Arquitectura Aberrante by Hybrid Space

Arne Riekstins

Arquitectura Aberrante

Research work Master of Biodigital Architecture Director: Prof. Dr. Alberto T. EstĂŠvez ESARQ Universitat Internacional de Catalunya Barcelona 2008

Cover: Seven-edge blue diamond (2008). Three-dimensional model rendering. Made in studies of developing new topological initial geometry for generation of complex forms. Rendering by Arne Riekstins. Published by: Hybrid Space™ publishing, Riga, Latvia, 2008 publishing@hybridspace.eu Hybrid Space is a registered trademark of Arne Riekstins Copyright © Arne Riekstins, 2008 All rights reserved Printed and bound by: Madonas Poligrafists, Madona English – Spanish translation of abstract by Viviana Hernaiz English – Arabic translation of abstract by Aref Maksoud Latvian – Russian translation of abstract by Ellen Riekstina No part of this book may be reproduced in any manner whatsoever without written permission from the author, except in the context of reviews.

Arne Riekstins

Arquitectura Aberrante

Research work Master of Biodigital Architecture Director: Prof. Dr. Alberto T. EstĂŠvez ESARQ Universitat Internacional de Catalunya Barcelona 2008

Anonymous graffiti, Paris, 1968

I would like to express my deepest gratitude for support to my family and all the people who have helped these studies to be realized. Especially, the director of the Biodigital Masters program, Alberto T. EstĂŠvez, Dennis Dollens, Matias del Campo, Sandra Manninger, Karl Chu, Affonso Orciuoli, Marco Verde, Jordi Truco and all other lecturers, as well as visiting lecturers of Universitat Internacional de Catalunya and all my coursemates.

Arquitectura Aberrante

Índice (Index)

Abstractos Introducción Capítulo I – Arquitectura Aberrante Capítulo II – Arquitectura Digital-Botánico Capítulo III – Arquitectura del Florinación Capítulo IV – Todo es Algoritmo Capítulo V – Asombrosos Parámetros Conclusiónes Generales Bibliografía

2 7 11 33 55 79 107 141 145

Abstract

In this thesis author describes and analyzes the five studios during his Biodigital Architecture Master studies. The name of the thesis “Arquitectura Aberrante” in context of this research best expresses this new kind of architecture, taught and produced in five studios, and how author sees it as something extraordinarily advantageous in comparison to traditional “mainstream” architecture. Author's method of research is that he goes through all the steps both theoretically and practically, reasoning and finding relations in scientifically proven theories. Objectives for research are to clarify how the new digital systems, which have been brought into architecture from fields of design, animation and aeronautics, facilitate and influence the process of creating architecture. Importance of the research is therefore very high, because many of the researched processes are comparatively new and actual. Modern society has witnessed that general public has a raised interest to the issues of latest architectural achievements. The structure of the research is made of five chapters: “Aberrant Architecture”, “Digital-Botanic Architecture”, “Florination Architecture”, “All is Algorithm” and “Exceptional Parameters”. The first chapter reviews aspects of genetics, fusion of biodigital worlds, architecture of Antoni Gaudí, art of Salvador Dalí, and at the end researches about corals, producing an image-manifesto of inhabitable living creature. The second chapter examines how architecture can be inspired out of nature, underwater world and how it may be “grown” in computers. Third chapter is about research of flower entities and fabrication possibilities for digital architecture. Fourth chapter in general is more theoretical and covers metaphysics, cosmology, genetical and algorithmic architecture. The fifth chapter with the final design project was a result from a parametric approach, which is outcome of pure statistical spreadsheet geographic information systems data.

Abstract

Arquitectura Aberrante

Abstracto

En esta tesis el autor describe y analiza los cinco estudios que se realizaron durante el Máster en Arquitectura Biodigital. El nombre de la tesis “Arquitectura Aberrante”, siguiendo el contexto de esta investigación, expresa, por un lado, este nuevo tipo de arquitectura, enseñada y producida en estos cinco estudios, y, por otro, la manera en que el autor la ve como algo extraordinariamente ventajoso en comparación con la arquitectura tradicional “establecida”. El método de investigación del autor es que él examina todos los pasos de ambas formas, teórica y práctica, razonando y encontrando relaciones en teorías científicamente probadas. Los objetivos para la investigación son: clarificar cómo los nuevos sistemas digitales, que han sido traídos a la arquitectura de los campos de diseño, animación y aeronáutica, facilitan e influyen el proceso de creación arquitectónica. La importancia de la investigación es, por lo tanto, muy alta, ya que muchos de los procesos investigados son relativamente nuevos y actuales. La sociedad moderna ha atestiguado que el público en general posee un interés incrementado hacia los asuntos concernientes a los últimos logros arquitectónicos. La estructura de la investigación es hecha en cinco capítulos: “Arquitectura Aberrante”, “Arquitectura Digital-Botánico”, “Arquitectura de la Florinación”, “Asombrosos Parámetros” y “Todo es Algoritmo”. El primer capítulo revisa aspectos de genética, fusión de mundos biodigitales, la arquitectura de Antonio Gaudí, el arte de Salvador Dalí y, al final, investigaciones acerca de los corales, produciendo una imagen-manifiesto de una criatura viva habitable. El segundo capítulo examina cómo la arquitectura puede estar inspirada en la naturaleza, el mundo submarino y cómo puede “crecer” en las computadoras. El tercer capítulo es acerca de la investigación de entidades florales y las posibilidades de fabricación para la arquitectura digital. El capítulo cuarto, en general es más teórico y cubre la metafísica, la cosmología, la arquitectura genética y algorítmica. El capítulo quinto fue fruto de una propuesta paramétrica que es resultado de una hoja de cálculo de pura estadística con datos del sistema de información geográfica.

Arquitectura Aberrante

Introducci贸n (Introduction)

8 There is a national Latvian tale about Riga city that once in a year a devil comes out from river Daugava to ask the first passerby “Is the construction of Riga city finished?” And if this passerby would say “Yes”, Riga would be drowned in water forever. This old popular tale has a direct link to permanent building process in Riga city for more than eight centuries and we can draw here a parallelism to architecture which is constantly under the process of development. We are living in the age of most interesting discoveries, where new dramatic scientific achievements are being made in all possible areas almost every day, all around the world. Also architecture is within these dramatic changes, where we can see all sciences slowly being infiltrated and morphing into architecture. Firstly, there are experiments, computer simulations, prototype production phases and very often also final realizations. Built examples of these new architectures are appearing more and more. Only the basic understanding and needs in architecture for people are little different. But also general understanding is changing. If a decade ago a “sustainable architecture” was very popular, now it is digital architecture. New forms and “soap bubble” or “blob” architecture are no longer only images. Because if it was once only possible to draw them, now we have the technological base to produce them. And what is most important – most new designs are not being drawn just because they look nice, but because they are based on certain theories and understandings, being with visual or emergent features. Author got inspired with this new kind of digital architecture in year 2004 in Paris, when at Centre Pompidou there was held an exhibition “architectures non-standards”. Soon after in the same year as one of his course projects he designed a concert hall proposal using for its design a sculptural – topological geometry approach, and started his theoretical research towards sustainable skyscrapers, synthesis aspects of contemporary architecture and currently his research is concentrated on new digital systems in architecture. During the latter research, author came to Barcelona for attending Biodigital Architecture course where he finds it very important that the latest trends in architecture

Introducción

Project of Arne Riekstins – a Concert hall proposal in island Zakusala, Riga. Top view. Musical instruments and sculptural silhouette has been used in inspiration of the architectural form to neutrally fit with the surrounding environment on an island which is perfectly located in the middle of the river Daugava. (Image: Arne Riekstins)

Gypsum scale model of Concert hall in island Zakusala, Riga. (Photo: Arne Riekstins)

Arquitectura Aberrante

1 Word aberration originates from Latin word aberration < aberrare deviate, get lost. In biology it is deviation from norms, in genetics – structural changes in chromosomes, in physics – image distortion in optical systems, in astronomy – luminaries imaginary deviation from its real position; as explained by BALDUNCIKS, Janis, Dictionary of Foreign Words, Jumava, Riga, 1999. In context with word composition “aberrant architecture” it best expresses the concept of this new kind of architecture, taught and produced in Biodigital Architecture studies, how author sees it as something extraordinarily advantageous in comparison to traditional “mainstream” architecture, author's comment.

9 are being taught and shared by renowned experts in their respective architectural working profiles. These tutors have proven with their work and research that architecture nowadays is much more than just an art of providing shelter. As every of them has his own refined and settled viewpoint, it is not hard to imagine that they cover a very wide field of new design possibilities in architecture that are very recent and extremely actual. Arquitectura Aberrante(1) (in English – Aberrant Architecture) outlines five studios with conceptually different approaches to architecture done by author during Biodigital Architecture studies. Both theoretically and practically, author goes explicitly through the process of producing this architecture, reasoning and finding relations and differences to traditional, mainstream architecture. All the processes have been facilitated due to the use of new digital systems brought into architecture from design, animation, aeronautics and other industries. Studios go through pure inspiration from underwater world to nature, algorithmic approaches, cosmology and genetic architecture, until parametric approach, which is outcome of pure statistical spreadsheet geographic information systems data. The objectives of this thesis are as much as it is possible to review the issues that are strongly related to the five thesis chapters, analyze what has been the reason for the specific tasks done in the studios, and find the justification in scientifically proven theories. Besides, author clarifies the processes in a simplistic, yet academically rooted way. Importance of the research is therefore very high, because many of the researched processes are comparatively new and actual. Author is convinced that as a result of this research in this thesis there appear issues that have never before been covered in any book or article, that are totally new and originate from the primary source. These are comments of the corresponding studio tutors, given in the time period of the year 2008 at UIC ESARQ, Barcelona. Author also uses lot of his own photography and original images to substantially highlight most important details, situations, and various task steps and aspects.

10 Author acknowledges that Biodigital Architecture studies are all about learning what is genetical architecture, how it has developed and what are its implications to the design related details. Lot of software and CAM (Computer Aided Manufacturing) support these new developments that are always in their way to become more wise, effective and productive. Combining the principles of computing and genetics opens up such possibilities, what normally would never emerge and could be even hardly imaginable. Now it is right time to ultimately start thinking of our future, and this thesis shows author's findings about these questions. Author also researches how to take profit of this understanding now to ensure that the nature's power of emergence can become a big contribution for the health of our World. The composition of this thesis is made of five main chapters: “Aberrant Architecture”, “Digital-Botanic Architecture”, “Florination Architecture”, “Exceptional Parameters” and “All is Algorithm”, complementing main introduction, the general conclusions and bibliography. The total size of the research consists of 152 pages, including 65 photos and 146 images. The bibliography used for research includes 76 books and articles, 7 movies and 8 internet sites.

Introducción

Arquitectura Aberrante

CapĂtulo I

Arquitectura Aberrante (Aberrant Architecture)

Arquitectura Aberrante

Bearing relation to the whole (intro)

Nothing happens in living Nature that does not bear some relation to the whole. The empirical evidence may seem quite isolated, we may view our experiments as mere isolated facts, but this is not to say that they are, in fact, isolated. The question is: how can we find the connection between these phenomena, these events?(2) The digital revolution taking place in the end of the 20th century has ended. 21st century has begun. All what has remained is diffused comprehensive global system. Part of this system is mostly invisible infrastructure of digital communications that connect one to each other almost all worlds' inhabited places. Its supplement is huge increasing collection of electronic data transfer instruments, that are situated everywhere where people live. These instruments connect new global infrastructure with exact places and human activities. They expel virtual into physical and interweave it seamlessly into daily urban life and architecture.(3) Sometimes, with the use of computer technologies it becomes hard to find the border between real and virtual, this border is disappearing in the same way as it is with the science and the fiction. Especially, the new generations which have had internet and mobile communications since they were born, live in an absolutely different initial stage and their perception of life due to these possibilities is totally different than the perception of life of older generations. In Netherlands, since year 1956 artist Constant Nieuwenhuys predicted contemporary internet society (global society, which is based on electronic communication) with his proposal of “New Babylon” – first one city network in the world in a scale of the whole planet. Constant Nieuwenhuys understands: “mobility means migration, and movement of individuals promotes transformation of architecture.”(4) Internet society has already opened the doors for cultural exchange, borderless architecture practices and ideal circulation of data flow. Anyway, architects still should not forget the local context. Designing for the future means observing well, disregarding traditional standards, seeing things with fresh eyes, and finding solutions that are not immediately apparent.(5)

“New Babylon”, painting by Constant Nieuwenhuys, 1963. (Image: from a book by BRAYER, Marie-Ange, Archilab's urban experiments, Thames & Hudson, London, 2005. p. 65)

2 Statement by Johann Wolfgang von Goethe, made in 1792, HENSEL, Michael, Morpho-Ecologies, AA Publications, London, 2006, p. 9. 3 ZELLNER, Peter, Hybrid Space, Thames & Hudson, London, 1999, p. 18. 4 BRAYER, Marie-Ange, Archilab's urban experiments, Thames & Hudson, London, 2005, pp. 65–66. 5 OLTMANS, Liesbeth, “The Way We Work”, FRAME: Issue 64, Amsterdam, 2008, p. 161.

Arquitectura Aberrante

The structure model of DNA by James D. Watson and Francis Crick. (Image: from lecture of Agusti Fontarnau on January 9, 2008 at UIC ESARQ)

6 As said by Bernard Cache in an article by LEGENDRE, George, “In Conversation: George L. Legendre and Bernard Cache”, AA files: No. 56, London, 2007, p. 8. 7 From E.O. Wilson biodiversity foundation internet web page http://www.eowilson.org/ More information on this subject can be found in a book by WATSON, James D., The Double Helix: A Personal Account of the Discovery of the Structure of DNA, Touchstone, New York, 2001, 256 p.

13 The possibilities for design nowadays are almost unlimited. We are overwhelmed with thoughts, theories, inspirations and software. Basically, anything can become architecture, if you have sufficient theoretical base for that. To have a theoretical structure to what you are doing is vital. And interestingly, if you look at the history of modern western thought, is that a number of the most important thinkers developed ideas that had a practical application.(6) Bearing relation to the theoretical structure of life science, scientists are struggling with the fact that they only know that they know nothing. Decoding the living nature's secrets of life is nowadays most important research objective issue for scientists. DNA is a big mystery, because if its genetic code is put in a specific order, you get life and auto-organization, and if it is put in a different order, it simply does not work and leads to failure. When James D. Watson together with Francis Crick discovered in the x-ray a diffraction pattern of crystalline DNA, this lead them towards the study of the structural chemistry of nucleic acids and proteins. Their major achievement was the discovery of the structure of DNA as a double helix, for which they were awarded the Nobel Prize for Physiology or Medicine in 1962. At the time of the discovery, Watson was only twenty-four, a young scientist hungry to make his mark. His uncompromisingly honest account of the heady days of their thrilling sprint against other world-class researchers to solve one of the science's greatest mysteries gives a dazzlingly clear picture of a world of brilliant scientists with great gifts, very human ambitions and bitter rivalries.(7) So, the discovery of the structure of the DNA molecule – the molecule of life – had a profound implication on all sciences, leading later to the birth of genetic architecture as well. We can only experiment with genetics, because nobody exactly knows how and why these genes work. We can only identify that when we take this piece out, the particular plant has this order. Or, if we take this DNA, then it makes a specific function in that special order, this animal gets the function of that etc.

14 Only by experimenting we can certify that these genes or strings of DNA get into interaction and we can get to some concrete results. So far the scientists have discovered only the total order of a human DNA, all other species are still awaiting their turn. By time when science will learn more from the secrets of genetics, and there will be notable advances in the genetic research lines, so that we will be capable to control this power, we will be in a different age. Dr. J. Craig Venter, the boundary-pushing gene scientist said: “What we are doing with the synthetic chromosome is going to be the design process of the future.” He assembled the team that made the bacterial genome as part of his well publicized quest to create the first synthetic organism. But there are concerns that synthetic biology could be used to make pathogens, or that errors by well-intended scientists could produce organisms that run amok. In any case, there are many hurdles to overcome before Dr. Venter's vision of “life by design” is realized. The synthetic genome made by Dr. Venter's team was not designed from scratch, but rather was a copy, with only a few changes, of the genetic sequence of a tiny natural bacterium called Mycoplasma genitalium. Moreover, Dr Venter's team, led by a Nobel laureate, Hamilton Smith, had so far failed to accomplish the next – and biggest – step. That would be to insert the synthetic chromosome into a living microbe and have it “boot up” and take control of the organism's functioning. Right now, Dr. Jeremy Minshull(8) said, scientists do not know enough about how living things work to design an entire genome: “Now our synthetic capability way outpaces our understanding of what we want to do.” Still, Dr. Venter and some other scientists say that DNA synthesis is following the path of computer chips, with capability rising rapidly and cost – now about $1 per base – falling swiftly. At some point, they say, it will become faster and cheaper for scientists to design and synthesize an organism from scratch rather than cut and paste genes from one organism to another, just as it is sometimes easier for a writer to type a fresh draft rather than edit an existing one. In the new genome, Dr. Venter said, one gene was changed to make any resulting organism non-infective. The team also added

Arquitectura Aberrante

“Darling, are you sure that this is my son?” (Photo: from www.flickr.com/photos/ try-to-touch/420216884, retrieved on January 10, 2008) This photo with a sense of humor shows exactly what the reality of genetics is nowadays.

8 Dr. Jeremy Minshull is chief executive of company DNA 2.0 that supplied some of the DNA stretches to the Venter team, author's comment.

Arquitectura Aberrante

15 some DNA segments to the genome to serve as “watermarks”, allowing scientists to distinguish the synthetic genome from the natural one. That raises new possibilities of using microbes as a method of communication. Dr. Venter said the watermarks contain coded messages. Sleuths will have to determine the amino acid sequence coded for by the watermarks, in order to decipher the message. “It's a fun thing that has a practical application,” he said.(9) At the present moment with this little amount of people who live on planet Earth, we are destroying ourselves by pollution, bad water management, wasting of all other precious resources and by changing nature to suit our “noble” needs. In year 2008, at present, 1 out of every 3 people has not enough drinking water... but in year 2025, 2 out of 3 people won't have enough water.(10) Basically, our grandchildren may not survive. We need to radically change the World, an immediate human action is needed now. We see so much irreversible damage and this is why we see only 2 possibilities: all the power of genetics and the digital world. The most original thing is the fusion of biodigital worlds.

The fusion of biodigital worlds

9 From article by POLLACK, Andrew, “Scientists Take New Step Toward Man-Made Life”, The New York Times, New York, 2008/01/24, p. 24. 10 Statement on the presentation wall at World Expo Zaragoza 2008 in the exposition devoted to water, inside one of the main exposition halls of Zaha Hadid's designed bridge pavilion. 11 As said by Alberto T. Estévez in lecture on January 8, 2008 at UIC ESARQ.

The question of order gives the function in the nature. The same metaphor could be said in the digital world. Architects produce drawings, machines build these things. All these things can be reduced to bits, e.g. to ones and zeroes. If you make a special order, then it is this special order that gives special function. Once you change the information (similarly like in the nucleus), then here we can draw an exact parallel between the genetics and the digital world. The big point is when you can make a total fusion of these two. Everything you can draw, you can make. But, when you link this to an order, you can organize the nature. This is amazing that only in the past 15 years humans could go deeper in science and work inside of the molecular level. This is why we can have a totally different level of understanding of the World than ever before until now.(11) This idea that the things in digital and natural world have auto-organization and it can grow alone is very important for us. We need to take profit of this.

16 You only need to draw a little thing and the machines will build it automatically for you, for having form and reality in the same way like it happens in the nature. And this power of emergence is a big profit for the health of our World. With this power we can live in it, because if we only exploit it, we have no future. In three ages of architecture: classical past, modern present, genetic future – we have chronologically approached the third stage, it goes from the 21st century onwards. On another matter, and without having any apparent relationship with genetic architecture, the unexpected boom in a certain digital architecture is becoming increasingly clear, one that is designed with the support of new computerized graphic resources, to the extent that today it may be said that digital organicism is the architectural avant-garde of the early 21st century. It is there where serious and innovative research, whilst at the same time spatial and formal, is now being carried out.(12) New age of architecture gives little advantage not to work in zeroes and ones. If we can program, then it is symbolic if we can get into the direction of an inside order level. At the same time when we work with natural DNA we have a totally new production system that grows alone. Once again, if we make it digital, the machines grow that alone. It means that every part of an object can be different and automatizated at the same time, either with emergent power of nature or machines. So far the cybernetic machines are not used to build entire buildings. These machines can still build real pieces of architecture. And if we really put the interest in the digital world then our task is not to make models but real architecture. The functional in nature is a continuity of form, only we are so immerse that it is difficult to understand this now. Architecture should be in symbiosis and be capable to grow together with nature similarly like it has happened in Ta Prohm temple in temple complex of Angkor Wat, Cambodia. The roots of banyan and kapok trees are growing over this temple which was left in its more natural, or neglected, state. The various restoration foundations left this temple largely untouched, and they allowed the jungle growth to continue winding its way into the ancient stones. Most of the temples there are under some state of repair, and have had the trees cut away.

Arquitectura Aberrante

The overgrowth of banyan tree in the Cambodian temple ruins. (Photo: from www.flickr.com/ /photos/debbiegr/2303070490, retrieved on January 10, 2008)

12 ESTÉVEZ, Alberto T., Arquitecturas Genéticas II: medios digitales y formas orgánicas, SITES Books / ESARQ (UIC), Barcelona, 2005, p. 55.

Arquitectura Aberrante

Author of this research under a banyan tree on July 30, 2008 at Alicante, Spain. In Hinduism, the banyan tree is considered sacred and is called â&#x20AC;&#x153;Ashwath Vrikshaâ&#x20AC;?. God Siva as Dakshinamurthy is nearly always depicted sitting in silence under the banyan with rishis at His feet. It is thought of as perfectly symbolizing eternal life due to its seemingly unending expansion. (Photo: Kristina Riekstina)

Arquitectura Aberrante

A century of Gaudí architecture

In the art one of the first artists to show inhabitable alive creatures is El Bosco with the painting “The Garden of Earthy Delights”, circa 1510. This has nowadays become a real scientific research. Naturally, all the people who started researching new architecture in the beginning of 20th century found out possibilities to see the new particularities in the nature. This did not happen before for centuries when the Greco-Roman model of architecture was ruling around the world. Architects of the change of the centuries found new alternatives. The early witnessed built examples include the iconic streetlights and entrances to the metro in Paris by Hector Guymard, around 1899–1900. And here in Barcelona – nowadays being more famous than ever – architect Antoni Gaudí work is simply amazing and it is a brilliant example of a human's unlimited mind possibilities. Being universal and innovative, Gaudí left behind an architectonic legacy that still captivates today for its utter originality. His mother introduced him to taking delight in the observation of nature during the long stays at Mas de la Calderera. These early years of his life awakened in him a great interest, love and respect for nature, and showed him the path to follow to conceive this organic and singular architecture that we can appreciate in all of his works. He obtained his architect's qualification in 1878. His first work was the design of a factory and the workers houses in Mataró, where he partially carried out the project. The most famous completely designed works of Gaudí include Casa Vicens, El Capricho, Finca Güell, Palau Güell, Teresian College, Episcopal palace, Casa de los Botines, The Güell wine cellars, Casa Calvet, Park Güell, Torre Bellesguard, Casa Batlló, La Pedrera and Temple of the Sagrada Familia. He got the inspiration for his works from animal, plant and mineral kingdoms, apparently combining the best features and transferring them to his architecture. He used to study plaster models in search of geometries, as well as laws of nature. Amongst them is the helicoidal growth of plants and, especially,

Hector Guymard's designed streetlight and metro entrance in Paris. (Photo: Arne Riekstins)

Splendid gate of the Finca Güell. Located in Barcelona, it was the first commission from Eusebi Güell, who would later be the patron of Gaudí. (Photo: Arne Riekstins)

Arquitectura Aberrante

Casa Batlló in its splendor and bright colors. (Photo: Arne Riekstins)

Detail of the rostrum, main reason for the house being called “the bone house”. (Photo: Arne Riekstins)

13 GIORDANO, Carlos, Casa Batlló, Dos De Arte Ediciones, Barcelona, 2008, cover p. 14 Trencadís is a technique consisting of applying irregular fragments of ceramic work or other materials to cover a surface area. It was popular amongst modernist architects. Ibidem., p. 36. 15 Ibidem., p. 37.

19 phyllotaxis, or the study of the arrangement of leaves on the stems of plants. In El Capricho, Comillas, he designed special ceramic tiles with the flower and leaf of the sunflower. This idea of his own ceramic tiles is continuous throughout his works, in the same way as many outstanding iron details. For example, on the gate of the Finca Güell there was a dragon that could open and close its mechanically operated mouth when the gate was in operation of opening and closing. At the age of 52, in 1904 Gaudí accepted the commission of the renovation work on Casa Batlló. Located on Passeig de Gràcia, the most important avenue in Barcelona, it is fruit of the artistic freedom of its ingenious creator, who transformed an old and sober building into a fascinating house that would rapidly convert into an universal work of art. Gaudí, being mature personally as well as artistically, designs a house full of life and fantasy, with surprising, sinuous forms and of vibrant color, where the feeling of joy exudes from every corner and where meticulous constructive functionalism is combined with the in-depth knowledge of the laws of nature.(13) In this house, Gaudí already used such innovative things like recycling of materials, for example, in many trencadís(14), found all around the house. Any broken glass or scrap tile was utilized to adorn it. Whole house has got so rich color palette, which can remain bright almost forever due to the widely used ceramics in cladding the façades and roof, as well in the interior patio light well and other rooms around the house. Gaudí himself told: “The Greeks didn't hesitate to paint their temples, because color instills life and we can not underrate this element to inject it in our works...”(15) Some sources tell that the main inspiration for this house was borrowed from the waving sea and candy houses. Organic and sinuous forms can be admired throughout the entire house, almost in every detail. Façade which is only 14,5 meters wide was redecorated with a rostrum, which is often related to bones due to the matching similarity of the bone-like columns. The rostrum's curved lines spread out and wrap around the main floor. It's decorated with soft forms made from stone masonry. There appear elements whose organic forms recall vegetables, growing plants, leaves and wild flowers,

20 and the central part has been likened to an enormous bat. Balconies remind some flowers and a kind of masks which Gaudí probably could have borrowed from the human skull eye-openings. Its irregular profile of the balustrades is similar to ripped and creased parchment paper. Bottom of balconies feature form of the sea shells. Windows feature beautifully leaded stained glass, and below all of them have ventilation openings, which was a total innovation for a century ago. Gaudí introduced also second lighting, making any non-façade room lit with pure daylight. Roof features similarity to a reptile skin and it looks so curvy like it would be melting. Tower is crowned by a three-dimensional cross on top of a bulging shape of a garlic bulb. Due to religiosity, tower features anagrams of Jesus, Mary and Joseph. Interiors feature curvy lines from floors to ceilings, with amazing set of solutions for its expression, like tornadoes and other organic shapes. House is full of small details from handles to railings and grilles, topped off with a set of 27 amazing chimneys. Roof's attic floor is supported on Gaudí designed self-supporting catenary arches, being quite similar to thorax of an animal, like a whale. To finish with Casa Batlló, also original wood carvings appear in every carpentry element from doors to windows and any it's surrounding detailing, including original Gaudí furniture, being modern in his time and not loosing actuality today. Gaudí was very religious and he dedicated the end of his life only to Sagrada Familia. His passionate work in the design of the temple was carried on until his death in 1926, but its construction is still going on and it is maybe another twenty years until it would be completely finished. He has stated that his client (read: God) has all the time needed for finishing this temple. Gaudí is also the author of five-armed three-dimensional cross, which is used both in the temple and in some of his previous works. As the architectural drawings were partially lost and also not completely finished, new contemporary computer aided design modeling and manufacturing systems are being used to work on the ongoing design. These include: parametric modeling, three-dimensional modeling, model rapid prototyping out of gypsum (similarly like Gaudí did by hand), milling machines for production of part moulds etc.

Arquitectura Aberrante

The gypsum model of the Sagrada Familia temple's chosen central tower. The decision of design for this central element was made very recently. Final tower's design was made from partially interpreting Gaudí original sketches and his proposals, using latest contemporary parametrically associated design software. (Photo: Arne Riekstins)

Base for the new tower was already prepared in June 22, 2007 as it can be seen in this aerial view. (Photo: Arne Riekstins from a photo of an unknown author, hanging on the wall in the design office of Sagrada Familia)

Arquitectura Aberrante

Architect working on a faรงade detail of Sagrada Familia in the technical design office of the temple, located in the bottom floor of the temple itself. The technical design office uses latest design software for parametric and three-dimensional modeling, mostly CATIA and Rhinoceros. (Photo: Arne Riekstins)

22 Sagrada Familia initially was so different and innovative for the general people's understanding that Gaudí started the construction of the temple from the ancient façade, which architectonically would suit the best for those times. The older part was built out of stone, but Gaudí already knew that by the time the temple would reach its completion, developments in building world would bring in a new material that could be used to facilitate the work. This new material is concrete, which nowadays is used widely in any place of the temple, except where Gaudí had strictly stated the use of brick and colored Venetian glaze tiles. Concrete parts are cast in moulds, which are obtained from milled parts made out of foam in scale 1:1 and then, if being fit to the existing structure on site, they are being inverted to a glass-fiber and steel frame reinforced mould. The concrete has a special stone-like particle finish, imitating a real original stone and its color. It is extremely interesting that one huge temple contains compressed structures (stone) and tension structures (steel reinforced concrete). The precision of the construction is really outstanding due to the use of digital precision measurement instruments. The temple features surfaces generated by straight lines, as Gaudí said, false planes, which he used especially on the design for the large windows and vaults of the naves of the Expiatory Temple of Sagrada Familia. The original model that Gaudí possibly used to work out the generation of the Gaudí column comes from the helicoidal growth of the leaves of the plant Abelia floribunda. In the column's cross section the geometric shape of the pith or the core of the branch changes due to the process of helicoidal growth of the leaves. The triangular section becomes hexagonal. Gaudí also studied the polyhedral shapes of galena, fluorite and pyrites, and most probably also noticed the brilliant jewels, the result of cutting the top off the octahedral shapes, in a precise way. The resilient structure of the interior of the Sagrada Familia naves is like a tree with the trunk, the branches and a mass of leaves as a ceiling, and, between them, some small holes through which you can see the sunlight and, at night, the artificial lights that twinkle like the stars of heaven. All in all, it gives visitors the feeling of being

Arquitectura Aberrante

Architect Maruan Halabi explaining paraboloids and hyperboloids, pointing at this solution in the detail of ceiling in the roof of Sagrada Familia on the building site around 40-50 meters above the floor level. (Photo: Arne Riekstins)

Arquitectura Aberrante

Spatial interpretation of a painting by Salvador Dalí “Portrait of Mae West face like apartment”, painted between 1934 and 1935 and which is now in The Art Institute of Chicago. This project has been done by the architect Oscar Tusquets Blanca.

Mae West realization in the Dalí museum in Figueres, Spain. (Photo: Arne Riekstins)

16 ESTÉVEZ, Alberto T., “Genetic Barcelona Project”, Leonardo: No 4, MIT PRESS, Massachusetts, 2007. 17 As said by Alberto T. Estévez in lecture on January 8, 2008 at UIC ESARQ.

23 inside a large wood. In a conference of architecture, held in 1958 at Park Güell, artist Salvador Dalí prophets the Biodigital Architecture program by declaring: “Now in 1958 we don't have the techniques, but in the future architecture will be soft and hairy, or it will not be.” It took about another 40 years from this event till genetic techniques appeared and became available. The processes we are researching now came into various artists minds already more than 60 years ago. Application of genetics in architecture is the main idea of the Genetic Architectures Research Line at UIC ESARQ, PhD and Master of Biodigital Architecture that combines research and teaching, working upon definition of a new horizon: new materials, new tools and new processes gives new architectures. This research is to make forms that you don't know how to build. This is part of the research of its application into architecture. The Genetic Architectures program applies two academic approaches: firstly – scientific genetics (researching biologically useful plants, trees, etc. for architecture, for obtaining building materials and live spaces), and secondly – understanding digital generation, production, visualization, and fabrication as a genetic process, involving computation and genetic algorithms in collaboration with science, bioethics, and engineering for experimental architectural research.(16) All the people who have been teaching in the Genetic Architectures research line, when taken to the works of Gaudí, have been totally astonished and surprised because they see in Gaudí the works that they want to do. The forms of what these “computer architects” want to do were done with mind, without the aid of computers. The utopia of today is the reality of tomorrow. Today is tomorrow. Certainly, science has exceeded fiction. Now we have the tools to research what are the genes that result in particular growth or other specific features. Once we will get that under control, the living space will grow alone. We will not need builders anymore. We only need the first generation of these hybrids to get a whole race of them, because the emergence power of nature will give us as much as we want this kind of buildings. We have the power of nature in front of us, but we don't know how to take power and control of that.(17)

24 For a very good example, Alberto T. Estévez in the first phase of applying genetics to architecture considered introducing luminous protein into the DNA of vegetation. Various natural bioluminescence color possibilities existed as witnessed in fish, glow-worms, algae, or from certain jellyfish, such a Aequorea Victoria from the north-west Pacific. Since the 1962 discovery of GFP (Green Fluorescent Protein) in Aequorea, hundreds of studies have developed in a snowballing effect. With its easy availability it became the cellular marker most used by genetics. Estévez sees it as a fascinating potential component in the application of genetics to architecture, and he has obtained GFP lemon trees with living, luminescent leaves, that present infinite possibilities. With that we can project evolving science, architecture and design collaborations where genetics becomes integral to architectural research and production.(18) The best domestic and commercial use of such GFP lemon trees is for saving energy in the dark time of the day, by illuminating streets, highways etc. Throughout the Europe major cities like Barcelona are spending millions of euros yearly just for urban lighting equipment and approximately the same amount for electricity. Where there is a colder climate, this research could extend to trees where leaves are substituted, perhaps, with pines, because they stay on the tree all year round. 3D sketches are the genes for new constructs. Having developed sufficient skills, the digital sketches can be translated directly into formative forces working upon 3D models for sculptures and buildings. Here we have discovered another shortcut: the hotlink from file to factory. We have discovered that the 3D sketch can literally be made, literally be transformed into a tangible matter. The file to factory process allows us to declare the 3D trajectories of the intuitive sketches to be genes for further construction. Searching the web for the meaning of gene, we find that a gene is the unit of heredity. A gene contains hereditary information encoded in the form of DNA and is located at a specific position on a chromosome in a cell's nucleus. Each individual has a unique sequence of genes, or genetic code. Here we regard projects (sculptures, buildings) as the individuals. The 3D sketches contain the hereditary information

Arquitectura Aberrante

The magical light of the potential Alberto T. Estévez designed GFP (Green Fluorescent Protein) lemon tree. (Image: Aleix Bieto and Gabriel Montañés)

18 ESTÉVEZ, Alberto T., “Genetic Barcelona Project”, Leonardo: No 4, MIT PRESS, Massachusetts, 2007.

Arquitectura Aberrante

Possible future with plant-like housing that adapts to peoples needs. (Image: from a video by ALONSO, Hernan Diaz, Chlorofilia 2106, Imaginary Forces, 2006)

19 LÉNÁRD, Ilona, BCN Speed and Friction: the Catalunya Circuit City, SITES Books / ESARQ (UIC), Barcelona, 2004, pp. 143–144.

25 for the development of the evolutionary 3D model that eventually leads to the exact execution (reproduction) of the data into tangible matter. Installations, sculptures and buildings are organized information and matter. The 3D sketch constitutes an important sequence of informative genes, cooperating with thousands of other genes making up the newly constructed individual installation, sculpture or building.(19) Chlorofilia 2106... a mysterious title for a fascinating project, a gaze into the long term future of what we call cities. This project deals with: ways to visualize a possible future by means of images and story, it depicts organic systems and organic metaphor as a lens through which to look at and act within/upon the world. The History Channel recently held a competition inviting architectural teams to design a city of the future, to envision Los Angeles, New York and Chicago a hundred years from now. One of several fascinating and inspiring entries from a futurist's perspective was the work of the Xefirotarch team (Hernan Diaz Alonso and colleagues) who did a marvelous job envisioning an organic future for Los Angeles. In 2106 Los Angeles became Chlorofilia, it became a “self-sustaining, self-protecting natural ecology, used converted highways as aqueducts and dispersed nutrients into an adaptable organism that continuously adjusted itself to changes in demographics and housing requirements.” Together with the renowned motion graphics office “Imaginary Forces”, the architects introduced a new Los Angeles by means of a future-scenario video set in 2106, interviewing a person looking at the city in retrospect, how it came to be, how society is organized differently, how mobility is differently, how communication takes place via “cloud” technology instead of phones etc. As such they touch upon a variety of aspects of the city and city-life in the future, in a changed and ever-changing context. As experience has taught us, such portrayals are powerful and effective means to convey a multi-perspective, contextualized image of the future to a large audience. While in an aesthetic sense the world of architecture has always sought inspiration in the natural world (e.g. gothic cathedrals and forests, proportions, Art Nouveau, etc.), adding the dimension of time and taking

26 into account processes of growth has led to a revival of the organic metaphor. It opens up a different way of seeing the city as well as the act of designing and building in a more systems-based view. D'Arcy Wentworth-Thompson, the biologist and mathematician who wrote the seminal work “On growth and form”, continues to inspire many. Yet in today's world also new insights in genetics, nanotechnology and synthetic biology drive an increase of man's grip on processes one could previously merely observe but not recreate or control. Combined with a heightened interest in biomimicry a new reality might slowly be on its way. Already today crops are being genetically modified to “grow” medicines instead of fabricating them, organic tissue is being grown into predefined or scaffolded shapes in labs etc. The path towards growing our architecture might still be long, yet remains inspiring.(20) Several architectural practices such as those of Greg Lynn, Makoto Sei Watanabe, Celestino Soddu, Kas Oosterhuis, Kolatan-MacDonald and many others have explored the possibilities of game theory, chaos, dynamics, genetic algorithms, insights sprung from the field of artificial life and artificial intelligence, and used them in the field of architecture to generate building designs, “grow” urban planning schemes from the “bottom up” etc. The organic metaphor is versatile as nature itself and goes way beyond the mere form aspect. In a sustainable future, the whole notion of lifecycle of a house might just become a true life's cycle. We can imagine buildings being born, growing and dying. All forms of nature are made of same elements, they have the same proportions. Due to this natural vibration it is natural that we feel beauty in natural things. The same occurs in the digital world. Digital drawings are nice, attractive, they have appeal – all because if they are from natural forms which are controlled by the same equations.(21) Digital tools are so powerful and it is pity that we don't use that, and nature is so rich of possibilities, we can find thousand times more references than if we take conventional references. If in the design we don't respect the rules of these proportions, we don't get beauty. All the secret is about the proportions. Not only mathematics makes beauty. It is also our experience,

Arquitectura Aberrante

A shape of an ear's scaffolded shape is attached to a rat and rat's tissue has grown together with it. (Photo: from lecture of Ignasi Pérez Arnal on January 30, 2008 at UIC ESARQ)

20 From Pantopicon blog www.pantopicon.be/ /blog/2007/02/04/chlorofilia-2106/, retrieved on May 30, 2007. 21 As said by Alberto T. Estévez in lecture on January 11, 2008 at UIC ESARQ.

Arquitectura Aberrante

for instance, from childhood. Our sense of beauty is not clean with mathematic objectivity, but it is full of subjective reasons. We can not go anywhere from our bodies. Our mind's function and our perception's function is set to follow universal laws. Still, we are free to make critics about universal laws, but we will stay in them forever. 95% of the world and architecture is horrible, perhaps only 5% of it is nice. If real automatic rules would have built our environment, it would be much better look of an urban image. People are not so happy in our cities, in houses they live. All architects think that they are making nice buildings, but in reality 95% of it is not nice. Living beings can change the environment. So we need to be contextualists and make a better environment.(22) In our genetic pool there are many formations that have the conditionality of ourselves. It is about structure and its behaviors. We can live in our environment. It is necessary that there is some correspondence between our genetic information and the environment. We can see the genetic information like some information that we have about the environment. This has a condition of possibility in our environment. As philosopher Karl Popper has stated: “By adopting a new form of behavior the individual organism may change its environment. (...) By this individual action, the organism may “choose”, as it were its environment; and it may thereby expose itself and its descendants to a new set of selection pressures, characteristic of the new environment.”(23) All living things can choose new behaviors. There are also mutations we think nowadays are random. It is not sure, but they may be random.(24) Anomaly or mutation by its essence is not patalogical. Both of these terms express other possible life forms.(25)

Le Corail

22 Idem. 23 POPPER, Karl, The Self and Its Brain, Springer International, Berlin, 1977, p. 12. 24 As said by Josep Corcó in lecture on January 10, 2008 at UIC ESARQ. 25 ZAERA-POLO, Alejandro, MOUSSAVI, Farshid, Phylogenesis, FOA's ark., Actar, Barcelona, 2004, p. 144.

The first task. Since we know that an image is worth thousand words, first task was to create one high quality Photoshop image-manifesto of an imaginary building, structure, scheme or space. Or... after thousands of nature's teaching years we need to learn, why today houses are boxes? The task was to think what real creatures you would like to create this structure?

28 What pieces you need to identify from them? What are the genes that make these forms that you want for this building to make a new order, for possible new species? So far there are no laboratories to make this real. Albeit, geneticists are the new workers of architects to make it into life. This task was to make a research, producing a research protocol. In this task author decided to work with corals, due to their attractive looks and some features which don't exist in the animals or plants that reside outside underwater world. Some of the features of a coral would need to be utilized. The coral reef of culture was built by short-lived and weak human beings, but its growth is a fact, not a myth.(26) While the “cultures coral reef” is growing, real corals are dying due to the climate change. Le Corail or the Coral island is situated in the middle of the Pacific Ocean. Less than 50 years ago it was in one piece. As one local inhabitant explains: “When I was a small boy this island was big. As I grew older the island got smaller. As you can see the island has broken and it's now in 2 pieces.”(27) The Carteret Islanders are amongst the world's first “environmental refugees”. An entire cultural group is facing relocation due to the impacts of climate change. The islanders have fought for more than twenty years against the rising ocean, building sea walls and planting mangroves. However, storm surges and high tides continue to wash away homes, destroy vegetable gardens, and contaminate fresh water supplies. It has also been estimated that by 2015 the Carteret Islands could be largely submerged and entirely uninhabitable. Carteret Islanders are on the frontline of climate change. On the ocean side, on the mounds of the steep beach, over all the width of the reef right out to where the surf is bursting, in every cranny, under every scattered fragment of the coral, an incredible plenty of marine life displays the most wonderful variety and brilliancy of hues. The reef itself has no passage color but is imitated by some shell. Purple and red and white, and green and yellow, pied and striped and clouded, the living shells wear in every combination the livery of the dead reef – if the reef be dead – so that the eye is continually baffled and the collector continually deceived. I have taken shells for

Arquitectura Aberrante

“As you can see the island has broken and it's now in 2 pieces.” Fragment from the video by STARR, Pip, Global Warming and the Carteret Islands, Bougainville, 2007. (Photo: Arne Riekstins)

26 Statement by E. H. Gombrich. 27 Excerpt from a video by STARR, Pip, Global Warming and the Carteret Islands, Bougainville, 2007, presented on July 5, 2008 at World Expo Zaragoza in the stand of the Pacific Islands.

Arquitectura Aberrante

Anatomy of a coral polyp. While a coral head appears to be a single organism, it is actually a head of many individual, yet genetically identical, polyps. The polyps are multicellular organisms that feed on a variety of small organisms, from microscopic plankton to small fish. (Image: en.wikipedia.org/ /wiki/Coral, retrieved on January 8, 2008)

Reproduction of corals. Internal (brooders) and external fertilization (broadcasters) is apparent in different corals and this diagram shows their life cycles. (Image: en.wikipedia.org/wiki/Coral, retrieved on January 8, 2008) 28 Comment of the Coral islands reef by STEVENSON, Robert Louis, written in his notes in year 1890. He was a Scottish novelist, poet and travel writer, and a representative of neo-romanticism in English literature, author's comment. 29 Statement on the presentation wall at World Expo Zaragoza 2008 in the stand of Honduras.

29 stones and stones for shells, the one as often as the other. A prevailing character of the coral is to be dotted with small spots of red, and it is wonderful how many varieties of shell have adopted the same fashion and donned the disguise of the red spot.(28) The climate change of the last 150 years seems to be related mainly to the burning of fossil fuels that has provoked an increase in the concentration of gasses that are responsible for the greenhouse effect (GHE). The data of the average temperature of the planet in the last 150 years indicate that the emission of carbon dioxide and other GHE gasses produced by men are heating the Earth.(29) Corals are skeletal remains of marine organisms from the class Anthozoa and exist as small sea anemone-like polyps, typically in colonies of many identical individuals. The group includes the important reef builders that are found in tropical oceans, which secrete calcium carbonate to form a hard skeleton. A coral â&#x20AC;&#x153;headâ&#x20AC;?, commonly perceived to be a single organism, is actually formed of thousands of individual but genetically identical polyps, each polyp is only a few millimeters in diameter. Over thousands of generations, the polyps lay down a skeleton that is characteristic of their species. A head of coral grows by asexual reproduction of the individual polyps. Corals also breed sexually by spawning, with corals of the same species releasing gametes simultaneously over a period of one to several nights around a full moon. Although corals can catch plankton using stinging cells on their tentacles, these animals obtain most of their nutrients from symbiotic unicellular algae called Zooxanthellae. Consequently, most corals depend on sunlight and grow in clear and shallow water, typically at depths shallower than 60 m. These corals can be major contributors to the physical structure of the coral reefs that develop in tropical and subtropical waters, such as the enormous Great Barrier Reef off the coast of Queensland, Australia. Other corals do not have associated algae and can live in much deeper water, such as in the Atlantic, with the cold-water genus Lophelia surviving as deep as 3000 m. An example of these are the Darwin Mounds located north-west of Cape Wrath, Scotland. Corals have also been found off the coast

30 of Washington State and the Aleutian Islands in Alaska. Corals belong to the class Anthozoa and are divided into two subclasses, depending on the number of tentacles or lines of symmetry, and a series of orders corresponding to their exoskeleton, nematocyst type and mitochondrial genetic analysis. Those with eight tentacles are called Octocorallia or Alcyonaria and comprise soft corals, sea fans and sea pens. Those with more than eight in a multiple of six are called Hexacorallia or Zoantharia. This group includes reef-building corals (Scleractinians), sea anemones and zoanthids.(30) Corals are one of the most varied creatures on Earth, some dating back from 600 million years. The chosen coral for the final design task was Tubastrea Faulkneri (or the orange sun coral), it is one of the brightest corals in the divers reach. It can be found in The Great Barrier Reef, Australia, as well as in waters of Brazil etc. It features brightly yellow-orange tentacles with red mouth in the middle and it may grow alone or in big colonies covering wide underwater areas. Author's idea was to create a living coral-like multi-functional inhabitable space that can reside being attached to old buildings, skyscrapers. For that we need the gene of coral that controls the size and possibly also internal space. Hardest task would be to adapt the coral to survive in the environment which no longer has the surrounding water, meaning the implementation of some structural strength and resistance to other side effects, like gravity of atmosphere, wind loads etc. This new creature would supplement the existing buildings with the source of energy that it obtains from sun, and water that it obtains from atmosphere. It could grow stand-alone and feed from the nutritients found in air and on the surface of the faรงades. The new creature could slowly overtake whole buildings, as well it could find itself the most suitable places, which could be defined by its own natural needs. Basically, that means that we could find it randomly attached to both very old historical and totally new buildings. By the time this would be possible, author imagines that all the buildings would be naturally grown. Organic buildings are the strength and lightness of the spiders' spinning, buildings qualified by light, bred by native character to environment, married to the ground.(31)

Arquitectura Aberrante

Tubastrea Faulkneri coral colony in Brazil. (Photo: PL Divers web page pldivers.com.br, retrieved on January 8, 2008)

30 I n f o r m a t i o n f r o m W i k i p e d i a : en.wikipedia.org/wiki/Coral, information retrieved on January 8, 2008. 31 Statement by Frank Lloyd Wright.

Arquitectura Aberrante

Modified inhabitable Tubastrea Faulkneri corals attached to a 21st century skyscraper. Both architectures â&#x20AC;&#x201C; traditional and genetic â&#x20AC;&#x201C; coexist in a symbiosis, bringing new possibilities in genetics and underwater world to the next stage of architecture. (Image: Arne Riekstins)

Arquitectura Aberrante

Lesson of genetics (conclusions)

...Lot of people think these are nice houses that are around us. No, they are disaster. They don't need to be torn down, but rather be enwoven – we need to embed new things into them.(32) Not everything built in architecture is done by the best conscience. Processes that we utilize to produce materials, as well the transport to the building site and the building process itself are not the healthiest available. All of the aforementioned is polluting our world. And, unfortunately, our world is only one. We consider that sooner or later we will face much bigger consequence effects of the “bad” processes that are constantly ongoing. People who are responsible for these activities need “a cold shower”, as it has been often stated about the today's overheated economics. With money we will not be able to redeem back what has once been lost in our common nature. Author finds that the ideas and achievements expressed in this chapter can be utilized in his further work. The secret principles of how DNA is performing are being deciphered every day, so very soon it will open up a whole new wave of possibilities. It is essential that we don't loose the link between genetics and architecture. Also the notable advance of digital systems is supporting these beautiful possibilities. We have to learn from history lessons and follow the pace of developments. A century ago artists and architects could imagine much more than we are capable to understand. Also today there are ongoing trends of thinking about what our future will be like. Author underlines that development of advanced thinking on fusion of biodigital worlds should be going on. After all, we have stacks of work to do in education of general public, because not everyone is ready to welcome this kind of thinking.

32 As said by Dennis Dollens in lecture on January 21, 2008 at UIC ESARQ.

Arquitectura Aberrante

CapĂtulo II

Arquitectura Digital-BotĂĄnico (Digital-Botanic Architecture)

Arquitectura Digital-Botánico

Copying life (intro)

The archetype plant as I see it will be the most wonderful creation in the whole world, and nature herself will envy me for it. With this model, and the key to it, one will be able to invent plants without limit to conformity; that is to say, plants which even if they do not actually exist nevertheless might exist and which are not merely picturesque or poetic visions and illusions, but have inner truth and logic. The same law will permit itself to be applied to everything that is living.(33) Now it is a good moment in architecture to think on issues of advanced ways of processing the information. How do we change, how do we interpret? We have a language between nature and computers – binary language of zeroes and ones. We can start seeing the life of numbers, their system. We have the ability to draw the golden section, have algorithmic formulas. This is with a good timing now when we can introduce biology into architecture. To copy is the least good appreciation of nature.(34) Objectives for this studio is to take something from nature, understand it and use it as a growing inspiration for biomimetics(35). The idea is to extrapolate principles, evolve certain properties of one thing and hybridizing them with other things. In other words, it means copying life in an indirect way. We need to learn making a synthesis of life and technologies. It needs to be translated. What we can think about it is the way we can think about nature, learn organic design skills (for example, make living surfaces). For centuries we have known what is architecture, urban planning and urban organisms. We don't have these anymore. We have disastrous cities and nature dying. It's not about sustainable or green architecture, which in its essence is good, but it is not a solution, it has not been evolving truly towards sustainable. This class is ways to think about systems that will put us in different category of thinkers. In Toronto, Canada there is Center for Algorithmic Botany. Their research is mainly based on how to use numbers for generating forms. It is based on L-Systems computer language, and this research has been done for more than 20 years by decoding various plant's growth algorithms. This is what computers do: they take the algorithm and translate to phyllotaxy, to proportional nature's building systems. And in the way it is distributed,

“I am a soybean.” Article in an American weekly magazine. (Image: from lecture of Dennis Dollens on January 22, 2008 at UIC ESARQ)

33 Statement by Goethe, 1787. 34 As said by Dennis Dollens in lecture on January 14, 2008 at UIC ESARQ. 35 Biomimetic – bios, from the Greek word for life and mimesis, meaning to imitate. Biomimetic, applied in science, engineering and design now carries the implication of searching natural systems for clues to nature's process and efficiency in order to create new materials, products and environments based on biological principles. DOLLENS, Dennis, The Pangolin's Guide to Biomimetics & Digital Architecture, SITES Books, Santa Fe, 2006, p. 6.

Arquitectura Aberrante

Water, nature and art, brought together in a unique tapestry at World Expo Zaragoza in the stand of the Caja Inmaculada. The tapestry in the background, “Baptism in the Jordan”, comes from the Cathedral in Zaragoza, plant walls are made of similar plants than depicted in the tapestry itself. (Photo: Arne Riekstins)

36 BOHM, David, Wholeness and the Implicate Order, Routledge, London, 1980, p. 58.

35 like in the plants, it happens mostly in the spiral way. Such information from natural source can be translated into a building. We must decode the reference and find what system or mechanics it could be. It is all about taking this information, doing artistic designing and natural extrapolation, finally changing it into a design unit. The main idea is when we have a shape, to create a shape; at the end we can make with parametric approach an envelope for it etc. It is ways of starting to think of building that have mechanical life like features. Then it may come to structural abilities. And this building may breathe, sense the environment, but at the same time it would not be really alive. Even by making small steps towards most advanced biology, we may move the same way like Patrick Blanc has colonized life into La Caixa foundation building in Madrid. If it is a wall as a garden? We need to have approaches like this, to think of ways how to biologise cities, the cities to become organisms. The cities need to be slowly evolved. All man-made features of our general environment are extensions of the process of thought, for their shapes, forms and general orders of movement originate basically in thought, and are incorporated within the environment in the activity of human work which is guided by such thought. Vice versa, everything in the general environment has a shape, form and mode of movement, the content of which “flows in” through perception, giving rise to sense impressions which leave memory races and thus contribute to the basis of further thought. The environment and human thought participate in a process in which analysis into two separate parts has no meaning.(36) The comic is best thought of as a sampler of ideas concerning the biological potential of ecologically shaping architectural massing, clustering and general morphology. But, shape and function of a structure are meaningless without a rethinking of materials. Most accepted industrial materials are toxic, inert, and leave a noxious trail of manufacturing and transportation. Instead of accepting what manufacturers hand out, we should be trying to envision new materials and structures that are alive, semi-alive, or at least, imbued with simulated biological intelligence;

36 without today's material toxins or the inefficiency and pollution of current manufacturing.(37) The processing of silicone and selenium into really toxic chemicals and their manufacturing in producing computers is very toxic. Software is non toxic, it is only numbers, and it is mental creation. If we or some fish would eat some microchips, we would be killed. There is an ongoing discussion of biological computing, using plant synthesis, but lot of it may be projected to discussions around economics. It will be available only then when people will demand for it, and when they will have a strong environmental reason against computer manufacturers and mega-brands like Sony, Microsoft etc. In genetics there is a principle – genotype, which is functioning of genes in human, animal or any other organism. A phenotype is an expression of the genes. If, for example, the chromosomes are making together this hand, then the hand is a genetic element, a phenotypic expression. This is theoretically very important, because it is a pathway of understanding how we make things. It has only recently started to come into advanced design. Another example – if birds make nests, they have a variety of ways making this. Mostly they put together twigs. There are also birds that get longer pieces of grass and turn it into a knot. The bird is making a knot. And a knot is technology. If we extend the hypothesis of extended phenotype then we can make something out of the natural world. Very recently (in August, 2008) we have seen in Beijing, in the Center of Olympics two excellent and beautifully engineered structures. First of them is the main stadium made by imitating the bird's nest. It had so strong implication that the name “bird's nest” was used everywhere when anybody spoke about the main stadium. Second – swimming pavilion, or “the water cube”(38). The idea of water was taken so that the inspiration was to imitate water's molecular structure. Engineers used the same feature in the way molecules bind to recreate a huge three-dimensional spaceframe that surrounds the Olympic swimming pool. Designers had enough of computational power to do renderings and structural drawings to communicate the whole process of building.

Arquitectura Digital-Botánico

Tumbleweed, or Salsola Kali. An excellent example in nature of interlocking branch trusses. (Photo: DOLLENS, Dennis, The Pangolin's Guide to Digital Nature, SITES Books, Santa Fe, 2008, p. 15)

37 DOLLENS, Dennis, The Pangolin's Guide to Biomimetics & Digital Architecture, SITES Books, Santa Fe, 2006, p. 2. Due to Dennis Dollens wide use of comics as a way in representing his own work, also works done in this studio were formatted in comic book layout, author's comment. 38 As said by architect Neil Leach in the SIMAE Conference of Emergent Architectures on April 10, 2008 at UIC ESARQ, Barcelona: “Olympics in Beijing will produce much more rich articulations on architecture – ornament on structure, with the best example so far – the water cube.”

Arquitectura Aberrante

Nature's design lessons

Recently discovered underwater world's creature. (Photo: NOUVIAN, Claire, The Deep: The Extraordinary Creatures of the Abyss, University of Chicago Press, Chicago, 2007, 256 p.)

Another bright creature. (Photo: Idem.)

39 As said by Alberto T. EstĂŠvez in lecture on January 11, 2008 at UIC ESARQ. 40 DOLLENS, Dennis, The Pangolin's Guide to Biomimetics & Digital Architecture, SITES Books, Santa Fe, 2006, p. 6.

Due to scepsis we make distance from nature.(39) Long ago people made buildings similarly to the ways animals and insects make nests, hives and burrows â&#x20AC;&#x201C; sometimes with similar materials, such as mud, woven grasses, twigs and fronds. Today, with digital 3D visualization and production possibilities, it's time to revisit these materials and processes with a view to using them in safe, genetic, non-toxic design...(40) Lot of things we do as architects can be done differently. Our work should not look like anybody else's work but like our own work. Only by changing the process, the outcome could be truly yours, unique. There is almost nothing in this world that is not natural. The closest things that are not anymore natural are new molecular combinations. It is a cultural perception, an unfortunate perception, that we think that nature is out there. Basically, that is not true, because nature is here, all around us, in every material surrounding our houses and cities. In the United States there is an iconic plant â&#x20AC;&#x201C; tumbleweed, or Salsola Kali. It originates from Siberia and it came to US as an implant in grain shipment somewhere around year 1880. In United States there has been no natural range for it, but it has colonized south of US. It holds itself together by interlocking branch trusses. This plant disperses its seeds by rolling in the landscape. Tumbleweed is extremely strong and at the same time flexible, it is rolling and bouncing at speeds from 3 to 30 km/h. It is a very good principle of truss in nature. Its size may be around 1 meter in diameter. The same principles of tumbleweed could be introduced in a nanometric size and it could do all kind of things in industrial solutions. The plant has got very beautiful curvatures, intergrowth and an interlocking system. Underwater world is full of unexplored creatures. Their variety in shape, size and color is simply amazing. They feature colors that glow in any imaginable tone of a rainbow. The features of their membranes, surfaces, skins, pliability and movability can be introduced in architecture. It means new materials and new processes for architecture. We just need to explore more. And there is no reason not to think what else could be found

38 as we discover deeper in waters of the oceans. For instance, in Philippine's underwater world there is a creature Euyplactella Aspereilum that has rectangular grid form's skeleton. This living sponge makes natural fibers from enzymes like saliva. This is a natural fiber optics that is being produced in a natural, totally good way. The saliva of this creature contains silica from water and it turns it into different shapes that make its skeleton. Human skeleton is made of molecules, not shape grammar. It seems that this creature has very basic molecule building shapes. Probably any building in a world could be made with Euyplactella Aspereilum truss by just using its shape vocabulary. Nature's vocabulary in growth systems like these is similar to parametric software abilities that we see in digital. Although digitally it is very difficult to reproduce such detailing, it still can be done with today's computing power and software. Very early biomimetic interpretation of water lily's leaf veining principles – created into a truss system – was used already back in year 1839. The project was called “Great Stove”, and it was located in Chatsworth, England. It comes from times when engineers were just starting to experiment with the use of steel in combination with glass in large scale and wide span covering structures. In those times it was a total innovation to look up a feature directly from nature. Architect Frank Gehry draws very naturally, and almost everything that comes into his mind is being expressed with one irregular line that initiates from one point and then continues, without releasing the pen at any moment, until the idea is caught. Caught like a fish. Gehry has done it with his project for Barcelona – a fish sculpture that is standing next to two towers on the beach in Villa Olympica. His work is a good lesson to know that you can make these abstract forms and make it digitally drawn, and then produced. He was the first architect to use parametrically associative software CATIA for a building. CATIA is new program for French “mirage” jet design. The whole sketch, drawing and model calculations was done in this software, up until the technical building documentation. Today, Frank Gehry's office offers also external consultation services in difficult design solutions.

Arquitectura Digital-Botánico

Animal skeleton of Euyplactella Aspereilum. This creature lives in underwater world in Philippines. It features cross grid natural fiber optics. (Photo: Arne Riekstins)

The “Great Stove”. (Photo: www.victorianweb.org/ /art/architecture/iron/21b.html, retrieved on January 17, 2008)

Frank Gehry's “fish” as seen from beach of Barcelona. (Photo: Arne Riekstins)

Arquitectura Aberrante

Florence railway station's interior. (Image: Mutsuro Sasaki)

Structural analysis model for distribution of principal stress and displacement. (Image: Idem.)

Baubotanik bridge concept. (Image: Oliver Storz)

Monster bridge at M&A gallery. (Photo: emanate.org, retrieved on January 19, 2008) 41 SASAKI, Mutsuro, Flux Structure, TOTO Shuppan, Tokyo, 2005, p. 11. 42 Ibidem., pp. 69–73. 43 VAN DER VEEN, Henk, Archiprix International 2007, Archiprix Foundation / 010 Publishers, Rotterdam, 2007, pp. 88–89.

39 Auguste Perrét, who is considered the father of modern architecture once said: “Structure is architect's mother tongue. Architect is a poet that thinks and speaks in the language of the structure.”(41) One of the most advanced structural engineers in the world, Mutsuro Sasaki is pioneering the stage of getting incredible architectural designs down to reality and makes them buildable by calculating the structures and finding new solutions that nobody has thought about before. He helped in engineering the principle of banyan tree in Arata Isozaki's designed new Florence railway station competition project in year 2002. It was Isozaki that gave these structural forms a naming “flux structure”.(42) These forms were obtained by the same logics how the plant's evolution is taking place. With the use of nonlinear analysis procedure it is possible to organically understand structural forms evolution in the whole structure from its relations between form and mechanical behavior. Another very direct use of using nature in architecture is done by the Baubotanik (in German – building botanic) team in Germany, lead by two young architects Oliver Storz and Ferdinand Ludwig.(43) The constructions are made from live plants. Growth principles and natural form principles are being used in the project design phase. They create self renewing and self optimizing adapted growing constructive elements. They combine constructive functions with esthetic qualities of living plants in a new way. They find it as an eco-innovation that gives contribution to sustainable development. Their ideas have been tested in various experimental projects since year 2005. The living modules are being combined with technical additional elements to form roofs, floors and façades. Something similar was shown by structural engineer Bruce Danziger and architects Moritz Freund and ShuChi Hsu in M&A gallery, Los Angeles. It was a bridgemonster, a kind of hybrid between architecture and technologies – weaving mechanical and computational potential with natural materials and social possibilities. Monster was a force of intelligence, a work of biological insight using bamboo for its constructions, water, AI (artificial intelligence) sensors and robotic pumps.

40 This has forced a relationship between environment and random computation, between meditative spaces, urban traffic, infrastructural bridge, biological pond life and artistic bravado – a work on it way to being alive and for now, stimulating ideas and thoughts. The bridge became a metaphor for connecting, in this case, living ideas and life's actions.(44) In collaboration with students at SCI-Arc in Los Angeles, Elena Manferdini crafted a canopy from 300 panels of black plastic knotted together and attached to catenary wires. Entitled Merletti (the Italian word for “lace”), the installation explores the intricacies of lace-making on a large scale.(45) Installations are manifestoes for ideas which, if tested by time are proven to survive critics and conquer attention, may become parts of real scale architecture. The film industry is always the first to test out the possibilities and concepts brought to life by animation software. Such an example of using Maya for animating growth was explored in a movie The Cathedral, made in year 2002. The short story is about a man walking on an imaginary planet into a plant-grown cathedral that turns out to be living. When this man reaches the end of the cathedral, suddenly he collapses and explodes into a growing plant, supplementing the botanical structures of the cathedral. In a metaphorical way it illustrates that we are part of nature and we belong to it. Xfrog is an acronym: “X-windows based Finite Recursive Object Generator”. Xfrog originated on Silicon Graphics Industries IRIX, and many artistic performances of Xfrog have been achieved under IRIX. Xfrog for Maya allows to model and animate organic structures and processes, for example: branching (as most plants branch), phyllotaxis (to recreate distributions typical for flowers and blossoms) and tropism (plants are usually pulled downward towards earth or reach towards sunlight). Xfrog integrates many years of research into a flexible and easy to use set of well integrated components. All parameters in Xfrog can be animated, and all Xfrog objects can be combined with objects in Maya. It is possible to create trees or other plants which grow, respect sun and gravity. It is possible to create leaves and branches which move in the wind,

Arquitectura Digital-Botánico

A cloud of lace falling from the sky. (Photo: Joshua White)

Man exploding into a growing plant, supplementing the biological structures of the Cathedral. (Image: from movie by BAGINSKI, Tomek, The Cathedral, Pixar Studios, 2002)

STL (stereolithography) model of a digitally grown truss in Xfrog by Dennis Dollens. (Photo: Arne Riekstins)

44 DOLLENS, Dennis, The Pangolin's Guide to Biomimetics & Digital Architecture, SITES Books, Santa Fe, 2006, p. 22. 45 WHITE, Joshya, “Imagine a cloud of lace falling from the sky”, FRAME: Issue 64, FRAME Publishers, Amsterdam, 2008, p. 61.

Arquitectura Aberrante

Screenshot of Xfrog generation for Weave building. (Image: DOLLENS, Dennis, The Pangolin's Guide to Digital Nature, SITES Books, Santa Fe, 2008, p. 15)

Preliminary study for massing, Barcelona Podhotel. Generated with growth patterns from yucca seed pods to establish solar and ventilation orientation. (Image: Ibidem., p. 13)

46 SCHLIEP, Jan Walter, Xfrog 4 for Maya Reference Manual, Greenworks, Berlin, 2005, p. 5.

41 biological reactions taking place over time, a large myriad of special effects possibilities, etc. All these things and more are possible now by combining the features of Xfrog and Maya. Xfrog is not related to fractals, or to strict mathematical approaches such as L-Systems. Xfrog is a unique approach to represent natural processes in computer graphics. Xfrog is being used to create trees, flowers, many other types of vegetation (so far more than 1000 models have been released only by Greenworks alone); combinations of plant models to create ultra-realistic and fanciful landscapes; creation of unlimited unique special effects for film and video (Disney, Dreamworks, Sony Imageworks, Pixar Studios); construction of experimental architectural models â&#x20AC;&#x201C; iterative, organic, evolving over and through time and space; construction of micro-organism structural and locomotion studies, for research and educational microbiology.(46) Xfrog is very powerful tool and it can be scripted by using Maya MEL-script. Although Xfrog-MEL commands should function with other Maya structures, unexpected results may occur also. Digitally grown trusses is project of Dennis Dollens to make an algorithmically generated Xfrog beam or column, derived from trees, that creates a bending system and starts to reinforce one part by branches curving and growing back into their trunks. In the last stage, this same truss was redesigned by absolutely eliminating the central trunk. It features interlocking pieces that will take flex in any direction. Some ideas just come from simple systems in nature. Woven building is inspired from tubular skeleton of Cane Cholla or Opuntia Imbricata, while not literally woven, its suggested weaving is a biomimetic technique. This project is Dennis Dollens experiment in Xfrog with woven-like linkage as an encasing structure. Dennis Dollens has explored the Xfrog for modeling architectural structures and space by morphologically transforming leaves; flowers and branches for basic shapes, clustering, massing, framing and environmental orientation. In the same he is investigating how digitally generated spaces from plant simulations can environmentally enhance the creation of complex aesthetics as well as environmental patterns.

42 In a hypothetically grown building for Barcelona, he concentrated on massing, spiraling forms as they relate to stalks of blooming flowers from narrowleaf yuccas, or Yucca Glauca. These floral spikes illustrate a growth pattern (phyllotaxy) following a Fibonacci spiraling up and around the stalk; this upward distribution, translated through Xfrog, gives the simulated buildings a distinct morphological heritage where the example of living flowers and their seedpods may be seen in the building's pods. The plant geometries inherited from Xfrog help to determine potential solar, wind, and view orientations. Therefore, in addition to the design anatomy and aesthetics, the pod structures address questions regarding the usefulness of domestic spaces originated in such a manner, as well as more prosaic questions, such as how to approach atypical forms for window or door perforations. Additionally, the Podhotel presents challenges for new construction techniques, fabrication processes and sustainable materials.(47) Paracloud is software to make fast, parametric component surfaces and rib structures. It works by exporting Rhinoceros surface to Paracloud and with similar principles of Excel spreadsheet will apply assigned data to point clouds of the initial shape. This can easily generate shapes that change sizes, generate grid systems, then make full ribs structure easily and from that populate it with different types of skin. Dennis Dollens has explored Paracloud in surface perforations for controlling light and air, as well as for creating surface pockets useful for holding soil and rooting plants, and thus parametrically creating green roofs and walls, Paracloud has become part of his software suite directly reading and generating into and from Rhinoceros.

Arquitectura Digital-BotĂĄnico

Paracloud working interface screenshot. (Image: Dennis Dollens)

Monocoque prototype for the pod's prefabricated wall panels. Almond-derived core and interior, exterior walls. Interlocking panels from almond shells provide compression and tension strength while allowing air and moisture to pass through. (Image: DOLLENS, Dennis, The Pangolin's Guide to Biomimetics & Digital Architecture, SITES Books, Santa Fe, 2006, p. 10)

From king prawn to kiwi

This studio consisted of several tasks, bringing in various levels of difficulty step by step. Totally four nature's elements were introduced in daily tasks to extrapolate features: king prawn's exoskeleton, almond, abalone and sea shells, maple seed. The fifth â&#x20AC;&#x201C; kiwi was author's choice of inspiration source to work on the final design project, which lasted for two more weeks.

Wall as membrane. Wall panels extrapolated from leaves and fabricated with recycled nut shells and natural binders. (Image: Ibidem., p. 13)

47 DOLLENS, Dennis, The Pangolin's Guide to Digital Nature, SITES Books, Santa Fe, 2008, p. 10.

Arquitectura Aberrante

A banal and direct way to design a seafood restaurant, inspired from king prawn. (Photo: from www.flickr.com/qwishfi/982723574, retrieved on January 14, 2008)

Studies of king prawn. (Image: Arne Riekstins)

48 An expression by WILKINSON, Clive, “The Green Office: Skatepark”, FRAME: Issue 64, Amsterdam, 2008, p. 171.

43 For time-saving purposes the design protocol was produced in a comic format (see comment 37 at p. 36 of this thesis). The most important in these exercises was the work with information flows. How we are using point, ways of visualizing and how to make forms. First problem at every step was extrapolation of information, at the same time being arbitrary. First thing of inspiration source for this studio was an exoskeleton of a king prawn. This had to be looked for properties that could be translated and innovated into a product, piece of furniture or any other architectural expression. Traditional architects would take it and make into something as direct as the fast seafood restaurant somewhere in the US, as seen in photo. Then someone might say: “This is beautifully done, but extremely unnecessary.”(48) It is just a skin. As this piece of prawn's outer skin features small spikes, being used in its form's direct way it could serve as a small vacation house that could be thrown into a mountain's crack and it would strongly keep its place, not sliding away. Being made from lightweight materials it could also be used as an equipment for alpinists. As later this same king prawns skin was asked to be analyzed and taken into 3D, author explored the three-dimensional modeling and sculpting tools to recreate some of the skin's articulation. It could be seen that the skin features small folds with stronger rib-like formings to ensure its structural strength. Author also experimented with adding fur to this skin with Maya hair growth methods. No more extrapolations were done so far. Second thing of inspiration source for this studio was an almond. The core of almond is a porous membrane structure, which reminds the surface of the moon. The shell of an almond may feature such monocoque skin features as breathing, filtrating etc. The internal membrane of this shell can include some veining systems. The surface has also got some holes. Author continued familiarizing with threedimensional modeling techniques and after sculpting the exact outer skin of the almond, an internal surface was found, which actually never exists but strongly draws analogies to the internal surface of the moon.

44 Salvador Dalí has thought about soft and hairy architecture already in year 1958. What if we could have additional skin on the outer surface? Further, author decided to apply to the almond some extra sharp and soft needles, which resulted to a new hybrid understanding of façade features that, for example, in nature can protect both from intruders and make shading from hot rays of sun. Several possibilities were analyzed of this almond object to become in 1:1 scale a planetarium, cinema or a church. Third thing of inspiration source for this studio was an abalone and sea shell. White abalone or Haliotis sorenseni Abulon is a bio-composite. It consists of calcium carbonate and protein adhesive. Its high strength and toughness is achieved through mineralized bio-molecular control of mineral crystals combined with an organic matrix. Normal sea or snail shells being carbonate materials cast shadows in x-ray – the thicker the material, the darker the shadow. Author proposed the use of abalone principle in making building's external construction skin skeletons, which would imitate the behavior of abalone's shell nacre, implementing additional new nano-layers with advanced features. Such layers can incorporate soil or liquid fertilizer channeling for externally growing façade plants (green walls). Layers may include advanced cabling for communications, similar to sandwich-principle etc. As the second part for the studies of sea shell, author modeled a four-fold shell structure for a prospective building's three-dimensional planning with only one – irregular spiraling floor which could feature a parametric section. Such a building can include in its structure some minerals with features like: high work of fracture, large inelastic regime, notch insensitivity and low risk of catastrophic failure. Fourth thing of inspiration source for this studio was a maple seed. Author decided to use only the veining principle of the maple seed, by using it in a stacked model. When big cities only tend to become bigger, nature dies and communicability through city becomes a nightmare. New concepts of road and communications network principle is introduced in a large scale urban planning. Choosing new patterns frees the load of transport, unnecessary costs and significantly saves resources.

Arquitectura Digital-Botánico

A fragment of studies for abalone and sea shell. (Image: Arne Riekstins)

Studies of a Tipuana tipu tree's maple seed use in urban planning. Concept of maple seed veining in a stacked model. (Image: Arne Riekstins)

Arquitectura Aberrante

Experimental studies of an almond's exteriority. Three stages of an almond: traditional, sharp and soft. Each skin features different functionality â&#x20AC;&#x201C; from physical protection of sharp needles to sound absorption of the soft fur. In both cases, shade from the sun is provided. (Image: Arne Riekstins)

46 Going further after the four first tasks was to find individually a totally new inspiration source. Author decided to work with a kiwifruit tree or Actinidia deliciosa. In the kiwifruit growth, it has an attachment node in the top of if, which continues inside of the fruit as its skeleton trunk, where it features very interestingly organized seeds and their reciprocal veining. The whole inner mass of the fruit is very dense and it contains a high rate of liquid, making it also very heavy when it becomes totally ripe. At this point author decided to extrapolate the hanging principle to recreate a kiwifruit pod-like structure. Further, external form factor of the kiwifruit influenced concept's skin behavior and furriness. This project looked towards the study of living elements morphology and ways of how to apply that to an architectural design. These pods could grow in the trees, be self sufficient with energy, heat, natural cooling, water and any other contemporary needs. The external kiwifruit skin features fibrous architecture, another interesting point of this research study. After the first design attempts, author decided to boil several kiwifruits in a microwave oven to get rid of their high inner moisture level. In such a way kiwifruits started to reveal their fiber structure that holds the kiwifruit's internal core together with the external skin. Narrow plate-like surfaces held the fruit together even after loosing all of the liquid. Only the regular oval shape of the fruit was lost. It became strongly irregular, blob-like. As the studies proceeded and author got deeper into principles of biomimetics, it was time for a new task – final project's definition. Some feature aspects of previous four and the last inspiration object would need to be utilized for a large urban-scale intervention in Barcelona, Plaça Lesseps. First step was collecting relevant information about site location – plans, sections and any other parallel information that would be important to take into account. As Plaça Lesseps has remarkable geographic height differences and multiple layers of communication, it was soon very important to create the three-dimensional site model. Then, play around the information and sections. To think how it is branching in terms of layer systems, infrastructure. Is there anymore left some real earth? How to find connection with nature?

Arquitectura Digital-Botánico

Author's first concept studies for extrapolating kiwifruit growth principles into architectural design. (Image: Arne Riekstins)

Boiled kiwifruit which starts to reveal its inner constructional fiber structure. (Photo: Arne Riekstins)

Same as above modeled in Rhinoceros. This reveals kiwifruit core's 3D-truss features. (Image: Arne Riekstins)

Arquitectura Aberrante

On an early research studies of kiwi pods. To recreate best the skin of a kiwi, Maya fur function was used with the fur type â&#x20AC;&#x153;Bisonâ&#x20AC;? that matched the best with dark green base color and orange tip color of fur. This fur description in Maya uses low frequency Clumping together with a large amount of Scraggle to produce large, matted clumps of hair such as those found on a bison. Noise is added to many Maya fur attributes to introduce randomness, and the Specular Color is kept dark for a matte look.(Image: Arne Riekstins)

48 Plaça Lesseps transformation project is not about saving budget, we have unlimited budget and maybe without thinking of the financial side we will grab Lesseps. Architecture needs to be kept vague, but conceptually high.(49) Plaça Lesseps needs something more than three palm trees that exist there now. A whole forestation needs to be evaluated and if possible, calculated and integrated in the project to rehabilitate the cityscape that consists of concrete, asphalt, pavements and stone façades. Plaça Lesseps is probably one of the most complicated squares in Barcelona. It is now being already under a heavy construction, with promised project completion around year 2009, but in the design that could be proposed in a year 1989. Architects Albert and David Viaplana propose to pave whole square, so connecting the passageways of pedestrians from all possible directions, new metro line connection etc. The chosen geometries are “old-school” – triangles and trapezes on street level, together with abstract steel constructions that enframe who knows what perspectives. Author's task was to propose a Biodigital and biomimetic alternative of Plaça Lesseps – to take the proposal to computational systems and see how it works. The necessary prerequisite was to make an invention, have new ways of thinking towards what is really sustainable and what is really necessary for this large square. Like a whole level of new expression, this is architectural and at the same time advanced biological project that binds these two together into a united research of urban intervention in a problematic area. The first vision was to introduce several new layers of green park areas, at the same time providing light and shade from the hot sun. This could be solved by putting horizontally similar constructions like kiwifruit's structural membranes. They would be made out of self-supporting structural frame, filled with earth and thus making it possible to have rich vegetation. Being large spans, these layers would need to be perforated at some points, leaving space for vertical communications, trees and sunlight. Looking back at the studies of inspiration objects, there was basically only one option to be used explicitly – the kiwifruit.

Arquitectura Digital-Botánico

Project drawing of the Plaça Lesseps by architects Albert and David Viaplana. (Image: PARCERISA, Josep, “Plaça Lesseps”, Quaderns 249, COAC, Barcelona, 2006, p. 73)

Plaça Lesseps under heavy construction on January 24, 2008. (Photo: Arne Riekstins)

First model of the idea for Plaça Lesseps. (Photo: Arne Riekstins)

49 As said by Dennis Dollens in lecture on January 25, 2008 at UIC ESARQ.

Arquitectura Aberrante

Three-dimensional modeling in process. (Image: Arne Riekstins)

Swamp in Mõisaküla, Estonia. (Photo: Janis Maslovskis)

Final projects top view. (Image: Arne Riekstins)

49 The final strategy vision or “Kiwi de Lesseps” is to cover the whole square with two layers of kiwifruit structural membranes, adding kiwifruit seeds' radial layout as perforated holes. These holes would serve as openings for growing tall sea pines through them. The existing street and underground levels remain as they were proposed in the original design and which is being currently under construction. The upper level would be something totally new - two layers above form two new levels that will almost float above the street level, touching the ground only at Northern edge of the Lesseps square (next to the Jaume Fuster's library) and thus bringing the edges together. Beautiful natural curvatures bend all the way through Plaça Lesseps, with a various height and degree of angles from horizontal to moderately steep. New design will allow the use of this square to be enlarged to 280% of its current area. The vegetation for the Lesseps could be somehow adapted version of a swamp flora found in Mõisaküla, south Estonia. It consists of moss and small vegetation that can resist big temperature changes for long periods from extreme freeze to very hot summer sun. Being soft it also absorbs noise and exhaust gases, producing also lot of fresh oxygen through photosynthesis process. Such vegetation needs almost no care and it is very economical in the use of water, because it can survive only from the natural precipitation. These plants also do not need any cutting or trimming, because they will limit their own size according to the humidity and the season. It would be an open environment and it would offer three levels of use: street level – noisy and dynamic environment for those who are in a hurry, middle or active level for a place where young and old people share their common interests and spend their free time, and upper level – some peace and silence while walking next to treetops high above everything mentioned in the levels below. The upper level will feature a zone of a sun-deck, letting people enjoy the Spanish sun. In this way “Kiwi de Lesseps” is to become the greenest and the most multifunctional square of Barcelona city. It is not only beautiful architecture but also a whole natural system which might become sanctuary for birds and other fauna.

Arquitectura Digital-Botánico

“Kiwi de Lesseps” final project rendering. Two new green surfaces float above the whole Lesseps square, making it the greenest and the most multifunctional square of Barcelona city. (Image: Arne Riekstins)

Arquitectura Aberrante

Arquitectura Digital-Botánico

Tensegrity tower project

Studio Digital Biomimetics ended with one week intensive group workshop, lead by Dennis Dollens. The design subject was a Tensegrity tower, called also Tencellity Tower due to its composition of cellular biomimetic components. Beyond pure metaphor, the tower's cellular nature, the subtle branching elements following phyllotaxic and other biological mathematics related to nature, as well as the consideration and exploration of inner geometries and potential transformational relationships to skins, membranes, and monocoques begins to open what seems like a closed system towards the intended use of the project as a research matrix. The whole task consisted of several steps where keeping up with time was the key issue. First step consisted of different idea generations for the tower's design. The group chose the favorite idea which was then made into a proposal for the chosen location: one of four external stairway middle voids at UIC campus Barcelona. Then followed 3D modeling and prefabrication of some cells in scale 1:1 to test its structural stability. Once being clear that everything is correct, the final modeling lead to immediate machining of the cells from waterproof plywood on a 3-axis CNC milling machine. The total amount of 20 cells feature morphing from straight-lined forms to curvy design. Each cell comprises three “C” shaped elements that connect in the middle. The cells are tied with nautical cable to perform structural stability in connecting them to each other. CNC milling was done in 80 hours from the beginning of the task. About two days were needed to assembly the tower in its site. Weather with sudden temperature fall, wind and rain did not cause any delay due to good organizational discipline and the tower was up and standing in end of the fifth day of the working week. The design of the tower can be seen as a physical expression of group ideas and collaboration realized in a 10 meter tower – an experimental stacking of balanced mechanical forms that have variation both in shape from bottom to top, as well as in the tower's asymmetrical twist.(50)

Rendering of the final Tencellity Tower. (Image: Alessio Erioli)

Detail of one of the tower's cells, milled from plywood and covered with waterproof varnish. (Photo: Arne Riekstins) 50 More info at: tensegritytower.blogspot.com

Arquitectura Aberrante

Assembly of the Tencellity Tower at one of the last cells, about 10 meters from ground level. (Photo: Arne Riekstins)

Arquitectura Digital-Botánico

Lesson of biomimetics (conclusions)

Architecture has become catalogue profession, you assemble very many parts of a building from ready solutions. Therefore also many architecture journals are not placing an emphasis of what is new in architecture. Meanwhile, architecture is becoming extraordinarily evolving. There is a whole parallel advance movement of what it could be. These are possibilities of genetic knowledge, the theoretical base for “real” architecture. Architect Marcos Novak calls this “liquid” architecture. Biodigital architecture is to process information into new forms. Not every idea conceived from digital world of computation needs to be done expensively. We need to search for available old and traditional craftsmen and move them into new era of production.(51) What are ways of finding forms? What is coming together, how do we fabricate, make things. Unless you are theoretical, you have to know it. We have to push our ideas of taking natural forms and some of their implications. Our future architecture will be built basing on this, everybody soon will talk about it. Although, most cyber-architecture fails due to making only graphics. This studio was not about doing graphics, but rather, working with all the information layers we get from extrapolating features from nature, and implementing them into design process. Looking through the theoretical aspects and the practical side, as well the examples from nature, in this studio author finds the most important results in the final design task. Lesseps square transformation by biomimetic means and computational power have proven, that it is possible to substantially improve the quality of life, providing much more diverse spatial configurations to people. Also the introduced nature's dynamism to a square like Lesseps can only increase its value as a public urban space. Ideas obtained from this studio are valuable and they are worth rethinking whenever it is necessary to find an inspiration source for architectural design. 51 As said by Dennis Dollens in lecture on January 15, 2008 at UIC ESARQ.

Arquitectura Aberrante

Cap铆tulo III

Arquitectura del Florinaci贸n (Florination Architecture)

Arquitectura del Florinación

Floral Obsessions (intro)

This chapter describes studio “Floral Obsessions”, lead by architects Matias del Campo and Sandra Manninger. The main task was to get acquainted with explorations in floral condition's botany issues as a matter of design in architecture, and also architectonic implications of the botanical, reaching beyond the appropriation of floral forms. Afterwards, using computational power – to develop architectonic entities, and as a final project – design a 100 sq. m. flower shop for the main pedestrian street in Barcelona, La Rambla. The task included three-dimensional modeling and also producing representable quality traditional architectonical plans, sections, renderings, and if possible – CAM (Computer Aided Manufacturing) model of an important design feature detail. The studies reached from the topological manifold figures of floral conditions, to surface articulation (veining, rippling, frazzling, smooth etc.) to the coloration and various chromatic effects. It is not just about creating an understanding of the beautiful conditions that can be created by the use of floral forms, but about explorations rooted within contemporary scientific insights. The manifold expression of form can result in various spatial conditions that were explored for their potentials as performative surfaces, as well as for the economy of form. Botany is the scientific study of plant life. As a branch of biology, it is also sometimes referred to as plant science or plant biology. Botany covers a wide range of scientific disciplines that study the growth, reproduction, metabolism, development, diseases, ecology, and evolution of plants.(52) As a fraction of the research in biomimetics it is deeply rooted in science, simultaneously inspiring solutions for spatial problems as well as sparking design excellence for a wide field of design solutions, reaching from product development to urbanistic tasks. The botanical is connected to the intricate production of specimens and cladistics of species. This implications differentiate the botanical from the use of floral forms in the art deco of the early 20th century, the 19th century use of botanical forms in the school of Charles Rennie

52 I n f o r m a t i o n f r o m W i k i p e d i a : en.wikipedia.org/wiki/Botany, information retrieved on February 18, 2008.

Arquitectura Aberrante

Radiograph image of a rose (Image: Albert G. Richards)

Image of a squid as shown in one of 65 science plates from 19th century. “Muscular arms around the front of the head. Usually with suckers or hooks. Squids, octopuses, cuttlefish.” (Image: HOYLE, William Evans, Part XLIV: Report on the Cephalopoda, Volume 16, 1886)

53 More about work done by Albert G. Richards can be seen in The Museum of Jurassic Technology, Culver City, California. Web page: www.mjt.org/exhibits/alRichards/ /richards2.html, information retrieved on February 20, 2008. 54 Original documents are in the library holdings of Dartmouth College, Hanover New Hampshire. Source: 19thcenturyscience.org/HMSC/HMSCINDEX/index-illustrated.htm, information retrieved on February 20, 2008.

Mackintosh or Vienna's Jugendstil, the difference being an approach that emerges from the contemporary scientific approach in botany, providing solutions for spatial problems and ornamentation. The setup for this studio involved three very important issues. First, rigorousity – in terms of architecture to follow very strict idea to come out with a clear outcome. Second, clarity of design – to simultaneously apply clean ideas. Third, learn difference of modeling techniques and how this is emerging in architecture.

Prospective entities

The studies of flowers lead by Albert G. Richards(53) using contemporary equipment like x-ray or stereoradiograph has lead to a great and profound understanding of floral tissues and floral material weight. His work covers radiographs of many different flowers and plants from cyclamen to roses. It can be clearly seen that the darkest places on radiograph images show more dense nature's use of materials, ensuring strength in connection points, as well in providing structural integrity in flower leaf folds, plications etc. Continuing about explicit studies of a certain matter it is worth mentioning about scientific results of the voyage of H.M.S. Challenger during the years 1873–1876, under the command of Captain George S. Nares and t he late Captain Frank Tourle Thomson, published by order of Her Majesty's government. This research, published in electronic edition from original documents(54) was referred to by Matias del Campo in relation to this studio as purity of architectural graphics or about a way how to depict in a very clear way various difficult objects. The expedition traveled around the world seas, collecting many scientific proofs and preparing numerous botanical, zoological and anatomical reports, arranged in fifty volumes, covering many thousand pages of text and thousands of “science plates” where each of them showed with distinct graphical clarity a certain object of research. At the turn of the century appeared a new definition “digital tectonics”. How digital may be tectonic? It is widely established that digital belongs to totally

58 immaterial world of computer algorithms, and tectonics – to the material world of construction. Digital tectonics is referred to combination of terms, used to depict a new thinking paradigm in the culture of architecture. From the moment when computers made their first implication in architectural design, a strong and critical counterculture was formed. It defended tectonics and declared that those who are making attractive computerized images can not understand the essential making nature of architecture. It was discussed that architecture has not developed from the algorithmic potential of software but from real tectonic features. Within a certain time computer technologies have infiltrated in almost all architectural aspects, and now they even give an insight to the world of tectonics. Computer technologies allow to sophistically model the material features for the components in architecture. At the moment in the history of architecture there has been an important turn, when the old opposition between the digital and tectonic has started to collapse, and the digital is being used in favor of tectonics. A new – digital tectonics has been formed. Structural changes have happened in the culture of architecture. It is clear, that numerous progressive architects are finding ways to go further than the perception skills of postmodernism, that admire about scenographic features and surface effects, and instead – resort to the structural integrity of buildings.(55) The abovementioned leads to logical understanding of material developments, as explained by Matias del Campo in his written course synopsis: “As Manuel DeLanda already stated(56) the development of materials throughout the 19th and 20th century concentrated on the homogenization of materials, in order to have a basis for correct mathematical calculation of the materials behavior, as for the calculation of statical systems. The use of powerful computers has made it possible to go for a more intricate approach, so we can now concentrate on inhomogeneous material systems, and composites, able to fulfill much more complex constructive tasks. Again, botany ideas can provide possible solutions for new families of material systems. In this case material has to be seen as more than a basic, homogeneous, aggregation of

Arquitectura del Florinación

The detailed curvatures of orchid's labellum in lateral sections reveal perfect structural features. (Scanned image: Arne Riekstins) 55 As explained in a book by LEACH, Neil, Digital Tectonics, John Wiley & Sons, London, 2004, pp. 4–7. 56 DELANDA, Manuel, “The Machinic Phylum”, TechnoMorphica, V2 Organization, Rotterdam, 1998.

Arquitectura Aberrante

Economy of form in an orchid's stem, cut longitudinally. (Scanned image: Arne Riekstins)

57 From the course synopsis, which was handed out in a printed format by Matias del Campo in lecture on February 18, 2008 at UIC ESARQ. 58 As said by Matias del Campo in lecture on February 18, 2008 at UIC ESARQ. 59 DELEUZE, Gilles, Bergsonism, Zone Books, New York, 1988, p. 97.

59 elements, but also as an entity defined by form, as botany tissues are cell based compounds creating cavitations, inflections and cladistics of space conditions by the use of a void, more than by the use of a mass. The botanical is more about the use of air than the use of material, implying possible solutions for reduced material consumption in building. The physiology inherent in plants and flowers can help understand material based function, such as photosynthesis and mineral nutrition.â&#x20AC;?(57) Also we may consider that any plant will use only that much material than it is needed to provide the chosen function. This feature is being called the natures â&#x20AC;&#x153;economy of formâ&#x20AC;?. And the form in general is very specific to each thing in nature, whether it is an animal or a plant, flower. The plant structure is an important factor in a plant's contribution to the natural world.(58) Taking in consideration the digital, materials and lessons from nature, it is very important to still be innovative and novel. At the turn of the last century the French philosopher Henri Bergson wrote a series of texts where he criticized the inability of the science of his time to think the new, the truly novel. The first obstacle was, of course, a mechanical and linear view of causality and the rigid determinism that it implied. Clearly, if all the future is already given in the past, if the future is merely that modality of time where previously determined possibilities become realized, then true innovation is impossible. To avoid this mistake, he thought, we must struggle to model the future as truly open ended, truly indeterminate, and the past and present as pregnant not only with possibilities which become real, but with virtualities which become actual. Unlike the former, which defines a process in which one structure out of a set of predefined forms acquires reality, the latter defines a process in which an open problem is solved in a variety of different ways, with actual forms emerging in the process of reaching a solution.(59) According to Branko Kolarevic, one of the most exciting aspects of shape modeling and sculpting is the development of new algorithms and methods to create unusual, interesting and aesthetically pleasing shapes.

60 Recent advances in computer graphics, shape modeling and mathematics help the imagination of contemporary mathematicians, artists and architects to design new and unusual 3D forms.(60) One of the most notable artists of the last century, Maurits Cornelis Escher(61), frequently applied mathematical concepts to create drawings of unusual three-dimensional forms. With the advance of computer graphics, many artists have begun to use mathematics as a tool to create revolutionary forms of artworks. From here we may draw a parallel to the High Genus Architecture, as explained by Matias del Campo(62). Problems such as apertures, perforations, ventilation, circulation, transparency as well as translucency are inherent elements of the exploration of high genus qualities in architecture. These issues can be stated as basic fields in architecture as form of transition, whether this may count for openings as a matter of exchange of inhabitants, goods, air or illumination. High genus is understood as the multiplication of the genus problem in topology, where the genus of a connected, orientable surface is an integer representing the maximum number of cuttings along closed simple curves without rendering the resultant manifold disconnected. It is corresponding to the number of handles on it, alternatively, it can be defined for a closed surface in terms of the Euler characteristic, via the relationship = 2 – 2g, where g is the genus. A simple example for this problem is the Coffee Mug & Doughnut problem(63); both have the genus one, as they can be transformed into each other. High genus means entities with more than the genus one, these phenomena can be found apart of mathematics, in botany, in geology as well as in design. Fields like fashion, industrial design, jewelry and architecture rely on aspects derived from high genus approaches. The exploration of the different issues encompassing varying high genus entities and its inherent architectonic qualities form the main core of this course, as the issues of scale, form and material are scrutinized and applied on prototypes. Illustrative examples for the intricate application of high genus entities, as spatial definitions, are examples by sculptors like Brent Collins, Charles O. Perry and Bathseba Grossman(64). These sculptors

Arquitectura del Florinación

Coffee cup transformation into a doughnut. (Image: en.wikipedia.org/wiki/Topology, retrieved on September 25, 2008) 60 KOLAREVIC, Branko, “Digital Architecture”, IT Proceedings of Acadia '2000, Washington DC, October 2000. 61 ESCHER, Maurits Cornelis, The graphic works: introduced and explained by the artist, Barnes and Nobles Books, New York, 1994, image plate 41 and 43. 62 See in DEL CAMPO, Matias, Random Files 2005 – 2007, SPAN, Wien, 2007, pp. 16–18. 63 A traditional joke is that a topologist can't distinguish a coffee mug from a doughnut, since a sufficiently pliable doughnut could be reshaped to the form of a coffee cup by creating a dimple and progressively enlarging it, while shrinking the hole into a handle. Information from Wikipedia en.wikipedia.org/wiki/Topology, information retrieved on September 25, 2008. 64 These artists successfully combine art and mathematics to create unusual sculptures. These “mathematical” sculptors, who have very noticeable presence in today's art scene, develop their own methods to model, prototype and fabricate an extraordinary variety of shapes. Source: AKLEMAN, Ergun, Topological Mesh Modeling, Texas A&M University, Texas, 2006, p. 9.

Arquitectura Aberrante

The Gradient Scale project by Matias del Campo and Sandra Manninger. (Photo: Matias del Campo, from DEL CAMPO, Matias, Random Files 2005 – 2007, SPAN, Wien, 2007, p. 52)

61 incorporate one issue into their work, which is also important for this course: the combination of CAD (Computer Aided Design) with the possibilities for Digital Fabrication such as Stereo-lithography, Laser cutting, and CNC milling. With this in mind it is possible to think of high genus entities as geometrically correct, clean geometries, which facilitate digital fabrication. The approach of high genus entities can help us to understand issues such as porosity, perforations, opacity and any given form of transition, and in scrutinizing these issues we can explore the architectonic qualities derived in models of different scale. The problem of scale and surface articulation is been researched by Matias del Campo in one of his projects – “Gradient Scale”. It was prepared for an exhibition “AustriArchitecture”, held in Vienna on December 2005. The project explores the topics of non-sequential scalar growth, surface articulation, panelization of a continuous non-repeating surface and CNC production methods. The main aim of the project is to challenge the concept of scale in architecture and to establish a conceptual digital-landscape as a laboratory for tentative approaches in architecture. In general, the concept of scale is seen as a very rigid idea, following rules that seem to be unbendable. To understand plans or models, architects and contractors are bound to a formula, or etiquette of communication – the scale. The background of the gradient scale project is a thesis that formulates the idea of non-sequential scalar growth. The entire project is an experimental digital-landscape, produced as a presentation platform for the projects of SPAN (by Matias del Campo and Sandra Manninger) at the aforementioned exhibition. To achieve the conceptual idea of a continuously growing scalar model, a MEL (Maya Embedded Language) script algorithm was developed, which repeated a series of 5 curves along the predefined length of the exhibition object. These curves were connected in Maya, creating a Birail 3plus surface. By creating several iterations of forces influencing the surface, different degrees of articulations of the final element were created which lead to the resulting object. The entire object can be seen as a tentative playground for scaleless architecture. The consequence being

62 a deformation field for projects. Take for example the idea of placing a long project on the gradient scale: the result is a deformed object that becomes smaller, the bigger the scale is. Depending on where you place the object, the deformation varies. Analyzing the qualities of this continuous surface results in an impetus for the development of spatial ideas, no matter which scale, from urbanistic challenges to surface details.(65) “Every production needs clarity to make sure our geometries are clear, to facilitate fabrication”, explains Matias del Campo.(66) He has been trying out almost any fabrication method, and advises for architects to start with these issues from a smaller scale. According to his experience, many progressive architects worldwide are experimenting with these problems in a smaller scale, mostly in interior designs. Soon, when the fabrication technologies will develop a little more, the scale will increase and those who practiced before will be ready for something bigger. Matias del Campo has got an experience on fabrication issues in making modular exposition stands, called “huge pods”. This was done for an exposition of Austrian winery boom in Vienna. He tells: “It was a liquid exploration, just and idea to make huge modular pods for exposition purposes. It was a way how to make profit out of architecture in smaller forms.”(67) The production process consisted of milling the necessary parts in negative from the foam, then casting that into a strong material to obtain the vacuum casting form, later this was reproduced 36 times from a heated plastic in a vacuum-forming machine by sucking the air out and sucking the plastic on the entire form. It is notable here that Matias del Campo explored in milling surface finishing operations to find the right corrugation level in a range from very rough to very fine. To ensure more strength, he chose the rough articulation for the opal lower part. The upper part was made from a transparent fine material. Recently, in June 2008, SPAN announced(68) that they have won the competition project for Brancusi museum right next to Pompidou center in Paris, where currently is a big empty plaza. The main motif of seamless space and constrictions does not only circumference the actual museum building, but expands into the plaza to stress

Arquitectura del Florinación

Vacuum casting form, cast in a strong material from milled soft foam's negative-mold. (Photo: Matias del Campo)

Vacuum-forming machinery. (Photo: Matias del Campo)

The opal vacuum-formed bottom part of the modular exposition pod features every detail that has been milled initially. (Photo: Matias del Campo) 65 See in DEL CAMPO, Matias, Random Files 2005 – 2007, SPAN, Wien, 2007, pp. 48–50. 66 As said by Matias del Campo in lecture on February 21, 2008 at UIC ESARQ. 67 Idem. 68 The announcement was made in Matias del Campo and Sandra Manninger SPAN web-blog at span.vox.com, information retrieved on September 9, 2008.

Arquitectura Aberrante

Birds-eye rendering of the Brancusi museum competition project. (Image: Matias del Campo)

a continuous evolution from the present pattern of the plaza into the topological surface of the Brancusi museum. Furthermore, the interior of the museum evolves into a complex topological surface, providing the programmatic and morphological qualities of the new museum. The issue of topology, the issue of seamless continuous space which can be read as a constant presence in Brancusi's work, yields opportunities and possibilities not only for uninterrupted continuous spaces but simultaneously creates an environment of dialog between the envelope, the building, and the volumes of the exhibited sculptures. The main quality of the site's topography is the slanted hardscape, descending into the Centre Pompidou's direction, resulting in a wedge shaped step exactly on the premises of the Brancusi Museum's site. This given height difference was used as a main design aspect for the museum. Instead of stressing the difference between hardscape and Museum-building, the museum is embedded into the hardscape, forming a seamless connection between the two levels of the site.

Flower shop on La Rambla

Street virtuoso frightening people and earning for his living on La Rambla. (Photo: Arne Riekstins)

La Rambla has been the busiest street in Barcelona for pedestrians for various centuries. It starts from Plaça Catalunya and goes down till the statue of Columbus at the yacht port. Originally, La Rambla was a stream running along the city walls. In 18th century walls were demolished and a promenade constructed. It used to be famous place to show oneself in society. The fame has remained until nowadays and it is still being place for going out for a walk, see various street artists and virtuoso comics in action, buy a pet or... buy some flowers. Being densely overcrowded with people and featuring varying width, the sides of central passageway may feature only small, kiosk-like boutique structures. The task of this studio was to design a small flower shop, inspired from author's own chosen flower. The task is to follow own idea obsessively and try to understand how to make that into architectural idea. Initial step – proof of concept involved to make a small presentation in a “Mood-board” format: explaining five to six main inspiration sources for the expected design process.

64 Firstly, author's expected design process was inspired by various orchids or Orchidaceae, which according to Royal Botanical Gardens of Kew are nearly 22000 accepted species, but the exact number is unknown because of taxonomy disputes(69). Author chose to work with an orchid bought in a small flower shop in Grácia, Barcelona. Later this orchid was explicitly studied to understand its composition and sections. Second inspiration source was Art Nouveau style in architecture, which peaked in popularity at the beginning of the 20th century and is characterized by highly-stylized, flowing, curvilinear designs often incorporating floral and other plant-inspired motifs. Art Nouveau was a movement that inspired many artists and designers and later progressed onto the De Stijl movement and the German Bauhaus school. According to Wikipedia: “More localized terms for the phenomenon of self-consciously radical, somewhat reformist mannered chic that formed a prelude to 20th century modernism include Jugendstil in Germany, Moda Polska in Poland, Skønvirke in Denmark, and Sezessionsstil in Vienna, Austria, where forward-looking artists and designers seceded from the mainstream salon exhibitions to exhibit on their own work in more congenial surroundings. In Spain, the movement was centered in Barcelona and was known as Modernisme. Architect Antoni Gaudí was the most noteworthy practitioner.”(70) The biggest concentration of Art Nouveau is in Riga, the capital of Latvia, and due to that the city is often referred to “The Europe's Capital of Art Nouveau”.(71) Riga is home for the local expression of Art Nouveau - Latvian Romanticism(72). Riga is home for over 800 Art Nouveau buildings, and more can be found in neighboring cities and around province. Third inspiration source for this studio was architecture of Antoni Gaudí and as the most impressive reference – his Casa Batlló with the rostrum that has very beautiful, natural forms(73). Especially the columns – they remind thin bones or even stems of the flowers. Fourth – Austrian Vienna Secession movement's artist Gustav Klimt, who widely used beautiful and colorful ornaments, often in pure golden color.

Arquitectura del Florinación

Detail of an Art Nouveau building in Riga, Kr. Valdemara street. As a renowned specialist of Art Nouveau, Dr. habil. arch., prof. Janis Krastins tells: “Riga has the most erotic Art Nouveau in Europe.” This can be explained due to architects venture in Latvia to depict in buildings almost everything what rich and bold clients ordered and paid for. (Photo: Arne Riekstins)

69 I n f o r m a t i o n f r o m W i k i p e d i a : en.wikipedia.org/wiki/Orchid, information retrieved on February 19, 2008. 70 I n f o r m a t i o n f r o m W i k i p e d i a : en.wikipedia.org/wiki/Art_Nouveau, information retrieved on February 19, 2008. 71 As mentioned in almost any tourism booklet about Riga city, author's comment. 72 Latvian Romanticism is related to National Romanticism movement, mostly developed in Nordic countries at the beginning of 20th century, and it can be spotted as Kansallisromantiikka in Finland, Rahvusromantika in Estonia etc. Also in Northern part of Russia, especially in and around St. Petersburg, the Art Nouveau is referred to Stilj Modern, author's comment. 73 See second photo in Chapter I, on page 19 of this thesis.

Arquitectura Aberrante

Islam ornament featuring flower motif in a decoration at Bahia Palace in Marrakech, Morocco. (Photo: Arne Riekstins)

Orchid bloom that author used for studies in search for flower features. (Photo: Arne Riekstins)

Same orchid as seen from the left side, revealing the beautiful curvature of its labellum. (Photo: Arne Riekstins)

74 SUMMERSON, John, Heavenly Mansions, W. W. Norton, New York, 1963, p. 217. 75 I n f o r m a t i o n f r o m W i k i p e d i a : en.wikipedia.org/wiki/Motif, information retrieved on February 19, 2008. 76 See scanned images on pages 58–59 in this thesis. 77 As said by Matias del Campo in lecture on February 18, 2008 at UIC ESARQ.

65 Fifth, looking into ornaments. In architecture, ornament is a decorative detail used to embellish parts of a building or interior furnishing. A wide variety of decorative styles and motifs have been developed for architecture and the applied arts, including ceramics, furniture, metalwork and textiles. In a 1941 essay(74), the architectural historian Sir John Summerson called it “surface modulation”. He also states, that decoration and ornament has been evident in civilizations since the beginning of recorded history, ranging from Ancient Egyptian architecture to the apparent lack of ornament of the 20th century Modernist architecture. Sixth and also the last inspiration source is motif. In art, it refers to a repeated idea, pattern, image or theme. Many designs in mosques in Islam culture are motifs, especially those of flowers. Motifs may have iconographic significance within a work of art.(75) After the “mood-board” the next steps were to photo-document and scan explicitly an orchid, obtained for this studio from a flower shop in Grácia, Barcelona. By photographing this orchid from various sides with a very narrow depth of field at aperture opening of F 1.4, author could see separately the front, middle and behind accentuations of orchid's labellum edges with beautiful and original curvatures. The close-up photos revealed also clear detailing of petal coloring, veining, manifolds, plications etc. By scanning this orchid in sections(76), author revealed the detailed curvature of orchid's labellum (lateral sections), and the section of the stem (longitudinal section). Author planned to recreate these conditions later in the project design phase. Now started the modeling phase, or the jump from analogue to the digital world. How to get the features of flowers into computer? One of the first tasks was to understand the principles of working in TopMod and afterwards in Maya. According to Matias del Campo: “Maya is a standard tool in advanced architecture.”(77) TopMod is basically a topological mesh modeling software. Topology itself is a branch that derives from geometry and mathematics. The important part here is to deform a surface into specific form without tearing or cutting it apart. Topology is the mathematical expression that deals with these issues. What does it mean for us?

66 Instead of cutting holes we will make them with topography. TopMod works with mathematically one single surface, which is being plied and bent. According to Matias del Campo, 10–15 years ago architecture was only algebra. Now we can use calculus that relies on soft surfaces and various other approaches. There is a concept of repetitive change in architecture. There is general change in understanding mathematics, it is influencing economics, art and other understandings, and it causes also changes in architecture. By now we are shifting into an age of calculus – enabling continuity, differentiation and incremental change. TopMod is very powerful to do this sort of ideas. For this studio we need to have a perfect object.(78) First architectonic test entity was a design for a simple geometrical object, similar to a croissant due to its multi-layered creating recipe. In fact, author constructed it out of 4 different objects, which were all made from the same initial geometry. Each object is placed in a separate layer, featuring different materials and TopMod reprocessing. It is derived from a tetrahedron, extruding two of its side faces in various lengths under angles that make it narrower to the both ends. Saving the initial geometry before any further post-processing is very important, as well as to keep written track of every procedure done afterwards. As the application is somehow limited with undo functions and does not feature auto saving, it is wise to keep track of everything – just in case the work collapses and you would need to do the work again, repeating same steps. Each of four objects features various remeshing schemes, meaning that they obtain different geometry for subdivision of edge, which afterwards in post-processing may create nice openings or special curvatures and surfaces. Such topological differentiation is the exact way to recreate the floral conditions. TopMod features various edge extrusions, enabling to construct almost any difficulty of form. It also features in its remeshing operations – 17 conversion schemes, 12 preservation schemes and 6 miscellaneous schemes. The postprocessing includes high-genus modeling that can create different wireframe, hole, handle and thickness features.

Arquitectura del Florinación

First architectonic test entity in modeling view. (Image: Arne Riekstins)

Interior view of the test entity revealing some flower motif features. (Image: Arne Riekstins)

78 Idem.

Arquitectura Aberrante

Architectonic test entity â&#x20AC;&#x201C; croissant. Object has obtained a great level of tessellation and therefore it appears to be very smooth. Using three point cinema lighting enables to see every detail of the design, while reflections underline the bloom-like curvatures. (Image: Arne Riekstins)

68 What is important to recreating flowers – even after post-processing it is possible to make basic modifications to the form, like adding extra volume to some important edges, thus mimicking more thickness that is often found in leaves, petals etc. Then the objects are brought into Maya, where one to three steps of smoothing is being performed, to ensure the geometries get being remeshed more and therefore they also obtain higher tessellation, e.g. they become softer. The step involving rendering is probably the most time-consuming process, but once the setting-up is under control, it may be reused later in connection to other designs. Matias del Campo advises on using 3-point cinema lighting.(79) With this he means utilizing two or more attenuate point lights to the left and to the right of an object, supplementing with a stronger point light, directed from the view of rendering camera. The choice of materials and their reflectivity settings plays an important role as well. Next, author designed the first architectonic entity prototype for the flower shop. This design was put aside due to too complex detailing in such an early design stage, and author designed another, more conceptual design. As an academic approach this complex design will be reviewed here and the final – which was developed and improved throughout the last design phase in the curriculum of this studio – comes right after the next paragraph. For the starting point for the flower shops design, author chose a dodecahedron. It was slightly modified to obtain pavilion-like features, by extruding support columns in the bottom part of the initial geometry and by adding small extensions on the upper roof part. Complex remeshing was experimented until author found a perfect way to recreate flowering orchid with its five-petal design. Author found the main design property motif – florination, when many blossoms flower at the same time, forming a bundle of repeating flowering at once. Then, another important feature was implemented – framing, which could serve as a constructional frame (this feature was also dismissed in the final design). One more layer imitated a soap bubble that stretched in one piece all around every detail of the pavilion.

Arquitectura del Florinación

A modified dodecahedron that served as the main topology for the prototype studies of the flower shop. Author used the same object to obtain all different levels of detailing: florination, framing, outer envelope etc. (Image: Arne Riekstins)

Interior view of the flower shop pavilion. Five petal flower motif continues throughout the interior and exterior. (Image: Arne Riekstins)

79 Ibidem., on February 20, 2008 at UIC ESARQ.

Arquitectura Aberrante

Birds-eye rendering of the first architectonic entity prototype for the flower shop. Like in the real flowers, bright color should attract bees, except this time the roles have been changed vice versa. Mental Ray, a rendering engine developed for Hollywood, provides very photo-realistic feeling. (Image: Arne Riekstins)

70 That could be produced out of coated glass to protect the flowers that would be set in the shelves. Another great success of this design featured great openness and the presence of the definition â&#x20AC;&#x153;interiority equals exteriorityâ&#x20AC;?. The flower motif could comprise opal matte light panels, which could change the coloration during the day and throughout the seasons, mimicking the similar behavior found in some flowers and plants. The rendering engine in Maya for this first flower shop entity was changed from Maya default render to Mental Ray, a rendering engine developed for Hollywood. It features higher controllability of lights and materials, and, while default rendering engine illuminates objects, Mental Ray can reflect the light back and generally renders more photo-realistic images. Final design for the flower shop was also with the initial geometry of dodecahedron, only this time author left the overall object's shape less developed in extra features. The basic geometry is lightly squeezed to make it suitable for a kiosk sized shape with an area of around 100 sq. m. Continuing from the previous architectural entity, the final design task was to improve the object's overall stability with as little means as possible. The remeshing experiments lead to a final geometry exoskeleton shell with as little form as possible, consisting only from blooms that hold each other together by petals, sometimes sharing a common petal. The curvature of the bloom enabled structural integrity features, providing a fine frame and very good transparency to provide necessary lighting and visibility. The main objective of the motif was to repeat the same orchids bloom all around, forming at the same time walls, roof and floor. The effect was similar to an image in kaleidoscope, only in this case it was being formed three-dimensionally. At first, the flower shop was placed on the ground without any extra supporting structure. As the time went on, author searched for several improvements to connect the object to the ground. To make everything more complex, author invented winding stairs, which were evolved from the same topological one-surface object. A vertical beam lifted the lightweight construction up from the ground by 5,5 meters, forming wide steps. The stairway featured visual-biomimetics.

Arquitectura del FlorinaciĂłn

The topological object of dodecahedron used for the final design of the flower shop. (Image: Arne Riekstins)

Flower shop set directly on the ground without any supporting structure. (Image: Arne Riekstins)

Design of an elevated flower shop. (Image: Arne Riekstins)

Detail of the winding stairs that lead to the entrance of the flower shop. (Image: Arne Riekstins)

Arquitectura Aberrante

Flower shop without the external transparent shell, set on light filament tubes. (Image: Arne Riekstins)

An empty interior revealing the florination of the orchids. (Image: Arne Riekstins)

Final design of the flower shop with all modular extra features, including the simple and clean design of the support and the entrance â&#x20AC;&#x201C; a bloom that is unfolded towards the street level, welcoming in the clients. (Image: Arne Riekstins)

Top view of the final design. (Image: Arne Riekstins)

71 Main element of stairs â&#x20AC;&#x201C; spiral, was also an adaptation of flower growth, featuring cantilevered petals or leafs as the steps. This stage of the design still featured another external material layer, same as in the first test entity of the flower shop. This material was supposed to be made from glass or a similar composite, to ensure extra protection and some constructional features. At a later stage author decided to abandon the stairs totally, elevating the object down, closer to the street level in a search for a better connection to the ground. In this way the external transparent material became obsolete, and the complexity was reduced to provide the flower shop's attractiveness with its original simplicity. The research for support was still going on. Second option included to support the flower shop on light filaments, making these geometries by a MEL (Maya Embedded Language) script. This script enables random thickness tube production where all the tubes run through previously defined control points. These were understood as filaments that would be strong enough to hold the weight of the flower shop's shell and the extra loads, like people, goods and some storage. The transparent filaments could contain light cables with a numeric control of coloration. At this stage it was time to work on interiority and inside part of the flower shop. The studio curriculum defined some features that the flower shop should include. The main issue was to see the possibilities of engaging material and technology, also an excellent obsession with the beauty of the flowers. As everything needed to be developed from the same initial dodecahedron, it was hard task to develop something which would supplement the design and provide necessary features. At first, author developed a stable floor inside the inclining shell of blossoms. It featured horizontal floor membrane that needed to provide partial transparency, durability and functionality. This element, the same way as all other details should be as light as possible and it should be possible to fabricate it with the latest possibilities of advanced materials, like composites. The interior was almost complete, except it was considered as too open and unprotected from weather.

72 Author tried various solutions, where only one of them would fit with the existing design – to use same material as floor element and to keep the principle of modularity allowing easy stacking. These components were formed as full blossoms, hanged inside of the external envelope structure. At this point author found the last design for the support. To keep it simple, author repeated the evolution of support elements in the same procedure as the design of the roof blossoms. It was one design, made in a clean way. As the principle was controllable, the last element – small storage space was developed. Due to original inside edge of the dodecahedron it became very similar to the soft lip-sofa, designed by Salvador Dalí. The clear path of the design had become to an end, through many tests, featuring design successes and failures. Differentiation was kept to minimum, providing full conformity with the expected design. In these studies, like in the bionics, author created by nature's example new things and combinations, which in reality do not exist in nature. For the final presentation, author prepared façades, sections and plans of this organically and naturally-shaped flower shop in distinctly clear, traditional architectural graphics. The weight of lines, and also the use of a human figure are classic understandings of international architecture representation. Even though the three-dimensional renderings and photomontage images show the object necessarily well, traditional drawings in a way “ensure” its belonging to the latest contemporary architecture, and they facilitate the dialogue with engineers, contractors and fabricators. In this studio the solutions for the flower shop were actually unlimited, due to the earlier mentioned philosopher's Gilles Deleuze's explanation on forms emerging in the process of reaching a solution (see page 59). If the starting point would be any other flower or any other initial geometry in topological modeling software, the outcome would be by very different. This flower shop's design was chosen by Matias del Campo to be the one to be CAM (Computer Aided Manufacturing) fabricated on the university's 3-axis CNC milling machine. The idea was to take out the most expressive feature detail, which could describe the project's originality and design solution with an idea

Arquitectura del Florinación

The most expressive feature detail of the flower shop – two orchid blooms that share a common petal. Modeling view in Rhinoceros of the detail, set on a base with dimensions of 600x600mm. (Image: Arne Riekstins)

Milling of the first procedure – horizontal roughing. Most of the excess material has been extracted away by increments of 20mm at a time. (Photo: Arne Riekstins)

Arquitectura Aberrante

Finished model in scale 1:10. (Photo: Arne Riekstins)

Detail of the finished model revealing corrugated edges â&#x20AC;&#x201C; the result of applying only one parallel finishing under 45 degrees angle. (Photo: Arne Riekstins)

73 to show its constructive stability. For this purpose, the architectural scale to do this was 1:10 and the millable piece to be done from a strong foam (which can be used, for example, to fabricate surf-boards) in dimensions 600x600x100mm. As the object had been designed in Maya, it needed to be converted into Rhinoceros format, due to the CNC machine's compatibility with its control software ToolPath, which can read milling path data derived and prepared in RhinoCAM application. The detail was taken from the roof part of the flower shop, where two flowers were sharing one common petal, and in this way they hold together ensuring constructional stability. For the model, it needed to be rotated so that it would fit in the given margins of the stock (millable foam's maximum external borders). Firstly, it shouldn't touch neither top nor bottom of the foam piece, because at the top it would not be possible to extract the material and at the bottom it would not keep together with its support base. The base elevation of the object was left at around 10mm from bottom to ensure that the milled piece would not fall apart. As the milling was planned to be done on a base, the two flower details were used to copy their three-dimensional inclination and loft a uniform wavy base, so that the flowers would be notably elevated only by their thickness from the base. 3-axis milling is therefore a limitation, because it can not reach behind the millable material, which is limited in its 3-axis working zone: x, y and z axis, and the milling work is being done from above. This involves some thinking or a kind of action plan how to proceed with the milling. To do the model in reasonable time constraints, the RhinoCAM milling strategy needed to be programmed to the optimum. To get the necessary visual result without the highest precision, it was decided to do only 2 procedures. Firstly, approach the detail by extracting most of the unnecessary foam away with a 10mm tool used for the horizontal roughing in incremental steps by 20mm at a time. Secondly, do only 1 procedure of parallel finishing under 45 degrees angle with a 6mm ball-tool. The second finishing left the final model corrugated, still showing the main treats of the design. The machining time spent for both procedures was around 2:30 hours, including the time to set up the machine and change the usable tools.

Arquitectura del Florinaci贸n

74 Side Fa莽ade

External core

Entrance Central table

B-B

Storage space

Stairs

Plan View A-A

B-B

A-A

Section A-A

Arquitectura Aberrante

75 Front FaĂ§ade

Composition Diagram

Roof as blossoms

Storage as sofa of DalĂ External core as orchid florination

Stairs as petals Floor membrane

Support structure as blossoms

Section B-B

Arquitectura del Florinaci贸n

As on every Friday's night, I go out for a walk to La Rambla for buying flowers in my favorite flower shop. Its final geometry exoskeleton shell is made with as little form as possible, consisting only from blooms that hold each other together by petals, sometimes sharing a common petal. The complexity is reduced to provide the flower shop's attractiveness with its original simplicity. (Image and original photo: Arne Riekstins)

Arquitectura Aberrante

Arquitectura del Florinación

Lesson of botany (conclusions)

This studio was looking for performative surfaces. Flowers are good source for the first inspiration, but with such strategies we can go more far.(80) The basic approach used for developing a curriculum was to explicitly study one nature's source of inspiration, including its structure, topology, features and beauty amongst other things. Author learnt important issues of interpretability from nature which can be done by copying in a direct way or using some principles, for example, the logic of tectonics in nature's structure. Very important issue in the nature is the use of minimum materials or “economy of form”. Biomimetic principles can be used for a wide field of design solutions, reaching from product developments to urbanistic tasks. The principle of multiple scale factors is just one possible way to work. Author also found to be very powerful the way of developing whole series of entities for finding the most useful and practical solution. The way to keep on working with the development of one design in a multiple ways can produce really complete result. The way to work with strategies explained in this chapter and their workflow gives a feeling of creating new architecture in a way which expresses profound emergence features, similarly like it happens in nature. The topological issue is no less important due to the fact that multiple design elements can be obtained from the same starting geometry, facilitating also the creativity. Right here it is worth mentioning that experimenting with digital production in a smaller scale can help to avoid mistakes in bigger architectonical scales. Author understood what is meant by cleanliness of topological surfaces for the object to be producable in digital manufacturing – the geometry of objects has to be immaculate. To sum up, author emphasizes that it is a good way of representing complex digital architecture in traditional graphical means (traditional façades, sections and plans), facilitating visual contact and understandability among society, clients, engineers, contractors and fabricators. 80 As said by Matias del Campo in lecture on February 21, 2008 at UIC ESARQ.

Arquitectura Aberrante

CapĂtulo IV

Todo es Algoritmo (All is Algorithm)

Todo es Algoritmo

Reconceptualizing architecture

(intro) The approach for this studio is more theoretical, this course is more with philosophical approach. According to Karl Chu: “The term “architecture” has been formed by coupling two Greek terms: arche and techne. Arche or archetype in the first principles meaning in the Greek cosmology is the laws of universe, cosmos (a very philosophical meaning). In scientific laws the same means: code, algorithm. Techne is to build, building, and builder. From Sanskrit, India, it derives from a word tekma – working with wood, or tekne – technology, kind of an art or craft. According to Webster's English dictionary the combination of these two words is the art of making architecture. For us, if you understand these terms, it opens up a lot of possibilities, and architecture can be expanded.”(81) The theoretical task for this intense studio was to try to expand the definition of architecture, and also transform it. As we have in our time the power to use computation, in genetics – bio-computation etc., discipline of architecture has evolved and it is transforming its concept. Due to this reason we have to reconceptualize what is architecture. The second, design phase of the studio was to work on simple genetic system, or to conceptualize what is genetic architecture on the beginning of the 3rd millennium. “We have exhausted what we have been doing. We are moving into different kind of space, into new way of looking what is architecture. In general, architecture is the construction of possible worlds. What we will get in 10 or 12 days is to open up what architecture is. Whether we will pursue and expand it or not. We are living in a space of an ontological capsule. And this capsule is cracking open right now.”(82) The design phase included several tasks to get acquainted with the vast possibilities that we have never utilized before. Given the chance to design like never before, the task was to obtain an insight to other possibilities, rooted in strong and fundamental principles of metaphysics, cosmology and proven theories of computation. Research in these fields is ongoing for years, lead by scientists renowned worldwide.

81 As said by Karl Chu in lecture on February 29, 2008 at UIC ESARQ. 82 Idem.

Arquitectura Aberrante

The newest what's out there

83 Ibidem., on March 10, 2008 at UIC ESARQ. 84 Statement by William Gibson. 85 These ideas are expressed in a book by LATOUR, Bruno, We have never been modern, Harvard University Press, Cambridge, Massachusetts, 1993, 168 p. 86 WOLFRAM, Stephen, A new kind of science, Wolfram media, Champaign, Illinois, 2002, 1192 p. In this book author mainly explores one by one the 256 sets of rules of one dimension Cellular Automata, the tiniest genetic system, author's comment. 87 A movie by WACHOWSKI, Larry and Andy, The Matrix, Warner Bros. Studios and Village Roadshow Pictures, 1999.

For us it is highly advisable to get our own position of what is architecture, says Karl Chu. Architecture always incorporates the newest what's out there. By the emergence of computation and biology, architecture is catching up the latest. This will help us to find our own place, position in the world. Architecture lies in the possible life construction. We need to redefine architecture, reconceptualize it so your own work will define what you are. We have to construct the vision, try making different new architectural species, all equally different. And not following the magazines and mirroring everyone else, like it is mostly happening in our culture. What about dreaming on something what nobody has ever talked about before? Otherwise you will be repeating different variations of Koolhaas, etc. World is extremely confusing and you can get lost.(83) “The future is here, it is not widely distributed yet.”(84) French philosopher Bruno Latour has been researching the ways in which modernity has influenced our culture and our vision of ourselves and nature. Modernity is characterized by a strong and clear dichotomy between man and nature, between what is made and what is born. And modern architecture came to a purification between human and non-human nature. Alongside this purifying practice that defines modernity, there exists another seemingly contrary one: the construction of systems that mix politics, science, technology and nature. Latour suggests that we should rethink the definition and constitution of modernity itself.(85) Today, the boundary between human and nonhuman is more than ever not clear, it is not possible anymore to clearly establish naturality or artificiality of things. For instance, today computers are external devices, but we already have computers at atomic level. This means that in the future we will incorporate computers into ourselves and as Stephen Wolfram says(86) – and as it has been shown in science fiction movie “The Matrix”(87) – we may download software into our brain. We may even incorporate nano-scale computers in our bodies and take pills like aspirin, and compute within ourselves. This raises profound philosophical questions.

82 Computers are transforming the nature of humanity. What is a human? Who are we? We may be multiple at the same time, like intrinsically schizophrenic. All these ideas are not new. Forty years old movie “2001: a space odyssey”(88) has demonstrated us already back in 1968 ideas of: traveling in space and time, hibernation, video telephoning, digital broadcasting of news and messages, voice commands, television screens that are built-in in every plane seat and coffee tables, computerized recognition of speech from the lips, artificial intelligence. How many of these fictional ideas are reality today? How much time it usually takes for an invention to become reality? The most dramatic part of this movie was that the pre-programmed computer with artificial intelligence became wiser and took over the control of a space ship. We now have computers and bio-systems, and these two fields – computation and genetics are at the beginning of being converged, becoming together. The ambitions of computation are to develop and join artificial life with artificial intelligence. Soon we will have new things. DNA is a software program in our body. Technology of construction in DNA computing is different. We are entering the new regime of possibilities. We are already constructing new virtual realities, the notion of architecture is being changed. In this sense it is not possible anymore to define architecture in a traditional way, the way that, for example, Mies Van der Rohe defined it, as “the art of putting two bricks together”. In the new paradigm we may say already that architecture is “the art of putting two bits together”. Like it used to be before, man was a measure of all things, while in the new conception of genetic architecture man is not anymore the centre of the whole universe. He is rather one of the creatures of a populated jungle, where other species coexist at the same time in symbiogenetic ecology. Things that happen in laboratories are amazing, some are even grotesque (for example, growing little jackets for a mouse). But these little things are pointing at the future. Embodiment of robotic abstract systems could be in the form of machines or virtual, all for constructing possible worlds. We are at the beginning of this.(89) Virtual reality is also a form of reality, and it is overwhelming the internet.

Todo es Algoritmo

Dave, the main character of a science fiction movie “2001: a space odyssey”, disconnecting memory and logic terminal of an artificial intelligence computer. (Image: from a movie by KUBRICK, Stanley, 2001: a space odyssey, MGM, 1968)

Ocean Reef project in the virtual community “Second Life”. (Image: from www.flickr.com/ /photos/tealthea/2833512507/in/poolsl_architecture/, retrieved on October 30, 2008)

88 A movie by KUBRICK, Stanley, 2001: a space odyssey, MGM, 1968. 89 As said by Karl Chu in lecture on February 29, 2008 at UIC ESARQ.

Arquitectura Aberrante

Author tested with two portrait images what comes out from him as a “Simpsonized” avatar. (Photos: Kristina Riekstina; images: generated in web page simpsonizeme.com using these photos) 90 In Spanish: “Searching for a real architect, specialized in virtual architecture, with a real title of university, for engaging with real estate in the virtual world, with real economical retribution, from a virtual community in Internet” as shown in the presentation of lecture “Arquitectura en las comunidades virtuales” by Alberto T. Estévez on March 12, 2008 at conference “III Jornadas Internacionales Arte y Arquitectura Digital, NET.ART y Universos Virtuales” held in the Faculty of Geography and History in the University of Barcelona. 91 More about architecture that is “built” in the virtual society “Second Life”, can be seen in a book by DOESINGER, Stephan, Space Between People, Prestel, USA, 2008, 176 p. In the book's final section, media artists share their real-time experiences conceptualizing and creating projects for the virtual world, author's comment. 92 From the back cover of a book, written by MORE, Thomas, Utopia, Penguin Classics, London, 2003, 176 p.

83 Advertisment: “Se busca arquitecto real, especializado en arquitectura virtual, con titulo universitario real, para emprendimiento immobiliario en el mundo virtual, con retribución económica real, desde una comunidad virtual de Internet.”(90) This shows that even being from a real world, you may live another, second life in the internet. Exactly the name “Second Life”(91) is given to the biggest internet society where people live and spend their lives in the World Wide Web. Once registering to the society, you have to make yourself an avatar – a kind of visual “nickname”. This is up to the person, whether make an avatar with a maximum similarity or something different or better, more beautiful etc. Internet is full of various avatar generating processors. As soon as the initial step is done, whole new world opens. In fact it is a parallel universe. Simplest way of spending your second life is to be in the chat spaces, which now are no more pure text, but include virtual architectural rooms, houses, quarters, even cities. If architecture is the construction of space between people, what happens when that space exists in a virtual world? The architectural possibilities are great – here everything that can be drawn in threedimensions is being accepted. New generation of designers are drawing revolutionary projects. The technology has reshaped our idea of place. People build their houses there, buy small services and simply socialize. Some people may never “come out” from internet due to this kind of possibilities. Now, when digital banking and food ordering over the internet is available, it is not even necessary to go out from home... And the financial side can be solved in the virtual communities as well – the demand for digital artists and architects to design something for these growing systems is out there. In such environments it is still real to meet real people and there are cases when some of such relations lead to marriage. Will these couples live real or virtual life afterwards – is an open issue. The concept of science fiction is coming back in architecture, mixed with ideas of utopia – attempt to build better possible future. “At present very few people know about this island, but everyone should want to, for it's like Plato's Republic, only better.”(92) – With these words is described a book, written by Thomas More.

84 In Utopia, More paints a vision of the customs and practices of a distant island, but Utopia means “no place” and his narrator's name, Hythlodaeus, translates as “dispenser of nonsense”. This fantastical tale masks what is a serious and subversive analysis of the failings of More's society. Advocating instead a world in which there is religious tolerance, provision for the aged and state ownership of land, book Utopia has been variously claimed as a Catholic tract or an argument for communism, and it still invites each generation to make its own interpretation.(93) Inspired by the book “Utopia”, a remarkable project of “Utopia City” is made by a Canadian Latvian, Guntis Tannis. He is the first pilot, and being a pilot and traveling around, seeing all kind of things, he has brought these ideas together and they should be like a huge city – city of the future with a name “Utopia City”. He has been working on this idea since eighties, and his design is about building “the city of the world”, situated next to Ontario. In this city there would be featured all religion centers, everybody would respect each other. In the middle there would be the cornerstone of piece. Here will be the world's biggest building – a skyscraper with a height of 1800 meters and featuring different functions. The life would be peaceful, people could go to casino, play cards etc. For earning money for himself and for the design of the project, Guntis Tannis has invented a device “gravitor” – engine of the future (design is patented), that is a perpetual motion device to produce energy using the power of gravity. At the moment it is a secret.(94) The “Utopia City” project exists, but it may take years for something like that to become reality. Meanwhile, Steven Wolfram has come up to a theory that universe is a form of computation.(95) It may sound too much, but we have to accept it as one of the imagined paradigms. Karl Chu says we should be very aware of it, because Wolfram is very important person and his researched one dimension Cellular Automata, the tiniest genetic system, has a lot to do with his own research work. In Cellular Automata there are 256 tools, sets of rules. Every one of these sets generates a possible world. Steven Wolfram thinks that rule #110 is capable to generate complex outcome and like the code of universe is very

Todo es Algoritmo

Utopia – a distant island. (Image: from a book by MORE, Thomas, Utopia, Penguin Classics, London, 2003, front cover)

93 Idem. 94 From a documentary movie by EPNERS, Ansis, Es esmu latvietis (I am Latvian), Riga Film Studio, 1991. 95 WOLFRAM, Stephen, A new kind of science, Wolfram media, Champaign, Illinois, 2002, 1192 p.

Arquitectura Aberrante

Tamagotchi – an example of simple digital life form. (Photo: from www.flickr.com/photos/ /31273671@N06/2940960739/, retrieved on September 25, 2008)

96 As said by Karl Chu in lecture on February 29, 2008 at UIC ESARQ. 97 Synthesis of a book, written by LLOYD, Seth, Programming the Universe: A Quantum Computer Scientist Takes on the Cosmos, Vintage, London, 2007, 256 p.

85 simple, nonetheless this rule can develop whole universe. That is scandalous! What if we imagine that these systems are developing autonomously?(96) When we look at viruses – they are self-replicating, capable to evolve and mutate. Same happens to well programmed viruses that can be run against in the internet. How do we define life? What counts as a life – living species? If we accept computer viruses and Cellular Automata as a primitive form of artificial life, then the toy “Tamagotchi” that first appeared in 1997 is definitely a form of digital life. It may be born, it needs care, attention, sleep, and at some point it may die. Depending on various care given to it at different stages of its age (which is counted in days), it is algorithmically programmed to become more or less healthy character (both visually and by its lifespan). Steven Wolfram is not the only one to tell that universe is a form of computation, as mentioned before. A professor from MIT (Massachusetts Institute of Technology), Seth Lloyd has written a book “Programming the Universe”. He works in the vanguard of research in quantum computing: using the quantum mechanical properties of atoms as a computer. He contends that the universe itself is one big quantum computer producing what we see around us, and ourselves, as it runs a cosmic program. According to Lloyd, once we understand the laws of physics completely, we will be able to use small-scale quantum computing to understand the universe completely as well. In his scenario, the universe is processing information. The second law of thermodynamics (disorder increases) is all about information, and Lloyd spends much of the book explaining how quantum processes convey information. The creation of the universe itself involved information processing: random fluctuations in the quantum foam, like a random number generator in a computer program, produced higher-density areas, then matter, stars, galaxies and life. Lloyd's hypothesis bears important implications for the very actual evolution-versusintelligent design debate, since he argues that divine intervention isn't necessary to produce complexity and life.(97) Karl Chu thinks that architecture on one hand is more or less incontinent with these approaches: “We can develop by programming the universe and

86 transforming the universe by computational processes... Everything is software, thus tasting strange in my mind. Universe deserves genetic system. How big was universe before the “big bang”? Physics has been so far dealing with energy and matter, excluding information. From now on, it is also information. At the very beginning universe was only 1 bit. Now, when it is about 15 billion years old, it is still expanding, generating new stars and solar systems. Since the universe is a form of computation, Seth Lloyd has calculated that starting from the 1 bit, the universe now is in the size of 1090 bits, after 10120 calculation operations. That calculation includes all the physical energy, matter and information. In terms of generative system that value is still growing. We are part of that system, and that is quite provocative. Universe is part of the excellence. It self organizes itself and generates into emergent organisms. In that spirit architecture can make a generative system. We are trying to understand the processes to be able to do something like that. There exist ways of world making and a concept of world that has no size. It is proven that there is possible to build computers in nano-scale. Now computers are mostly human size, even if we think that we are working in C++ programming language or utilizing MEL (Maya Embedded Language) script, computer processes that in terms of zeroes and ones. DNA sequence is also zeroes and ones. As these concepts have speculative ideas, what kind of architecture would that be? What can you imagine? Can architecture be abstract living system, communicate with the environment, you and me? We are at the very beginning of computation. For the first time with the use of internet we may shrink the world. It radically transforms our communication. All the processing of information is still going on desktop computers, but gradually we are going into the next phase. The processing is about to transfer to the internet, which is becoming the processing engine. Imagine, all the computers we have are processing life, artificial life. Internet is becoming intelligent in the planet, as a “Global Brain”, planetary brain. Architecture in the age of the “Global Brain” in next 20 – 30 years could be very different. Architecture could be developing on its own, like a jungle.”(98)

Todo es Algoritmo

Fragment of MEL (Maya Embedded Language) script. Author used this script to generate filament tubes as one of the possible solutions for supporting the Flower shop in the previous studio, see first image on page 71 of this thesis. (Image: Arne Riekstins)

98 As said by Karl Chu in lecture on February 29, 2008 at UIC ESARQ.

Arquitectura Aberrante

“...It took about 42 years for internet to emerge, which is nothing in comparison to overall history. Because of that now we have globalization. People can communicate with each other. That will have profound effect on us. Next stage of the internet is the “Global Brain”. In near future, sooner than you think, internet will not be passive anymore. Artificial life forms etc. will be around. That will revolutionize the way we work. Now you may have offices around the world, they exchange information. These information systems grow like jungle – and you access them every day. And here makes up a new history. A planet is acquiring more and more intelligence. Architecture in the age of the “Global Brain” will be different. This what we do is like Picasso about what will be up there! Up there – you point to the next level of existence, possible world. At that point reversible computation will be more concrete. You will have different speeds, multiple times...” (99) (Photo: Arne Riekstins)

99 As said by Karl Chu in lecture on March 7, 2008 at UIC ESARQ.

88 Literally, we are the incarnation of DNA code, thinks Karl Chu. There is possible incarnation of code and software. We are embodiment and expression of that system.(100) It is not too far away what we say about architecture. Science fiction is either imagined or inspired from fact based ideas in physics. Karl Chu warns us: “To embody artificial intelligence is the same desire as playing God. That's going to overtake us. What if relations will change and one day machines become more intelligent?”(101) How does computation relate to architecture? We are all using computers, usually to facilitate drafting and rendering – it is an extension of a concept about a tool to construct objects of geometry and facilitate their fabrication. Computation concept was invented by Alan Mathison Turing in 1936(102) when he was searching for an abstract system, machine that is conceptually logic. He was writing a paper “On computable numbers with application of decision problem”. Decision problem is already well known in mathematics, it is about decision what is needed in every step we go through, otherwise the process is full of errors. The UTM (Universal Turing Machine) technically is comprised of linear tape which is divided into squares, where every square has a number – zero or one. This tape has no limit, it may be extended infinite. The machine has a reading and writing head, which constantly reads the squares. The software which reads it is also written on a tape, it gives a sequence how to proceed. According to Church-Turing thesis(103): “Any computer as powerful as a Turing machine can calculate anything a human can calculate, given enough time.” Another way to say that the universe is a form of computation is being expressed by physicist David Deutsch(104), who has been later generalizing the Turing principle: “There exists an abstract universal computing system whose repertoire includes any computation that any physically possible object can perform.” The latest theory of universe is that there are parallel universes, e.g. multiverses – the best explanation for certain quantum phenomena. In that case the world is not based on Universal Turing Machine. So, the world is based on quantum computation. “Our best theories are not only truer than common sense, they make more sense than

Todo es Algoritmo

100 Idem. 101 Idem. 102 I n f o r m a t i o n f r o m W i k i p e d i a : en.wikipedia.org/wiki/Alan_Turing, information retrieved on October 4, 2008. Alan Mathison Turing was a mathematician that, with his UTM (Universal Turing Machine), formulated the theoretical model of all modern computers, author's comment. 103 I n f o r m a t i o n f r o m W i k i p e d i a : en.wikipedia.org/wiki/Digital_physics, information retrieved on October 4, 2008. 104 DEUTSCH, David, The Fabric of Reality, Penguin, London, 1998, 400 p.

Arquitectura Aberrante

105 As said by Karl Chu in lecture on March 4, 2008 at UIC ESARQ. 106 Ibidem., on March 7, 2008. 107 SCHROEDINGER, Erwin, Mind and Matter, Cambridge University Press, Cambridge, 1958, 194 p.

89 common sense,” writes David Deutsch. He traces what he considers the four main strands of scientific explanation: quantum theory, evolution, computation, and the theory of knowledge. “The four of them taken together form a coherent explanatory structure that is so far-reaching, and has come to encompass so much of our understanding of the world, that in my view it may already properly be called the first Theory of Everything.” Just one astonishing consequence is that quantum computers can collaborate between universes. Quantum computation exploits quantum effects – such as superposition – to compute in ways that are faster or more efficient than, or even impossible, on classical models of computation. The classical bits are replaced by Qubits |0> and |1>, similar to classical bits when measured singularly but with the possibility of being superimposed in all possible states at a time, while classical bits can only choose one state.(105) “What is computation and what are its limits? Where is it going?” asks Karl Chu.(106) If the computation is zeroes and ones, and they are written in infinite strings and also software, assembly languages, machine languages and any other form of programs consist of continuum, without gaps, then from a metaphysical point of view we may talk about the concept of monad. It is the simplest thing – you can define monad as a physical point, then there's a problem to define what the point by mathematical definition is. The simplest thing is being (infinite) and nothing (zero). Physicist Erwin Schroedinger in his book “Mind and Matter”(107) explains about monad: “The reason why our sentient, percipient and thinking ego is met nowhere within our scientific world picture can easily be indicated in seven words: because it is itself that world picture. It is identical with the whole and therefore cannot be contained in it as part of it. But of course here we knock against the arithmetical paradox; there appears to be a great multitude of these conscious egos, the world however is only one... There are two ways out of the number paradox, both appearing rather lunatic from the point of view of present scientific thought (based on ancient Greek thought and thus thoroughly “Western”). One way out is the multiplication of the world in

90 Leibniz's fearful doctrine of monads(108): every monad to be a world in itself, no communication between them; the monad “has no windows”, it is incommunicado. That none the less they all agree with each other is called “pre-established harmony”. I think there are few to whom this suggestion appeals, nay who would consider it as a mitigation alone of the numerical antinomy. There is obviously only one alternative, namely the unification of the minds or consciousness. Their multiplicity is only apparent, in truth there is only one mind.” Karl Chu is convinced that all of aforementioned is included in architecture. It has never been before. Universe as a genetic system.(109) Returning to the creation of the universe – we can imagine our planet, before living creatures appeared on its surface, as populated by metallic particles which catalyzed reactions as they flowed through the Earth, in a sense allowing the planet to “explore” a space of possible chemical combinations, that is, allowing the planet to blindly grope its way around this space, eventually stumbling upon proto-living creatures, which as many scientists now agree, were probably autocatalytic loops of materials, that is, proto-metabolisms.(110) Ludwig Wittgenstein has made a profound proposition: “The world consists of a totality of interconnected atomic facts, and propositions make “pictures” of the world.(111) In the Bible it was said that in the beginning there was a word – the code.(112) In conclusion it may very well be said that information is the irreducible kernel from which everything else flows. Then the question why nature appears quantized is simply a consequence of the fact that information itself is quantized by necessity. It might even be fair to observe that the concept that information is fundamental is very old knowledge of humanity, witness for example the beginning of gospel according to John: “In the beginning was the Word.”(113) Scientists try still to find immortality, to prolong life. Karl Chu says: “Ancient dream of architecture is to be immortal, eternal. Also in Greek mythology there are these concepts. Doesn't matter if they are with soul or no. This concept is coming back in terms of code, algorithm.”(114)

Todo es Algoritmo

108 FREIHERR VON LEIBNIZ, Gottfried Wilhelm, Monadology, Prentice Hall College Div, 1965. 109 As said by Karl Chu in lecture on March 4, 2008 at UIC ESARQ. 110 KAUFFMAN, Stuart, The Origins of Order. SelfOrganization and Selection in Evolution, Oxford University Press, New York, 1993, chapter 3. 111 WITTGENSTEIN, Ludwig, Tractatus LogicoPhilosophicus, Routledge and Kegan Paul, London, 1921, 80 p. According to www.wikipedia.org/ /wiki/Tractatus_Logico-Philosophicus “This book was an ambitious project to identify the relationship between language and reality, and to define the limits of philosophy by articulating the conditions for a logically perfect language.” 112 As said by Karl Chu in lecture on March 4, 2008 at UIC ESARQ. 113 ZEILINGER, Anton, “Why the Quantum? It from Bit” A Participatory Universe? Three Farreaching, Visionary Questions from John Archibald Wheeler and How They Inspired a Quantum Experimentalist”, www.metanexus.net/ /ultimate_reality/zeilinger.pdf, retrieved on October 30, 2008. 114 As said by Karl Chu in lecture on February 29, 2008 at UIC ESARQ.

Arquitectura Aberrante

All is Algorithm(115)

Ludwig Wittgenstein, a famous Austrian philosopher in around 1930. (Photo: Moritz Nähr, en.wikipedia.org/wiki/Image: Wittgenstein1930.jpg, retrieved on October 30, 2008)

115 Karl Chu often uses this expression that derives from an article by CHAITIN, Gregory, “Leibniz, Information, Math and Physics”, www.cs.auckland.ac.nz/CDMTCS/chaitin/ /kirchberg.pdf, p. 9, retrieved on October 30, 2008. Although, origins of this expression come from an Austrian philosopher Ludwig Wittgenstein, who has stated that “In mathematics everything is algorithm” in a book WITTGENSTEIN, Ludwig, Philosophical Grammar, Basil Blackwell, Oxford, 1974, 496 p., author's comment. 116 WITTGENSTEIN, Ludwig, Philosophical Remarks, Basil Blackwell, Oxford, 1975, p. 149. 117 Ibidem., p. 151. 118 WITTGENSTEIN, Ludwig, Philosophical Grammar, Basil Blackwell, Oxford, 1974, p. 452. 119 Ibidem., p. 468. 120 Ibidem., p. 368.

This statement has been often related to Gregory Chaitin, but in fact, originates from another statement “In mathematics everything is algorithm”, announced by an Austrian philosopher Ludwig Wittgenstein.(115) Wittgenstein distinguishes between meaningful mathematical propositions and meaningless sinnlos expressions by stipulating that an expression is a meaningful proposition of a calculus if and only if we know of an applicable decision procedure. “Where there's no logical method for finding a solution,” states Wittgenstein, “the question doesn't make sense either”(116). “We may only put a question in mathematics (or make a conjecture),” he adds, “where the answer runs: I must work it out”(117). That an applicable decision procedure must be known is stressed where Wittgenstein says that “the question: How many solutions are there to this equation? is the holding in readiness of the general method for solving it.” Similarly, when Wittgenstein asserts that “if there is no method provided for deciding whether the proposition is true or false, then it is pointless, and that means senseless,”(118) he says that the relevant decision procedure must be “provided”. Wittgenstein emphasizes the importance of algorithmic decidability clearly and emphatically: “In mathematics everything is algorithm and nothing is meaning; even when it doesn't look like that because we seem to be using words to talk about mathematical things. Even these words are used to construct an algorithm”(119). When, therefore, Wittgenstein says that if “the law of the excluded middle is supposed not to hold, we have altered the concept of proposition”(120), he means that an expression is only a meaningful proposition if we know of an applicable decision procedure for deciding it. If a proposition is undecided, the law of the excluded middle holds in the sense that we know that we will make the proposition true or false by applying an applicable decision procedure. There is, however, a problem facing this epistemological interpretation of algorithmic decidability, insofar as Wittgenstein seems to deny that the “holding of readiness” of a decision procedure is a psychological matter.

Todo es Algoritmo

92 We call it a problem, when we are asked “how many are 25 x 16”, but also when we are asked: what is function sin2xdx. “We regard the first as much easier than the second, but we don't see that they are “problems” in different senses. Of course, the distinction is not a psychological one; it isn't a question of whether the pupil can solve the problem, but whether the calculus can solve it, or which calculus can solve it.”(121) Wittgenstein repeats this denial explicitly when he says that “whether a pupil knows a rule for ensuring a solution to function sin2xdx is of no interest; what does interest us is whether the calculus we have before us (and that he happens to be using) contains such a rule”(122). Wittgenstein similarly states: “Euclid doesn't show us how to look for the solutions to his problems; he gives them to us and then proves that they are solutions. And this isn't a psychological or pedagogical matter, but a mathematical one. That is, the calculus (the one he gives us) doesn't enable us to look for the construction. A calculus which does enable us to do that is a different one.”(123) The problem is simply: How can Wittgenstein maintain that “the distinction is not a psychological one,” given that: “I know how you check 36 x 47 = 128” seems to require that one psychologically knows how to decide the proposition? The answer to this problem resides where Wittgenstein says that “it isn't a question of whether the pupil can solve the problem, but whether the calculus can solve it”(124). Wittgenstein realizes that if the requisite knowledge of a decision procedure is relative to an individual, then even if two individuals are operating with the same axioms and rules of operation, if one knows of a decision procedure that the other does not, then they are operating with different calculi. To preclude this possibility, Wittgenstein emphasizes that it is not whether an individual knows of a decision procedure, but whether “the calculus we have before us (and that he happens to be using) contains such a rule”(125). What this means, is the very point that a rule is only part of a calculus if a community of individuals share certain conventions and have decided to accept (or ratify) the rule as part of their calculus. A decision procedure must be known, but individual psychological states of knowledge are not sufficient, for a community must know of the decision

121 122 123 124 125

Ibidem., p. 379. Idem. Ibidem., p. 387. Ibidem., p. 379. Idem.

Arquitectura Aberrante

126 RODYCH, Victor, “Wittgenstein on Mathematical Meaningfulness, Decidability, and Application”, Notre Dame Journal of Formal Logic: Volume 38 Nr. 2, North York (Ontario), 1997, pp. 206–207. 127 As said by Karl Chu in lecture on March 10, 2008 at UIC ESARQ. 128 POSTEL-VINAY, “L'Univers est-il un calculateur?”, La Recherche 360, January 2003, pp. 33–44. 129 In an article by CHAITIN, Gregory, “Leibniz, Information, Math and Physics”, www.cs.auckland.ac.nz/CDMTCS/chaitin/ /kirchberg.pdf, p. 9, retrieved on October 30, 2008.

93 procedure and, moreover, agree to accept it as part of their calculus. From this we can see that Wittgenstein introduces the epistemological criterion of algorithmic decidability as a means of maintaining the law of the excluded middle and avoiding predeterminateness in mathematics, which is essential to his view of mathematics by invention.(126) Karl Chu thinks, that sticking to algorithm, Gregory Chaitin has profoundly stated: “Mathematics is random.” Chaitin has proved that, given an example: “How do you measure the complexity of software program?”(127) Gregory Chaitin in one of his articles has stated: “What we are witnessing now is a dramatic convergence of mathematics with theoretical computer science and with theoretical physics. The participants in this paradigm shift believe that information and computation are fundamental concepts in all three of these domains, and that what physical systems actually do is computation, i.e., information processing. In other words, as is asked on the cover of a recent issue of La Recherche with an article(128) about this, “Is God a Computer?” But that is not quite right. Rather, we should ask: “Is God a Programmer?” The intellectual legacy of the West, and in this connection let me recall Pythagoras, Plato, Galileo and James Jeans, states that “Everything is number; God is a mathematician.” We are now beginning to believe something slightly different, a refinement of the original Pythagorean credo: “Everything is software; God is a computer programmer.” Or perhaps I should say: “All is algorithm!” Just as DNA programs living beings, God programs the universe. In the digital philosophy movement I would definitely include: the extremely active field of quantum information and quantum computation.”(129) Roger Penrose claims that there is an intimate, perhaps unknowable relation between quantum effects and our thinking, and ultimately derives his anti-AI stance from his proposition that some, if not all, of our thinking is non-algorithmic. Of course, these days we believe that there are other avenues to AI than traditional algorithmic programming; while he has been accused of setting up straw robots to knock down, this accusation is unfair. Little was then known about the power of

94 neural networks and behavior-based robotics to simulate (and, some would say, produce) intelligent problem-solving behavior. Whether these tools will lead to strong AI is ultimately a question of belief, not proof.(130) The more we “teach” computing systems, the more it is possible to see how they are expressing themselves. As a consequence of opening up bioinformatics and DNA computing, the world is now moving into the so called Post-Human Era, which, by all indications, will bring forth a new kind of bionic space: a consequence of the bio-machinic mutation of organic and inorganic substances into synthetic flesh, simultaneously enveloping an inconsistent multiplicity into the body of a singularity or a monad. Information is the currency of life that drives all these developments and nowhere is this more apparent than in the words uttered by Craig Venter(131), the ex-CEO of Celera Corporation, which, for the first time, completed the human genome sequence, “The goal is to engineer a new species from scratch.” This statement bluntly announces the unadulterated ambition of the biogenetic revolution: it literally transcends biology into the domain of theology. Consequently, it is only a matter of time that the world will witness bio-machinic mutation of species which, in all probability, will proliferate into every facet of what so far has been the cultural landscape of humanity. Architects take note: this is the beginning of the demise, if not the displacement, of the reign of anthropology, which, for obvious reasons, has subsumed architecture. Architecture, especially from the standpoint of its mythical inception, has always been a subset of anthropology: the expulsion of Minotaur, the beast, by entrapping it into the labyrinth built by Daedalus, the mythical architect at Knossos. The potential emancipation of architecture from anthropology, as naïve and terrifying as it may sound, is already affording us to think for the first time of a new kind of xenoarchitecture: an information labyrinth or, better still, a universal matrix that is self-generating and selforganizing with its own autonomy and will to being - the eternal return of the triumphant beast within which we are all implicated in. In order to break through the barrier of complacency and self-imposed ignorance on the part of

Todo es Algoritmo

130 PENROSE, Roger, The Emperor's new mind: Concerning Computers, Minds, and the Laws of Physics, Penguin Books, London, 1991, 466 p. 131 See also page 14 in this thesis about Craig Venter's work with genomes.

Arquitectura Aberrante

Self replicating system. The algorithm in five cycles expressed as a branching tree, resulting 16 “generations”. (Image: Arne Riekstins)

Same as above, lofted from sections with align justification in one side. (Image: Arne Riekstins)

Same as above, lofted from sections with align justification in center. (Image: Arne Riekstins)

132 From an article by CHU, Karl, “Genetic Space”, Columbia University Newsline 2003/04/03, www.arch.columbia.edu/gsap/28630, retrieved on April 12, 2008. 133 Statement by John Archibald Wheeler.

95 the discipline, what is needed is a radicalization of the prevailing paradigm of architecture by developing a new utopic conception beyond retroactive manifestoes that is adequate to the demands imposed by the convergence of computation and biogenetics. Together, this convergent synthesis provides conditions of possibilities for the likely emergence of what Kevin Kelly, one of the founding editors of Wired magazine, refers to as the coming age of a neo-biological civilization. Genetic Space is simultaneously co-extensive with and in excess of the space of biotechnology; it is the Space of Possible Worlds that are about to be engendered by the phenomenon of universal computation.(132) IT from BIT. Every item in the physical world has at bottom an immaterial source and explanation that is information theoretic in origin.(133)

From self replicating systems to matrix and logically grown things

The first exercise was to develop an algorithmic formal system, which afterwards should be used to produce mapping system and a topological surface. This task included the exploration of simple systems. To make it as easy as possible, only three basic elements were used: a, b and c. Each of these elements could repeat, and produce possible computations in cycles. The cycle has a starting origin, it goes somewhere and then comes back, like a pendulum move. The a, b and c designate the position of information. Defining the amount of cycles, it can be predictable when such a system is about to stop repeating. Or, after certain cycles, a new rule of an algorithm may be announced to change the behavior of the system. To represent this process, the best way is to draw a branching tree in a very simple graphical way, showing just the corresponding letters and good looking clean lines. The final stage included mapping the resulted graph, by reading line by line the resulted “generations” and deciding, which letter, for example, corresponds to which height in a topological surface system. As the letters are three, the topological surface is split in three layers: bottom, middle and top layer. Then, each row or generation produces a row of points, which, once being connected, make the sections of the obtained

96 topological surface. In the last step, these sections are being lofted together in a surface. The choice how to loft is also up to the author, as the loft can be made from align justification to either one side or to the center. Authors chosen algorithm in five cycles produced around 16 generations, meaning that the resulted topological surface would be made out of 16 sections, wherein the first and the last was a point. The outcome was a wavy surface, with beautiful patterns. These are basics of simple evolutionary systems. As the result may be interpreted as a topological surface, it is a totally different way to think in terms of design. To change the design, it is enough to change only the system, while design rules will remain the same. The second exercise was about making matrix patterns. It is another kind of abstract, self developing grammatical machine. In author's case the representation of three letters: a, b and c is by using color. Cyan for a, violet for b and gray for c. The letters are written in rows by three, where the start is a triplet of three a letters, then shifting in by increment of one cell at a time from the left side comes b, etc. In nine rows, the letters have rotated all the way through. The second column of letters is the same, except here the letters shift in from the right side. These two columns of 3 x 9 cells are twisting and turning. According to author's rule, in nine steps the two columns are being mixed up, gradually rotating in the first columns one row from the second column. The change of the column is defined in three steps, where the first step rotates in only the left vertical cell column, the second step – middle cell column and the third step rotates the last, third cell column. The cells that “fall out” from the grid in one side automatically are being moved to another side, filling the matrix in a similar manner than in the game “Tetris”. Basically it expresses a kind of basic grammatical machine that is developing all the time. As the rule system is not changing, mathematically it was predictable that in 81 x 81 cells, the whole set of possibilities would be exhausted. The pattern is periodic, same motif keeps occurring in regular interval. Third exercise was also based on matrix systems, except new rules of change were developed. New rules herein are called the transition rules. According to the matrix of 81 x 81 cells, obtained in the previous task, there

Todo es Algoritmo

Matrix – a simple developing grammatical machine. Fragment of “rotating” the two three-cell matrixes together at the 7th and 8th step, revealing two steps in the shifting of columns. (Image: Arne Riekstins)

The resulting pattern of 81x81 cell matrix. The pattern is periodic, same motif keeps occurring in regular intervals. (Image: Arne Riekstins)

Third exercise – same matrix system as before, but with new set of rules. First is shifting the pattern by rows horizontally, second continues with the obtained result – shifting the pattern rows vertically, and the last is a standalone test on row substitution. (Image: Arne Riekstins)

Arquitectura Aberrante

The complex pattern after first two shifting steps. Note the highlighted segment of the matrix – it will be used in next exercises for translating into geometry and mapping geometries. (Image: Arne Riekstins)

Initial stage of the planes being still inside their construction boxes. Red cells show mutation points. (Image: Arne Riekstins)

Torus expression, still inside construction boxes. (Image: Arne Riekstins)

Möbius expression, still inside construction boxes. (Image: Arne Riekstins)

97 is some kind of logic how the pattern is being composed. This task was to make it more complex. First attempt included shifting patterns every second and third row by one cell to the right and one cell to the left. The next row does the same, except here the shift is done by two steps etc. Afterwards, similarly like before, the shift is being performed vertically. Locking back and forth, the pattern continually evolves, becomes more complex. The third test included only substitution of rows from the original 81 x 81 cell matrix, but as it did not produce enough complexity, author decided to stop evolving it further. If the metarules – rules that change the rules are strong enough, this should produce patterns that continually evolve, and patterns never anymore repeat themselves. Each system has its own internal life to it. In fact, such a way may produce all internal possibilities what the initial letters a, b, and c may be positioned in a matrix. In the steps so far author has learned conceptually what these patterns are and how possibly these systems can be applied in architecture. Exercise number four was a step forward, moving to the geometry. From the very basic formal system author had come to the mapping system and now the task included another step – producing some geometry. In the beginning of this task it was necessary to find a fragment of some resulted patterns to work with. It should include a triplet combination of letters, where three same letters repeat at some point. This point was decided to be a “mutation” point. The mapping was done carefully, reducing the entire matrix to polygons. The information flow was an important issue, where reading order of the matrix was regarded as a translation mechanism to generate three-dimensionality. Author's mapping rule was simply expressing the three letters a, b and c into a cube, consisting out of three axis: x, y and z. Letter a was expressed into x axis, b into y and c into z axis. The zero point was the farthest lower corner of the cube, and the presence of each letter produced a point inside the half way of the respective edge in the cube. One letter – half way of the edge, two letters – whole edge, producing a point at the end of an axis. Three letters meant mutation, and here the distance was not 1,5 times away from zero point, but rather the third occurring letter

98 was translated into the next letter, e.g. aaa becomes aab, bbb becomes bbc and ccc – cca. Then the three points connect into a plane, spaces between two such planes are filled with the closest point connection via triangulation, thus forming a solid surface. At the mutation point, the produced plane was rotated by 180 degrees and marked in different color, for easier recognition by observers. After a long enough strip was generated to be put on structure, next step was designing the structure. Author generated two structures: a cylinder that is connected in both ends (torus or donut) and a möbius strip that is connected to form a loop. In both cases there was physically only one surface to be mapped with the resulting structure. Fifth exercise was a small training to put the three-dimensional pattern, obtained in the previous task, on a single plane. Gradually this pattern was appearing from the surface and then again disappearing. In this task author operated only with the height of the pattern. Sixth exercise was about basic principles of texture-mapping and bump-mapping, often used in computer graphics to imitate “false” three-dimensionality of a plain surface. Initial step was to invent a geometry with variable section diameter. Author decided to draw a torus which was thinner in one end and thicker in the other. If the section would be reduced to point, such geometry would split apart forming something similar as a croissant. In the search for pattern to be used for mapping, author decided to use the previously chosen fragment, just in a different color to suit the visual esthetical taste (see the highlighted part of the pattern in the first image of the previous page). The detail of the pattern was complex enough to be utilized in expressing absolutely “genetical” system. In the later rendering of this torus, author added to it the second lofted version of the self replicating system from the very first exercise in Karl Chu's studio. This complex-curved object would fit through the opening of the torus, symbolizing the universe by the reason how easily it was generated, according to the theoretical side of this chapter. Torus itself with the complex matrix then could be the interactive matrix, or in words of Karl Chu: “...Internet that is becoming increasingly spatial.”(134)

Todo es Algoritmo

Close up detail of the torus, revealing mutation points in different color and the complexity of surface articulation that is obtained by very simple principles. (Image: Arne Riekstins)

Gradual appearing and disappearing of the threedimensional pattern. (Image: Arne Riekstins)

Fragment of the pattern from the third exercise for mapping purpose of the torus, shown on next page. (Image: Arne Riekstins)

134 From an article by CHU, Karl, “Genetic Space”, www.omnispace.org/2006/08/ /genetic_space.html, retrieved on April 12, 2008.

Arquitectura Aberrante

â&#x20AC;&#x153;Like every phase transition, the Internet marks a new world order by re-configuring the planet with a virtual, albeit an interactive matrix, that is becoming increasingly spatial, intelligent and autonomous: a global self-synthesizing organ bustling with neural intelligence possibly detectable from every corner of the Milky Way and beyond.â&#x20AC;?(134) (Image: Arne Riekstins)

100 Seventh exercise was again about algorithm, only this time it was about drawing the diagram in threedimensional way, at the same time expressing the topological surface. Here the way information flows is expressed into triangles as their side edges. Basically, information can not repeatedly flow twice through the same vector, like in the plumbing or electricity schemes which show the flows. This algorithm was composed of three subsets: x, y and z, which run in two cycles through the general algorithm. After the steps are being done, the algorithm ends. This could be like an abstract logic formula for a branch of tree or for a flower. The hierarchy was composed of subsets, where at certain point it was possible to introduce new branching scheme, producing at that point a fruit or a blossom. In this exercise author experimented with ways of growing the system, thus logically “growing” a form from simple algorithm, instead of drawing it from the mind. The mapping system included making a hole wherever a full triangle was being formed. All object afterwards was nested into an external envelope enclosure, which copied the external from of the obtained “flower”. This exercise was a small training before designing the final project by only using rule system. The final design project – exercise number eight included the expression of new important ideas. As complex is not the same as complicated, the final task made author think about ways to see complexity context of complex systems and then bring this idea back to genetic architecture. The task was to design an abstract thing, including possibly all the previously tested rule systems, only in a highly advanced, next level of these ideas. Author was given the rights to figure out the system, wherein multiple systems are mastered together, connected inside-outside etc. The given example drawing of last design task by Karl Chu is being very similar to the graphical art of Dalí. The idea of multiple nested tubes in various layers is widely used in the masterpieces of Dalí to express connections that link objects one to another in an extremely abstract way. Even the example drawing was not what Karl Chu wanted it to be. He wanted to see it as a new kind of animal, a cute monster with a body, organs, lungs etc.

Todo es Algoritmo

Simple algorithm for seventh exercise. (Image: Arne Riekstins)

Information flows decoded into three-dimensional flow. (Image: Arne Riekstins)

“Flower”. (Image: Arne Riekstins)

Close-up detail. (Image: Arne Riekstins)

Drawing by Karl Chu to give an idea how the final design task should be constructed, in lecture on March 7, 2008 at UIC ESARQ. (Photo: Arne Riekstins)

Arquitectura Aberrante

Detail of a drawing by Dalí, in his museum at Figueres, Spain. (Photo: Arne Riekstins) “Local logic”. (Image: Arne Riekstins)

“Global topological logic”. (Image: Arne Riekstins)

The lungs. Figure 962 – Bronchi and bronchioles. Section XI: Splanchnology, Chapter 1: The lungs. (Image: Gray's Anatomy of the Human Body, 20th ed, 1918)

101 The process of genetic architecture's design is opposite to standard design scheme. The base of everything is a simple algorithm, which similarly as the code of DNA is being interpreted as exact operation processes by definite logics, definite times in a row. Exactly this kind of interpretation and its complex structure is base for what we want to achieve. Author experimented with simple algorithm, so called “local logics”, interpreting it as the most simple vector movement in the three dimensional space, attributing each symbol its direct movement direction. The simple algorithm consists of four a-b-c-d actions in each subgroup and three actions in x-y-z group, repeating these processes n times. Later, vectors were joined together into topological surface and then these surfaces were grouped by so called “global topological logic” – projects most essential stage. In this stage the main geometrical topology relations are being made between the obtained surfaces of local logic. In the scheme of global topological logic, local logics simple algorithms are being repeated six times, they are aligned at the outer circles edge as fine vector networks. Consecutively repeating this process n times, we obtain complex – hybrid form that further, already with graphical means, is possible to interpret as an organ, building or any other form or meaning that is depending only from the local and global logic's rules and further interpretation of these logics. The particular result of the author's experimental project could not be foreseen in the initial algorithm a-b-c-d, as well as none of the genetic architectures final result can be foreseen. For architect, such a method allows him to decide on rules how to proceed further. The result of this project is closer to an abstraction about complex DNA computing, which by its external looks has obtained anatomical outlines, but, changing only one decision about further spatial representation rule, it could be, for example, project of a primary school (building) or urban planning proposal (planning structure) etc. This volume has several perforations, openings. Total volume consists from a couple of systems where internal space is being connected to the outer space

102 (architectural design feature). Parts are mutually “nested” one into each other and they are connected between various layers. Topological surfaces are given structural mass and volume, balancing different parts. Author represented the final conceptual abstraction like an internal organ of a living organism. It resembles to the construction of lungs, featuring two symmetrical main chambers and various openings, tubes, nested layers etc. The chosen colors for the project were such that enables us to see it in a different, more natural rendering way, not like the usual “traditional” renderings, which all look the same. Karl Chu is convinced that: “Maya render and all other rendering engines have same kind of look. I advise to make such renderings that are not similar and don't look like “traditional” or all other renderings. Don't make renderings like we see in cartoons. The renderings have to be made with different motivation.”(135) With this in mind, author used earthy colors that normally would be seen in anatomy or zoology in internal organs of living beings. The red-brown that is being used here usually can be seen in flesh and blood, while the shiny orange is typical to liver and adipose (fat) tissues. Also the final design layout was inspired by author from old anatomy drawings, which are very direct and at the same time raw. As Karl Chu asked to invent this abstraction a Latin name, author generated it in a free manner, calling it Ovnimeatus Luxuriosis Oncemartusus Especialus. This name composition contains Spanish word ovni for alien, transformed English word meat, word luxurious, Spanish once marzo as eleventh march (date of the project), and a word especial for giving it a kind of abstract significance. Also in the main drawing all the detail features are marked with “Latinized” words, naming them in a similar style. After the final presentation of the project, Alberto T. Estévez commented that: “This abstract “creature”, if seen from the point of view of history of art, resembles the painting of dissected cow by Rembrandt (classical past) and similar painting, painted three centuries later by Francis Bacon (modern present). And this work of art belongs to the third – digital or genetic stage.”(136) Such similarities can be drawn, although, while designing this abstraction, author did not relate to these paintings.

Todo es Algoritmo

Painting by Rembrandt “Vaca” (in Spanish – cow), middle of 17th century.

Painting by Francis Bacon, middle of 20th century. This painting is one of several paintings where Bacon represents cut-open body of a cow in a very direct way.

135 As said by Karl Chu in lecture on February 29, 2008 at UIC ESARQ. 136 As said by Alberto T. Estévez in lecture on March 11, 2008 at UIC ESARQ.

Arquitectura Aberrante Exita principalus

103 Herculus

Abstraction on genetic architecture's complex surface â&#x20AC;&#x201C; organism. (Image: Arne Riekstins)

Fingerus attractivus

Mediumus openingus

Terminalus autorentalus

LEFT OVNIMEATUS

Mendelson openingus

Scalpulus

CENTRAL MESSUS

Fingerus secretus

Orangus telecomus expensiva

RIGHT OVNIMEATUS

Fingerus obscurus

Entera principalus

Mediumus openingus

Curvulus wrinkulus

104

Todo es Algoritmo

Longitudinal Section

Left Side

From the presentation panels of the final design project: â&#x20AC;&#x153;The third Millennium brings along innovations and changes the World on every step. Genetic Architecture is here and now, all around us. Old World's species die, new digitally produced species arise. Ovnimeatus Luxuriosis Oncemartusus Especialus is part of an abstract complex featurecreature that will find its place in our society. It is mastered to perfection to function and survive in the Modern Jungle. It is a multi-layered partly coated

Top Side

Front Side

Arquitectura Aberrante

105 Lateral Section

living organism, consisting of two interconnected major internal chambers and nested algorythmic branching, also known as Herculus and Fingerus. At the ends inside turns out and different coatings provide all the necessary functions which are kept strongly in secret. Details are highly developed and they are self-sustainable to react and change according to the various environment challenges. The moment you read this is already in the past. Keep thinking.â&#x20AC;? (All images: Arne Riekstins)

Composition Diagram Fingerus attractivus

Central messus

Scalpulus Herculus

106

Todo es Algoritmo

Lesson of reconceptualizing

(conclusions) This studio has taught to look at abstract systems, and instead of repeating or copying oneself – to be different and creative. Simple systems can generate very complex outcomes and the intrinsic algorithmic approach is the best way to do that. This opens up whole new insights into possible worlds, giving a different imagination and thinking on how to construct systems with their own nature and finding ways to give them the best possible expression. Author has learnt that architecture is much more than we have been taught so far. Everything that is with emergent features in architecture (for example, digital tools) needs to be researched, explored and then utilized in the correct way to produce beautiful new things and possibilities. If we accept and follow certain simple rules, the given possibilities are unlimited. Author also finds it very important to constantly follow what is happening in the latest developments, even if they are with a flavor of fiction – history has taught us that many unbelievable things become reality when the right time and conditions coincide. “Whether we like it or not, these things will happen.”(137) The next stage of the architecture is the genetic architecture. While pure genetical design systems don't exist so far, they are being developed step by step. The concept of genetics can be extracted away from the discipline of biology. With this new architecture our generation will have new ways of looking into world. Although, dinosaurs don't exist anymore, and many more species are disappearing, new future species and hybrid systems emerge. What kind of architecture is evolving? “Best way to predict a future is to invent one.”(138)

One day we will “touch” the new genetic architecture. (Image: Arne Riekstins abstraction photomontage on top of poster from a movie by RUSSELL, Jay, The Water Horse, Sony Pictures, 2008)

137 As said by Karl Chu in lecture on February 29, 2008 at UIC ESARQ. 138 Idem.

Arquitectura Aberrante

107

CapĂtulo V

Asombrosos ParĂĄmetros (Exceptional Parameters)

108

Asombrosos Parámetros

Going further (intro)

The fifth and the last studio in Biodigital Architecture studies is about exceptional parameters, including a chapter of evolutionary computation workshop and the final design project – multifunctional centre for Plaça Lesseps, also known as “Small Offices Young Enterprises”. This studio lasted for almost three months, involving very many steps of design. So far author had learnt several generative strategies, and in this studio the task was to choose one of these strategies and develop it further. Author soon found out that there was also a possibility to develop absolutely own strategy, and followed it rigorously from the beginning till the end. According to the studio tutor Jordi Truco: “Choose strategy, not exactly the form. And using diagrams and strategy you have to find appropriate form.”(139) Such methodology of working in contemporary architecture is also being called “bottom-up” design, whereas standard architectural design with an exact object's volume definition, defining needs for spatial configurations already in the design task, is known as “top-down” design. The studio design process steps involved: extrapolating valuable statistical data about the site into threedimensional diagrams, defining certain materiality of what we are producing, ways of presenting structural skin and structure simultaneously, contacting the object with the ground, interior program definition of the building with floors and possible spaces, logic of fabrication, CNC (Computer Numeric Control) milling of the prototype. According to Pau de Solà Morales: “Thanks to Peter Eisenmann today we approach a project and we explain processes. He is interested in process, its purity, the capacity of this formal language to prove things, generation of meaning signification. Final result is really not important. Nowadays, with contemporary approaches meaning is same as before, only new generation of advanced architects now use Maya instead of cardboard. Now architects have the power of software and the power of NURBS(140). The formal system is depending in how many rules you have. Logic behind generative form is the same, based on works or understanding on Chomsky(141) and computers, on and on back to Palladio.”(142)

139 As said by Jordi Truco in lecture on March 26, 2008 at UIC ESARQ. 140 NURBS – non-uniform rational b-splines, author's comment. 141 See the work about the generative grammars in a book by CHOMSKY, Noam, The Logical Structure of Linguistic Theory, Springer, Berlin, 1975, 604 p. 142 As said by Pau de Solà Morales in lecture on June 4, 2008 at UIC ESARQ.

Arquitectura Aberrante

Evolutionary Computation

Emergent Design

109

Artificial Life

Design The field of Emergent Design. It is the union of Evolutionary Computation, Artificial Life and Design. (Image by HEMBERG, Martin, GENR8 â&#x20AC;&#x201C; A Design Tool for Surface Generation, MIT, Massachusetts, 2001, p. 16)

143 From the course synopsis, which was handed out in a printed format by Jordi Truco in lecture on March 26, 2008 at UIC ESARQ.

Evolutionary Computation

This chapter reviews a two week workshop, held in interconnectedness to the fifth studio, as one of the possible strategies for intervention studies of form with the aid of Artificial Intelligence and the Evolutionary Computation. The modern definition of Artificial Intelligence (AI) is â&#x20AC;&#x153;the study and design of intelligent agentsâ&#x20AC;? where an intelligent agent is a system that perceives its environment and takes actions, which maximizes its chances of success. In computer science Evolutionary Computation is a subfield of Artificial Intelligence and is the general term for several computational techniques, which are based to some degree on the evolution of biological life in the natural world. Evolutionary Computation uses iterative progress, such as growth or development in a population. This population is then selected in a guided random search, using parallel processing to achieve the desired end. In biology, evolution is a change in the inherited traits of a population from one generation to the next. This process causes organisms to change over time. Inherited traits are the expression of genes that are passed on to offspring during reproduction. Mutations in genes can produce new or altered traits, resulting in the appearance of heritable differences between organisms. Such new traits also come from the transfer of genes between populations, as in migration, or between species, in horizontal gene transfer. Evolution occurs when these heritable differences become more common or rare in a population, either randomly through natural selection or randomly through genetic drift. Evolutionary Algorithms (EA) form a subset of evolutionary computation, in that it generally only involves techniques implementing mechanisms inspired by biological evolution such as reproduction, mutation, recombination, natural selection and survival of the fittest. Genr(8) developed by Martin Hemberg, Peter Testa and Una-May O'Reilly at MIT (Massachusetts Institute of Technology) is an EA based plug-in application. The particular EA used in Genr(8) is called Grammatical Evolution (GE) and is designed to grow complex morphologies in simulated physical environments.(143)

110 Working in Genr(8) involves exploration towards Evolutionary Computation in several phases of work. Through the workshop author explored Genr(8) plug-in application and did a research on morphogenesis capability of this tool, growing digitally Evolutionary Algorithms. During these experiments, author systematically catalogued all the experiments, noting details about generative grammar, parameters manipulation and environmental condition. The focus was set on understanding the relation into grammars and resulting morphologies, and their geometric properties. The aim of this workshop was to understand Evolutionary Computation as generative processes for morphogenesis and speculate on inherent possible architectural futures. Genr(8) is a Maya plug-in that is built on concepts about pure genetics, applied to software or to computational systems. In MIT it was designed by Emergent Design Group at the Genetic Evolutionary Unit. There was combined mathematical growth with computation. The program structure combines three-dimensional map L-systems to abstract physical environment. Using the L-systems engine or process, and implementing it with genetic engine means that L-systems will give the user some formal configuration. If by traditional design means something is done 100 times in a row, the result will be always the same. In evolutionary process you will have 100 different results. Genr(8) has crossover, mutation, off-spring etc., amongst other evolutionary features. In the plug-in the L-systems only runs the rules that are set up in the beginning and the environment improves the evolution. Depending on environment and parameters, every time the result will be different. Possible environments for growth are: closed environment (where surfaces will grow inside closed polygonal containers, dealing with environmental force fields), in-between environment (surfaces grow through a polygonal environment rising over it and dealing with environmental force fields) and open space (only grammars and environmental force fields will determine the evolution). More parameters are possible to control, including gravity magnitude and direction, wall behavior, random noise, tiling, population size, generations, fitness in terms of smoothness, weight and undulation.

Asombrosos Parรกmetros

Arquitectura Aberrante

Two members of Genr(8) sharp and angular grown geometries before conversion process. (Image: Arne Riekstins)

Same Genr(8) geometries as above after several conversion procedures, performed in Rhinoceros. Whole initial object has been contoured into sections, and then curves are rebuilt into non-uniform curves, finally lofting the object back together into one piece. Main topological features are maintained, avoiding too strong and sharp original surface's articulation. (Image: Arne Riekstins)

144 SULLIVAN, Louis H., “The Tall Office Building Artistically Considered”, Lippincott's Magazine, 1896. Same article published later also in ATHEY I., ed. Kindergarten Chats (revised 1918) and Other Writings, New York, 1947, pp. 202–213. 145 As said by Jordi Truco in lecture on February 4, 2008 at UIC ESARQ.

111 Such ways of work that can be achieved by using Genr(8) lead to form finding without function. Normally, it is difficult finding or designing a form with geometry and not knowing its function. In modernism there was a popular statement: “Form follows function.” This was first announced by architect Louis H. Sullivan in one of his articles(144), published in 1896. It means that function has to exist autonomously, without the need for form in context where the form could be. In this case function should be somewhere around, but in nature it doesn't exist. In evolutionary principles of biology this makes no sense at all. Actually, what exist around in nature are forms. Nature has been producing thousands of very effective forms. In nature matter is very expensive, but shape is for free. Nature builds in ways how it is absolutely effective, because every leaf costs it a lot of energy, matter etc. This is why nature thinks of doing things properly. Form finding without function is one of the strategies. In the beginning it will be so that we don't know the result – so it is only research if we don't know what we are searching for, without thinking that I want to get “this and that”. It is possible to find different things for searching forms. Genr(8) has been programmed by Martin Hemberg for more than five years. Genetic computation is a huge field, because computation is a system. Genetic computation program platform is not a challenge to use software to help drawing, but rather to use it as an Artificial Intelligence. What such software can do, we can already assume that we can not do. It is important to understand that this is only a tool that can be used to create a new working method.(145) Author experimented with a genetic growth by using Genr(8) to find a suitable architectonic spatial configuration in a conceptual project complic8ed gen8tic n8ture sp8ce. The concept of design consisted of explicit testing of different evolutionary entity outcomes, until a satisfactory “fit” result was found. Whole growth was performed inside of a polygonal environment, and the result was transformed from a typical Genr(8) sharp and angular form into a soft and fluid form, using Rhinoceros duplicate border function, contouring and rebuilding curves into non-uniform curves.

112 , GENR8 studies of n8tures algorithms

Asombrosos ParĂĄmetros

complic8ed gen8tic n8ture sp8ce w/GENR8 is probably one of the most exhaustive approaches in the Biodigital Architecture studies. The process consists of step by step evolution through genetic algorithmic growth set-ups, until a satisfactory result in the generative design is achieved. Totally 47 test entities were developed, firstly â&#x20AC;&#x201C; in option to see six generations in each, secondly â&#x20AC;&#x201C; in option to see five family members of the sixth generation only. From 47 grown evolutionary design outcomes only 32 are being shown due to their too extreme non-fit results in 15 families. Author found the generation 044 to be the most suitable for spatial configuration of the final design. Members A and C in the combination produce complex architectonic space. Even if the generation 044 would be generated again and again, the genetic algorithm would always produce different results, like in nature there are no two identical plants, animals etc. (All images: Arne Riekstins)

complic8ed gen8tic

113

Arquitectura Aberrante secti0ns

five family membrers of gener8ion

044 A+C is chosen for the final design

n8ture sp8ce

(w/GENR8)

114 For a designer, the tool itself is a central part of the design process. Increasingly powerful computers give designers entirely new possibilities, but in order to be useful, a designer has to be able to use them comfortably. Computation allows for more exploration than would be possible with just a pen and a paper and it can be viewed as a new paradigm in architecture. Today there are several computer aided design (CAD) tools available. The problem with these tools is that they can be categorized as drawing aids (nevertheless powerful ones). They are not generative or creative in any sense and they do not provide any help on that part. The architect still has to come up with what to draw. The goal of Emergent Design Group was to develop a tool that is cooperative and stimulating to work with, and that can help the designer to come up with new ideas. Another novelty that has recently been introduced to the field of architecture are new materials. This has brought a radical change to how a building can be constructed. It is no longer necessary to have supporting structure as before, the walls can be supporting in themselves. A related issue are the new techniques for casting and construction. It is possible to combine structural elements in completely new ways. A famous example of this is the Guggenheim Museum in Bilbao, Spain. To explore these new concepts, architects need new tools. The work of developing Genr(8) was part of a larger process of developing and understanding design tools based on computation. The advent of powerful computers has brought new possibilities to the field of architecture. Emergence is a phenomenon that is particularly well suited to study with the aid of computers. It also harbors many interesting concepts that so far have not been explored for use within the field of architecture. Nevertheless it is a concept that architects can easily grasp and it is something that they use in their work. However, the architects lack adequate software tools to exploit and harness the concept of emergence.(146) Author found the tool Genr(8) to be generally very useful, but unsuitable for the final design. Even after setting up environment of the Plaça Lesseps to start “growing” possible form into the square, this method was put aside, and new parametric approach was utilized instead.

Asombrosos Parámetros

Detail of the Guggenheim Museum in Bilbao, Spain. Wavy surfaces are clad with titanium sheets, mimicking fish scales. (Photo: Arne Riekstins)

Villa Foscari la Malcontenta. (Photo: from www.flickr.com/photos/7719838@N08/ /544423899, retrieved on October 8, 2008) This villa has been the research subject in architecture for a long period. It has also likely been an inspiration source of proportions for the works of architect Le Corbusier, author's comment.

146 HEMBERG, Martin, GENR8 – A Design Tool for Surface Generation, MIT Press, Massachusetts, 2001, pp. 22–24.

Arquitectura Aberrante

115

Emergent behaviors of parametrical systems

Lawful deformations of the frequency curves derived from Villa Foscari la Malcontenta, generating multiple spatial configurations. (Image from www.lamalcontenta.com, retrieved on September 30, 2008)

Photorealistic image of Aura-L within Villa Foscari la Malcontenta. (Image from www.lamalcontenta.com, retrieved on September 30, 2008)

147 See the research done by ROWE, Colin, The Mathematics of the Ideal Villa and Other Essays, MIT Press, Massachusetts, 1982, 233 p. 148 Information from www.lamalcontenta.com, retrieved on September 30, 2008. The project “Andrea Palladio and contemporary architects” was prepared for 11. Mostra Internazionale di Architettura: la Biennale di Venezia, author's comment.

This chapter reviews theoretical research on emergent behaviors of parametrical systems for the practical side of creation of a multifunctional centre for Plaça Lesseps – “Small Offices Young Enterprises”. As architect Palladio was already mentioned in the introduction of this chapter, author found it necessary to include a recent contemporary architectural design here, to link his own research contribution in the later design phase. It was not only in times of architect Le Corbusier that Palladio's villa Foscari la Malcontenta has been used as an inspiration source for proportions(147). Year 2008 has been very productive in returning to old, renowned architecture and finding ways how to supplement it with new parametric systems. This project is called “Andrea Palladio and contemporary architects”. In 2008, at Villa Foscari la Malcontenta: Zaha Hadid and Patrik Schumacher initiated a dialogue with Andrea Palladio breaching five centuries of architecture. In occasion on the 500th anniversary of Andrea Palladio's birth, Hadid and Schumacher explored the generative potential of the harmonic proportional system introduced by Palladio in Villa Foscari la Malcontenta in 1555. The frequency curves generated by translating the linear proportions of the villa into their musical meaning, are progressively transformed to define aura, a genotypic elementary form that contains in its DNA the whole Palladian set of rules. The final configuration of Aura-L and Aura-S is informed by the proportions of the two rooms chosen as sites in the Piano Nobile of the villa (the room of “Prometheus stealing fire from the Gods” and the symmetrical room of “Aurora's chariot”). Within the void of these two rooms, that stand on the Brenta river since five centuries, Aura-L and Aura-S are thus generated as spatial morphologies that reflect the structure of this void, the skeleton of this ethereal space.(148) The parametrically associative software is probably one of the best ways to express complex relations, resulting in harmonic proportional systems. Such software is being used in airplane design (for example, Boeing) and advanced engineering,

116 where many simultaneous changes in design can be fixed by setting up relations beforehand. In fact, whole set of rules is being built up in a system that can be expanded practically to infinite, where the only limitations are those set by hardware processing (nowadays it is not concerned as a limit anymore). Complex systems are being introduced also in architectures of computational systems, and they are being developed all the time. Author found it best to include an interview with architect Bernard Cache, who talks about his experience with TopSolid (a parametrical software suite) and other issues, related to technologies and architecture in general. ...My understanding of something like digital technology is not tied to architecture but connects to other media, both philosophical and industrial. For example, TopSolid, the software I am currently using, has no application dedicated to architecture. But it is used by manufacturing companies, and ironically also by a number of firms that deal with architectural products – for instance, Technal, a French company which makes façade systems. So in my appropriation of these programs I am sticking to a position of exteriority. I should also say that my life in architecture has evolved as a kind of collected story of misunderstandings – concepts, for instance, which I discussed in relation to a certain field suddenly became fashionable in architecture, especially in the US. But these misunderstandings are no more erroneous than the recent fascination for Deleuze, who is often quoted in relation to new design and media but who lived in a flat filled with old chairs and tables barely held together by string and glue. So exteriority plus misunderstanding are the fundamental guides for my working methodology.(149) Just because no one seems to be listening is no reason why you should stop talking. But this is not just obstinacy. I like to be explicit about the things that I do. And despite my pessimism, there are always some people who are receptive to what you have to say.(150) For me, the key thing is not to repeat the mistake of the avant-garde at the beginning of the twentieth century, who with the introduction of new technologies immediately dismissed older techniques and ideas as outmoded and anachronistic. In looking at this period,

Asombrosos Parámetros

149 As said by Bernard Cache in: LEGENDRE, George, “In Conversation: George L. Legendre and Bernard Cache”, AA files: No. 56, London, 2007, p. 8. 150 Idem.

Arquitectura Aberrante

151 Idem. 152 Idem. 153 Ibidem., p. 9.

117 there is absolutely no link between modern architecture in the 1920s and the technologies available at the time. For example, in Chicago in the 20s the industrialization of the molding process would have enabled an architecture rich in ornament, but the German architectural émigrés who were then coming into the US emphasized the stylistic singularity of modernism over the multitude of possibilities that the technologies of the time would have allowed. New technologies can actually enable you to produce old things in better ways. As so we mustn't make the same mistake with information technologies as the avant-garde did with new industrialized processes. This is one of the reasons why I decided to look backwards to older ideas in my theoretical work.(151) The new sells. This is the generic cultural rule to which we all have to submit. The media today really pays no attention to the nature of your thinking or why you do certain things and not others. The situation is clearly not a healthy one.(152) But that time in the early 1990s was still interesting. Everybody was just discovering the amazing possibilities of computer technologies in terms of the representation of complex curves and surfaces – which soon became seen not simply as images but as templates for actual physical manufacture. Computer technology in this sense suddenly became a kind of architectural Pandora's Box. But earlier, even as a student, I was already interested in the concept of inflection and the articulation of complex forms. When I did my diploma in 1983, I wanted to design a building like Gehry's Bilbao Guggenheim but there was no way of actually drawing it then. So I did some principal projections and made a model out of clay. It was very easy for my teachers to reject it as a proposal, arguing that it was not rational because it was not geometric. They understood geometry, like the architects at the beginning of the twentieth century, only in terms of simple forms – cubes, cones, spheres, etc. In 1983, to say that there was in fact an underlying rationality to curved surfaces was to invite a huge amount of criticism. Two years later, while at business school, I sat in front of my first PC, plotting economic forecasts, but I also began experimenting with the first-generation CAD software, and immediately saw it could allow for something amazing to happen in architecture.(153)

118 “If you approach new digital architecture in relation to older ideas of geometry, then you have to be aware of the tool in parametric software known as the “construction tree”. In essence it is an interface, a device, which instead of showing forms, illustrates properties or relations. You model by dragging and dropping properties onto a “tree”. The more you master this tool, the better and more interesting your designs will be. It should be something that all designers have to learn as a piece of basic knowledge. In a way, it constitutes the mental aspect of any architectural project. I dream of the day when architectural reviews will look only at a student's symbolic “tree”, because this is the epistemological (rather than material) heart of parametric architecture.”(154) TopSolid was used 99% for the design of the “Small Offices Young Enterprises”, and it was integrated in the very beginning of the workflow as soon as the definition of form was the next step to work on. It implied associativity and parametrics. In a parametric approach to digital design a model is defined as a set of geometric relationships or associations that are applied through parametric expressions and constraints. To understand the fundamental difference between an explicit geometric model and a parametric model, imagine a digital drawing of two circles with a line connecting their centre points. In an explicit geometric model, any change in the position of either circle will require the deletion and redrawing of the connecting line. In a parametric model, a relationship between the centers and the line can be established so that the line will follow any translation of either circle. Other relationships can also be prescribed, for example between the length of the line and the radius of one of the circles. This association can then be given a conditional statement, such as one preventing the two circles from intersecting. All predefined geometric relationships applied through parametric expressions and constraints remain consistent as the model is manipulated.(155) Most often the utilization of parametric models in the field of digital architectural design reflects the fact that much of the architectural software in use today was

Asombrosos Parámetros

A visual example done by author about parametrics and associativity. The centers of four circles are linked together with each other and their connection lines are perpendicularly linked with an outer circle. All elements touch central x and y axis. Resizing or moving anything implies changes to all other objects. (Image: Arne Riekstins)

Proportional relations in designs by Vitruvius, shown and explained in a software TopSolid by architect Bernard Cache in the International Alvar Aalto Design Symposium “Building Designing Thinking” on August 30, 2008 at University of Jyväskylä, Finland. Conception of the atriums is a complex calculation of genus (a Latin word that Vitruvius uses to say “type”) in relation to all subsequent rooms' lengths and widths, e.g. wings, atrium, Tablinium and faucets. (Photo: Arne Riekstins)

154 Ibidem., p. 10. 155 HENSEL, Michael, Morpho-Ecologies, AA Publications, London, 2006, p. 43.

Arquitectura Aberrante

156 Biology is the science of life; it is concerned with the living. For this reason architectural design must go beyond using biology as merely a source of convenient metaphors or a superficial formal repertoire. Ecology is the study of the relationship between organisms and their environment. This definition also suits the discipline of architecture surprisingly well: in our view one of the central tasks of architecture is to provide opportunities for habitation through specific material and energetic interventions in the physical environment. Correlating morphogenesis and ecology, we have developed a new framework for architectural design that is firmly rooted within a biological paradigm and thus concerned with issues of higher-level functionality and performance capacity. We have named this approach Morpho-Ecology (ME). As explained by HENSEL, Michael, Ibidem., p. 16. 157 Ibidem., p. 43. 158 Ibidem., pp. 43–44. 159 GÁNTI, Tibor, The Principles of Life, Oxford University Press, New York, 2003, 224 p. This book was first published in Hungarian as Az élet princípiuma, Gondolat, 1971, author's comment.

119 originally developed for the aeronautical, naval, automobile and product-design industries. Due to an inherited emphasis on maintaining geometric control and workflow efficiency, the parametric models used in these programs are embedded with processes and constraints, which lend themselves to the post-rationalization of complicated building geometries derived from other design processes. In architecture, deploying parametric control is primarily geared towards processes of rationalizing complex geometries, the typical case being the doubly curved façades rationalized as a parametrically defined system, which can then be relatively quickly adapted to inevitable changes in the overall scheme. The geometric data relevant to manufacture and construction is contained within this parametric model and is therefore effortlessly recalculated and retrieved. Indeed, the skills for achieving the geometric complexity found in many recent “iconic” buildings have long existed but are only now, through the process of parametric post-rationalization, becoming affordable. However, in the context of the MorphoEcology(156) approach, the introduction of parametric design may have more profound repercussions. Not dissimilar to the alternative use of computer-aided manufacturing as a generative and integral driver in the design process, associative modeling can provide a critical cornerstone in the development of an integral design based on material systems rather than being a merely facilitative tool.(157) The underlying logic of parametric design can be instrumentalized here as an alternative design method, one in which the geometric rigour of parametric modeling can be deployed first to integrate manufacturing constraints, assembly logics and material characteristics in the definition of simple components, and then proliferate the components into larger systems and assemblies. This approach employs the exploration of parametric variables to understand the behavior of such a system and then uses this understanding to strategize the system's response to environmental conditions and external forces.(158) In 1971 the Hungarian chemical engineer and biologist Tibor Gánti laid the groundwork for an experiment by providing a detailed elaboration of the criteria for life in his book “The Principles of Life”(159).

120 He distinguished between two categories of life criteria: real or absolute and potential. According to Gánti the former are necessary for an organism to be in a living state, while the latter are necessary for the organism's survival in the living world. In terms of real-life criteria, a living system must have [i] inherent unity; [ii] metabolism; [iii] inherent stability; [iv] an informationcarrying sub-system (which is useful for the whole system); [v] program control (process in living systems must be regulated and controlled). Potential life criteria are [i] growth and reproduction; [ii] capacity for hereditary change and evolution; [iii] mortality. Synthetic-life research embraces a similar, if abbreviated, list of criteria, including containment (inherent unity), metabolism, heredity and evolution.(160) Other interesting work includes the Synthetic Biology Research at MIT, where currently a library of so called “bio-bricks” are being developed.(161) These consist of short bits of DNA that control the activity of genes. From these, composite parts are formed that serve as genetic devices, with a genetic circuit functioning. Optimization is achieved through random mutation of the involved DNA and the selection of variants that can perform specified tasks better. One possible initial target is to produce devices that can make copies of themselves. Eminent analysts predict a technological revolution that may match and even surpass the electronic and computing revolution, by distilling the short bits of DNA into part-biological devices with enormous performative capacity and re-programmability.(162) The primarily facilitative nature and use of CAM becomes more obvious when it is considered in the context of its historical development. The US military supported the development of computer-controlled automation in the 1950s, introducing Numerical Control (NC) to machines for metalworking applications in order to surmount the limits of mass production. Over the following decades derivative Computer Numerical Control (CNC) systems were introduced for a wide range of materials and scales of production, but Computer Aided Manufacturing (CAM) only became widespread in the 1980s, with the arrival of personal computers and the increasing use of

Asombrosos Parámetros

160 HOLMES, Bob, “Alive!”, New Scientist, Surrey, 2005/02/12, pp. 28–33. 161 For further information see ALDHOUS, Peter, “Redesigning Life”, New Scientist, Surrey, 2006/05/20, pp. 43–47. 162 HENSEL, Michael, Morpho-Ecologies, AA Publications, London, 2006, p. 27.

Arquitectura Aberrante

An early research work to analyze threedimensionally the Lesseps traffic flows by means of computation. (Image: Arne Riekstins)

121 Computer Aided Design (CAD) applications.(163) Curved surfaces yield great potential for architectural design. This potential is both geometrical and topological, with significant repercussions on the design, production, behavior and effect of material form.(164) All of these aforementioned concepts (emergent behaviors of parametrical systems, digital design, absolute and potential life forms, DNA, CAM, etc.) are important for understanding the further procedural part of the design project for Plaça Lesseps. Ali Rahim, who has established an award winning profile in futuristic work using digital design and production techniques, has stated: “Almost one decade now, since certain innovative ideas, from various scientific areas and philosophy, started to have a major impact in culture and technology, driving them in a mutual evolution path, which still is affecting deeply the architectural production.”(165) Nowadays we can even say that architecture involves and can be linked to almost any field, nevertheless it is science or fiction.

Lesseps revisited

163 Ibidem., pp. 37–38. 164 Ibidem., p. 39. 165 RAHIM, Ali, “Introduction”, Architectural Design: Volume 72 Issue 1 – Contemporary techniques in architecture, Wiley Academy, London, 2002, p. 5. 166 As said by Jordi Truco in lecture on May 30, 2008 at UIC ESARQ. 167 According to course synopsis, which was handed out in a printed format by Jordi Truco in lecture on March 26, 2008 at UIC ESARQ.

Form Finds Function(166). With these three words the final design project could be described in the best way. This project involved three scale levels of intervention: macro for the urban equipment, medium for the building (including its skin, structure and overall systems) and micro for components definition. These studies were to resolve a complex space with varying program, multifunctionality and new strategies for design. Project needed to implement all the skills obtained in the previous studios, bringing in new elements and a higher level of difficulty. According to course synopsis all the previously generated study material could be revised or reutilized(167) for this final project. Author still chose to develop an absolutely own strategy, following it rigorously from the beginning till the end. It was expected that this project would include both synthetically critical and analytical investigations in the field of genetic workflow, emergent systems, new technologies and also with the use of maximum computational power. Once this project was finished, it resembled a cycle, which could be re-run. That is because the clear workflow allowed rich and multiple variations at every step.

122 This project was initiated by a bottom-up strategy of design process. The design outcome itself was not being defined by neither classic sketches nor whatever other means. In the very beginning author got acquainted with the location – Lesseps square in Barcelona, which is probably one of the most complicated urban junction in the city(168) with lots of traffic flows and peoples rushing from point to point. New intervention strategy of complex workflow was introduced. Cities are complex systems. The flow of vehicles and people within a city represents the emergent behavior of such a system, produced by the large numbers of decisions of the individuals, and their interaction with each other and with the transport infrastructure of the city. Complex systems are, by definition, nonlinear and sensitive to initial conditions, so that small changes in such conditions may produce turbulent behavior at the global scale.(169) First step involved an observation of processes going on in Lesseps, resulting in 3D diagrams, which abstractly depict urban traffic flow and peoples movement around the square altogether with a skyline analysis. The first intervention strategy was to fill this place with an object, which could evolve in the middle of the square like a water flow coming out from the center of the square. Author made such 3D diagrams that implement in one object many features. For example, diagram of traffic showed vivid flow of main directions in the street level, which included: amount of cars, speed, noise, pollution, flow, and vibrations. Every diagram's object was accordingly set up to include maximum of the information, that could further be decoded in a real statistical way. Author underlined also the side effects that should be changed by the means of the project, for example, growing amount of cars should be moved out of visibility, letting them through this important junction and also increasing their travel speed. This could be achieved by running all traffic in its maximum possible speed, combining it with pedestrian accessibility and safety. This implements another issue – the reduction of noise by setting up sound absorption, minimizing pollution with filtering surfaces and using vibration power as a source for producing alternative energy.

Asombrosos Parámetros

Diagram of traffic, which is the biggest contributor to Lesseps. Without traffic it would also loose its richness. Multiple-level, fast-transit, big-volume and hyper-urbanized are the keywords that describe traffic in Lesseps. And still it is under construction. (Image: Arne Riekstins)

Diagram of pedestrians in Lesseps. It was never developed for pedestrians. The new project vision should incorporate pedestrian traffic improvements. New metro line will bring more people here, meaning more trouble in the future. (Image: Arne Riekstins)

Skyline in Lesseps that defines its visual, physical and activity boundaries. Four main points of skyline interests may be outlined: library, church, historical building next to metro and the school. (Image: Arne Riekstins)

168 See more detailed description of Lesseps in Chapter II, on page 48 of this thesis. 169 W E I N S T O C K , M i c h a e l , “ A d v a n c e d Simulation in Design”, Architectural Design: Volume 76 Issue 2, Wiley Academy, London, 2006, p. 58.

Arquitectura Aberrante

123

The approach depicted here uses the analysis of first three diagrams that are shown in the previous page. The elements that can produce this proposal are: motion, energy and flow. The biggest concentration of all these elements is in the center of the square, which could be the beginning point of the new emergent form that can spread freely to all directions, capturing space and interacting with the boundary objects and the skyline. The method used here is based on Maya particles distribution from one point, affected by gravity and limited by obstacles. (All images: Arne Riekstins)

0’10”

0’20”

0’30”

0’40”

0’50”

1’00”

1’10”

1’20”

1’30”

1’40”

1’50”

2’00”

2’10”

2’20”

2’30”

2’40”

2’50”

3’00”

3’10”

3’20”

3’30”

3’40”

3’50”

4’00”

4’10”

4’20”

4’30”

4’40”

4’50”

5’00”

124 Second step involved data collection and raster mapping by GIS (Geographic Information Systems) principles. Different kind of data was analyzed from various information sources to find data that could be used for further working. Information about traffic and people's movement was chosen for further work, which consisted of: traffic amount, pollution and its noise; people's amount, speed and density – all together six different kinds of information. Using the principles of GIS, vectorial data from area of 34,4 hectares (630x545 meters) was raster mapped to Excel spreadsheet, choosing data matrix size of 45x39 cells, which is mere 1755 different cell units in each of the six spreadsheets. The reduced raster cell's size for this GIS system was 14x14 meters. Any relevant linear information data was interpolated between these cells. To simplify further work, all various data types of amount of cars passing Lesseps, pollution in grams of CO2 per square km, noise in decibels, amount of people, speed in km/h and density of people per square meter was interpolated to digits from 1 to 5, with ability to calibrate them in all six spreadsheets at a time just changing these digits once. Kas Oosterhuis has a great definition of people in speed(170): “How is speed experienced by an individual person? Imagine yourself walking the streets. You lift your feet one after the other, but you never lose touch with the ground. Now, speed up, and you will find yourself flying during the intervals of your feet touching the ground. You are in other mode of relating to the fixed ground. You are in speed. You see the environment differently, your vision gets blurred, you concentrate more on the process of running than on the environment. Take this to the extreme, and the person in extreme speed delaminates from the speed of daily life. A person in speed is very aware of its own body, (s)he lives in a world of imagination, and eventually loses touch with the immediate environment, (s)he is creating an increasingly isolated situation, only communicating through narrow information bands. People in speed let only limited information into their bodily system. If you on the contrary are slowing down your pace, and you sit (and read the paper or watch TV) you are not aware

Asombrosos Parámetros

Untreated vectorial statistical data of pedestrian flows on top of a GIS matrix just before data interpolation. (Image: Arne Riekstins)

All different statistical data types in one system. Every cell features six linked information sources. (Image: Arne Riekstins)

170 OOSTERHUIS, Kas, BCN Speed and Friction: the Catalunya Circuit City, SITES Books / ESARQ (UIC), Barcelona, 2004, pp. 13–14.

Arquitectura Aberrante

Raw uncalibrated Excel datas. Border condition marked in red. (All images: Arne Riekstins)

125 of your body at all, and the media are taking over the control over your body. You let the information stream freely without much friction into your system.” Exactly this “limited information” was a starting principle for the next step – producing of an Excel tool. In the third step author created a sophisticated Excel tool with fine-tuning ability. The work involved serious Excel inter-calculation programming to build a data driven tool, which can be applied and interpreted in almost infinite possible ways. The possible use could be parameters for associative models, geometric form generation or any other kind of 3D manipulations. As the chosen amount of data seemed to be too big for a research project like this, margin of usable data cells was being introduced. Cells, which cover Lesseps square and its surrounding buildings, with slight influence extension outwards the square set up the border condition (marked red in the six spreadsheet tables to the left). The final Excel spreadsheet tool included fine-tuning ability wherein any of six data calibration levels from 1 to 5 can be changed at once by doing it in one place. This tool was the ideological base for continuing the work. Step four was the surface generation with the help of a parametric base grid. Author continued on testing the infinite possibilities of parametric software TopSolid to construct a system for surface generation. Here numeric data of three information sources about cars and three information sources about people were separated, so that each of them was generating an independent 3D mesh of points, where the two resulted meshes stand on top of each other, nevertheless the size of differentiation that is introduced by calibrated parameters. Base points were set on a regular square grid, following the precise position of the data in the GIS system. Surface construction logic imports spreadsheet data of GIS, distributing it in two levels. Part of the data drove points up, while other drove them into circles and then triangles. The triangles lowest right and top sides were connected, and in this connection line a new center point was found. Using three such center points a new surface was represented in a 3D space, connecting all of the elements together. Lower triangulated surface represents cars, while

126 the upper represents people. Specific inter-calculation equations were being used later for fine-tuning the desired result, keeping the basic logic in a strong parametrically built model. Step five was experimenting with various shapes that could be built in between of two generated 3D meshes of points. One of the options was producing two tetrahedrons that were being intersected together and new membrane openings were being made at their intersection places. Another option included triangulated curves that were connected in two points and they formed a membrane with openings between cells. Another very complex option with 480 length parameters resulted a cell in between 7 points of the 3D mesh. Part of the cells split and part of the cells touch, forming a solid geometry. A certain similarity to flowers could be drawn, while openings and any dimensions were strictly configurable to different performative features. Author finished time-consuming tests with simple yet complex four sided cells that have a hole in the middle. Unfortunately, after data import linking nothing of this system worked and the work on fixing parametrically associative errors was continued after the next step. Step six â&#x20AC;&#x201C; system calibration and spatial definition. The experiments proved that even the smallest error ruins the system, so to apply it to the design process meant reasoned decisions on how to proceed further. The most elements that worked well from previous tests were set up in a new system, where certain new rules controlled how the parameters should behave. The cells that had value of cars + peoples amount in Lesseps in a scale of 1 to 5 having a sum from 0 till 4 (where 10 is the maximum sum), were set up to touch at the middle between point meshes. By testing on simple two triangulated meshes how the data-driven Excel tool generated space, more fine-tuning was needed to fix zero conditions with error correction values. System allowed to be expanded due to simple inter-calculation possibilities, adding changeable multiplication values and calibration features all in one user friendly spreadsheet page, which intuitively could pick up the values from previously collected information in a matter of seconds.

Asombrosos ParĂĄmetros

Parametrical model of constructing two 3D meshes for further modeling. Orange triangles mark one cell of the point system. Anything that can be drawn between these point fields basically may generate the final cells 3D form. (Image: Arne Riekstins)

The most complex solution for the cell. The detail shown here features six data triangles, made out of 480 length parameters. (Image: Arne Riekstins)

The simple and complex final cell that run amok. Later same cell design was fixed and reused again. (Image: Arne Riekstins)

Arquitectura Aberrante

Excel data tool with fine-tuning ability

Border condition with all relevant datas

127

(All images: Arne Riekstins)

Non-calibrated data field (darker cells touch)

Various spatial configurations depending of calibration

128 Also minimum and maximum values were shown in separate cells to make work easier while working with this tool and foresee the needed possible changes. Once linked with parallelly developed TopSolid system, the possibilities just started to give a clue how rich spectrum of design choices was open. Think of birds in a swarm. The birds are executing a basic flocking rule, like checking the position of their neighbors all the time. As long as they are swarming, they keep on checking, they never let the distance become too big or too small. People in a crowd perform similar behavior; they do avoid collisions by constantly checking the positions of immediate neighbors.(171) The description of a swarm best matches with step seven – TopSolid construction logic of cells and their parameters. TopSolid system of final form control model consists of base point control grid (Img. 1, grid marked in red), which was used to squeeze the final geometry to fit perfectly in Lesseps square. Certain rules of circle middle points and triangulated length relations control that the whole geometry is held together with a strong backbone. Parameter “C” elevated the first level mesh height and then parameter “D” produced circles and consecutively triangles inside them (Img. 2, same for second level mesh with “P” and “Q” parameter in Img. 3). Diagonal connection was drawn from closest two triangles and then middle points were found, where base points, which derived from cell connection rule, affected closest members to influence it here later when the final cells were being drawn (Img. 4). Two to four cell connection rule base points at the square makes cell join together, otherwise cells split by “vv” parameter, which defines height aspect ratio between first and second level mesh produced middle points (Img. 5). Weight barycenters keep the tilt angle of the cells in place. Error free calibrated parameter “q” makes outside edge inclination towards center, defining openings between cells (Img. 6). Lofted surfaces form external façade membrane surface (Img. 7 and Img. 8). The same principle is used for upper part of cells (Img. 9). Remaining above and bottom levels form ground and structural integrity as a large span space frame, by connecting cellular middle cap sides altogether (Img. 10).

Asombrosos Parámetros

Img. 1

Img. 2

Img. 3

Img. 4

Img. 5

Img. 6

Img. 7

Img. 8

Img. 9

Img. 10

TopSolid construction logic of cells and their parameters. (All images: Arne Riekstins)

First import of TopSolid geometry to the site in Lesseps. Note that this is roughly calibrated and a certain amount of calibration was done afterwards. (Image: Arne Riekstins) 171 Ibidem., p. 29.

Arquitectura Aberrante

Final geometry in TopSolid after exhaustive calibration of datas. The criterias for final form included: fitting into Lesseps, contact to the ground, spatial configuration and functionality, error free geometry. Below are shown 40 other possibilities, wherein every possible parameter was tweaked to see boundary conditions of this complex geometry. (All images: Arne Riekstins)

129

130 Step eight was going further to understand the ways of how to make model of the project. There were several ways to do it and author chose to make it from the basic components in scale 1:100. The geometry itself was in a way tricky, because it holds together in corners and the internal space frame, which is being formed from the floor elements. To facilitate further difficulties with the assembly, author chose a strategy to make the model by triangulating the geometry to simple planes and then unfolding that using enumeration of edges, for easier assembly. Although Rhinoceros is a good tool for unfolding geometries, it is advisable to follow the edge numeration, due to an unexplainable unfolding, which sometimes results in a top view, and sometimes in a bottom view. The first model prototype was done by hand, using hard paper. Author chose six cells, which would show the maximum programmatic features â&#x20AC;&#x201C; such as large-scale internal space and how it is opening up between the cells. As soon as it was clear, next step involved a research on how to produce the necessary components with the help of CNC machinery. A cell consists of 24 triangles, every side of a cell component is formed out of three triangles. Basically, the project was so big that author decided to make only half (Western part) of the model, which shows all the possible cell conditions and spatial configurations, consisting of 319 millable pieces. Chosen material was 1mm thick polypropylene and there was no way to let the machine cut the bending lines from inside and outside, so another half of the work needed to be done by cutting manually. Milling process was done on a machine, produced by Axyz Corporation, and all millable pieces were converted to a machine-readable format, through AutoCad DXF R12 Natural format. The usable drill was 2mm in diameter, so 1mm of compensation was needed to fix cutting errors. The assembly was difficult, it took two weeks. Polypropylene can be glued together either by cyanacrylate (mostly known as Super Glue) or another highly toxic plastic glue. The gluing process was carried out in a well-ventilated space. After the model was finished, it needed a paint cover to mask the glue stains and accentuate some of the geometry's main features. The model was covered with a dark grey spray paint.

Asombrosos ParĂĄmetros

Small hand made model of six cells. Three cells are forming unified office space, while another three cells are opening up to form a bigger internal open space. (Photo: Arne Riekstins)

Same model as before, seen from above. (Photo: Arne Riekstins)

Arquitectura Aberrante

Small hand made prototype. (Photo: Arne Riekstins)

Rhinoceros screenshot of triangulated and enumerated upper half of the project. Cell number 3 after being unfolded. (Both images: Arne Riekstins)

Author surveilling the milling of the pieces on a 3-axis CNC milling machine on June 13, 2008 at UIC ESARQ. (Photo: Marija Maletic)

131

132

Asombrosos Parรกmetros

Photos of the final model, a half section of the whole project's geometry in scale 1:100. It consists from thousands of triangles, unfolded into 319 millable pieces, which are shown below. (All photos and images: Arne Riekstins)

Arquitectura Aberrante

133

134 It can be said that the last step â&#x20AC;&#x201C; step nine was the planning for spatial configuration use. As the bottom-up design process involves different way of thinking and understanding processes in architectural design, calibration of the system and statistical data produced a mutual planning of the spaces all the time. Where there is lot of traffic, building is elevated from the street level. And more people mean that in that point there is more spatial volume in the building. Author distinguished seven main usable space groups as seen from above to below: internal roof level space that can be used for recreational functions and conferencing, open air terraces for cafĂŠs and bars, upper service level for utilitary communications such as ventilation etc., office space units in the cells that unite into one closed cluster, multifunctional space for exhibitions and theatres or cinemas (the biggest open space in the zone of splitting cells that can be best seen in the sliced tomography sections), lower service level for utilitary communications like water and sewage etc., support legs for access with stairs and other vertical access communications. More to that there are planned but still technically unresolved underground areas with parking allocations. For a building, which covers the size of almost four football fields, aforementioned space makes up 14412m2, out of which usable space is 10240m2. This building features variable height with a maximum up to 20,8m from the street level. Calculating roughly, such a building can provide around 1075 new workplaces, which is a significant number for such a relatively small square in the city. Dynamics and free flow of the curvature amongst other illustrative terms are just some words to describe this architectonical object, that blends into cityscape with the utmost respect to the surrounding and the most relevant proof of concept, based on real statistical data. The object was obtained by 99% responsive parametrically associative design, where no subjective decisions of the author are put in anything else than designing of the whole system. This system is an expression of the very reality. End is the beginning. Once the designing of the system is finished, it starts to live and give infinite possible futures. Whereas with the traditional designing, when you finish the design, it is the end of the project.

Asombrosos ParĂĄmetros

Arquitectura Aberrante

135

Spatial organization and sections revealing composition of main usable space groups. Sliced tomography sections below show spatial organization throughout various elevations from ground to roof. (All images: Arne Riekstins)

Composition of spaces in an exploded view

Internal roof level space Open air terraces

Upper service level Office space units Multifunctional space Lower service level

Support legs with access 50

Longitudinal and lateral sections

+20,800

+0,000

+20,800

+0,000 Technical â&#x20AC;&#x201C; economical specification Office space, 42 independent two-level units Big inter level multifunctional space *Conference rooms *Exhibition spaces *Meeting and lecture rooms *Theatre-cinema *Club Upper service level, utilitary communication space Lower service level, utilitary communication space Sliced tomography sections +25,000 +15,000

4410m2 4580m2

1512m2 1260m2 +12,500

Closed internal roof level space, 35 units with skylights Open air recreational terrace space, 20 cells TOTAL USABLE SPACE TOTAL SERVICE SPACE TOTAL OPEN AIR SPACE

1250m2 1400m2 10240 m2 2772m2 1400m2 14412m2

Additional data 475 underground parking allocations 1075 workplaces (945 office + 130 service staff for other functions)

+10,000

+7,500

136

Asombrosos Parรกmetros

These renderings depict connection to the ground and interspace urban views, showing the relation between existing houses and proposed object in Lesseps square. Object blends in with its shape to the Lesseps square with the utmost respect to the surrounding. (All images: Arne Riekstins)

Arquitectura Aberrante

The changing interior space of the project is lively and rich. Very simple translation of basic GIS data has given an extremely powerful spatial expression result. Whereas seeing pure statistical information alone would be nothing, just random numbers. (All images: Arne Riekstins)

137

138

Asombrosos ParĂĄmetros

Building's content being place for â&#x20AC;&#x153;Small Offices Young Enterprisesâ&#x20AC;? is filling the sector, which is needed for Barcelona and any other cities in the World, being in development in the present global competitiveness economical environment. This should be as a support for young enterprises with new ideas to create an added value for the city and the whole state in the future. Lesseps square is very vivid, active and at the same time a central place for such an opportunity. (Image: Arne Riekstins)

Arquitectura Aberrante

139

Small Offices Young Enterprises Small

Offices

Young

Enterprises

140

Asombrosos Parámetros

Lesson of exceptional parameters

(conclusions) “If I'm not out there training, someone else is.”(172) It means that a contemporary architect must keep up with any advances in all possible fields of science and technology. Author underlines, that without experimenting with the latest tools, we may run into self-repetition and loosing of innovativeness. This studio was the longest and therefore the most explicit in terms of complexity. It was author's investigation in the field of genetic workflow, emergent systems and new technologies. Author went through different steps of design, including a small research on evolutionary computation – a very strong aid for searching forms. Author created his own generative strategy, basing it on heavy Excel calculations and simple translation of data into an architectonic entity. This strategy may be understood more as a tool that has cycles going around and around, as many times as needed, until a satisfactory result is achieved. Kas Oosterhuis has described a similar behavior of such a system: “The body of your sector acts, interacts and behaves. Your sector will be a pro-active hyper body, a multi-player interactive vehicle that eats, digests and releases information... Think of your project and of the city as active players.”(173) In architecture we must follow the nature – as it never wastes material and optimizes all the processes. For the design process there are lot of facilitative drafting and modeling softwares, but they are not generative or creative in any sense. So, developing own system for a strong tool with a huge usability factor in future is author's biggest achievement in this studio. Once the designing of the system is finished, it starts to live and give infinite possible futures. Whereas with the traditional designing, when you finish the design, it is the end of the project. In that sense the end is the beginning. Author's designed tool is a device with enormous performative capacity, re-programmability and possibility to expand it in the future.

172 This statement of Lynn Jennings was painted in year 2000 on a red brick wall next to stairs within an internal corridor in the First Campus Center, Princeton University. Seen in photo by John Izenour in magazine AA files: No. 56, London, 2007, p. 73. 173 OOSTERHUIS, Kas, BCN Speed and Friction: the Catalunya Circuit City, SITES Books / ESARQ (UIC), Barcelona, 2004, p. 31.

Arquitectura Aberrante

141

Conclusi贸nes Generales (General Conclusions)

142 From author's viewpoint, Biodigital Architecture course has given the most important knowledge, to supplement all of his architectural education obtained before in the previous seven and half years. It can not be understood as a pure “brainwashing”, but rather it has opened author's eyes to what is architecture in the digital-genetic age in the 21st century. This course has taught the fundamentals of genetic architecture. It is not imaginable that an architect in this century would not follow what is the newest out there, both theoretically and practically. It includes the knowledge of all varied software from digital design, animation, aeronautics, manufacturing and other platforms. Competence of different viewpoints and opinions is very relevant. Given the aforementioned issues, and the difference in characteristics of genetical architecture, it is not difficult extrapolation to assume that it will take the field of architecture into a wide open galaxy of possible futures. Considering abovementioned, designing for the future means observing well, disregarding “mainstream” standards, seeing things with fresh eyes, open mind, and finding solutions that are not immediately apparent. Designing in the field of genetic architecture sets a high role and responsibility of morals and ethics that apparently is still lacking in many traditional architecture practices. Here belongs to say a statement from law – lack of knowledge does not free you from responsibility. Author assumes that representing the “second generation”(139) of this new architecture needs to be done with excellence, clearly understanding and assessing what you are doing. With advent of internet age we are all connected in a new global infrastructure, setting no borders for this kind of architecture. The aim is one – make a better world by using all the power of genetics and digital world. Architecture should be in symbiosis and be capable to grow together with nature. We should soon be able to understand most important secrets of DNA – the secret of making life, emergence. Once we know that computing and DNA is performing on same binary principles, we can start taking control of the growth to use it in a good manner on behalf of architecture. Going deeper into the science has put us in a totally different level of

Conclusiónes Generales

174 From author's private discussion with Alberto T. Estévez on November 5, 2008 at UIC ESARQ: “The first generation of this new architecture are mostly those people who have been teaching in this Biodigital Architecture course, as well as many other people to whom author has been referring all the way through this thesis. The first generation of this architecture are autodidacts that have never attended this kind of teaching themselves, amongst them for instance, is Dennis Dollens, Karl Chu etc. It means that we are the second generation who are learning this new kind of architecture.”

Arquitectura Aberrante

143 understanding of the World than ever before until now. Author underlines that we need to take profit of this understanding now to ensure that the nature's power of emergence can become a big contribution for the health of our World. Also the notable advance of digital systems is supporting these ideas. Concepts of these possibilities were already spoken about in the beginning of the last century, and now we have to do a little effort and learn something from the history. Initially, we must start with the overall education work within general public, justifying as much as possible to make this consumer society start thinking about their attitude towards nature. Now it is a good moment in architecture to think on issues of advanced ways of processing the information. In this context biology can be introduced in architecture. Instead of copying within one or another style or movement, we must rather take inspiration from the nature's systems and processes. Author finds that nature can provide thousands of times more ways of how to design â&#x20AC;&#x201C; we have to take our time and learn from nature's design lessons, instead of cyclically imitating, for example, modernism. As many growth processes of nature are already decoded into such systems like Lindenmayer, Xfrog, etc. just to name some, we can understand the value of growing new digital species in computers, putting us in different category of thinkers and designers. In fact, everything that can be drawn nowadays can also be produced. Technologies and material developments allow us to implement performative features to layered materials (even in nano-scale), not forgetting the reuse of recyclable, non-recyclable and totally natural non-toxic materials. The features from botany must be explicitly studied to reevaluate esthetics and ornament in nature, understanding the design behind the nature and putting it into our World. Architecture must feature purity of form, be useful and economically constructed, using minimum materials to ensure the function. Digital production needs to be learnt in smaller scale in favor for using it in bigger architectural projects as soon as it will be widely available to construct entire buildings with these techniques. The understanding of biogenetical engineering is no less important.

144 Abstract systems are different and creative, therein simple systems can generate very complex outcomes and the intrinsic algorithmic approach is the best way to do that. Author thinks that following certain simple rules is a gateway to unlimited possibilities. Based with a strong philosophical stance, it is not hard to imagine ways of reconceptualizing what architecture is. Basically, architecture is everything, all fields and sciences combined. Because everything in this and other possible worlds is architecture, whether we pursue it or not. It always incorporates the newest achievements available. Therefore border between fiction and reality can be hardly seen anymore and this is leading towards artificial intelligence, next level of computation and one more step closer to quantum disclosures. Parallel worlds exist already inside of the internet, while virtual realities are pushing into other forms of existence and expression. It all leads to think that architecture soon could be developing on its own, like a jungle. From everything mentioned before, author is convinced that we will touch the new genetical architecture faster than we may think. And the main task of genetical architecture is to assure us a better future. The evolutionary computation is a strong aid in search of forms. Wise computing systems can only facilitate the process of emergent design, if the correct tools are being used in the correct way. Author created his own generative tool for mastering complex geometries with the help of Excel spreadsheets and parametrically associative software. Such tool can be expanded, it features enormous performative capacity and re-programmability. The understanding of nature will profoundly imply in the optimization of processes, both in future fields of architecture and construction. Bottom-up strategies in architecture soon will be the central subject, for the society has exhausted the modernism tradition. New architectures are developing and on their way towards us.

Conclusi贸nes Generales

Arquitectura Aberrante

145

BibliografĂa (Bibliography)

146

Libros y artículos (Books and articles)

AKLEMAN, Ergun, Topological Mesh Modeling, Texas A&M University, Texas, 2006, 297 p. ALDHOUS, Peter, “Redesigning Life”, New Scientist, Surrey, 2006/05/20, pp. 43–47. ANTONELLI, Paola, Design and the Elastic Mind, MoMA, New York, 2008, 192 p. BAHAMÓN, Alejandro, Arquitectura animal: analogías entre el mundo animal y la arquitectura contemporánea, Parramón, Barcelona, 2007, 191 p. BAHAMÓN, Alejandro, Arquitectura vegetal: analogías entre el mundo vegetal y la arquitectura contemporánea, Parramón, Barcelona, 2006, 191 p. BALDUNCIKS, Janis, Dictionary of Foreign Words, Jumava, Riga, 1999, 880 p. BENYUS, Janine M., Biomimicry: Innovation Inspired by Nature, Harper Perennial, New York, 2002, 320 p. BEUKERS, Adriaan, Flying Lightness, 010 Publishers, Rotterdam, 2005, 136 p. BOHM, David, Wholeness and the Implicate Order, Routledge, London, 1980, 224 p. BRAYER, Marie-Ange, Archilab's urban experiments, Thames & Hudson, London, 2005, 368 p. CHAITIN, Gregory, “Leibniz, Information, Math and Physics”, www.cs.auckland.ac.nz/CDMTCS/chaitin/kirchberg.pdf, retrieved on October 30, 2008. CHAVES, Norberto, El diseño invisible: Siete lecciones sobre la intervención culta en el habitat humano, Paidós, Buenos Aires; Barcelona; México, 2005, 133 p. CHOMSKY, Noam, The Logical Structure of Linguistic Theory, Springer, Berlin, 1975, 604 p. CHU, Karl, “Genetic Space”, www.azw.at/otherprojects/ /soft_structures/allgemein/genetic.htm, retrieved on April 12, 2008. CHU, Karl, “Modal Space”, www.azw.at/otherprojects/ /soft_structures/allgemein/modal_space.htm, retrieved on April 12, 2008. CHU, Karl, “The Cone of Immanenscendence...”, Any 23, Diagram Work, 1998. CHU, Karl, “The Turing Dimension”, Archilab, 2001, pp. 490–494. CORCÓ, Josep, “The Emergent Character of Life”, Karl Popper: A Centenary Assessment Volume III, Ashgate, Hampshire, 2006, pp. 123–129. DEL CAMPO, Matias, Random Files 2005 – 2007, SPAN, Wien, 2007, 101 p. DELANDA, Manuel, “The Machinic Phylum”, TechnoMorphica, V2 Organization, Rotterdam, 1998. DELEUZE, Gilles, Bergsonism, Zone Books, New York, 1988, 144 p. DEUTSCH, David, The Fabric of Reality, Penguin, London, 1998, 400 p. DOESINGER, Stephan, Space Between People, Prestel, USA, 2008, 176 p. DOLLENS, Dennis, The Pangolin's Guide to Biomimetics & Digital Architecture, SITES Books, Santa Fe, 2006, 28 p. DOLLENS, Dennis, The Pangolin's Guide to Digital Nature, SITES Books, Santa Fe, 2008, 24 p.

Bibliografía

Arquitectura Aberrante

147

ESCHER, Maurits Cornelis, The graphic works: introduced and explained by the artist, Barnes and Nobles Books, New York, 1994, image plate 41 and 43. ESTÉVEZ, Alberto T., Arquitecturas Genéticas II: Medios digitales y formas orgánicas, SITES Books / ESARQ (UIC), Barcelona, 2005, 208 p. ESTÉVEZ, Alberto T.,“Genetic Barcelona Project”, Leonardo: No 4, MIT Press, Massachusetts, 2007. FITELSON, Branden, “Steps Toward a Computational Metaphysics”, Journal of Philosophical Logic, Springer, Dordrecht, 2007. FRAZER, John, An Evolutionary Architecture, Architectural Association, London, 1995, 127 p. FREIHERR VON LEIBNIZ, Gottfried Wilhelm, Monadology, Prentice Hall College Div, 1965. GÁNTI, Tibor, The Principles of Life, Oxford University Press, New York, 2003, 224 p. GIORDANO, Carlos, Casa Batlló, Dos De Arte Ediciones, Barcelona, 2008, 112 p. HEMBERG, Martin, GENR8 – A Design Tool for Surface Generation, MIT Press, Massachusetts, 2001, 90 p. HENSEL, Michael, Morpho-Ecologies, AA Publications, London, 2006, 376 p. HOLMES, Bob, “Alive!”, New Scientist, Surrey, 2005/02/12, pp. 28–33. INGRAHAM, Catherine, Architecture, Animal, Human: The Asymmetrical Condition, Routledge, London, 2006, 368 p. JOHNSON, Steven, Emergence, Penguin Books, New York, 2001, 278 p. KAUFFMAN, Stuart, The Origins of Order. Self-Organization and Selection in Evolution, Oxford University Press, New York, 1993, 734 p. KEULEMANS, Guy, "Strategies for generative designers and the development and use of generative software tools", Bachelor of Design Honors Thesis, The University of New South Wales, New South Wales, 2002, 56 p. KOLAREVIC, Branko, “Digital Architecture”, IT Proceedings of Acadia '2000, Washington DC, October 2000. LATOUR, Bruno, We have never been modern, Harvard University Press, Cambridge, Massachusetts, 1993, 168 p. LEACH, Neil, Digital Tectonics, John Wiley & Sons, London, 2004, 191 p. LEGENDRE, George, “In Conversation: George L. Legendre and Bernard Cache”, AA files: No. 56, London, 2007, pp. 8–14. LLOYD, Seth, Programming the Universe: A Quantum Computer Scientist Takes on the Cosmos, Vintage, London, 2007, 256 p. LYNN, Greg, Animate Form, Princeton Architectural Press, New York, 1999, 204 p. MORE, Thomas, Utopia, Penguin Classics, London, 2003, 176 p. NOUVIAN, Claire, The Deep: The Extraordinary Creatures of the Abyss, University of Chicago Press, Chicago, 2007, 256 p. OLTMANS, Liesbeth, “The Way We Work”, FRAME: Issue 64, FRAME Publishers, Amsterdam, 2008, 272 p. OOSTERHUIS, Kas, BCN Speed and Friction: the Catalunya Circuit City, SITES Books / ESARQ (UIC), Barcelona, 2004, 224 p. PARCERISA, Josep, “Plaça Lesseps”, Quaderns 249, COAC, Barcelona, 2006, pp. 67–73. PEARCE, Peter, Structure in Nature Is a Strategy for Design, Murray Printing Company, Mohawk, 1990, 243 p.

148

PENROSE, Roger, The Emperor's new mind: Concerning Computers, Minds, and the Laws of Physics, Penguin Books, London, 1991, 466 p. POLLACK, Andrew, “Scientists Take New Step Toward Man-Made Life”, The New York Times, New York, 2008/01/24, p. 24. POPPER, Karl, The Self and Its Brain, Springer International, Berlin, 1977, 613 p. RAHIM, Ali, “Introduction”, Architectural Design: Volume 72 Issue 1 – Contemporary techniques in architecture, Wiley Academy, London, 2002, p. 5. RODYCH, Victor, “Wittgenstein on Mathematical Meaningfulness, Decidability, and Application”, Notre Dame Journal of Formal Logic: Volume 38 Nr. 2, North York (Ontario), 1997, pp. 195–224. ROWE, Colin, The Mathematics of the Ideal Villa and Other Essays, MIT Press, Massachusetts, 1982, 233 p. SASAKI, Mutsuro, Flux Structure, TOTO Shuppan, Tokyo, 2005, 224 p. SCHLIEP, Jan Walter, Xfrog 4 for Maya Reference Manual, Greenworks, Berlin, 2005, 57. p. SCHROEDINGER, Erwin, Mind and Matter, Cambridge University Press, Cambridge, 1958, 194 p. STEELE, James, Arquitectura y revolución digital, Gili, México y Barcelona, 2001, 239 p. SULLIVAN, Louis H., “The Tall Office Building Artistically Considered”, Lippincott’s Magazine, 1896. SUMMERSON, John, Heavenly Mansions, W. W. Norton, New York, 1963, 253 p. VAN DER RYN, Sim, Design For Life, Gibbs Smith, Layton, 2005, 192 p. VAN DER VEEN, Henk, Archiprix International 2007, Archiprix Foundation / 010 Publishers, Rotterdam, 2007, 144 p. VAN WEZEL, Rudolf, Skins for buildings, BIS Publishers, Amsterdam, 2004, 509 p. WATSON, James D., The Double Helix: A Personal Account of the Discovery of the Structure of DNA, Touchstone, New York, 2001, 256 p. WEINSTOCK, Michael, “Advanced Simulation in Design”, Architectural Design: Volume 76 Issue 2, Wiley Academy, London, 2006, pp. 54–59. WINOGRAD, Terry, FLORES, Fernando, Understanding Computers and Computers: a new foundation for design, Addison-Wesley Professional, Norwood, New Jersey, 1987, 224 p. WITTGENSTEIN, Ludwig, Philosophical Grammar, Basil Blackwell, Oxford, 1974, 496 p. WITTGENSTEIN, Ludwig, Tractatus Logico-Philosophicus, Routledge and Kegan Paul, London, 1921, 80 p. WOLFRAM, Stephen, A new kind of science, Wolfram Media, Champaign, Illinois, 2002, 1192 p. ZAERA-POLO, Alejandro, MOUSSAVI, Farshid, Phylogenesis, FOA's ark., Actar, Barcelona, 2004, 656 p. ZEILINGER, Anton, “Why the Quantum? It from Bit? A Participatory Universe? Three Far-reaching, Visionary Questions from John Archibald Wheeler and How They Inspired a Quantum Experimentalist”, www.metanexus.net/ultimate_reality/ /zeilinger.pdf, retrieved on October 30, 2008. ZELLNER, Peter, Hybrid Space, Thames & Hudson, London, 1999, 191 p.

Bibliografía

Arquitectura Aberrante

149

PelĂculas (Movies)

ALONSO, Hernan Diaz, Chlorofilia 2106, Imaginary Forces, 2006 BAGINSKI, Tomek, The Cathedral, Pixar Studios, 2002 EPNERS, Ansis, Es esmu latvietis (I am Latvian), Riga Film Studio, 1991 KUBRICK, Stanley, 2001: a space odyssey, MGM, 1968 RUSSELL, Jay, The Water Horse, Sony Pictures, 2008 STARR, Pip, Global Warming and the Carteret Islands, Bougainville, 2007 WACHOWSKI, Larry and Andy, The Matrix, Warner Bros. Studios and Village Roadshow Pictures, 1999

Sitios de internet (Internet sites) http://19thcenturyscience.org http://www.emanate.org http://www.eowilson.org http://www.lamalcontenta.com http://www.metanexus.net http://www.mjt.org http://www.pantopicon.be http://en.wikipedia.org

150

Carรกcteros Especiales

Official Masters of Biodigital Architecture. Special Characters. UIC ESARQ 2008. (Image: Daniel Teran & Diego Cuevas)

Arquitectura Aberrante

151

Arne Riekstins (Riga, 1982), B. Arch., M. Sc. Arch., private architect and assistant lecturer in Riga Technical University, Faculty of Architecture and Urban Planning since 2006. Author's theoretical research includes sustainable skyscrapers, synthesis aspects of contemporary architecture and new digital systems in architecture. Since 2007 he has been Doctorate candidate under the auspices of Prof. Dr. arch. Janis Brinkis. Arquitectura Aberrante outlines five studios with conceptually different approaches to architecture done by author during Biodigital Architecture studies. Both theoretically and practically, author goes explicitly through the process of producing this architecture, reasoning and finding relations and differences to traditional, mainstream architecture. All the processes have been facilitated due to the use of new digital systems brought into architecture from design, animation, aeronautics and other industries. Studios go through pure inspiration from underwater world to nature, algorithmic approaches, cosmology and genetic architecture, until parametric approach, which is outcome of pure statistical spreadsheet geographic information systems data.