{"id":58782,"date":"2015-05-01T10:17:00","date_gmt":"2015-05-01T10:17:00","guid":{"rendered":"https:\/\/metropolismag.com\/projects\/pioneer-digital-fabrication-heralds-machine-made-revolution-architecture\/"},"modified":"2021-08-11T01:10:02","modified_gmt":"2021-08-11T01:10:02","slug":"pioneer-digital-fabrication-heralds-machine-made-revolution-architecture","status":"publish","type":"metro_project","link":"https:\/\/metropolismag.com\/projects\/pioneer-digital-fabrication-heralds-machine-made-revolution-architecture\/","title":{"rendered":"A Pioneer of Digital Fabrication Heralds the Machine-Made Revolution in Architecture"},"content":{"rendered":"

\"\"<\/p>\n

The Barbarian Group, Superdesk<\/strong>
\nDesigned by the architect Clive Wilkinson, the project\u2019s centerpiece was the 1,100-foot-long working surface dubbed the Superdesk. Andreas Froech of Machineous Consultants was brought in for his fabrication expertise\u2014in particular, his mastery with the CNC-machining necessary for the desk\u2019s realization. \u201cThe project was almost facade-scale, it was so big,” Froech says.\u00a0“At the same time, it\u2019s really a very large piece of furniture, but in too tight of a space to use scaffolding.\u201d<\/h4>\n

Courtesy\u00a0Michael Moran\/Clive Wilkinson<\/h4>\n
\n

It\u2019s another monotonously sunny day in Santa Monica, and Andreas Froech glides up on his bicycle. He greets me with an easy smile, a little breathless from his ride, and takes off his helmet, not bothering to fix his hair. We talk over coffee in the courtyard of the Frank Gehry\u2013designed Edgemar, where, despite the California drought, the fountain burbles with relentless optimism. Edgemar\u2014the oh-so-L.A. mini-mall-on-acid completed in 1989\u2014seems the perfect venue for us to talk about technology, making things, and other adventures in architecture.<\/p>\n

The signatures of Froech\u2019s expertise can be seen in works by architects like Greg Lynn, Zaha Hadid, Hitoshi Abe, Patrick Tighe, and others working on the outer edges of digital practice. Trained as an architect, Froech is one of a rare breed of designer-technologists who have been forging a link between the worlds of robotic fabrication and architecture. Since he first began working with industrial robots in 2006, Froech has been mapping the territory for how this technology can be implemented in design. Spanning the birth and coming of age of computational design, his pathbreaking career is one of the reasons architecture and robotics can be articulated in the same breath.<\/p>\n

I had asked that we meet at Froech\u2019s fabrication shop, but there was one problem\u2014there is no shop, not anymore. Just a few years ago, Froech had helmed a 20,000-square-foot fabrication hub out of a Gardena, California, industrial park, a few miles away from\u00a0where Elon Musk\u2019s Space X operates. Here, he ran four large Nachi robots\u2014the same multi-axis robot arms used in the auto industry, which Froech had repurposed for design applications. They were the hardware that powered Machineous, the custom fabrication and research-and-development company Froech founded in 2008. It closed this year, only to resurface as Machineous Consultants<\/a>.<\/p>\n

Now, for the first time, Froech finds himself unburdened by the heavy responsibilities and long hours concomitant of running a shop. \u201cI wanted to free myself up,\u201d Froech says, explaining his intentions. Machineous was reaching a point where it was attracting the kinds of repetitive, off-the-shelf projects the 46-year-old fabricator isn\u2019t so interested in. Being the \u201cshop guy\u201d presented other limitations. By the time designs would get to him, they had already gone through complex chains of decision-making that he hadn\u2019t been involved\u00a0in. This could mean problems and inefficiencies in fabrication, and, of course, a lot of time spent fixing them. All these potential mishaps could be avoided, he realized, if he were more embedded in the design team.<\/p>\n

\"\"<\/p>\n

Froech, 46, founder of Machineous Consultants, is a pioneer of digital fabrication.<\/h4>\n

Courtesy Andreas Froech<\/h4>\n

Seeking to get back to the center of design, Froech made a radical decision. He shuttered the shop, moved the robots into storage, and pursued an alternate, almost back-to-basics directive. Doing so would allow him to return to what he had been doing, namely, troubleshooting new design inroads for robotic machinery: \u201cOriginally, I had to come up with my own way of thinking about these machines and teach myself how to use them.\u201d He explains further, \u201cThe first robot guys could tell you a lot about making cars, but they didn\u2019t know how to do the things I was interested in. There\u2019s really an art to how a robot acts on a piece, in how you convert code to movement.\u201d<\/p>\n

It\u2019s this unique approach\u2014the mechanic-tinkerer meets computer scientist\u2014that has drawn people to Froech. \u201cAndreas is a pretty unique character, and an\u00a0important one,\u201d says Greg Lynn, the Los Angeles architect and one of the earliest adopters of computing in design. As one of Lynn\u2019s graduate students at Columbia University during the mid-1990s, Froech was among the earliest\u00a0practitioners\u00a0to investigate digital fabrication processes. \u201cHe was always interested in how to bridge that gap between the computer model and the building,\u201d Lynn says. \u201cHe\u2019s one of the first in the world to be doing this.\u201d<\/p>\n

Froech was working for Greg Lynn Form <\/a>when, in 1996, Lynn was invited to teach at UCLA\u2019s Department of Architecture and Urban Design. Froech followed him there, and it wasn\u2019t long before he spotted the CNC machine at the engineering school. According to Lynn, Froech was the \u201cthe first instructor to teach with a CNC machine,\u201d which he installed in the architectural school in 1997 and operated using a then-rarified system\u2014later adopted by a handful of elite institutions, including ETH Zurich and the Applied Arts Vienna.<\/p>\n

\"\"<\/p>\n

Greg Lynn Form, Blobwall<\/strong>
\nFroech\u2019s first proper commission, Blobwall was developed by L.A. architect Greg Lynn, who had taught Froech at Columbia in the mid-1990s.\u00a0Lynn\u2019s approach\u00a0was computational, and, as such, each of the hollow units interlock with mind-boggling precision, obviating the need for any binding agents. \u201cThe project was designed and developed with Andreas\u2019s capabilities in mind,” Lynn says. “He is able to communicate fundamental principles to architects so they are better designers.\u201d<\/h4>\n

Courtesy\u00a0Machineous\u00a0Consultants<\/h4>\n
\n

A decade later, in 2006, Froech bought his own robot and the first incarnation of Machineous was born. Armed with a robot, his next challenge was finding clients. \u201cI was literally going from office to office and saying, \u2018I have a robot. What can I do for you?\u2019\u201d he recalls. His first independent commission came from Lynn, whose work employed complex geometries that could only be realized through the use of robots. He asked Froech to undertake fabricating the Blobwall<\/a>, which would represent a watershed moment\u00a0in computer-aided design. Lynn had originally designed the freestanding assemblage of hollow plastic rotomolded units for a house project that came to naught. A prototype was shown at the Museum of Contemporary Art in Los Angeles and was later adopted by Panelite as a custom wall system.<\/p>\n

Around this time, Froech was also working with Patrick Tighe<\/a>, who teaches at the University of Southern California School of Architecture and asked Froech to execute a number of projects. For Sierra Bonita (2010), an affordable housing project in West Hollywood, Froech fashioned exquisite custom CNC-cut facade screens. There was also the Out of Memory <\/em>(2011) installation at SCI-Arc, where Froech\u2019s robot carved out space in a mountain of foam that filled the school\u2019s gallery space\u2014a ballet of seamless movement, flying sparks, and spent foam core. \u201cAndreas has this\u00a0special ability to leverage knowledge about technology, fabrication techniques, and innovative materials that makes it possible to realize really complex projects,\u201d says Tighe, echoing Lynn.<\/p>\n

\"\"<\/p>\n

Greg Lynn, SITE Sante Fe<\/strong>
\nFroech went on to work with Lynn on numerous projects, including the architect\u2019s Recycled Toy Furniture installation at the 2008 Venice Biennale, which won the Golden Lion award, and Fountain in 2010 for UCLA\u2019s Hammer Museum. In 2012, Froech executed fiberglass facade elements for the contemporary art hall SITE Santa Fe.<\/h4>\n

Courtesy\u00a0Kate Russell Photography\/SITE Sante\u00a0Fe<\/h4>\n
\n

After feverishly completing a number of projects through 2014, including, most recently, facade elements for Tighe\u2019s Courtyard La Brea in Los Angeles, Lynn\u2019s SITE Santa Fe in New Mexico, and Clive Wilkinson\u2019s spectacular Superdesk for the Barbarian Group in New York, Froech began looking more critically at the whole process of design and delivery. \u201cI started asking myself, \u2018What does it mean to make these complicated things, and how can we do it better?\u2019\u201d he says. By experiencing firsthand the difficulties that arise when projects are executed in a more traditional way, where there is little communication between designers, fabricators, and contractors until installation, he saw opportunities to improve the process. This is where Machineous Consultants comes into play.<\/p>\n

The founding of his new venture prompted Froech to reach back into storage and dust off his robots. \u201cI have a small one in my living room right now,\u201d he says with more than a touch of excitement in his voice. He had been putting the machine through the paces in preparation for a panel and workshop at the Facades+ conference in Los Angeles in February. The workshop, \u201cIntroduction to Robotic Construction,\u201d hints at where all of this is headed. Because of new Occupational Safety and Health Administration (OSHA) rules, robots running off a specific set of software no longer need to be in protective cages to avoid collisions with humans.<\/p>\n

\"\"<\/p>\n

Patrick Tighe Architecture, SCI-Arc<\/strong>
\nIn\u00a0the past several years,\u00a0Froech\u00a0has also formed a productive professional partnership\u00a0with architect Patrick\u00a0Tighe, who met\u00a0Froech\u00a0when the two worked at\u00a0Morphosis\u00a0in the late\u00a01990s. For the Out of Memory<\/em> (2011) installation at SCI-Arc, Tighe\u00a0translated a piece of music by composer Ken Ueno into three dimensions. Froech realized the design with the help of an industrial robot, which carved away at a massive block of foam.<\/h4>\n

Courtesy Patrick Tighe\u00a0Architecture<\/h4>\n
\n

While this might\u00a0seem like science fiction, Froech is convincing. \u201cThe tools and technology are available. They just haven\u2019t been applied in this way yet because of a lack of expertise,\u201d he says. He cites the recently completed HOK-designed Anaheim Regional Transportation Intermodal Center (ARTIC)<\/a>\u00a0as the perfect example of the type of structure where robot arms similar to the ones parked in his living room could play a role. \u201cYou could mount and run industrial-type robots on the grid structure to place and fasten any type of cladding,\u201d he says. This, he adds, means no more specially trained workers, risky scaffolding, or costly crane equipment.<\/p>\n

\u201cApplying robot technology to grid shell construction makes sense because grid shells resemble very closely the assembly concept of cars and airplanes, where robots have been mastered for a long time,\u201d says Froech. \u201cThe ability to learn from these industries will help fast track the development of this application in architecture and the building industry.\u201d Froech is also quick to point out that this methodology can be tied into BIM (building information modeling) strategies where assembly paths can be previewed on the computer and optimized to increase efficiency.<\/p>\n

\"\"<\/p>\n

Patrick Tighe Architecture, Courtyard at La Brea<\/strong>
\nFor Tighe\u2019s design of the La Brea Housing in Los Angeles, a 32-unit affordable housing complex for once homeless LGBT youth, Froech fabricated the white bands of panelized metal that wrap around the building\u2019s southeast edge. He also laser-cut aluminum facade panels that shield the apartments from light and roving eyes.<\/h4>\n

Courtesy Patrick Tighe Architecture<\/h4>\n
\n

That\u2019s just the beginning. Froech believes that the machine-made will eventually become much more dominant in architectural systems of making and assembly. The manual approach will certainly be a part of the equation, but with fully automated shops already producing different types of building components, there is currently logic in place and a market that could be expanded upon. Human participation would increasingly take on the roles of quality control and supervision.<\/p>\n

Ultimately, Froech sees this as a way for designers to have more control over their designs. \u201cThe dominant model of project delivery is like an illness,\u201d he says. \u201cIt\u2019s too complicated and very slow. There are so many steps and the design gets redesigned and reinvented, over and over, first by the architects, then by the builders and subcontractors.\u201d He envisions a process where designers are able to select from a growing pool of automated options fully integrated with the design through 3D data models. \u201cDesigners will be able to make confident design decisions, linking make-ability and efficiency to the expression of design, rather than fixing things after design decisions have been made.\u201d<\/p>\n

Now that he runs a consultancy, Froech maintains that he will work as an integral part of design teams as the expert programmer-fabricator, ensuring that good decisions are made in the beginning. \u201cIt\u2019s always a problem of translating ideas into buildings,\u201d he says. \u201cThe master builders and architects of past eras were designing what they knew and what they knew how to build. Now, we can design and build what we don\u2019t know and explore new possibilities. It\u2019s what I really like doing.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

After two decades of experience in robotics-based fabrication, Andreas Froech, founder of Machineous Consultants, wants more control over his work and is reclaiming his role in the design process.<\/p>\n","protected":false},"author":24,"featured_media":18739,"menu_order":0,"template":"","meta":{"_acf_changed":false,"featured_image_focal_point":[],"legacy_WP_ID":null},"tags":[211,692],"metro_tax_domain":[],"metro_tax_topic":[13,15],"metro_tax_program":[],"metro_issue":[],"internal_flag":[],"class_list":["post-58782","metro_project","type-metro_project","status-publish","has-post-thumbnail","hentry","tag-digital-fabrication","tag-robots","metro_tax_topic-architecture","metro_tax_topic-technology"],"acf":[],"yoast_head":"\nA Pioneer of Digital Fabrication Heralds the Machine-Made Revolution in Architecture - Metropolis<\/title>\n<meta name=\"description\" content=\"After two decades of experience in robotics-based fabrication, Andreas Froech, founder of Machineous Consultants, wants more 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