Nikhil bang by Nikhil Bang

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PORTFOLIO

Nikhil Bang M.Arch II Southern California Institute of Architecture

213-275-6874 ibang22@gmail.com https://www.instagram.com/b_a_n_g__________/

PORTFOLIO

Nikhil Bang M.Arch II Southern California Institute of Architecture

STATEMENT

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Nikhil bang is an architecture student currently advancing his graduate studies as an M. Arch 2 student at the Southern California Institute of Architecture. Before joining SCI-Arc, he held several internships within leading architectural firms, including sP+a in India where he was significantly involved in design decisions, creating presentation graphics, attending client meetings, preparing construction documents, and leading two international competitions. These internships enabled him to gain experience in the field and learn how to serve up valuable contributions in a fast-paced, professional environment. A year before, he graduated from Manipal University, Jaipur where he earned a Bachelor of Architecture. Nikhil in his third year of undergrad participated in a sustainable workshop in the city of dawn, Auroville, India, which changed his perspective about sustainable design. This workshop inspired him to lead a climate change awareness march with GREENPEACE, a non-governmental environmental organization dedicated to raising awareness regarding climate change.

CONTENTS

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DS1201 Computational Design Studio II

DS1200 Computational Design Studio I

AS3200 Advance Materials and Tectonics

VS4201 Visual Studies II

VS4200 Visual Studies I

HT2200 Theory Of Contemporary Architecture II

HT2201 Theory Of Contemporary Architecture I

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AD INFINITUM

2GBX Computational Design Studio Spring 2020 Instructor - Elena Manferdini Partner - Jonah Klinghoffer The Ad Infinitum challenges the traditional museum typology of space by emphasizing the idea of endless continuity through the use of three metaphorical loops: the concave atrium, the sloping ends, and the hovering ring, which symbolize infinity, persistence, endlessness. Similar to Zumthor's proposal, the design primarily manifests itself in plan rather than elevation, attempting to blend into the flatness of the Los Angeles skyline. The museum interweaves a fluid geometrical exterior with a multifaceted digital interior, expressing itself as an emblem for LACMA's diverse collection of multicultural art.

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SITE PLAN 11

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REAR VIEW

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FRONT STREET VIEW

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The design primarily manifests itself in plan rather than elevation, attempting to blend into the horizontality of the Los Angeles skyline, and utilize the vast LACMA site in width instead of height by embracing the tar pits and integrating greenery throughout the landscape.

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The exhibition ring that slices through the museum provides visitors with a linear gallery spatial experience with views over Wilshire. The ring acts as a continuous loop that crosses over the boulevard, connecting two floors on opposite sides of the museum. Also, transparency is key in this design, as the unobtrusive ring allows for views of the campus and the tar pits from Wilshire Boulevard. A ramp flanks the ring, creating a public pedestrian walkway for visitors to enjoy a promenade overlooking Wilshire, and access a cafĂŠ on the top floor.

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The linear exhibition ring was designed to accommodate an augmented reality experience of holographic sculptures, meant to showcase artwork that is in storage, these virtual sculptures are then interrupted by an illuminated gallery space exhibiting physical pieces

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The carved out main faรงade facing Wilshire Boulevard yields itself to the city by exposing the inside to the outside; the vast concave curtain wall allows passersby to glimpse into the museum, and similarly grants visitors to gaze out into Los Angeles. These views are starkly juxtaposed with antique sculptures in the space. In a sense, they contextualize the works of art in the city.

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The interior spatial arrangement stems from the No Stop City scheme by Archizoom, depicting a seemingly infinite grid of partitions arranged in a maze-like fashion. The maze is a crucial element of interior scheme, as it allows visitors to explore the space however they please. Several large pockets within the maze exhibit large sculptures which can be experienced digitally through the use of Augmented Reality, adding colors, textures, and special animated effects

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SECTION

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SECTION

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AFTER IMAGES

2GAX Computational Design Studio FALL 2019 Instructor - Jenny Wu Partner - Jasper Gregory After Image is an optical phenomenon whereby a person experiences the image through hallucination or sensations and remains lingering in an altered state. The project is a direct translation of an after image. The translation occurs through the process of 2D to 3D. Beginning with the photos taken from the surrounding areas of Chinatown in downtown Los Angeles. The project explores the process of translation and distortion.

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3D SCANNED OBJECTS

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MASSING ITERATIONS

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The texture corresponds with the geometry, producing a transformation of resolution within the images. The texture is a direct transgression of the surrounding urban context of Los Angeles. Project acts as a distortion mechanism, containing multiple layers. The translation of 2D to 3D, from image to object, physical to digital. The effect of the distortion becomes legible while viewing the project from different perspectives. When viewing from elevation, the textures seem to alter the geometry. Making certain moments seem flattened or give the allusion of depth where none is present. There are different resolutions within the texture. Certain areas appear more defined while others are stretched, conforming to the geometry.

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PHYSICAL MODEL

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Top view

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LEVEL 2 (Plan)

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Each object weaves into the other, creating a series of negative and positive interior spaces.

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Building sits on landscape creating series of covered and open "Public Plaza"

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NATIONAL MUSEUM OF QATAR

2GAX Advanced Material and Tectonics FALL 2019 Instructors - Maxi Spina, Randy Jefferson Partners - Heena Patel, David Seo The class paired areas of investigation and speculation are Tectonics -predominantly building envelopes- and Performance -largely consisting of technical , technological , cultural and environmental dimensions. The seminar culminates with each group reformulating their initial tectonic conjectures so as to adapt to a slightly altered design scenario. In re-informing the origins of the work, the class intends to search for a novel set of formal, geometrical and technological associations so as to yield a new tectonic coherence.

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Designed by French architect, Jean Nouvel, the museum makes a dramatic addition to the Doha landscape; with its curved disks, intersections, and cantilevered angles — all inspired by the local desert rose. The building is composed of large interlocking disks, spherical in section, and of different diameters and varying curvatures. Some disks are ‘horizontal’ and rest on other disks. The ‘vertical’ disks constitute the building’s support and transfer the loads of the horizontal planes to the base. Like the exterior, the interior is a landscape of interlocking disks.

DOCUMENTED CHUNK 48

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The cladding system consists of 76,000 panels with 3600 different geometrical shapes and sizes. By simplifying the shape of the panel into the weaving pattern, it reduces the complexity of the construction process. Moreover, the proposal is to remove some of the panels and replace them with translucent glass. This perforating effect on the envelope can help to bring light and transparency to the museum building. Since Gfrc is most durable and internally reinforced other types of reinforcement are not necessary. Therefore, the material for the panel will be the same. The tessellated glass pattern is added to the design to merge with the disk pattern and give more dimensions to the building envelope.

PROPOSED TRANSFORMATION 50

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BIRDâ&#x20AC;&#x2122;S EYE VIEW OF DOCUMENTED CHUNK

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SECTIONAL PERSPECTIVE OF DOCUMENTED CHUNK

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RADIAL DISK BUILT-UP

Primary Steel Structure

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PRIMARY STRUCTURE

Nose Beam Tie Members Secondary Circular Beam Secondary Radial Beam Primary Steel Structure

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SECONDARY CLADDING STRUCTURE

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SECTIONAL STRUCTURAL PERSPECTIVE OF DOCUMENTED CHUNK

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DISK INTERSECTION BUILT-UP

Orthogonally Framed Steel Truss

Radially Framed Steel Truss

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Tie Members Primary Steel Structure Nose Beam Secondary Circular Beam Secondary Radial Beam Gfrc Cladding Panel

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SECONDARY CLADDING STRUCTURE

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Secondary I-Beam

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Elastomeric Support

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Tie Members Secondary Steel Members Studs

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Gfrc Weaving Pattern

Seconadary Circular Beam For Cladding Studs

Elastomeric Bituminous Waterproofing

Welded Steel Joint Secondary Circular Beam Primary Steel Structure Gfrc Cladding

Structural Disk

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SECTIONAL PERSPECTIVE OF PROPOSED CHUNK

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THE PARTICLE UNIVERSE

2GBX Visual Studies 2 Spring 2020 Instructor - Damjan Jovanovic Partner - Jasper Gregory The idea of Particle Universe comes from the game scholar James P. Carse introduces the idea of an Infinite Game: a game where the purpose is not to win, but to continue the play. The artist Ian Cheng defines the activity of "Worlding" as the introduction of meaning into the open-ended chaos of a simulation. The Particle Universe presents a real-time simulation that explores these two concepts as a possible format for architectural visibility.

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In this project, the Universe (Garden) serves as a perfect analogue to the ordered open-endedness and chaotic beauty of a simulation, deployed through the rigorous rules of a technical apparatus. The Particle Universe is a self-playing, open ended simulations of a world imbued with characters and objects. In this work, we use GOFAI models such as behavior trees to run decision making within the world. Randomness within the formally complete set of rules plays a major role.

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Randomness brings our mind to aporia a state of unresolved tension. In an attempt to resolve this, the mind starts imposing signal onto noise, developing interpretations. We assign minds and intentions to objects, we assign meaning to pure noise, we continue the open-ended game in our head. Traditional narrative structures are put in friction and an adversarial relation with a simulation. The classical tropes of storytelling that have always governed how we understand and assign meaning are incapable of regulating the chaos of a simulation. It is storytelling with probabilistic outcomes.

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SLICE IT !

2GAX Visual studies 1 FALL 2019 Instructors - Andrea Cadioli, Curime Batliner Partner - Cristina Cotruta The potential of a gestural cut as a device for the production of dualities in an ontologically weak system. Concepts of inside/out, open/close, right/wrong are challenged in a surface in continuous evolution in between opposing identities. Following the contemporary explorations of the 2.5d canvas in post-digital area, the project investigates the architectural facade as a space of multiplicities and singularity, deeply public and in an infinite state of fluxation. The project started from a series of parametrically and generative designed patterns playing with repetition, tiling and overlapping in Grasshopper, the linework was then enhanced in Illustrator and After Effect before being printed double side and carved out of the canvas itself and plexiglass sheets. 73

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PATTERN GENERATED FROM GRASSHOPPER

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TEXTURE FOR COLUMN DESIGN

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COLUMNS EXHIBITED

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THINKING THE UNthinkable

2GBX Theory Of Contemporary Architecture 2 Spring 2020 Instructor - John Cooper Author - Nikhil bang Fundamentally architecture is a material-based practice that implies that making and the close engagement of materiality are intrinsic to the design process. With the rapid uptake of new computational tools and fabrication techniques in this post-digital era by the architectural profession, there is potential for the connection between architecture and materiality to be manipulated. The paper aims to define and understand source materiality within post-digital architecture, and how do architects' approach and deal with source materials? The paper discusses and questions how digital imagery as one of the materials is used, what formats do they come in, how they are manipulated and what is its future in post digital architecture? 85

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In general, the concept post digital refers to a period after the digital revolution, when algorithms are everywhere and the line between digital and physical is nearly unperceivable. The post in postdigital, therefore, does not imply a time after or beyond the digital but instead is understood as both a continuation and interrogation of what we have known as "The Digital" to date. In these terms we are, undoubtedly, in a post digital age which as a paradigm shift within architecture (seen first in architectural representation), is the ability to search and download existing imagery i.e. 'source material', and manipulate it by use of digital architectural tools (programs). Fig. 1

The architectural tools themselves (Photoshop, Illustrator, etc.) are derived digitally, though the way such programs are used compositionally differs from that of the digital era in architecture. The digital has revolutionized space (from physical space to cyberspace), from (boxes to blobs), fabrication (from masons to robots), building (from blueprints to BIM), and style (from Postmodernism to Parametricism)1. SOURCE MATERIAL The distinction between original and copy isn't the only thing flattened in the post digital age. The division between physical and digital materiality, between concrete and the abstract, between the real and the representational also collapses. Digital-ness has crept into material things, fusing with the physical in ways that make it almost impossible to detect. This ranges from new ways of seeing the world around us conditioned by digital processes and techniques to aesthetic expressions that are digitally native, from embedded technologies to the internet of things. 1â&#x20AC;&#x192;Gail Peter Borden and Michael Meredith, eds., Lineament: Material, Representation and the Physical Figure in Architectural Production, 1st edition (London: Routledge, 2017).

The Source material is one of the most important aspects of post digital architecture as it changes the way we design architectural elements, components, and spaces and out of the lot one of the widely spread and easily accessible source material is digital imagery. DIGITAL IMAGERY As an aesthetic, the post-digital stems from the saturation of digital technology to the point where it becomes an image. Once relegated to screens, digital characteristics (pixels, gradients, filters, and the like) are quickly becoming fixtures of the physical world. A characteristic example of this blurring can be seen in the popular use of "photogrammetry". Highly detailed digital models derived from photographs are readily available for download or can be custom created with an app on the mobile-

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phone. These models separate form and surface articulation from material and image(threedimensional polygon mesh models and texture map image files), presenting to work on each as a distinct set of raw materials to be manipulated.

into two discrete layers of digital information. By default, the photogrammetry model maps the "texture" perfectly to the three-dimensional mesh, assumption that the goal is to produce photorealistic copies.

What before was fully integrated through the mineral structure of the rock is now pried apart

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HOW DO ARCHITECTS WORK WITH DIGITAL IMAGERY? Archigram, OMA, and Superstudio are among twentieth-century participants in collage culture (photographs), its evolution can be traced as both an aesthetic technique central to architectural representation and cultural practice of layering, juxtaposition, and remix that conjures architecture in a new way. Projects such as Rem Koolhaas's EXODUS or the Voluntary Prisoners of Architecture (A.A. Thesis 1972)2, and Peter Cook's Walking City (1961)3 along with photo collages of Mies van der Rohe were completed as avant-garde experiments in photomontage, graphic design, and image. The technique is used as a low-tech manifesto for the discipline, provides a backdrop through which to reframe contemporary uses. As an architectural tool, this wide-ranging medium mixes high and popular references and offers a dynamic, inventive connection to cultural context. "The ethos of collage shapes every aspect of contemporary culture, from the glut of signs and images to the man layers of digital information to the art of sampling." Collage utilizes sources that often can be situated within a cultural context as they are pulled from contemporary, popular culture sources. Post-Digital architectural collage is curated in a similar stylistic manner to late-twentieth-century collage. Many of the collages done by Mies van der Rohe were, largely made up of whitespace; line-drawn perspective grids delineate the plains of floor and ceiling, while two, or possibly three, interior partitions block views out of plate- glass windows. 2 Note. AA Archives, 1972. 3 Cut ‘n’ Paste: From Architectural Assemblage to Collage City; MoMA, 2014 (Permanent Collection at MoMA, Walking City, 1961. )

Many of these partitions are adorned with patterned marble or modernist paintings by Kandinsky or "Guernica" by Picasso. The example here features a contemporary collage that reassembles Mies van der Rohe's Resor House with David Hockney's 1971 Pool with Two Figures. Often the work curates a narrative in this case the exploitation of a style appropriated with digital tools all materials were sourced through a digital search. "In regard to the current topic of post digital, a building (or part thereof) becomes a thing when it disrupts two backgrounds: first, architecture as the functional background of the life , not so much perceived as used, and two, the background of computation, which is active and omnipresent, but often unintelligible"4. Taking MVRD's GLASS FARM for example, The building form is straight forward filling out the zoning envelope while referencing the local agrarian context. Its materiality, however, is more peculiar. In place of traditional farmhouse materials, MVRDV clad the building in fritted glass printed with an image of a "typical farm"5. As a design process this building demonstrates postdigital sensibilities in three striking ways Firstly, the imagery comes from a digital "original" that was produced by averaging data collected from all the remaining traditional farms in the area. Secondly, the imagery is printed at one and a half times the size of a typical farmhouse. The 4 Mark Foster Gage, Aesthetics Equals Politics : New Discourses across Art, Architecture, and Philosophy (Cambridge, Massachusetts: The Mit Press, 2019), 115. 5 Mark Foster Gage, Aesthetics Equals Politics : New Discourses across Art, Architecture, and Philosophy (Cambridge, Massachusetts: The Mit Press, 2019), 117.

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Fig. 4

oversizing of doors and windows is unusual for visitors, but natural when considering the digital space from which the image came. Thirdly, the imagery is selectively removed to produce apertures in a manner suggestive of Photoshop commands, MVRDV carves fuzzy, figural shapes out of the frit depicting brick walls (is the fuzzy boundary the result of decreasing the

"hardness" of brush?). In this way, this building diagram a type of architectural experience where basic functional and aesthetic assumptions is disturbed, eliciting a second look, thus moving building from object to thing6.

6â&#x20AC;&#x192;Mark Foster Gage, Aesthetics Equals Politics : New Discourses across Art, Architecture, and Philosophy (Cambridge, Massachusetts: The Mit Press, 2019), 117.

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FUTURE OF DIGITAL IMAGERY IN ARCHITECTURE? As in the book Aesthetic Postdigital it says, This momentary bond of attention forged when a building emerges from the background of experiences echoes Heidegger's broken tool analysis, a key reference for Harman. According to Heideggwe, when we are utilizing a tool, like a hammer, we don't notice it outside of its current purpose (driving a nail, for example), what he calls ready–to–hand. If it breaks, however, it becomes present-to-hand and we notice it as a thing in itself, beyond its use for us.7 Taking 3D Printed, A.I data sculpture, Data Crystal by REFIK ANADOL STUDIO as an example, The sculpture is made of 9 million images of the city of Portland transformed into a 3D form by using UMAP coordinates of VGG168. Imagining what if this object takes a shape of building in Portland, what if we can also see the textures of pictures that made it, what if this becomes a social building with textures of million images and becomes an architectural aesthetic experience rather than just being suspended object on some ceiling. These are a few questions that might help us lead our way to the future of digital imagery in post-digital architecture. CONCLUSION Current digital design discourse, with its focus on form-generation and fabrication, tells us little about projects like Glass Farm, signaling the need for new conversations concerning computation. Post-digital in sensibility, such conversations will differ from those we have known. The fervor and futuristic tenor of early digital 7 Mark Foster Gage, Aesthetics Equals Politics : New Discourses across Art, Architecture, and Philosophy (Cambridge, Massachusetts: The Mit Press, 2019), 119. 8 Refik Anadol, @refikanadol, February 17, 2020, https://twitter. com/refikanadol/status/1229655317484462082?lang=en.

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experimentation will give way to a more measured tone, one focused less on novelty and more on the hidden aspects of computation. Post-digital design discourse calls for a critical examination of the tools and technologies we take for granted, while simultaneously connecting what we do to larger cultural shifts occurring globally. This is about more than design. Computational structures establish not only the grounds of architectural production, but increasingly life itself. Today we face an ecology of digital media that affects us aesthetically, but also socially, politically, and ontologically. Tuning architectural design and discourse to the changing contours of computation will better position us to impact our increasingly mediated world.

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BIBLIOGRAPHY Carpo, Mario. "Post-Digital 'Quitters': Why the Shift Toward Collage Is Worrying." Metropolis, March 26, 2018. https://www.metropolismag. com/architecture/post-digital-collage/. Mario Carpo. The Alphabet and the Algorithm. Cambridge, Ma: Mit Press, 2011. FURE, ADAM. "What Does It Really Mean to Be 'Post-Digital' in Architecture?" Archpaper.com, May 22, 2018. https://archpaper.com/2018/05/ postdigital-for-the-record/. Mark Foster Gage. Aesthetics Equals Politics : New Discourses across Art, Architecture, and Philosophy. Cambridge, Massachusetts: The Mit Press, 2019. David Michael Berry, and Michael Dieter. Postdigital Aesthetics : Art, Computation and Design. Houndmills (Basingstoke, Hampshire) ; New York: Palgrave Macmillan, 2015. Claypool, Mollie. "The Digital in Architecture: Then, Now and in the Future." SPACE10, November 12, 2019. https://space10.com/project/ digital-in-architecture/. Gail Peter Borden, Michael Meredith. Lineament: Material, Representation and the Physical Figure in Architectural Production. Princeton Press December 5, 2018

Production. London: Routledge, https://doi. org/10.4324/9781315680392 MVRDV. "MVRDV - Glass Farm." www.mvrdv. nl. Accessed April 23, 2020. https://www.mvrdv. nl/projects/119/glass-farm. Wheeler, Mayor Ted. "DELAYED: Iconic Portland Building Reopens with Community Celebration March 19." Portland.gov, March 3, 2020. https://beta.portland.gov/wheeler/ news/2020/3/3/delayed-iconic-portlandbuilding-reopens-communitycelebration-march-19. LIST OF FIGURES Fig 1. The mesh model and flattened images, which together comprise the rendered photogrammetry rock. Fig 2. Resor House Collage, Mies van der Rohe, 1937, Collage, 36"x24", MoMA Permanent Collection. Fig 3. Portrait of an Artist (David Hockney), Lujac Desautel, Collage, 36" x24". Fig 4. GLASS FARM by MVRDV. Fig 5. GLASS FARM by MVRDV Fig 6. Data Crystal: Portland, Refik Anadol Studio

Borden, G. (Ed.), Meredith, M. (Ed.). (2018). Lineament: Material, Representation and the Physical Figure in Architectural

Fig 7. HeK (House of electronic Arts Basel)

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SPACE FOR ALTERNATIVES

2GAX Theory Of Contemporary Architecture 1 FALL 2019 Instructor - Marcelyn Gow Author - Nikhil Bang Architects have historically had an impact on the ways buildings have been designed. With the changes in design methods from sketches to digital drawings and advance software's, they became more than ever before crucial elements of the creation process. The automation of architects working process began with computational functions that were introduced in traditional CAD tools but in the current, computationally driven working environment architects tend to use specified tools that suit their specific needs. In some cases this involves the use of artificial intelligence. The use of AI is introducing highly visible and somewhat unprecedented effects before we develop solutions to these problem within the discipline. 95

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The practice of Architecture has always been about alternatives, its methods, traditions, and know-how are today at the center of passionate debates. Challenged by outsiders, arriving with new practices, and questioned from within, as practitioners doubt of its current state, Architecture is undergoing a truly profound (r)evolution. The discipline of architecture is constantly evolving, among which technology is one of the main factors at play. From sketches, twodimensional drawing, physical model, digital drawings, 3d prints to creating advanced design tools dedicated to particular solutions. The conception of buildings has in fact already started a slow transformation: first by leveraging new construction techniques, then by developing adequate software, and eventually today by introducing statistical computing capabilities (including Data Science & AI). Rather than a disruption, we want to see here a continuity that led Architecture through successive evolutions until today. Modularity, Computational Design, Parametricism and finally Artificial Intelligence are to us the four intricate steps of a slow-paced transition. Beyond the historical background, we posit that this evolution is the wireframe of a radical improvement in architectural conception1 . The paper will discuss contemporary design techniques used by designers that lead to the usage of automated systems based on the selected forms of artificial intelligence algorithms. Among many definitions of artificial intelligence, depending on the research field, is commonly described as method of "achieving complex goals in

complex environments". (Goertzel,2006)

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The advantages and disadvantages will be analyzed in the scope of recent discoveries. As results will show investigated methods have a lot in common and may offer valuable tools for designers. The aim of the paper is to present currently applied set of algorithms, amplifying architectural design tools set, in the optimization process, behavior-based design and supervised machine learning approach. AI AND ARCHITECTURE Artificial Intelligence, as a discipline, has already been permeating countless fields, bringing means and methods to previously unresolved challenges, across industries. AI in Architecture, is still in its early days but offers promising results. Computing in architectural design is based on calculation and automation. Almost every design

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software offer's various automated tools that support the creative process. In terms of computer automated design the most relevant once, are those that use visual scripting, that allow user to compose own algorithms by common programming language or visual scripting techniques. No other systems give designers such a high level of control and possibilities to create their own design tools, fitted to their design problems. The automated design systems are commonly used in contemporary architecture, because of their potential to increase productivity and freedom of modification even in most complex environments by developing custom, topic depended tools. Throughout the many algorithmic design strategies the set of following brings computational architecture toolset towards artificial intelligence approach:

• Evolutionary algorithms • Swarm intelligence • Generative Adversarial Neural Networks EVOLUTIONARY ALGORITHM Evolutionary Algorithms are a class of algorithms inspired by processes of biological evolution such as reproduction, mutation, recombination and selection. During the consecutive process algorithm's parameters are verified and adjusted. The system of optimization relies on the set of four basic rules: selection of the reproduction best-fit individuals, new individuals breed through mutation process, evaluation of the individuals fitness (Hirst, 1997) and replacement of the least fit individuals. Evolutionary Algorithm computational model enables adjustment of the

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input parameters, resulting in the optimized configuration in the reference to the set goals. Introduced by L. J. Fogel in the 1966 Evolutionary Computing (Fogel, Owens and Walsh, 1966) became one of the most common problem- solving method, finding its application in the fields of signal and image processing, computer vision, pattern recognition, industrial control and aerospace engineering (Cagnoni, 2000). In the domain of evolutionary computing, genetic algorithms (Mitchell, 1996) are the most widespread type of the multi-criteria optimization methods. Therefore they are becoming the matter of interest for artists, designers and architects. The scope of possible application of the evolutionary algorithms in the field of architectural design is being explored from the middle of 1990's (Frazer,1995), as the tool being able to produce solutions to problems which structure could not be clearly understood. SWARM INTELLIGENCE It is the collective behavior of decentralized, self-organized systems, natural or artificial. The basic idea of swarm intelligence is a "population" of local interactions to the environment in a greater amount that creates a global system. At 1989, the swarm intelligence expression was first introduced at robotic systems, which describe the emergent collective behavior. Nowadays this new approach of collective behavior has diversely implemented in many perspective from biology, social structure, engineering, artificial, visualization and architecture. What's more, a collection of people can also exhibit swarm behavior, such as pedestrians. A considerably new direction in creative process has emerged based

on a bottom-up approach to both algorithmic design and computer aided fabrication (Augugliaro, Lupashin and Hammer 2014). Behavior based solutions do not require a high level control of the system, avoiding complex multi-parameter form-finding mechanis. Bioinspired algorithms became a foundation for a non-linear and non-hierarchical approach for solving advanced geometrical issues. The subject of swarm intelligence application researched in following experiment based on the bird flocking (Chazeele, 2014) - a collective behavior characteristic to animals of similar breed and physical appearance, aggregated together to act as one bigger, multi-element organism. From a mathematical point of view, it is an emergent behavior arising from a simple set of rules, built by self-propelled entities, that does not require external coordination influence. Virtual control of swarm behavior and its possible application became a substantial topic in contemporary generative design due to accessibility in many design software tools based on boids (Reynolds, 1987) library. Situation Room is a light-weight, ultra-thin self-supported shell structure augmented through engineered sounds by artist Jana Winderen. The overall form is an aggregate of twenty spheres of incremental diameters, combined to create an enclosed experiential tension, sort of sublime dialogue between the comfort of the known and an uneasy interaction with the unknown.

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Generative Adversarial Neural Networks (GAN's) Generative Adversarial Neural Networks-or GANs â&#x20AC;&#x201C; are here our weapon of choice. Within the field of AI, Neural Networks stands as a key field of investigation. The creative ability of such models has been recently evidenced, through the advent of Generative Adversarial Neural Networks. As any machine-learning model, GANs learn statistically significant phenomena among data presented to them. Their structure, however, represents a breakthrough: made of two key models, the Generator and the Discriminator, GANs leverage a feedback loop between both models to refine their ability to generate relevant images. The Discriminator is trained to recognize images from a set of data. Properly trained, this model is able to distinguish between a real example, taken out of the dataset, from a "fake" image, foreign to the dataset. The Generator, however, is trained to create images resembling images from the same dataset. As the Generator creates images, the Discriminator provides him with some feedback about the quality of its output. In response, the Generator adapts, to produce even more realistic images. Through this feedback loop, a GAN slowly builds up its ability to create relevant synthetic images, factoring in phenomena found among observed data. Hao Zheng's and Weixin Huang offered at the ACADIA conference in 2018 a first publication, demonstrating the potential of GAN for floor plans recognition and furniture layout generation. Using patches of color, their model would draw the infill of rooms, based on the room program, and its openings position. Through the study of the process of network training and information processing, it is interesting to find that, compared

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to a human learning process, a machine learning algorithm has similar characteristics, such as to dig abstract concepts from concrete entities, and to extract accurate standards from blurry understandings. It could be seen that in the future, artificial intelligence may play more and more active roles in not only repetitive works, but also creative works. It is highly possible that human ability would be greatly expanded when combined with artificial intelligence. The next step of this research would be to develop networks to recognize and generate architectural drawings faster and more reliably, which could be applied in releasing architects from repetitive works, and enhance exploration of creative design solutions.

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Fig. 6

Fig. 7

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CONCLUSION Contemporary architects in their practice use a variety of different design tools. Their selection is based on the experience, preferences, performance and particular task. From traditional drawing to advanced autonomous systems. The basic digital design tools are a subsidiary of a drawing board. Some of them allow simple forms of automatization, like the array function that is present in most of the contemporary design software. We can definitely point out that in general, according to their purpose, they improve the efficiency of a design process. However, in many cases, the result is opposite, because of the need for the manual designer's evaluation, decision, and control on every level of his project. Therefore many of traditional basic computeraided design tools used nowadays are not capable of fulfilling the needs of contemporary architectural design practice. The introduction of emerging complex tools to the discipline enables higher efficiency in a creation of complex forms. Investigated design tools are based on both symbolic and subsymbolic systems. Symbolic systems are being created in forms of hierarchical algorithms, where due to selected parameters forms or relations are being created. While in subsymbolic systems the dependence is more fluid and therefore the solutions are less expected. As research show artificial intelligence is introduced to the discipline in many different design tools. From basic automation and computer vision to advanced neural network and swarm intelligence. This leads to the creation of new spatial forms, which could not have been created in any other way. Emerging tools give more freedom to

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designers, who can control even extremely fragmented form with a defined set of rules. Therefore we can definitely argue that artificial intelligence has a potential to change the whole discipline giving it new possibilities and paths to explore. The breakthrough of artificial intelligence became crucial for the change of the way we think about creating architecture. The introduction of automated design system amplified capabilities and role of conceptual thought in a design process. In the near future one can expect digital artificial intelligence aided designer's assistant, which concept can be based on the existing system, taking a primitive forms nowadays, which learn our behavior and patterns of thinking introduced in personal assistants such as Siri or Alex, help us find best possible way to solve our problem or suggest other solutions on their own. Advanced design system can learn the style and manner based on the particular architect projects. Nevertheless, the role of the architect is still crucial because of his responsibility to choose the most suitable solution from many that are computed. It is not to be expected that in near future system will replace humans as designers. Not only because of their complexity, but also due to ever changing needs and our aspirations to create and control environment.

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BIBLIOGRAPHY

LIST OF FIGURES

Digital Architecture Beyond Computers, Roberto Botazzi, Bloomsbury

Fig 1. INVENTIONS AND INNOVATIONS (The Advent of Architectural AI, Stanislas Chaillou)

Data-Driven Design & Construction, Randy Deutsch,Wiley Architectural Intelligence, How Designers and Architects Created the Digital Landscape, Molly Wright Steenson, MIT Press Architectural Google, Beyond the Grid Architecture & Information Technology pp. 226–229, Ludger Hovestadt, Birkhauser Algorithmic Complexity: Out of Nowhere, Complexity, Design Strategy & World View pp. 75–86, Andrea Gleiniger & Georg Vrachliotis, Birkhauser Code & Machine, Code, Between Operation & Narration pp. 41–53, Andrea Gleiniger & Georg Vrachliotis, Birkhauser The Advent of Architectural AI, Stanislas chaillou, Harvard GSD Thesis.

Fig 2. The Situation Room (By - Marc Fornes and theverymany) Fig 3. Stress flow diagram ("The situation room" by Marc Fornes and theverymany, 21st November 2014) Fig 4. Generative Adversarial Neural Network's Architecture ( An intuitive introduction to Generative Adversarial Network (GANs) by Thalles Silva) Fig 5. Result of recognizing (Hao Zheng and Weixin Huang, ACADIA 2018 PAPER) Fig 6. Result of generating (Hao Zheng and Weixin Huang, ACADIA 2018 PAPER) Fig 7. Detailed generating result of toilet and kitchen (Hao Zheng and Weixin Huang, ACADIA 2018 PAPER)

Hao Zheng and Weixin Huang, ACADIA 2018 PAPER Enabling Alternative Architectures: Collaborative Frameworks for Participatory Design, Nathan Peters, Harvard GSD Thesis, 2017 Procedural Modeling of Buildings, Pascal Muller, Peter Wonka, Simon Haegler, Andreas Ulmer, Luc Van Gool, 2015, ETH ZuricWh, Arizona State University.

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