https://www.tszyanng.com/featured daily 1.0 2022-02-08 https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534688484182-VUM8ZER5V90KTNVG0XN7/20090114-l148-0779-preview.jpg Home - Lafayette 148 Global Headquarters, Shantou, Guangdong, China In collaboration with Mehrdad Hadighi of Studio for Architecture Lafayette 148 Global Headquarters is an 11-stories building (226,257 sf) in Shantou, China for a New York-based fashion label. The program calls for roughly 75% textile manufacturing, 15% offices, 5% showroom, and 5% services. The factory levels are sandwiched by non-manufacturing offices/design studios on the upper two levels and a double-height ground level functioning as the showroom space that could be cleared out for runway shows. Focus of the project was to critically experiment with concrete construction of post-tensioning and a specially engineered twisted brise soleil fin structure. The post-tensioning system enabled an extended span for each floor (17mX89m) without column interruptions while vertical circulation and other building amenities are organized in the service core against the north façade. The building envelope for the south side (and part of east and west), is a double façade designed to provide operable windows on the inside with a brise soleil ‘woven textile’ on the outside. The fins, made of modularly cast concrete, are twisted to open up the building envelope for light and air. Together with carved out spaces in the building volume, chimney effects are created to draw hot air out while providing the core of the building with natural light and exterior terraces. Oversea support and managing partner: The Shantou Building Consortium Design Team: Mehrdad Hadighi, Tsz Yan Ng, and Christopher Romano Project Team: Adesh Michael Singh, Michael O’Hara, Jose Chang, Maciej Kaczynski, and David Nardozzi Photography credits: But-Sou Lai https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534690498519-GTTZGR05S3R7KZF7NAHO/13.36.01e.jpg Home - Thermoplastic Concrete Casting In collaboration with Wes McGee Research Through Making 2017 Taubman College of Architecture + Urban Planning Thermoplastic Concrete Casting explores molding techniques for glass fiber reinforced concrete (GFRC) utilizing non-woven thermoplastic textiles. Generating complex geometries in concrete typically incurs a high cost in time, material, and labor to produce the molds. Given that concrete is one of the most ubiquitously used building materials in the world, this research seeks to develop novel ways of creating formwork that would eliminate heavy, rigid molds and scaffoldings for support. Rather than employing subtractive processes such as milling of EPS foam for molding techniques, the project attempts to create complex surfaces for large-scale GFRC casting with as little material as possible. Incorporating sartorial techniques of tailoring and patterning, the thermoplastic textile is cut, felted together (a process of needle punching where textile fibers are entangled together), heat stiffened, and surface finished, ready for GFRC casting. We explored this technique at two scales: first, at object scale with the reproduction of Eames’s molded fiberglass armchair and Saarinen’s Womb Chair, and second, at architectural scale with the installation of an 11’ X 7’ wall composed of five modules with an adjoining table surface. Both scales were designed as prototypes to test the viability of this technique to efficiently and accurately produce complex curvatures. The full-scale wall was an opportunity to explore structural conditions related to joining discrete panels with minimally supported surfaces, as well as to understand spatial and experiential effects. A key component of this research was to incorporate the use of physics-based design tools, such as the Kangaroo plugin for Rhino/Grasshopper. Utilizing a physics-based modeling approach enables designers to simulate material behaviors in real time, while simultaneously enforcing geometric constraints. In this case the technique was applied to enable modifications to the global form while enforcing the developability of the resulting textile patterns. These were then unrolled and modified parametrically to account for the shrink rate during the stiffening process, as well as allowances for the felted seams. https://taubmancollege.umich.edu/research/research-through-making/2017/thermoplastic-concrete-casting This project was made possible through the generous support from the Taubman College of Architecture + Urban Planning, University of Michigan. Additional support was received through the University of Michigan Office of Research. Design Team: Tsz Yan Ng and Wes McGee Fabrication/Installation assistance: Kristen Gandy, Drew Bradford, Layth Adulameer M Mahadi, Scott Chriss, Asa Peller, Jaemoon Rhee, Andrew Thompson, and Simon Anton. Year: 2017 Location: US Type: Installation Scale: Small https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534691715845-C4G8WBMT8CVJWI6H3H4O/2015-10-31+15.36.52edit.jpg Home - The Visibility of Labor From the storefront, a full-scaled figure emerges from the wall, as if the plastered wall surface is elastic. Hands forward, the figure presents a black sheath dress. Inside the gallery, seventeen pairs of plaster hands similarly push out from the walls in a ghostly manner. A 20-minute film accompanies the installation featuring a garment manufacturing facility and its workers in Shantou, China. The factory belongs to Lafayette 148 New York, a New York-based fashion label. The cast hands in the gallery can be identified with some of the workers highlighted in the film. The gestures of each hand, contemplated and decided by the workers themselves, are expressions of their enacted labor. This Visibility of Labor is an installation and film that deal with issues of labor in global textile manufacturing. More specifically it asks the question of how many pairs of hands go into the design and manufacture of a single garment? Collectively, the field of hands highlights the workers and their labor in the making of the dress, from design to research and development, and from production to shipping. Up close, the fidelity of the hands, with calluses, cuts, and wrinkles, bears evidence to one’s lifetime of work. The project attempts to make tangible the unseen labor by North American consumers who only know the finished product. The immediacy of the casting, as a one-to-one relationship, makes tangible their presence in the world where their labor is invisible. 9338 Campau Gallery: http://9338campau.com/pastevents.html Review by Rosie Sharp: https://hyperallergic.com/252420/the-17-pairs-of-hands-that-spun-a-little-black-dress-into-existence/ Press: http://hyperallergic.com/262144/best-of-2015-our-top-10-exhibitions-across-the-united-states/ This project was made possible through the generous support from the Taubman College of Architecture + Urban Planning, University of Michigan, UMOR (the University of Michigan Office of Research), and 9338 Campau Gallery. Film edited by Ryan Moritz Production team: Rachel Mulder, Kasper O’Brien, Chris Pine, Andrew Thompson, Alyssa Bogdan, and Alexandra Martin Thank you to: Lafayette 148 New York and their team in Shantou, China Anita Wong, Irene Tam, Cindy Yang, Sammy Wong, Sarah Zheng, Jonathan Chan Special thanks to: Deirdre Quinn and Harvey Lok at Lafayette 148 New York And all the designers + workers who participated: Emily Smith, Carla Chiaro, Barbara Gast, Cyndi Yang, Sam Wang, Cheng Yin Poon, Anita Wong, Irene Tam, Lam Sid Yin, Wong, Wein Nam, Hoi Yeu Wor, Lam Kein Sing, Jonathan Chan, Loi Mon Wen, Siu Seiu Chun, Hui Chong Nei, Lai Jing Yin, Zhan Shun Lang Year: 2015 Location: US Type: Installation Scale: Small https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1535642463540-LIJ7XLYCO1U36NA28SDZ/IMG_6672e-web.jpg Home - Factory Setting Textile manufacturing is a complex global phenomenon. Our understanding of the very clothing that we put on each day, where it comes from, how it is made, who it is made by, is veiled within a network of contingencies. These contingencies, ranging from tariffs to labor market trends, dictate not only the final purchase price of each product, but inform a much larger economy of workers, socio-political forces, and even the landscape of contemporary cities. This project is a case study of textile manufacturing as both subject matter and process of making; it examines the trajectory of its industrialization and, by extension, reminiscent of other manufacturing industries such as the auto industry in Michigan. It is a rumination on issues of labor, its inherent values, and the notion of workers, both as individuals and as a collective force. Drawing upon first-hand experience of the textile industry dating back to childhood, and more recently as a professional in architectural production, Factory Setting: the space of labor, points to the space of production and those who inhabit it. It is a reminder of the value of labor in textile manufacturing, from the material crafting of a learned trade, to the manual labor necessary for clothing production. It attempts to present the invisible value that is part of any garment, but missing from the label or the price tag. It offers a glimpse into the spaces of the contemporary garment factory, foreign to most in this country, but having a parallel in the industrial past that shaped the cities and social conditions that still surround us. The installation at Edwin Gallery is a custom room-sized loom, that weaves a blended photographic image approximately 14 ft X 12 ft, of the spaces and activities of a clothing factory located in Shantou, China. (Please see project Global Headquarters Lafayette 148 New York). The images used for the weaving are generously provided by the Shanghai-based photographer But Sou Lai. For the duration of the show from August 10 to September 7, 2013, the labor of weaving was performed in the gallery during its opening hours. Visitors were encouraged to engage the author and witness the labor and processes necessary to produce the woven image. The finished weaving was displayed at the closing reception. Much gratitude to those that were either part of the conversation in the shaping of this project and/or provided assistance with the production, they are; Sue Furrow, Maki Fukuoka, Steven Panton, and Rosalyne Shieh: for weaving: Simon Anton, Rachel Mulder, Toby Millman, Mike Sanderson, and Jamie Colburn. This project was made possible through the generous support from the A. Alfred Taubman College of Architecture + Urban Planning, University of Michigan. https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534690290342-K0EHMI6USBM7W9HF5Y6J/sprat_lowres-1.jpg Home - The Spratly Fatigue – military uniform cum fishing gear Juried group exhibition entitled Looking Both Ways, University Gallery Eastern Michigan University Gallery, Ypsilanti, MI September-October 2011 An Installation for an exhibition coinciding with the centennial anniversary of the founding of the Republic of China (Taiwan). Using the disputed territories of the Spratly Islands as a point of departure, the project highlights the interdependence that both large and small countries must observe in this age of economic, political, and military entanglement. The military uniform’s camouflage pattern is constructed from satellite views of the islands. The fatigue, which incidentally is not all that different than typical fishing gear, hinges the specific characters of the Spratly Islands as both fisheries and military outposts. The paper military fatigue is tethered in the ‘prone position,’ with red monofilaments reeled from the fishing rod on one hand and an AK-47 on the other. A red laser from the AK-47 aims directly at the gallery entrance, intended to incite discomfort to parallel the unpredictable tension as each country in this region points their guns toward each other. This is the 3nd of the series of folded paper clothing production. https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1535633378037-C97N4IO2J2PX1FWQMKSJ/2018-04-27+16.05.13.jpg Home - Robotic Needle Felting Robotic Needle Felting is a novel additive manufacturing technique for nonwoven textiles. Needle felting, traditionally done by hand with a barbed needle, is a technique whereby fibers of the textile are meshed and entangled when punched together. This process is seamless and does not require the addition of thread or adhesives. Robotic additive manufacturing extends needle felting into a three-dimensional process, allowing local differentiation of stiffness and other properties across a homogenous solid. Through a digital workflow, formal and material properties are computationally informed and seamlessly translated via the manufacturing process. Nonwoven textiles made of natural wool, synthetic polymers, or blends of the two, have numerous performative aspects, including excellent acoustic absorption, thermal insulation, and tactile characteristics. By developing a digitally controlled methodology for influencing these properties, this technique opens a wide range of potentials for nonwoven textiles in architectural applications. Current research involves three areas of development; the process tooling for robotic felting, the digital workflow that enables the formal and material properties to be specified computationally and embedded into the machine code, and prototypes of architectural elements such as acoustic panels and furniture demonstrating different techniques and processes. Three techniques were developed, shiplap, shingle, and quilt, each with distinct textural effects and methods for production. Both the shiplap and shingle technique employ the use of a continuous feeding system which places the textile and cuts it precisely as a fully automated process. Characterization studies into composite materials produced through this additive manufacturing process are currently being developed, particularly related to the use of heat set materials as binding element. Robotic Needle Felting was made possible through generous support from the Taubman College of Architecture + Urban Planning, University of Michigan. Additional support was received through the University of Michigan Office of Research. Principal/Co-Investigators: Wes McGee, Tsz Yan Ng, and Asa Peller https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644350577844-3VANZMUROBTO46GJ70VY/1541_001_jpg.jpg Home - SPLAM_SPatial-LAMinated Timber (SLT)Pavilion/Outdoor Classroom Tsz Yan Ng, Wes McGee, Skidmore Owings & Merrill, & Epic Academy Date completed: September 2021 Venue/location: 2021 Chicago Architecture Biennial, The Available City, South Shore Chicago, IL SPLAM, SPatial-LAMinated timber (SLT) reconsiders the conventional use of nominal framing systems, mainly with 2X4s, to design an engineered structure that uses about 46% less material compared to typical Cross Laminated Timber (CLT) structures of the same loading capacity. The SPLAM timber pavilion is a demonstration of this system, as part of the 2021 Chicago Architecture Biennial Exhibition The Available City. The project is a collaboration with Skidmore Owings & Merrill (SOM) and Epic Academy, where the project will remain after the exhibition as a flexible outdoor classroom for the South Shore public high school. The collaboration focuses on timber as a renewal resource with a low carbon footprint. Instead of mass timber, the choice of using 2X4s highlights the opportunity to use shorter growth pine trees that are more rapidly renewable then larger solid sawn species (translating to lower carbon-footprint) and expands the typical use of 2X4s beyond framing for single-family homes. 2X4s are ubiquitously used as nominal-sized members for construction, especially for wall construction. The shift in use as a slab presents opportunities for continuous extension and the thickness could be tuned for specific applications. Structural topology optimization allows for the design to place members only where it is needed relative to the loading paths. Slab thickness is reduced from 22 inches to 17 inches compared to traditional framing structures, enabling higher floor-to-ceiling heights or for multi-level structures, can translate to an extra floor. Services could also be strung through the openings in the slab, enabling the slab to house all the necessary services without the addition of conduits and ductwork, gaining floor-to-ceiling height for inhabitation. For the Epic Academy pavilion, the slab includes a polycarbonate roof layer at the top for weather protection. Leveraging advanced milling fabrication processes for the 2X4s, traditional joinery methods such as scarf joints, previously reserved for mass timber construction, are now extended to smaller dimensional members. This enables material efficiency by being able to string shorter off-cuts that might have been previously considered as waste into usable elements for the SPLAM system. The project employs only two joint types, the scarf joint for end-to-end connection, and an overlap joint for cross-orientation layering for sectional thickness. Numerous jointing relations were considered, from doweled and screwed connections, to The simplicity of the system enabled pre-fabrication and some preassembly of all 912 members off-site with a one-week on-site assembly by a three to four-person crew. To account for inconsistency of 2X4s, a self-centering pneumatic gripping jig was developed to aid the milling process. Physical stress-testing (tension and loading) of joint prototypes provided the data necessary for the engineered system. Credits: Design & Engineering Team Taubman College: Tsz Yan Ng, Wes Mcgee SOM: Scott Duncan, Adam Semel, Ryan Culligan, Benton Johnson, Kyle Vansice, Rahul Attraya, Rishabh Moorgani, Jonathan Baranowski, Megan Mohney, Sydney Brown, & Chris Whelan Research Assistants: Nicolas Garcia, Kaylee Tucker, Hannah Kirkpatrick, Nicholas Di Donato Fabrication Assistants: Ellis Willis-Begley, Nick Anello Funding Credits: SPLAM was generously supported by Skidmore Owings & Merrill, Autodesk, McHugh Construction, Gremley & Biedermann, and REX Engineering Group https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644346793078-MMMT7FCEF29VWTAQVZTP/19concretesymposium-1120_49019645618_o.jpg Home - Concrete 3D Printing with Engineered Cementitious Composites in collaboration with Wes McGee and Victor C. Li 2017-present Additive manufacturing (AM), more commonly referred to as 3D printing, has attracted significant commercial interest due to its potential to reduce time, labor, and material use, while improving safety and overall building performance through computational optimization. The most promising application for the construction industry centers on concrete, where a significant portion of the construction cost is attributed to formwork production, which in the case of complex surface geometries or topologies can often be cost prohibitive. 3D printing concrete holds the promise of partially or completely eliminating the need for molds. Simultaneously, the design of advanced materials such as engineered cementitious composites (ECC), can be calibrated to optimize performance requirements of strength and ductility while reducing environmental impacts through a reduction in cement use. This research focuses on the development of novel approaches for concrete 3DP with ECC to rethink the design and fabrication of building envelope systems and building components. The prototypes produced include a series of columns and panels with complex geometries aided by bead shaping as well as variable layer thickness control. Through an integrated approach to matrix/reinforcement tuning, process control, tooling and extrusion bead shaping, and computationally driven fabrication systems, the project explores the design and material constraints of 3DP ECC at full-scale. Post-doc research fellows Yi Bao, Duo Zhang, Kequan Yu, He Zhu Lab Support Asa Peller, Carlos Pompeo, Rachel Henry, Jacob Pyles This work generously supported through the Prototyping Tomorrow Grant Initiative from Taubman College of Architecture and Urban Planning, University of Michigan, as well as an AIA Upjohn Research Grant Initiative. https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644361008901-BUC61L7XU5V4LSQ0S81Z/Ng_16.jpg Home - Knit Casting_functionally graded knits for volumetric concrete casting in collaboration with Sean Alhquist and Evgueni T. Filipov 2020-present Knit Casting explores the use of bespoke Computer Numeric Controlled (CNC) manufactured knits to produce volumetric textile formwork for casting glass fiber reinforced concrete (GFRC). As a collaboration between experts in architecture, textile fabrication, and civil engineering, the research investigates multi-material, functionally-graded knit formwork as a fully seamless system to cast concrete. Working with controlled characteristics such as elasticity and stiffness of yarn type and knit structure, the soft textile is conceived as the vessel that defines the performative characteristics of volume, geometry, and surface detail. With only a minimal frame to suspend the volumetric cast, hydro-static pressure “inflates” the fabric formwork creating a dynamic form-finding process that eliminates the need for typical molding materials such as wood or foam. The precast units using this process reduce the amount of construction waste for formwork production, propose a more automated fashion for manufacturing the formwork, and produce casts with complex geometries difficult to accomplish with traditional casting methods. The present research is comprised of design and manufacturing of customized CNC knitted formwork, working with limitations and parameters inherent to industrial knitting processes as well as concrete casting techniques which required rheological calibration. There are four different typologies developed: the diagrid, drupelet, apertures, and 3D funnel shell. Technical Knitting Tracey Weisman Research Assistants Mackenzie Bruce, Gabrielle Clune, Jeffrey Richmond Knit Casting is generously supported through the Prototyping Tomorrow Grant Initiative from Taubman College of Architecture and Urban Planning, University of Michigan, as well as a Small Project Grant from the University of Michigan Office of Research (UMOR). https://www.tszyanng.com/elevator-cultural-shaft daily 0.75 2018-09-06 https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534686079938-B37GS7H67054FABC2RRW/Img0034_lowres.jpg Elevator Cultural Shaft - Elevator/Cultural Shaft Entry for the 1997 Paris Prize in Public Architecture, Van Alen Institute, NY, Cultural Information Exchange: Real/Virtual Downtown Competition Distinguished Entry Award The Paris Prize calls for a temporary structure for the downtown Wall Street area to house an information center that includes public gathering spaces, exhibition spaces, and services for access to cultural events in NY. The proposal is a ‘black box’ elevator that rides horizontally, connecting discreet entities within the ‘shaft’ (perforated tube) of the open public space. https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534686079938-B37GS7H67054FABC2RRW/Img0034_lowres.jpg Elevator Cultural Shaft - Elevator/Cultural Shaft Entry for the 1997 Paris Prize in Public Architecture, Van Alen Institute, NY, Cultural Information Exchange: Real/Virtual Downtown Competition Distinguished Entry Award The Paris Prize calls for a temporary structure for the downtown Wall Street area to house an information center that includes public gathering spaces, exhibition spaces, and services for access to cultural events in NY. The proposal is a ‘black box’ elevator that rides horizontally, connecting discreet entities within the ‘shaft’ (perforated tube) of the open public space. https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534686089050-PGC2RZIJ4HRHZRY8QJ6A/model_lowres.jpg Elevator Cultural Shaft https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534686209255-4HMLQMKI3K30E2Y97XJA/elevatordwg_lowres.jpg Elevator Cultural Shaft https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534686070555-GP9F208HHX13E43TOEHA/elevatordwg_lowres.jpg Elevator Cultural Shaft https://www.tszyanng.com/recto-verso daily 0.75 2018-09-06 https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689125759-CUOAA60LA30B7FMKHZS0/DSC07546_lowres.jpg Recto|Verso - Recto|Verso_Manufacturing China For the 2007-2008 Fellows Exhibition Taubman College Gallery, University of Michigan, Ann Arbor, MI March-April 2008 An installation project created to investigate the textile manufacturing industries of China: their labor force and the uncanny scale of their operations (with its roots in 19th C. western industrialization). The entire paper clothing installation is sewn, stitched, and folded out of vellum and newsprint with Chinese text of Mao’s Little Red Book printed on one side, English translation on the other. Recto|Verso, two sides of the same thing, not only refers to the alien yet familiar world of east/west manufacturing but also the paradoxical outcome of the Cultural Revolution, of capitalism, fashion, and consumerism. This is the 2nd of the series of folded paper clothing production. https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689125759-CUOAA60LA30B7FMKHZS0/DSC07546_lowres.jpg Recto|Verso - Recto|Verso_Manufacturing China For the 2007-2008 Fellows Exhibition Taubman College Gallery, University of Michigan, Ann Arbor, MI March-April 2008 An installation project created to investigate the textile manufacturing industries of China: their labor force and the uncanny scale of their operations (with its roots in 19th C. western industrialization). The entire paper clothing installation is sewn, stitched, and folded out of vellum and newsprint with Chinese text of Mao’s Little Red Book printed on one side, English translation on the other. Recto|Verso, two sides of the same thing, not only refers to the alien yet familiar world of east/west manufacturing but also the paradoxical outcome of the Cultural Revolution, of capitalism, fashion, and consumerism. This is the 2nd of the series of folded paper clothing production. https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689138405-GDVN7J1Q3JZ4D6PYEZ6Q/DSC07551_lowres.jpg Recto|Verso https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689165757-EKN8NEKMFA1S9BOXL3YI/DSC07586.JPG Recto|Verso https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689182274-7HXQU30XTWZBBHO3JKEV/DSC07612_lowres.jpg Recto|Verso https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689249941-76A9CQO0JI4FJ37MMW3D/DSC07621.JPG Recto|Verso https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689218104-S6ZHY3DYBGY4F7ZLJBZO/DSC07592.JPG Recto|Verso https://www.tszyanng.com/roving-pictures daily 0.75 2018-09-06 https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689560685-XIICVGQDURNP4A1CTW7W/RovPicbk_toc.jpg Roving Pictures - Roving Pictures Design and editing for press material for Roving Pictures: Speculative Documentation of a Metalworks Factory_Osaka, Japan, an installation by Torben Berns and John Zissovici at the Burchifield-Penney Art Center, Buffalo, NY. Monograph: Roving Pictures: snapshots, Mehrdad Hadighi, ed. Library of Congress Control number: 2003103314 ISBN: 0-9649490-1-6 Printed by Printing Prep, Buffalo, NY 2003 https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689560685-XIICVGQDURNP4A1CTW7W/RovPicbk_toc.jpg Roving Pictures - Roving Pictures Design and editing for press material for Roving Pictures: Speculative Documentation of a Metalworks Factory_Osaka, Japan, an installation by Torben Berns and John Zissovici at the Burchifield-Penney Art Center, Buffalo, NY. Monograph: Roving Pictures: snapshots, Mehrdad Hadighi, ed. Library of Congress Control number: 2003103314 ISBN: 0-9649490-1-6 Printed by Printing Prep, Buffalo, NY 2003 https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689544810-TVILPO21PSCMEC4X4PL6/RovPicbk_front.jpg Roving Pictures https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689530129-00LEVBK7EPJLTP5H978E/RovPicbk_concertina.jpg Roving Pictures https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689575361-HBT6K62TOTURQKW11KJ1/RovPicinvitefull.jpg Roving Pictures https://www.tszyanng.com/shuttling-the-grid daily 0.75 2018-09-06 https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689721948-CFMHR1ZHK6QTMB4VWB80/IMG_1727_edit.jpg Shuttling the Grid - Shuttling the Grid Group exhibition entitled Un-Privileged Views WUHO Gallery, Woodbury University Gallery, LA March 2012 Whenever we fly from or into major metropolitan centers, we are often compelled to stare out the window as the plane takes off or lands. Especially at night, these moments afford the passenger a spectacular overhead view of the city. From above, the city’s logic is at once decipherable, from the layout of the modern gridded city to the identifiable landmarks that pinpoint familiar places. Focusing on freeway interchanges, a clear landmark from high above not worthy of contemplation except during traffic jams, this project attempts to highlight the ubiquity of infrastructure regardless if you’re in North America or Asia. Car culture has, from the early part of the 20th C. to the present, come to represent a certain ‘image’ of prosperity and growth for the city and its inhabitants. The highway spaghetti that one passes through each day is a testament to not only a civil engineering wonder and urban planning triumph but also is the exaltation of what constitutes a modern city. The woven image here are two exemplary places in our psyche, the Judge Harry Pregerson Interchange in Los Angeles and the Puxi Viaduct Exchange in Shanghai – the former belonging to the rise and effects of the car’s influence on the city in the 20th C and the latter a symbol and ultimate reification of car ownership and rise to the middle class in the 21st C. https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689721948-CFMHR1ZHK6QTMB4VWB80/IMG_1727_edit.jpg Shuttling the Grid - Shuttling the Grid Group exhibition entitled Un-Privileged Views WUHO Gallery, Woodbury University Gallery, LA March 2012 Whenever we fly from or into major metropolitan centers, we are often compelled to stare out the window as the plane takes off or lands. Especially at night, these moments afford the passenger a spectacular overhead view of the city. From above, the city’s logic is at once decipherable, from the layout of the modern gridded city to the identifiable landmarks that pinpoint familiar places. Focusing on freeway interchanges, a clear landmark from high above not worthy of contemplation except during traffic jams, this project attempts to highlight the ubiquity of infrastructure regardless if you’re in North America or Asia. Car culture has, from the early part of the 20th C. to the present, come to represent a certain ‘image’ of prosperity and growth for the city and its inhabitants. The highway spaghetti that one passes through each day is a testament to not only a civil engineering wonder and urban planning triumph but also is the exaltation of what constitutes a modern city. The woven image here are two exemplary places in our psyche, the Judge Harry Pregerson Interchange in Los Angeles and the Puxi Viaduct Exchange in Shanghai – the former belonging to the rise and effects of the car’s influence on the city in the 20th C and the latter a symbol and ultimate reification of car ownership and rise to the middle class in the 21st C. https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689710540-0WMDSZ4YIKAZDFYMWDI1/STG_edit.jpg Shuttling the Grid https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689691510-R7ILIN41GGEP039Q15JS/IMG_1713_edit.jpg Shuttling the Grid https://www.tszyanng.com/ska-fold daily 0.75 2018-09-06 https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689898820-9WFRMJLNQ42FN37UX4NB/greport3_lowres.jpg SKA-FOLD - SKA-FOLD With Anthony Dong, Mehrdad Hadighi, Ike Lowry, and Aspa Papazaharia Competition entry for the Greenport Waterfront Competition. Greenport, Long Island, NY. 1996 A 4.5-acre landscaped waterfront park proposal that takes as its main structure a scaffold that suspends programmatic elements and historic artifacts on the site. The scaffold is generated through an incision whereby a thin plane (in the proportion of a typical pier) is hinged from the water’s surface, carrying with it new programs such as fish tanks, grass wall, and stage dock/projection screen. https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689898820-9WFRMJLNQ42FN37UX4NB/greport3_lowres.jpg SKA-FOLD - SKA-FOLD With Anthony Dong, Mehrdad Hadighi, Ike Lowry, and Aspa Papazaharia Competition entry for the Greenport Waterfront Competition. Greenport, Long Island, NY. 1996 A 4.5-acre landscaped waterfront park proposal that takes as its main structure a scaffold that suspends programmatic elements and historic artifacts on the site. The scaffold is generated through an incision whereby a thin plane (in the proportion of a typical pier) is hinged from the water’s surface, carrying with it new programs such as fish tanks, grass wall, and stage dock/projection screen. https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689881075-LO4MRT91GN9IS6GJ8E92/greport1_lowres.jpg SKA-FOLD https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689889270-AMCGHPGB0P8XAQWQZE5D/greport2_lowres.jpg SKA-FOLD https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689910118-0H6H32LFF9GI94EDNO3Q/greport4_lowres.jpg SKA-FOLD https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689919169-7P1ZHH3Z6I1MY0WNHR6N/greport5_lowres.jpg SKA-FOLD https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534689925241-DMK3UWFQYZ5ZWQHSJCT9/greportdrwg1.jpg SKA-FOLD https://www.tszyanng.com/all-work daily 0.75 2022-04-05 https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644357068870-ZSJVMRT7FOBKI1AX9CRY/1541_001_jpg.jpg All work - SPLAM_SPatial-LAMinated Timber (SLT)Pavilion/Outdoor Classroom https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644357068870-ZSJVMRT7FOBKI1AX9CRY/1541_001_jpg.jpg All work - SPLAM_SPatial-LAMinated Timber (SLT)Pavilion/Outdoor Classroom https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644356830203-NYDPGGMJ7PD4L6MJS9QF/Ng_16.jpg All work - Knit Casting https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644355604071-TKY24DJDXQOX3WS3SXEX/image-asset.jpeg All work - Concrete 3D Printing with Engineered Cementitious Composites https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1535642766722-B45PSYBGUTRRLOQ65RDH/Ng_6+%281%29.jpg All work - Robotic Needle Felting https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644357027499-L5MTRQ3P181JLTSH6RKU/image-asset.png All work - Symposium on Research + Building Innovation – Concrete October 31 – November 1, 2019 Organizers: Tsz Yan Ng + Wes McGee, Taubman College of Architecture & Urban Planning Co-organizer: Jerry Lynch, College and Environmental Engineering From the environmental imperatives to make concrete carbon position to novel forming techniques such as 3D printing – concrete as a material is being transformed along different fronts in the building industry. As computational design and digital fabrication matures beyond the lab, scaling up to address construction level challenges, concrete holds tremendous promise for the future, not only in shaping our built environment but also in how we build, our ethos and aspirations. Yet, there are many hurdles to overcome. With traditional building processes steeped in protocols and regulations, moving R+D to the building sector requires an awareness of the different players and institutions involved, even political and economic contingencies, that shape the contours of concrete innovation. As academia assume the role of R+D more and more, how do we envision a smooth transfer of innovations to the building sector? Given new modes of manufacturing, what are the new codes and standards that will govern innovations to move toward implementation? What cross-platform systems, such as design to manufacturing or manufacturing to construction, will need to be in place in order to facilitate automation and construction productivity? What are the new technologies and associated expertise that will emerge to redefined architectural practice and construction, especially to navigate and manage multi-disciplinary teams? This symposium, rather than a survey of contemporary concrete architecture, brings researchers and industry experts together from diverse disciplinary fields and areas of production – history & theory, engineering, construction technology, material science, design, and manufacturing – for a timely discussion centered on concrete as a building material with enormous potential for innovation. The symposium aimed to foster and identify trajectories for advancing concrete research and align potential collaborative exchanges. Co-organized with the College of Civil and Environmental Engineering (CEE), the symposium launched with an evening keynote lecture the night before, followed by a full day symposium at Taubman College. The symposium closed with an exhibition opening/reception downtown at the Liberty Research Annex Gallery, highlighting some of the work produced by participants, with a performance by Brandon Clifford and Davide Zampini of Cemex. From Lab to Site: Innovation in Concrete was organized in collaborative between the University of Michigan Taubman College of Architecture and Urban Planning and the University of Michigan Civil and Environmental Engineering Department, with additional support provided by the University of Michigan Global CO2 Initiative. The symposium was generously sponsored by Walbridge. Participants include: Keynotes Sarah Billington, Ph.D., Chair and Prof. Civil and Environmental Engineering, Stanford University Mark Burry, Architect, lead for the construction of Sagrada Familia, Founding Director, Swinburne University of Technology’s Smart Cities Research Institute and Professor of Urban Futures, Melbourne (waiting on confirmation) Paired Presentations Standards, Codes, and Risks Sasa Zivkovic, Assistant Prof., Architecture, Cornell University Scott Jones, National Institute of Standards and Technology (NIST), Chair of ACI 3DP of Cementitious Materials, Director of Metrology of Additive Construction by Extrusion Consortium (MACE) Industry + Labor Maria Gonzalez Pendas, Ph.D., Assist. Prof. Architecture, Rice University Sarah Nichols, ETH Architecture 100 years of Reinforced Concrete Lucia Allais, Ph.D., Associate Professor, Princeton University Forrest Meggers, Ph.D. Assistant Professor, Architecture _ Andlinger Center for Energy and the Environment, Director CHAOS research lab, Princeton University Climate Change and Concrete Construction Victor Li, Ph.D., Prof. Civil and Environmental Engineering, Materials Science, and Macromolecular Science Engineering, UM Brian Ellis, Ph.D., Ass. Prof, Civil and Environmental Engineering, UM 3D Printing + Outer Space Shadi Nazarin, Associate Prof., Architecture, Penn State University Mike Fiske, Ph.D. Jacob Space Exploration Group, NASA Marshall Space Flight Center Robotic Construction Vineet Kamat, Ph.D. Prof. Civil and Environmental Engineering, UM Barton Malow Construction Industry Collaboration – research + design Davide Zampini, Ph.D. Head of R+D, Cemex Brandon Clifford, Assistant Professor, Architecture, MIT Industry Collaboration – design + manufacturing Andrew Kudless, Associate Prof. Architecture, CCA Joshua Zabel, Kreysler & Associates Panel Discussion Wanda Lau, moderator, Technology + Innovation Editor, Architect Magazine Jonathan Massey, Dean, Taubman College, UM Jerry Lynch, Chair and Prof. Civil and Environmental Engineering, UM Sarah Billington, Ph.D., Chair and Prof. Civil and Environmental Engineering, Stanford University Exhibition / Performance (Liberty Research Annex Gallery) Patty & Jan, Brandon Clifford + Davide Zampini https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644356619026-WUEACC86ZD5SJ64ZYFKH/image-asset.png All work - Twisted Edited by Mehrdad Hadighi, Marc J. Neveu, and Tsz Yan Ng ACTAR Publishers, New York, Barcelona, 2018 Similar to the design process of Lafayette 148, the organization of the book is intentionally non-linear. The five topics – mass-crafting, carving, sculpting, glazing, and modulating – all verbs, contain descriptions of the building process. Interwoven are a series of essays that present distinct but interrelated responses to the many questions that arise when building a garment factory facility in contemporary China. Issues addressed range from the architectural import of the building typology, to the ecological footprint of a factory, to social concerns regarding labor as well as construction practices, to the ethics and aesthetics of factory building. Clear tensions exist between the global and the local, with respect to issues such as material economies, labor relations, working conditions, and company branding. In all of this, what is the role of design? For what can the architect be held responsible in contemporary praxis? Is it ultimately possible to address the social inequalities produced by global garment manufacturing through design? Contributions includes: Mass-Crafting by Mehrdad Hadighi Textiles, Machines, Flow and Factories, by Brian Carter Carving by Mehrdad Hadighi L-148, an East/West Vertical Urban Factory by Nina Rappaport Sculpting by Mehrdad Hadighi Twisted Image: This is the New Bruntal by Mark Linder Glazing by Mehrdad Hadighi Architecture/Clothing by Marc J. Neveu Modulating by Mehrdad Hadighi Concrete Twist on Labor by Tsz Yan Ng Photographic credits But-Sou Lai Photography Cogy Goddard Photography https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1535643041571-D8QYKXLTQO5IGN1EY1EF/2015-10-31+16.39.17edit.jpg All work - The Visibility of Labor https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644360609818-30LJZPL3Z7EWY9A1P6M7/image-asset.jpeg All work - Thermoplastic Concrete Casting In collaboration with Wes McGee Research Through Making 2017 Taubman College of Architecture + Urban Planning Thermoplastic Concrete Casting explores molding techniques for glass fiber reinforced concrete (GFRC) utilizing non-woven thermoplastic textiles. Generating complex geometries in concrete typically incurs a high cost in time, material, and labor to produce the molds. Given that concrete is one of the most ubiquitously used building materials in the world, this research seeks to develop novel ways of creating formwork that would eliminate heavy, rigid molds and scaffoldings for support. Rather than employing subtractive processes such as milling of EPS foam for molding techniques, the project attempts to create complex surfaces for large-scale GFRC casting with as little material as possible. Incorporating sartorial techniques of tailoring and patterning, the thermoplastic textile is cut, felted together (a process of needle punching where textile fibers are entangled together), heat stiffened, and surface finished, ready for GFRC casting. We explored this technique at two scales: first, at object scale with the reproduction of Eames’s molded fiberglass armchair and Saarinen’s Womb Chair, and second, at architectural scale with the installation of an 11’ X 7’ wall composed of five modules with an adjoining table surface. Both scales were designed as prototypes to test the viability of this technique to efficiently and accurately produce complex curvatures. The full-scale wall was an opportunity to explore structural conditions related to joining discrete panels with minimally supported surfaces, as well as to understand spatial and experiential effects. A key component of this research was to incorporate the use of physics-based design tools, such as the Kangaroo plugin for Rhino/Grasshopper. Utilizing a physics-based modeling approach enables designers to simulate material behaviors in real time, while simultaneously enforcing geometric constraints. In this case the technique was applied to enable modifications to the global form while enforcing the developability of the resulting textile patterns. These were then unrolled and modified parametrically to account for the shrink rate during the stiffening process, as well as allowances for the felted seams. https://taubmancollege.umich.edu/research/research-through-making/2017/thermoplastic-concrete-casting This project was made possible through the generous support from the Taubman College of Architecture + Urban Planning, University of Michigan. Additional support was received through the University of Michigan Office of Research. Design Team: Tsz Yan Ng and Wes McGee Fabrication/Installation assistance: Kristen Gandy, Drew Bradford, Layth Adulameer M Mahadi, Scott Chriss, Asa Peller, Jaemoon Rhee, Andrew Thompson, and Simon Anton. Year: 2017 Location: US Type: Installation Scale: Small https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534806747528-CVUOZRSD6NITUISNJTM6/20090114-l148-0010-preview.jpg All work - Lafayette 148 Global Headquarters https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1535643137729-VYWWMY9O5BCPK5B2LQLG/_MG_5937-web+%282%29.jpg All work - StereoNegative https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1535643202776-LGVU653RFTC9NN95YMKF/photo-21-Edit-web+%281%29.jpg All work - Factory Setting https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534806821456-LZ7SKC88SD3P3XMY5RCW/sprat_lowres-8.jpg All work - The Spratly Fatigue – military uniform cum fishing gear https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1534806894921-N2PHUZ4TEXH3EBZ8AHVX/IMG_1713_edit.jpg All work - Shuttling the Grid https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1537825806460-AJHLT1AQQPTSRT7WXSMZ/DSC07546_lowres.jpg All work - Recto|Verso https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1535643394785-MMX4O8G7K8IM46R1NH0E/RovPicbk_toc.jpg All work - Roving Pictures https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1535643473758-EH5K7D077SNARMZQWD1R/Img0034_lowres.jpg All work - Elevator Cultural Shaft https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1535643535285-KNLVKG8FZGQK5HMI418Y/greport1_lowres.jpg All work - SKA-FOLD https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1649182546236-19LNYJZU37G9LD62XZ0L/greport1_lowres.jpg All work - Journal of Architectural Education (JAE) https://www.tszyanng.com/concrete-symposium daily 0.75 2022-02-08 https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644348961651-ODZG1PVIS1GH9LKQQZ5D/2019_1003_Concrete_Symposium_poster10_lores.png Concrete Symposium - Symposium on Research + Building Innovation – Concrete October 31 – November 1, 2019 Organizers: Tsz Yan Ng + Wes McGee, Taubman College of Architecture & Urban Planning Co-organizer: Jerry Lynch, College and Environmental Engineering From the environmental imperatives to make concrete carbon position to novel forming techniques such as 3D printing – concrete as a material is being transformed along different fronts in the building industry. As computational design and digital fabrication matures beyond the lab, scaling up to address construction level challenges, concrete holds tremendous promise for the future, not only in shaping our built environment but also in how we build, our ethos and aspirations. Yet, there are many hurdles to overcome. With traditional building processes steeped in protocols and regulations, moving R+D to the building sector requires an awareness of the different players and institutions involved, even political and economic contingencies, that shape the contours of concrete innovation. As academia assume the role of R+D more and more, how do we envision a smooth transfer of innovations to the building sector? Given new modes of manufacturing, what are the new codes and standards that will govern innovations to move toward implementation? What cross-platform systems, such as design to manufacturing or manufacturing to construction, will need to be in place in order to facilitate automation and construction productivity? What are the new technologies and associated expertise that will emerge to redefined architectural practice and construction, especially to navigate and manage multi-disciplinary teams? This symposium, rather than a survey of contemporary concrete architecture, brings researchers and industry experts together from diverse disciplinary fields and areas of production – history & theory, engineering, construction technology, material science, design, and manufacturing – for a timely discussion centered on concrete as a building material with enormous potential for innovation. The symposium aimed to foster and identify trajectories for advancing concrete research and align potential collaborative exchanges. Co-organized with the College of Civil and Environmental Engineering (CEE), the symposium launched with an evening keynote lecture the night before, followed by a full day symposium at Taubman College. The symposium closed with an exhibition opening/reception downtown at the Liberty Research Annex Gallery, highlighting some of the work produced by participants, with a performance by Brandon Clifford and Davide Zampini of Cemex. From Lab to Site: Innovation in Concrete was organized in collaborative between the University of Michigan Taubman College of Architecture and Urban Planning and the University of Michigan Civil and Environmental Engineering Department, with additional support provided by the University of Michigan Global CO2 Initiative. The symposium was generously sponsored by Walbridge. Participants include: Keynotes Sarah Billington, Ph.D., Chair and Prof. Civil and Environmental Engineering, Stanford University Mark Burry, Architect, lead for the construction of Sagrada Familia, Founding Director, Swinburne University of Technology’s Smart Cities Research Institute and Professor of Urban Futures, Melbourne (waiting on confirmation) Paired Presentations Standards, Codes, and Risks Sasa Zivkovic, Assistant Prof., Architecture, Cornell University Scott Jones, National Institute of Standards and Technology (NIST), Chair of ACI 3DP of Cementitious Materials, Director of Metrology of Additive Construction by Extrusion Consortium (MACE) Industry + Labor Maria Gonzalez Pendas, Ph.D., Assist. Prof. Architecture, Rice University Sarah Nichols, ETH Architecture 100 years of Reinforced Concrete Lucia Allais, Ph.D., Associate Professor, Princeton University Forrest Meggers, Ph.D. Assistant Professor, Architecture _ Andlinger Center for Energy and the Environment, Director CHAOS research lab, Princeton University Climate Change and Concrete Construction Victor Li, Ph.D., Prof. Civil and Environmental Engineering, Materials Science, and Macromolecular Science Engineering, UM Brian Ellis, Ph.D., Ass. Prof, Civil and Environmental Engineering, UM 3D Printing + Outer Space Shadi Nazarin, Associate Prof., Architecture, Penn State University Mike Fiske, Ph.D. Jacob Space Exploration Group, NASA Marshall Space Flight Center Robotic Construction Vineet Kamat, Ph.D. Prof. Civil and Environmental Engineering, UM Barton Malow Construction Industry Collaboration – research + design Davide Zampini, Ph.D. Head of R+D, Cemex Brandon Clifford, Assistant Professor, Architecture, MIT Industry Collaboration – design + manufacturing Andrew Kudless, Associate Prof. Architecture, CCA Joshua Zabel, Kreysler & Associates Panel Discussion Wanda Lau, moderator, Technology + Innovation Editor, Architect Magazine Jonathan Massey, Dean, Taubman College, UM Jerry Lynch, Chair and Prof. Civil and Environmental Engineering, UM Sarah Billington, Ph.D., Chair and Prof. Civil and Environmental Engineering, Stanford University Exhibition / Performance (Liberty Research Annex Gallery) Patty & Jan, Brandon Clifford + Davide Zampini https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644348961651-ODZG1PVIS1GH9LKQQZ5D/2019_1003_Concrete_Symposium_poster10_lores.png Concrete Symposium - Symposium on Research + Building Innovation – Concrete October 31 – November 1, 2019 Organizers: Tsz Yan Ng + Wes McGee, Taubman College of Architecture & Urban Planning Co-organizer: Jerry Lynch, College and Environmental Engineering From the environmental imperatives to make concrete carbon position to novel forming techniques such as 3D printing – concrete as a material is being transformed along different fronts in the building industry. As computational design and digital fabrication matures beyond the lab, scaling up to address construction level challenges, concrete holds tremendous promise for the future, not only in shaping our built environment but also in how we build, our ethos and aspirations. Yet, there are many hurdles to overcome. With traditional building processes steeped in protocols and regulations, moving R+D to the building sector requires an awareness of the different players and institutions involved, even political and economic contingencies, that shape the contours of concrete innovation. As academia assume the role of R+D more and more, how do we envision a smooth transfer of innovations to the building sector? Given new modes of manufacturing, what are the new codes and standards that will govern innovations to move toward implementation? What cross-platform systems, such as design to manufacturing or manufacturing to construction, will need to be in place in order to facilitate automation and construction productivity? What are the new technologies and associated expertise that will emerge to redefined architectural practice and construction, especially to navigate and manage multi-disciplinary teams? This symposium, rather than a survey of contemporary concrete architecture, brings researchers and industry experts together from diverse disciplinary fields and areas of production – history & theory, engineering, construction technology, material science, design, and manufacturing – for a timely discussion centered on concrete as a building material with enormous potential for innovation. The symposium aimed to foster and identify trajectories for advancing concrete research and align potential collaborative exchanges. Co-organized with the College of Civil and Environmental Engineering (CEE), the symposium launched with an evening keynote lecture the night before, followed by a full day symposium at Taubman College. The symposium closed with an exhibition opening/reception downtown at the Liberty Research Annex Gallery, highlighting some of the work produced by participants, with a performance by Brandon Clifford and Davide Zampini of Cemex. From Lab to Site: Innovation in Concrete was organized in collaborative between the University of Michigan Taubman College of Architecture and Urban Planning and the University of Michigan Civil and Environmental Engineering Department, with additional support provided by the University of Michigan Global CO2 Initiative. The symposium was generously sponsored by Walbridge. Participants include: Keynotes Sarah Billington, Ph.D., Chair and Prof. Civil and Environmental Engineering, Stanford University Mark Burry, Architect, lead for the construction of Sagrada Familia, Founding Director, Swinburne University of Technology’s Smart Cities Research Institute and Professor of Urban Futures, Melbourne (waiting on confirmation) Paired Presentations Standards, Codes, and Risks Sasa Zivkovic, Assistant Prof., Architecture, Cornell University Scott Jones, National Institute of Standards and Technology (NIST), Chair of ACI 3DP of Cementitious Materials, Director of Metrology of Additive Construction by Extrusion Consortium (MACE) Industry + Labor Maria Gonzalez Pendas, Ph.D., Assist. Prof. Architecture, Rice University Sarah Nichols, ETH Architecture 100 years of Reinforced Concrete Lucia Allais, Ph.D., Associate Professor, Princeton University Forrest Meggers, Ph.D. Assistant Professor, Architecture _ Andlinger Center for Energy and the Environment, Director CHAOS research lab, Princeton University Climate Change and Concrete Construction Victor Li, Ph.D., Prof. Civil and Environmental Engineering, Materials Science, and Macromolecular Science Engineering, UM Brian Ellis, Ph.D., Ass. Prof, Civil and Environmental Engineering, UM 3D Printing + Outer Space Shadi Nazarin, Associate Prof., Architecture, Penn State University Mike Fiske, Ph.D. Jacob Space Exploration Group, NASA Marshall Space Flight Center Robotic Construction Vineet Kamat, Ph.D. Prof. Civil and Environmental Engineering, UM Barton Malow Construction Industry Collaboration – research + design Davide Zampini, Ph.D. Head of R+D, Cemex Brandon Clifford, Assistant Professor, Architecture, MIT Industry Collaboration – design + manufacturing Andrew Kudless, Associate Prof. Architecture, CCA Joshua Zabel, Kreysler & Associates Panel Discussion Wanda Lau, moderator, Technology + Innovation Editor, Architect Magazine Jonathan Massey, Dean, Taubman College, UM Jerry Lynch, Chair and Prof. Civil and Environmental Engineering, UM Sarah Billington, Ph.D., Chair and Prof. Civil and Environmental Engineering, Stanford University Exhibition / Performance (Liberty Research Annex Gallery) Patty & Jan, Brandon Clifford + Davide Zampini https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644354273558-V3GDZ91KYUJ20TXKXWI8/concrete+symposium_Edit.png Concrete Symposium https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644347570792-G31EE8RWGTOZGE3YC8LE/image-asset.png Concrete Symposium https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644348682879-BWMF4S5Q6YRA9G2KBDQN/2019-11-01+13.27.24.jpg Concrete Symposium https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644348681853-HS5ZK6VP1POGRI425TUJ/2019-11-01+15.44.18.jpg Concrete Symposium https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644348684218-V8IS7EDR5LGMSHXQV5T7/2019-11-01+16.25.37.jpg Concrete Symposium https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644348820628-FCS6SYH2RVC7V3QV94UT/19concretesymposium-1010_49020370497_o.jpg Concrete Symposium Work by HANNAH, Sasa Zivkovic, at the exhibition https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644348819436-7H6J49Y5AK7WN0S4R2AF/2019-11-15+18.57.07.jpg Concrete Symposium Work by HANNAH, Sasa Zivkovic, at the exhibition https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644348842552-XXXIWNVOJGEOUN3COI90/19concretesymposium-1262_49019642023_o.jpg Concrete Symposium Work and performance by Brandon Clifford and Davide Zampini/Cemix, at the exhibition https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644348842619-ULV3MJYL90BQZMW7XPBB/19concretesymposium-1286_49020362792_o.jpg Concrete Symposium Work and performance by Brandon Clifford and Davide Zampini/Cemix, at the exhibition https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644348845531-I4MEN2Q9UM5BPOBD5QJ8/2019-10-30+13.58.50.jpg Concrete Symposium Work and performance by Brandon Clifford and Davide Zampini/Cemix, at the exhibition https://www.tszyanng.com/jae daily 0.75 2022-02-08 https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644355332184-7C3AP8W599NI55AK2SBT/JAE_73-2_Work_Cover_Proof+1.png JAE - JAE 73:2 Peggy Deamer, Yale University Tsz Yan Ng, University of Michigan Architects have always been concerned with the effects of what their design produces: What do our buildings/environments look like? How are they experienced? How do they perform? Concerns for how architecture is produced, however, have been largely sidestepped until more recently when digital fabrication and various types of information delivery systems recast the nature of how we work and the types of skills necessary to perform various tasks related to the production of buildings. Our social and ethical responsibility as designers in relation to labor does, however, have a legacy. Nineteenth and early twentieth century theorists’ attention to workers, be they builders (think John Ruskin) or designers (think Adolf Loos and Walter Gropius) addressed issues of labor in a period of industrial and economic transformation. Today, in a radically changed global context, can we similarly rethink work? With our work increasingly undervalued and often unrewarding, is it possible to reevaluate the nature of what we do, how we perform tasks, with whom we collaborate, and under what ethical directives? Within broader shifts in what constitutes labor for design professionals, how can architects lead, nudge, and recalibrate the labor of those in related fields and for ourselves? And furthermore, how can architectural education acknowledge, assist, and even innovate in this recalibration? Without making an Arendtian distinction between work and labor, we make the assumption that work and labor are two sides of the same coin. Work is what an architect does in their daily life; labor is their role in the larger economic equation. But even here, historical and theoretical positions of this sort – as they pertain to architecture – need to be debated. Where should our labor be focused – in service, in making, or in the production of information? Are there constructive moments of intersections between these activities? If we still believe that architectural production operates in the midst of historical conditions of labor, management, and resources, is it now possible to survey where, in this digital and neoliberal era, architectural work is or is not singular, in the past and in the present, in order to theorize a more meaningful future? How might studio, history/theory, professional practice, and fabrication/structures courses all become arenas for this speculation? The Journal of Architectural Education Issue 73:2 seeks Scholarship of Design, Design as Scholarship, and Micro-Narratives that address educating architects for better empowerment and more adept participation in our contemporary society. Given the myriad types of work architects produce – from imaging representations that engender new worlds, to integrating advance technology for building, to theorizing “design” and “professionalism” – what is the academy’s role in preparing students to be smart, agile, and responsible professionals? What training should be reinforced to redirect hegemonic values to address inclusivity and diversity? How should we envision the labor of architects in the next 10, 20, 50 years? How can the academy model the ethos and aspirations we hope to produce as a society and be a model for collaborative work? https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644355332184-7C3AP8W599NI55AK2SBT/JAE_73-2_Work_Cover_Proof+1.png JAE - JAE 73:2 Peggy Deamer, Yale University Tsz Yan Ng, University of Michigan Architects have always been concerned with the effects of what their design produces: What do our buildings/environments look like? How are they experienced? How do they perform? Concerns for how architecture is produced, however, have been largely sidestepped until more recently when digital fabrication and various types of information delivery systems recast the nature of how we work and the types of skills necessary to perform various tasks related to the production of buildings. Our social and ethical responsibility as designers in relation to labor does, however, have a legacy. Nineteenth and early twentieth century theorists’ attention to workers, be they builders (think John Ruskin) or designers (think Adolf Loos and Walter Gropius) addressed issues of labor in a period of industrial and economic transformation. Today, in a radically changed global context, can we similarly rethink work? With our work increasingly undervalued and often unrewarding, is it possible to reevaluate the nature of what we do, how we perform tasks, with whom we collaborate, and under what ethical directives? Within broader shifts in what constitutes labor for design professionals, how can architects lead, nudge, and recalibrate the labor of those in related fields and for ourselves? And furthermore, how can architectural education acknowledge, assist, and even innovate in this recalibration? Without making an Arendtian distinction between work and labor, we make the assumption that work and labor are two sides of the same coin. Work is what an architect does in their daily life; labor is their role in the larger economic equation. But even here, historical and theoretical positions of this sort – as they pertain to architecture – need to be debated. Where should our labor be focused – in service, in making, or in the production of information? Are there constructive moments of intersections between these activities? If we still believe that architectural production operates in the midst of historical conditions of labor, management, and resources, is it now possible to survey where, in this digital and neoliberal era, architectural work is or is not singular, in the past and in the present, in order to theorize a more meaningful future? How might studio, history/theory, professional practice, and fabrication/structures courses all become arenas for this speculation? The Journal of Architectural Education Issue 73:2 seeks Scholarship of Design, Design as Scholarship, and Micro-Narratives that address educating architects for better empowerment and more adept participation in our contemporary society. Given the myriad types of work architects produce – from imaging representations that engender new worlds, to integrating advance technology for building, to theorizing “design” and “professionalism” – what is the academy’s role in preparing students to be smart, agile, and responsible professionals? What training should be reinforced to redirect hegemonic values to address inclusivity and diversity? How should we envision the labor of architects in the next 10, 20, 50 years? How can the academy model the ethos and aspirations we hope to produce as a society and be a model for collaborative work? https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644349049149-9AZP1Y3RI5WJ3VMGIA6G/JAE_Work_TOC.jpg JAE https://images.squarespace-cdn.com/content/v1/5b77804f3e2d09330f76eac3/1644351486639-U04MM04S58C9GH1652OE/JAE_73-2_Work_Cover_Proof+1.png JAE JAE 73:2 Peggy Deamer, Yale University Tsz Yan Ng, University of Michigan Deadline: 01 February 2019 Architects have always been concerned with the effects of what their design produces: What do our buildings/environments look like? How are they experienced? How do they perform? Concerns for how architecture is produced, however, have been largely sidestepped until more recently when digital fabrication and various types of information delivery systems recast the nature of how we work and the types of skills necessary to perform various tasks related to the production of buildings. Our social and ethical responsibility as designers in relation to labor does, however, have a legacy. Nineteenth and early twentieth century theorists’ attention to workers, be they builders (think John Ruskin) or designers (think Adolf Loos and Walter Gropius) addressed issues of labor in a period of industrial and economic transformation. Today, in a radically changed global context, can we similarly rethink work? With our work increasingly undervalued and often unrewarding, is it possible to reevaluate the nature of what we do, how we perform tasks, with whom we collaborate, and under what ethical directives? Within broader shifts in what constitutes labor for design professionals, how can architects lead, nudge, and recalibrate the labor of those in related fields and for ourselves? And furthermore, how can architectural education acknowledge, assist, and even innovate in this recalibration? Without making an Arendtian distinction between work and labor, we make the assumption that work and labor are two sides of the same coin. Work is what an architect does in their daily life; labor is their role in the larger economic equation. But even here, historical and theoretical positions of this sort – as they pertain to architecture – need to be debated. Where should our labor be focused – in service, in making, or in the production of information? Are there constructive moments of intersections between these activities? If we still believe that architectural production operates in the midst of historical conditions of labor, management, and resources, is it now possible to survey where, in this digital and neoliberal era, architectural work is or is not singular, in the past and in the present, in order to theorize a more meaningful future? How might studio, history/theory, professional practice, and fabrication/structures courses all become arenas for this speculation? The Journal of Architectural Education Issue 73:2 seeks Scholarship of Design, Design as Scholarship, and Micro-Narratives that address educating architects for better empowerment and more adept participation in our contemporary society. Given the myriad types of work architects produce – from imaging representations that engender new worlds, to integrating advance technology for building, to theorizing “design” and “professionalism” – what is the academy’s role in preparing students to be smart, agile, and responsible professionals? What training should be reinforced to redirect hegemonic values to address inclusivity and diversity? How should we envision the labor of architects in the next 10, 20, 50 years? 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