Gwyllim Jahn, one of the authors of Tallinn Architecture Biennale TAB 2019 Installation Competition winning proposal “Steampunk” – installation that will be built in August 2019 in front of the green area facing the Museum of Estonian Architecture – visited Tallinn to start preparations for the building process and gave an open lecture in the Estonian Academy of Arts
Gwyllim Jahn, is the co-founder and CCO of Fologram, a Melbourne based design research practice and technology startup building a platform for designing and making in mixed reality. Gwyllim holds an academic position as a Lecturer in Architecture at RMIT where he developed design research in the fields of mixed reality environments, autonomous robotic fabrication, behavioural design systems and creative applications of machine learning. His work has been published in leading computational design conferences and journals including IJAC, ACADIA and RobArch and he has given talks, presentations and workshops at international institutions including MIT, Stuttgart ICD, UCL, AA, Sci Arc and Tsinghua University.
Fologram practice explores how building directly from mixed reality environments can extend the skills and capabilities of designers and builders by improving spatial understanding of design intent and reducing the risk of human error associated with extrapolating 2D instructions to 3D form. They build tools that dramatically improve the ability of conventional craftsmen and construction teams to fabricate structures with significant variability in parts, form, structure, texture, pattern and so on, and in many cases completely reverse design viability as impossibly expensive and difficult proposals become straightforward, low risk and cheap. Complex designs can now be fabricated on standard building sites, with cheap materials and tools, and without expensive expertise or design documentation.
In his lecture, Jahn discussed work from Fologram that investigates the implications of Mixed-Reality (MR) assembly methodologies on architectural design. Could making in mixed reality allow us to reconfigure CAD-CAM not as a means of working to high degrees of tolerance and precision but instead as a return to craftsmanship, intuition and reflexive making? How will the medium of MR enable new forms of collaboration between designers and manufactures, or between humans and machines? What new architectural forms might be found in this superposition of the digital and the craftsman?
This method is also used to create the pavilion of the Installation Competition “Huts and Habitats” in Tallinn.