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MSc / gradcert semester a
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Diploma Students on the course for 2007-8

diploma 4	diploma 5
Arturo Ramiez	Jim Bond
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Page for previous students containing theses from the past alumni

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Paul Coates' home page

Tue, 12 May 2009 14:49:50 Z

design codes

alpha syntax bits (new)

the archive 1969 thesis.pdf

Curriculum Vitae

video of lisbon lecture

Link to old article on CAD in Liverpool Poly 1980

Link to research papers

this is the draft index to the book. if you right click on any word you will be prompted to search google for it. This works in sfari and firefox and IE 7 >

book index

a thought from Marvin Minsky

you have to distinguish between writing a program that helps you to test your theory or analyse your results, and writing a program that is your theory

Wordsworth and Microsoft

Opening of the nous gallery

link to nous gallery website

Design to Production

Tue, 31 Mar 2009 17:27:57 Z

12 Feb 2008 Design to Production (Fabian Scheurer )

1. Optimise structures

eg forest of columns in a Dutch bike shed – have slab, walkway, bike paths and use program to get size angle position of columns (with a approx 20-variable slider interface for architects to play with)

2. Simplify

As designed by Daniel Libeskind sculpture made of 89 towers, 2164 parts using 5-axis CNC cutting machine. Parametric model of towers / parts / joins. Required understanding of workshop process etc to organise process / categorisation etc. Interestingly use of cutting machines and ability to customise individual pieces is causing a resurgence in traditional joints (eg here dovetail) in which joint is created in material and is self locking. Seems a weird and extravagent piece just as a show for students – almost an advertising project…

3. Materialise
glass roof of Hadid’s funicular stations in Austria – needed solution to join glass to steel structure. Ended up with polyethelene profiles (2km of different profiles!) which were modelled, fabricated, packed, labelled, delivered to site etc

Current/recent projects include

Trondheim Camera Obscura (created with students wooden machined structure)
EPFL Learning Centre by SANAA, large contoured concrete landscape – how to do formwork? Parametrics! 20,000m2 of formwork, 1400 diffrent tables of formwork – lots of organisation
Centre Pompidou Metz by Shigueru Ban, circus-top like building with 6 layers of beams in the roof. Beams are double curve gulam beams (milled down). Had to remodel as smooth surface. Ran relatively simple optimisation program to create sets of beams (based on transportability, cost to manufacture etc)

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Julian Croxson

Tue, 31 Mar 2009 17:14:01 Z

To delete

Julian

Tue, 31 Mar 2009 17:13:29 Z

to delete

Poetic Computational Architecture

Tue, 31 Mar 2009 17:12:18 Z

Poetic computational architecture – Mythical beast or rapidly evolving swarm?

In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river ran
Through caverns measureless to man
Down to a sunless sea.
So twice five miles of fertile ground
With walls and towers were girdled round:
And there were gardens bright with sinuous rills,
Where blossomed many an incense-bearing tree;
And here were forests ancient as the hills,
Enfolding sunny spots of greenery.

from Vision in a Dream, Samuel Taylor Coleridge

Introduction

There seems to be a line of demarcation between those architectural design units which actively use computers and those design units which grudgingly accept them. Popular opinion might place computational designers on one side of the fence and the phenomenological designers on the other. But is this a temporary or even an imaginary divide?

Architectural critics and commentators are often scathing about the contribution of computers to the creative aspects of architecture. In his essay Questions of Representation Alberto Perez-Gomez notes that the digital avant-garde has degenerated into a banal mannerism. He states that it is conceivable for the computer to become a tool for poetic disclosure in the realm of architecture but that the results of computer applications remain “generally disappointing”. Alberto elaborates that the use of computers has produced homogenous results with little regard for cultural contexts. Computer graphics shows only the rigorous establishment of homogeneous space – and the inability to combine different structures of reference. He ascertains that they result in a systemic representation which is reductive and non-participatory and which provides little place for the invisible to emerge.

Alberto writes of the representation of architecture but his sentiments can be extrapolated to the general use of computers in architectural creativity. But is this really the case? Can computational design lead towards poetic architecture? Are any such realisations to date generally disappointing? Notwithstanding this, what potential is there for the computer to be a poetic tool in architecture?

What is “poetic” architecture?

For a definition of poetic I turn to phenomenology and specifically to an essay The Question of Perception by Stephen Hull. He notes that phenomenological architecture engages the senses and he gives some fragmentary examples which are not meant to be taken in isolation – engagement achieved through materiality; through light, shade and transparency; through colour; through texture; through incorporation of time-based elements; through detail and so forth. However he then notes that the generative force is the intention behind the architecture and that each challenge of architecture is unique with its relationship to a particular site, circumstance and programme.

Poetic architecture therefore is that which addresses our inner and outer perception – or in other words successfully engages the site, the senses and the intellect. Poetic architecture is a subjective phrase with the level of successful engagement dependent on the individual. And being subjective, poetic architecture is both a transient and cultural phenomena.

Nonetheless there are a number of factors which could indicate the possibility of poetics as exists in our current western culture – a direct relationship to the site (the physical and cultural environment), the engagement of a range of senses (visual – at a variety of distances, touch, materiality, sound, smell…), the incorporation of temporal aspects (not only in reaction to the external environment, but in changes of use, changes of materiality, changes in sensuality) and intent (including the conveyance of ideas, meanings and emotions).

Yet perhaps it is easier to define what is not poetic – it is not copies or pastiches of architecture, it is not architecture without context, it is not architecture predicated on a few variables. This has been the traditional criticism of computational architecture – complex designs with few references to the site; architecture focused on a single element (often sculptural forms) to the detriment of scale / materiality / time; or architecture without experiential depth.

Already my attempts to define poetic raises questions of internal logic – is it possible to have an architecture which relates to human experience (ie is “poetic”) yet where the design is arrived at by computational means? I believe it is but this suggests that any seeding parameters, any input data and any programme transformations should be grounded in human experience.

Computers as design tools

An initial consideration is whether computers can actually be used as a creative design tool. One of the objections to acknowledging the use of computers in the creative process is their perceived inability to produce results that are either unintentional or original. I think that this objection is almost trivial and would argue that computers have had a huge influence on the creative process merely as a powerful efficiency tool ranging from the organisation of huge amounts of data to the running of myriads of scenarios.

Nonetheless this is only an indirect relationship between the design and the computer. Although many designs have only been made possible by computers, the role of the computer is as an enabler – the design was initially envisioned by the human architect. We are seeking a direct relationship between computation and the resultant architectural design.

One could argue that there is a more active creative role by the computer when it is used to initiate new ideas, for example by manipulating a design in virtual space. This is similar to physical model making and still relies on the human to be the moderator and the decision maker in the design process.

As Kostas Terzidis acknowledges in Algorithmic Architecture the traditional use of CAD packages is essentially as a cartesian representational tool. The CAD operator inputs a preconceived design which may then undergo some relatively simple translations. He states that there are hardly any bright examples of computers using their full potential as design tools. And that many corporate architectural practices merely use the computer as an efficiency tool while even practices such as Gehry and Zaha Hadid are using the computer as a means of marketing or presentation rather than as a creative design tool.

Susannah Hagan in Digitali – architecture and the digital, the environment and the avant-garde asks whether Negroponte’s statement that “The design process is not algorithmic” still holds true. She argues it is now a difficult, nuanced statement but that the majority of people still agree that the design process escapes quantification. She notes that the early use of computers in design had simply reduced design to that which could fit into the computational realm.

However Kostas Terzidi elaborates on areas whereby computer can provide a direct impact on design – through the use of generative algorithms. He states that algorithms can produce results which are not intended or predicted. Similarly Susannah Hagan writes that the increase in computational power and new techniques reopens the question of computational design and that “if what goes into the computer is more or less that entire design problem then what comes out is more or less the entire design solution”. (Although I would also question whether there exists a “design solution” in architecture).

In any case the original query as to whether poetic computational architecture exists can now be reworded. Is there any architecture that is arrived at using computational generative design techniques such that the resultant realised architecture successfully engages the site, the senses and the intellect?

Computational generative design techniques

Kristina Shea (in Digital Tectonics) notes that there are two primary generative design triggers – a logical basis and natural analogy.

A logical basis requires a study of the underlying logic of objects and systems to form rules that generate a language of valid objects. Kostas Terzidis illustrates this by comparing its use to the manipulation of language in which word order is changed by a known function but which has a new meaning which is unpredictable or unintended. There seems to be some equivalence of this with the use of either the subconscious or lateral thinking in human design.

Kostas specifically notes that logical algorithms can be utilised with randomness, probability or complexity in order to achieve outcomes that are original and non-deterministic. The logical basis for design includes shape grammars, as developed by Georgy Stiny and James Gips. One example of the use of shape grammars in generative design is the eifForm program by Kristina Shea. This uses a structural shape annealing or crystallization algorithm – shape grammars are applied to a design in a quasi-random fashion then each design is evaluated structurally. A structure that is near a specified optimum is chosen and then the algorithm is re-applied.

Natural analogy includes work on neural networks, cellular automata, genetic algorithms, artificial life, swarm intelligence and self-organising systems. In general the natural analogy seems to use the bottom up development of complex adaptive systems. Systems evolve based on interaction, informal feedback loops, pattern recognition and/or indirect control.

As Manuel DeLanda notes in Designing for a Digital World the use of genetic algorithms based on forms produces only a limited set of interesting possibilities. Instead the original “genetic code” needs to be formed from abstractions (for example thermodynamics), a level of competition needs to be in place (alternative genetic designs) and there has to be a method of evaluating designs relative to each other (he suggests a structural evaluation). A number of architects are working with aspects of genetic systems including Karl Chu of X Kavya and Zbigniew Oksiuta with Breeding Spaces.

Poetic generative designs?

These generative techniques are all very well but are the designs poetic? Do they engage the site, the senses and the intellect? Based on what I’ve seen come across answer is simple – not yet. In all cases the designs generally address only a few variables whether these are related to structure, form, the environment, site constraints or even sensory or phenomenological factors. Moreover many of these are still at the experimental stage. I think it is some time before one will look at a realised architectural design generated by computational methods and think – wow this is pure poetry.

But I believe this misses the point. As I’ve pondered my way through this essay it doesn’t really seem necessary to have a line of demarcation between the computational design and the human element. In fact the distinction seems artificial. The question should really be – has the use of generative design as part of the wider design process produced poetic architecture? This is a more difficult to answer – I am sure that generative design techniques can facilitate poetic architecture (especially in its relationship to site) but I am less certain whether this has been realised as yet.

Whether or not one is talking of generative techniques it has to be acknowledged that most of the computational design processes are still at an early stage. Even where there is a human intermediary its use has incorporated few parameters and applied to minimal design aspects (such as form finding) that are often taken out of context. Therefore it is not surprising that the architecture has not been deeply engaging or related to the site. As more techniques are developed and as more site/environmental parameters are included and where these techniques are applied to more specific aspects of the design then it is apparent that the resultant architecture will become more engaging.

Conclusion

I had thought this essay might be useful to investigate my perception of the lack of poetically engaging architecture developed through computational design. It has been an interesting investigation but ultimately the essay has turned into a semantic battle between “poetics” and “computational creativity”. The essay topic seems almost paradoxical – can computation generate designs that are subjectively engaging to humans? The answer not yet and does it really matter doesn’t really provide a satisfying conclusion. I have skirted the question by stating that the techniques can be useful in the creation of engaging architecture as part of the overall normal design process and then qualified this by noting the techniques are still at an exploratory stage.

If I return to the original question on the possibility of computational design leading to poetical architecture then it leads to the assumption of an artificial intelligence and the ability to handle large number of parameters ranging from the objective physical to the subjective emotional. It will be some time before this is realised. But even here the design is predicated on the human selection of parameters and algorithms and therefore it still seems misleading to be labelled as computational design.

Eventually, perhaps, computers will create or generate innovative engaging architectural designs based on non-judgmental inputs and algorithms. Would this, then, be poetic? Even here I have my doubts as I believe the intention behind the design is hugely important. I can even visualise two identical designs – one created purely by computational methods that is not “poetic” and another created with some human interaction which is “poetic”.

But if we ever reach this stage then surely an alternative question is much more relevant: why do computers design?

’Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.

”Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!”

from Jabberwocky, Lewis Caroll

Bibliography

Digitalia – architecture and the digital, the environmental and the avant-garde, Susannah Hagan, Routledge, UK, 2008

Questions of Representation – The Poetic Origins of Architecture, Alberto Perez-Gomez, pp11-22 (From Models to Drawings- Imagination and Representation in Architecture, edited by Marco Frascari et al, Routledge, UK, 2007)

Questions of Perception – Phenomenology of Architecture, Stephen Holl & Junani Pallasmaa & Alberto Perez-Gomez, William Stout Publishing, San Francisco, 2006

Algorithmic Architecture, Kostas Terzidis, Architectural Press, Massachusetts USA, 2006

Emerging Talents – Emerging Technologies (Architects and Students), Neil Leach and Xu Wei-Guo, Catalogues for Architecture Biennial Beijing 2006

Digital Tectonics, Neil Leach & David Turnbull & Chris Williams (editors), Wiley-Academy, UK, 2004

Computers & Art, Stuart Mealing (editor), Intellect, Bristol, UK, 2002

Designing for a Digital World, Neil Leach (editor), Wiley-Academy (for RIBA Future Studies), UK, 2002

Architecture and Computers – Action and Reaction in the Digital Design Revolution, James Steele, Laurence King Publishing, London, 2001

Architecture in Cyberspace II – Architectural Design Volume 68 No11/12, Maggie Toy (Editor), John Wiley and Sons, London, November-December 1998

Digital Dreams – Architecture and the New Alchemic Technologies, Neil Spiller, Ellipsis, London, 1998

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Termites and 3D Printing

Tue, 31 Mar 2009 17:11:34 Z

18 April 2008 Termites and 3D Printing (Rupert Soar)

I was not here for this final lecture. However may I refer you to John Harding ...

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Neural Networks & Cellular Automata in Urban Design

Tue, 31 Mar 2009 17:11:22 Z

4 Mar 2008 Neural Networks & Cellular Automata in Urban Design (Lidia Diappi)

Old vs New way of looking at urban design. Previously was linear, hierarchical, rule-based, planned, functional. Now non-linear, a net, evolution, creative, process, natural disorder.

Thus neural networks useful in trying to model behaviour as it consists of a set of adaptive processing elements and a set of unilateral data connections. Thus it can cope with fuzzy, noisy data, no need for formulas, its complexity arises spontaneously, rules/relationships are discovered afterwards not before, the model learns from experience and can generalise, the resultant model may not be definable (ie black box result).

eg in Milan used neural networks to look at why an area is attractive to live in.

If combine neural networks with cellular automata (in which cells interrogate neighbour and change dependent on the neighbour) can begin to look at spatial transformations.

eg looked at gentrification process which in an emergent process (in fact a circular process) with the participants (landlords, homeowners, tenants, developers) acting based on market conditions / what neighbours are doing etc. This was used to create a simulation of gentrification in a particular area.

Note:

System has change over time → pattern recognising algorithms → rules of change
Uses performance rather than physical constraints

Have a look at the geosimulation website for examples of urban simulation projects and a sprawling simulation on the same site.

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Geometry and Classification of Forms

Tue, 31 Mar 2009 17:10:35 Z

26 Feb 2008 Creating Geometry and Classification of Forms (Philip Steadman)

Look for “The Evolution of Design” Philip Steadman out in May 2008 (new edition).

Stephen Holl in ‘Alphabet City’ classified building according to resemblance to alphabet. This isn’t Alphabet city but an interesting variation based on negative public aerial spaces…

Philip looked at ways of encoding built forms with the following variables assuming a rectangular form with:

Presence of a courtyard (or whether there is top lighting
Depth of plan (ie based on whether space in naturally lit from side windows).

Thus a basic unit of the classification could be defined as a building with a courtyard and could be defined by 7 on/off queries in both the x and y directions (ie naturally lit to outside?, dark corridor, naturally lit to courtyard, courtyard, naturally lit to courtyard on the other side, dark corridor, naturally lit to outside).

For a single unit there are 675 possible different building forms from this definition (removing handed rotated etc). For 4 basic unit together there are 28,000 possible unique forms. For 9 basic units there are 2 million possible forms. Note that this does not include any dimensions for each of the query elements which would naturally create an infinite number of possibilities.

The definitions of the buildings are themselves useful for example if a form was :

x:110011 y: 011110 (then would be symmetrical about x and y)
x:110011 y: 110011 (then would have rotational symmetry)

This technique can be used to investigate a range of issues though Philip was careful to state he uses it more as a historical investigative tool rather than a generative design tool, also commenting that if one is looking at the global set of all possible forms then there is no further generative element in any case.

Two projects in which this tool was used:

The English Elementary School and how form evolved in a low volume:surface ratio. In other words designs evolved so that as much possible natural light reached the children
The development of the Manhattan Life Insurance Company building (1872) which was trying to maximise is rateable value. Given the constraints of the site x: 010 y:111 it was possible to look at all possible forms and three of these met all criteria. The one which had the maximum floor space was in fact the final designed form of the building.

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Agent Modelling of Spatial Descriptions

Tue, 31 Mar 2009 17:10:18 Z

19 Feb 2008 Agent Modelling of Spatial Descriptions (Alasdair Turner)

Using his Depthmap software (although I thought he said Deathstar software at first – now that would have been something!). Alasdair is researching society and space. This is following on from the work Bill Hillier did as written in The Social Logic of Space, and Space is the Machine. Here’s quite a good overview from Space Syntax then.

As such analysed space both using linear/nodal reduction of space (axial lines) and conjoined complex forms. This analysis included looking at ideas of centrality (based on degree removed from nodes, or from gates), connectivity, integration.

Did empical analysis of urban space (in Barnsbury, a posh bit of Islington) and interior architectural space (Tate Modern) and showed there was a high correlation between integration and usage.

So what? Isn’t that just obvious? The more connected something is the more usage it will get…Perhaps but the idea is also to look at phenomenology behind it. (Refer Dwelling, Place, Environment: Towards a Phenomenology of Person & World by Seamon and Mugerauer; and The Life and Death of an American City, Jane Jacobs). Tim Ingold talks about the life of a line, Jane the ballet of a city etc. Makes a distinction between a trail (alive, follows interest etc) and a route (political etc).

Can analyse steady state usage using agents instead of empirical studies (eg with Tate Britain release agents give view, steps, decision etc) and find there is a high correlation between agent result and empirical observation in terms of pathways. In fact as is a Markov chain analysis (ie probability of each possible direction known etc then the steady state can be calculated using eigenvectors).

Further work can be done on agents to adjust a programme – I release “pedestrians” into the building and have “art” move to where it will be seen – adjusting walls etc as it does so.

A similar analysis can be done with isovists (related to line of sight).

So? Although agents and pedestrian movement are highly correlated inside a building (Tat. Modern) this is less so in an urban environment (~~Barnsley~~ Barnsbury). Instead there is a higher correlation between vision and pedestrian movement than between agents and pedestrian movement.

One conclusion (or the beginning of a new thread) is that movement in urban space is more that just its physicality (and its level of connectivity, and integration) but also related to the perception of this space (both visually and cognitively).

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Digital Morphogenesis

Tue, 31 Mar 2009 17:09:39 Z

5 Feb 2008 Digital Morphogenesis (Neil Leach)

Previously digital design has been an algorithmic form finding exercise but NL believes this has moved on. There is now renewed interest by digital designers in structural performance and in environmental issues. With this the importance of the work of Antonio Gaudi and Frei Otto is being reappraised – for their rigor with regards to architecture language and structure as much as their use of nature to inform their design.

Deleuze refers to two differing principles – the classical spirit (a visual template) and a gothic spirit (forces and flows). NL believe new digital architecture will combine the spirit of both. He provides some examples of practices which are seeking to do so – Frei Otto, UFO, System Lab, Yak

He gives a further example being a transport interchange (UN studio) which seeks to address structural and environmental issues through technology. He pointedly notes that the work of Frank Ghery Studios does not address these issues – rather his buildings are designed and then a structural solution found – rather than both structure and design informing each other. However he does note that it tends to be large commercial practices (Fosters, SOM, KPF, Aedos etc) which are seeking to develop and use these digital tools/ digital designing rather than academia.

He cites the GLA building – but notes that this is still form finding then testing (even digitally) then adjusting the form. And the roof of the British Museum in which Chris Williams derived various mathematical representations to arrive at the structure – a better example of digital design but still one in which the digital representation is derived directly from the designer/programmer.

What if the programme generates the form? NL suggests iform (a simulated annealing programme which provides a different structure each time it is run). He showed us a canopy which was derived using a comparable programme (in which various constraints eg Cartesian coordinates, permitted number of members at one joint).

NL provided a few more examples

Kai Tak Housing – urban development on disused runway. Various required design programmes were categorized (residential, transport, leisure etc etc) and rated and a self organising system was run to form a relationship between the programmes;
Jewish centre, Budapest – emergent system set up pathways – this juxtaposed to space and to solar incidence;
Modelling of favella development by a Brazilian student, leading to an accretion of forms

NL’s conclusion at this point then was that digital design is beginning to, and will:

challenge the role of the architect (who is the designer?);
incorporate a range of dimensions (environmental, financial, structural, programmatic, etc); and
be useful as an optimisation system (especially where resources are scarce)

I thought this was quite interesting although it does confirm that sensitive poetic design arrived purely through computation is not there yet. There is obviously a huge application of computation to one or two design concerns almost in isolation (structure, or form, response to sun etc). More responsive solutions seem to be stuck at the artistic installation stage while computation design that addresses multiple concerns seems a little way off.

I don’t quite agree that purely digital design is yet challenging the architect creativiely except where the design is driven by an overriding form solution (eg corporate statement towers, or in extreme environmental conditions). No doubt it will happen – “a chicken factory near London which responds to the site, the weather, your budget, and the early poetry of William Blake? No problem sir …

Please click photo for your instantly generated architecture design!

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Good imperfections

Tue, 31 Mar 2009 17:08:52 Z

15 Jan 2008 Good Imperfections (Rachel Cruise)

A) Dry Stone Walling

compared to brick walls which are uniform material, uniform geometry. With brick sequence of each brick is not important. With brick the design and the construction process can be predicted
with dry stone walls the material is unique (geometrically, material), the construction is site specific, the design process cannot easily be removed from the construction process
looked at making into an algorithmic process with
- wall inputs – wall height, width, pathway, wall batter, ground conditions
- stone data – 3d scans (with increased number of points equal to increased knowledge of stone and/or equivalent to increased knowledge of stone-mason), stone weights.
initial process:
1. find a stone
2. position in wall
3. find intersection
4. find loading paths
5. compaction of the ground
6. find next gap, return
to address the problem of finding stone for a gap use three piles as below with algorithms to test stones and move between the three piles:
1. knowledge pile (ie lots known about stone)
2. site piles (graded stones)
3. general piles (nothing known about stone)
Other items to resolve during virtual stone wall process include:
- compaction of ground
- ensuring no interior overlap of stones
- ensuring stone reaches position of stablity
- finding resultantload paths through wall
Further negotiations include:
- defining notional cuts / windows in wall

B) Production of Stainless Steel Sections

Perhaps less engaging from our perspective but noted that the manufacturing of stainless steel sections effects the material and therefore the design. In this case for example is

the build up of linear stresses in some sections of cold rolled stainless steel,
increase strength on curverd elements related to thickness and radii of curvature

In summary as Rachel Cruise writes: _All decisions made to create a design proposal, are based on the information the designer has about the specific criteria that influence the design: the desired function and aesthetic. The design proposal is influenced by the kind of data that is presented to the designer about the design requirements, and by the methodologies that are used to search this data for possible designs.-

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MSc+Gradcert

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Good imperfections

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