DISSERTATION 2013-2014

COMPUTATIONAL VERSUS COMPUTERISING ARCHITECTURE

Scope of computers involvement with architectural design

J K Roshan Kerketta A/2070/2008 TH B.ARCH 1V YEAR SECTION A SCHOOL OF PLANNING & ARCHITECTURE, NEW DELHI DISSERTATION GUIDE: Mr. MADHAV RAMAN

INTRODUCTION With the increased use and number of computers, expressions in architecture, through the use of computational and computer-based methods has found a prominent position in the world of architecture. With the advent of post- modernism, during the last decade, spectacular development of computer generated graphics and fascination exerted by strange forms momentarily suspended this debate, but slowly this era faded away. The author explores various alternative paths, which incorporate theoretical approach and looks into practically applying these methodologies. All important notions are brought to light with computational and formal value: exaggeration, hybridization, kinesis, algorithm, fold, and warp, etc. The idea is to examine from different points of view- historical, mathematical, or philosophical. The utilization of computers in architecture today is debatably arbitrary. Preconceived & Predetermined entities or processes that are already conceptualized in the designers mind are entered, manipulated, and sadly just printed using computers. This situation creates confusion, misunderstanding, and inconsistency for both students and practitioners over the appropriate use of computers in architecture and design. Challenging these assumptions, the paper offers an appropriate theoretical context for computer-based experimentations, explorations, and form-making. By employing computational and formal theories, such as those of kinetic, algorithmic, hybrid, folded or warped form, the author tries to bridge the gap between theoretical assumptions of past and the potential of the future.1 To change the notion of computers as advanced computing agents in architecture rather than just Graphical visualizers or a drafting tool Introduce the Rich Programmable Design Vocabulary that a computer provides to an architect. Computers have been arbitrarily used in architecture Computers are intelligent design assistants, not DRAUGHTSMEN as we exploit them to be. They are meant to handle complexly large operations and incursions that a human mind cannot conceive

EXPRESSIVE FORMS (A Conceptual Approach to Computational Design)-Kostas Terzidis

SCOPE The study will examine: a) an exploration of the scope of computers in architectural design processes b) Computational processes versus Computerizing design processes c) Building Information Modeling. (BIM),the scope and incursion of BIM ,why?

LIMITATIONS

The initial preliminary study is covered with publications and articles that render to theoretical and conceptual analysis of implementation of computational analysis in the field of architecture. The author aims to conduct interviews with respective people from the field and get a true sense of computation in ARCHITECTURE.

RESEARCH Forms convey strong visual messages with association to formal characteristics. The importance of form in architecture, as opposed to function and content, the advantage of taking into account the links of architecture to its major relative, art. The actual implementation of computational processes for the evolution of design and integrate as a trial, a computational approach to a certain design equation .

CHAPTERS AND CONTENTS

1. Introduction 1.1. Objective 1.2. Need identification 1.3. Scope 1.4. Limitations 1.5. Methodology

2. Algorithmic Approach towards Architecture

3. Computational Vocabulary and Approach 3.1. Caricature, Hybrid, Kinetic, (UN) folding Form, Warped Eye 3.2. Scripts, algorithms (Variables, Data types, Operations, Repetitions, Arrays, Geometric objects and transformations 3.3. Cellular Automata, Fractals, Hybridization, Periplocus, Amphiboly & Stochastic Approach

4. Building Information Modelling(BIM)

5. Summary & Bibliography

AN ALGORITHMIC APPROACH TOWARDS ARCHITECTURE Theoretically, algorithms are the abstraction of a process and serves as a sequential pattern that leads towards the accomplishment of a desired task.
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For instance, we take a basic example of an algorithm for cooking potatoes may be composed of the following steps: 1. Peel 2. Boil 3. Cut 4. Serve If the steps are reversed or one more step is added or deleted, alternative recipes may be created that produce different results. These results may be better, the same, or worse than the original intention. However, as in cooking, alterations, randomness, or accidents in the process may lead to new solutions, none of which was known in advance and whose newly emerged identity often differs significantly from the originally intended target. In these cases, the algorithm serves as a pattern of thought that helps in understanding the problem, addresses its possible solutions, and/or is a vehicle for defining new problems. The common definition of the term algorithm involves the word finite as it relates to a number of distinguishable,countable, well-defined and therefore limited, bounded,or determinable series of steps. However, while such an assumption ensures that the description of a solution to the problem, i.e. an algorithm, is composed of finite steps this does not mean that the problem itself has to be finite, bounded, or deterministic. For instance, a common practice in the world of algorithms is something referred to as an infinite loop such a situation is regarded as a misfortune and often results in a termination. While the steps that describe an infinite loop may be finite and specific,the resulting situation is indeterminate and infinite.
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For instance, the simple repetitive pattern defined through the following statements: A = false; start: if A is false then A = true; if A is true then A = false; go to start;

EXPRESSIVE FORMS (A Conceptual Approach to Computational Design)-Kostas Terzidis

ALGORITHMIC ARCHITECTURE-Kostas Terzidis

leads to an infinite cyclical argument where A changes between true and false with no end. Yet, the series of statements are indeed finite, well defined, and accurate. Consider now the following simple algorithm: start: A = random number between 0 and 10; If A is greater than 5 then exit Else go to start; In this case, there is a temporary uncertainty about the generation and occurrence of a number greater than 5 to terminate the loop. While eventually such a possibility is almost certain, its time of occurrence is not necessarily so. The series of statements are finite yet lead to indeterminate, uncertain, and unpredictable behavior .

CARICATURE FORM :an enlivening struggle of architectural forms to stand out, inspire, and identify itself.

fig.1Toontown in Disneyland, California

fig.2 Towers in Prague, nicknamed Fred and Ginger, imply the intermingled postures of dancers Fred Astaire and Ginger Rogers

Currently computers allow us to deform, disturb, & alter shapes in almost any perceivable way. Are there some special deformations that we as humans interpret as dramatic and expressive? If that is true, then we may be able to create architecture of caricature. Traditionally in mainstream architecture, static, expressive-less forms dominate our cities. Caricature art involves forces of deformation and in its generative stage, caricature touches architects deepest desires to build and blow life into lifeless forms. Architecture has always tried to strike a balance between forms through its function without disturbing the latter. It provides a medium of expression that is subtle, implicit, connotative, and indirect, yet powerful, expressive, and emotional. Successfully exaggerated figures provide the means of expression that can stir emotions and attract attention.

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Euclidean transformations, such as movement, rotation, scaling, or reflection, encapsulate within a closed, isolated and hermetic environment, while forms, under the influence of transformations, may change in shape, size, direction, or orientation-no parts are added or subtracted from the scene. It is the forces of deformation that change, not the integrity of the objects. In contrast, Boolean operations are constructive or deconstructive tools that allow new elements to be added to a scene and others to be removed.
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Addition suggests superimposition, whereas Subtraction implies the presence of absence.

For caricature design, Boolean operations allow the notions of absence or presence to be implied, which, in turn, allow time to be imprinted on form. Before and after are simply the results of a set operation where the parents ghosts are still present in the shapes of its children

Fig3 A thin cylinder bulged inward around its center, then sheared backward and toward another thick cylinder tapered at its base and bulged at the top

The common practice for architects is to deliver a functionally sound building with little if any attention paid to the formal aspects of the building. Unfortunately, most buildings are passive boxes with no spirit or persona. They do not talk. They have nothing to say about themselves; about what they are, where they are coming from, or what they want to be. Perhaps through the use of computational design tools we can inspire personality and character in inanimate objects that are not, by their nature,interesting.
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Excerpts from EXPRESSIVE FORMS (A Conceptual Approach to Computational Design)-Kostas Terzidis

Morphing Morphing is a term used to describe a process in which an object changes its form gradually in order to obtain another form. Morphing is a gradual transition that results in a marked change in the forms appearance, character, condition, or function. It is a process that involves operations that alter the geometry of form while preserving its topology. In its dynamic stage, it is the struggle to connect the unconnected, dissimilar, unrelated, and unalike. In its static stage, morphing is the bond between the past and the present. Morphing is a powerful formal device that embodies one of architectures most existential struggles: to express and identify itself through its own form.

Fig 4 . A square is mapped to a triangle. While certain mappings appear to be more natural (above) than others (below), every mapping is a valid transformation between the two parent sets

KINETIC FORM-ARCHITECTURE IN MOTION

Kinetic is used to describe a situation related to, or produced by, motion. Motion is the act or process of changing position or place over time. While motion involves time as a measurement of change, the definition of form itself does not involve time. As a result, kinetic form is not a contradiction but rather an extension to the notion of form as a motionless boundary. In architecture, the idea of motion is often represented as an abstract formal configuration that implies relationships of cause and effect.

Fig.5 The juxtaposition a balanced organization next to a directional configuration

ALGORITHMIC ARCHITECTURE-Kostas Terzidis

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Fig 6 Sequential juxtaposition

Fig 7 Deformation
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fig8 Adhesion

As in an orchestra performance, the architect/composer selects a number of objects to participate, assigns the proper transformation paths and speeds, and then directs the performance through time, form and color.

Theories of order thus may be at an end, and the substantial difference between our time and the past is clearly seen in the transition to a new era of manipulating knowledge using high-level abstractions and nested systems of relations, rather than particular objects. The future architect may become the composer of symphonies in form,space, and color.

EXPRESSIVE FORMS (A Conceptual Approach to Computational Design)-Kostas Terzidis

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BUILDING INFORMATION MODELLING AND ITS SCOPE

Fig 9
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According to the US National Institute of Building Sciences (NIBS), BIM refers to the use of the concepts and practices of open and interoperable information exchanges, emerging technologies, new business structures and influencing the re-engineering of processes in ways that dramatically reduce multiple forms of waste in the building industry

10 Closing the gap 2009)-Richard Garber

Contemporary Architectural practices (Architectural Design Vol. 79 No 2March/April

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Fig 10

BIM systems have two important interrelated aspects. First, they allow all virtual geometry to be linked to real-time databases for the accurate costing of materials and for ensuring building components are properly integrated. Next, they allow for the smooth transfer of data to the software packages that enable simulation to occur.
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The PREFAB house was conceived as an economical yet environmentally responsive structure able to generate its own power and utilize efficient materials. In addition to developing a set of construction documents in a BIM system, the information model was translated into environmental analysis software to study criteria such as solar gain and heat loss in winter months, and also into a software to generate the 3-D formwork for the houses precast-concrete walls. The proprietary software also allows the virtual sequencing of the panel assembly prior to components being delivered to the site.

Closing the gap Contemporary Architectural practices (Architectural Design Vol. 79 No 2March/April 2009) -Richard Garber

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SUMMARY

The objective of the research is to analyse,assess and research and finally find a new approach to design processes via computational methods rather than just free form manipulation in 3d space. An almost unique characteristic of architecture is that it is both dynamic and static. It is dynamic when viewed as the design process which has its roots in historical precedents of culture and the arts and which manipulates entities which are typically of an elastic character. It becomes static when it has to freeze at a certain state so that it may be built. In other words, architecture is static when viewed through individual buildings. It is dynamic when these buildings are viewed as instances of a continuum, which derives from the past and projects into the future. In its dynamic stage, morphing involves transition, progress, continuity, interpolation and evolution

Bibliography

Closing the gap Contemporary Architectural practices (Architectural Design Vol. 79 No 2March/April 2009) -Richard Garber EXPRESSIVE FORMS (A Conceptual Approach to Computational Design)-Kostas Terzidis ALGORITHMIC ARCHITECTURE-Kostas Terzidis

Fig .4,5,7,8 ALGORITHMIC ARCHITECTURE-Kostas Terzidis Fig .1,2,3,6 EXPRESSIVE FORMS (A Conceptual Approach to Computational Design)-Kostas Terzidis Fig .9,10 Closing the gap Contemporary Architectural practices (Architectural Design Vol. 79 No 2March/April 2009)-Richard Garber