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Generative Design Methods Generative Design Methods Implementing Computational Techniques in Undergraduate Architectural Education Asterios Agkathidis1 1University of Liverpool [email protected] In continuation to the Deceptive Landscape Installation research project (Agkathidis, Kocatürk 2014), this paper investigates the implementation of generative design techniques in undergraduate architectural design education. After reviewing the main definitions of generative design synoptically, we have assessed the application of a modified generative method on a final year, undergraduate design studio, in order to evaluate its potential and its suitability within the framework of a research led design studio, leading to an RIBA accredited Part I degree. Our research findings based on analysis of the design outputs, student performance, external examiners reports as well as student course evaluation surveys indicate a positive outcome on the studio's design approach, as well as its suitability for an undergraduate design studio. They initiate a flourishing debate about accomplishments and failures of a design methodology, which still remains alien to many undergraduate curricula. Keywords: CAAD Education, Generative Design, Design Concept INTRODUCTION: DESIGN METHODS IN AR- terms such as 'generative design', 'parametric design' CHITECTURE or 'algorithmic design', to name but a few. These of- Generating form poses one of the fundamental ques- fer new design paths to architects by breaking with tions in architectural education and practice. Archi- predictable relationships between form and repre- tectural production is frequently accompanied by de- sentation in favour of computationally generated bates about the legitimacy of its design approach, complexities, thus enabling the development of new questioning the relationship between function and topologies. They shift the emphasis from 'form mak- form, aesthetics and construction systems, context ing' to 'form finding' (Kolarevic 2003). The critics of and structure, user needs and construction costs, in such design approaches claim that they disconnect all possible configurations. In recent years, computa- architectural output from its context and its users, tional tools have introduced innovative form-finding and lead to a decrease in spatial quality and a build- techniques, revolutionizing architectural design and ing's integration within the urban environment. Fur- production. These techniques are often described by thermore, some argue that a totally computerized approach leads to disconnection from physical mod- CAAD Education - Concepts - Volume 2 - eCAADe 33 | 47 elling and drafting techniques - once essential foun- architecture, Peter Eisenman started applying a set dations of architectural education - and so risks the of design techniques, such as scaling, fractals, over- loss of material qualities, effects and properties. Yet lay and superposition, influenced by Jacques Der- various generative form-finding techniques existed rida's Deconstruction theory (1976). Eisenman ap- in architecture long before the digital revolution. At plied these techniques in relation to rules of order, the start of the twentieth century, many visionary ar- developing several projects on this basis, such as the chitects, engineers and designers, such as Frederick Biocentrum in Frankfurt and the Nunotani Corpora- Kiesler and Frei Otto, were applying design methods tion headquarters in Tokyo (Eisenman 2004). One that were very similar to today's computational ap- could claim that his design method was the first con- proach. It seems that today's new computational de- temporary generative design attempt. As software sign techniques are not as new as they seem, nor im- started to offer new possibilities, Eisenman intro- possible to practise without the use of computational duced other techniques to his approach, such as mor- tools. So is it the tools or the design method that phing images, which was soon followed by UNstu- should be targeted by critics of so-called digital ar- dio and their concept of the 'Manimal', a computer- chitecture? The following paper will try to cast light generated icon that merges a lion, snake and human on that perpetual conflict. to represent the hybrid building (van Berkel and Bos Why, though, should anyone follow a method 1999). for designing architecture in the first place? Can ar- The technique of folding appeared in Eisenman's chitects not simply rely on personal inspiration or Rebstockbad in 1991 (Eisenman 2004) and, as com- their own sense of beauty? Throughout the evolu- putational tools advanced further, Greg Lynn started tion of architectural design there have certainly al- applying new tools such as animation, splines, nurbs ways been schools of thought that have encouraged and isomorphic polysurfaces, influencing a whole a design process based on inspiration or an initial wave of architectural production, often described as stimulus. However, others haven promoted adher- 'blob architecture' (Lynn 1999). As algorithms and ence to a specific design method, based on rules scripting become more accessible to architects and rather than intuition, and many now argue that de- designers, and digital fabrication more affordable, sign methods are necessary in order for architects to parametric and panelization tools, simulation soft- deal with today's hyper-complex design briefs, or to ware, optimization and generative algorithms are prevent self-indulgence and stylistically driven for- dominating today's generative design techniques. mal language. Others affirm that emerging computa- In their book Generative Gestaltung (Lazzeroni, tional design and fabrication tools are changing the Bohnacker, Groß and Laub 2009) the authors define architect's role, making design methods a necessity. generative design as a cyclical process based on a simple abstracted idea, which is applied to a rule DEFINITIONS OF GENERATIVE DESIGN or algorithm (figure 01). It then translates into a There is no single definition of the term, but many source code, which produces serial output via a com- complementary definitions with common character- puter. The outputs return through a feedback loop, istics, which vary according to different architectural enabling the designer to re-inform the algorithm and theorists. Overall it can be described as a design the source code. It is an iterative operation, relying method where generation of form is based on rules on the feedback exchange between the designer and or algorithms, often deriving from computational the design system. tools, such as Processing, Rhinoceros, Grasshopper Celestino Soddu (1994) defines generative de- and other scripting platforms. During the late 1980s sign as 'a morphogenetic process using algorithms and early '90s, just before the boom of computational structured as nonlinear systems for endless unique 48 | eCAADe 33 - CAAD Education - Concepts - Volume 2 Figure 1 Generative design process diagram, by Lazzeroni, Bohnacker, Groß and Laub and unrepeatable results performed by an idea-code, is focusing on the emergent and adaptable qualities as in nature'. Indeed, the notions of generative de- of form. Form is no longer being made, but found, sign and digital morphogenesis are strongly asso- based on a set of rules or algorithms, in association ciated. The term 'morphogenesis' derives from the with mainly digital, but also physical, tools and tech- Greek words morphe (μορφή, meaning 'form') and niques. They imply the rules; the entire process fol- genesis (γένεσις, meaning 'birth'), so could be literally lows. translated as 'birth of form'. As with the term 'genera- Michael Hensel describes digital morphogene- tive design',there is no unique definition for morpho- sis as a 'self-organization process, underlying the genesis, and it seems that the terminology is chang- growth of living organisms, from which architects ing in relation to emerging technologies and tech- can learn' (Hensel, Menges and Weinstock 2006). In niques. their latest book, Rivka and Robert Oxman (2013) Branko Kolarevic (2003) describes digital mor- categorize form generation into six dominant mod- phogenesis as follows: 'The predictable relationships els in relation to its main driver: mathematical, tec- between design and representations are abandoned tonic, material, natural, fabricational and performa- in favour of computationally generated complexities. tive. They see digital morphogenesis as 'the exploita- Models of design capable of consistent, continual tion of generative media for the derivation of mate- and dynamic transformation are replacing the static rial form and its evolutionary mutation'. Its key con- norms of conventional processes. Complex curvilin- cepts include topological geometries, genetic algo- ear geometries are produced with the same ease as rithms, parametric design and performance analysis. Euclidean geometries of planar shapes and cylindri- Finally, Toyo Ito compares 'generative order' to cal, spherical or conical forms. The plan no longer the growth mechanism of trees, whose form derives "generates" the design; sections attain a purely an- from the repetition of simple rules, creating a very alytical role. Grids, repetitions and symmetries lose complex order (Turnbull 2012). A tree's shape re- their past raison d'être, as infinite variability becomes sponds to its surroundings, blurring the boundaries as feasible as modularity, and as mass-customization of interior and exterior spaces - qualities that are easy presents alternatives to mass-production.' In addi-
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