BURAK CELIK M.Arch II Portfolio |
2019-2020
Southern California Institute of Architecture
Burak Celik
Copyright Š 2020 Burak Celik All rights reserved. No part of this book may be reproduced or used in any manner without written permission of the copyright owner except for the use of quotations in a book review. e-mail: burakc28@hotmail.com mobile: +1 (332) 200-7642
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BURAK CELIK M.Arch II Portfolio |
2019-2020
Southern California Institute of Architecture
Burak Celik
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Statement
Burak is a Los Angeles-based Architectural Designer. After receiving his B.Arch Degree from Bilkent University with honors degree, he was honoured to receive prestigious Fulbright Scholarship for Masters Degree on Computational Design. After working for prestigious architecture firms including Studio Libeskind in New York and Melike Altinisik Architects in Istanbul, Burak started advanced M.Arch II Program at Southern California Institute of Architecture in Los Angeles. With a master’s degree, he desires to gain experience in academic research, cross-cultural interaction and competence, and it would open up new horizons for his career and for him to realize ambitious future plans. For Burak, architecture is a strong tool requiring a multidisciplinary approach and thinking that can transform the world into a peaceful home. His experience with computational tools taught him that the intelligence of algorithms and parameters provides many opportunities and convenience to designers in the design phases with many constraints.
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Content
2 G BX 8
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Le Musée Imaginaire Invisible
2GBX Computational Design Studio
VS4201 Visual Studies II
2GAX 54
After Images
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Lou Ruvo Transformed
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GO BIG! //Stadium
AS3302 Advanced Structural Systems
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GO BIG! //Airport
AS3302 Advanced Structural Systems
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SLICE IT!
2GAX Computational Design Studio
A S 3 2 0 0 A d v a n c e d M a t e r i a l s a n d Te c t o n i c s
VS4200 Visual Studies I
WRITINGS 122
AI & Artificial Intelligence
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Computational Theory
H T 2 2 0 0 T h e o r i e s o f C o n t e m p o r a r y A rc h i t e c t u re I
H T 2 2 0 1 T h e o r i e s o f C o n t e m p o r a r y A rc h i t e c t u re I I
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Le Musée Imaginaire the Museum for the Postdigital Age
Course: DS1201 Complex Morphologies Instructor: Jackiling Hah Bloom Semester: Spring 2020, 2GBX Location: Los Angeles, CA | USA Partner: Hannah Mann Software: Maya, Rhinoceros, Unreal Engine, Z-Brush Our project aims to challenge the way that art viewers experience the museum in a new digital age. Our project reimagines William Pereira’s Los Angeles County Museum of Art (LACMA), where Peter Zumthor’s design will be constructed until 2022. Interactive, digitalized art can have the ability to disorient and transpose its viewer through collected data. Digital art pieces break the conventional art-making process and work as a catalyst to the space-making process by using more complex and higher performing data collection systems than it used to be. Projected in rooms and spaces that are designed to be dynamic allows the art pieces to take on new forms resulting in a unique experience. Encrypted artwork is a new technology, 9
allowing art pieces to be displayed in a more secure way through projection and holograms. In a digital age where technology continues to take over the conventional art-making process, encrypted art pieces are secured through databases collected in museum storage spaces and can be displayed through projections, holograms, Augmented Reality (AR), Virtual Reality (VR) or Mixed Reality (MR). The tectonics of our project works with the data collected from the art viewers. This data can inform the building of new spacial qualities, and allow the tectonics of the structure itself to adapt to the artwork in each second. The concept here lies in the creation of dynamic architectural space, telling a unique story every time.
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Right: Field, Vector Studies Left: Initial Collage Studies
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Left: Site Plan Right: Vector Study
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The territory of museums should concern itself with the whole of the built environment. Heightened disciplinary distinctions between architecture, art, ecology, and engineering marginalize the status of the architectural project, precluding new paradigms for contemporary settings of this digital age. This is primarily a conceptual development for an architectural intervention that is interested in deriving its form from the very notion of art.
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Texture generated by the imagery on the facade has relief in the scale of the building. This surface treatment technique provided porous and solid spaces as well as two dimensional depth and shadow.
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Left: Axonometric Chunk Right: Front View
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Chunk models show how formal arrangement has the impact on the interior spacial quality. Forms generated by using image tracing method from the original LACMA art pieces and optimized in three dimensional space.
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Left: Chunk Views Right: Chunk Main Render
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The role of museums to collect, preserve and present objects and art pieces are critical. Today, museums are not only for artviewing but for art-making. This intervention asks the question of what it means to create a museum space using the techniques and mediums of art. It is a study of the atmospheric effects created through art and translated into literal spaces for viewers.
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EXHIBITION
Exhibition
GALLERY
Gallery
CIRCULATION
Circulation
PLINTH Plinth AUDITORIUM
Auditorium UNDERPASS
Underpass
GROUNDSCAPE
Groundscape
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The interior of our project works to accommodate the encyclopedic museum that LACMA is known for as well as provide niches and platforms for digitilized art. This project explores the spaces between the physical and digital for transformations. A space that enables transitions and works together with art.
Right: Interior Render Left: Render from the Plinth
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Video
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Digital displays of the permanent collection through holograms and augmented reality projected in dynamic architectural spaces provides interactive activity areas. While framing pieces from the encyclopedic collection, the museum also curates views of the cityscape through the plinth.
Right: Interior Render Left: Render from the Plinth Top: Hologram Exhibits
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Invisible Course: VS4200 Visual Studies II Instructors: Elena Manferdini, Andrea Cadioli Semester: Spring 2020, 2GBX Partner: Devangi Kansagra Software: Rhinoceros, Grasshopper, Processing, Maya.
For generations, people have been seeking for an easier way of living. Developments and inventions like Industrialization, capitalism, digitization, etc... provide an uncomplicated solution to our consumerist lifestyle. These evolutions made it possible to produce limitless amounts of products and goods without considering the results like war, famine, and plague. Technology has made living in the 21st century very comfortable. It has made us create a bubble around our life making us earn and live comfortably without leaving the four walls of our room. Unlike our past, we as intelligent sapiens know what we need to do to survive the modern apocalypse of abundance in technology. Climate change, global warming, and globalization are 39
the “new” jargon in our contemporary dictionary. With technology, we have the knowledge to reverse it using “eco-friendly” inventions. But are these inventions actually sustainable? How many sustainable solutions are actually sustainable in the long run? We reimagined how a production and transportation based future cities might affect the natural habitat and landscape we have now. This intervention seeks to imagine what will be the side effects of solar panels or windmills after three centuries. Except for giving humans electrical energy, will it help our environment? Can windmills stand in between trees or forests or they need flatlands? How can we integrate technology both into our lives and the environment in a mutual way?
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Left: Digital Model Right: Render
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Now, our planet is on the brink. Our forests are under pressure like never before and our oceans are under great stress of toxic chemicals. It is a dual scenario where we see how nature acts when humans and their activities like trains, industries, etc harm the surroundings versus how nature will heal itself as it has always been, a world in which Artifical Intelligence plays a significant role transforming our damage on Planet Earth, our one and only house.
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Video
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Left: Original Image Top: Image with UV Light
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After Images Course: DS1200 Complex Morphologies Instructors: Ferda Kolatan, Rachael McCall Semester: Fall 2019, 2GAX Location: Chinatown, Los Angeles, CA | USA Partner: Jonah Klinghoffer Software: Maya, Rhinoceros, Processing, Z-Brush, AgiSoft, Autodesk Recap The project begins with a process of extracting visual and physical information from a site in Downtown Los Angeles as well as several urban artifacts of diverse scales. The extracts is the point of departure for all of the studio work. We worked on producing a composite form of selected source material derived from the site context that redefines the formal relationships inherent in selected elements and shifts these toward an architectural scale. The first exercise focuses on integrating multiple forms captured through three dimensional scanning techniques and digitally modeled forms to produce composite forms with displaced scalar effects. We worked with 3D scanning portions of an urban site, identifying the inherent biases and opportunities 55
within this technology to define new perceptions of common artifacts. The outputs from these forms of perception was remodeled and composited in the form of a multi-material model comprised of 3D printed and vacuumformed constituents. Our project overlaps the imaginable with the unthinkable by converging highly abstract forms with rational architectural detail, through guise of the image in multiple translations. The diverse shapes that compose the building have individual formal qualities which synchronize together through materiality, texturization, and image treatment. The design is a composition of forms that have meaning when merged into one entity. (Project Description by Burak Celik and Jonah Klinghoffer)
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Right: Photogrammetry Point Clouds Left: Chunks Produced from the Process
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The vacuumformed models created a base for the next stage of the design. Texturation, physical relationships and formal aspects were used to create familiarity. The texture was generated through using AI Algorithms. The project intertwines vertical volumes with horizontal elements, creating diverse spatial experiences between, around, over and under the masses, through subtle changes in image, texture and coloration.
Right: Model Photo Left: Model Photo from the Review Top: Plan View
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Hybridized forms project a new methodology of thinking for architectural space. Different objects come together to create hybrid forms to generate unfamiliar conditions and scenarios in unexpected ways. Our idea was to abstract objects which are taken from their original context by using computational techniques to develop new architectural possibilities.
Left: Hybrid Formation 01 Top: Hybrid Formation 02 Right: Hybrid Formation 03
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The progression of passages that weave throughout the building eventually culminate in a concealed yet public courtyard, accessible from all sides and levels of the building. The courtyard ties the design together, as it unifies the surrounding abstract masses around a comprehensible social void; in a sense it contextualizes a former decontextualized cluster of forms.
Right: Model Photo Left: Model Photo from the Review Top: Plan View
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The texture was created by combining a blue tile pattern of a Chinese upturned roof with a matte coloration through artificial intelligence. It generated the golden particles/minerals, and the linear finestration that adorn the facade.
Left: Ground Diagram Right: Axonometric View
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Augmented Reality was utilized to represent textures on the model, making the presentation more interactive. Digitally generated model with the right design material applied using Unity and Vuforia. With this 3D experience, our goal was to integrate the postdigital aesthetics of our design with real life.
Right: Model Photo Left: Model Photo Top: Augmented Reality Model Overlay
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Lou Ruvo Transformed Course: AS3200 Advanced Material and Tectonics Instructors: Maxi Spina, Randy Jefferson, Brian Zamora (Gehry Partners) Semester: Fall 2019, 2GAX Location: Las Vegas, NV | USA Partners: James Piccone, Jonah Klinghoffer, Abdullah Tahseen Software: Rhinoceros, Grasshopper For the Advanced Material and Tectonics class, we selected case studies to work on and make transformations. Lou Ruvo Center is a Frank Gehry designed building located in Las Vegas. It’s primary facade is composed of stainless steel shingles with box-like punched window openings. The envelope transformation replaces these reflective stainless steel shingles with matte finish fiber reinforced plastic (FRP) panels. These fiber-reinforced plastic panels come with a framed pipe sub-structure that includes C-channels with anchors joined by L-clips. The C-channels hook onto paired joints that are attached to the structural grid-shell of the building. The matte quality of the panels, achieved by sandblasting the panels before installation, gives 71
the building a softer look while an integrated relief pattern suggests a new scalar relationship between the windows and facade panelization. The envelope is further transformed by elongating window openings into vertical and horizontal staggered strips to emphasize a stretched building skin as opposed to a building mass with repetitive punched openings. The interior window openings become tapered window wells, similar to Le Corbusier’s Ronchamp Cathedral, in which the small exterior window area becomes significantly enlarged on the interior by flaring outwards from the window mullions. As a result, natural lighting in the interior becomes diffused and indirectly bounces off these flared openings.
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Lou Ruvo Tectonics Study Original Design
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Lou Ruvo Center’s primary facade is composed of stainless steel shingles with box-like punched window openings. One of the important chunks was selected due to its complexity to understand the conceptual development and detail of the building.
CHUNK LATE CLADDING
Right: Exterior Building Chunk Flat Lock Steel Plate Cladding
RE TURALLeft: SYSTEM Aerial View
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ORIGINAL DRAWINGS
SOUTH
EAST
Precedent Study: Lou Ruvo Center for Brain Health Envelope System: Grid-Shell Structural System
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Building Chunk A
ORIGINAL BUILDING CHUNKS
Metal Clips with Integrated Waterproof Fastener Stainless Steel Window Head Flashing 1/4 inch Stainless Steel Window Box Wall 22 ga. Stainless Steel Flat Lock Panels EPDM Fully Adhered Waterproofing Membrane Galvanized Sheet Metal Plate Thermal Insulation Z-Channel Structural Steel Grid Shell
Right: Building Chunk A Detail Left: East Elevation Top: South Elevation
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Building Chunk B
Plaster Finish “Baswaphon“ Acoustical Insulation Gypsum Board Recessed Window Box
Cold Formed Steel Stud Framing Access Hole Grid Shell Column Flange Structural Steel Grid Shell
y: Lou Ruvo Center for Brain Health m: Grid-Shell Structural System
Left: Building Chunk B Detail Right: West Elevation Top: North Elevation
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NORTH
WEST
Advanced Tectonics & Materials AS3200 Abdullah Tahseen_Burak Celik_James Piccone_Jonah Klinghoffer
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Lou Ruvo Tectonics Study Transformed Building
TRANSFORMATION: EXTERIOR CHUNK BIRDS EYE VIEW
Pre-fabricated FRP Panels
1/4 inch Stainless Steel Window Box Wall
Metal C-Channels w/ L-clips & Anchors Curved Steel Pipe Substructure Thermal Insulation
Stainless Steel Window Head Flashing EPDM Fully Adhered Waterproofing Membrane Galvanized Sheet Metal Plate Structural Steel Grid Shell Rolled Shade Curved Glazing Unit Roller Shade Enclosure
Left: Building Chunk A Detail Right: Interior Building Chunk Top: Exterior Building Chunk
Precedent Study: Lou Ruvo Center for Brain Health Transformation: Stretched Skin Facade with FRP Panel Cladding
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TRANSFORMATION SCHEME TRANSFORMATION SCHEME
EXTERIOR BUILDING CHUNK FIBER-REINFORCED PLASTIC CLADDING PANELS EXTERIOR BUILDING CHUNK FIBER-REINFORCED PLASTIC CLADDING PANELS
INTERIOR BUILDING CHUNK DRYWALL INTERIOR WITH PLASTER FINISH INTERIOR BUILDING CHUNK DRYWALL INTERIOR WITH PLASTER FINISH
Precedent Study: Lou Ruvo Center for Brain Health Transformation: Stretched Skin Facade with FRP Panel Cladding Precedent Study: Lou Ruvo Center for Brain Health Transformation: Stretched Skin Facade with FRP Panel Cladding
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TRANSFORMATION: INTERIOR CHUNK BIRDS EYE VIEW
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Building Chunk B
Plaster Finish “Baswaphon“ Acoustical Insulation Gypsum Board Recessed Window Box Curved Glazing Unit 1/4 inch Stainless Steel Window Box Wall Grid Shell Beam Flange Structural Steel Grid Shell Thermal Insulation Metal C-channels w/ L-clips & Anchors Pre-fabricated FRP Panels
Precedent Study: Lou Ruvo Center for Brain Health Transformation: Stretched Skin Facade with FRP Panel Cladding
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Cold Formed Steel Stud Framing Grid Shell Beam Flange Access Hole Structural Steel Grid Shell Thermal Insulation Metal C-channels w/ L-clips & Anchors Pre-fabricated FRP Panels Air Space Recessed Window Box Curved Glazing Unit Rolled Shade Rolled Shade Enclosure
Right: A1 - Grid-Shell Structural Components Left: Building Chunk B Detail
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Pre-fabricated FRP Panels 1/4 inch Stainless Steel Window Box Wall Thermal Insulation EPDM Fully Adhered Waterproofing Membrane Curved Glazing Unit
Fully Adhered Flashing Tape Roller Shade Roller Shade Enclosure Recessed Window Box Structural Steel Grid Shell Folded Steel Plate Window Box “Baswaphon“ Acoustical Insulation Light Gauge Metal Studs with L-Brackers Gypsum Board Plaster
Left: B1 - Skylight Detail Right: East Elevation
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GO BIG! //STADIUM Course: AS3302 Advanced Structural Systems Instructors: Greg Otto Semester: Fall 2019, 2GAX Location: Las Angeles, LA | USA Software: Rhinoceros, Grasshopper, Maya
The design for the for project of the class was a football stadium. It has a long span concept and carries structural characteristics from the Precedent Studies which are AT&T Stadium and Lucas Oil Stadium. The first intent of the project is to create a long span structure for a structure free interior space which does not affect the atmosphere of the stadium but add to it in terms of architectural space with a flowing facade and long span structural system. The capacity of the stadium is 70,000 and can be expandable 100,000. There is
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a big entry gate on the North and South and two smaller entry gates on the East and West side of the building. Mega-trusses are penetrating the roof and they are oriented towards the main entry points of the building. The truss system that carries the load of the roof is connected to 20 tree columns so that the roof is elevated from the concrete system and it opens up view from the windows. The design has operable parametric window panels which can be opened up during the events, and it helps getting more daylight.
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The concept of long span structure was analyzed and developed in the first part of the class as individual projects. This stadium is an exercise to push forward long span structural concept to create an interior athmosphere without any structural obstacles. To achieve this, a long spac arc and a tensile ring were utilized for load distribution.
Surface 1- Roof Surface 2- Envelope
Surface 3- Base
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Long Span Arc
Form Finding Study
Tensile Ring Long Span Arc
Load Distribution
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Tensile Ring
Titanium Dioxide (Ti02) Roof with Operable Windows
Roof Truss System
Expandable Seating Areas on both sides
Megatrusses
Structural Ring in tension Columns Main Entries on both sides Base
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Two Long Span arc structures are connected to each other with 4 other truss systems. The structural system is designed to create as much free space as possible, so secondary system of structural ring works in tension to direct loads of the roof to the columns. Thus, Titanium Dioxide Roof structure works with two different support systems.
Right: Axonometric Drawing Left: Exploded Drawing
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Long Spac Arc
Base
Titanium Dioxide (Ti02) Roof with Operable Windows
Structural Ring in tension Columns Main Entries on both sides Base Expandable Seating Areas on both sides
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Structural Ring in tension
Titanium Dioxide (Ti02) Roof with Operable Windows
Structural Opening for Air Circulation Columns
Long Span Arc Base Main Entries on both sides
Structural Ring in tension Primary Structural System Secondary Structural System Tertiary Structural System Tree Column System Columns
Long Span Arc
Top: South Elevation Bottom: South Section
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Structural Ring in tension
Titanium Dioxide (Ti02) Roof with Operable Windows Structural Opening for Air Circulation
Main Entries on both sides
Structural Ring in tension Secondary Structural System
Long Span Arc
Columns Pin Connection
Top: East Elevation Bottom: East Section
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GO BIG! //AIRPORT Course: AS3302 Advanced Structural Systems Instructors: Greg Otto Semester: Fall 2019, 2GAX Location: Las Angeles, LA | USA Software: Rhinoceros, Grasshopper, Maya
The project for the assignment is a an airport terminal. The design is a star-shaped building and has 4 directions. The structural system consists of 3 different unitized systems which can be repeated to create different forms. The main space “Unit A” is 145 feet high and consists of 4 mega leaning arches and a column system. Leaning arches are used to create a large volume architectural space without any structural obstacle. Secondary space “Unit B”
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has a deformed surface to create a truss system that can transfer loads directly to the ground. Other than a space truss system, there is a structural system taking the loads and transfering it to the ground with a steel column. Main entrances belong to “Unit C” and has 2 structural systems. Concrete structure and the steel structure connects to create a stiff structural unitized system.
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Modularity provides many opportunities including mass production which decreases the cost of a building and easiness in the fabrication and production. This study explores new ways of creating long span airport interior with three different modular units using parametric tools to optimize most functional structure.
Unit A
Unit B
Unit C
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Column
Unit A
Unit B
Unit B Mirrored
Unit C
Right: Modularity Drawing Left: Site View
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UNIT A
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Unit B Connection
Truss and Arc Connection
Mullion of the Skylight Glazing Leaning Arches Roof Truss System
Tree Column
Leaning Arches
Image: Unit A Drawing
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Unit B Connection
Truss and Arc Connection
Roof Truss System Mullion of the Skylight Glazing
Tree Column
Leaning Arches
Image: Unit A Worms Eye View Drawing
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UNIT B
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Unit A Connection
Cladding
Unit C Connection
Structural Frames
Roof Truss System
Column
Glazing
Mullion
Image: Unit B Worms Eye View Drawing
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UNIT C
01. Columns
Steel Frame
02. Primary Beam System
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03. Secondary Beam System
Connection Zone
04. System Connection
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Cladding
Unit B Connection
Roof Truss System Primary Beam System
Column
Eave Structure Eave Support
Glazing Mullion
Image: Unit C Worms Eye View Drawing
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SLICE IT! SLICE IT! Course: VS4200 Visual Studies I Instructors: Andrea Cadioli, Curime Batliner, Casey Reas Semester: Fall 2019, 2GAX Partner: Devangi Kansagra Software: Rhinoceros, Grasshopper, Processing, Maya. In the Visual Studies class, we started developing a form and a Grasshopper script to animate a projection technique of multiple colors with different lineweights. Using the animation generated, outline of the design was fabricated in the SCIArc Shop and Robot House to attach stickers on it. Constructed pieces were attached to the Robot Arms and through a set of Grasshopper data, the
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scene was photographed in some time intervals. Using reflectivity, gravity and space, photographs of the design were combined in a digital way to create exhibition boards. Processing, as a medium for visual scripting, was used to generate a set of data to be applied on the pieces. With scripting, initial Grasshopper animation and Robot House images are combined to generate an algorithmic data.
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void setup() { size(1920, 1080); beginRecord(PDF, “images7.pdf ”); img = loadImage(“BaseImage.jpg”); } void draw() { int cropWidth = int(random(6, 50)); int randomx = int(random(mouseY, mouseY-300)); PImage crop = img.get(randomx, 0, cropWidth, height); image(crop, mouseX, 0); } void keyPressed() { if (key==’q’) { endRecord(); exit(); } 116
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ARTIFICIAL INTELLIGENCE & COMPUTATIONAL DESIGN
Course: HT2200 Theories of Contemporary Architecture I Instructors: Marcelyn Gow, John Cooper Semester: Fall 2019, 2GAX Related Keywords: Artificial Intelligence, Algorithmic Rituals, Machine Learning, Deep Learning, Computational Design, Refik Anadol, Frank Gehry, M Casey Rehm, Post-Digital Aesthetics.
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ARTIFICIAL INTELLIGENCE & COMPUTATIONAL DESIGN The Emergence of AI from the Computation of Space
INTRODUCTION Machine Learning and Artificial Intelligence are emergent technologies using algorithms, time, patterns, social relations, and labor. Although AI sounds “alien” or artificial to many people, it emerges from ancient rituals like the “Agnicayana ritual” as cited by Matteo Pasquinelli in his text “Three Thousand Years of Algorithmic Rituals: The Emergence of AI from the Computation of Space” and can be seen as algorithms in human history.1 Such use of algorithmic organization can be observed throughout history. Although algorithms and geometric means were used as a part of a religious ritual in Ancient Vedas, Ancient Egyptians used geometry and algebra to compute surface area and volume to build Great Pyramids. AI’s step-by-step logical procedure and multilayered input system make it possible to solve multiplex problems and it can provide solutions to many subjects like material computation, automation, simulation and so on. AI, Deep Learning and other subsets of AI have a great impact on performative art, the future of architectural design and the design in a broader sense. Starting from the evolution of algorithms and moving to a contemporary media artist Refik Anadol’s algorithmically generated compositions in space, AI plays a critical role in transforming “the memory” and it achieves certain impacts. To understand 1 Matteo Pasquinelli, “Three Thousand Years of Algorithmic Rituals: The Emergence of AI from the Computation of Space.” e-flux Journal, no.101 (Summer 2019): 1-2. https://www.e-flux.com/journal/101/273221/three-thousand-years-of-algorithmic-rituals-the-emergence-of-ai-from-the-computation-of-space/
the impact of AI on architectural design, this essay aims to provide a discussion of how AI can change the way we think about architectural design and spatial experience. HISTORICAL BACKGROUND Artificial Intelligence is a relatively new term but not a new method of computation of space using algorithms. An algorithm is a procedure to solve a problem and can be in the form of a sequence of instructions that involves repetition of an operation. Algorithms are widely used throughout all areas including mathematics and computation. Today, algorithms perform actions such as automated calculations, data processing, simulations and many other tasks, helping people resolve complex problems that cannot be done solely by humans. Algorithms have always been a part of people’s daily life since the beginning of time. The history of Artificial Intelligence began in ancient times, dating back to ancient rituals and performances. Sacred Greek and Egyptian statues were believed to have senses and wisdom; they were considered memory storages and translation machines between humans and the god(s). As Matteo Pasquinelli mentions in his text, Ancient Vedas, as part of a ritual, recomposed the fragmented body of god by building a fire altar, through the use of an elaborate geometric plan. Each brick was designed independently, numbered and placed following a step-
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by-step process of instructions. Each layer of brick was built on top of another, conforming to the same area and shape so that the entire structure eventually faces East to symbolize the “flight of the constructed god” in the direction of the rising sun. Ancient Vedas used geometric and algorithmic techniques to organize and carry on the ritual.2 In my opinion, solving the logical riddle of the ritual whilst managing the construction, and keeping the symbolic value of reincarnation is a perfect building exercise demonstrating a primordial example of algorithmic culture and material computation. Later on, Ancient Egyptians started using geometry and algebra to create surface areas and volumes to design and erect the Pyramids. It is highly crucial to understand and visualize the generative process that was made available for humanity to advance architecture through human history. Building on from AI’s presence in today’s world, I would like to share an example of an artist who is utilizing AI to create art. Refik Anadol uses algorithms that encode and compute data according to their spatial relations. All machine-learning algorithms are emergent processes, in which the repetition of similar patterns “teach” the machine and cause the pattern to emerge as a statistical distribution. Architect and media artist Refik Anadol blends media art and neuroscience with different sets of data, algorithms, and machine intelligence techniques to create data sculptures. Since data sculptures grow from a sophisticated construction of space data, mostly architectural space or facades, the algorithms try to recognize certain photographic moments and create a spatial matrix of visual and audio data. By embedding media design into architecture, Anadol’s work focuses on a post-digital architectural future, in which there are no non-digital realities anymore but a combination of mixed realities including photographic memories.3 MATERIAL COMPUTATION To further understand the role of AI and algorithms in architectural design, material computation should be considered as a strategy instead of a formulated method. Material computation is a design approach that uses methods to model, simulate, and fabricate functional material organizations; such organizations’ properties vary and are arranged to abide to multiple materials and environmental constraints. Such practices include data processing, modeling, analysis, and fabrication, all of which are abundantly used in architectural design, 2 Matteo Pasquinelli, “Three Thousand Years of Algorithmic Rituals: The Emergence of AI from the Computation of Space.” e-flux Journal, no.101 (Summer 2019): 1. https://www.e-flux.com/journal/101/273221/three-thousand-years-of-algorithmic-rituals-the-emergence-of-ai-from-the-computation-of-space/ 3 Refik Anadol Studio, “WDCH Dreams”, accessed November 15, 2019. http://refikanadol.com/works/wdch-dreams/
mechanical design, 3D Fabrication and all production fields. Material has always been considered as a secondary design driver due to the practical concerns in architectural design. On the other hand, nature’s very first design driver is the relationship between material and its corresponding environmental constraints. Most of the materials utilized in architectural construction such as steel, timber, or glass are not selected as parts of environmental constraints, but rather as selections that include budget parameters, availability, constructibility, etc., although they possess different material properties and performances.4 Mass production makes it available to use the same material component in different designs unlike nature itself. I believe AI significantly changes the way we think about architectural design since a shift from mass production to customized production could only be achieved by computational design methods like CAD software, robotics, CNC and other modern fabrication techniques; in turn, these provide diversity in size, shape, variation, and material. This approach to design creates discrete forms and heterogeneity. DISCRETENESS M. Casey Rehm, a distinguished Sci-Arc professor and founder of Studio Kinch, is currently working on projects which are great examples of discrete forms using AI. In one of his works called “Control”, Rehm integrates imagebased interaction design with material algorithms as space-defining methods. I believe the future of AI will also allow architects to expand ideas on global environmental issues while creating unique architectural spaces; the relationship between AI and material computation creates new horizons in architecture and construction. The impact of AI on architectural design is massive, and in the future, AI can only be useful if we see it as a part of the process which humanity has been advancing throughout history. Similarly, in Refik Anadol’s work called “WDCH Dreams” in 2018, he collaborated with the Los Angeles Philharmonic. The AI component uses and processes sound, photographic memories, and architectural space to create data sculptures which represent the building’s dream. To achieve this, Anadol worked with the Machine Intelligence program at Google Arts and Culture alongside researcher Parag K. Mital. Anadol used a computerized “mind” for AI systems to dream similar to humans dreaming by processing memories and creating new combinations of tests and trials using AI intuition. All 4 Neri Oxman, “Manufacturing the Bespoke”, MIT Media: 256-259, accessed November 15, 2019, https://neri.media.mit.edu/assets/pdf/Publications_MC.pdf
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of the digital archives - nearly 587,763 image files, 1,880 videos, and 17,773 audio files - are used to generate data clouds using AI, and categorized according to their spatial matrix.5 Machine learning was thought to create unique visuals by using architectural space data and the orchestral conductor’s body movements, which were recorded by using image tracking. The work explores the space within the mind of a machine — limitless in its dimensions and in the information it holds. While the machine is generating a data universe of architectural hallucinations in 512 dimensions, people explore the moments spatially. The “data universe” is the human-accessible material and Artificial Intelligence is the tool to create new memories and experiences in the same architectural space. Each moment represents hidden connections between instances in the Philharmonic’s history. The work is also interactive as visitors can engage with the archives through unique timelines generated live each second according to the visitor’s motions. The work challenges the conventional interpretation of architectural space as the boundless, three-dimensional extent when objects interact in different positions relative to one another. The work offers a unique experience of architectural space and a glimpse into the future of architecture itself.6 Anadol’s work is a great example of how AI changes the way people observe and experience space. The strength of such an approach is that AI is not only a canvas for an artist, but it is also a strong tool to experience architectural space through images, memories, human performance, and “dreaming”, which is key to design. ARTIFICIAL INTUITION In contrast to the claim that AI cannot have an intuition and cannot be a part of the design process other than a CAD tool, intuition is a significant concept to differentiate between memorization and learning to learn. In 1950, British mathematician Alan Turing claimed that humans use available information as well as reasoning to solve problems and make decisions, deducting that machines could potentially do the same. Although computers advanced enough to compute a million times faster than humans, there was still a long way to go before natural language processing, abstract thinking, and intuitive decision making.7 Intuition and Logic are two methods of prediction and problem-solving. Even though intuition requires prior experiences in learning through innate abilities, logic requires knowledge that computers already have. Throughout history, people that have “wisdom” have a unique set of knowledge and intuition accumulated during their 5 Refik Anadol Studio, “WDCH Dreams”, accessed November 15, 2019. http://refikanadol.com/works/wdch-dreams/ 6 “Refik Anadol’s ‘Machine Hallucination’ Debuts at New York’s Chelsea Market.” Designboom, accessed November 15, 2019. https://www.designboom.com/art/refik-anadol-machine-hallucination-artechouse-chelsea-09-11-2019 7 Rockwell Anyoha, “The History of Artificial Intelligence”: Science in the News Blog, Harvard University, August 28, 2017, accessed November 22, 2019. http://sitn.hms.harvard.edu/flash/2017/history-artificial-intelligence/
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“ Nature’s way is uniquely different. In nature, forms are the result of the matching between material parameters and their corresponding environmental constraints. Shape is then merely a byproduct, a derivative of natural behavioural formation.” Neri Oxman, MIT Media LAB
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lifetimes. People become intuitive through daily problems and experiences, so why can’t AI systems also be trained to predict things that they do not know? As an example, when a person is lacking experience in a situation, using precedent case studies to predict the solution is important to guess how the current issue can be resolved. This is a trial and error operation that AI systems can also utilize. In the long term, AI researchers will be able to train artificial intelligence systems to perform tasks requiring flexibility and common sense. MENAGERIES / IMAGERIES Images change meaning when they are put to different contexts and one after another since our perception changes when an image is not still. Cinematic images or videos carry different meanings and more importantly, have a sense of time. As cited by Jacques Rancière in his book “The Future of the Image”, “cinematic images are primarily operations, relations between the sayable and the visible, ways of playing with the before and the after, cause and effect”. These processes include different meanings of the word ‘image’. Two cinematic images or sequences of images can thus pertain to a different “imageness”8 Anadol’s work can be seen as an example of such cinematic images. Since each image generated through AI is somehow related to each other, AI is creating a cinematic “image” that can only be experienced through time. I see this approach as a significant part of the future of architectural design, which is interactive and dynamic rather than static and still. As Boris Groys claims in his text, an artwork that is exhibited in an international context, mostly in an exhibition or biennale, loses its aura and exhibition value if the place is not its own original place. For Groys, “the aura is understood as the artwork’s inscription in the historical context to which it originally belongs, while the loss of aura results from its removal from that world of lived experience. I would argue against this claim when Artificial Intelligence becomes the producer of the artwork. Anadol’s work is a highly powerful digital approach as it shows that machines are thought by memories of the space, the local context, although the final product has always international exhibition value. Martin Heidegger, a renowned German philosopher, differentiates artworks between an artwork that bonds to its historical/ritual space and time, and an artwork that only exhibits at a certain place that is removable from its context. With developing technology and the digital social era, our perception of any artwork can be defined 8 Jacques Rancière, “The Future of the Image”, translated by Gregory Elliott (New York: Verso, 2007), 1-6.
through Gestell, or the ‘framing’ of an image, according to Heidegger. One can speak of two different types of gazes in an exhibition, as Groys claims.9 When we look at an image, we use the frontal gaze since there are a precision and stability of our vision, and when we visit an exhibition, we do not just perceive the space as it is but instead we look around and become very aware of our position, which is called the ‘gaze from within’. I agree with Groys, due to the fact that the frontal gaze and the gaze from within define how we understand architectural space. Since we cannot reproduce the same historical trajectory in an architectural space, Refik Anadol’s artwork achieves highly powerful moments, using memories of the space. To me, in the age of unlimited content, artificial intelligence plays a crucial role to capture moments and store them in a data universe as an artwork in the form of light and music. The Agnicayana Ritual is an example of an emergent algorithm as it encodes the organization of social and ritual space. The symbolic function of the ritual is the reconstruction of the god through mundane means; this practice of reconstruction also symbolizes the expression of the many within the One (or the “computation” of the One through the many). Similar to the ritual’s social function of teaching basic geometry skills to construct solid buildings, AI is thought by people to collect data and regenerate visual and vocal data through a set of algorithmic processes. Artificial Intelligence and the computational power of AI is a highly sophisticated version of the straightforward and primordial way of thinking used in ancient times. Its role as a means of designing architectural space is unlimited, yet to be elaborated, and full of potential.
9 Boris Groys, “Curating in the Post-Internet Age”, e-flux Journal, no.94 (October, 2018): 4. https://www.e-flux.com/journal/94/219462/curating-in-the-post-internet-age/
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BIBLIOGRAPHY Anyoha, Rockwell. “The History of Artificial Intelligence”. Science in the News Blog, Harvard University (August, 2017). Accessed November 22, 2019. http://sitn.hms.harvard.edu/flash/2017/history-artificial-intelligence/ Designboom. “Refik Anadol’s ‘Machine Hallucination’ Debuts at New York’s Chelsea Market.” Accessed November 15, 2019. https://www.designboom. com/art/refik-anadol-machine-hallucination-artechouse-chelsea-09-11-2019/ Groys, Boris. “Curating in the Post-Internet Age.” e-flux Journal, no.94 (October, 2018): 1-8. https://www.e-flux.com/journal/94/219462/curating-inthe-post-internet-age/ Oxman, Neri. “Manufacturing the Bespoke”. MIT Media: 256-265. Accessed November 15, 2019. https://neri.media.mit.edu/assets/pdf/Publications_ MC.pdf Pasquinelli, Matteo. “Three Thousand Years of Algorithmic Rituals: The Emergence of AI from the Computation of Space.” e-flux Journal, no.101 (Summer 2019): 1-12. https://www.e-flux.com/journal/101/273221/three-thousand-years-of-algorithmic-rituals-the-emergence-of-ai-fromthe-computation-of-space/ Rancière, Jacques. “The Future of the Image”. Translated by Gregory Elliott. New York: Verso, 2007. Refik Anadol Studio. “WDCH Dreams”. Accessed November 15, 2019. http://refikanadol.com/works/wdch-dreams/.
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COMPUTATIONAL THEORY IN A POSTDIGITAL AGE
Course: HT2201 Theories of Contemporary Architecture II Instructors: Marcelyn Gow, Erik Ghenoiu, John Cooper Semester: Spring 2020, 2GBX Related Keywords: Post-Digital Aesthetics, Architectural Theory, Artificial Intelligence, Algorithmic Rituals, Machine Learning, Deep Learning, Computational Design, Mark Foster Gage, Mario Carpo.
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COMPUTATIONAL THEORY IN A POSTDIGITAL AGE Postdigital Approaches in Architecture
“Ars longa, vita brevis” We can only perform a given number of experiments in a lifetime, and we can only record and transmit a chosen few of them.1
One of the main drivers of architecture, art, design and other design fields has always been Science. Computational tools including Architectural software, Building Information Modeling (BIM), Artificial Intelligence, Machine Learning and Deep Learning base their strength on Science that revolutionized with radical ideas. New advanced tools are involved in our daily lives mostly in the last 20 years and affected all fields of life including architectural design. Big data environment we are living in today started to be represented in architecture with different architectural styles and aesthetics. Architectural aesthetics, which also refers to architectural theory and practice, is one the major changes in a postdigital age in which the “post” does not imply a time after or beyond the digital but a call for examination and evolution of what we have known as “the digital”. 2 This paper aims to examine how computational tools greatly impacted the way architecture is practiced and the way architectural theory responded to it in a postdigital age.
been a part of our daily lives since the father of modern science, Galileo. Although AI sounds “alien” or artificial to many people, it emerges from ancient rituals like the “Agnicayana ritual” as cited by Matteo Pasquinelli in his text “Three Thousand Years of Algorithmic Rituals: The Emergence of AI from the Computation of Space” and can be seen as algorithms in human history.3 Science has always been using algorithms to collect and utilize data. Algorithms help computational tools perform actions such as automated calculations, data processing, simulations and many other tasks, helping people resolve complex problems that cannot be done solely by humans. The reason AI outperforms us in plenty of cases is the way it works with datasets. AI does not work the way our mind does but follows a logic of simulation and optimization to test all options on earth to find the best option, still does not run out of time. People use shortcuts and theories, which condense the acquired knowledge, to optimize their time, this is where shortcuts and theories are coming from so that it does not start from scratch every time.
The name Artificial Intelligence does not represent an artificiality but it is a new kind of science that has already
Ars Longa, vita brevis. The Greek aphorism means ‘art lasts forever, but artists die and are forgotten’. This can
1 Gary Martin, “‘Ars Longa, Vita Brevis’ - the Meaning and Origin of This Phrase.” Phrasefinder. Accessed April 24, 2020. https://www.phrases.org.uk/meanings/ ars-longa-vita-brevis.html 2 Mark Foster Gage, “Aesthetics Equals Politics: New Discourses across Art, Architecture, and Philosophy” Cambridge, MA: The MIT Press, 2019: 103.
3 Matteo Pasquinelli, “Three Thousand Years of Algorithmic Rituals: The Emergence of AI from the Computation of Space.” e-flux Journal, no.101 (Summer 2019): 1-2. https://www.e-flux.com/journal/101/273221/three-thousand-years-of-algorithmic-rituals-the-emergence-of-ai-from-the-computation-of-space/
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be translated into English as ‘life is short, the art (craft/ skill) long, opportunity fleeting, experiment treacherous, judgement difficult’. Computational design is now progressing daily and basic mathematical knowledge can open up new ways in programming languages like Java, Python or C++ to develop a new tool or plugin in the sea of computational design. New computational tools enabled architects to do simulation and optimization at no cost, requiring basic scientific knowledge. These tools are not just tools for making but tools for thinking, experiencing and advancing the theory, education and practice. Modern science is based on the observation of factual evidence through a process of comparison, selection, formalization, and abstraction. This is where theories of science and architecture are coming from.4 Formulas and theories are used to calculate and predict the lifespan of a building or endless variations of a structure, making it much easier than traditional trial and error which gives practical limits and problems. Big Data environment today we are experiencing play a crucial role in the development of computational tools used today. Data sets which are ever expanding by human data (user data for the Internet) can be collected and processed using computational tools. In the sea of vast data sets, it’s undeniable to accept that it is the future for architecture too. Integrating computational tools with Big Data in design phases will inform architects about up-to-date information and inevitable problems architecture and built environments might face. In the near future, it’s likely to see unlimited data storage and access to the user-generated data. Google’s self-driving car brand Waymo adapted user-generated data to predict the traffic and environmental activity based on Artificial Intelligence and computational techniques. Self-driving cars are capable of sensing their environment and navigating without any human input. In order to work without human input, each car is outfitted with a GPS unit and a range of sensors around them including laser rangefinders, radar, and video. Positional information from the GPS and sensors are used to refine its position estimate as well as to build a three-dimensional image of its environment. Three-dimensional environment is then generated and used to make the system work. For me, Big Data will be the future to inform architects in all design phases too. It is a strong tool and very common in the Architectural practice to use environmental data software and plugins such as ARCGIS, Grasshopper, Dynamo and others currently in use today. It makes environmental data more integrated with the design using simulation and optimization.
4 Mario Carpo, “The Alternative Science of Computation” e-flux Journal, (2020): 3. https://www.e-flux.com/architecture/artificial-labor/142274/the-alternative-science-of-computation/
Architecture is highly influenced by technology. In 2011, Japanese fashion designer Junya Watanabe’s Indigo Dyed 5 Pocket Sweat Pant, designed for denim brand Levi’s, printed with a high resolution digital scan of a pair of Levi’s pants. Although the look was perfectly the same, the pants were not denim at all. James Bridle, a British artist, posted to his Tumblr account named “The New Aesthetics’’. Bridle was claiming something spectacular, His thesis claims that the world is undergoing fundamental visual change due to the rapid spread of computation, and this will result in a new aesthetics in every field of our lives. The subtle change in Watanabe’s denim was something we used to see in digital media today. It requires close inspection to even notice, and most of the time, it’s not noticeable. Given today’s digital media, namely Pinterest, Instagram, Behance, Tumblr, Youtube and countless others, the line between digital and nondigital is increasingly blurry. MVRDV’ Glass Farm is also another example in which architectural pieces of a farm building are imitated using glass. MVRDV clad the building in fritted glass printed with an image of a typical farm building.5 Vagueness is particularly instrumental in today’s architectural image-making since the way architects are dealing with form, space-making and drawings rely on digital mediums.6 When architectural production shifted towards Photoshop, V-Ray and other raster imaging programs, vagueness became a design tool, consequently a new aesthetics. The New Aesthetics is largely associated with “postdigital”, a term used to manifest the progression of digital technology from something uncommon and novel to something pervasive and usual. Architecture has entered a postdigital time where the postdigital highlights the ways in which computation shows up in digital things by patterns and qualities that arise from pervasive yet often unintelligible computational processes.7 A quick surf of architectural websites and contents show a drastic change in aesthetics. This shows a loss of architectural theory and thought behind projects. Architecture evolves by processing technological and aesthetic shifts disciplinarily yet the speed of digital media makes the process difficult for implementing a theory.8 Architects with strong theories behind using computational tools were called “pioneers” and others with no theoretical background ended up being followers.
5 Mark Foster Gage, “Aesthetics Equals Politics: New Discourses across Art, Architecture, and Philosophy” Cambridge, MA: The MIT Press, 2019: 117. 6 Michelle Chang, “Something Vague” Log44: 106. 7 Mark Foster Gage, “Aesthetics Equals Politics: New Discourses across Art, Architecture, and Philosophy” Cambridge, MA: The MIT Press, 2019: 103. 8 Mark Foster Gage, “Aesthetics Equals Politics: New Discourses across Art, Architecture, and Philosophy” Cambridge, MA: The MIT Press, 2019: 106.
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Computational design is the application of computational strategies to the design process in order to solve many complications. Although design problems were used to be solved by intuition and experience traditionally, computational design relies on the process of encoding design decisions using scientific methods, statistics, simulation and optimization. This process usually produces endless variations and provides many opportunities and convenience to designers in the design phases with many constraints. Since the early 1990s, the pioneers of digitally intelligent architecture have asserted that computational tools can mass produce endless variations at no cost with a postdigital aesthetics even when all individual pieces are different.9 Marikka Trotter, a distinguished SCIArc professor, claims that architects taking discreteness as a philosophical or computational method used data to create autonomous components to be fabricated at a lower-cost, still considering economic viability. Standardization and serial production, the emphasis on housing as a social program, the concern for a mass clientele were all examples of the modern architect’s attempt to redefine architecture’s economic and social role in 1990s. When Le Corbusier was claiming his famous idea “Architecture or Revolution. Revolution can be avoided”, he was arguing the expansion of the architect’s role to address social and economic problems.10 This role can further affect new aesthetic categories. New aesthetics of discreteness and patchiness, for instance, can be seen as an economic reflection of the heterogeneous nature of it. Sharples Holden Pasquarelli, owners of the New York-based design firm SHoP, calls for a new “intelligence of fabrication”, based on creating a common language between design and execution. For SHoP, the computer has enabled architects to rethink the design process in terms of a procedure that conventional design methodologies cannot conceive of. This is due to “versioning” that makes the design process accelerated and adaptive.11 Aesthetics of the digital age is still under the impact of economical issues, yet to be solved again by computational techniques in the future. In the age of digital turn, architecture was outweighed by a tool for many years: spline modelers. The scientific approach to spline modelers dates back to the 1950’s. When two French engineers, Pierre Bezier and Paul de Casteljau, were working for Renault and Citroen, they found a mathematical way to join a set of nonaligned geometrical points with a continuous curve.12 This made spline modelers available in computer-aided modeling software. The Spline-dominated 9 Artforum International, “Breaking the Curve: Big Data and Design”, 2014: 2. https://www.artforum.com/print/201402/breaking-the-curve-big-data-and-design-45013 10 Mary McLeod “Architecture and Politics in the Reagan Era: From Postmodernism to Deconstructivism”, Assemblage 8 (February 1989): 682. 11 Mario Carpo, “The Digital Turn in Architecture: 1992-2012”, Hoboken, Wiley: 131. 12 Artforum International, “Breaking the Curve: Big Data and Design”, 2014: 2. https://www.artforum.com/print/201402/breaking-the-curve-big-data-and-design-45013
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“ The electronic paradigm directs a powerful challenge to architecture because it defines reality in terms of media and simulation; it values appearance over existence, what can be seen over what is. Not the seen as we formerly knew it, but rather a seeing that can no longer interpret..” Peter Eisenman
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Fig 1. MVRDV’s Glass Farm. Accessed April 20, 2020. https://www.dezeen.com/2013/01/17/glass-farm-by-mvrdv/
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environment of the 1990s in the architectural environment progressed modeling software including Maya, AutoCAD and Rhino. The power of digital design is one can mass-produce boxes and the other can design folded amorph buildings. Greg Lynn’s theory of folding, Peter Eisenman’s singularity, Stan Allen’s field conditions and Patrik Schumacher’s theory of parametricism represent different techniques and applications. By using computational tools including fabrication techniques, simulation and optimization, many visionary architectural proposals could be built in the 1990s, namely Zaha Hadid, Frank Gehry and Peter Eisenman. Three buildings made a difference with nonlinear geometries in the 1990s: Frank Gehry’s Guggenheim Museum in Bilbao, Peter Eisenman’s Aronoff Center in Cincinnati and Daniel Libeskind’s Jewish Museum Berlin. These buildings used nonlinear forms with linears using computer aided design and layout. Each of the buildings raised a critical question of the language which is inherent in its use. They questioned if architecture does not only reflect a different paradigm of thought but itself becomes a discipline of unfolding knowledge.
unlimited, yet to be elaborated, and full of potential. There is a strong connection between technological change in culture at large and architecture reflects these changes through aesthetic agendas. New aesthetic categories today architecture is having are due to the power of computational tools. Today, computational thinking in architecture resulted in a predisposition to experiment more than thinking, yet architectural practice is powerful with all the aesthetic categories more than ever when computational design is combined with architectural theory.
An advanced version of spline modelers are using a spline modeling technique now called “subdivision modeling” and it uses discrete fragments of a model like Face, Edges and Vertices to represent perfectly smooth 3D Geometries. Greg Lynn, in his essay “Architectural Curvilinearity”, heralds the age of round and smooth shapes. He claims that the reason we see perfectly smooth and multifaceted forms is because it is the most visible expression of digital making in architecture. Lynn calls these forms “blobs” and most of the iconic buildings in the 1990’s have the same tendency.13 Frank Gehry’s Guggenheim Bilbao is often related to this tendency although Gehry uses a completely different set of software and design techniques. Similarly, Peter Eisenman argues that “folding” may provide a new strategy by subverting the hierarchy of interior and exterior and by weakening the notational correspondence between drawing and building. This shows a continuity between Deconstructivism and the new age of digital design because both ideas claim to challenge “the space of classical vision” and break “the gridded space of the Cartesian order”.14 We are now experiencing a digital age in which computational tools are an integral part of our daily lives. The use of computational design in architecture has become a prevailing technique in the architectural practice too. It affects many aspects of the design including aesthetics, practice, economy and theory. Its role as a means of designing architectural space is 13 Wiley: 26. 14 Wiley: 15.
Mario Carpo, “The Digital Turn in Architecture: 1992-2012”, Hoboken, Mario Carpo, “The Digital Turn in Architecture: 1992-2012”, Hoboken,
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Fig. 3. Digital Drawings of Peter Eisenman’s Aronoff Center in Cincinnati. BIBLIOGRAPHY Artforum International. “Breaking the Curve: Big Data and Design”. 2014: 1-9. https://www.artforum.com/print/201402/breaking-the-curve-big-data-and-design-45013 Carpo, Mario. “The Alternative Science of Computation”. e-flux Journal, (2020): 1-8. https://www.e-flux.com/architecture/artificial-labor/142274/the-alternative-science-of-computation/ Carpo, Mario. The Digital Turn in Architecture: 1992-2012. Hoboken: Wiley, 2013. Chang, Michelle. “Something Vague” Log44: 106. Gage, Mark Foster. Aesthetics Equals Politics: New Discourses across Art, Architecture, and Philosophy. Cambridge, MA: The MIT Press, 2019. Martin, Gary. “‘Ars Longa, Vita Brevis’ - the Meaning and Origin of This Phrase.” Phrasefinder. Accessed April 24, 2020. https://www.phrases.org.uk/meanings/ars-longa-vita-brevis.html. McLeod, Mary. “Architecture and Politics in the Reagan Era: From Postmodernism to Deconstructivism”. Assemblage 8 (February 1989): 679-697. Pasquinelli, Matteo. “Three Thousand Years of Algorithmic Rituals: The Emergence of AI from the Computation of Space.” e-flux Journal, no.101 (Summer 2019): 1-12. https://www.e-flux.com/journal/101/273221/three-thousand-years-of-algorithmic-rituals-the-emergence-of-ai-from-the-computation-of-space/
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