User: Drone

USER:DRONE

By Abigail Nelson A Design Thesis presented to the Faculty of The College of Architecture at the University of Nebraska-Lincoln In Partial Fulfillment of Requirements for the Degree of Master of Architecture Major: Architecture Under the Super vision of Professor: Zac Porter

Lincoln, Nebraska May, 2020

USER:DRONE

Abigail Nelson Advisor: Zac Porter

CONTENTS

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Abstract & Background, 7

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Thesis Statement, 27

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Methodolog y: The How, 29

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Context: The What, 45

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Design Project, 71

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Bibliography, 105

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ABSTRACT & BACKGROUND

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ABSTRACT Though industrial technolog y furthered the possibilities of architecture and, in the the case of the automobile, redefined architectural principles and promenade, it also influenced a consumeristdriven, technolog y-obsessed society.

Cedric Price and Reynor Banham saw great promise in the implementation of technolog y within architecture; what they overlooked, though, was the tangible exhaust it brought: electronic waste (e-waste). The current e-waste situation in the New Territories of Hong Kong poses a case study which allows technolog y, specifically that of drones, to interact with architecture.

For this thesis, drones, in reaction to the e-waste case study, operate an e-waste handling facility alongside humans. The architecture responds to drone’s unique capabilites as a user and the various processes involved with e-waste handling. It simultaneously questions the notion of occupant and architecture’s dependency on humans as a discipline. The thesis culminated in four points which outline the for mal and disciplinary effects regarding drones as future occupants of architecture.

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BACKGROUND Throughout history, specifically during the post war era, there has been a celebration of technolog y within architecture.

Reynor Banham applauded the exposed ser vices and str uctural honesty of the Pompidou Center, establishing its qualities as indicative of hightech architecture. Cedric Price envisioned a movable building controlled by a computer which communicated instr uctions to a crane—an optimistic vision of how technolog y could be integrated with architecture.

Nonetheless, there existed a nostalgic attitude of a time before systems and technolog y infiltrated architecture. Le Corbusier said, “For Ledoux it was easy—there were no pipes.” In architecture, there has historically been this love-hate relationship with technolog y. Love for the possibilities technolog y promised, yet contempt for the systems that made technolog y work. In William Mitchell’s 1995 book, City of Bits: Space, Place, and the Infobahn, he reacts to the for merly optimistic naïve claims about what technolog y could do for space. Beyond the ideas of Cedric Price, Reynor Banham, and Corb, he acknowledges the factor around technolog y such thinkers ignored: the repercussions of technological production.

At the time, these architectural thinkers weren’t grappling with nor aware of a topic familiar to

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us today: waste. What we see now is the material exhaust of something that has been dematerialized in the discourse—the tangible remainder of technological innovation: electronicwaste or e-waste. Technolog y has snowballed into an industry perhaps larger than Corb, Price, and Banham ever imagined, with amounts of waste unrealized until now. Nevertheless, technolog y in conjunction with architecture has the capacity to respond to the issue.

Collection electronic waste, called e-waste.

Renzo Piano & Richard Rogers. CentrĂŠ Pompidou. 1971, Paris, France.

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TECHNOLOGICAL RESEARCH

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The technological inter vention speculated upon in reaction to the e-waste issue originates from the technolog y of drones. The drone has been the unifying element of the thesis as it went through various phases.

Considering this, a thorough analysis of the drone’s technological capabilities was conducted early on in the project.

WHY DRONES? 6

Although autonomous vehicles and flying cars were inspiration for this topic, the drone provided the most opportunity and design freedom in relation to architecture. The drone has no plane or axis to be tethered to. It inherently maintains its own level of autonomy unlike that of cars. Moreover, drones have a gradient of autonomy that could be manipulated and easily speculated upon throughout the thesis.

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DRONE CAPABILITIES In order to speculate the possibilities of drone futures, it is important understand where such technolog y exists today. The use of drones currently appears across various fields, including:

Sur veillance Videography Aid Package Delivery Terrorism Reconnaissance Constr uction Sur veying Maintenance Mapping 12

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GPS Satellite Provides data to position the drone. Data fed into the main flight controller.

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Barometer Measures the pressure in the air, helping the drone calculate its altitude abouve the ground.

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Sonar Uses sound propagation to navigate between or detect objects when within 9 feet of the ground. Ideal for indoor flight when no GPS is available.

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Accelerometer Senses whether the drone is moving through the air.

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Gyroscope Helps keep the drone’s body level during flight.

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Compass Keeps track of which direction the drone is pointing.

Beyond what drones are capable of today, this early research simultaneously questioned how drones are capable of doing such tasks. Many of the aforementioned fields employ programmed drones: drones that receive a specific code and carry out instr uctions provided by human programmers. These drones use cameras, global positioning system (GPS) satellites, barometers, sonar, accelerometers, g yroscopes, and compasses to venture through the air.

The ideas speculated upon early in this thesis, though, required the technolog y

of autonomous drones: unmanned aerial vehicles (UAVs) controlled by remote ground control systems and onboard computers. The nose of the UAV holds sensors and navigational systems, allowing the drone to autonomously locate itself and avoid obstacles.

In addition to the capabilities of autonomous drones, the integration of artificial intelligence into drones soon became necessary to build upon this research.

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WHAT IS A DRONE’S FAVORITE BUILDING?

ARE DRONES STRICTLY PURPOSE DRIVEN? DO DRONES EXIST WITHIN COMMUNITIES?

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WHAT KIND OF SPACES DO DRONES LIKE TO INHABIT?

DOES A DRONE CARE ABOUT SCALE?

HOW DO DRON EXIT BUIL DO DRONES WORK IN GROUPS?

HOW A APP

THE PHILOSOPHY OF AUTONOMY

WHAT IS A DRONE’S MEMORY LIKE?

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The notion of implementing autonomy into drones prompted the need to understand autonomy both technologically and philosophically. This prompted the study of object oriented ontolog y (OOO).

The theory of OOO challenges the anthropocentric outlook that emphasizes human beings over objects and views objects through the mind of the subject. 1 Graham Har man, Professor of Philosophy at SCI-Arc, stands behind this thinking, privileging the object and understanding the universe as a collection of tools. The drone in this sense is an actor within a network of actors comprised of humans and objects. This theoretical philosophy of the drone as an actor led me to a series of posters, questioning the abilities of drones and the autonomy they gain after applying the lens of OOO.

NES A LDING?

W DOES A DRONE PROACH FORM?

WHAT KIND OF ARCHITECTURE DOES A DRONE LIKE?

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FIRE EXIT

DRONES REACT TO BUILDINGS BUILDINGS REACT TO DRONES These posters simultaneously questioned the architectural implications associated with the inhabitance of drones within architecture. The generation of posters ser ved as a way to approach architecture through the eyes of the drone and rethink how such an occupant might inhabit space differently than humans. Unique for mal obstacles must be considered in relation to this user group. It overarchingly represented the idea that buildings could react to drones as opposed to drones subjectively responding to architecture.

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MAXIMUM OCCUPANCY NOT TO EXCEED 575 DRONES

LOW CLEARANCE

1 FT

NOTICE PERSONS

NOT PERMITTED BEYOND THIS POINT

DRONES & ARCHITECTURE

Eugene Henard. Rue Future. 1911.

After becoming familiar with the technicalities and philosophical background of autonomous drones, the connection to architecture was a necessary next step. As futuristic as flying cars and drones may seem, futurists were thinking about it in the early 18th century. In 1911, architectural professor and futurist Eugene Henard designed Rue Future, a concept envisioning the possibility of the universal use of private aircraft. Shortly after, Frank Lloyd Wright speculated Broadacre City. The 1935 design dreamt of flying cars navigating through futuristic garden cities.

More recently, Viny Maas of MVRDV conducted a studio in 2006 exploring the possibility of an urban core populated by autonomous flying vehicles. This redefined how program types were experienced and opened up an exploration between infrastr ucture, architecture, and urban for m.

Frank Lloyd Wright. Broadacre City. 1935.

Viny Maas, MVRDV. Skycar City. 2006.

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Saúl Ajuria Fernández. Urban Droneport. 2016.

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Similarly to how the automobile influenced an entire reshaping of architectural principles, the drone may too spark such change.

The car overturned ideas about city planning and architectural promenade, but how could the drone effect architecture?

Earlier designers have hinted at similar questions, but there continued to be this divide between architecture and the movement of technolog y. The drone poses new opportunities alongside architecture. Its size, capabilities, and autonomy bring tremendous promise to what they could become—a new user group of architecture.

Despite the potential that drones offer, its promise remains perhaps unrealized in relation to its presence in architecture. In 2018, Amazon patented this aerial fulfillment center for delivery drones, but perhaps the architecture could be pushed beyond these preliminary ideas.

Amazon. Aerial Fulfillment Center for Delivery Drones. 2018.

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In what ways do human cognition and movement compare to that of technolog y?

What means of thinking could technolog y develop that humans possess?

How do humans perceive space?

How does space affect human experience and behavior?

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ORGANIZING RESEARCH To bring together the multifaceted areas of research for this topic, a triangle mechanism aided the organization of research and ser ved as a means to generate projective questions about the project. The three points of this triangle were humans, technolog y, and space. These three points drew connections that might not have otherwise been realized.

When has technolog y been a driver of space?

How do drones inhabit space?

Will drones’ perception of space shape architecture?

These three categories were chosen to organize research conducted prior and to synthesize ideas in a way that could be conceivable during conversation and critique.

The human category ser ved as a means to relate the research to the user group architects are already familiar with. The way humans see and perceive is well-researched and capable of being compared to other areas of study within this thesis. The second category, technolog y, organized the research conducted about drones and similar topics like autonomy, artificial intelligence, and machine learning.

The third category, space, delved into the architectural logistics and precedents related to this topic.

It was the connections between these three points, though, that sparked the most intrigue and speculation as the thesis went forward.

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CONSIDERING THE HUMAN As this thesis progressed, a deeper understanding of architecture’s traditional connection to the human and proportion was a necessary next steep. Architecture has historically had such a deep connection to the human body, which makes sense.

Humans for the entirety of existence have been the only inhabitant of architecture.

Much like architecture from hundreds of years ago, architecture today responds to the physical make-up of the human body yet simultaneously interacts with the senses and how humans feel. The origin of the word design, coming from the Latin word designare, means “to mark out.” Design is inseparable from this idea of proportion and the human was a very early means of measurement and scale.

Leonardo da Vinci

Walter Gropius

Da Vinci’s drawing of The Vitr uvian Man goes to great depths studying the relationships of elements within the human body and linking them to geometry within architecture. Vitr uvius describes the human body as being the principle source of proportion within architecture, going far enough to state, “no Temple can have a rational composition without symmetry and proportion, that is, if it has not an exact calculation of members like a wellshaped man.”

This concept is revisited in Le Corbusier’s Modulor Man, with proportions referencing Fibonacci’s golden section. This ratio links together elements found in nature, the human body, and the proportions of early architecture. What happens when the human, an inspiration for finding such proportion, is eliminated and this foundational notion of proportion is removed from architecture and replaced by drones?

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Le Corbusier. The Modulor. 1948.

Le Corbusier

Frank Gehry

Alvaro Siza

Norman Foster

Renzo Piano

Santiago Calatrava

Leonardo da Vinci. The Vitr uvian Man. 1490.

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WHAT IS ARCHITECTURE WITHOUT THE HUMAN?

FOR THE DISCIPLINE

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For the discipline, this thesis addresses the larger question of Architecture’s for mal attachment and perhaps reliance on the human as an occupant. A human requires for m to exist. A human needs a ground to stand on, walls to organize how they live their lives, natural light to heighten their mood and productivity, controlled air to breath and be comfortable, the list goes on. A human is subjected to the laws of gravity and the limitations of their body’s flexibility and senses. Perhaps it is these constraints

that provide pushback and r ulesets for architects to follow--offering some sort of regulation to what might otherwise be limitless creativity. But what happens when the occupant doesn’t have these constraints?

What happens when the occupant takes up 1 cubic foot, defies gravity, moves autonomously, and perceives space through ther mal gradients? A user without human limitations yields a higher degree of for mal freedom.

This freedom inspired me to consider narratives early on in the semester,

ground walls ceiling roof natural light controlled air envelope stairs elevators doors windows egress

leading to the issue of e-waste in Hong Kong. Narrative and storytelling became a way to compensate for this project’s lack of human pushback, to offer a degree of complexity to respond to.

Perhaps a future with humanless architecture harbors a discipline more apt to researching contextual issues much larger than the human condition.

Perhaps humans have been holding creatives back, succumbing our time to for mal compliancy instead of issues larger than a human’s response to a building.

In addition to the capabilities of autonomous drones, the integration of artificial intelligence into drones soon became necessary to build upon this research.

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THESIS STATEMENT

This thesis anticipates the nonhuman inhabitants of buildings architects might someday have to contend with: drones. The drone responds to for m unlike their human predecessor with fewer for mal limitations codified in architecture today. This amounts to four points for drone architecture while questioning architecture’s dependency on the occupant to provide pushback for design.

As an influencer of technological and architectural inter vention, this thesis uses the e-waste problem occurring in Sha Kong Wai in the New Territories of Hong Kong as a case study. This situation poses the opportunity to generate architecture for drones with areas overlapping with human space. The drone’s ther mal gradient perception of space interwoven with humanperceived space influence the design of this thesis.

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METHODOLOGY: THE HOW To enrich this research and apply it more directly to architecture, this thesis underwent a process involving narrative and world building. This method forced research on details overlooked during earlier phases of the thesis. This tog gling between narratives and architecture led to the creation of three speculative futures and the eventual realization of the e-waste issue as a real-life contextual narrative technolog y could respond to.

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NARRATIVE BUILDING Turning the thesis toward a speculative direction initially began with the generation of storyboards. These were handdrawn frames hinting at futures involving architecture and drone inter vention. These ideas were paired with eidetic images, collaging scenes and contexts from the narratives. The bulletin board also included quotes from Liam Young, an architect who operates in the spaces between design, fiction and futures. Young’s approach to design was highly influential during the ideation portion of this thesis. Tomorrows Thoughts Today, Young’s think tank whose work explores the possibilities of fantastic, speculative and imaginary urbanisms, ser ved as a precedent for these kinds of narratives. 2

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ITERATIVE DRAFTS The storyboards created at the beginning of this process went through a series of drafts, gaining clarity and technical details along the way. Creating these boards ser ved as a means to find gaps in the thesis’ existing research and opportunities to bring in more. The boards compiled the infor mation revolving the narratives but attempted to activate the reading process. Like a drone scans its surroundings unconventionally, these narratives inspire the reader to bounce around the board, taking in the various components comprised within it.

Each readers’ experience might fixate upon details unintended by the author, but that was part of the intent.

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SPECULATIVE WORLD BUILDING This point in the process resulted in three crafted narratives written as an excerpt taken from a future textbook. The chapters look back on the narrative’s events like a projective history. The situations set up in these speculative futures questioned three themes of architecture: landfor m, assemblage, and poche. At this point in the thesis, narratives became a medium to envision speculative futures where architecture must revisit traditional architectural themes. By using this speculative lens evoking societies with drone-inhabited architecture, unique projections of architectural futures could be imagined.

This process influenced a series of world building exercises, inspired by a method Alex McDowell used to create the contexts for films like Bladreunner 2049 and Fight Club. Alex finds that this jumbling of scales, ecologies, and domains builds an all-encompassing world. 3 The generation of narratives transpired from the origin point and developed outwardly, unfolding itself non-linearly.

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NARRATIVE 1: CLIMATE CONTROL IN THE AMERICAS At the turn of the 21st century—prior to geoengineered environments—climate conditions still operated in conjunction with Earth’s natural atmosphere. As a result, humans were subjected to the continuous bombardment of extreme weather events. The climate was scarcely recognizable to the stable, balanced climate we know today. Increased levels of greenhouse gases along with changes in atmospheric aerosols led to rising temperatures, melting ice caps, intensifying natural disasters, and dilapidated ecosystems.

Responding to this crisis, an international team of scientists and engineers developed specialized drones, referred to as Climatrons, which could extract polluted particles out of the air while simultaneously monitoring atmospheric conditions. These Climatron drones contained vacuums and air filters to inhale contaminated particles and exhale clean air. Polymicro film attached to the propellers helped the drones take in dust, smog, and toxins exhausted from the atmosphere. According to some experts, a Climatron was capable of storing up to ten pounds of collected waste—nearly five times its weight—within a compact, internal compartment.

Initially, Climatrons were programmed to deposit their collected waste in the abandoned territories between major urban centers. However, as more cities launched their own fleets of Climatron drones, the accumulation of waste accelerated, eventually encroaching on the very cities that sought to rid

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themselves of pollution. This shortage of Waste Deposit Sites slowed the productivity of Climatrons, causing some cities like Los Angeles to regress back into unlivable conditions.

With visible smog blanketing the skyline and wildfires enveloping the city, Los Angeles officials eventually mandated that new Climatron Waste Deposit Sites be created on surface parking lots within the city center. Over time, the accumulation of Climatron waste on these sites generated a series of distinctive landfor ms, woven into the urban fabric. Even after innovations in geoengineering technolog y rendered Climatrons obsolete, Los Angeles’ Climate Waste Landfor ms continued to attract an international following, appearing in many popular VR experiences and hosting hundreds of thousands of visitors each year throughout the late 21st century. Perhaps the most carefully preser ved Climate Waste Landfor m exists in its original for m within the Los Angeles Landfor m Museum. Samples of the landfor m’s matter date back to 2035, allowing researchers to examine and learn from the atmospheric composition at that time.

These distinctive configurations should have been an obvious sign that drones were developing their own intelligence and autonomy, but it was not until The Heist of 2141 that humans became fully aware of the situation.

Collectively, this narrative speaks to this escalating issue of climate change and technolog y’s role in it. It then yields a need to revisit the notion of landfor m within architecture and how such technolog y can promote positive change for the environment, both climatically and socially.

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NARRATIVE 2: THE HEIST OF 2141 The freedom that drones exhibit today looked significantly different prior to 2141. Drone independence during this time was highly illegal and dangerous. Humans knew little about drones’ capabilities and the intelligence they ingrained within them. Though they knew of drones’ effect on the environment, they were unfamiliar with the technolog y’s artificial intelligence.

Humans believed they had control over drones’ AI, but secret rebellious actions occurred, unbeknownst to humans.

The rebellion that started it all began on June 21, 2141. On this day, United States Postal Ser vice (USPS) drones, called Carriors plotted to wrongly deliver packages to the geological center of the United States: Lebanon, Kansas.

This event later became known as The Heist. The Carriors themselves operated using a decentralized control based AI where a high degree of autonomy exists within the drones’ technological composition. USPS equipped Carriors with this technolog y so that one day their system could operate without human inter vention. That day came far sooner than Americans expected, though.

Thousands of Americans filed complaints to USPS, notifying them of their missing or empty packages.

USPS took full responsibility of the stolen items, apologizing for their technological oversight and promising to reimburse the upset customers. Soon enough, USPS failed to keep up and went bankr upt, unable to appease the customers after the accident.

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The Carriors’ actions were anything but accidental, though. The Heist began what later became known as the Drone Freedom Movement. Carriors, amongst all delivery drones from the 22nd century, were aware of their position on the outskirts of suburbia.

This further defined them as ser vants of the city, not occupants. While Carriors delivered consumers’ packages, they saw the happiness exhibited in human communities and aspired to have something like that of their own. Lebanon, Kansas became that community for Carriors after The Heist.

Stolen delivery items brought to r ural Lebanon became building blocks of their own city. Each material good desired by Americans became a necessary str uctural member of the Carriors’ escape. As time progressed, so too did the drones’ intercommunication. The drones became proficient in unboxing the material goods and burned the boxes as a source of energ y. What appeared as a random collection of stolen items ser ved as a haven of freedom for Carriors. The Heist inspired a movement for drone independence and forever changed humans’ relationship to drones. This relationship, though, did not remain as civil as society had hoped. Years down the line, drone technolog y would take a vicious turn during the Drone Autonomy Revolution.

This narrative speculates the notion of consumerism and society’s demand on technolog y to keep up with their material dependency. This speculation sets up a project obser ving the for mal qualities of assemblage and additionally taps into the systematic possibilities at an urban level for a system to support drone circulation.

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NARRATIVE 3: THE DRONE AUTONOMY REVOLUTION At the beginning of the 2200s, Europe exhibited considerable advancement of reconnaissance drone technolog y.

Military drones transitioned from being independently operated to collaborating using coordination called stigmerg y. They used collective intelligence to complete missions in groups and harbored more control over their autonomy than that of the Carriors from a century ago.

By this time, drone technolog y could be condensed to fit in the palm of a human hand. A version of this drone was employed in Paris to aid the French Military. The ar med drones, called Bots, could swar m together and fire three grams of explosives into the brains of targets using wide field cameras, tactical sensors, and facial recognition. They could also collect digital data from social media and internet searches to correspond with military efforts.

Paris’s newly appointed prime minister, Ludovic Heroux was wary of the Bots’ capabilities and ordered that their use be postponed until further research occurs on the technolog y. This decision came after innocent civilians lost their lives during the Protest of 2210 when Bots mistook the event as a military upheaval. Though Bots could operate extremely efficiently, there was definite gaps in the system that needed resolved.

What humans viewed as technological errors were intentional on the drones’ end, though.

When news about Bot ter mination was released, Bots collaborated autonomously against Heroux. Their

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technolog y allowed them to use datadriven autonomy to kill specific targets based on age, sex, fitness, unifor m, ethnicity, and data. In this case, they collected data from social media platfor m, Pande, to kill users who interact with Heroux. Anyone who followed, liked, tag ged, or commented on posts from Heroux were targeted by Bots.

Though many Parisians were aware of the drones’ upcoming invading, Bots were programmed to kill with stealth and secrecy. Their technolog y required them to operate in groups, so carrying out lethal missions independently was impossible. To remain incognito, Bots began invading Paris by infiltrating their Metro system. They began in the first arrondissement and spiraled outward until Heroux ordered that the Metro be shut down.

It was then that Bots resorted to occupying the buildings themselves.

They’d stealthily invade Parisian architecture, capitalizing on the existing systems that aided the buildings’ function. The choreographed systems of the Centre Pompidou allowed Bots to target Heroux followers without warning. Bots took over the poche space of Paris. The unknown, uninhabitable space for humans became a maze within which Bots planned the demise of Heroux.

This narrative speaks to the culture of social media. Though it provokes less of a design exercise, it questions the notion of poche and it’s inhabitable potential to drones. This narrative would yield a sectional study of Paris’s poche and the alternative ways their systems could be used.

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THE ARCHITECTURE & NARRATIVE BINARY What existed at this point in the thesis was a way of working that focused on the relationship between architecture and narrative. As opposed to them being this cause and effect binary, their relationship appeared to be interwoven and continually inspirational to one another. This interplay created a method where each field of thought used provocation to stimulate designers (architects or authors) to think differently about their process and their product. This relationship then created an approach to speculative design, where the process itself is a product.

This is backed by philosopher Marshall McLuhan with his well known quote, “the medium is the message.” 4 At this point in the thesis, the method was an integral part of the product. McLuhan has another quote where he says, “We shape our tools and thereafter our tools shape us.” This method was a “tool” for the thesis and continually gets used throughout the thesis. It shapes me as a designer along with the stories I write and the architecture I design. This relationship helped imagine what new technologies can bring to architecture through a variety of scales and scenarios.

The drone fits in the center of this method within the architecturenarrative binary. What once was a character in fiction is now an occupant of architecture and a solution to a global problem. It is the drone that inhabits architecture-inspired narratives and narrative-inspired architecture. At times, the drone was an antagonist and at other times, a protagonist. Despite the technolog y’s character, though, it

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Serves as means to ima technologies can bring through a variety of s

Have the agency to speculate futures muc different than the reality we exist with

Not an illustration of narrative but an interpretation of issues presented through narrative

The character that inh architecture-inspired & narrative-inspired a

Character not necessar or antagonist, but a m problems presented thr and influence architec

Non-linear collection of pro presented through a speculat

is their reaction to presented problems that will yield architecture. The narratives developed early into the thesis encountered the issue of architecture becoming an illustration for narrative; this process aims at preventing that. It was this process that eventually led to the discovery of the real-life narrative of e-waste. This situation, which will be more thoroughly discussed in the next section, allows architecture becomes a character itself alongside and in collaboration with the drone.

agine what new g to architecture scales and scenarios This relationship creates an approach to speculative design, where the process itself is a product

ch hin today “The medium is the message.”

- Marshall McLuhan

ARCHITECTURE

habits the narrative architecture

DRONE

Interplay between narrative and architecture creates a method where each field of thought uses provocation to stimulate designers to think differently about their process and product

NARRATIVE

rily a protagonist means to react to rough narrative cture

“Architecture becomes a perspective shifting machine... that takes apart assumptions of what architecture is or what objects are” - Mark Foster Gage

oblems tive lens Through which a myriad of narratives or architectures could be imagined

This process allows me to approach narrative non-linearly while maintaining a speculative lens that could generate multiple narratives or architectures.

Although this Mark Foster Gage quote is about one of his designs, it applies to this process as well. Through this process, “Architecture becomes a perspective shifting machine, that takes apart assumptions of what architecture is or what objects are.” Architecture in this sense extends far beyond its existence as a building. It is a culmination of the

context, domains, and ecologies that built its narrative. At the end of all this diagrammed process, this method of the thesis proves that this relationship between architecture and narrative has the agency to speculate futures much different than reality today. The e-waste scenario is just one of many futures architects could think about.

Designers are constantly imagining fake realities—this thesis questions taking that imagination one step further and considering this process along the way.

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CONTEXT: THE WHAT

Discovering the e-waste issue in the New Territories unfolded into a multifaceted topic, rich in contextual details. Establishing an understanding of this context and the factors influencing the situation was a necessary step in order to be in the position to design for this issue. This context ser ved as a present-day narrative that architecture and technolog y could grapple with.

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10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

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GLOBAL PERSPECTIVE 40% of U.S. electronic waste, ends up in the New Territories, a r ural region in western Hong Kong. 5 After Americans drop off electronics at recycling centers, like Goodwill, their devices travel for hundreds of days, making several stops en route to the New Territories thousands of miles away.

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Deep Bay

Tin Shui Wai

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na

to

ri es

rr

i

Of the 50-100 shipping containers of waste brought to the New Territories daily, many electronics end up somewhere in this region just south of Deep Bay. 6 This area contains around half of Hong Kong’s population and the e-waste dumping grounds (the green plusses) starkly contrast the nearby urban metropolis of Tin Shui Wai. These dumping grounds are often hidden and labeled as “far ms” due to their zoning as agricultural land.

Te

Chi

REGIONAL PERSPECTIVE

New

Mong Tseng Tsuen Sha Kong Wai Sha Kong Tsuen Tung Tau Tsuen Wung Chau Fung Kong Tseun San Sang San Tseun

Pak Sha Tseun

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LABOR IMPLICATIONS On these sites, workers collect the waste, sort and disassemble the electronics and manage the reception and resale of the parts.

Though this is part of the New Territories’ economy, it’s difficult to tell just how large of industry it is.

Their workforce is undocumented and unprotected. 7 Many workers are unaware of the toxins they’re exposed to during the disassembly process.

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HEALTH HAZARDS At times, waste is burned to extract valuable metals like copper from the electronics. This process and even just taking apart the electronics exposes laborers to carcinogens and neurotoxins.

Oftentimes they’re unaware of the health implications and continue to do the work unphased, mask or not. 8

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ENVIRONMENTAL CONCERNS Beyond the health effects e waste burning and dismantling brings, the environment also sees a great deal of polluting. Smelting releases dioxins, which break down extremely slowly in the environment. 9 Moreover, toxins seep into the area’s soil, making the land incapable of becoming agriculture. The pollutants also enter nearby water streams, making the water unsafe on top of their air and soil.

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ETHICAL ISSUES Most countries have realized the har mful effects of e-waste exporting and have halted such practices in the past few years. The U.S., however, continues to do so. The U.S. remains the only industrialized nation that has not ratified the Basel Convention, which is a treaty that prevents the transfer of hazardous waste from developed countries to less developed countries. 10 Countries that have ratified the treaty oftentimes export e-waste illegally, labeling it as “secondhand goods� as a loophole to continue discarding electronics.

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GEOPOLITICS The U.S. agreed to the Basel Convention in 1990, but no implementing legislation has been enacted to ratify it. 11 This may be due to the trading practices between China and the U.S. Because China exports so many products for North American markets, it made sense to stock the ships with waste so cargo wasn’t empty upon return to China.

This may also be affected by the growing trade deficit between the countries, which factors in e-waste as an export.

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TRANSPORTATION Though this trading may promote the export of e-waste to the New Territories, it supports their economy and labor force associated with the practice. Hong Kong, an administrative region controlled by The People’s Republic of China, enjoys its own autonomy but is still apart of China under “One Country, Two Systems.” Despite the implementation of China’s waste import ban in January of 2018, Hong Kong has not enforced the Chinese policies. This is why waste goes to nearby New Territories, a region close enough to receive the waste yet re-use the same cargo ships for Chinese-North American exports. 12

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TECHNOLOGY CONSUMERISM In addition to the contextual issues affecting e-waste trade, consumerist trends impact the e-waste management market. In the past 7 years, these factors have changed drastically. Now more than ever, electronics’ life spans are decreasing as their rate of obsolescence increases. 13 On average, Americans get new phones every two years despite phones’ design to last twice as long. There’s a clear disconnect between how often people want new phones and how often they need them.

Just this trend in phones amidst all electronics adds tremendously to the e-waste problem. Though technolog y is the main culprit to the e-waste problem, perhaps its relationship to the problem could change.

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DRONE INTERVENTION Technolog y, specifically that of drones, has the capacity to take over many of the processes rendered unsafe for humans and the environment revolving e-waste.

With sensors and ther mal vision capabilities, drones can take in exports and organize electronics.

They can then disassemble the electronics and even filter the air so contaminants can’t pollute the atmosphere. The disassembled and sterilized parts can then be redistributed to nearby manufacturers in China. Parts unusable by Chinese manufacturers could be sold to locals by workers once associated with the e-waste industry. 14

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SHA KONG WAI This sparks a loop where trade practices aren’t disr upted but their impacts are. It simultaneously inspires a speculative future for architecture to respond to—an e-waste handling facility solely occupied and operated by drones located in Sha Kong Wai, New Territories. This site currently houses a network of e-waste operations, closely linked to other nearby e-waste sites. It’s also directly adjacent to the Tin Shui Wai metropolis. This contextual situation set up, a narrative that seeks architectural and technological inter vention.

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SPECULATION & ARCHITECTURE In Liam Young’s ‘Machine Landscapes: Architectures of the Post Anthropocene’ he inter views Paul Inglis, super vising art director of Blader unner 2049. Inglis notes that a fictional environment feels more real if it is encoded with some kind of experience we know today. 15 The e-waste issue is a catalyst to exploring the possibility of drones interacting with architecture. This very real, present day topic allows for speculation on technolog y and architecture that may be a few years out from reality, but nevertheless deser ves consideration. Speculation is inherently a part of architecture and with the integration of projective technolog y and weaving of narrative throughout the process, it can help imagine architecture devoid of human occupancy, allowing drones to grapple with the e-waste issue.

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“YOU ARE ALWAYS GOING TO HAVE YOUR FICTIONAL ENVIRONMENT FEEL MORE REAL IF IT IS ENCODED WITH SOME KIND OF EXPERIENCE WE KNOW TODAY.” - PAUL INGLIS

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DESIGN PROJECT

The contextual issues surrounding e-waste in the New Territories set up a design brief prompting the creation of an e-waste handling facility. The design of this project began with the design of a project brief along with a schedule to facilitate the process. Throughout the design project, I revisited the process outlined earlier, using narrative and speculation along the way.

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E-WASTE HANDLING FACILITY

do drones work in groups? what is a drone’s relationship to scale? how do drones exit a building? what if buildilngs reacted to drones instead of drones reacting to buildings? how does a drone approach form? what is a drone’s memory like? do drones exist within communities? what is a drone’s favorite color? what kind of spaces do drones like to inhabit? are drones strictly purpose driven? what does material mean to drones? do drones have friends? what kind of architecture best suits a drone’s needs?

design brief

PROBLEM 40% of U.S. electronic waste, called e-waste, ends up in the New Territories, a region in western Hong Kong.

After Americans drop of electronics at recycling centers, like Goodwill, their devices travel for hundreds of days, making several stops en route to the New Territories, thousands of miles away. This research stems from a joint project from MIT’s Senseable City Lab and the Basel Action Network, an organization working to combat e-waste exports like printers, LCD and cathode ray tube monitors, to make the e-waste issue more transparent. Though recycling centers reduce e-waste buildup in landfills, America’s practice of exporting the waste only relocates the issue.

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Of the 50-100 shipping containers of waste brought to the New Territories daily, many electronics end up somewhere within a 2 mile square region south of Deep Bay. Here, villagers make money by burning plastic wires or using toxic acid to extract valuable metals within the e-waste. This process releases carcinogens and neurotoxins into the air, posing serious health issues to laborers. This has polluted the quality of the area’s air along with their nearby rivers. The contaminants seep into the soil, ruining the potential for the land to be used for farming.

ow do ead of at is a t is a it? are es? do eeds?

do drones work in groups? what is a drone’s relationship to scale? how do drones exit a building? what if buildilngs reacted to drones instead of drones reacting to buildings? how does a drone approach form? what is a drone’sPROMPT memory like? do drones exist within communities? what is a drone’sDespite favorite color? what kind of spaces do drones like to inhabit? are the slew of problems initiatfrom e-waste, the technological dronesedstrictly purpose driven? what does material mean to drones? do capabilities of drones create the dronesopportunity have friends? kind of architecture best suits a drone’s needs? for designwhat intervention.

While applying the unique ways drones inhabit space, design an e-waste handling facility devoid of human inhabitance.

SITE The site for the E-Waste Handling Facility is Sha Hong Wai, a village in the New Territories of Hong Kong.

This site currently houses a network of e-waste operations, closely linked to other nearby e-waste sites. It’s also directly adjacent to the Tin Shui Wai metropolis.

Sha Hong Wai

program Intake Center Electronic Categorization / Sorting Disassembly Lab Detox Center Part Categorization Delivery Prep Melting Lab Storage Resale Management / Programming

User Drones

“Whether it’s intentional or not, the hype around recycling in the electronics industry is incredibly misleading. The reality is that, as a solution, recycling barely scratches the surface of the growing e-waste crisis. We are currently losing ground in the battle to reduce the environmental impact of our electronic equipment.”

Vianney Vaute, Co-Founder of Back Market

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PROMPT & PLANNING The slew of problems surrounding the e-waste issue in the New Territories creates the possibility for drones to inter vene. This prompts me as the designer and author of this thesis to design an e-waste handling facility devoid of human inhabitance.

A schedule was generated at this point in the thesis to project forward and keep tabs on upcoming progress. The timeline proposed has two sides, one prompting the creation of narratives and one prompting the creation of architecture. This sets up an iterative approach to a design project that may change as the semester progresses, but increases in detail and researched content as the thesis continues.

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do drones work in groups? what is a drone’s relationship to scale? how do drones exit a building? what if buildilngs reacted to drones instead of drones reacting to buildings? how does a drone approach form? what is a drone’s memory like? do drones exist within communities? what is a drone’s favorite color? what kind of spaces do drones like to inhabit? are drones strictly purpose driven? what does material mean to drones? do drones have friends? what kind of architecture best suits a drone’s needs?

E-WASTE HANDLING FACILITY

ow do ead of hat is a at is a it? are es? do eeds?

schedule

JAN Consider program spaces and adjacencies in relation to Sha Hong Wai, contextual issues, and drone tectonics; schematic design proposal due Feb. 1

FEB Revisit narrative in response to developing architecture. Engage with worldbuilding exercise to further architectural design; narrative and refined design due Feb. 11

mAr

APR

Continue designing architecture paying mind specifically to the drones’ capabilities. Adjust formal qualities of the architecture that are necessary to better occupy the drone; updated design proposal due Mar. 17

Refine narrative based on architectural changes. Finalize worldbuilding and architectural representation; final deliverables due Apr. 29

mAy Finalize formatting design and worldbuilding narrative into thesis book; submission of book May 4

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BEGINNING DESIGN As I transitioned into the design phase of the project, some decisions needed to be made to give this process direction.

As a means to provide some sort of constraint, the autonomous drone for this thesis perceives space using ther mal gradients. This means drones differentiate object’s shapes based off temperature. Objects or surfaces with a different material or different temperature appear as different colors without the need of a camera. This offers a unique reaction to space than that of a human, valuing the materiality and temperature of surfaces as a means to organize program.

Throughout the design process, I’ve used this perception as a guiding principle for controlling the various drones involved in operating an e-waste facility. Early on in my design process, I heavily relied on circulation to organize and dictate the design which resulted in an interweaving of surfaces aligning with orthogonal axes. Though the drone 76

has limitless mobility, the architecture generated for my last critique could bring str ucture so several drones could coexist and carryout different programs simultaneously.

At this point in the design process, I was also researching the for mal qualities of the continuous surface and it’s possibility to ser ve the drone occupant—perhaps more adequately than the human occupant. Designing architecture for the drone while utilizing a continuous surface could facilitate their ther mal vision by providing a constant point of reference for the drone to sense. I was particularly interested in the qualities of rheotomic surfaces, wherein for mal geometry consists solely of one surface, bending and contorting to establish different spaces. It also provided the possibility of interweaving spaces that would never actually connect. To simplify the modeling process for this, I began by designing a module.

Early design iterations.

Rheotomic surface.

Precedent employing rheotomic surface geometry.

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INTAKE > PREP > POST-PROCESSING

BUILDING 2: PREP

BUILDING 1: INTAKE

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ON THE SITE

BUILDING 3: POST-PROCESSING

Before explaining the for m of this design, let’s revisit the site itself.

The site of Sha Kong Wai contains 3 buildings where different steps of the e-waste handling take place.

Currently, e-waste is brought in at the coast of Deep Bay (building 1), then brought to the villages where e-waste is prepped (building 2), then exported to electronics manufactures in Shenzhen (building 3). Because the user group has so much aerial freedom, it made sense to expand the program across different areas of the site, instead of consolidating the building in one part of the site.

Each building has a variety of processes going on within it, which I spent time researching and creating speculative sections for.

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BUILDING ONE Collectively, the buildings within Building One are all about intake. This hub is located on the coast of Deep Bay in Sha Kong Wai. Here a network of e-waste dismantling facilities already exist. At this area of the site, cargo ships might dump off the electronics, disassembly processes would begin, and drones would need to charge to keep up with their tasks. In these sections you’ll start to notice human spaces integrated, like the stairs in the middle section, here.

This relates back to the e-waste program involving human interaction with some phases of waste management, like disassembly. Mixing humans into some of the e-waste facility buildings also provided an opportunity to juxtapose for m for drones and for m for humans.

CARGO DUMP

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DISA

ASSEMBLY

DOCKING

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BUILDING TWO Building Two’s purpose is to prepare the e-waste for its second life. Building Two is slightly further east than Building One. Within this building there are storage compartments, sterilization processes, and melting mechanisms to consolidate the waste. The programs within this building are primarily operated by drones, so fewer human-operated spaces exist.

SORTING

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STERI

ILIZATION

MELTING

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BUILDING THREE The third building located in Shenzhen 8 miles northeast is where the waste goes to be post-processes. This is where custom parts are made from the melted e-waste, packaging takes place for deliveries, and parts are sold in retail stores. Humans start to show up in the retail area of this building, so the architecture becomes a hybrid and drone and human space.

CUSTOMIZATION

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PAC

CKAGING

RETAIL

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OVERLY LINEAR LOGIC After completing these sections, I realized my approach to designing for a drone was too linear and process-driven.

Drones can coexist and complete tasks autonomously and simultaneously, not dependent on step-by-step processes and assembly line techniques like humans. These sections for me now become diagrams depicting the types of processes occurring at each building, not actual representations of for m.

CARGO DUMP

Nonetheless, these diagrams prove how the floor plan becomes irrelevant and unnecessary for a user like the drone.

This inspired me to spend a majority of my time developing section drawings of these buildings, speaking to just how radical this user would be for spatial organization and architectural design.

Just this substitution of user group changes our disciplinary understanding of space.

SORTING

CUSTOMIZATION

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DISASSEMBLY

DOCKING

STERILIZATION

MELTING

PACKAGING

RETAIL

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A MODULAR APPROACH The for m generated after these diagrammatic sections employs the idea of rheotomic surfaces through the use of a module. This module stacks on top of itself and can multiply adjacent to itself, infinitely.

The blue faces only match up with one another, along with the purple, creating a series of connected yet str ucturally separated spaces. There still exists an orthogonal nature to this module, responding to how the drone moves and it’s correlation to cardinal direction coordinates.

This module simultaneously allowed for simple constr uction and manipulation of the humanoccupied spaces the program required. Each module would then be temperature regulated to control the density of drone swar ms navigating throughout the buildings. These temperatures could change depending on the building’s use.

This module aided the design and creation of the forecoming section drawings, which help illustrate the four points for drone architecture.

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POINT NO. 1 The first point describing the for mal qualities of drone-occupied architecture is the opening of the building envelope for accessibility. Drone’s don’t need temperature regulated, purified air to operate, unlike humans. This gives architecture the freedom to open directly to the outside air. It simultaneously eases drones’ ability to enter and exit the building wherever necessary.

THE OPENING OF THE BUILDING ENVELOPE FOR ACCESSIBILITY.

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POINT NO. 2 The second point is the manipulation of for m to respond to the scale of the drone. Drones don’t need 8’ ceilings, railings, and stairs to safely exist in space. This allows for the opportunity for the for m to introduce smaller spaces inaccessible to humans. Given that the drones for this scenario operate in swar ms, spaces were designed to move multiple drones throughout the building.

THE MANIPULATION OF FORM TO RESPOND TO THE SCALE OF THE DRONE.

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POINT NO. 3 The third point for architecturefor-drones, is the use of for m to hybridize program and circulation.

There are no “hallways and rooms� as traditional architecture is comprised of. Circulation becomes the place for program. Drones carry out various processes as they meander through the building. They interact with humans as they do this. The human spaces integrated in the building have a more clear distinction between program and circulation, but fluidly integrate throughout.

THE USE OF FORM TO HYBRIDIZE PROGRAM AND CIRCULATION.

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POINT NO. 4 The fourth and final point is the repeated module to aid maneuverability. Using this module and the for mal strateg y of the continuous surface allows the drones to maneuver through the space efficiently and quickly. The different sides of the surface allow for simultaneous movement in different directions. Some e-waste is toxic and some is safe—perhaps the safe waste could be carried in the spaces connected to human space, and the toxic waste along the inverse side, never coming in contact with the humans. This element of toxicity is why the scale figures populating these sections have hazmat suits on (although it’s fitting in a time like this). In a building primarily occupied by drones, I prioritized them as the primary user group.

THE REPEATED MODULE TO AID MANEUVERABILITY.

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THE FOUR POINTS Together these four points highlight the for mal changes that come with architecture with drone users. The notion of architectural envelope, scale, program/circulation, and module take on different meanings once coupled with the user of the drone.

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Just as data centers are designed specifically to the needs of the data ser vers, with temperature conditions not comfortable to humans, the design of architecture for a drone user would take on different for ms. We see a similar condition with grain elevators. The

architecture of grain silos responds to its sole occupant—grain. Human’s weren’t design to be apart of grain silos, but can control their operations remotely.

Architecture-for-drones doesn’t have to be as banal as that of a grain silo, but similar ideas carry through. We saw Amazon patent a rather banal drone distribution hub for delivering Amazon packages. This kind of architecture fails to consider the for mal possibilities that drones bring to the discipline.

2

THE OPENING OF THE BUILDING ENVELOPE FOR ACCESSIBILITY

1

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THE USE OF FORM TO HYBRIDIZE PROGRAM & CIRCULATION

THE THE MANIPULATION MANIPULATION OF OF FORM FORM TO TO RESPOND RESPOND TOTHE TOTHE SCALE SCALE OF OF THE THE DRONE DRONE

4

THE REPEATED MODULE TO AID MANEUVERABILITY

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This thesis more specifically focuses on those points and the for mal conditions associated with the drone as a user group of architecture. The e-waste issue ser ves as a plausible case-study for this condition to occur, but holds little importance beyond that. As I move forward, I want to continue developing these sections and begin to reintegrate narrative into my process.

I’m interested in generating narratives for each section drawing that would

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tie back to the contextual research I completed last semester. I’m also looking at adding onto and abstracting the section drawings and superimposing narrative into their representation.

The use of narrative helped me design the brief of this thesis project and I believe it will help design the stories within these sections as well. Though I don’t plan on designing a complete, functioning building, I believe these sections and narratives will back my thesis and illustrate the four points of

drone architecture and the implications it has for the discipline.

This thesis more specifically focuses on those points and the for mal conditions associated with the drone as a user group of architecture. The e-waste issue ser ves as a plausible case-study for this condition to occur, but holds little importance beyond that. As I move forward, I want to continue developing these sections and begin to reintegrate narrative into my process.

Please visit this video for greater detail of these drawings and footage of e-waste practices: https://youtu.be/Bfza_gXved8

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Hawkins/Brown. Romance of the Sky proposal for Heathrow Airport. 2015.

TAKEAWAYS While the process for this thesis was rather non-linear and chaotic, the research was worthwhile and fr uitious.

Upon culminating this thesis, the world was experiencing a pandemic wherein considering architecture devoid of humans was not that unorthodox.

Society became aware of people’s ability and necessity to active architecture.

Cities were seen through a different lens and people questioned their need to physically occupy a workplace. As we move toward a future with data centers 102

and other architecture that exists without human interaction, it is important to consider the for mal implications.

Imagining architecture for drones has been a fun, mind-bending journey. One that took me years into the future while utilizing present-day representation. To a drone, though, a section isn’t useful at all. Architectural representation ser ves its human occupant as much as the archtiecture itself does. A holistic study of this topic might consider this notion and represent the thesis in a manner

suitable to the architecture’s occupant.

Might this be video, code or some other means legible to drones could be another thesis in and of itself.

of humans’ architecture. Nonetheless, I believe architects are one of the few professionals capable of considering such str uctures.

What I have also started to question is that perhaps architecture for any non-human occupant isn’t architecture at all. A bee’s abode is a hive and an ant’s is an antfar m. A drone is a user characteristically dissimilar to human beings, therefor deser ving of a completely different lexicon than that

In a world with advancing technolog y and autonomous beings, vehicles, and drones on the horizon, it is time to consider how architecture might ser ve such user groups.

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