ACIXTY_ONE: THE EXPERIMENTAL OBJECT-ORIENTED ARCHITETCURE IN THE AGE OF ANTHROPOCENE
A study on the development of Activated Carbon as architectural material to counteract the global crisis of PM2.5 in the Anthropocentric era.
Student ID: 22071293
Word count 9,377 (exclude bibliograhpy)
RC6 Material Architecture Lab
Theory Tutor: Ruby Law
Bartlett School of Architecture
Abstract
The current epoch, known as the Anthropocene, is characterized by the significant impact of human activities on the environment. This has led to the creation of hyperobjects, which have surpassed us and are now dominating the ecosystem. As a result, the fear of the End of The World in the unseen future has been haunting society and influencing its decision. Although nature alone cannot eradicate hyperobjects, we have developed technologies and solutions to counteract their effects. Architecture has also evolved to reflect this, with materials being used to reshape the built environment. However, the consequences of our intervention must be considered, as they can intensify existing complexities.
Air, an essential element for living organisms, is now contaminated with pm2.5 particles creating a significant health risk to the entire planet. Activated carbon, a material known for its ability to filter pollution, has become the focus of our experimental research seeking to upscale this industrial material for architectural design solutions that address urban air pollution. While data can demonstrate the effectiveness of activated carbon, it is crucial to ensure that this solution does not create additional chaos in the unresolved world. Aiming to understand and minimise the effects of material, our prototype study in the London Underground system sought to control this risk by understanding the material and designing the material lifecycle accordingly. This can be the initiation of society’s acknowledgement of hyperobject pollution and provide a viable solution to deaccelerate the impact of the End of the World.
As the intervention of mankind continues, the world is slowly moving toward a future scenario where man-made objects have power over nature and their creators themselves. Is it desirable to live in such a world with endless counteraction with hyperobjects or shall humans return their supremacy back to nature?
Keywords
Activated Carbon, Anthropocene, Hyperobjects, PM2.5, Object-Oriented Architecture,
Introduction: Object-Oriented Era
Humans have perceived themselves as the rulers of the world for centuries without realizing that other entities have slowly gained supremacy over us, controlling our actions. Those entities or things have a kind of agency or “thing-power” that can have significant effects on the world, even if they lack the consciousness or intentionality of humans. “Thing-power is not a property of the object itself but is a circulating flow of vitality,” as mentioned by Jane Bennett in her book “Vibrant Matter” (Bennett, 2010). The transition from a “mechanistic” worldview, in which humanity views the world as a collection of objects under our manipulation, to the realization that we are engulfed and manipulated by objects beyond our imagination, is a scary reality that we must face as there is no way to escape it.
“Hyperobjects” is a term used to describe entities that are so complex, vast, and
multi-dimensional that they exceed our ability to fully comprehend them, as mentioned by Timothy Morton in his famous book “Hyperobjects” (Morton, 2013). These objects have been created as consequences of human activities and are now guiding the trends of society. The influence of hyperobjects is reflected in political movements, technological advancements, and even the evolution of architectural language. Humans’ realisation of these objects and the data we have recorded have led us to fear the end of the world, which is slowly approaching us as a result of hyperobjects.
Various attempts to counteract these objects only manage to decelerate their impact, such as the invention of new architectural materials that can balance the surrounding environment. However, our manipulation of the situation unexpectedly adds another layer
of complexity to the world due to our insufficient knowledge and understanding of these objects. It is questionable whether we should continue our battle against hyperobjects or return supremacy to nature to avoid further tragedy. Alternatively, it may be possible for humans to have adequate understanding and control over man-made objects to eliminate their consequences.
The first chapter will delve into the origin of hyperobjects and emphasise the importance of realising their existence in relation to Object-Oriented Ontology. The next chapter will further explore how these objects influence the evolution of architecture and the emergence of the new object-oriented architecture typology and discuss the potential of using it as a tool to deaccelerate the end of the world. Chapter three delves into current solutions aimed at tackling hyperobject PM2.5, discussing the controversy of the proposals and the proof of their effectiveness. Extensive research, speculation, and discussion will serve as the key components to formalise ACixty_ One, as it searches for the optimal solution to address the air pollution crisis and visualise the future coexistence of mankind and hyperobjects.
1. Anthropocene and the Realisation of Hyperobjects
Human-centric development has guided the world from the Holocene, which began after the first ice age, to the age of the Anthropocene. “The Anthropocene is the proposed term for the current geological epoch in which humans have become the primary drivers of planetary-scale environmental change” (Zalasiewicz et al., 2011). During the early days of evolution, humans were restrained by the force of nature. However, the development of tools, technology, and machinery gradually granted us greater control over our surroundings. Eventually, we overpowered and began manipulating the ecosystem for our own benefit, unaware of the significant damage it would cause to the planet and the impending End of the World.
The onset of the Anthropocene is believed to have occurred after the Industrial Revolution in the late 1800s (Figure 1), when
carbon emissions into the atmosphere began to have a significant impact on global climate. Another theory posits that the actual origin was the dropping of the atomic bombs on Hiroshima and Nagasaki in 1945 (Figure 2), which left a tragic impact with repercussions lasting for centuries. Regardless of the specific belief, both events share a common characteristic— leaving a profound impact and traces on the environment across a scale and time span beyond our imagination, referred to as “hyperobjects.” Unlike natural hyperobjects in the universe, such as black holes, this man-made creation disrupts the stability of the Earth and inflicts long-term damage to the ecosystem.
Anthropocentric development and the emergence of hyperobjects provoke a revision of the relationship between humans and non-humans. It is undeniable that objects are becoming entities beyond our control and understanding. Contrary to Einstein’s theory that an object’s influence is limited to its immediate surroundings, Morton argues in his book that “ hyperobjects are nonlocal and can acknowledge each other’s state even when separated by large distances” (Morton, 2013). Taking it further, we actually inhabit the hyperobjects created by our ancestors, and there is no escape from this immense complexity. Perceiving the whole object on such a scale is impossible, instilling fear of this unimaginable entity.
The fear of hyperobjects leads people
to deny their existence, despite them being an integral part of our biosphere. However, this fear also affirms the objects’ reality and consequences. Regardless of how they remain hidden or ignored, we are still moving towards the end of the world, with the effects of hyperobjects pressing upon us. The temperature will continue to rise due to global warming, even if we deny its reality, ultimately rendering the Earth unsuitable for living organisms. Air pollution, along with other hyperobjects, operates on a scale invisible to the human eye. Various questions arise when we first presented our research proposal, ACixty_One addressing the air pollution crisis, as it is challenging to persuade people to believe in what they cannot perceive. Yet, air pollution exists and expands in the atmosphere on a vast scale alongside the expansion of mankind’s activities, gradually claiming the fresh air we breathe. Therefore, raising awareness and changing people’s perceptions of air pollution are crucial initial steps to make people realise the importance of our project.
Merely accepting the existence of hyperobjects does not suffice to stop their impact. Confrontation and a determination to understand such objects have the potential to decelerate the impending nightmare for future generations. Architecture, as the largest man-made object on the planet, holds a possible key to mitigating the impact of hyperobjects. Our architectural design proposal aims to
retrieve fresh air back to society and potentially provide an answer to this pressing challenge.
1.1 Object Oriented Onthology
The philosophical concept of Object-Oriented Ontology (OOO) emerged as a response to the Anthropocene and the recognition of hyperobjects, drawing inspiration from various philosophical ideas including those of Aristotle, Leibniz, and post-Kantian philosophy. OOO offers a redefined understanding of our relationship with the environment, challenging the conventional anthropocentric perspective that primarily focuses on humans. It highlights the significance and agency of non-human entities, including hyperobjects (Gage,2015). In OOO, the existence and relationships of objects are not solely centred around humans but also extend to interactions between objects themselves. The collision or interaction of two objects can give rise to the emergence of another object. In fact, humans are considered tiny objects when compared to the vast scale of the universe.
Graham Harman, in his book
“Object-Oriented Ontology: A New Theory of Everything,” outlines several fundamental characteristics of objects according to OOO principles. One notable characteristic is that an object possesses numerous qualities, some of
which are knowable while others remain unknowable (Harman, 2017). Attempting to represent the entirety of an object’s reality by selecting just one quality would be futile. This idea aligns with the concept of hyperobjects put forth by Timothy Morton, suggesting that hyperobjects are too immense for us to fully comprehend. Instead, we become aware of their existence through subtle hints or indications, much like a message conveyed through artwork or speech. These hints manifest through alterations in certain qualities of objects. For instance, the existence of global warming becomes apparent through the observation of a slight increase in temperature, resulting in hotter summers compared to previous years. Air pollution reveals itself through the unusual yellowish and blurry city skyline obscured by a curtain of smog. Additionally, the dull and grey appearance of a surface and the residue of blackish powder left on our fingers after touching it led us to the recognition of the presence of dust.
Objects can be perceived not only through their sensory qualities but also through numerical data collected by scientific devices.
For example, air pollution levels are measured in micrograms per cubic meter of air and presented as values. However, the number we can read from the device itself does not make any sense or determine any quality. The comprehension of the true significance of these values requires guidelines indicating their
severity or comparison to previous records when the air was cleaner, as the example of the air quality index data and the relation to health concern in Figure 4.
Another crucial aspect of Object-Oriented Ontology is that every individual object, regardless of its scale, including humans, living beings, and inanimate objects, retains its unique identity. A leaf, for instance, remains a leaf despite changes in form and colour influenced by factors such as season, sunlight, or wind. The relationship between objects itself becomes an object with its own distinct properties that do not exist anywhere else or in each object separately. This understanding presents the world, or even the universe, as an endless collection of objects with diverse characteristics.
Following these ideas, architecture as an object possesses its own qualities even under the influence of hyperobjects. The relationship between a hyperobject and an architectural object creates another unique entity with its own special character. The impact of Object-Oriented Ontology on architecture and how it revolutionizes design principles will be further explored in the subsequent chapter.
2. Influence of Hyperobjects on Architectural Evolution
The advancement of architecture and construction activity is a major contributor to the existence of hyperobjects. The desire for shelter has remained unchanged since prehistoric times, but the role and concept of shelters have evolved significantly over time. In the past, prehistoric humans sought shelter solely to protect themselves from natural forces. In contrast, modern-day architecture is designed with the belief that humanity has control over the surrounding environment. This design philosophy is guided by the values and demands of society at different periods in history, leading to isolation from the natural environment and the ability for inhabitants to create their own favourable environments within constructed spaces.
To meet the demands of society, new construction materials and methodologies have been invented, aiming for faster and more
cost-effective production. However, these advancements, which focus on human-centric goals, often neglect the relationship between humans and their natural surroundings. Consequently, they intensify the existence of hyperobjects through CO2 emissions, pollution, the depletion of natural resources, and the accumulation of non-biodegradable waste during the lifecycle of structures.
In the Anthropocene epoch, architecture has undergone another shift, moving away from the modernistic belief propagated by figures like Le Corbusier, who advocated for a human-centric approach where construction primarily served human functionality, with nature taking a secondary role. Instead, contemporary design now responds to and is influenced by the non-human entities within the surrounding biosphere. This influence is inevitable, as noted by Timothy Morton,
who stated that “Art and architecture in the time of hyperobjects must (automatically) directly include hyperobjects, even when they try to ignore them” (Timothy, 2013). As a result, new architectural typologies have emerged, which are object-oriented and prioritise the existence of entities much larger and more significant than humanity.
2.1 Transformation of Architectural Aesthetic
Contrary to previous architectural movements, design in the age of hyperobjects prioritizes the reality of non-human entities, as noted by Peter Tummer in his paper: “Architecture under the influence of hyperobjects is to see the city from the perspective of the non-human” (Tummer, 2018). This shift in focus moves away from design based on divine rules before the 15th century, abstract ideas within our minds, and analytical diagrams responding to human needs and behaviours in modern and contemporary practice. Instead, it emphasizes the combination of real objects to generate new entities, where aesthetics are no longer defined solely by form, function, and shape, but rather by the aesthetic of the new object-oriented entity. This shift also affects the role of materials and the integration of technology in architecture. Under the influence of hyperobjects, material aesthetics have been reevaluated.
The architecture was once designed to be permanent, using materials capable of withstanding environmental impacts, surpassing the lifespan of humanity. However, contemporary architecture is built within the constraints of current environmental parameters and design standards, able to withstand a specific range of conditions while remaining in its original shape and form. Meanwhile, hyperobjects continue to alter and accelerate the environment beyond our predictions. Consequently, many new architectural structures today surrender to the impact of nature before reaching their intended lifespan. For example, increased temperatures and humidity can damage reinforced concrete, a widely used building material, as the steel reinforcement becomes more prone to rust, also known as concrete cancer, leading to reduced structural strength. Not only that, concrete itself is known to be the material that contributed to a large carbon footprint, so it has become impractical from the age of hyperobjects’ point of view. This raises the question of whether architecture in the age of hyperobjects should still prioritise permanence to withstand natural forces or shift towards adaptable typologies that allow cities to evolve in response to rapid environmental changes. It is necessary for the material to be reinvented in response to the object, while also being carefully designed to minimise the generation of the Hyperobject itself.
Technological advancements also play a significant role in the evolution of architecture. During the Anthropocentric era, humanity began incorporating technology to exert control over the built environment in order to counteract the uncontrollable aspects of nature. For example, the desire to control climate led to proposals like the Sunny Mountain Ski Dome project in Dubai (Figure 5), introducing snowy winters in the midst of the arid desert climate. While such proposals, including the completed Ski Dubai, may showcase technological advancements and human dominance over nature, they come at the cost of massive energy consumption and greenhouse gas emissions, potentially accelerating the global climate crisis.
Instead of a human-centric view aimed at controlling nature, design in the age of hyperobjects focuses on utilizing technology
to enhance the coexistence between buildings and hyperobjects. For instance, Peter Tummer highlighted an unusual window design in his newly renovated office that operated autonomously and offered no outside view. This window was specifically engineered to control the level of indoor comfort using analytical data from the environment, deviating from the conventional use of windows for human occupants. While the existence of such an unconventional element may raise questions, as people are accustomed to architecture designed to serve human needs, it will undoubtedly become a new architectural grammar in the age of hyperobjects.
The evolution of architectural design and material use has been shaped by the influence of hyperobjects. The imperceptible scale and far-reaching consequences of hyperobjects pose challenges to traditional
notions of permanence in architecture. Additionally, technological advancements provide opportunities to foster a more balanced coexistence with hyperobjects. As the age of hyperobjects unfolds, architecture is compelled to embrace adaptable typologies and utilise technology to navigate the complexities of our rapidly changing natural and built environments.
Hence, in the design of ACixty_one, we have embraced the concept of sustainable temporality. Our aim is to address the issue of air pollution in urban areas by incorporating short-lived materials that offer a sustainable solution. These materials can adapt to the specific needs and pollution levels of a given site. The integration of technology in our design is not manifested in the final outcome itself, but rather in the process of material scaling. We analyse the properties of the material and employ computer analysis to generate a design that passively enhances wind flow through the modules, promoting the capture of dust particles present in the air. The ACixty_One’s prototype would certainly appear unconventional within the typical urban environment, and its existence and application are likely to provoke questioning, much like Tummer and the unconventional window. It is not designed to serve human or aesthetic purposes, but rather its inherent quality lies in purifying and tackling the global crisis of air pollution.
2.2 Object-Oriented Architecture
According to Object-Oriented Ontology (OOO) philosophy, modernistic architecture, which adheres to the “Form follows Function” idea, is regarded as an “invisible entity.” Similar to Heidegger’s concept of an “Invisible tool,” where the true quality is only revealed in the event of a failure, modernistic architecture, as a functional tool for living, is also considered invisible to the user. However, with the influence of Object-Oriented Ontology, some architects are now embracing a new theory of design that liberates architecture from being merely utilitarian, allowing designers to explore new realms of creativity.
Mark Foster Gage, in his paper discussing the idea of architecture in OOO, suggested that “buildings, as objects, possess a multitude of qualities, properties, and relations, but their full reality cannot be reduced to a single, simplistic observation” (Gage, 2015). Expanding on this concept, the reality of a building transcends our complete comprehension and should not be reduced to simplistic diagrams, metaphors, or overarching ideas, as previous architectural movements have often done. Architectural movements such as modernism and deconstructivism are seen as “undermining” from the perspective of OOO, as they reduce the quality of architecture to a specific set of practices or design languages. Conversely, architecture that relies solely on
one grand idea represented by a diagram is considered “overmining.” In the context of OOO, architecture should be guided by rules that emerge from complex realities and sensory perception, resulting in the creation of new forms of economic, social, and political engagement. Harman summarized the characteristic of architecture in OOO during the discussion with Simon Weir that “..the visual look of a thing is simply an expression of a deeper form, and the specific use is simply one possible incarnation of a deeper functional landscape”(Harman, 2021).
Object-Oriented architecture raises questions about its existence and functionality, as they cannot be justified solely by appearance or a single visit. The aesthetics of individual elements may not make sense in isolation, but they contribute to the overall quality of the building and serve a purpose that surpasses
our understanding. An example of such architecture is Guggenheim Helsinki Design proposed by Mark Foster Gage architecture where the building is generated from the emphasis on discrete entities. Thousands of digital models were merged together to form this new architectural aesthetic with complexity without any relation to the surrounding (Figure 6). Another more practical example is the Vulkan Beehive by Snøhetta (Figure 7), located on the rooftop of a food court in Oslo. This project aims to create a prototype bee colony, as one-third of global food growth relies on bees, whose populations are declining due to habitat loss and pesticide use. Despite its seemingly straightforward appearance, this project promotes the local economy and agricultural activity through an increase in pollinator numbers while also raising social awareness about colony collapse.
Object-Oriented architecture considers not only hyperobjects but also other related aspects, such as social and economic factors, which collectively define the true quality of architecture.
In the case of ACixty_One, aiming to be an Object-Oriented Architecture, its quality is set to extend beyond its ability to capture dust particles in the air. It encompasses the process of scaling up the material, the fabrication methodology, the manipulation of material properties, the site-specific digital form generation in response to wind and pollution levels, and the increased awareness regarding the urgent need to address the air pollution crisis that invades our everyday urban spaces. These qualities mark the significance of the ACixty_One project and differentiate it from common filtering panels found in the market, which are invisible tools inside the filtering system embedded with a single quality of capturing dust particles.
3. Hyperobject PM2.5
Air is an essential element for all living organisms on the entire planet. However, throughout the past centuries, tiny particulate dust smaller than 2.5 micrometres, known as PM2.5, has polluted the air. Unlike larger dust particles that can be eliminated through sneezing or coughing, PM2.5 particles can penetrate the lungs when inhaled. Prolonged exposure to high levels of PM2.5 increases the risk of cardiovascular disease, lung disease, and even cancer as shown in Figure 8. Though PM2.5 is not as vast in scale nor has devastating consequences as other hyperobjects, it can leave a long-term health impact on living organisms and is one of the major factors that accelerate the End of the World we are all afraid of, global warming.
consequence of human activities such as vehicle emissions, the combustion of fuels,
industrial activities, and the burning of architectural waste. Even though we are aware of it and various local authorities have imposed policies to limit the release of this particulate matter in the city, the problem is not entirely resolved as this fine dust is transboundary that has a nonlocal quality and the capability to travel a long distance to another location. Every end of the year, the mjor city of Thailand, Chiang Mai, is covered in a blanket of dust (Figure 9) that comes with the seasonal wind as a result of agricultural waste burning in the neighbouring countries of Laos and Burma (Figure 10).
Unlike other hyperobjects, we can perceive these tiny pollutants when the concentration is high enough in the atmosphere, and we can feel it from the irritation in our noses. Still, we cannot escape from PM2.5,
though we know the exact cause of the problem, as we still have a growing demand for industries and the combustion of fuels for energy. Thus, society has developed solutions to protect themselves from breathing in these harmful pollutants and lower the concentration of pollution in their surroundings to match the safe standard while continuing the search for an ideal solution to counteract the pollution.
3.1 Recognition of Dust
The pervasive hyperobject of dust has exerted control over people, restricting their freedom to breathe in the fresh air. However, the majority of society continues to overlook the existence of this hyperobject. Numerical data and guidelines, as mentioned in the first
chapter, have been established to warn people about dangerous levels of dust measured in micrograms per cubic meter, but these numbers are often difficult for us to comprehend. We typically only acknowledge the presence of dust when we witness smog lingering in the sky or experience irritation in our noses. Unfortunately, by that point, pollution levels have already reached hazardous levels, posing a threat to our health.
An important visual indicator of the presence of PM2.5 is the sight of people wearing masks (Figure 11), which has been a common practice in various Asian countries that have emerged as global industrial hubs in recent centuries. Masks, as human-made objects, have now become essential accessories in people’s daily lives. Observing individuals concealing their faces behind these pollution
tion-protective masks immediately triggers an awareness of the dust problem. Architecture and design can also serve as alternative mediums for visualizing hyperobjects. François Roche, a designer, and his team have devised an electromagnetic installation that collects airborne dust particles and generates a dust cloud representing pollution in the Bangkok skyline (Figure 12-13). The cloud’s growth and form vary according to the pollution levels in the surroundings. Another attempt to visualize dust was undertaken by photographer Robin Price in his project titled “The Air of the Anthropocene”. Using a digital light painter and a particulate sensor, he captured long-exposure photographs revealing the extent of PM2.5 particles contaminating the air in major cities worldwide (Figure 14). These artistic works transform the numeric data on PM2.5 captured by measuring devices into tangible objects and images that are easier to perceive, thereby raising societal awareness of the global air pollution issue.
It is important to note that while both projects mentioned focus on visualizing air pollution, they did not propose comprehensive solutions to eliminate the existence of PM2.5 particles. Roche and his team suggest using the dust collection system as a facade for buildings, but questions arise regarding the sustainability of using dust pollution as a facade material and how the captured dust would be treated. Robin Price’s photograph is not only generating the
recognition of the dust but could possibly become a way of capturing the reduction of dust particles as well. In our project, we decided to use our final prototype itself to indicate the presence of the dust particles while utilising the idea of visualisation of particles but in the digital simulation format which will be explained later in Chapter 4 and 5.
3.2 Deaccelerating the End of the World
It is crucial to recognize that nature alone is incapable of restoring balance to hyperobjects resulting from human activities. While seasonal changes in wind direction or rain may temporarily reduce pollution levels, this dusty hyperobject persists in the atmosphere, awaiting its moment of retribution. As a result, various human-made inventions, including art installations and even architecture, have been developed to combat pollution. However, some individuals question the effectiveness of these interventions, as they may seem theoretically feasible but lack tangible perceptible changes in the surrounding environment. Moreover, it is essential to ensure that the introduction of such objects does not inadvertently accelerate the impending global catastrophe. Is it truly possible for humanity to resolve the hyperobject we have created, or is it merely an illusion that we have control over the world.
Kengo Kuma took on the challenge of addressing the hyperobject of dust pollution by creating the “Breath/ng.” sculpture (Firgure 16). This 175 square meter fabric installation, exhibited at Milan Design Week, utilized the Japanese paper folding technique of “Origami” to scale up the fabric filter sheet. Kuma claimed that the sculpture could filter pollution equivalent to the amount generated by 90,000 cars per year. However, in the end, the piece appeared to be another aesthetically pleasing installation crafted for visual impact, with its filtering capabilities achieved by packing filter sheets together in a confined space. It could be seen as yet another installation aimed at raising awareness or showcasing advanced filter technology, but not a fully realized Object-Oriented architectural solution against pollution.
Another notable project by Studio Roosegaarde, “The Smog Free Tower,” directly addressed air pollution at its core (Figure 15). The tower was designed as a large-scale outdoor air purifier utilizing positive ionization technology to capture particles from the surrounding air. It was claimed to clean 30,000 cubic meters of air per hour. Testing conducted by Eindhoven University of Technology revealed that the tower captured and removed up to 70% of PM10 particles and up to 50% of PM2.5 particles (Boztas, 2017). However, debates have arisen regarding the effectiveness of the tower, as the vast and transboundary nature of air pollution limits its impact within
specific boundaries and its overall effectiveness remains inconsistent.
Mentioned precedents projects had their unique interesting approach to tackling the air pollution problem. However, the result and the efficiency of the system in filtering the air is still unclear. Kuma’s piece did not even present how it would be in the polluted location, and the Smog Free Tower is aimed at the space on a scale beyond the capability of the machine. To prove the quality of the piece, the choice of location and how it influences the design is crucial to be taken into account in the design process.
The most significant challenge in this material research project is demonstrating the efficiency of the material within a specific context. For our research, we have chosen the London Underground as our testing site, known for being one of the most polluted areas in London, with PM2.5 levels exceeding the standard by over five times. Through data collection at King’s Cross station, a major transportation hub with highest daily passenger numbers, we have discovered that the platform area exhibits the highest pollution levels within the entire underground system (Figure18). Despite the addition of ventilation systems, the pollution levels have not been reduced to a safe level and the sight of people wearing masks
has become fairly common recently (Figure17). The platform area presents an ideal research site due to its enclosed and controlled environmental conditions, which minimise external factors that may impact the design as we aimed to focus on the material’s quality on the first prototype.
Our project proposal, ACixty_One, has been developed with site-specific criteria in mind, utilizing this specific location to showcase the potential of an Object-Oriented architecture using industrial materials and its effectiveness in purifying the air within the underground system. Furthermore, the presence of this architectural object inside the underground also serves as a visual indicator of the existence of air pollution, drawing public attention to this global crisis.
Figure 18: Research informaiton on King’s Cross St.Pancra station (Author’s own image, 2023)
4. ObjectOriented ACixty_One
The research and philosophies explored in the previous chapters have served as a guiding framework for the design of ACixty_ One, as we sought to develop the optimal Object-Oriented architectural solution to counteract PM2.5 pollution. We approached our proposal on an architectural scale, aiming to transcend the limitations of conventional solutions such as masks, which restrict people’s ability to breathe freely and intake sufficient oxygen, and indoor air purifiers, which are confined to specific spaces. While it is impossible to completely eradicate the hyperobject of air pollution, our proposal endeavors to provide a space within the urban environment where people can experience a breath of fresh air amidst the surrounding pollution.
In developing proper design solutions, it is essential to consider not only the material’s
capability to purify the air but also various other aspects related to materials and the site. Neglecting these factors would render the solution merely another “invisible tool” in the market only capable of filtering air based on the Object-Oriented Ontology perspective. Therefore, our project takes into account four key criteria: material innovation, air purification effectiveness, fabrication technology, and aesthetic of form. These criteria collectively shape the quality of our proposed architectural entity.
4.1 Material Innovation
During our search for a suitable material, we explored various options available in the market commonly used for filtration purposes. Among them, Activated Carbon caught our attention due to its proven ability to capture PM2.5 particles and its inherent strength. Furthermore, we came across a research project that attempted to incorporate activated carbon into architectural applications. However, their final product took the form of a sheet that needed to be attached to another architectural element. Recognising the potential of activated carbon, we decided to push the boundaries and explore the possibilities of scaling it up for direct architectural application. Our aim was to challenge the limitations of activated carbon and find the most effective solution for incorporating it into
our architectural design.
Activated carbon derives its strength and ability to capture PM2.5 particles from its porous structure, which is created through the process of pyrolysis by heating regular carbon to 850 degrees Celsius (Figure 19). However, there is a limitation when it comes to scaling up this material alone, as it is typically available in granulated or powdered form, making it difficult to combine or fuse together. To overcome this limitation, we decided to bind activated carbon with a gelatin-based bioplastic material. We discovered that the bioplastic material also possessed a high porosity, which would retain the advantageous properties of activated carbon. Through several experiments, we determined the optimal mixture for our prototype, incorporating activated carbon,
gelatin, glycerol, and water in the percentages shown in Figure 20. This formulation produced the best results in terms of strength and potential for further development into a larger-scale prototype.
The combination of bioplastic and activated carbon is sustainable as it consists of 100% natural materials, specifically biomass waste and gelatin from livestock. This mixture is also biodegradable. However, it should be noted that activated carbon has a limited lifespan of approximately six months or until its pores become saturated with PM2.5 particles. Nevertheless, the activated carbon can be reactivated by subjecting it to the same temperature (850 degrees Celsius) used in the initial activation process, which is shown in the life cycle in Figure 21. At this temperature, the particles trapped within the pores evaporate. As gelatin has a lower melting and evaporation point, the activated carbon in the mixture can be extracted and recycled through the reactivation process for reuse.
The temporality of the material should not be seen as a limitation to our project. As discussed in Chapter 1, the world influenced by hyperobjects is in constant flux, and architecture must evolve and adapt to these changes. In our approach, the expired activated carbon pieces can be retrieved and recycled to create new modules. The production process should follow the same system and methodology while incorporating updates based on the changing
criteria influenced by hyperobjects. This approach not only promotes the development of materials and fabrication processes for better results but also allows for variations in the design proposal, as discussed further in Chapter 5.
4.2 Air Purification Effectiveness
The preceding projects discussed in Chapter 3 failed to convince people of the efficiency of their designs because they primarily relied on theoretical claims without providing concrete proof. In the case of ACixty_One, we prioritized the testing process and designed a comprehensive testing system to evaluate the material’s effectiveness in capturing PM2.5 particles in both controlled and real-world scenarios. Although the scale of our tests may not match that of the vast hyperobject, they serve as initial evidence of the material’s efficacy and can be further developed into a larger design system.
In the controlled environment test, our aim was to confirm our hypothesis that the material’s efficiency is directly related to its surface area. To achieve this, we developed a testing device that created a fully controlled scenario. The test modules were positioned between a pollution source chamber and a chamber housing the PM2.5 detector (Figure 22). We used four testing modules with the same volume but varying surface areas. The
From top Figure 20: The Bioplastic-Activated Carbon final mixture (Author’s own image, 2022) Figure 21: Life cycle of Activated Carbon (Author’s own diagram, 2022)
From top
Figure 22: The PM2.5 testing device
(Author’s own image, 2022)
Figure 23: The result of the tests
(Author’s own diagram, 2022)
results revealed a noticeable increase in the reduction rate of PM2.5 for the module with a larger surface area, as depicted in the graph shown in Figure 23
Following the success of the controlled environment test, we proceeded to challenge the efficiency of our material in a real-world polluted setting: the London Underground. Using the same testing device, we positioned it in the direction of the wind generated by passing trains, rather than using a pollution source. The result showed a reduction of PM2.5 by 20 percent from the normal value with the presence of our test module (Figure24).
The successful outcomes of both experiments confirmed the capability of our design approach, emphasizing the importance of maximizing surface area and ensuring proper wind flow alignment within the underground system. It is essential to evaluate the efficiency of the final module design within the same scenario to eliminate any speculation regarding the material’s capability and to accurately assess the effectiveness of the design outcome.
4.3 Fabrication Technology
Objects possess unique qualities that may remain invisible to us until they fail to function was one of the characteristics of objects from Graham Harman’s point of view regarding Object-Oriented Ontology. Even commonly used materials in the market continue to reveal new qualities through their usage. In our project with Bioplastic Activated Carbon, we encountered mysteries surrounding the material’s qualities, as it was a novel substance no one had prior experience with. To develop the right fabrication methodology, we conducted various trials to intentionally fail the object, revealing and evaluating its hidden qualities.
Initially, we believed that 3D printing with robotics would be the ideal method for scaling up the material. It seemed to offer the advantage of achieving complex forms following digital exploration while enhancing the material’s strength through layering. We prepared the material to be printable and tested it through hand printing, but encountered challenges in controlling its state transformation from liquid to viscous after heating on the stove. The printing temperature needed to be precise (35-40 degrees Celsius) for the material to form the desired shape successfully. However, despite precise printing, the final dried prints deformed and shrank significantly
from their original shape due to the material’s properties. We experimented with various printing adjustments to control this deformation but discovered that predicting it was possible while achieving exact control over the shrinkage remained elusive. The final printed piece is shown in Figure 25.
In reevaluating simpler fabrication methods and aiming for a high surface area while minimizing material usage, we discovered the potential of using the silkscreen scraping technique to create sheets of Bioplastic Activated Carbon. Although this method allowed us to achieve a large surface area with optimal material use compared to 3D printing, the resulting sheets were too fragile, and deformation remained uncontrollable. The
final outcome is shown in Figure 26.
The lack of success with both techniques led us to envision a combination of 3D printing and scraping, as they showed potential to mitigate each other’s failures. Initial tests demonstrated promising results, with the 3D printing lines helping control the deformation of the sheet while optimising material use (Figure 27-28). We further explored this method with different devices and techniques, including attempts to scrape and print on bowl shapes. Eventually, we arrived at a suitable fabrication method: scraping flat sheets, overlaying them onto a mould to form the desired shape, and then printing on the sheets to control deformation (Figure 29). The patterns printed on the sheets
were designed based on evaluations from previous trials, where the main lines guided the overall geometry’s shape, while sub-branches helped control deformation.
This experience taught us that the most advanced technological fabrication techniques may not always be the best answer for material fabrication. In Object-Oriented design, it is crucial not to force the desired result out of an object, following a preconceived image, but to prioritize the qualities embedded in the new object. The fabrication methods should allow these inherent properties to take control and generate the aesthetic of the final form. The most suitable methodology is one that enhances the material’s properties and brings out the highest potential from the object’s unique qualities.
4.4 Aesthetic of Form
Bioplastic Activated Carbon is yet another object added to Earth’s collection of objects, but it alone does not have a direct influence on the hyperobject of air pollution. To counteract PM2.5 and efficiently tackle the air pollution problem, we integrated the quality of the dust with the properties of the invented mixture, resulting in the creation of a novel object. This new entity effectively icapture and address the existenc of air pollution. Our initial experiment was designed with London Underground as the testing site.
Since wind serves as the medium that carries particles through the air, passive dust capture requires enhancing wind flow along the module’s surface. For this purpose, our initial prototype was designed following the logic of fabrics twisted by the wind. Two pieces were combined with a void at the center, allowing wind to glide along the surface—a concept successfully proven through digital simulation Figure 30. The module’s mould was created based on this digitally generated form as a base formwork.
The patterns on the form were derived from the analysis of previous material studies. The main line of the structure, running across the overall form along the highest slope, guided the overall shape. Secondary branches extended from the main structure to the edge, further controlling the slope and form. The final pattern divided the surface into smaller subdivisions, creating concave deformations that reinforced the overall geometry and minimized shrinkage to 10 percent from the original shape upon drying. Diagram of Figure 31 shows how the pattern is integrated to the design. Understanding the material’s behavior enabled us to predict and control the final outcome, which was advantageous in designing the assembly or aggregation of the module.
The outlook of the first initial ACixty_ One module combined the material’s properties with site-specific needs and usage (Figure 32-34). Unlike other design projects that attempt to blend in with the site, ACixty_One’s uncanny appearance and derived qualities made it stood out entirely from its surroundings, almost like a parasitic entity to the existing environment. However, instead of being a drawback, the presence of this entity piqued people’s curiosity about its existence, leading to questions about its form and capabilities not readily visible from its appearance. As a result, the object we created incites awareness of air pollution while being imbued with greater invisible qualities for capturing dust particles.
5. Object-Oriented Architecture vs. Hyperobjects
After achieving the design of the initially tested module based on the criteria of the material and PM2.5 particles, the site-specific criteria were considered for the module aggregation. The proposal of ACixty_ One’s design in the London Underground reflects the quality of the module and serves as a valuable tool to evaluate the material’s efficiency in countering hyperobjects. This evaluation will provide the answer to the original question of this thesis: Can Object-Oriented Architecture become the ideal solution to counteract hyperobjects?
5.1 ACixty_one_01: London Underground
The aggregation of modules in the London Underground took into consideration the wind direction and the variation of space inside. To optimize wind flow, the modules
were arranged with the void facing the direction of the wind, which was parallel to the longitudinal direction of the platform area. The modules were assembled in three different scenarios: the plain wall, the seating area, and the entrance, to suit each function (Figure 36). The rendered image in Figure 35 presents the first variation of our design proposal for the platform area of the London Underground system.
To visualise and test the performance and aggregation system of the proposed modules, a physical prototype was created. The final object’s efficiency test around the platform area of the underground showed a promising results in reducing the level of PM2.5 by 25 percent (Figure 38). To better understand how the object captures dust particles, a digital simulation was created, showing air-borne particles travelling with the
wind and being captured on the surface of the Activated Carbon (Figure 37). Additional steel structures were added to attach the module to the platform’s wall to enhance the module’s structural support. This approach utilised the material’s strength and minimised the impact on the module’s appearance. The final physical prototype of the partial section of the aggregation is presented in Figure 39. The successful integration of the first prototype into the London Underground and the proven efficiency of the material in capturing dust pollution marked a beneficial start for the development of ACixty_One. The results were evaluated based on the initial criteria, forming a basis for speculation regarding the project’s further advancement.
Figure 37: Digital aggregation at different section (Author’s own image, 2023)
Figure 38: Testing of initial module in London Underground (Author’s own image, 2023)
Figure 39: PM2.5 Data recorded in London Underground without and with the module (Author’s own image, 2023)
Figure 40: The section of the proposed aggregation (Author’s own image, 2023)
5.2 Sustainable Solution against Air Pollution
Regarding the efficiency of ACixty_ One as a sustainable solution against hyperobject air pollution, various tests have shown its capability to filter the air. When air passed through the invented object, the amount of PM2.5 particles was significantly reduced compared to the initial air. However, eliminating dust pollution entirely from the underground station would require an endless number of modules, as pollution is still created by the operation of the train. The renovation of the whole system is required to eradicate pollution source. For now, the best achievable goal is to suppress PM2.5 levels under safe limits to minimise health effects on passengers. This concept applies similarly to counteracting the global-scale air pollution crisis. It is impossible to entirely eradicate PM2.5 from the atmosphere, even with the city entirely built with Bioplastic Activated Carbon or the invention of a giant air purifier. To combat hyperobjects, the entire network of objects linked to dust pollution’s existence must be reevaluated.
Thus, ACixty_One serves as an alternative choice for those seeking to break free from the limitations of existing tools that confine them within predefined usage and volume. Unlike conventional tools, Bioplastic Activated Carbon offers a material with no predefined final outlook. ACixty_One can be
adapted into countless variations, varying in scale and form while following the same fabrication logic and form aesthetic mentioned in Chapter 4. For instance, the proposed design for the London Underground is one of many possible variations that efficiently work in that specific site, but yield similar results. Figure 41 illustrates the qualities that lead to the generation of different ACixty_One variations and the embedded qualities within them. ACixty_One can range from tiny masks that capture PM2.5 particles from the air we breathe to façades installed on buildings to capture pollutants before they enter the building or breathing pods in public spaces for people to briefly breathe in fresh air amidst polluted surroundings.
As a man-made object, it is uncertain whether ACixty_One will lead to the creation of another hyperobject in the future or not. The consequences of all objects created by humans exceed our ability to foresee, and is likely to reveal after a century of use. Nevertheless, ACixty_One can be considered a sustainable material in the current world context as it reduces factors that accelerate hyperobjects, compared to other objects with the same purpose. As previously mentioned in Chapter 4.1, the module can be naturally decomposed entirely, or the activated carbon can be extracted for recycling, unlike filters where activated
carbon is bound with synthetic fabric, making it impossible to separate at the end of the life cycle and end up as another landfill waste. With technological advancement, future activation of carbon might involve energy consumption and emissions, enhancing the sustainability of ACixty_One.
In conclusion, there is no absolute sustainable solution to mitigate hyperobjects. Rather than fearing the end of the world in an unforeseen future and wasting time developing a perfect final answer to prevent it entirely, the best course for society and the ecosystem is to determine the best solution for the current situation within the range of our prediction and knowledge. This solution should be adaptable and changeable in response to hyperobject transformations, the new knowledge we gain, and technological advancements. In doing so, we can create a truly sustainable solution that
The Future of Object-Oriented Architecture in the Age of Anthropocene
The Anthropocene is an age where humans have come to realise that the notion of controlling nature is invalid, and we are now facing the consequences of our actions. While we acknowledge that our past actions have led to the emergence of hyperobjects, it is too late to undo what has been done. Humanity must now find ways to counteract the pressures of hyperobjects on us and the ecosystem by becoming an agency in discovering the hidden qualities of entities out there and bringing them to action. To avoid repeating past mistakes, we must properly understand these new entities and integrate this understanding into the creation of objects.
In the future, the city will become a vast collection of man-made objects designed for specific purposes. These objects may not replace the entire city but will coexist with the existing structures like additional features that
enhance the city’s capabilities in dealing with hyperobjects and maintaining a safe environment for humans. While these objects stem from one initial entity, like ACixty_One, they will exhibit variations through interactions with other objects in the city. The core structure of the city will remain, but the objects will constantly adapt and evolve along with the needs of society and the rapidly changing environment.
For now, this project serves as a foundation for understanding the possibilities of using bio-plastic activated carbon in architectural applications. In the future, as our knowledge of this material expands, we may witness the emergence of new and exciting properties that could elevate ACixty_One to even greater heights in tackling air pollution.
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List of Figures
Cover: Author’s own image (2023)
Figure1: ACixty_One’s material prototype. Author’s own image. (2023)
Figure 2: The emergence of the factory after the Industrial Revolution in the late 18the century Chong, S. (2020). Time Consciousness and Discipline: Industrial Revolution. [online] Available at: https://watchesbysjx. com/2020/07/time-consciousness-and-discipline-industrial-revolution.htm (accessed 05 April 2023).
Figure 3: The atomic cloud from Atomic bomb test at Bikini Atoll in 1946 (National Geographic Education, n.d.) National Geographic Education. Anthropocene. [online] Available at: https:// education.nationalgeographic.org/resource/ anthropocene/ (accessed 05 April 2023).
Figure 4: Summary of air quality index level and health guidelines in reference to IQAir data.
Author’s own image. (2022).
Figure 5: The advertisement image of the Sunny Mountain Ski Dome project in Dubai Turpin, E. (2014). Architecture in the Anthropocene: Encounters Among Design, Deep Time, Science, and Philosophy. University of Michigan Press. Available at: https://quod.lib.umich. edu/o/ohp/12527215.0001.001/1:16/--architecture-in-the-anthropocene-encounters-among-design?rgn=div1;view=fulltext (accessed 05 May 2023 ).
Figure 6: Guggenheim Helsinki Design by Mark Foster Gage
Gage, M.(2014) Helsinki Guggeheim Museum. Available at: https://www.mfga.com (accessed 10 May 2023)
Figure 7: Snøhetta’s Vulkan Beehive project in Oslo (Snøhetta,2014)
Snøhetta. (2014). Vulkan Beehives. Available at: https://www.snohetta.com/projects/ vulkan-beehives (Accessed on 10 April 2023)
Figure 8: Diagram of PM2.5 and health effects. Author’s own image. (2022)
Figure 9: Chiangmai covered in smog Thairat. (2021) เ
Available at: https:// www.thairath.co.th/news/local/north/2017915 (accessed 05 December 2022)
Figure 10: Diagram of PM2.5 and health effect. Bangkok Post. (n.d.). Holding Those Behind the Haze to Account. Available at: https:// www.bangkokpost.com/thailand/specialreports/2087139/holding-those-behind-the-hazeto-account (accessed 01 November, 2022).
Figure 11: A Chinese man wears mask to protect from air pollution
Bloomberg(2023). Less than 1% of Earth has safe levels of air pollution, study finds. Available at:
https://www.japantimes.co.jp/news/2023/03/07/ world/science-health-world/earth-safe-levelsair-pollution (accessed 01 November 2022)
Figure 12-13: Dustyrelief by François Roche and team
Roche, F. (2002). A “New Territory” Manifesto. Available at: https://www.new-territories.com/ roche2002bis.htm (accessed 10 April 2023 ).
Figure 14: Robin Price’s photograph of pm2.5 in Delhi
Price, R. (2019). Written in the Wind: Visualising Air Pollution Levels in Pictures. Available at: https://www.theguardian.com/ cities/gallery/2019/apr/09/written-in-the-windvisualising-air-pollution-levels-in-pictures (accessed 18 April 2023)
Figure 15: Smog Free Tower by Studio Roosegaarde
Studio Roosegaarde. (2018). Video interview: Anne Asensio discusses Dassault Systèmes’ Air Pollution exhibition in Milan. Available at: https://www.dezeen. com/2018/04/13/video-interview-anne-asensio-dassault-systemes-air-pollution-exhibition-milan-movie/ (accessed 05 May 2023).
Figure 16:Breth/ng by Kengo Kuma AAS Architecture. (2018). Breath/ng by Kengo Kuma & Associates. Available at: https://aasarchitecture.com/2018/06/ breath-ng-by-kengo-kuma-associates/ (accessed 05 May 2023 )
Figure 17: Passengers wearing mask in London Underground Jones, V. (2022). You may have seen some travellers not wearing a covering. Available at: https://www.mylondon.news/lifestyle/ travel/london-underground-what-tflsays-18542925 (accessed 05 May 2023)
Figure 18: Research informaiton on King’s Cross St.Pancra station. Author’s own image. (2023)
Figure 19: The porosity of Activated Carbon. Author’s own diagram. (2022)
Figure 20: The Bioplastic-Activated Carbon final mixture. Author’s own image. (2022)
Figure 21: Life cycle of Activated Carbon. Author’s own diagram. (2022)
Figure 22: The PM2.5 testing device. Author’s own image. (2022)
Figure 23: The result of the tests. Author’s own diagram. (2022)
Figure 24: Test in London Undeground. Author’s own image. (2022)
Figure 25: Modules from 3D printing test. Author’s own image. (2023)
Figure 26: Modules from scrpaing test. Author’s own image. (2023)
Figure 27: Modules from scraping and print test. Author’s own image. (2023)
Figure 28: Modules from scraping and print on a bowl shape test. Author’s own image. (2023)
Figure 29: The scraping and 3D print system. Author’s own image. (2023)
Figure 30: Wind analysis. Author’s own image. (2023)
Figure 31: Pattern derivation. Author’s own image. (2023)
Figure 32-34: Photos of the proposed module. Author’s own image. (2023)
Figure 35: The rendered image of the initial London Underground proposal. Author’s own image. (2023)
Figure 36: Simulation of PM2.5 particles in London Underground. Author’s own image. (2023)
Figure 37: Digital aggregation at different section. Author’s own image. (2023)
Figure 38: Testing of initial module in London Underground (Author’s own image, 2023)
Figure 39: PM2.5 Data recorded in London Underground without and with the module (Author’s own image, 2023)
Figure 40: The section of the proposed aggregation. Author’s own image (2023)
Figure 41: Diagram showing the relationship of ojects and qualiteis in ACixty_One. Author’s own image (2023)
Figure 42: Invasion of ACixty_One at the Bartlett School of Architecture. Author’s own image (2023)