Michael Hansmeyer: Building unimaginable shapes

Translator: Morton Bast Reviewer: Thu-Huong Ha

Prevodilac: Jelena Ilisić Lektor: Mile Živković

As an architect, I often ask myself,

Kao arhitekta, često se pitam

what is the origin of the forms that we design?

koje je poreklo oblika koje dizajniramo?

What kind of forms could we design

Koju vrstu oblika bismo mogli dizajnirati

if we wouldn't work with references anymore?

ako više ne bismo radili po referencama?

If we had no bias, if we had no preconceptions,

Da više nemamo predrasude, unapred stvorena mišljenja,

what kind of forms could we design

koju vrstu oblika bismo mogli dizajnirati

if we could free ourselves from

ako bismo se oslobodili

our experience?

našeg iskustva?

If we could free ourselves from our education?

Ako bismo se mogli osloboditi našeg obrazovanja?

What would these unseen forms look like?

Kako bi ovi neviđeni oblici izgledali?

Would they surprise us? Would they intrigue us?

Da li bi nas iznenadili? Da li bi nas zaintrigirali?

Would they delight us?

Da li bi nas ushitili?

If so, then how can we go about creating something that is truly new?

Ako je tako, kako onda da krenemo ka stvaranju nečeg što je zaista novo?

I propose we look to nature.

Predlažem da pogledamo prirodu.

Nature has been called the greatest architect of forms.

Prirodu nazivamo najvećim arhitektom oblika.

And I'm not saying that we should copy nature,

I ne kažem da bi trebalo da kopiramo prirodu,

I'm not saying we should mimic biology,

ne kažem da bi trebalo da imitiramo biologiju,

instead I propose that we can borrow nature's processes.

umesto toga predlažem da pozajmimo prirodne procese.

We can abstract them and to create something that is new.

Možemo ih apstrahovati i stvoriti nešto što je novo.

Nature's main process of creation, morphogenesis,

Glavni proces stvaranja u prirodi, morfogeneza,

is the splitting of one cell into two cells.

je deljenje jedne ćelije na dve ćelije.

And these cells can either be identical,

Ove ćelije mogu biti ili identične,

or they can be distinct from each other

ili se mogu razlikovati jedna od druge

through asymmetric cell division.

kroz asimetričnu deobu ćelije.

If we abstract this process, and simplify it as much as possible,

Ako izdvojimo ovaj proces i pojednostavimo ga koliko je moguće,

then we could start with a single sheet of paper,

onda možemo početi sa jednim listom papira,

one surface, and we could make a fold

jednom površinom i možemo ga presaviti

and divide the surface into two surfaces.

i podeliti površinu na dve površine.

We're free to choose where we make the fold.

Slobodni smo da odaberemo gde ćemo ga presaviti.

And by doing so, we can differentiate the surfaces.

I radeći to, možemo diferencirati površine.

Through this very simple process,

Kroz ovaj veoma jednostavan proces,

we can create an astounding variety of forms.

možemo stvoriti zapanjujuću raznovrsnost oblika.

Now, we can take this form and use the same process

Možemo uzeti ovaj oblik i koristeći isti proces

to generate three-dimensional structures,

stvoriti trodimenzionalne strukture,

but rather than folding things by hand,

ali umesto da savijamo stvari rukama,

we'll bring the structure into the computer,

unećemo strukturu u računar,

and code it as an algorithm.

i kodirati je kao algoritam.

And in doing so, we can suddenly fold anything.

I radeći tako, odjednom možemo presaviti bilo šta.

We can fold a million times faster,

Možemo preklapati milion puta brže,

we can fold in hundreds and hundreds of variations.

sa stotinama i stotinama varijacija.

And as we're seeking to make something three-dimensional,

I pošto želimo da napravimo nešto u tri dimenzije,

we start not with a single surface, but with a volume.

ne počinjemo sa jednom površinom nego sa zapreminom.

A simple volume, the cube.

Jednostavna zapremina, kocka.

If we take its surfaces and fold them

Ako uzmemo njene površine i preklopimo ih

again and again and again and again,

iznova i iznova i iznova,

then after 16 iterations, 16 steps,

onda nakon 16 ponavljanja, 16 koraka,

we end up with 400,000 surfaces and a shape that looks,

dobijemo 400 000 površina i oblik koji izgleda

for instance, like this.

na primer, ovako.

And if we change where we make the folds,

Ako promenimo mesta preklopa,

if we change the folding ratio,

ako promenimo preklapajući odnos,

then this cube turns into this one.

onda se kocka pretvori u ovo.

We can change the folding ratio again to produce this shape,

Možemo promeniti odnos preklapanja ponovo da bismo proizveli ovaj oblik

or this shape.

ili ovaj oblik.

So we exert control over the form

Dakle, vršimo kontrolu nad oblikom,

by specifying the position of where we're making the fold,

specifikacijom pozicije preklopa,

but essentially you're looking at a folded cube.

ali u osnovi gledate u preklopljenu kocku.

And we can play with this.

I možemo se igrati ovim.

We can apply different folding ratios to different parts

Možemo primeniti različite odnose preklapanja

of the form to create local conditions.

na različitim delovima oblika, da bismo stvorili lokalne uslove.

We can begin to sculpt the form.

Možemo početi da stvaramo oblik.

And because we're doing the folding on the computer,

S obzirom da vršimo preklapanje na računaru,

we are completely free of any physical constraints.

potpuno smo oslobođeni svih fizičkih ograničenja.

So that means that surfaces can intersect themselves,

To znači da se površine mogu međusobno ukrštati,

they can become impossibly small.

da mogu postati nemoguće male.

We can make folds that we otherwise could not make.

Možemo praviti preklope koje drugačije ne bismo mogli.

Surfaces can become porous.

Površine mogu postati porozne.

They can stretch. They can tear.

Mogu se rastegnuti. Mogu se pocepati.

And all of this expounds the scope of forms that we can produce.

Sve ovo objašnjava obim oblika koje možemo proizvesti.

But in each case, I didn't design the form.

Ali u svakom slučaju, ja nisam dizajnirao oblik.

I designed the process that generated the form.

Dizajnirao sam proces koji je proizveo oblik.

In general, if we make a small change to the folding ratio,

Uglavnom, ako napravimo malu promenu u odnosu preklapanja,

which is what you're seeing here,

što možete da vidite ovde,

then the form changes correspondingly.

onda se odgovarajuće menja i oblik.

But that's only half of the story --

Ali to je samo pola priče -

99.9 percent of the folding ratios produce not this,

99,9 procenata preklapajućih odnosa proizvode, ne ovo,

but this, the geometric equivalent of noise.

nego ovo, geometrijski ekvivalent buci.

The forms that I showed before were made actually

Oblici koje sam pokazao ranije su zapravo napravljeni

through very long trial and error.

kroz veoma dug period probe i grešaka.

A far more effective way to create forms, I have found,

Daleko efikasniji način stvaranja oblika, otkrio sam,

is to use information that is already contained in forms.

je da se koriste informacije sadržane u oblicima.

A very simple form such as this one actually contains

Veoma jednostavan oblik kao što je ovaj, zapravo sadrži

a lot of information that may not be visible to the human eye.

mnogo informacija koje možda nisu vidljive ljudskim okom.

So, for instance, we can plot the length of the edges.

Tako na primer, možemo znati dužinu ivica.

White surfaces have long edges, black ones have short ones.

Bele površine imaju duge ivice, crne imaju kratke.

We can plot the planarity of the surfaces, their curvature,

Možemo znati planarnost površina, njihovu zakrivljenost,

how radial they are -- all information that may not be

koliko su radijalne - sve informacije koje vam

instantly visible to you,

nisu odmah vidljive,

but that we can bring out, that we can articulate,

ali koje možemo izdvojiti, koje možemo artikulisati

and that we can use to control the folding.

i koristiti za kontrolu preklapanja.

So now I'm not specifying a single

Tako da sada više ne specifikujem

ratio anymore to fold it,

odnos preklapanja,

but instead I'm establishing a rule,

već umesto toga ustanovim pravilo,

I'm establishing a link between a property of a surface

ustanovim vezu između osobina površine

and how that surface is folded.

i načina presavijanja te površine.

And because I've designed the process and not the form,

S obzirom da sam dizajnirao proces, a ne formu,

I can run the process again and again and again

mogu da ponovim proces ponovo i ponovo i ponovo

to produce a whole family of forms.

da bih proizveo celu porodicu oblika.

These forms look elaborate, but the process is a very minimal one.

Ovi oblici izgledaju složeno, ali proces je minimalan.

There is a simple input,

Postoji jednostavna ulazna informacija,

it's always a cube that I start with,

uvek počinjem kockom,

and it's a very simple operation -- it's making a fold,

i operacija je vrlo jednostavna - pravljenje preklopa,

and doing this over and over again.

i ponavljanje istog iznova i iznova.

So let's bring this process to architecture.

Hajde da uvedemo ovaj proces u arhitekturu.

How? And at what scale?

Kako? I u kojoj meri?

I chose to design a column.

Izabrao sam projektovanje stuba.

Columns are architectural archetypes.

Stubovi su arhitektonski arhetipovi.

They've been used throughout history to express ideals

Korišćeni su kroz istoriju da izraze ideale

about beauty, about technology.

o lepoti, o tehnologiji.

A challenge to me was how we could express

Za mene je izazov bio kako bismo mogli izraziti

this new algorithmic order in a column.

ovaj novi algoritmični red na stubu.

I started using four cylinders.

Počeo sam korišćenjem četiri cilindra.

Through a lot of experimentation, these cylinders

Kroz mnogo eksperimentisanja, ovi cilindri

eventually evolved into this.

se najzad razviju u ovo.

And these columns, they have information at very many scales.

I ovi stubovi poseduju informacije na raznim nivoima.

We can begin to zoom into them.

Možemo početi njihovim zumiranjem.

The closer one gets, the more new features one discovers.

Što bliže priđemo, više novih svojstava otkrivamo.

Some formations are almost at the threshold of human visibility.

Neke formacije su za ljude skoro na granici vidljivosti.

And unlike traditional architecture,

I za razliku od tradicionalne arhitekture,

it's a single process that creates both the overall form

jedan je proces koji stvara i celokupan oblik

and the microscopic surface detail.

i mikroskopske detalje na površini.

These forms are undrawable.

Ove oblike je nemoguće nacrtati.

An architect who's drawing them with a pen and a paper

Arhitekti koji crta pomoću olovke i papira

would probably take months,

bi verovatno bili potrebni meseci

or it would take even a year to draw all the sections,

ili čak godina, da nacrta sve preseke,

all of the elevations, you can only create something like this

sve izglede, nešto poput ovog možete stvoriti samo

through an algorithm.

preko algoritma.

The more interesting question, perhaps, is,

Zanimljivije pitanje je, možda,

are these forms imaginable?

da li je ove oblike moguće zamisliti?

Usually, an architect can somehow envision the end state

Obično, arhitekta nekako može predvideti poslednju

of what he is designing.

fazu svog projekta.

In this case, the process is deterministic.

U ovom slučaju, proces je deterministički.

There's no randomness involved at all,

Uopšte nije uključena slučajnost,

but it's not entirely predictable.

ali nije sve u potpunosti predvidljivo.

There's too many surfaces,

postoji previše površina,

there's too much detail, one can't see the end state.

postoji previše detalja i ne može se videti završno stanje.

So this leads to a new role for the architect.

Ovo dovodi arhitektu do nove uloge.

One needs a new method to explore all of the possibilities

Potrebna je nova metoda da bi se istražile sve mogućnosti

that are out there.

koje postoje.

For one thing, one can design many variants of a form,

Moguće je dizajnirati mnogo varijacija oblika,

in parallel, and one can cultivate them.

i paralelno, moguće ih je obrađivati.

And to go back to the analogy with nature,

I da se vratimo na analogiju sa prirodom,

one can begin to think in terms of populations,

moguće je početi razmišljati u smislu populacije,

one can talk about permutations, about generations,

moguće je govoriti o permutacijama, o generacijama,

about crossing and breeding to come up with a design.

o ukrštanju i kombinovanju, da bi se došlo do dizajna.

And the architect is really, he moves into the position

I arhitekta zaista dolazi na poziciju

of being an orchestrator of all of these processes.

dirigenta za sve ove procese.

But enough of the theory.

Ali dosta je teorije.

At one point I simply wanted to jump inside

U jednom trenutku sam jednostavno hteo da uskočim

this image, so to say, I bought these red and blue

u ovu sliku, da tako kažem, i kupio sam ove

3D glasses, got up very close to the screen,

crvene i plave 3D naočare, prišao veoma blizu ekranu,

but still that wasn't the same as being able to

ali i dalje nije bilo kao kad bih imao mogućnost

walk around and touch things.

da hodam oko objekata i da ih dodirujem.

So there was only one possibility --

Postojala je, dakle, samo jedna mogućnost -

to bring the column out of the computer.

da dovedem stub izvan računara.

There's been a lot of talk now about 3D printing.

Trenutno se mnogo priča o 3D štampanju.

For me, or for my purpose at this moment,

Za mene ili za moj cilj u ovom momentu,

there's still too much of an unfavorable tradeoff

još uvek postoji mnogo nepovoljnih kompromisa

between scale, on the one hand, and resolution and speed, on the other.

između razmere na jednoj strani i rezolucije i brzine na drugoj.

So instead, we decided to take the column,

Zato smo odlučili da uzmemo stub

and we decided to build it as a layered model,

i da ga izgradimo kao slojevit model,

made out of very many slices, thinly stacked over each other.

napravljen od veoma mnogo tankih delova, naslaganih jedan preko drugog.

What you're looking at here is an X-ray

Ovo što gledate je rendgenski snimak

of the column that you just saw, viewed from the top.

stuba kojeg ste upravo videli, gledan odozgo.

Unbeknownst to me at the time,

Do tada van mog znanja,

because we had only seen the outside,

jer smo ga mogli videti samo spolja,

the surfaces were continuing to fold themselves,

površine su nastavljale da se preklapaju,

to grow on the inside of the column,

da se razvijaju unutar stuba,

which was quite a surprising discovery.

što je bilo prilično iznenađujuće otkriće.

From this shape, we calculated a cutting line,

Iz ovog oblika, proračunali smo liniju sečenja,

and then we gave this cutting line to a laser cutter

i onda smo tu liniju preneli na laserski sekač

to produce -- and you're seeing a segment of it here --

da proizvedemo - i vidite segment ovde -

very many thin slices, individually cut, on top of each other.

veoma mnogo tankih delova, pojedinačno isečenih, jedan na drugom.

And this is a photo now, it's not a rendering,

Ovo sada je fotografija, ne render,

and the column that we ended up with

i stub koji smo na kraju dobili

after a lot of work, ended up looking remarkably like the one

nakon mnogo rada izgledao je izvanredno slično

that we had designed in the computer.

onom kojeg smo dizajnirali na računaru.

Almost all of the details, almost all of the

Gotovo svi detalji, gotovo sve

surface intricacies were preserved.

zamršenosti površina su očuvane.

But it was very labor intensive.

Ali bio je to veoma intenzivan rad.

There's a huge disconnect at the moment still

Trenutno postoji ogromna nepovezanost

between the virtual and the physical.

između virtuelnog i fizičkog.

It took me several months to design the column,

Bilo mi je potrebno nekoliko meseci da dizajniram stub,

but ultimately it takes the computer about 30 seconds

ali na kraju računaru je trebalo oko 30 sekundi

to calculate all of the 16 million faces.

da proračuna svaku od 16 miliona površina.

The physical model, on the other hand,

Fizički model, na drugoj strani,

is 2,700 layers, one millimeter thick,

ima 2700 slojeva, debljine 1 milimetar,

it weighs 700 kilos, it's made of sheet that can cover

težak je 700 kilograma, napravljen od ploče koja može pokriti

this entire auditorium.

celi ovaj auditorijum.

And the cutting path that the laser followed

A staza za sečenje koju je laser sledio

goes from here to the airport and back again.

prostire se odavde do aerodroma i nazad.

But it is increasingly possible.

Ali ovo postaje sve više moguće.

Machines are getting faster, it's getting less expensive,

Mašine postaju brže, jeftinije

and there's some promising technological developments

i postoji obećavajući tehnološki razvoj

just on the horizon.

na horizontu.

These are images from the Gwangju Biennale.

Ovo su slike sa Gvangžu Bijenala.

And in this case, I used ABS plastic to produce the columns,

U ovom slučaju, za proizvodnju stubova koristio sam ABS plastiku,

we used the bigger, faster machine,

koristili smo veću, bržu mašinu,

and they have a steel core inside, so they're structural,

i stubovi imaju čelično jezgro iznutra, tako da su konstruktivni,

they can bear loads for once.

sposobni da nose opterećenje.

Each column is effectively a hybrid of two columns.

Svaki stub je bukvalno hibrid dva stuba.

You can see a different column in the mirror,

Možete videti drugi stub u ogledalu,

if there's a mirror behind the column

ako je ogledalo iza stuba,

that creates a sort of an optical illusion.

stvara se neka vrsta optičke varke.

So where does this leave us?

Dakle, gde nas ovo dovodi?

I think this project gives us a glimpse of the unseen objects that await us

Mislim da nam ovaj projekat daje pogled na neviđene objekte koji nas čekaju

if we as architects begin to think about designing not the object,

ako mi arhitekte počnemo razmišljati o dizajniranju, ne objekta,

but a process to generate objects.

nego procesa koji će generisati objekte.

I've shown one simple process that was inspired by nature;

Pokazao sam jedan jednostavan proces inspirisan prirodom,

there's countless other ones.

postoji još bezbroj drugih.

In short, we have no constraints.

Ukratko, nemamo ograničenja.

Instead, we have processes in our hands right now

Umesto toga, sada u rukama imamo procese

that allow us to create structures at all scales

koji nam dozvoljavaju da stvaramo strukture svih razmera

that we couldn't even have dreamt up.

o kojima nismo mogli ni sanjati.

And, if I may add, at one point we will build them.

I ako mogu dodati, jednoga dana ćemo ih izgraditi.

Thank you. (Applause)

Hvala. (Aplauz)