Embryological House, Greg Lynn

 

Greg Lynn, Embryological House, 1997-2001, Canadian Centre for Architecture. Left to right: Microstation drawing of primitive geometrical form from which the House iterations were developed; Microstation drawing of developed Embryological House; Maya model of the House, rendered; MEL script file; still from MOV animation of the House. © 1997-2001, CCA.

 

Embryological House (1997-2002), a major work by American architect Greg Lynn, is a born-digital project. The artist set a number of goals for this conceptual work:

 

• rethink the idea of house typology beyond the modernist "kit of parts" model to an organic, flexible, genetic/generic prototype from which an infinite number of iterations can be generated;

• extend the interplay of "generic" and "variation" implied in this rethinking to notions of product "branding" and the satisfaction of individual desire through consumer-specific, unique versions of the product;

• push the capabilities of existing automated manufacturing technologies for the production of non-standard architectural forms. [1]

 

The project was developed with geometrical modeling and character animation software (specifically MicroStation and Maya), as well as digitally-generated physical mock-ups. The use of multiple software applications to develop the work’s forms is inherent to Lynn’s creative process.

 

The Canadian Centre for Architecture (CCA) houses the physical mock-ups and digital files associated with the project. And while a number of its iterations have been sufficiently developed to allow their construction potential to be tested to a certain extent, a constructed architectural version has yet to be built. Embryological House remains a conceptual project as originally designed—existing entirely in digital format.

 

In 2008, the CCA and DOCAM Research Alliance conducted a case study on Embryological House. The objective was to acquire knowledge on and define the strategies required to preserve born-digital projects over the long term. The study also sought to further the understanding of the issues associated with the conservation of architectural design projects and geometrical files and to establish a broader strategic base for the acquisition of and access to the CCA’s new media files.

 

First problem: conservation of the integrity of digital data

The work by Greg Lynn is presented in two separate formats: physical mock-ups and digital files. The former are made from plastic and pose no particular conservation challenges. The latter represent Lynn’s entire work and encapsulate a multitude of information that must be preserved, should migration become necessary. The creation of the physical models is dependent on the digital files, which are sensitive to technological changes. In addition, the digital work associated with this project spans a considerable period, and there are a number of generational differences in the various software applications used. Migration of the Embryological House files entails a risk of losing certain information. Even if some properties can be conserved, the migration of a file can necessitate a rewrite that differs vastly from the original format.

 

Migration of the files also brings with it the risk of compromising the integrity of the metadata. This data is very important, as it contains vital information that allows for the analysis of the files and their relationships to each other. It is through this data that Lynn’s work can be reconstituted by replacing the files within their creative contexts.

 

Problems specific to this case

Migration constraints

Conversion and migration simplify digital conservation by keeping the number of formats of the files being conserved to a minimum and thus allowing the management of their renewal over time to be more reliable. There is, however, a serious drawback to this that must be considered in the archiving of a project such as Embryological House. The work was created with software applications specifically chosen for their ability to manage and manipulate complex geometries.

 

One such application is MicroStation, [2] which is used in a number of fields, from architecture to geographic information systems. Another application is Maya, [3] which is generally used in the production of animated films. When files of this type are converted into other formats, the geometry is subsequently described differently than in the original formats, which is how important information risks being lost—information that precisely defines the original geometry. For example, if a form originally described or generated as a sequence of actions (mathematical or geometric) is then described as a sequence of points, this shift can generate an entire series of consequences, including a potential compromise of the actual form. The new description method may be less precise than the first. This shift could also lead to a misunderstanding of the process or the means the architect uses to generate forms.

 

One problem with migration is the difficulty it poses in precisely establishing the features to conserve as geometric data or a geometric process. Given the subjectivity of the interpretation of a project and the diversity of the formats involved, migrations can lead to losses that are difficult to assess and control. Migration assumes a definition of basic standards, which is somewhat contradictory to the nature of usage of geometric formats.

 

The absence of geometric standards and the vast diversity of file formats generated by CAD (computer-aided design) software are the essence of the challenge to establishing a consensus on the practices used. The artist’s choice of software for its distinctive features is an element that should be preserved.

 

It would therefore be more appropriate to view migration as a series of conversions, where the information is partially transformed and the losses known and documented, and where the intention is not to conserve a file in its original, complete or authentic state.

 

For the purposes of this study, the strategy of conservation through migration may not be satisfactory, given the need to retain the data in its original format. A better result might be possible through the virtual recreation of the original digital environment (emulation) or by converting an access copy to a more current functional format, selected specifically to prevent the loss of vital information about a particular research activity (on-demand conversion).

 

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[1] https://www.docam.ca/conservation/embryological-house/GL3ArchSig.html

[2] MicroStation is a CAD software product for 2- and 3-dimensional design and drafting, developed and sold by Bentley Systems. The latest versions of the software are released solely for Microsoft Windows operating systems, but historically MicroStation was available for Macintosh platforms and a number of Unix-like operating systems. MicroStation is the platform architectural and engineering software package developed by Bentley Systems, Incorporated. Among a number of things, it generates 2D/3D vector graphic objects and elements.
"MicroStation", Wikipedia, available from http://en.wikipedia.org/wiki/MicroStation, accessed 10 November, 2009.

[3] Autodesk Maya, or simply Maya (Sanskrit word for "illusion"), is a high-end 3D computer graphics and 3D modeling software package originally developed by Alias Systems Corporation, but now owned by Autodesk as part of the Media and Entertainment division. Autodesk acquired the software in October 2005 upon purchasing Alias. Maya is used in the film and TV industry, as well as for computer and video games, architectural visualisation and design.

"Maya", Wikipedia, available from http://en.wikipedia.org/wiki/Autodesk_Maya, accessed 15 October, 2009.

 

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