DDLab: Digital Design Laboratory: ADDA / CoDeLAB 2010 FINAL JURY

7.08.2010

ADDA / CoDeLAB 2010 FINAL JURY

Xavier Montoya, Carlos Gomez, Manuel Lopes, Carlos Castro

Oriol Carrasco,Irene Per, Cristina Moral, Juan Ospina

Carolina Figueiredo, Marilia, Andrea Butarinni

Miguel Huelga, Iria de la Peña, Eshan Salari

Laura Gomez, Nuria Gomez, Maria Pella, Laura Liberal

Fernando Rial, Justin Piercy, Gorka De Lecea

ADDA_Master in Advanced Design and Digital Architecture is pleased to announce that the next Thursday the 15th will take place at ELISAVA the final Jury of the year; we want to celebrate the first edition of the Masters with an open Jury, starting at 12:00.

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CoDeLab

PRESENTATION
It is already well accepted that the sudden growth in computing in the field of design has marked a definitive point. The computer opens us up to its own logic, enabling us to operate not only in a more optimal way but also to move into new forms of logic. It enables us to research, experiment and create emergent systems and those that self-organize. We can even design systems that perceive their environment and perform actions that increase their chances of success.

THEORY, DESIGN AND PRODUCTION
We already are far away from the continental modernistic tradition, and even farther from the European rationalism in architecture. At a time when words like postmodernism, deconstructivism and minimalism have lost their contemporary ring and no new dominant styles have been glimpsed on the horizon to serve as benchmarks, an unprecedented transformation is, however, taking place in the core of architectural practice. And the causes include the impact of technology, information systems and production processes. New architectural proposals appear to follow empirical methodologies rather than any previously structured rationalist system. Theoretical manifestos seem to have only a relative influence, if any at all, on new architectural trends, which appear to be guided mainly by the effects of the economic and social systems, along with constantly evolving production demands. The new markets that are emerging all over the world and the transformation of the social context combined with these new techniques have enabled us to include new design possibilities in our approach to architectural practice. These techniques allow us to develop proposals based on methodologies such as “thinking while experimenting”, which bring us back to the Deleuzian concept of “thinking as doing”. So, it seems that as we enter into these new scenarios, we will be going into new ground-breaking territory.

At the computational design laboratory, we will focus on the relevance that these new digital paradigms have to the process of design. The program presents morphogenetic processes (design of shapes and spaces), and includes experimenting with genetic engine software, programming, operating with scripting and parametric. Using these digital tools, we will establish our own language for creating shape systems that become architectural and habitable spaces.

New technologies also bring us new production processes (rapid manufacturing, digital fabrication) that lead to non-standard architectural forms and styles. The processes of mass production no longer depend on repetition, but a permanently reconfigured digital mechanical system. We will study and apply these production techniques in our projects and designs.

INTELIGENT PATTERNS DESIGN STUDIO

INTRODUCTION
The modern definition of artificial intelligence is "the study and design of intelligent agents." We say that an intelligent agent is a system that perceives its environment and takes actions that increase their chances of success. In computer science, the "evolutionary computation" is a sub field of artificial intelligence. This is the general term for several computational techniques that are based in some way in the evolution of biological life in the natural world. Of course the future of computational processes will by fully involved on the "evolutionary computation", for their clear utility in the selection and optimization processes.

But in the world of digital morphogenesis, in fully process of exploration and development there are other automated processes to generate three-dimensional shapes and diagrams, included in the field of artificial intelligence such as intelligent agents, particle systems or networks and databases. In the "Design Studio" we will be centered on these processes to achieve self-organization of systems, and generation of complex forms from simple rules. We will work with vector diagrams and volumes defined by polylines, and vectors. This will require working with programming and establish rules and digital algorithms. Therefore we will let them govern the systems to generate these results. To write these computational codes we will work on the programming environment Procesing. Our approach in the field of computer design experience with focus on the following processes:

Autonomous agents / intelligent agents
Particle systems
Networks and databases

THEORY APROACH
As discussed previously we will focus our design strategy on the creation of three-dimensional patterns by computational processes based on the animation elements.

Greg Linn explains that Animation is a term that differs from, but is often confused with, motion. While motion implies movement and action, animation implies the evolution of a form and it’s shaping forces;
it suggest animalism, animism, growth, actuation, vitality and virtuality. What makes animation so problematic for architects is that they have maintained an ethics of statics in their discipline. Because of its dedication to permanence, architecture is one of the last modes of thought based on the inert. More than even its traditional role of providing shelter, architects are expected to provide culture with stasis.

Will an animate approach to architecture subsume traditional models of statics into a more advanced system of dynamic organizations?
Likewise, the forms of a dynamically conceived architecture may be shaped in association with virtual motion and force, but again, this does not mandate that the architecture change its shape. Actual movement often involves a mechanical paradigm of multiple discreet positions, whereas virtual movement allows form to occupy a multiplicity of possible positions continuously with the same form. The term virtual has recently been so debased that it often simply refers to digital space of computer aided design. It is often used interchangeably with the term simulation. But simulation unlike virtuality, is not intended as a diagram for a future possible concrete assemblage but is instead a visual substitute.

GENETIC VERSUS GENERATIVE SEMINAR

INTRODUCTION
Since the Modern Movement began to fade away, which happened at the same time as markedly stylistic historicist revisions, architectural theory has shown great interest in positivist design methodologies. Studies of architectural complexity and dynamic systems have stirred renewed interest in networks, bottom-up methods, adaptive systems, genetics and the automatic creation of form as the fundamentals of a new generation of design techniques. Furthermore, the universalization of digital technologies in the last decade has made it possible, once and for all, to make the necessary verifications and produce clear results of all this research.

The seminar will focus on new methodologies that offer a wider range of possibilities for architecture and set up solid bridges between theory and praxis, by providing new ways of designing.

GOALS
This course aims to provide a theoretical basis for new forms of generating architecture, by computational means whatever its methodology. It aims to provide an introduction to computers and formal systems and relate this idea to the architectural trends and tendencies of the past half century.
The course is based on the reading and later discussion of a series of texts representative of some of these theoretical ideas and architectural paradigms with which they are related.