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Aswin Indraprastha

Design always comes with something that we actually try to re-invent in both conscious and unconscious minds. Be it a set of theories (Rowe, 1987), paradigm (Broadbent, 1988), or principles (Lawson, 1997) to be further developed what is to be called as ideas. The root of de-sign itself indicate strong relationship between cognitive endeavor and conceptualization yet long before realization (Terzidis, 2006). By the immersive contribution of computer technology in architecture design realm, researches recently attempt to contribute in the intertwining relationship between computer and human mind. This short paper presents a brief study of recent theories and methods in architectural design process, in the particular aspect of mutual relationship between cognitive exploration and computational-based form-space generation. Thus, it is expected that creativity, a novel ability that we – human - only possessed can further be elaborated, enhanced by means of digital thinking.

Design process in digital age

Can a machine (computer) produce a design or think like a designer? As long as human civilization, we certainly believe that design is our ultimate gift in which it enables us not only to solve the given problem but also to transcend it into a new way of solutions never imagined before. Professor Nigel Cross (1999) optimistically argued that design process possesses various aspects that can only be found in human intelligence. From rhetorical process to reflective dialog between designer’s mind and the medium, designing is one of the highest form of human intelligence and therefore it is a very difficult challenge to convert it into form of artificial intelligence. Nevertheless, Cross pointed important insight regarding computational process; it must do things that are arduous and difficult for human beings to do.

We are recently witnessing breed of so-called new formation of geometries. From Herzog & de Meuron’s Bird Nest in Beijing, Zaha Hadid’s Opera house in Dubai and others that by few may be seen as bizarre-architecture. Despite its hype as marketing or moreover, a form of representatives only, those expressive entities promote incorporation of computer into the new level in design, from performance analysis to visualization and production.

Again, can design actually be developed by machine? Beyond the tools for aiding the process, can a new form actually emerge suprisedly without any human intervention on whatsoever?

Many argued that in information age, architecture will transform itself by means of information super-highway. Forms generated today by most prominent architects are language of process in understanding the face of architecture in information age. The use of new materials, hybrid functions, and new interfaces are examples of what Izham Ghani (2007) recalled as recombinant form and function. By what we are witnessing recently, architecture apparently becomes a host of new kind of entity: information technology. This kind of entity has new property that never imagines before in any architecture theories: the fast-growing power it transformed to our daily life. And it is only matter of time before technology finds its way to accompany our role as designer to shape, arrange and connect spaces both real and virtual to satisfy human needs (Mitchell, 1996).

Terzidis (2006) mentioned this new entity as the otherness - not aide, not tools, but the other form of agent of intelligence and creativity that can be treated as a partner. To understand how computer can (mimic-ly) think, we must trace back on how we designed computer as a machine to compute solution of set of problems by using mathematical models in arrays of algorithm procedures. Computer cannot think yet, obviously. It can only compute incredibly amount set of problems that we-human finally cannot comprehend. We provide computer core of its competence: algorithms. Since computers only understand two stages at a time, algorithm is the only procedure to solve problem from simple mathematical operation up to create new complex forms as long as it can be reduced as mathematical equation. We may expect that in context of idea generalization, form production and space arrangement, the form of artificial intelligence will soon help designer not only to create architecture that is different for the sake of design, but because it computes numerous factors we may overlooked.

As far as I knew, there are still few designers utilizing power of algorithm process to generate new geometries and new forms for architecture design study. Instead, architects relied on computer software as a translator from which their ideas will take form into reality. Architects cannot free themselves from the fact that they mainly only use 30% of computer power from most of its software programs intended to design. Most of computer software’s today that mainly used as daily based by architects have more power and ability than just a translator. Dangerously we may face a paradigm of so called computer-generated architecture design without knowing the true potential of what computer really can do and what are their consequences. These issues were also addressed in Harvard Design Magazine (2005) as an impact of computer-generated architecture and the gap it’s created from human behavior.

In this digital age, everything is coded. Design process will face a new method to embrace new promise land of creativity. If creativity is reduced as a means to create new form then it can be coded into series of commands in computer languages. Needless to say, architecture will again engage with mathematics in order to pursue new realm in geometries as they did in 16th century.

New kind of creativity: Form follows algorithm

The brain of any computer programming is algorithm. It is a linear series of instructions of which solution of given problem is addressed. Although it is powerful enough to solve almost any real problems from transportation to medical imaging, algorithm seems has nothing to do with creativity and design process. But again, we have mighty mind that could codify every problem into step of solutions and thus computer could take an advantage.

It is obvious that most of us as an architect or educated to become one, did not have a clue on what is algorithm. We do not need to but we do know when it comes to problem seeking. Designing is a kind of problem seeking at first and problem solving at the end with a flavor of creativity added. Algorithm is a computer method on problem seeking.

From the Computer Aided Design software and any 3D modeling software there are plenty of rooms that we as designers could explore more the power of its ability. It is laid on what is called script programming. There are few designers attempt to use script languages to generate form using genetic algorithm. Autodesk Maya`s MEL, RhinoScript, Blender`s Python are few languages of which form can be generated from. Although it comes with learning curves, the new method of form-making which comes as mentioned above from our design partners, can be viewed as new design method. The one that fully employ computer on what it is aimed for. And when it comes with design-computing, there is no room for black-box method. Whether it is positive or negative aspect, it is all countable and quantified for both sides of the consequences.

The algorithm-based design process is a new method of form generator or form morphogenesis. It is a new playground for next generation of architects and designers. This approach of unpredictable, unforeseen and surprise elements of genetic algorithm have an interesting value in Greg Lynn`s Animate Form (1999): …[It] can provide a set of parameters and statistics to generate architectural form. While many architects would not be so bold as to allow an animation based in mathematics to design a building for them, these forms can provide the groundwork for new forms in architecture The forms generated may be abstract, or may create a symbol for a culture. These processes could yield what can be described as an abstract machine, and a concrete assemblage. Albeit its classic, this hypothesis may have an impact in recent architectural design methodology by the advancement of computer technologies.

Long road towards recognition

Why we bother give to computer the process that we love to do? For some, design is enjoyment. But when this enjoyment involves enormous data, interconnecting variables and life of people, it is not about form-making per se but rather, continuous process of improving living quality. We need our partner to share intricate problem that we could not grasp anymore. Algorithm is used as tools in various simulation programs to look for optimum solutions. Algorithm as a method (i.e. genetic algorithm) may have some nature challenge in world of design of which Manuel de Landa (2001) reflected as populational, intensive and topological thinking. All this theoretical reasoning is challenges into what extent we employ digital algorithm as a design method. Nevertheless, it is now safe to consider that creativity is neither esoteric nor subjective matter. For years to come we may encounter a breed of new geometries by new agents of creativity.

References

Cross, Nigel (1999). Natural Intelligence in Design. Design Studies, 20, 25-39.

De Landa, Manuel (2001). Deleuze and the Use of the Genetic Algorithm in Architecture. Presented at Between Bladerunner and Mickey Mouse: New Architecture in Los Angeles Exhibition, Madrid, Spain.

Lynn, Greg (1999). Animate Form. Princeton Architectural Press.

Mitchell, William J. (1996). City of Bits: Space, Place, and the Infobahn. MIT Press.

Terzidis, Kostas (2006). Algorithmic Architecture. Architectural Press.

Journal of Architectural Research, Volume 1, Issue 3, November 2007.

Harvard Design Magazine, Winter Issue 2005, Harvard University.