’: a kinetic artwork designed by Silvia Titotto and presented during an exhibition at the Slaviero Art Gallery in São Paulo, Brazil, in 2008. Photo © Eduardo Fragata.

Fig. 01 ‘Wings of Desire’: a kinetic artwork designed by Silvia Titotto and presented during an exhibition at the Slaviero Art Gallery in São Paulo, Brazil, in 2008.

In what way has your environment inspired you to research biomimetics? What was the first impulse?

I was brought up in a low-profile environment in the suburbs of the São Paulo metropolis. Throughout my childhood, I was very much encouraged to create and build my own toys — for instance, inverting or bending the geometry of some species of flowers so that those shape alterations could lead to the making of little dresses to be worn by the plant itself. Another example was mango seeds whose long lints I used to comb as ‘autogenous hair,’ and whose lump I used to paint carefully as a doll. My dad was a dermatologist, so on the weekends, my sister and I used to ask him to take us to his private clinic so that we could play with his microscope. What great fun it was to check the patterns of fungus from old cheese or the structures of leaves! But I guess I got my first real impulse to research biomimetics as a career when I touched the mimosas from our garden.

Some living organisms have tissue and microstructural compositions whose dynamic morphologies can change shape in response to changes in their environments. Very recently, one of the cutting-edge research trends is to mimic, via composites or multimaterials printed in 4D and/or incorporating microactuators, a variety of dynamic alterations in response to changes in humidity or temperature, such as those performed by tendrils (Macfadyena), retracting leaves (Mimosa pudica L.), loss of pigmentation in skeletal flowers (Diphylleia grayi), plus many other examples. You see, those examples played a very important part in my first childhood ludic experiences in the garden. I still feel like my childhood was a magical time when I could devote long hours to the study of nature: it was almost everywhere around me!

Fig. 02 ‘Poetics of At[traction]’: an artwork presented at the Museum of Contemporary Art at the University of São Paulo (Brazil) in 2008. Photo © Eliza Ramos.

Fig. 02 ‘Poetics of At[traction]’: an artwork presented at the Museum of Contemporary Art at the University of São Paulo (Brazil) in 2008.

What possible factors can we now regulate in architecture based on observations made from nature? How do you see the possibilities of development in the field?

There are many factors that can be improved, optimized, and regulated in the built environment from nature observations: of course, thermoregulation inspired by termite mounds is a classic example, but bioinspired self-assembly promises to enable advances in many applications beyond architecture, such as in biology, medicine, materials science, software, robotics, manufacturing, transportation, infrastructure, construction, and aerospace, as well as in new categories of artworks. It is a great honor for architects to work as conductors of this kind of orchestra that can impact such a wide range of fields.

Self-assembly is a process commonly encountered in nature, in that the disordered parts build an ordered structure via local interaction. This phenomenon is independent of scale and can be used for self-constructing and manufacturing systems, from a simple set of responsive building blocks, energy, and interactions that can be designed in a wide range of materials and machining processes, both in the case of rapid prototyping via 4D printing, in which programmable materials respond precisely to environmental changes in temperature or humidity, as well as more vernacular techniques such as agitation of particles, whose results are generated randomly. I perform research at the intersections of parametric modeling, digital fabrication, material science, biological systems, and complex geometries.

They are from nano-sized to macro-sized projects, as I know it is important to keep an eye on the different scales related to all kinds of existing architectures. My design approach encourages the use of multidisciplinary skills to provide high degrees of customization and versatility in products and services, aiming to establish new forms of representing and prototyping kinetic solutions that react to environmental stimuli via passive energy (for example, 4D printing). I guess my ultimate intent is to mediate interactions between objects, humans, biological systems, and built environments, instigating the proposition of new parameters for the redefinition of naturalness and artificiality in the 21st century and beyond. I see these aspects as some of the greatest possibilities of development in the architecture field for some time.

Fig. 03 ‘Coral Reef’: an installation by Silvia Titotto at the Robotics Lab at the University of São Paulo (Brazil) in 2012. Photo © Silvia Titotto.

Fig. 03 ‘Coral Reef’: an installation by Silvia Titotto at the Robotics Lab at the University of São Paulo (Brazil) in 2012.

Could you reveal any of the secrets of the most challenging projects you have worked on? What made them memorable?

I reckon I have some fun stories from different meanings of the word ‘challenging.’ For example, concerning physical challenge, in 2008, I got nicknamed ‘Spiderwoman’ because I gathered a team of 20 people who had shifts during the day and night to help me build an extremely delicate installation artwork in a contemporary art museum that was destroyed in about half an hour with the presence of spectators that were not aware of what was really going on there. Concerning scientific challenges, during my Italian doctorate in 2010, I was driven by the idea of ‘metabolic living architecture.’ Some works by the Canadian architect Philip Beesley[04] help visualize these ideas through immersive installations that react, learn, and evolve from the movements of people passing through them, powered by protocells. Back then, my aim was to produce metabolic architectures based on machine learning, so that artificial structures were no longer seen as inanimate, fixed objects, but as living and breathing entities capable of regeneration and growth. This ambition led me to a spiral of high demands for learning things from different backgrounds. As a consequence, a deep revision of the concepts of naturalism and artificiality ended up urging those researches in bioinspired design: that was my hardest philosophical questioning.

What advice would you give to young architects starting out on their career paths whose heads are still fresh and full of ideas for the future?

I am such a big fan of Buckminster Fuller that it would be quite obvious to quote him and present my students with some of his thoughts. My trio of favorites are: “Dare to be naïve,” “There is nothing in a caterpillar that tells you it is going to be a butterfly,” and “When I am working on a problem, I never think about beauty… but when I have finished, if the solution is not beautiful, I know it is wrong.” In nature, form, function, and efficiency are concepts that come along together and cannot be taken apart. We’re not meant to solve an engineering challenge thinking mostly about aesthetics, but I encourage them to think from an innovative point of view, with a sense of fairness, of ethics towards the society, community, and partners, and of course, of greatness in itself. As some sort of artists inspired by nature’s laws, the best solution will always be the best one solved altogether in different aspects.

Fig. 04 ‘Construction’: an artwork presented at MuBE (Brazilian Museum of Sculpture, São Paulo) in 2007. Photo © Heidi Fijiwara.

Fig. 04 ‘Construction’: an artwork presented at MuBE (Brazilian Museum of Sculpture, São Paulo) in 2007.

This is an excerpt from the Laka Perspectives book vol. 01, published by Laka Foundation (non-profit, Poland) in 2018 with the support of Solarlux GmbH (Germany): www.lakaperspectives.com https://www.instagram.com/laka.perspectives/