Generative Architecture

Alexander Alman

http://www.coroflot.com/public/individual_file.asp?is_featured=-1&portfolio_id=1868828&individual_id=243643

Generative circulation patterns for architecture and urban design with agent modelling

Renee Puusepp
http://wiki.uelceca.net/phdstudents/published/Generative+circulation+patterns+for+architecture+and+urban+design+with+agent+modelling http://www.sfbtr8.spatial-cognition.de/papers/SFB_TR%208%20Rep%20015-05_2008.pdf

Density, via the Weaire-Phelan structure, the Holbæk Kasba and the Monaco House

“How do you combine the harbour areas on the big scale with intimacy with intimacy and sensory experiences on the human scale? We propose to construct a dense and low kasba of dwellings that have been twisted and turned thus creating a labyrinth of small open spaces and hiding spaces for life, play and socialising between the houses. The kasba is placed on an artificial sloping hill that raises the built-up area for parking underneath and providing each residence its own view of the water and life on the harbour.” [BIG]

http://www.cityofsound.com/blog/2008/08/bubbles-as-grid.html

http://www.big.dk/projects/hhh/hhh.html

Spaces Symmetry Structure

http://spacesymmetrystructure.wordpress.com/

TT's Origami Page

Rigid Origami from Daniel Piker on Vimeo.

Deployable/transformable Structures

Deployable/Transformable Structures from Daniel Piker on Vimeo.

1st Parametric Design Workshop - HTWK Leipzig

June 26, 2009 to June 29, 2009 – HTWK Leipzig - Geutebrück Bau (Ateliers Top Level) During an intense 3 day workshop students will investigate into parametrically developed light & shadow structures.
Organized by a-ngine
http://www.htwk-leipzig.de/de/presse/veranstaltungen/event/details/parametric-design-workshop-26-29062009/?tx_htwkevents_pi1%5Bpointer%5D=6&cHash=513fcf6ac6

http://www.grasshopper3d.com/events

George Stiny Workshop and Lecture

How to use shapes and rules to design
18 de Junho, 9h30-13h e 14h30-18h
Sala 9 do Edifício 5, FA-UTL.
George Stiny irá dar uma workshop sobre como usar formas e regras em projecto
O foco da workshop está, assim, no uso de gramáticas de forma em projecto, abordando:

(1) Formas e regras
(2) Formas e esquemas (descrições e transformações)
(3) Que regras e esquemas devo usar (um grelha de tipos de regras)
(4) Rótulos, pesos e descrições
(5) Questões abertas.


What calculating would be like if Turing had been an artist and not a logician, and why this is important in design
19 de Junho, 11h, FA-UTL.
“O Cubo” da FA.Palestra por George Stiny, Professor, Massachusetts Institute of Technology, EUA.
http://www.fa.utl.pt/index.php?option=com_content&task=view&id=603&Itemid=2

Architecture and Mathematics Since 1960

Lionel March

The introduction of computers has manifestly changed the relationship of mathematics to architecture over the past forty years.

http://www.emis.de/journals/NNJ/conferences/N2002-March.html#anchor22837

The Breathing Earth simulation

This real-time simulation displays the CO2 emissions of every country in the world, as well as their birth and death rates.
http://www.breathingearth.net/

Urban RE:Vision

Something incredible is about to happen in downtown Dallas.Soon, a single block will be transformed into a place that creates economies,supports community, facilitates relationships and generates resources.
The winners of Re:Vision Dallas have created plans thatchallenged us, engaged us, and inspired us.
http://www.urbanrevision.com/ReVision-DALLAS-Results
http://dn.sapo.pt/inicio/artes/interior.aspx?content_id=1262193&seccao=Arquitectura
http://www.moov.tk/
http://www.sputnik-webzine.blogspot.com/

Algorithmic for visual design: using the processing language

How has design changed through the use of computers? Is it still valid to assume that a designer is in control of a design concept?Is computer programming necessary in design today?

Seven Wonders of the Portuguese Ancient World

http://www.7maravilhas.sapo.pt/

http://kunstformen.blogspot.com/2009_05_01_archive.html

Kim Williams (2009)

Drawing, Form and Architecture: Two Projects for First-Year Students
Abstract. Two recent projects for a first-year course in drawing for architecture students have been organized by Sylvie Duvernoy, Michela Rossi and Kay Bea Jones. The first, a four-phase program centering around a tour of the architecture of the Midwest in the United States, was implemented in Spring 2008. The second, a day-long seminar on designs for temporary architecture, took place in December 2008. In both, the use of mathematical concepts to provide an underlying organization for the generation of architectural form was fundamental.

http://www.springerlink.com/content/b3mj746l67p2mp82/?p=64d131d12778431d89de70aa1e58bab8&pi=8

http://www.nexusjournal.com/

Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts

Can a computer appreciate a work of art? Can a computer create a new work of art? What does it mean for an object to be a work of art? How are objects understood as works of art? Dozens of ways of understanding art have been proposed. Is there one true way to understand works of art? If not, what do the different ways of understanding art have in common? How might they be implemented in a computer? Does this “computer” or “algorithmic” approach have any contributions to make to the field of art and aesthetics?


http://www.algorithmicaesthetics.org/view.html

Dounas Theodore (2008), Architect Engineer

Dynamic (Shape) Grammars

Abstract:
The research presented in the paper explores the creation of custom shape grammars with animation tools, either as a learning or educational tool or for the purposes of architectural design.
Standard shape grammars contain an initial shape or design and one or more transformation rules. In a simple scenario the designer just applies the rules in the initial design or in a complicated scenario has to chose which rule to apply. Dynamic shape grammars on the other hand use animation tools to produce dynamic rules of transformation, or even dynamic – parametric initial shapes on which to apply the rules on. The dynamic state of the rules in our system allow the designer to change the rules during designing without having to abandon a core structural idea or concept. Furthermore the implementation with an animation tool allows the design system to be form-independent and express the underlying structure of an architectural idea with non-graphical connections like parent and child relationships, or other deformation rules.
It can be shown that in a computation context dynamic shape grammars are actually groups of standard shape grammars where the grammars in the group share the classification of the transformation rules they contain. The system that we present allows the designer to change between the grammars in one group in a transparent way without expressing the grammar formally but by only manipulating simple objects inside the animation software package. This transparency focuses the effort of the user in simply design and keeping track of the formal declarations of shape grammars while the multiple dynamic grammars remove the obstacle of conforming to a single set of rules. The benefits of this effort can be especially seen in actual architectural design where the focus is in developing a concept idea and not strictly adhering to the rules.

http://www.blender.org/community/blender-conference/blender-conference-2007/conference-proceedings/theodore-dounas/

Algorithmic Botany: website of the Biological Modeling and Visualization research group

Visualization of developmental processes by extrusion in space-timeMark Hammel and Przemyslaw Prusinkiewicz Department of Computer Science University of Calgary Calgary, Alberta, Canada T2N 1N4 e-mail: mailto:hammel%7Cpwp@cpsc.ucalgary.ca

Abstract
Developmental processes in nature may involve complex changes in the topology, shape, and patterns of growing structures. Processes taking place in one or two dimensions can be visualized as objects in three-dimensional space, obtained by extruding the growing structures along a line or curve representing the progress of time. In this paper, we extend the notion of L-systems with turtle interpretation to facilitate the construction of such objects. This extension is based on the interpretation of the entire derivation graph generated by an L-system, as opposed to the interpretation of individual words. We illustrate the proposed method by applying it to visualize the development of compound leaves, a sea shell with a pigmentation pattern, and a filamentous bacteria. In addition to serving as visualization examples, these models are of interest on their own. The sea shell model uses an L-system to express a reaction-diffusion process, thus relating these two models of morphogenesis. The model of bacteria, which is also of the reaction-diffusion type, sheds new light on one of the basic problems of morphogenesis, the formation of equally spaced organs in a developing medium. Keywords: L-system, fractal, plant, sea shell, generative modeling, reaction-diffusion, simulation, visualization.
http://algorithmicbotany.org/

GABRIELA CELANI

http://www.fec.unicamp.br/~lapac/pesq.htm#carol

Warren Sack, Conversation Map v.2.0 (2000)

Using techniques from computational linguistics, social network analysis, and information visualization, the Conversation Map automatically summarizes and produces an interactive diagram of hundreds or thousands of email messages sent to online public discussions. The diagram includes three parts: a social network visualizing who is exchanging messages with whom; a list of discussion themes, a menu of topics being discussed; and, a semantic network that shows which topics are discussed in similar terms; or, in other words, the synonyms or metaphors that are emerging from the discussion.

http://hybrid.ucsc.edu/ConversationMap/

Bischof Horst, RiemenschneiderHayko (2008)

CityFit: High-Quality Urban Reconstructions by Fitting Shape Grammars to Images and derived Textured Point Clouds
The generation of realistic 3D models of whole cities has become a vibrant and highly competitive market through the recent activities of, most notably, Goggle Earth and Microsoft Virtual Earth. While the first generation of these systems only delivered high-quality zoomable images of the ground, the current trend is heavily geared towards 3D – that is, users can access three-dimensional height- fields of the terrain, and even 3D models of individual buildings. Simple building models, basically extruded polygons with different types of roofs, can be generated today from aerial images completely automatically. This is a solved problem. Far from solved, however, is the problem of generating automatically detailed buildings with façades. Input data for this problem are registered range maps obtained by stereo matching and sequences of highly overlapping thus redundant images (taken from a car driving in the road) where each pixel has not only a color but also a depth, a z-value. Although range maps can be directly rendered in principle, the data size is huge and, more importantly, the pixels have no semantics: A priori there is no difference between a pixel on the floor, on the wall, or on a door. But these shape semantics are required by all downstream applications using the city model. Shape grammars, on the other hand, have recently become (again) a popular method in research for representing 3D buildings. Their great advantage is that they allow to parameterize buildings, which can be used for populating virtual cities with believable architectural buildings, e.g., for 3D games. The goal of the CITYFIT project is, given highly redundant input imagery and range maps from an arbitrary building in Graz, to synthesize a shape grammar that, when evaluated, creates a clean, CAD- quality reconstruction of that building that fits the original data very closely and makes the semantics of all major architectural features explicit. These shape semantics can even be transferred back to inform the original data, so each of these “semantically enriched” data points can tell whether it belongs to ground, wall, or door. http://www.icg.tu-graz.ac.at/research/CityFit

The shape synthesis system

Rosirene Mayer (2003) A linguagem de Oscar Niemeyer,

Orientador: Benamy Turkienicz This work aims at describing the elements that characterize Oscar Niemeyer’s singular architectural language. It argues that the identification of these elements passes for the scrutiny of non-visible aspects of his work. The identification was possible taking into consideration from the analysis of buildings characterized for curved profile and the construction of a model that associates the compositional elements utilized by Niemeyer to a Shape Grammar. The utilization of the model made it possible to reveal the generative principles - set of rules, vocabulary and geometric relations - that characterize Niemeyer’s style and architectural language. It also helped showing how Niemeyer’s language associates, in an original way, operations of transformation such as rotation, reflection, and translation to a vocabulary of curves. The association has its parameters on a drawn line which acts as a regulator based on the golden section. As its conclusion, the work suggests possibilities of development of this grammar for all the forms utilized by Niemeyer and the aplication of generative principles in the teaching of architecture.
http://www.lume.ufrgs.br/handle/10183/6693

1) How do designers, across a range of disciplines, generate shapes?

2) What similarities and differences in approach can be observed? The generation of shapes that conform to particular styles, using shape computation tools based on the mathematics of shape grammars [Stiny 1980], has been demonstrated in a number of domains [Prats et al 2006]. Researchers at the University of Leeds have built the world’s first and only 3D shape grammar implementation for curvilinear shapes [Chau 2004]. The basic elements of a shape grammar are shown in Figure 1. The box at the top of the figure shows an initial shape (that seeds the computation) and the two shape rules that are applied during the computation. The shapes at the bottom of the figure show a fragment of the network of shapes that can be computed from the initial shape through the application of the shape rules. The application of a shape rule involves two key steps. Firstly, the shape on the left-hand side of a rule must be identified in the shape from which a new shape is to be computed; this is referred to as “sub-shape detection”. Secondly, the rule is applied by replacing the sub-shape from the left-hand side of the rule with the shape on the right-hand side of the rule. Once a sub-shape has been detected, the Leeds system can automatically apply a rule. However, the sub-shapes have to be identified manually because the automatic detection of sub-shapes is an open research question within the shape grammar community.

http://www.engineering.leeds.ac.uk/dssg/objectives.htm

http://www.youtube.com/watch?v=GgHRggF0BzY

Des.Comp.08 Exhibition, September 4 - 9, Wolk Gallery

http://des-comp.net/gallery/

"DNA Nanodevices", by F. C. Simmel, W. U. Dittmer, Small, 2005, 1, 3, 284 - 299

http://www.emergentcomputation.com/nano.html

Brian R. Gaines, Dimensions of evaluation of a knowledge-based system

A model of knowledge-acquisition for knowledge-based systems is developed which presents the acquisition activity as playing an essential and continuous role in skilled performance, rather than as a separate and separable activity. The practical implications of this model for systems design are developed, and recommendations made targeted on monitoring the quality of advice from expert systems and achieving closer integration between the application of these systems and the formation of expertise. The model is developed in depth to generate taxonomies of human knowledge processes and use these to analyze the roles of a wide variety of computer-based systems in supporting these processes. The model is used to highlight strengths and weaknesses in the current state of the art in knowledge representation. This paper provides an overall framework for the variety of knowledge acquisition problems, techniques and technologies discussed in the literature.
http://pages.cpsc.ucalgary.ca/~gaines/reports/PSYCH/SocioCog/index.html

Estratégias Generativas de Projeto

http://estratgen.blogspot.com/

GENERATIVE SYSTEMS BASED ON ANIMATION TOOLS: STRUCTURE AND FORM OF CORE IDEAS IN ARCHITECTURAL DESIGN.

Dounas Theodore , Kotsiopoulos Anastasios
Abstract. The goal of the research described in this paper is the formulation of a generative system for architectural design, where a structured core architectural idea is the input and alternatives to that idea are the output.Specifically we present a production pipeline of architectural / spatial configurations using the context of animation and time based design tools. Our model consists of “time” and space design constraints of boundaries / objects affecting a given architectural design, thus producing an alternative solution for every timeframe of the animation cycle. The alternative designs vary from the original according to their temporal and/or spatial distance from the original object on the animation time-line.Initially the designer shapes an idea using animation software tools, where each tool is actually a constraint or a grammar rule defined informally by the user/designer. The influence of the tools can vary according to time, speed, location, configuration of the object and/or the constraint itself. In some of these animations the designer has the ability to sidestep partially the issue of emergence by providing specific key -frames for the solution to follow.The use of animation tools [shape driven curves, speed and time-line functions, parent child relationships] in the shape generation of our model empowers the user/designer to configure whole sets of shapes and designs interactively and without the need to define every solution independently. Simultaneously, a different, time-focused view of our model describes its use on designs that develop different configurations over time. Thus a duality of our model is established : the animated schema may be either a sum or a family of various designs or the animated time-line may represent a single design which changes over time.Finally the possibility of a structured graph representing each solution is discussed, where the designer can evaluate the merit of an individual solution in terms of conforming to the initial core idea or where alternative spatial configurations evolve in a different structure from the original design.
http://arlav.blogspot.com/2007/02/generative-systems-paper-caadria-2007.html

CALL FOR PAPERS

http://www.nexusjournal.com/CFP-Nexus2010_topics.html#anchor371775

GENETIC ALGORITHMS

“Genetic Algorithms are good at taking large, potentially huge search spaces andnavigating them, looking for optimal combinations of things, solutions you mightnot otherwise find in a lifetime.” Computer Design, (Salvatore Mangano, 1995)

The Story of Co-Design from thinkpublic on Vimeo.

SHAPE GRAMMAR

“A shape grammar is a set of shape rules that apply in a step-by-step way to generate a set,or language, of designs. Shape grammars are both descriptive and generative. The rules of a hape grammar generate or compute designs, and the rules themselves are descriptions of the forms of the generated designs.”
Shape Grammars in Education and Practice: History and Prospects (Terry Knight, 1999)

ArchiDNA

http://graphics.ethz.ch/~dkwon/downloads/publications/caadfuture03/archidna_poster.pdf

"memes"

Dawkins sugere que os memes se reproduzem e formam um “patrimônio memético” (que eu chamo de “cultura”) de forma análoga à dos genes, que se reproduzem e formam um “patrimônio genético”, isto é, são transmitidos de uma cabeça a outra assim como os genes são transmitidos de um corpo a outro. Os genes passam de um corpo para outro por meio da reprodução. Os memes passam de uma cabeça para outra mediante comunicação: nos acalantos ouvidos no berço, nos contos de fadas, na conversa dos pais durante as refeições, em piadas, nos desenhos animados da televisão, nas histórias em quadrinhos, nos sermões, nas fofocas, em palestras, em livros didáticos, em filmes, em romances, em jornais, nas letras das músicas, nas propagandas, e assim por diante.
...

Toda cultura é um conjunto de indivíduos, e todo indivíduo tem na cabeça uma série completa de valores, conceitos, regras e preferências que, combinados, constituem os projetos de construção daquela cultura em particular. Chamá-los de memes ou marglefarbes é irrelevante. Não há a menor dúvida de que existem.

ver: http://alemdacivilizacao.blogspot.com/2007/11/transmisso-dos-genes-e-dos-memes.html

Kazjon Grace

What are Shape Grammars?
“A shape grammar is a set of rules that apply in a step-by-step way to generate a set, or language, of designs. Shape grammars are both descriptive and generative. The rules of a shape grammar generate or compute designs, and the rules themselves are descriptions of the forms of the generated designs.”
Shape Grammars in Education and Practice: History and Prospects (Terry Knight, 1999)

Gülen ÇAĞDAŞ(2006)

The roles of generative systems in architectural design; Models that constitute fundamentals of syntactic knowledge based design systems: architectural languages and typology; Structures and characteristics of syntactic knowledge based architectural design systems; Architectural design knowledge, representation and interpretation of syntactic knowledge in computer supported architectural design; Components of syntactic knowledge based architectural designs: Components of design product and design process, design elements, their relationships, operations that applied in design process; Shape grammar and design grammar approaches; Parametric shape grammar and parametric design; Defining the rule-sets of architectural languages and generation process of designs; Fractal geometry and its role in architectural design; Shape grammar applications by using a computer programming language.

http://www.mimarliktabilisim.itu.edu.tr/content/content2/mtus2.html

Suzana Said, The grammar of traditional malay long-roof type houses

http://www.vintagemalaya.com/files/THE_GRAMMAR_OF_TRADITIONAL_MALAY_LONG-ROOF_TYPE_HOUSES.pdf

PATTERN

Every city has its intimate pattern: the streets, squares, and other openings that make building accesible and liable. In ancient cities and those of North America today the pattenrn is highly irregular. (Lynch, 1954).

In part two we present some of the 67 general design principles which we call patterns. These patterns describe, in abstract sense, the lessons which a Peruvian architect might learn from our designs, and could re-use, over and over again, in his own designs. (Alexander, 1971:84)

A city is a pattern in time (Holland, 1995:1).

The pattern represents a continuity: the deliberate application of something already done. Yet each instance of the pattern may involve a different decision, agent place, or time. over time, different interventions introduce variation as a natural by-product of freedom of execution and interpretation, within the rules governing each pattern. (Habraken, 1998:238-239)

Historia de signos mudos construidos a partir de la conducta colectiva de grupos mas pequeños, difícilmente detectados por quienes no pertenecen al grupo. (Johnson, 2003:39)Los átomos de la estructura del medio ambiente son relaciones. Las relaciones son patterns geométricos. (...) Una lista de las relaciones que se requieren en un edificio reemplaza el programa de diseño (o brief) y las primeras etapas de croquis. (Alexander, 1980:75)


Alexander, Christopher (1966) The Pattern of Streets. En Journal of the American Planning Association. September, pp.273-279.
Carson, Daniel H. (1967) Comments on The Pattern of Streets. En Journal of the American Planning Association. November, pp.409-414
Alexander, Christopher y otros (1969) Houses generated by patterns. Berkeley, CA: Center for Environmental Structure.
Alexander, Christopher (1971) Houses generated by patterns. En Architects Year Book Volume 13: The Growth of Cities, David Lewis (editor). New York: Wiley-Interscience. pp.84-114.
Alexander, Christopher (1974) A Collection of Patterns which Generate Multi-Service Centres. En Architects Year Book Volume 14, David Lewis (editor). New York: Wiley-Interscience. pp. 141-180.
Lynch, Kevin (1954) The Form of the Cities. En Scientific American 190, no. 4, pp. 54-63. Reimpreso en City Sense and City Design: Writings and Projects of Kevin Lynch (1990) Tridib Banerjee y Michael Southworth (Eds.) . Cambridge: MIT Press. pp.47-64.
Lynch, Kevin (1961) The Pattern of the Metropolis. En Daedalus, 90, no.1, pp. 79-98. Reimpreso en City Sense and City Design: Writings and Projects of Kevin Lynch (1990, 1996) Tridib Banerjee y Michael Southworth (Eds.) . Cambridge: MIT Press. pp.35-46.
Poulton, Michael (1982) The Best Pattern of Residential Streets. En Journal of the American Planning Association. 48, 4. December, pp.466-480.
Turner, J. C. (1968) Housing Priorities, Settlement Patterns, and Urban Development in Modernizing Countries. En Journal of the American Planning Association. 34, 6. November, pp. 354-363.

Importante referência que encontrei no Blog arquitecturayemergencia.

http://arquitecturayemergencia.blogspot.com/2009/03/patron-patterns.html

22 de Maio, 11h, na sala “O Cubo” da FA-UTL
Palestra por Bernhard Franken, arquitecto.

Spatial narratives
Franken Architekten create stories that can be told by spatial means. They explore the narrative qualities of space through a series of design and conceptual filters: Parametric, Semantic, Ritual and Scenography. Different Elements of each inform each narrative, each project. Computation plays a crucial role in the parametic design linking the precise with the vague, probability with the unpredictable, the rational with the poetic. The lecture will cover projects from socalled “brandspaces” for BMW and other brands to the latest highrise and hotel buildings in Vietnam.

Narrativas espaciais
O atelier Franken Architekten cria histórias que podem ser contadas por meios espaciais. Explora as qualidades narrativas do espaço através de uma série de filtros projectuais e conceptuais: Paramétricos, Semânticos, Rituais e Cenográficos. Elementos diferentes de cada filtro informam a narrativa de cada projecto. A computação tem um papel crucial no desenho paramétrico que liga o preciso com o vago, a probabilidade com o imprevisto, o racional com o poético. A palestra irá apresentar e descrever desde os projectos ditos “brandos” desenvolvidos para a BMW e outras marcas, até aos projectos mais recentes de arranha-céus e hotéis para o Vietname.

Bernhard Franken, NARRATIVE SPACES

"Parametric design, often linking the contextual with the meta-phorical, is a transparent and formal approach to the creation of a narrative archi-tecture." Bernhard Franken
http://www.franken-architekten.de/

Architecture as Narrative: On Bernard Franken′s Ruminations on Characterization, Integration, and Imagination

Before invention of the printing process, architecture operated within society as a type of literal narrative. That does not mean that architecture is no longer the embodiment of meaning. Today the meanings, however, are simply different, corresponding to a different type of culture. This paper argues that it is still possible to approach, create, and understand architecture as a narrative discipline. Bernard Franken developed a series of spatial narratives derived from selected actual sites and implemented architectonic responses. Likewise, parallel ordering principles that included narrative elements, characterization, integration and imagination were examined, providing the structural framework for various formal and spatial experimentations. From a descriptive perspective the paper considers the architectural process as the imaginative opportunities of the narrative of architectural production in forms other than, but leading toward building.
http://www.jstage.jst.go.jp/article/jaabe/6/2/6_213/_article

Haldane Liew, Shape Grammars with NITROS

http://cat2.mit.edu/arch5-local/4207archive/4207s99/haldane/WWW/

http://cat2.mit.edu/arch5-local/4207archive/4207s99/haldane/WWW/ex4-boxray/index.html