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The International Architecture Exhibition of La Biennale di Venezia serves as a reflection of the industry — not merely mirroring existing priorities and concerns, but also presenting a vision for what could potentially be accomplished.

Under the curation of Carlo Ratti, a professor of practice at MIT in urban technologies and planning, this year’s event (“Intelligens. Natural. Artificial. Collective”) introduces a “Circular Economy Manifesto” aiming to facilitate the “creation and implementation of projects that leverage natural, artificial, and collective intelligence to address the climate emergency.”

Designers and architects will quickly discern the contradiction presented by this year’s theme. Global architecture festivals have traditionally left a significant carbon footprint, consuming extensive energy, resources, and materials to construct and transport temporary installations that are ultimately discarded. This year’s extraordinary focus on waste reduction and carbon neutrality prompts participants to transform perceived limitations into innovative challenges. In this manner, the Biennale embodies a microcosm of the present planetary conditions — a platform for envisioning and practicing adaptive methodologies.

VAMO (Vegetal, Animal, Mineral, Other)

When Ratti invited John Ochsendorf, a professor at MIT and the founding director of MIT Morningside Academy of Design (MAD), to interpret the theme of circularity, the initiative became the basis for merging ideas, tools, and expertise from various teams within MIT and the broader MIT community.

The Digital Structures research group, led by Professor Caitlin Mueller, employed their knowledge in designing structures with tension and compression. The Circular Engineering for Architecture research group, spearheaded by MIT alumna Catherine De Wolf at ETH Zurich, investigated how digital technologies combined with traditional carpentry could optimally utilize reclaimed wood. Early-stage enterprises — including ventures from the accelerator MITdesignX — contributed inventive materials using natural byproducts from vegetal, animal, mineral, and other sources.

The outcome is VAMO (Vegetal, Animal, Mineral, Other), an ultra-lightweight, compostable, and transportable canopy designed to encircle a brick column in the Corderie of the Venice Arsenale — a historic venue originally employed for the manufacturing of ropes for the city’s naval fleet.

“This year’s Biennale signifies a new radicalism in architectural approaches,” states Ochsendorf. “It’s no longer adequate to present an exciting concept or display a stylish installation. The discourse on material repurposing must extend beyond the exhibition area, and we’re observing a desire among students and emerging practices to effectuate tangible change. VAMO is not just a temporary shelter for fresh ideas. It serves as a material and structural prototype that will evolve into various forms following the Biennale.”

Tension and compression

The decision to construct the support structure from reclaimed timber and hemp rope necessitated a highly efficient design to leverage the inherent qualities of these relatively modest materials. The structure operates purely in tension (the spliced cable net) or compression (the slanted timber rings), giving it a floating appearance — yet it remains capable of supporting considerable loads over long spans. The canopy weighs under 200 kilograms and spans more than 6 meters in diameter, emphasizing the remarkable lightness achievable through equilibrium forms. VAMO simultaneously highlights a range of sustainable coverings and finishes made from unusual upcycled materials — from coconut husks, spent coffee grounds, and pineapple peels to wool, glass, and leather remnants.

The Digital Structures research group led the design of structural geometries influenced by materiality and gravity. “We envisioned a very large canopy,” notes Mueller. “It was essential for it to feature anticlastic curvature reminiscent of natural forms. We wanted it to tilt upward on one side to greet visitors moving from the central corridor into the space. However, these effects are nearly impossible to achieve with current computational tools that primarily focus on designing rigid materials.”

In response, the team utilized two custom digital tools, Ariadne and Theseus, developed internally to facilitate a process of inverse form-finding: a method of uncovering forms that attain the experiential qualities of an architectural project grounded in the mechanical properties of the materials. These tools empowered the team to craft three-dimensional design concepts and automatically modify geometries to ensure that all components remained in pure tension or compression.

“Employing digital tools enhances our creativity by enabling us to select from a variety of options and shortcut a process that otherwise would take months,” notes Mueller. “Nonetheless, our process also inspires conceptual thinking that goes beyond the tool — we continuously consider the natural and historical precedents that illustrate the potential of these equilibrium structures.”

Digital efficiency and human creativity

Light enough to be transported as standard luggage, the hemp rope structure was hand-spliced and brought from Massachusetts to Venice. Meanwhile, the heavier timber framework was built in Zurich, where it could be moved via train — significantly diminishing the project’s overall carbon footprint.

The wooden rings were crafted using salvaged beams and boards from two temporary structures in Switzerland — the Huber and Music Pavilions — as part of a pedagogical strategy that De Wolf has created for the Digital Creativity for Circular Construction course at ETH Zurich. Each year, her students are tasked with deconstructing a building earmarked for demolition and repurposing the materials to develop a new structure. In the case of VAMO, the objective was to upcycle the wood while steering clear of chemicals, high-energy techniques, or non-biodegradable materials (such as metal screws or plastics).

“Our process encompasses all three varieties of intelligence celebrated by the exhibition,” says De Wolf. “The natural intelligence of the selected materials for the structure and cladding; the artificial intelligence of digital tools enabling us to upcycle, design, and fabricate with these natural resources; and the vital collective intelligence that unlocks the possibilities of newly created reused materials, made feasible by the contributions of numerous hands and minds.”

For De Wolf, authentic creativity in digital design and construction necessitates a context-sensitive approach to discerning when and how such tools should be applied in conjunction with hands-on craftsmanship.

Through a process of collaborative assessment, it was decided that the 20-foot lower ring would be constructed with eight scarf joints utilizing wedges and wooden pegs, thus eliminating the need for metal screws. The scarf joints were produced through five-axis CNC milling; the smaller, dual-jointed upper ring was crafted and assembled.
“`by hand by Nicolas Petit-Barreau, the founder of the Swiss woodworking firm Anku, who employed his knowledge in designing and constructing yurts, domes, and furniture for the VAMO initiative.

“While digital technology was fitting for the repetitive joints of the lower ring, the upper ring’s two distinct joints were more adeptly crafted manually,” remarks Petit-Barreau. “When it pertains to designing for circularity, we can draw valuable lessons from traditional building practices. These techniques were honed long before we had access to energy-heavy technologies — they also allow for the degree of nuance and adaptability needed when addressing the irregularities of reclaimed wood.”

A materials selection for circularity

The structural framework of a building often represents the most energy-demanding component; an impact significantly reduced by the cooperative design and manufacturing approach established by MIT Digital Structures and ETH Circular Engineering for Architecture. The framework also showcases panels created from biodegradable and low-energy materials — many of which have been developed through initiatives supported by MITdesignX, a program focused on design innovation and entrepreneurship at MAD.

“In recent times, several MITdesignX groups have proposed concepts for new sustainable materials that might initially appear unrealistic,” notes Gilad Rosenzweig, executive director of MITdesignX. “For example, using used coffee grounds to fabricate a leather-like substance (Cortado), or producing compostable acoustic panels from coconut husks and reclaimed wool (Kokus). This represents a significant cultural shift in the architectural field towards re-evaluating our building methods, but having an innovative idea is not sufficient. To create impact — to translate invention into innovation — teams must demonstrate that their concept is economically viable, feasible as a business, and scalable.”

In line with the principles of MAD, MITdesignX evaluates profit and efficiency through the lens of environmental and social sustainability. In addition to showcasing the work of R&D teams engaged in MITdesignX, VAMO also displays materials created by collaborative teams at the University of Pennsylvania’s Stuart Weitzman School of Design, Politecnico di Milano, and other partners, such as Manteco.

The outcome is a composite structure that encapsulates multiple life spans within a varied material selection of waste products from vegetal, animal, and mineral origins. Panels made from Ananasse, a material derived from pineapple peels developed by Vérabuccia, preserve the natural texture of the fruit as a surface design, while rehub repurposes shards of multicolored Murano glass into a flexible terrazzo-like composition; COBI fabricates breathable shingles from coarse wool and beeswax, and DumoLab creates fuel-free 3D-printable wood panels.

A purpose beyond durability

Adriana Giorgis, a designer and teaching fellow in architecture at MIT, played an essential role in unifying the various elements of the project. Her research examines the numerous factors that influence whether a building endures through time, and her insights contributed to shaping a shared understanding of long-term design thinking.

“As a connecting point among all the teams, assisting in guiding the design and serving as a project manager, I was able to observe how my research applied at each stage of the project,” reflects Giorgis. “Integrating these different strands of thinking and ultimately aiding in the installation of the canopy on-site generated a more robust idea about what it truly means for a structure to possess longevity. VAMO transcends its current form — it embodies a method of advancing a powerful concept into present and future practice.”

What’s on the horizon for VAMO? Neither the pursuit of architectural permanence linked with constructed projects, nor the relegation to waste typical of temporary installations. Following the Biennale, VAMO will be taken apart, potentially reused for additional exhibitions, and ultimately moved to a natural reserve in Switzerland, where the components will be studied as they biodegrade. In this manner, the lifespan of the project extends beyond its original purpose for human habitation and architectural exploration, unveiling the gradual material changes consistently occurring in our built environment.

To quote Carlo Ratti’s Circular Economy Manifesto, the “enduring legacy” of VAMO is to “leverage nature’s intelligence, where nothing is squandered.” Through a regenerative symbiosis of natural, artificial, and collective intelligence, could architectural thought and practice expand to global dimensions?