COMPUTATIONAL VERSUS COMPUTERISING ARCHITECTURE

7/29/2019 COMPUTATIONAL VERSUS COMPUTERISING ARCHITECTURE

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Scope of computers involvement

with architectural design

J K Roshan Kerketta

A/2070/2008

B.ARCH 1VTH

YEAR SECTION A

SCHOOL OF PLANNING & ARCHITECTURE, NEW DELHI

DISSERTATION GUIDE: Mr. MADHAV RAMAN

COMPUTATIONAL

VERSUS

COMPUTERISING

ARCHITECTURE

DISSERTATION 2013-2014


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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 ofcomputer generated graphics and fascination exerted by strange forms momentarily suspendedthis 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 theseassumptions, 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 pastand the potential of the future.

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To change the notion of computers as advanced computing agents in architecture rather than justGraphical 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

1EXPRESSIVE FORMS (A Conceptual Approach to Computational Design)-Kostas Terzidis


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SCOPE

The study will examine:

a) an exploration of the scope of computers in architectural design processesb) Computational processes versus Computerizing design processesc) 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 inARCHITECTURE.

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 .


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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


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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.

2For instance, we take a basic example of an algorithm for cooking potatoes may be composed of

the following steps:

1. Peel2. Boil

3. Cut

4. Serve

If the steps are reversed or one more step is added or deleted, alternative recipes may be createdthat 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 newsolutions, 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 wordfinite 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 theproblem, 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 amisfortune 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.

3For 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;


3ALGORITHMIC ARCHITECTURE-Kostas Terzidis


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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.


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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, nicknamedFred 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, andindirect, yet powerful, expressive, and emotional. Successfully exaggerated figures provide the

means of expression that can stir emotions and attract attention.


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2Euclidean 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 newelements to be added to a scene and others to be removed.

3Addition suggestssuperimposition, whereas Subtraction implies the presence of absence.

4For 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 setoperation where the parents ghosts are stillpresent 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 buildingsare 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 andcharacter in inanimate objects that are not, by their nature,interesting.

2,3,4Excerpts fromEXPRESSIVE FORMS (A Conceptual Approach to Computational Design)-Kostas Terzidis


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Morphing

Morphing is a term used to describe a process in which an object changes its form gradually inorder 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 ofarchitectures 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


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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

4ALGORITHMIC ARCHITECTURE-Kostas Terzidis


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Fig 6 Sequential juxtaposition

Fig 7 Deformation fig8 Adhesion

5As in an orchestra performance, the architect/composer selects a number of objects toparticipate, 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-levelabstractions and nested systems of relations, rather than particular objects.

The future architect may become the composer of symphonies in form,space, and color.



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BUILDING INFORMATION MODELLING AND ITS SCOPE

Fig 9

6According 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

610 Closing the gap Contemporary Architectural practices (Architectural Design Vol. 79 No 2March/April

2009)-Richard Garber


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Fig 10

BIMsystems have two important interrelated aspects.

First, they allow all virtual geometry to be linked to real-time databases for the accurate costingof 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.

7ThePREFAB 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 assolar 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.

7Closing 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 approachto 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 dynamicwhen 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

COMPUTATIONAL VERSUS COMPUTERISING ARCHITECTURE

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