Algorithmic Design: A Paradigm Shift in Architecture? Kostas Terzidis, PhD Graduate School of Design, Harvard University http://www.bol.ucla.edu/~kostas/ This paper inquires into the nature of computation as a conceptual source of de- sign. Algorithms are used, not to enhance architectural designs, but rather to con- ceive them. Such a possibility departs for the dominant assumption that design is entirely conceived within the designer’s mind. If true, it may constitute a paradigm shift in architecture. Keywords: Algorithm, design, paradigm shift, unpredictability The nature of computation Recent theories of form in architecture have focused through technological cross-pollination, particularly on computational methods of formal exploration digital technologies and a new computational rela- and expression. From „topological geometry“ and tionship to space and time. The theoretical pos- hypersurfaces to blobs and folds, there is a clear sibilities cut-across disciplines and get affected by tendency to seek and explore formal properties concepts and mechanisms that have no precedence as sources of ordering systems. For the last two (Lonsway, 2002). In response to architecture’s strive decades, beginning with Marcos Novak’s (1988) to critically embrace and understand the new formal Computational Compositions, William Mitchell’s possibilities, two approaches have been dominant; (1990) Logic of Architecture, Peter Eisenman’s either a reevaluation of past theories and practices in (1992) Visions Unfolding, and John Fraser’s (1995) search for parallel or reoccurring themes or a search Evolutionary Architecture and continuing through for new unprecedented themes that derive their ex- Greg Lynn’s (1999) Animate Form, designers have istence to concepts and mechanisms foreign, alien, been concerned with the use of computational or external to the discipline of architecture. mechanisms for the exploration of formal systems. The first approach builds upon historical precedence These practices have attempted to readdress formal and seeks to metaphorically or indirectly associate issues using new techniques and methods. past concepts in a new context, ultimately aiming Computational tools are central protagonists in this at establishing historical continuity, transformation, exploration. The traditional problematic of space, and evolution. It approaches digital tools as record- form, and order are informed, reformed, and trans- ing and representational devices at the service of formed by the new possibilities and strategies open human creativity and interpretation. Human’s intel- Digital Design Tools 2 201 lectual dominance over the machine is a necessary partners within the practice. In contrast, computa- assumption. Within the human realm, any logic that tion is a process, the result of which is not neces- deals with the evaluation or production of form must sarily credited to its creator. Computations are be, by default, originated from within the mind of the understood as abstract and universal mathematical human designer. The problem with this approach is operations that can be applied to almost any kind or that it does not allow thoughts to transcend beyond any quantity of elements. For instance, an algorithm the sphere of human control. In fact, while it praises of computational geometry is not about the person and celebrates the uniqueness and complexity who invented it but rather about its efficiency, of the human mind, it becomes also resistant to speed, and generality. Consequently, the use of theories that point out the potential limitations of algorithms to address formal problems is regarded the human mind. For instance, in Warped Space suspiciously by some as an attempt to overlook hu- Vidler (1999) looks at current architectural formal man sensitivity and creativity and give credit instead experimentations in the light of digital techniques to an anonymous, mechanistic, and automated pro- but relies heavily on psychoanalytical thought and cedure. For example, Lynn reveals that „because of artistic interpretation. By doing so the author allows the stigma and fear of releasing control of the design himself to investigate the complexity of the human process to software, few architects have attempted mind but misses to engage into inquiring about the to use the computer as a schematic, organizing and ontological aspects of the „digital mind“ and the in- generative medium for design.“(Lynn, 1999) creasing dependency on its existence by designers and architects. Algorithmic design In contrast, the second approach aims towards a new theoretical framework necessary to critically An algorithm is a computational procedure for ad- evaluate computational mechanisms by seeking dressing a problem in a finite number of steps. It for evidence beyond previous understanding and involves deduction, induction, abstraction, gener- outside the context of predictable events. Digital alization, and structured logic. It is the systematic devices are seen not as tools for exploring what is extraction of logical principles and the development known but as portals for entering into what is un- of a generic solution plan. Algorithmic strategies known. Computational mechanisms are employed utilize the search for repetitive patterns, universal not only for exploring existing formal concepts but principles, interchangeable modules, and inductive also for forming entirely new concepts. In this links. The intellectual power of an algorithm lies in sense, digital devices become portals for explo- its ability to infer new knowledge and to extend cer- ration of forms that extend beyond the limits of tain limits of the human intellect. perception. What makes this approach problem- Despite the proliferation of computers in architec- atic for architects is that they have maintained an ture today, the use of algorithms in architectural ethos of artistic sensibility and intuitive playfulness design is generally limited. Instead, the dominant in their practice. Because of their mechanistic na- mode of utilizing computers in architecture today ture, computational mechanisms are perceived as can be identified as that of computerization, i.e. non-human creations and therefore are considered that where entities or processes that are already distant and remote. conceptualized in the designer’s mind are entered, Traditionally, the dominant mode for discussing presented, or stored on a computer system. In con- creativity in architecture has always been that of in- trast, algorithms, as process of creating design so- tuition and talent, where stylistic ideas are pervaded lutions by the use of mathematical or logical meth- by an individual, a „star,“ or a group of talented ods, are generally limited. While the research and 202 Digital Design Tools 2 Digital Design Tools 2 203 development of software itself involves extensive and processes of architectural design. It combines algorithmic techniques, mouse-based manipula- both the theories and methods of computer science tions of 3D computer models on a computer screen as well as the abstract design space embodied in are not necessarily algorithmic processes. current modeling and animation systems. Presently, a new direction is being formulated: While most algorithms are tailored to automate te- algorithmic design. It involves the designation of dious manual methods, there is a certain category of algorithms to generate space and form from the algorithms, referred to here as inductive, that are not rule-based logic inherent in architectural programs, aimed at predictable results. Their inductive strat- typologies, building code, and language itself. In- egy is to address and explore generative processes stead of direct programming, the codification of or to simulate complex phenomena. In the field of design intention through algorithmic scripts build on design, rule-based grammars, recursion, stochastic top of existing modeling systems can build consis- search, cellular automata, genetic algorithms, map- tency, structure, coherency, traceability, and intel- pings, and morphing are algorithmic processes ligence into computerized 3D form. By using algo- aimed at exploring uncommon, unpredictable, and rithmic scripts designers can go beyond the mouse, uncharted formal properties and behaviors. transcending the factory-set limitations of current A defining characteristic of inductive algorithms is 3D software. Algorithmic design is a conceptual the degree of unpredictability expressed in the final framework for the exploration of forms, structures, outcome. Yet, this type of unpredictability is not Figure 1 House of worship: an ambigu- ous algorithmic structure that uses fields to create transpar- ency out of solidity and at the same time has the ability to camouflage its interiority through rotational recursion (designed by GSD student Andrew Sanders). 202 Digital Design Tools 2 Digital Design Tools 2 203 based on the materiality of the medium used but or estimated in advanced. This is not the case rather on the intellectual mechanisms involved. Ma- with computers performing inductive algorithmic terial events, such as chemical changes or physical computations. Neither their capacity or potency phenomena may be unpredictable yet are certainly is understood, nor their limitations can be pre-es- not intellectual. In contrast, the computer as a me- timated. Indeed, designers are frequently amazed dium has indeed intellectual characteristics as it en- by processes performed by algorithmic procedures, tails the capacity for knowledge