History

Generative Design

History

Generative design in architecture can be traced back to the 70s where George Stiny and William Mitchell developed a set of design shape rules based on Andrea Palladio’s work. Andrea Palladio’s design process involved designing through logical design rules by studying Greek and Roman architecture. The Palladian Grammar6 helped create many variations of Palladio’s designs.

Figure 6. Figure showing variations of plans derived from the Palladian Grammar

6 Stiny, G., & Mitchell, W. J. (1978). The Palladian Grammar. Environment and Planning B: Planning and Design, 5(1), 5–18. The Palladian Grammar - G Stiny, WJ Mitchell, 1978

Architectural theorists have been developing design rules in architecture and urban planning. Christopher designed a set of rules and processes to offer solutions for different urban design contexts. His book Pattern Language7 demonstrates several algorithms to solve urban design issues like street corners, public spaces, access points. In his book Notes on the Synthesis of Form8 structures mean the form that manifests information structures. Design problems are defined as systems. To synthesise a form, he first decomposes the system into subsystems and tries to define their interrelationship.

Figure 7. Illustrations from the book Notes on the Synthesis of Form

7 Alexander, C., Ishikawa, S., Silverstein, M., Jacobson, M., Fiksdahl-King, I., & Angel, S. (1977). A Pattern Language: Towns, Buildings, Construction (Center for Environmental Structure Series). Oxford University Press.

8 Alexander, C. (1964). Notes on the Synthesis of Form. Amsterdam University Press.

Furthermore, several experimental architects like Peter Eisenman base their work on the assumption that architecture is based on such settled design logic. He started applying a set of design techniques that were influenced by Jacques Derrida’s9 Deconstruction theory, such as scaling, fractals, overlay and superposition. He applied these techniques in relation to rules of order, which helped develop many projects such as House X10 . It can be described as a series of “Transformational diagrams” to define the process of design. The description of House X as provided by Peter Eisenman is as follows11

Figure 8. Illustrations of the design concept of House X “The specific configurations of House X can be understood initially as the juxtaposition of four squares. This configuration is only an initial analogue, a heuristic device used to approach a more complex sign condition, which in itself is only a possible approximation of the reality it signifies. In fact, the final configuration is a cumulative attempt to dissolve its own seeming connection with any initial analogue. In other words, the final plan is only a series of traces that refer, in a sense, forward to a more complex and incomplete structure rather than backward to a unitary simple, and stable structure. It thus becomes a kind of pre-distillation of a more complex “future” condition.

9 Jacques Derrida (Stanford Encyclopedia of Philosophy). (2019, July 30). Stanford Encyclopedia of Philosophy. Jacques Derrida (Stanford Encyclopedia of Philosophy)

10 Eisenmann P. (1983) “House X”, Rizzoli Universe International Publications, New York, N.Y., USA

11 EISENMAN ARCHITECTS. House X 1975