Digital twins will lead to "a huge revolution" for designers says Anne Asensio of Dassault Systèmes

Promotion: Architecture and design are about to be revolutionised by digital twins – virtual representations of real-world products, buildings and even entire cities – according to Anne Asensio, vice president of design experience at Dassault Systèmes.

"We are at the very beginning of a huge change that may transform the way we design," said Asensio, who spoke to Dezeen as part of our Design for Life collaboration with Dassault Systèmes.

"It's a huge revolution for the future and we've only seen the first stage so far."

Digital twins provide "an incredible power"

Digital twins, which are also known as virtual twins, are virtual counterparts to real-world objects or processes.

Existing alongside their real-world siblings, digital twins can be used to represent a physical object or its process and to monitor what is happening in the real version as a testbed to explore the impact of proposed improvements or unexpected changes.

According to Asensio, this emerging technology will enable architects and designers to demonstrate the full life cycle of a product, a service or an experience.

It will also, she believes, enable designers to imagine and test new ideas more easily and at an earlier stage than was previously possible.

"This ability to visualise any given element in 3D – it could be an object, a service, a system or an entire city – and play with all the physical rules within the conformity of science is an incredible power," she said.

"For designers, it is a clear access to design not just the product but its behaviour, the experience and its entire life cycle at the front end of the creative process."

The rise of digital twins

The concept of digital twins has been around for some time. NASA was an early pioneer, building virtual models of its spaceships so it could improve their performance.

But their use has accelerated in recent years thanks to the rise of the internet of things. This has created a rich stream of data that gives an up-to-date picture of what is happening in the physical world.

A digital twin works by monitoring data generated by sensors in objects such as aerospace engines, buildings or road networks and constantly updating itself so it perfectly mirrors its sibling.

Recent examples include the Battersea Power Station project in London, where architect Foster + Partners is using a robot dog to collect data to update the digital twin; while a futuristic urban development at Innisfil in Canada by architect Partisans will feature a digital twin that will be used to optimise transportation systems including autonomous buses and drones.

However, Asensio believes the true capabilities of the technology are not being used fully, comparing its use today to how the internet was used at the start of the millennium.

"The virtual twin is going to grow quite intensively," she said. "We can [use digital twins to] demonstrate other ways of designing a city – leveraging the participative actions of citizens through immersive co-design of the city on one hand and, on the side of professionals, redesigning buildings to be resilient to climate or extreme temperatures, or rebuilding after the learning of a simulated tsunami. There are plenty of solutions."

A new approach to design

Dassault Systèmes has integrated virtual twin technology into its 3DExperience 3D software platform, which includes modelling software programs Catia and SolidWorks.

Construction and development company Lendlease is using the software to create digital twins for many of its projects in Europe and North America to improve efficiency.

The technology was also used to optimise the manufacture and construction of Brock Commons, a student housing block at the University of British Columbia (UBC), which was the tallest mass-timber building when it was completed in July 2017.

As Asensio explained in a recent talk with Dezeen, her ambition driving the development of these digital tools is to "shift the posture of design" by encouraging designers to focus on creating sustainable materials and processes, rather than consumer products.

Asensio believes that digital twin technology is an example of how software can become more integral to the design process, rather than simply being a presentational tool, which she hopes will equip designers with the tools they need to "build a better world".

"Today, 3D renderings and representations are only being used to sell an idea," she said. "We want to move from this behaviour to a behaviour where designers can systematically represent another way to do things. The virtual twin will be a place to do that."

The future of digital twins

However, the use of digital twin technology is not yet widespread throughout the design and architecture industries.

According to Asensio, the key limitation that prevents more designers from utilising the technology is not to do with access or understanding of 3D software but rather the difficulty in capturing the data required to inform the digital model.

In order to create a useful digital twin of a complex design or system, large quantities of accurate data are required.

"A virtual twin is a replication of something, but that thing could be very complex," Asensio said.

"It's not a question of whether the 3D model could be complex; we know how to produce a very complex 3D model. What is difficult is controlling the model. You need to have the right people around, the right expertise and that is a challenge for designers."

Opportunities for collaboration

Asensio believes the answer lies in greater collaboration between designers and experts in other fields, such as scientists, academics and industry professionals, who have more experience in capturing and processing data.

By creating more connections between different disciplines, she believes we will be able to develop digital twins that draw on more diverse sources of data. Only then will we be able to fully benefit from the technology's potential.

"Going forward, we are at a crossroad where we can imagine incredible futures," she said. "But we have to create the environment where this is possible."

Asensio spoke to Dezeen as part of our Design for Life partnership with Dassault Systèmes, which highlights designers who are using technology and research to build a better world.

Examples include Exploration Architecture, which uses computational design tools to explore biomimicry-focused architecture, and Studio INI, which uses software to create interactive environments.

Cloud-based design solutions for architects and designers

Dassault Systèmes provides a range of 3D tools for architects via its 3DExperience platform, which it offers at a reduced cost for startups and new businesses.

"At Dassault Systèmes, we are passionate about helping companies, designers, architects and urbanists launch innovative projects with confidence," the company said.

"We’ve developed a comprehensive offer for startups, early-stage businesses and design agencies to benefit from the entire 3DExperience platform on the cloud at an unbeatable price point."

Find out more about Dassault Systèmes' startup offer here.

Partnership content

This article is a partnership between Dezeen and Dassault Systèmes. Find out more about Dezeen partnership content here.

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Kengo Kuma designs sculptural metal-mesh curtain for Gaudí's Casa Battló

Kengo Kuma and Associates has used 164,000 metres of aluminium chains to create this curtain that references the organic forms found inside Barcelona's renovated Casa Battló.

The intervention by Japanese architect Kengo Kuma's studio is part of an extensive renovation of the house designed by the famous Catalan architect Antoni Gaudí in 1904.

Kengo Kuma and Associates has created a metal-mesh curtain in Casa Battló

Casa Battló has recently been fully restored by the Bernat family, which has owned the house since the 1990s. The project also includes a series of contemporary interventions that aim to create a more immersive and engaging experience for visitors.

Kuma's contribution adorns the atrium and a new staircase connecting the ground floor with additional exhibition spaces created in a former coal bunker in the basement.

The installation forms part of a renovation of the Gaudí-designed house

The curtain was produced using Spanish firm Kriskadecor's aluminium chains and pays tribute to the symbolic use of light throughout the house's unique interior.

It also envelops an emergency staircase that extends across the building's eight floors. Within this otherwise dark space, lighting developed by designer Mario Nanni reflects off the metal links to enhance their shimmering quality.

The curtain references organic forms found inside the building

The curtain gradually changes from a lighter shade at the top to black as it descends into the old coal cellar, echoing the way daylight filters down through the building's central courtyard.

"We have imagined this space dressed in aluminium link curtains," said Kuma, "which with their meticulous materiality catch the light, as if they were fishing nets, and show it to us in all its forms: brightness, silhouettes, shadows."

It comprises 164,000 metres of aluminium chains

"This way, by omitting the use of any other materials, and erasing the presence of this blind box and its staircase using these chains, we are able to speak of light and light only."

The curtain is formed of individual chain-link strands that are suspended from the variously inclined ceilings and surfaces underneath the stairs.

The project is intended to create a more immersive experience for visitors

Computer software used to develop the scale-like pattern also ensured the precise positioning and length of each chain.

The staircase that descends to the newly accessible basement was designed by London-based firm Ancient & Modern. It is made from 13 tonnes of polished black marble that was carved on the underside to create an animalistic form reminiscent of Gaudí's own interventions.

The chains were produced by Kriskadecor

The new basement houses 2,000 square metres of additional exhibition spaces, forming part of what is now called the "10D Experience".

As part of this endeavour to provide an unprecedented insight into Gaudí's mind, audiovisual producer Miguel Alonso has created an installation comprising a dome with 1,000 screens showing films about the architect.

Turkish media artist Refik Anadol has also produced a cube-shaped installation displaying imagery and data about Gaudí that was collated using artificial intelligence.

Casa Batlló was originally designed by Emilio Sala Cortés and constructed on the newly formed Passeig de Gracia in 1877.

One of the curtains encloses an eight-storey staircase

The house was purchased in 1903 by Josep Batlló y Casanovas, who commissioned Gaudí to remodel the facade, interior and inner courtyard.

Gaudí collaborated with the best artisans of the time to transform the house into a work of art, using wrought iron, stone, wood, stained glass and ceramic tiles to decorate it in the modernisme style.

The curtain is formed of individual chain-link strands

Earlier this year, while the house was closed to the public due to the coronavirus pandemic, local designer Max Enrich was invited to create a series of sculptural lamps for the interior.

The first house designed by Gaudí, which is also located in Barcelona and is called Casa Vicens, opened to the public for the first time in 2017 following a major restoration project.

Another of Gaudí’s most famous projects in the city, the Sagrada Família basilica, has been under construction since 1882 and remains unfinished.

The photography is by Jordi Anguera, courtesy of Kriskadecor.

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Now You Know book aims to challenge racial inequality in architecture

Architecture discussion platform Sound Advice has gathered essays and interviews from 60 architects and urbanists of colour in a book to highlight racial inequality in architecture.

Sound Advice founders Joseph Henry and Pooja Agrawal assembled the book, titled Now You Know, in the wake of the murder of George Floyd and the #BlackoutTuesday.

Now You Know book contains a collection of writings on inequality

The duo created the publication to build on the reaction to the murder of Floyd and to make clear that there is a lot of work to do to make the built environment more diverse.

"This book came into being as a response to a specific moment, #BlackoutTuesday, when all across social media individuals, businesses and institutions were posting a black square in response to the murder of George Floyd," Henry told Dezeen.

"The publication became a means to hold the raw responses of people of colour in the architecture and design industry who were feeling anger, hurt and frustration," he continued.

"Collectively we wanted to show how much work is needed to make change, to ensure people didn't become complacent after #BlackoutTuesday and let them think that that was enough to guarantee progress."

It was created in response to #BlackoutTuesday

The book, which was designed by London-based Joel Antoine-Wilkinson, contains essays, poems and interviews from 60 people of colour working in the built environment including Dezeen content producer Siufan Adey and Dezeen Awards judge Priya Khanchandani.

It was compiled to showcase the ideas and thoughts of some of the many people working to make the built environment more inclusive.

"Totally fed up with how the built environment sector tackles, or doesn't tackle, race, we wanted to hear from people who are already fighting to make the changes," said Agrawal.

"What was their response to this moment? Where do they think we can go from here? How can we disrupt the inertia of the profession?"

The book includes essays, interviews and poems

Henry and Agrawal set up Sound Advice, which creates short quotes and tips on social media coupled with music, as a non-academic way of discussing diversity in the built environment.

They want the book, which is the first published by the platform, to bring attention to the opinions of people of colour working in the built environment.

"There is a gaping hole in the western architectural canon which is the perspective of people of colour and this book is our small contribution to balancing that out," said Henry.

"We want the book to present an alternative vision for the future of our cities and showcase the people that are out there with great ideas and something to contribute."

The book aims to present an "alternative vision" of cities

The duo hope that the book will both increase awareness of racism in the architecture profession and offer potential solutions.

"The content of the book can increase people's awareness of people's personal experiences of racism, but also knowledge of historical evidence of structural racism embedded in our cities," said Henry.

"It has very direct ideas of how to take action to diversify the industry, but also how to fundamentally challenge who has access to space."

They also hope that those reading it will be encouraged to take action and make changes so that the burden of changing the profession isn't left to people of colour.

"But also, a lot of people of colour are tired of talking about how to make change and feel exploited and pressured to share their personal stories and experiences," said Henry.

"This book puts the onus on people to stop looking at us, to digest the content and to take ownership to make change."

Floyd was murdered by a police officer on 25 May 2020. His killing sparked global protests in support of racial equality with designers including David Adjaye, Jessica Walsh, Tom Dixon, Camille Walala and Yinka Ilori among the thousands of people posting a black square on Instagram in support.

Numerous graphic designers created illustrations in support and Dallas artist Jammie Holmes flew banners above US cities showing Floyd's last words.

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Ten colourful basketball courts from around the world

A blue chequered court in Mexico City, a multicoloured court in Paris and a 3D-printed basketball floor all feature in our roundup of colourful basketball courts.

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Ezelsplein in Aalst, Belgium, by Katrien Vanderlinden

Belgian artist Katrien Vanderlinden painted a colourful mural informed by a children's game onto a basketball court in inner-city Aalst.

Squares, rectangles, triangles and circles, in different shapes, sizes and colours make up the court named Ezelsplein. Vanderlinden used the children's mathematical reasoning game Logical Blocks as the basis for her geometric designs.

The unique pattern of shapes, lines and colours give players the opportunity to make up their own games on the court.

Find out more about Ezelsplein›

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Bank Street Park basketball court in London, by Yinka Ilori

Designer Yinka Ilori combined his distinctive geometric motifs and vibrant colours for this public basketball court in London's Canary Wharf financial district.

The half-sized court, which is designed for three-a-side basketball, is covered in 3D-printed polypropylene tiles.

Ilori's colourful prints also spill out onto a wall of hoarding that runs along the perimeter of the court, while a pattern of blue and orange waves laps the backboard of the court's sole basketball hoop.

Find out more about the Bank Street Park basketball court›

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Pigalle Duperré in Paris by Ill-Studio and Pigalle

Ill-Studio partnered with French fashion brand Pigalle to create a multicoloured basketball court nestled among a row of buildings in the ninth arrondissement of Paris.

Russian artist Kasimir Malevich's 1930s artwork Sportsmen informed the design. The painting depicts four figures all dressed in the same bold colours found on the court.

Squares of blue, white, red and yellow ethylene propylene diene monome (EPDM) rubber – a synthetic material commonly used on floors for sports – have been added to the court.

Find out more about Pigalle›

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Kinloch Park courts in St Louis by William LaChance

Artist William LaChance painted three basketball courts in a suburb St Louis suburb with bold, block colours.

The designs are based on a series of five oil paintings, which when placed side by side form one larger image in a "tapestry of colour fields".

White lines were painted over the top of the coloured background, which includes hues of blue, green, red, yellow, brown and grey.

Find out more about the Kinloch Park courts›

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Summerfield Park court, Birmingham, by Kofi Josephs and Zuke

Basketball player Kofi Josephs and Birmingham graffiti artist Zuke have revamped a basketball court in Summerfield Park, Birmingham.

Bright yellows and blues were painted onto the court in a bid to attract locals and children to the game.

The design includes features that symbolise the city of Birmingham. For example, a crown has been painted onto the concrete which reflects The Jewellery Quarter in Birmingham.

Find out more about the Summerfield Park court›

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Stanton Street courts in New York City, by Kaws

Nike called on Brooklyn-based artist Kaws to illustrate these two basketball courts which are located next to each other on Manhattan's Stanton Street in New York City.

The artist, who is known for his vibrantly coloured, cartoonish works, covered two courts in his distinctive style.

An abstract version of Elmo and Cookie Monster – characters from the popular children's TV show Sesame Street, have been painted onto the courts with signature crossed-out eyes.

Find out more about the Stanton Street courts›

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Pigalle Duperré in Paris, France, by Ill-Studio and Pigalle

Ill-Studio and Pigalle joined forces again to revisit a basketball court they refurbished in 2015. The designers replaced the old block colours with shades of blue, pink, purple and orange.

This time, the collaborators enlisted the support of sports brand Nike, to redesign the compact and irregularly shaped site.

Backboards made from translucent pink plastic were added, while the playing area and zones are marked out in white.

Find out more about Pigalle Duperré›

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House of Mamba court in Shanghai, by Nike

Fashion brand Nike unveiled a full-sized basketball court with motion-tracking and in-built reactive LED visualisation technology in Shanghai.

Designed to provide a place for American star Kobe Bryant to teach his skills to young players in the Nike RISE initiative, the court features classic court markings alongside Nike's RISE branding.

When the court isn't needed for training and games purposes, the LED surface can display almost any combination of moving images, graphics and colours.

Find out more about the House of Mamba court ›

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Kintsugi Court in Los Angeles by Victor Solomon

Artist Victor Solomon has attempted to reconcile the many cracks and crevices found in this Los Angeles basketball court using the Japanese art of Kintsugi.

Gold resin lines run across the court in a vein-like manner, connecting the broken up pieces of worn grey concrete.

The artist drew on his knowledge of Kintsugi, which involves repairing broken pottery with lacquer mixed with powdered precious metals, in order to highlight, rather than conceal, the breakage.

Find out more about Kintsugi Court›

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La Doce in Mexico City, by All Arquitectura Mexico

Mexican design studio All Arquitectura created a vibrant football and basketball court for one of the most impoverished and violent areas of Mexico City.

The designer covered the surface in a stretched and slanted chequerboard pattern in two bright shades of blue.

Overall, the revamped court adds colour and atmosphere to the area, which is otherwise dominated by run-down apartment shacks and deteriorating buildings.

Find out more about La Doce›

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Hutchinson & Partners completes "modern and minimal" refurbishment of neoclassical Victoria House

Architecture studio Hutchinson & Partners employed a neutral palette of cream-coloured hues to complement the stonework of this 1920s office building in London, which was previously refurbished by British architect Will Alsop.

Hutchinson & Partners' extensive refurbishment of the Victoria House was carried out by the London and Berlin-based firm for the workspace provider LABS, which acquired the property in 2019 with a vision to transform the building into a modern workspace.

Victoria House (above) has been refurbished and decorated with modern, minimalist furniture (top image)

The 13-storey building sits on the eastern edge of Bloomsbury Square and was originally designed as the headquarters for the insurance company Liverpool and Victoria Friendly Company by the architect Charles William Long.

The neoclassical Grade-II listed block, which was previously refurbished in the early 2000s by Alsop, contains 27,000 square metres of office space, alongside retail, hospitality and event spaces.

A triple-height central hall houses informal meeting spaces

The studio aimed to update the historic marble-lined space to give it "a new, modern layer".

Throughout, the team used a palette of natural hard-wearing materials – such as marble, terrazzo, patinated brass, bronze, oak timber and leather surfaces – that complement the original architecture and its elegant proportions but update it with "modern and minimal" details.

Hutchison & Partners made use of neutral tones to complement the building's original architecture

The ground floor's grand spaces – a Subiaco marble and Italian travertine entrance hall, a terrazzo staircase and a triple-height central hall – have been reworked to host a series of social spaces.

These include a central bar, members' lounge and informal meetings spaces, while the upper levels have been updated to provide flexible workspaces with communal lounges, kitchens, libraries, meeting rooms and phone booths clustered around central timber-lined axes.

A terrazzo staircase leads to the upper storeys

The project includes more than 750 square metres of space within three communal suites.

The Alsop Suite and The Long Suite provide spaces for the office tenants to meet with clients, or collaborate and unwind, while The Heritage Suite contains a state-of-the-art gym, multi-use studio alongside a lecture room, boardroom and meeting room suite.

Some interventions introduced by Alsop during the previous 2000s refurbishment, such as a series of suspended office pods, remain untouched, while others have been updated, such as the floating glazed platform which has been reimagined in bespoke terrazzo and roughly hewn travertine slabs.

"The aim was to align the sense of old and new, while retaining a strict sense of historical narrative that easily allows the viewer to delineate between the past and the present and allows them to experience the building as a unified whole," said the studio.

"This emergent language has been used as a basis on which the evolving phased refurbishment of the wider building has been carried out."

Open-plan workspaces offer room for collaboration

British designer Fred Rigby was commissioned to create a bespoke furniture collection for the project that draws upon the soft forms found in nature.

The collection of curvaceous pieces includes a series of sinuous slatted oak privacy screens, oak and boucle fabric armchairs, and a collection of tables that nod to the oak doors of the landmark building.

A corrugated metal reception desk stands in the entrance hall

Other recent London office projects include an office interior by Hollie Bowden with a rich material palette informed by London's gentlemen's clubs, and a mid-century medical laboratory that has been transformed into a flexible office space by dMFK.

Photography is by Ståle Eriksen.

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