Design Anthology UG 2019 - 2021 RMIT
2018 Where this all start
XSUNSW SHS Foundation
Potential guiding architectural element
Skyscraper prototype
Nautilus
2019 Patterns emerge from noises
Melb o n r u e BaNow bylon herExaptive e The
THE GREY CHAPTER
Material Test
Chunk Test
Final Aggregation
Physical Model
Final Aggregation
LIVE BEHIND MASKS DYSTOPIA
Overall, the city is a space where interactions and encounters happen in an in-tense way. In this sense, Jennifer Robinson criticises the world cities litera-ture for its emphasis upon the narrowing of concepts and models that entail hier-archical relations. Robinson argues that the binary of innovation-imitation must be broken down. Instead, all cities should be looked at as ‘ordinary’, with their own inner logics and local appropriations and distortions. In her view, all cities are places that have innovative and dynamic aspects as well as challenges and barri-ers. Hence, she proposes to compare the dynamics of multiple cities and see how the reasons for urban outcomes diverge significantly across different contexts.
Cities are a never ending process, a constant fight between the oasis and the de-sert. They deploy an edge logic, a sort of ‘theatre of rise and fall’ (unfolded by bringing dissimilar persons into proximity and, by doing so, conced-ing a second, third, an near infinity of possibilities of re-creation. As asserted by de Boeck, cities have a mounting and elusive quality that provokes a need for sutures between discourses, representations, actions and structures. A city does not exist ‘in itself’ - it is produced. A city is an abstraction that “be-comes true” in economic, political, and cultural practices; a social fact. As noted by Nigel Rapport, the dwellers of a city, as mem-bers of a community, they share grammars, manifested in common turn‑taking, speech distortions, etiquettes, use of silence, and space performativity. Their in-teraction is, therefore, a regular sequence of mutual interpretings; a shared lan-guage that provides a fund of forms and cases, which individuals adapt to their communicational purposes. In this sense, the study of urban life is not reducible to roads and maps, but depends also on the observation of utteranc-es, the ways in which people and places are associated, even of fantasies and charms. If interconnected processes and their particular grammars are ignored, then neither knowledge of roads and houses, nor knowledge of mobilities are suf-ficient to understand the city.
2020 Radical shift
AiCity FakeLab
RENDER INVISIBLES VISIBLE
Urban Fabric Test
Close-up
Voxel Visualization
Voxel Visualization
Architecture Scale Chunk
Module Test
Module Test
Module Test
Urban Fabric Curves
Urban Fabric Voxels Plan
Urban Fabric VoxelsPerspective
Looking up
Human Perspective
Bird view of the overall urban fabric
DO BOTS DREAM OF DIGITAL BUILDINGS?
It is generally assumed that computers cannot be creative. This is the conclusion, at any rate, reached by Japanese computational architect, Makoto Sei Watanabe, writing about the potential applications of Artificial Intelligence (AI) in the field of design: “Machines are better than people at solving complex problems with many intertwined conditions. In that realm, people are no match for machines. But people are the only ones who can create an image that does not yet exist. Machines do not have dreams.” The term “dream,” however, has been used—albeit metaphorically—in connection with a technique, DeepDreaming, discovered by Alex Mordvintsev of Google Artists and Machine Intelligence [AMI], while analyzing the operations at work in the process of recognition using artificial neural networks. Mordvintsev found that he was able to generate images by reversing the flow of information in a neural network. Artificial neural networks are often used to recognize and images. They are used, for example, to recognize faces on Facebook and to classify images on Instagram, and are often based on a class of deep neural networks, known as Convolutional Neural Networks [CNNs]. Generally speaking, a network consists of 10–30 stacked layers of artificial neurons. With DeepDream, however, the neural network operates in the opposite direction. Instead of recognizing an image and assigning it a category, DeepDream starts with a category and proceeds to generate an image. For example, whereas a standard neural network can recognize an image of a bird and categorize it as a “bird,” DeepDream is able to start with the category “bird,” and generate an image of a bird. Thus, instead of operating “from image to media,” DeepDream operates “from media to image.” But how exactly can a neural network typically used for recognizing images also be used to generate—or “synthesize”—images? Importantly, although computational neural networks are trained to discriminate between images, it is essential that they have some understanding of those images in order to distinguish them. This allows them to work in reverse, and generate images, instead of merely categorizing them. However, the process of inverting the operation of a neural net produces a somewhat “trippy” images that appear vaguely surrealistic with a multiplicity of objects generated in a variety of poses .
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Cycle GAN Image
Model Detail
Model Detail
Cycle GAN Image
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2021 New Materialism
Rew UrIntelligent ooborkirong s the LibFrrayom Intelligent Forced Printing
HYPER PUBLIC & HYPER PRIVATE
State Library Timeline
Fractal Prototype
Cocoon Tower
The Library of Babel
The universe (which others call the Library) is composed of an indefinite, perhaps infinite number of hexagonal galleries. In the center of each gallery is a ventilation shaft, bounded by a low r,ailing. From any hexagon one can see the floors above and below-one after another, endlessly. The arrangement of the galleries is always the same: Twenty bookshelves, five to each side, line four of the hexagon’s six sides; the height of the bookshelves, floor to ceiling, is hardly greater than the height of a normal librarian. One of the hexagon’s free sides opens onto a narrow sort of vestibule, which in turn opens onto another gallery, identical to the first-identical in fact to all. To the left and right of the vestibule are two tiny compartments. One is for sleeping, upright; the other, for satisfying one’s physical necessities.Through this space, too, there passes a spiral staircase, which winds upward and downward into the remotest distance. In the vestibule there is a mirror, which faithfully duplicates appearances. Men often infer from this mirror that the Library is not infinite-if it were, what need would there be for that illusory replication? I prefer to dream that burnished surfaces are a figuration and promise of the infinite ... . Light is provided by certain spherical fruits that bear the name “bulbs.” There are two of these bulbs in each hexagon, set crosswise. The light they give is insufficient, and unceasing.
The Plug-in Library
Overall Isometric View
Masterplan
Interior
Pods Detail
Interior
Close-up Isometric
Louis Kahn ‘s Hurva Synagogue
Hero Shot
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DUALITY & SYMBIOSIS