Anca Badut
“NO STONE VOLUME ONE” A Studio JŌJ Publication
I first met Anca Badut in Toronto, Canada. While working in a sculptural robotic-architecture practice in 2016, Badut joined our team to help develop new form languages and perpetuate the aesthetic goals of the studio. As a savant of digital modelling tools, Badut quickly became an invaluable asset to the design process. Their forthcoming and often overtly critical stance added a substantial grit to our team’s process. One of their specific roles was to analyze the efficacy of a new production method for speakers. Through countless rounds of 3D printing, Badut managed to identify many nuances of acoustic design… notably that with plastic resin and at a small scale, not many drastic changes can be made to the resonant presence of a sound source. Though a seemingly banal discovery, the amount of thorough research and simulations involved constituted a professional level of fluency of the hidden logics within numerous modelling softwares. It’s no wonder that Badut has been asked by industry-leading 3D modelling software development companies to advise on their emerging products. After their internship, I had the good fortune to meet up with Badut in Bucharest. With no substantive and prior knowledge of the city, I went with only their words... “Why would you want to come here?” Was, flatly, the main takeaway from Badut’s colorful perspective. With some secondary ancestry from Romania myself though, I insisted on visiting, to get a glimpse of their life. Between bowls of polenta and stuffed cabbage, Badut
54
B1
generously showed me material labs and makerspaces. Despite a complicated history, Bucharest is currently an Eastern European hub for Digital Artists, Badut certainly being one of them. Badut’s work extends far beyond the confines of their city though. They’re an active researcher in generative landscape and advanced urbanism in Toronto, and are actively engaging in digital VF production, and transdisciplinary, collaborative projects. Badut doesn’t let their location define them, but my familiarity with Bucharest is surely defined by my knowing the inspired and inspiring Anca Badut.
Anca Badut So how would you like to be introduced professionally? Even though I am an architecture student, and Research Assistant, and FX Artist, I’d generally introduce myself as an Artist. This makes a link to being an actual human being way more than “Architect, Designer, or Researcher”.
“NO STONE VOLUME ONE” A Studio JŌJ Publication
Why do you think that? Because when you say “Architect” people forget you are a person who has feelings... they just get a sense of everything else other than feelings... Designers are doing projects that can find in everyone’s life, from products to art installations and even to artificial reefs. This is meaningful from a practical way and it also sends a message, that design communicates with people and still is not entirely understood at times. With architecture it’s even more difficult. Things either get too technical or too conceptual. However, it is not easily understood by the community and it sometimes doesn’t completely understand communities either. As such, Architects can be seen as being too much involved in their own practice, too arogant - which might very well not be true, but still. I think it’s important to present ourselves as human beings first.
How does that differ from art? Does “conceptual” have a different meaning for both of those focuses?
56
B2
Anca Badut Somehow yes, because when I think about art, I’m thinking about combining elements and linking everything that I know. With architecture I’m not sure I can do that. Saying I’m an Artist would let people know I have knowledge about a lot of other things, but an Architect might know about something that is only contextual like landscape or urbanism. I just want to let people know I’m working in multiple places at once. I have no idea what I’m going to get out of it, but it is more meaningful to me.
What’s a recent thesis you have introduced, privately or publicly, into your practice?
“NO STONE VOLUME ONE” A Studio JŌJ Publication
This is related to my work as a Research Assistant for the Advanced Visual Communication in Landscape Architecture course offered in the Masters in Landscape Architecture at the University of Toronto. Thanks to the lecturer of the course, Matthew Spremulli, Innovation Manager at Autodesk Toronto, I had the chance to start conducting my own research which made possible a new module in the course, “Animation and Simulation in Landscape Architecture”. I have conducted my own research on the topic since, trying to find new solutions for ways in which to implement special effects and motion graphics in order to simulate natural phenomena, interaction and growth, using powerful softwares such as Maya for Landscape Analysis. This is an experimental research
8
B3
that isolates and controls relevant conditions which determine the investigated events, and then observes the effects when the condition is manipulated. The impact is that one is able to explain complex issues in the domain, compare different simulation results based on the given constraints of the medium and the media, correlate the relationship between two phenomena, predict events such as accumulation of snow or sand on a terrain given the natural circumstances, and control what causes which type of effect. Special effects proves itself to be the best choice because a lot of the events that we want to simulate or control are best done with “particles�, small intelligent elements that can interact with one another and change their behavior towards one another, given
Anca Badut different constraints. To give a simple example, dust particles behave differently than water particles at a molecular level. This research is in itself a work in progress. There are still a lot of questions not only that I am actively trying to answer, but also that I am not even yet aware of. Some of these refer to ecosystems, implementing procedural design for large scale simulations, and 3D modeling From a VisCom (visual communications) point of view. Rendering different types of particles is one of the challenges that I’m mainly paying attention to right now. Trying to keep everything computationally light is an important focus too.
B4
Describe the work that you currently do, as well as the subject, the company or school, and your position in it. I’m mainly an Architecture Student, but I’d rather not talk about that because it doesn’t really say anything about me. I’m a Research Assistant, and I must underline the fact that even if I have to research Landscape Architecture, the larger experimental part is playing with softwares. Looking for solutions to landscape problems. At the end of the day I’m pretty much just having fun. When you check out my Instagram profile it doesn’t seem like I’m doing anything connected to landscape architecture at all. What I’m actually trying to do is answer more complex questions in unexpected ways, which at the end of the day looks nice too. I’m more focused on the software side than the final product. I also have ongoing work with a motion graphics team and a collaborative exhibition about textile design.
With all those different projects, and your location in mind, what is your personal relationship with the notion of “work quality vs life quality”? They work hand in hand for me. It’s funny how you phrased that question because you know Bucharest and I know how you feel about it. To me “quality of life” doesn’t necessarily mean where you are, but that you are surrounded by cool people, and you’re working on cool things with them. That is where I see the bond.
Anca Badut So for you, quality of life has to do with your social situation? Some people may say it’s just a matter of exercise and sleep. Haha definitely no. So you know how I presented Bucharest to you, well my hometown is so much worse. I’m from a small city forgotten by the world, called Râmnicu Vâlcea, placed somehow in between two hills, really close to a chain of mountains. It’s a miserable little city with a great landscape. Awkward combo. I’m not sorry that I was born and raised in a really small city with a really small amount of money. Because even at the end of the day when I had to face depression which was pretty difficult, I know that everything I am today is thanks to that. That includes the way I look at art and design. For sure I don’t want my life to be a difficult one forever. But my life has brought me closer to art. It all has a big impact on what I make.
“NO STONE VOLUME ONE” A Studio JŌJ Publication
How would you generally assume “success” to be defined by others? Usually money. Maybe having a huge house next to the beach.
And for you?
62
It’s not defined, it’s more about being true to yourself. Having the courage to look at yourself in the mirror, and the courage to be present with yourself for two or three hours, saying, “I’m here, I’m OK right now. Am I at peace with me? Yes?” Then that’s success, you did it.
Is that something that needs to be present every day? I think it’s something that we actually need in order to even be able to walk the streets without stress. It’s OK to exercise this every day for five minutes. Being aware of yourself and who you are. I feel like this is really important. I see a lot of people spending a lot of time in studios or at work and they are afraid of being alone. No one is a real friend, they are just stabbing each other in the back. They don’t know how to stand their ground and I feel sorry for them, even though most of them are richer than I am.
What is an example of a project you would take on were you to have six months of free-time? I once had three months to do a personal, unsupported project. I chose to design an artificial reef. It’s one of the projects that I’m most happy about even today. But it could be done better. I’d try doing one good enough for some institute like NOAA to consider helping in the actual fabrication of. I feel like as a Designer, and Artist, and having some experience with simulations now, the most admirable thing that I could do is keep on trying to help the life in the underwater
Anca Badut world. This actually would help the whole planet Earth but this is another topic.
Same question, but with a carte blanche grant for fifty thousand dollars? Same as before. I want design to make a difference, not only for aesthetics. What would you answer be?
I have a dream of creating an interactive, augmented experience on the site of ancient ruins, but that is a longer conversation for another time. I’d essentially just want to continue evolving our capacity for storytelling. If you could have general access to a specialized individual to support your work moving forward, what would their specialization be in?
“NO STONE VOLUME ONE” A Studio JŌJ Publication
That’s a difficult one. They should be great in Computer Graphics with a very good understanding of large spaces. So maybe someone with backgrounds in architecture, landscape, and urbanism, who loves doing all of their studies in powerful softwares.
Is there an individual or group who is embodying a part of what you would like to see in your own practice? Matthew Spremulli, mentioned before as my research supervisor. Also VRBN studio in Zurich, partners of ESRI.
64
B5
Anca Badut How would you like to be introduced professionally in ten years? I’m not sure. I enjoy being in a little part of more domains at a time. I think that I just want to better myself in what I do, so let’s say instead of a Junior FX Artist, I hope to be a CG Generalist or VFX Supervisor ten years from now. And instead of being a Research Assistant, I want to call myself a Researcher. Or you know... a complex Artist.
Like how some living things retain the same formal principles and only increase in scale, like oysters, while others have a drastic metamorphosis at some point. It seems like you are more the former. That sounds cool, I like this analogy. So now I’m going to be a bit selfish here if that’s okay.
“NO STONE VOLUME ONE” A Studio JŌJ Publication
Of course? Because of the school that I am going to, and the very different way that people see stuff from the way I see, I feel like I don’t belong. So I’m asking myself if I might have taken the wrong path. Even though I want to be a complex Artist at some point, I had to take a break from music to study architecture. I don’t even have space in my room in Bucharest for a guitar. I now want to shift away from architecture. Not in a drastic way, but I know I never want to do plans again in my life. So I’m sometimes asking myself if I made a mistake
66
B6
in studying architecture. But this is what you also studied, and I think it is great the way you turned out. It turned out good for you even though you had tough moments in your university too, if I recall from our conversations. Do you think everything for me will get connected? Do you think studying architecture will end up being helpful in the way I want to pursue everything?
Well I think in order to institutionalize the education of a subject, a school will usually need to create foundational rules and parameters for the the act of teaching. The consequence of that is when you walk into the school they already have a defined and outlined intention of how they’re going to share with you the information which already exists. The irony that the structure and the immovability of
Anca Badut the educational institution I was a part of, and the inflexibility of the actual subject matter that we were studying, architecture, the two things together kind of, you know, made me go a little crazy.
“NO STONE VOLUME ONE” A Studio JŌJ Publication
Thankfully in my craziness I came up with my best ideas that I had had during school. But upon graduating, the last thing I wanted to ever do was was make a building. I picked the job that I felt was the furthest from my field of education while still utilizing some of the skills I already had. But I found that most of the lessons that I was taking with me from University had nothing to do with architecture, specifically. It was more about ego and marketing, about organization and how to execute an idea. It’s possible that these were all learned by seeing what not to do, but that is often how life is. You will absolutely find that peace of mind and find those moments where you can look in the mirror and say ,“I’m happy with myself and with the future that my body and my mind is oriented toward,” if you intend for that to be your reality. It sounds like from what you’ve said so far that the you’re very much present in your own intention. So whatever you may be studying, you have the opportunity to develop that part of yourself. And it looks like you absolutely are doing that. How do you make your work and research reach out to people? When does the work of an Artist actually gain value in front of others?
8
B7
I wouldn’t really say I have an audience right now, but I’d say I’m part of a community. People who I have had the great gift of spending time with. In that community, I share my ideas, and as I’ve been told I provide an instance of initiative to people who are interested in pursuing similar things to what I am doing right now. Because it’s hard, and it’s mostly coming from luck and privilege. The way the world was shaped around my upbringing and the labels I was born with, they allowed me to get a high-class education which led to my first jobs, and so on.
“NO STONE VOLUME ONE” A Studio JŌJ Publication
I feel like if I’m focusing on spreading the word about myself first, then I might lose some of the incredible connections that I’ve made. And none of anything in my life is worth anything to me if I don’t have people to exchange experience, friendship, and craft with. What I’m choosing to focus on instead is sharing the people I know, with each other, at least through this publication. And yes, accessorizing it with the context of the projects that we’ve worked on together, and the conversations that we’ve had. I know that the return isn’t going to be in follower numbers, it’s going to be in more strong and more lasting, caring connections with people. I’m pretty happy about that decision. That’s actually pretty great. I was just thinking that when someone reads our conversation, they may not know much about Bucharest. How I live in a different place and live in a different way than any American. So I think that I loved your description about Bucharest
70
and would like to see that description of it on my bookshelf...but when I am not living here anymore.
Bucharest was confusing and strange, but as we discussed at the playground, at the public showing of “500 Days of Summer” and “Airplane”, and at the many bars and odd restaurants, I was excited at the idea that a sense of community and humanity will always find its way into every place, somehow. Children will always find wonder in whatever world they are given, and people will always find ways to connect and innovate. I think that’s a good point of something I’d like to add in this book for everyone. Maybe I can show the context of our connection with an intimate introduction. Then it would be the interview and then the sharing of everything you’re working on. My view of Bucharest is secondary when I look to you, but it is definitely there. While you absolutely don’t let it define you, it definitely affects your personality in a way that is different from every person I know. So i’d love to share that, if it’s okay with you. Yes of course.
Anca Badut “thoughts. Research. design.” It is not something that we only do for people, it is not something that we do to complement the wish of a human being and it is not something that we do to close ourselves inside of it and to forget about the outer world - architecture is not walls and walls are not architecture. It is more like a projection of ourselves towards the outside world. It is, if I may, a manifesto.
“NO STONE VOLUME ONE” A Studio JŌJ Publication
Design has shifted its meaning radically in the last years - and it has still not clearly defined it’s path. Where is it going? What are we going to do with so much computational architecture? How much of it is just someone playing and how much of it is actual research? Why do architects learn about scripting and why are there competitions for designing outside of Earth? Though the overwhelming amount of tools and increasing power of technology, there are several elements that became important in the work of designers - these elements are the actual link with the real world, with the environment, the contexts that we live in and the rest of the beings, be it underwater life or the sky life, to keep it poetic. Dynamics - because nothing is static, scenarios and behaviors - because we don’t control anything and whatever we design doesn’t control anything either so the least we can do is pay attention to the changes that it could imply, and simulations - because design does not exist unless given a context - are but a few of the elements that connect architecture, interior
72
B8 (B9)
Anca Badut “thoughts. Research. design.”
Anca Badut “thoughts. Research. design.”
“NO STONE VOLUME ONE” A Studio JŌJ Publication
design, object design, environmental research, geophysics, computer science, music, film and literature and... more. It’s silent messages of mayday and silent messages of love that make us see the world as it really is, deep down inside, see the planet the way it feels and have the courage to look ourselves in the eyes when looking into the mirror. We’re living in a time in which we need strength to discover ourselves, we need so much education and curiosity to understand the world around and to have the courage to get to know ourselves. It’s the time in which we are living now when we need to send a message through our work and I feel like us, as artists, designers and researchers have the power to do it. We have the power to visually comunicate the times of Scarcity and to CREATE profound understandings in the past or the future development of an Architectural object, a City, a Land and therefore of humanity as we know it. In the case of my own R&D there are two terms that have played an important role in order to be able to make steps into achieving this: Dynamics and Narrative. The first one has been my main focus so far and has brought in itself a lot of questions that have the potential to be explored and the second one is becoming a focus from now on, when my findings so far need to be gathered together in a Storytelling Experience. Which is the part that should answer to the question of HOW can R&D truly be comunicated to people all over the world.
76
To describe a bit my R&D and to introduce the here presented works: in the summe of 2017 I had the chance to start conducting my own research under the supervision of Matthew Spremulli - Innovation Manager at Autodesk Toronto and Sezonal Lecturer at University of Toronto. This research made possible the apparition of a brand new Module in the Advanced Visual Communication in Landscape Architecture Course offered in the Masters in Landscape Architecture Program at UofT. The focus of the Module has been Animation and Simulation in Landscape Architecture which has been done by implementing Special Effects and Motion Graphics in order to simulate natural phenomena, interaction and growth. This is an EXPERIMENTAL research that ISOLATES and CONTROLS relevant conditions which determine the investigated events and then OBSERVES the effects when the condition in manipulated. It involves working at an abstract level or simplified forms of a Landscape System. The impact is that one is able to EXPLAIN complex issues in the domain, COMPARE different solutions / results based on the given constraint of the medium and the media, CORRELATE the relationship between two phenomena, PREDICT events such as accumulation of snow on a terrain given the natural circumstances, and CONTROL wat causes which type of effect, Special Effects proved itself to be the best choice because a lot of the events that we want to simulate / control are best done with particles - small inteligent elements that can interact with one another and change their behavior towards
Anca Badut “thoughts. Research. design.” one another given different constraints. To give a simple example, dust particles behave differently than water particles at a molecular level and this is especially good to have the power to control at small detailed scales. This research is in itselfs a work in progress. There are still a lot of questions not only that I am actively trying to answer but also that I am not even yet aware of. To give an example, some of these refer to simulating Ecosystems, implementing Procedural Design for large scale simulations, 3D modeling and rendering.
“NO STONE VOLUME ONE” A Studio JŌJ Publication
Apparently off-topic and far from the actual visulizations needed for Landscape Architecture Analysis, the here-presented works include results that I had throughout my R&D studies. The way I like to see it, art just come as a result when trying to find solution to complex questions. In these pages I will ofer short descriptions so that the relationship between Dynamics, Simulation and Animation for Landscape Architecture, working with particles and constraints and the images here could be understood. I will try to keep them as less technical as possible and keep everything a bit high-ended, just as art should be, because at the end of the day, I’m still presenting this work as an Artist and as a human being more than as a Designer or Architecture student.
(B11)
78
(B12)
B10
B13
