Biomimicry is quickly emerging as one of the next architectural frontiers. New manufacturing processes such as 3D printing, coupled with the drive to make buildings more environmentally sustainable, have led to a wave of projects that are derived from natural phenomena or even constructed with biological materials. A recent example of this trend is “Hy-Fi,” this summer’s MoMA PS1 design that is constructed of organic and compostable eco-bricks. Other projects such as MIT Media Lab’s Silk Pavilion have taken biological innovation a step further by actually using a biometric construction processes – around 6,500 silkworms wove the Silk Pavilion’s membrane. “Animal Printheads,” as Geoff Manaugh calls them in his article “Architecture-By-Bee and Other Animal Printheads,” have already proven to be a viable part of the manufacturing process in art, and perhaps in the future, the built environment as well. But what happens when humans engineer animals to 3D print other materials?
As an immigrant “who has made lasting contributions to American society through extraordinary achievements in biomedical research and the arts and humanities,” Israeli-born designer and architect Neri Oxman has been selected as the 2014 Vilcek Prize in Design’s recipient.
As a designer, architect, artist and founder of the Mediated Matter group at MIT’s Media Lab, Neri Oxman has dedicated her career to exploring how digital design and fabrication technologies can mediate between matter and environment to radically transform the way we design and construct our built world. In this article, which was first published by CNN, Oxman discusses the future of 3D printing buildings with five tenets of a new kind of architecture.
In the future we will print 3D bone tissue, grow living breathing chairs and construct buildings by hatching swarms of tiny robots. The future is closer than we think; in fact, versions of it are already present in our midst.
At the core of these visions lies the desire to potentiate our bodies and the things around us with an intelligence that will deepen the relationship between the objects we use and which we inhabit, and our environment: a Material Ecology.
A new model of the world has emerged over the past few decades: the World-as- Organism. This new model inspires a desire to instill intelligence into objects, buildings and cities. It is a model that stands in contrast to the paradigm of the Industrial Revolution, or the World-as-Machine.
Neri Oxman’s five tenets after the break…
Today, 3D Printing technology lives in the realm of small plastic tchotchkes. But economists, theorists, and consumers alike predict that 3D printers will democratize the act of creation and, in so doing, revolutionize our world. Which poses an interesting quandary: what will happen when we can print houses?
Last week, I discussed the incredible capabilities of 3D Printing in the not-so distant future: to quickly create homes for victims of disaster/poverty; to allow the architect the freedom to create curvy, organic structures once only dreamed of. But, if we look a little further afield, the possibilities are even more staggering.
In the next few paragraphs, I’ll introduce you to Neri Oxman, an architect and MIT professor using 3D Printing technology to create almost-living structures that may just be the future of sustainable design. Oxman’s work shows how 3D Printing will turn our concept of what architecture – and the architect – is, completely on its head.
Neri Oxman is an architect and founder of MATERIALECOLOGY with the MIT Media Lab. Her work focuses on computational strategies for form finding; she chooses to define and design processes that generate form. She has published numerous papers and has contributed to various texts. Her work has also been featured at the MOMA for the exhibit “Design and the Elastic Mind“, which she designed four systems of processes. In this lecture posted by PopTech, Oxman discusses what the processes of nature can teach designers and how computational strategies defined by materials and the environment can expand the possibilities of the generation of form through algorithms and analysis.
Follow us after the break for more.