Human-Algorithm Interaction in Evolutionary Design Process

At the advent of AI and highly sophisticated computational systems, the prospect of creating a collaborative system that integrates the strengths of human and algorithmic computational processes in architecture is rising as a subject of high significance. This research aims to establish a dialogue between the human and the algorithm through an interactive human-algorithm design method which relies on human designers interacting with the algorithmic processes to enable the capture of subjective design criteria. The algorithmic part consists of using evolutionary genetic algorithms that would incorporate objective (quantitative) and subjective (qualitative) design goals. Through its theoretical and experimental sections, the research seeks to contribute to the existing debate in the field of evolutionary algorithms in design, and to generate new knowledge regarding interactive genetic algorithms and their capacity to support subjective design choices in architecture.

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Between the Hand and the Bits, The Critical Interface

Between 1994-1996, my dissertation examined the capacity of the computer as a creative stimulus in the design process.

The two sections of the research, operational and conceptual, examined this hypothesis. It was applied and tested through an experimental design method at the School of Architecture at the University of Auckland.

Computer technology has invaded the realm of architecture. The notion of CAD databases, virtual devices and bits commonly supersedes that of colour pencils, tracing paper and cardboard models. The question at issue is whether this new fashion can or should, partially or completely, replace the conservative methods of architectural design. A design proposal that incorporates both media will evaluate this dichotomy.

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The Window of Appearances

Digital Simulation of the Ceremony of Appearance of Ramses III at Madinet Habu, Egypt, 1175 BC

Done with 1995 technology and software, the research explored the computer role in the reconstruction and simulation of historical buildings, artefacts and events.

The designation “symbolic window” in architecture is an expression used to define some windows which their symbolic overtones transcend their traditional physical functions. One of the documented stories in the ancient world is the Window of Appearances of the first temple - palace of Ramses III at Medinet Habu, Egypt, 1190 BC. The story says that Pharaoh was considered by the Egyptian as “a child of the Sun - God and hence of divine substance”. The Sun - God of the Egyptian “was believed to have a mansion in the horizon in which he appeared each morning and disappeared each night”. The horizon here expresses the seat of Pharaoh as the “Island of Truth" and the “Field of Blest”. Consequently, the ceremony of his appearance and the window which is part of it, has symbolic meaning. The name Window of Appearances became inherent to that window to indicate its specific use in the royal ceremonial appearances. Thus, the Egyptian articulated the window of the palace to give grandeur and predominance to Pharaoh as he stands to show himself in ceremony with the “horizon”, “the gateway of the mansion in which the sun showed itself each morning and each evening to fill the world with light and to blunge it with darkness”.

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The Symbiotic Towers

Context inspired approach to performance-based architecture.

Abstract

The symbiotic towers is a practice-based computational design research project that seeks to integrate contextual environmental data of Dubai into a synthesis of forms, skins, and public spaces. By exploring the characteristics of variation and adaptation in natural systems, the project proposes a computational design method that integrates the environmental building performance with its form generation process. The findings seek to shed light on the opportunities of the computational design method in addressing some of the main challenges of today’s performance- based architecture.

Program and Objectives

The development consists of three towers connected on the ground level by a double-deck pedestrian shopping plaza. Parametric tools with grasshopper have been incorporated to inform buildings’ generation process to minimise sun exposure, and to maximise views and connection with the outside. Continuous negotiations between these parameters, and the program of each tower, have been directed towards a synthesis of program, geometry, and performance. Designed with human-centred approach to sustainability and informed by the contextual environmental data, the research-based project argues that new multidisciplinary and complex systems approaches present a window of opportunity, with a key role for architects, to drive new typologies of high rise buildings  that are symbiotic with the natural environment.

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Abstract

Inspired by the principle of passive cooling found in the ancient traditional architecture and the evaporative cooling of traditional clay jar.

This structure will be cladded with two skins: an internal glass curtain wall, and an external terra cotta perforated skin. The terra cotta panels are supported by an aluminium framing structure. Water nozzles are incorporated within the terra cotta skin to maintain its moisture. They are connected to a network of internal water sleeves that run inside these panels. This ecological treatment, inspired by the evaporative cooling system of the vernacular architecture, will help maintaining a cool temperature in the balconies, and creating a pleasant micro-climatic conditions for the inhabitants.

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Abstract

Inspired by the principle of passive cooling found in the ancient traditional architecture and the layout of the traditional house, The Dune proposes new spatial experience facilitated by the 3d robotic concrete printing.

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Digitizing the Vernacular - Glow of the Marjan

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