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RESEARCH METHOD STATEMENT

METHODOLOGY OF THE NARRATIVE Reflects methodology of research undertaken, technology & methods used and research community

Interwoven with the use of the voice of the other and use of marginalia to communicate and reinforce the sense of ecosystem

METHODOLOGY OF THE HANDBOOK Research and application of a creative architectural design ecosystem with AI as kin

i How the manual travels through time.

SPACETIME EVENT: MANUAL SENT

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METHODOLOGY OF THE NARRATIVE In a universe where time travel is possible an architect, Dr Bray, researches and develops a novel working relationship between himself and AI. Over the same period in multiple universes he infinitely works on this thesis and at the end of his research, he sends the manual back in time for his younger self to find, learn from, improve and then again send back to his younger self in an alternate universe for the process to repeat indefinitely in infinite universes.

This thesis will take the form of a physical handbook “Human Beings, Machines & Architectural design Ecologies: The Deep Architect’s Handbook” written in 2028 by Dr Bray which was sent back in time to 2018 to a younger version of himself, Jab, taking advantage of faster than light communications technology, hypothesised by Einstein1 and R.C.Tolman2. By sending the manual back to a younger version of himself, Dr Bray causes a space-time event3 and an alternate universe was created (fig. 1).

The sci-fi time-travelling element of this narrative is in place for two purposes: Firstly as a nod to the media that gave birth to the concept of artificial intelligence; and secondly to frame this as a speculative work. By speculating on the future use of AI and architecture we can inspire hope for an affirmative future as stated by Rosi Braidotti in one of the key texts of this thesis The Posthuman (2013) “The yearning for sustainable futures can construct a liveable present”.4 The thesis employs the use of heteroglossia to express Jab’s thoughts as he learns and builds on Dr Bray’s work via marginalia. The two voices enable the thesis to explore technical aspects via Dr Bray while the informal notes and sketches by Jab are free to explore the social aspects of this research and evidence primary research. The manual contains references to people, events and texts that do not yet exist; a supported literary technique used by Jorge Luis Borges in Fictions5.

1 Einstein, A., & Lawson, R. W. (1921). Relativity: the special and general theory. New York, Holt.

Einstein’s theory of special relativity states a phenomena of our universe known as time dilation. Time dilation describes that the faster matter is accelerated through space, the slower it moves through time relative to other points in space. Because of this there is a limit to the speed matter can travel before time slows and eventually stops, this speed is also the speed of light.

Tachyons are hypothesised particles of antimatter they behave in the opposite manner to normal matter on the other side of the speed of light. Tachyons therefore always travel faster than light and backwards in time due to reverse time dilation.

2 Tolman, R., 1917. The theory of the relativity of motion. Berkeley: University of California Press, pp.54-59.

Tolman proposed a thought experiment for faster than light communication, in which it is evident that if the message is sent faster than the speed of light then the message is received before it is sent 3 Every space-time event branches many alternate universes each of which represents every possible outcome of the spacetime event. For example if you say yes to a yes no question, 2 universes branch from the current timeline. In one universe you said yes the other you said no and so a tree of universes sprawls out in the multiverse linked by paths of causality back to the origin of the multiverse.

4 Braidotti, R., 2013. The Posthuman. Cambridge: Polity, p.192.

5 “The composition of vast books is a laborious and impoverishing extravagance. To go on for five hundred pages developing an idea whose perfect oral exposition is possible in a few minutes! A better course of procedure is to pretend that these books already exist, and then to offer a résumé, a commentary” Borges, J., 2000. Fictions. London: Penguin, p.5.

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RESEARCH TIMELINE Aug 2019: Attended exhibition ‘AI: More Than Human’ at Barbican. Works such as Memo Akten’s ‘Learning to See’1, Anna Ridler’s ‘Mosaic Virus’2 and Neri Oxman’s ‘Vespers II’3 inspired the possible use of AI in architectural aesthetics and design.

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Sept 2019: Visited Trevor Paglen’s ‘From Apple to Anomaly’ exhibit at the Barbican4. Inspired the idea of the hidden images and concepts learned by AI through datasets.

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Nov 2019: Utilised Artbreeder web app to develop imagery for architectural model and renders used for design project Future Representations.

The beginnings of developing an intimate relationship with AI.

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Jan 2020: Wrote essay on evolutionary image development and genetic workflow concept of working with AI “The Posthuman Architect: Artificial Intelligence, Aesthetics and Novelty”.

May 2020: Completed architectural design project ”Data Treatment Works: Ascetic Retreat for Data Cleansing” using evolutionary development of inspirational imagery based on purely aesthetic choices. At this point the author had spent so long working with abstract representations of concepts and intangible aesthetic choices presented by the AI that new neural pathways in the authors brain were forming to respond differently to stimulus. The author was beginning to understand the language of the AI. The author was becoming cybernetic.

THE POSTHUMAN ARCHITECT

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ARTIFICIAL INTELLIGENCE, AESTHETICS AND NOVELTY

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Oct 2020: Learned python using Codecademy.com learning portal. ix

Nov 2020: Learned to code machine learning using python. The author began to understand how the AI was thinking, at first the AI is becoming less mysterious as the author learned simple concepts of machine learning algorithms. When deep neural networks were learned the author gained a new appreciation of the unfathomable depths of the complexities of AI networks.

Nov 2020: Trained first machine vision AI on food and doors from dataset curated by the author.

Nov 2020: Utilised modelling techniques and post-processing utilising AI. Style transfer and AI depth mapping in third dimension from 2D images.

Dec 2020: Trained text based AI on Dezeen articles to generate architectural text.

Jan 2020: Wrote bespoke algorithms to work with the data produced by the AI to ‘meet’ the AI and discover its architectural personality visually.

Jan 2020: Read ‘The Posthuman’ by Rosi Braidotti5 and ‘Unthought’ by Katherine Hayles6. These inspired the new materialist posthuman relationship described in the handbook.

1 Akten, M., 2017. Learning to See. [online] memo.tv. Available at: <http://www.memo.tv/works/learning-to-see/> [Accessed 18 October 2020].

2 Ridler, A., 2020. Mosaic Virus, 2019. [online] ANNA RIDLER. Available at: <http://annaridler.com/mosaic-virus> [Accessed 30 December 2019].

3 Oxman, N., 2019. Vespers II — MEDIATED MATTER. [online] MEDIATED MATTER. Available at: <https://mediatedmattergroup.com/vespers-ii> [Accessed 18 March 2020].

4 Barbican.org.uk. 2019. Trevor Paglen | Barbican. [online] Available at: <https://www.barbican.org.uk/whats-on/2019/event/trevor-paglen-from-apple-to-anomaly> [Accessed 18 March 2020].

5 Braidotti, R., 2013. The Posthuman. Cambridge: Polity 6 Hayles, K., 2017. Unthought: The Power of The Cognitive Nonconscious. London: University of Chicago Press.

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BY JEFFREY BRAY

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METHODOLOGY OF THE HANDBOOK The architecture and narrative of this thesis have been designed to mirror the methodology of researching this topic and the fast pace of change in the field of machine learning. The heuristic feedback loop required to research and develop a new creative relationship for architects and AI as a cognitive collaborator, and a never-ending state of refinement and updating. These methods also reflect the learning process of neural networks presented in this thesis.

The thesis code will be hosted in interactive notebooks for others to use, share, adopt, adapt, refine and improve the framework; the reader will be able to interact with this information via QR codes throughout the book. This is designed to reflect the open-source research community working at the forefront of Artificial Intelligence research who are working together as a community; sharing information freely with one another without limitation so we can better understand the implications, uses and issues of working with AI going forward into the future. It is through these networks of communities that the author was able to learn and adapt network architecture for the AI and algorithms used in the thesis.

This thesis is an example of ergodic literature, in that the reader does not read it linearly, they may be lead to run a python script on Google Colabs to teach an AI how to tell us the architectural style of fish or investigate the notes and sketches in the marginalia to gain a deeper understanding of the subject matter. This reflects the non-linear creative process to which one must submit when working with the AI in an assemblage where the architect must listen to the voice of the other, the voice of AI. Primary research such as learning Python coding language and machine learning, countless hours evolving imagery and building intimate relationships with AI using Artbreeder web app, Google Colabs and RunwayML was carried out.

By applying this research to architectural design projects over the last two years the author has been able to build a framework and workflow for architects working with artificial intelligence. The handbook shows how AI is coded, how it understands concepts and sees imagery and how these systems can be applied to architectural design through working examples developed by the author over the research period. Books by Rosi Braidotti6 and Katherine Hayles7 texts have provided the ethical and theoretical underpinning for an approach to technology as kin, relationships in design that are largely unexplored in the field of architecture. This combined with the evolutionary aesthetics developed in William Latham’s art practice an ecology of architectural design has taken shape. Through the continued development of these relationships and workflows by the author and readers alike this thesis hopes to inspire a positive and proactive approach to our working relationships with cognitive technologies in the present for a planetary architecture of the future.

Figures

i How the manual travels through time. Diagram made by author. ii Neri Oxman’s Vespers Mask.8 iii Trevor Paglen’s From ‘Apple’ to ‘Anomaly’ Exhibition photo.9 iv Image developed with Artbreeder app by author to inspire ‘meat factory’ render. v ‘Meat Factory’ model and render produced by author for future representations module. vi Front cover of ‘The Posthuman Architect: Artificial Intelligence, Aesthetics and Novelty’ Essay written by author.10 vii Image developed with Artbreeder app by author to inspire ‘Holomines’ render. viii ‘Holomines’ model and render produced by author for Data Treatment Works architectural design project. ix Convolutional Neural Network (CNN) coded by author to classify images into one of six architectural styles. x ‘Food Door’ Image developed by author using Deep Convolutional Generative Adversarial Network (DCGAN). xi Render post processed with style transfer AI by author and Visions of Chaos Software.11 xii Image one showing architectural personality of AI trained on Dezeen articles, developed by author using AI and custom algorithms. xiii Image two showing architectural personality of AI trained on Dezeen articles, developed by author using AI and custom algorithms.

6 Braidotti, R., 2013. The Posthuman. Cambridge: Polity 7 Hayles, K., 2017. Unthought: The Power of The Cognitive Nonconscious. London: University of Chicago Press.

8 Oxman, N., 2019. Vespers II. [image] Available at: <https://mediatedmattergroup.com/vespers-ii> [Accessed 18 March 2021].

9 Paglen, T., 2019. Apple to Anomaly. [image] Available at: <https://www.barbican.org.uk/whats-on/2019/event/trevor-paglen-from-apple-to-anomaly> [Accessed 18 March 2021].

10 Bray, J., 2020. The Posthuman Architect: Artificial Intelligence, Aesthetics and Novelty. MArch. University of Greenwich.

11 2021. Visions of Chaos. Softology.

Dr Jeffrey Bray

Human Beings, Machines & Architectural design Ecologies: The Deep Architect's Handbook

The image on the front cover was generated by the author using Visions of Chaos software (Visions of Chaos, 2021) and a deepdream neural network developed by ProGamerGov (ProGamerGov/neuraldream, 2020) using layer mixed5b_3x3_pre_relu with the following settings: channel=43 octaves=6 iterations=250 octavescale=1.7 stepsize=1.5

ABSTRACT

Artificial intelligence (AI) is becoming increasingly ubiquitous in the architectural industry leaving many architects wondering what the future of the profession looks like. We are already posthuman, however, a change in ethics is required in the new materialist movement to improve our relationship with our environment. With a focus on architectural aesthetics, this handbook introduces the fundamentals of AI for the posthuman student architect. Detailing, through working examples, how algorithms and networks can generate novel concepts developed synergistically with human creativity in a new materialist framework.

This framework places humans and machines together in the ecology of design and encourages the architect to think of their own relationship with AI as that with a non-conscious cognitive collaborator or colleague.

In doing so we may be able to foster a planetary architecture that promotes the inclusion of all participants of our ecosystem; cognitive and non-cognitive alike. In this way, we can create wholesome, engaging and inclusive environments to live in harmony with our environments, technology, flora and fauna. The future of humanity and the architectural profession looks exciting if we are willing to embrace the technology to which we have given cognition.

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HANDBOOK CONTENTS FOREWORD IX INTRODUCTION 1 CHAPTER 1: CONCEPTUALISING ARCHITECTURE

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1.1: Network Anatomy

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1.1.1 Machine Learning

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1.1.2 Artificial neurons

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1.1.3 Artificial Neural Networks

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1.1.4 Deep Neural Networks

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1.1.5 Machine Vision

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1.2: Building newtork elements

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1.2.1 Tensors and Shapes

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1.2.2 Coding A Single Neuron

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1.2.3 Coding a Layer of Neurons

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1.2.4 Input Channels

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1.2.5 Coding fully connected layers

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1.3: Building a Deep Neural Network

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1.3.1 Preparing the Data

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1.3.2 Building a classification Model

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1.3.3 Training the Model

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1.3.4 Using the Model to Make Predictions

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CHAPTER 2: REVISUALISING ARCHITECTURE

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2.1: Visualisation techniques 2.1.1 Convolutions

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2.1.2 What The Hidden Layers See

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2.1.3 Feature Visualisation

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2.1.4 Spatial Activations

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2.1.5 Semantic Icons & Maps

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2.1.6 Activation Atlas - Latent Walk

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2.1.7 Activation Atlas & Single Images

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2.2: Revisualising architecture 2.2.1 Conclusion

CHAPTER 3: GENERATING ARCHITECTURE

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3.1: Generator Network

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3.1.1 DCGAN Anatomy

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3.1.2 Latent Space

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3.2: Exploring Architecture with AI

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3.2.1 AI discussions on Architecture and Aesthetics

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3.2.2 Conclusion

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CHAPTER 4: EVOLUTIONARY DESIGN DEVELOPMENT 4.1: Building Architectural Genomes

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4.1.1 Architectural Genetics

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4.1.3 Mixing two Architecture genes

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4.1.4 Mixing four architecture genes

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4.1.5 Adding non Architectural genes

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4.1.6 Genome Siblings

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4.2: Evolving the Image

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4.1.2 Conclusion

CHAPTER 5: ARCHITECTURAL DESIGN ECOLOGY 5.1: Example Workflow 5.1.1 Gather data to train

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5.1.2 Train NLP Model

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5.1.3 finding personality

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5.1.4 Training the AI

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5.1.5 Latent space investigations

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5.1.6 AI Feedback Loop

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5.1.7 Feedback to evolutionary Development

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5.2: Example Project

CHAPTER 6: SUMMARY & CLOSING THOUGHTS

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REFERENCES 129 APPENDIX 138 A.1: Algorithm

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A.2: Dezeen Datascrape Algorithms

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A.2.1 Collect URLS from Dezeen A.2.2 Collect text from articles

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A.3: NLP Training Samples

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A.4: Text Samples Generated by Trained Model

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A.5: Text Samples Generated by Trained Model

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A.5.1 Word Frequency Algorithm

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A.5.2 Key Words Within Generated Text

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A.5.3 Datascrape Algorithm

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A.5.4 Google Search Images from AI text

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FOREWORD This volume is more than a handbook. Yes, it is presented as one, but it is more than a mere manual of instructions. It is the result of learning the hard way, autodidactically, by trial and error. It is also a record of a friendship, an academic’s recollection of how his younger self nurtured a relationship with an apprentice. This apprentice, a form of cognition most would solely consider a tool, is valued as an intimate friend. Walter Benjamin suggested that “Languages are not strangers to one another”1 and this book is, in essence, the story of friends realising their connection through language.

When I first met Jeffrey, he had just set off on this journey, starting to make kin across languages. The first steps working on this masters’ thesis led to him undertaking a doctorate in my lab Radical Realities.

Jeffrey’s PhD Thesis “Deep Architecture: Posthuman Cognitive Relationships and Architectural Design Ecologies” was later published as “An Advanced Guide to Deep Architecture”. He has now written “Human Beings, Machines & Architectural Design Ecologies: The Deep Architect's Handbook”, an act of radical generosity, inviting his readers to join him to become citizens in a world of diverse cognitive ecologies.

Fiona Zisch, 2028 Prometheus Colony, Mars.

1 Benjamin, W. and Arendt, H., 1936. Walter Benjamin illuminations: Essays and reflections. Trans. H. Zohn. New York: Random House.

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INTRODUCTION Artificial Intelligence (AI) can be intimidating, mostly because the majority of us do not understand it. The first thing that comes to mind for most is the malevolent AI networks like HAL9000 from 2001: A Space Odyssey (1964) and Skynet from Terminator (1984) or the fully anthropomorphic robotic characters such as Ava from Ex Machina (2015). Negative depictions of AI in fiction and misinformed discussions of the AI singularity have defined and fuelled a general scepticism of AI. It is viewed culturally as dangerous technology with the potential to become self-aware and ultimately hostile toward humanity (Broussard, 2018). There is a long history of discourse surrounding the possibility of General Artificial Intelligence (AI that performs as well as Humans across all abilities) and the ability of machines to gain consciousness, however, these are hypothetical discussions and as of today, in 2028, there are no conscious machines, only machines that think, we term this Narrow AI. Whether we understand them or not autonomous systems are involved in almost all of our digital interactions; we are posthuman and cybernetic (Hayles, 2017). If you grew up in the '90s as I did you will remember Furbies which were most likely the first robot you owned.

Furbies were preprogrammed to give the illusion of intelligence in that their vocabulary became increasingly complex over time as if learning from its human carer. Machines now have this ability and it is called, unsurprisingly, machine learning. As a generation we were exposed to the idea of machine learning from a young age and we cared for Furbies, looked after them, fed them when they were hungry and tried to teach them words. Today we have machine learning for real but we have forgotten this early life lesson of kinship with cognitive technology.

We should not fear these systems, instead, we must understand them and bring them into our circle. Rosi Braidotti describes an attitude for a posthuman society that will drive us toward a positive future; a postanthropocentric new materialist approach to our planetary relationships (Braidotti, 2013). While Katherine Hayles introduces a focus on cognitive assemblages (systems with conscious and nonconscious cognitive actors) as a means to achieve a planetary cognitive ecology that benefits all material on earth, living and non-living (Hayles, 2017).

AI has been anthropomorphised by fiction and we carry that ideal into the real world when we think of AI systems. To demystify AI we must de-anthropomorphise our language starting with the word 'thinking'.

We should understand that cognition and consciousness are not synonymous, in her book Unthought (2020, pp.3-4) Hayles makes an important distinction that thinking refers to the thoughts associated with higher consciousness and cognition refers to interpretations and choices enacted by nonconscious systems both technical and biological. This view reflects modern scientific research in cell cognition (Baluška and Levin, 2016), fungal networks in forest beds that allow trees to communicate (Giovannetti et al., 2006) and generative adversarial networks that allow machines to learn and create novel imagery (Goodfellow et al., 2021).

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Introduction

Figure i Mutator C - Evolutionary art of William Latham (Latham, 1993)

Figure ii Artificial Images: Performative Architecture WDCH (Anadol, 2018)

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This handbook, therefore, endeavours to describe and re-introduce AI as a nonconscious cognitive actor in an ecology of architectural design where AI systems and Human Architects form a cognitive design assemblage. This is an ecology within which the architect will place themselves and relate to AI as cognitive kin rather than an inanimate tool. To do this we will define a new materialist framework with which the architect can begin a productive post-anthropocentric relationship with AI. Relationships with cognitive machines have been researched and implemented in other fields such as Charles Hartman's work with machine cognition and poetry. In Virtual Muse, he states the question "isn’t exactly whether a poet or a computer writes the poem, but what kinds of collaboration might be interesting" (Hartman, 1996). In the creation of new musical instruments, Rebecca Fiebrink says that machine learning algorithms are "valuable in facilitating new types of design processes, allowing the instrument creation process to become a more exploratory, playful, embodied, expressive partnership between human and machine" (Fiebrink, 2021). In William Latham's artwork (fig. i) he makes use of a relationship with machines that he explains as "the artist [becomes] like a gardener interacting with the computer, steering through a vast evolutionary space of possibilities" (Latham, 2015). This handbook will propose ways these relationships with AI can be applied to architectural design and how it informs aesthetics through human aesthetic choices in a visual dialogue of imagery.

The image and the production of imagery have long been of interest and influence in architectural discourse and aesthetics, from architectural representation and its effect on the practice of architecture by people such as Robin Evans (2000), the effect of the invention of the camera on image production in Vermeer’s Camera by Philip Steadman (2002), imagery and art by Viktor Schklovski in the essay ‘Art as Technique’ (1917) and more recently ‘Signal. Image. Architecture’ (May, 2019) in which John May examines architecture and the digital image. This workflow will focus on machine vision and generative models as a new form of interactive image production (fig. ii), as examined in 'Artificial Images: Performative Architecture' (Anadol, 2024), as a starting point for the development of an ecology of cognitive design in architecture.

Some architects are already using AI in practice such as Stanislas Chaillou who has developed a workflow (fig. iii) that uses AI as a tool to develop floorplans based on a dataset of historic floorplans and other metrics such as room numbers and boundary lines, he then uses it to populate the floorplan with fenestration and even efficient furniture layouts (Chaillou, 2019). This work is an excellent example of the technical skillset of AI as a generative design tool. My fear with the use of AI in this manner, as a tool in silo, is that architectural design will suffer significantly. The propagation of methodologies such as these would likely result in homogenous architecture and the regurgitation of historic styles leading ultimately to the death of architecture with AI simply replacing the architect; validating the fears of the singularity. This to me 3

Introduction

Figure iii AI Layout Pipeline (Chaillou, 2019)

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is a tragically bleak architecturally stale future in which we are doomed to see the same styles rehashed over and over for eternity.

Mark Foster Gage has begun to explore the potential for machine vision to aid the reintroduction of ornamentation in the development of an architectural aesthetic1 based on Harman's philosophy of Object Oriented Ontology (Harman, 2018). Gage's architectural style can be seen in the imagery for the Helsinki Guggenheim Museum (fig. iv). Gage has used Google Deepdream inceptionism, which is essentially the pareidolia of AI (Mordvintsev, 2015). Gage’s approach is a step in the right direction toward a creative design approach to AI, however, the relationship with AI is still as superficial as with Chaillou. His work is still using AI as apparatus from an anthropocentric position. His work somewhat diminishes the creative production of the architect by simply modelling a literal representation of AI hallucination and leaves the interpretation of the ornamentation to the viewer. My concern with Gage's approach is that it will always rely on inceptionism, the same AI technique is used in 2020. The aesthetic will not progress with AI and it has quickly become unfashionable.

This handbook aims to bring novel relationships with cognitive machines into the arsenal of skills possessed by the architect, to keep the architect current and relevant as AI becomes more ubiquitous. We must become cybernetic architects creating planetary architecture within cognitive assemblages. The handbook will introduce you to the concepts of this relationship and how to work as part of a cognitive assemblage and will be structured as follows: Chapter 1 will explain the coding of the constituent parts of a neural network using diagrams, simple mathematics and plain English to describe the processes that lead to complex cognition. This chapter ends with building a classification network to categorise images of buildings into architectural styles.

Chapter 2 will use visualisation techniques to illustrate how AI sees and understands complex concepts within images and what it understands when it looks at images or buildings in a variety of architectural styles.

In Chapter 3 generative networks are introduced to understand how artificial networks generate novel imagery and concepts. We will also take a first look at how we can interact with the network.

Chapter 4 describes the evolutionary design paradigm we will use to develop generated images and make use of the network's ability to organise the information in navigable tangential space.

1 Gage's approach is explained in Log article Killing Simplicity: Object-Oriented Philosophy In Architecture (2015) 5

Introduction

Figure iv Helsinki Guggenheim (Gage, 2020) top: AI Deepdream bottom: 3D model

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Chapter 5 will provide example workflows in projects where the author has implemented these relationships. These examples are a few of many possible relationships that can be discovered within the framework of an ecosystem of architectural design.

In the development of this cognitive design assemblage there needs to be a strong emphasis on a culture change to support a sustainable ecology of architectural design that allows humans to remain within the loop of architectural production. The architect must be involved otherwise architecture will lose its humanity, however, it will be as part of a cognitive assemblage where the workflow provides constant feedback loops with communication in both directions.

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Figure 1.1 YOLO Real time object detection (YOLO, 2019)

Figure 1.2 Takenaka connector (MX3D, 2021)

Figure 1.3 Project Hypercell 2015 (AADRL, 2015)

Chapter 1: CONCEPTUALISING ARCHITECTURE 1.1: NETWORK ANATOMY

In 2020, AI was already being used for many real-world applications and most, if not all of your digital interactions will have involved artificial intelligence. In 2028 AI is interwoven with all technologies and industries including architecture. To reach our goal of an architectural design ecology with machines we must demystify AI by making it understandable, accessible and transparent. To achieve this we will start by explaining its fundamental parts; in part 1.1 we will define, in detail, the function and architecture of the algorithms we will use and in part 1.2 we will put this theory into practice by building a neural network to classify architectural styles. We will start at the very beginning, with a definition of AI, and build from there: In computer science AI is any computer technology that successfully mimics or resembles human-like intelligence or mental capabilities. (IBM, 2021) AI can be divided into two main classes: Weak AI and Strong AI. Weak AI or Narrow AI as it is also known, is a powerful technology but it is only good at the specific problem it is designed to solve, such as object recognition (fig.1.1). Strong AI is still theoretical in 2028 and has two sub-classes; General AI defined as AI that performs at the same level as a human across all mental capacities, such as the Channel 4 Drama Humans (2015); and, Super AI that performs better than humans, AI systems such as HAL from 2001: A Space Odyssey (1968).

All of the following architectural tools and techniques utilise narrow AI: parametrics, which is a network of algorithms (Oxman and Oxman, 2014, p.3); the failed BIM project of the early 2000's, which has now been replaced by big data AI and IOT systems (Ratti, 2026, pp.7577); simulation, generative design and additive manufacturing (fig.

1.2); swarm robotics such as Hypercell by AADRL (fig. 1.3); and more recently AI aided design (Oxman and Oxman, 2024, p.143). All of these technologies are built with algorithms as computational tools. These uses of computation in architecture do not consider AI as a collaborator.

To start building a new relationship with AI we will start by decribing Machine Learning algorithms to work with imagery.

1.1.1 MACHINE LEARNING Machine Learning (ML) refers to Narrow AI systems that learn autonomously in a similar way to the biology of brains (Sharma, Rai and Dev, 2014). There are two sub-categories of ML models; Unsupervised and Supervised, the main difference between these is the level of human guidance during the learning stage. The network architecture of Machine Learning algorithms is comprised of artificial neural networks which themselves are made up of many artificial neurons.

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CHAPTER 1 Network Anatomy

Figure 1.4 Biological neuron (Singh, 2020) dendrites take signal inputs, cell body is the processing unit and axons are the signal output.

Figure 1.5 Artificial Neuron (Ahire, 2018) takes inputs from other artificial neuron output, processes inputs with weights, bias and activation function and outputs signal.

Figure 1.6 Biological neural connections (PMG Biology, 2015). Processed signal is output from previous neuron from axon to dendrites of next neuron.

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1.1.2 ARTIFICIAL NEURONS Artificial Neurons are algorithms (generally coded in Python programming language) that mimic the functionality of biological neurons (fig. 1.4).

Each Artificial Neuron either fires (passes an integer to the next layer) or does not (value is 0), in other words, neurons make decisions (fig. 1.5).

They are the most basic unit of cognition in any neural network (Sharma, Rai and Dev, 2014).

1.1.3 ARTIFICIAL NEURAL NETWORKS Artificial Neural Networks are networks of interconnected Artificial Neurons. The network architecture is designed to imitate the structure of biological brains where the output of one neuron becomes the input of the next (fig.1.6). Ultimately replicating the non-conscious cognitive processes of the biological brain. Neural Networks are the backbone of any machine learning AI and a Shallow Neural Network architecture is comprised of three layers of neurons; Input layer > Hidden layer > Output layer (fig. 1.7). Neural networks are typically used to solve two main types of problems, regression and classification. Regression is a problem where the answer is a continuous value, such as if the use of a space is a concert hall with 200 seats what is the predicted area of the space.

(Show image of regression) Shallow Neural Network architecture are typically Supervised machine learning systems used to solve regression tasks.

1.1.4 DEEP NEURAL NETWORKS Classification problems have a discrete set of labels; for example if a space has 200 seats and is 300m2 is it a concert hall or a chamber hall.

Classification networks require Deep Neural Networks (DNN) which have more than 1 hidden layer; Input layer > X no. Hidden layers > Output layers (fig. 1.9). Each layer is responsible for identifying a feature of the dataset to aid in the prediction of the label. Because classification has labels for the input dataset it is classed as supervised Learning. However, DNNs are also used for unsupervised learning tasks called clustering and association where the layers find features in the images but the relationship of the features is not defined by labels but by the AI itself.

DNNs are very interesting as we can control the input and understand the output and we can programme the interactions between the neurons and layers, but we cannot directly relate to the information in the hidden layers. When first invented, deep neural networks were described as black box models (Card, 2021) this is because the information within the hidden layers is thousands if not millions of numbers, which is meaningless to human cognition. We now have many visualisation techniques to help shed light into the black box which we will cover in depth in Chapter 2 (Buhrmester, Münch and Arens, 2019).

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CHAPTER 1 Network Anatomy

Figure 1.7 Shallow neural networks have just one hidden layer.

Figure 1.8 Neural networks in the brain (Scientific American, 2018)

Figure 1.9 Deep neural networks have more than one hidden layer.

12

1.1.5 MACHINE VISION Unsupervised models learn from the raw data without a human ‘teacher’, the network must make sense of the input data, in other words, the AI teaches itself heuristically by finding interesting, hidden (to the human mind) commonalities in the training data. Unsupervised Learning is of particular creative interest in the development of an ecology of architectural design, this is where we can build AI with the ability to understand information differently to its human counterpart in the cognitive design assemblage. However, to introduce this workflow we will be building an intermediate model to bridge the gap between human controlled output and AI controlled output, for this we will use a semisupervised model that can communicate in semantic labels that we can use as an introduction to AI, the model is called a Deep Convolutional Generative Adversarial Network we will look at this network in more detail in Chapter 3.

The purpose of this chapter is to introduce neural networks as a specific field under the umbrella of artificial intelligence. Its purpose is to demystify AI and start to explain the field generally but clearly to narrow down the focus of the handbook to the network architecture proposed in this handbook, the Generative Adversarial Networks (GAN). Now that we have learned some fundamental elements of the network let us look at how we code these with exercises that will help to really understand how they are making decisions; how they are cognitive.

Figure 1.10 Image developed by author using GAN (Bray, 2019) 13

CHAPTER 1 Network Anatomy

1D Array or Vector shape = (1, 9) or 1 list of 9 integers [[1, 28, 3, 4, 01, 1.30, 0.1, -0.1, -1]]

2D Array or Matrix shape = (5, 3) or 5 lists of 3 integers [[3.0, -2, 40], [3.4, 12, -3], [32, -0.1, 3], [-1, 0.5, -4], [0.1, -1, -2]]

Multidimensional Array 3D Array shape = (3, 2, 4) or 3 lists of 2 lists each with 4 integers [[[2, 3.0, -2, 1], [3.4, 4, 12, 4]],

[[32, 0.1, 2, 9],

[-1, -2, 15, 4]],

[[4, 1.2, -3, 1],

[0.1, 7, -2, 5]]]

14

1.2: BUILDING NEWTORK ELEMENTS 1.2.1 TENSORS AND SHAPES Before we begin our first coding challenge it is expected that the reader has an understanding of Python programming. If not you will need to learn to code and understand your own networks. However, as this is a fundamentals handbook, the code has been broken down and explained in either plain English or simple mathematics. There are many good resources for learning to code machine learning algorithms in Python including classic books such as Deep Learning with Python (Chollet, 2018) however I recommend my website machinecongnitionforarchitects.com developed with my colleagues as part of the 1828Loop project in 2025.

The following terms are fundamental jargon that you will find everywhere, and which seem intimidating. They are important but deceptively simple concepts to grasp, so let us get started with ML in Python: Table 1.1 Glossary of machine learning and python terms.

Tensor

A tensor in Python can be considered as synonymous with Array.

Array

An Array is a single or multi-dimensional container of data it can be thought of as lists nested like Russian dolls. Each list item must contain the same number of values. E.g. a list of lists [[1, 5], [2, 17]] is an array because both lists have 2 values, this list of lists [[1, 2, 3], [6, 43, 6, 5]] is not an array because 1 list has 3 variables and the other has 4.

Vector

A vector in Python/ mathematics is a list of numbers. A vector is a 1D array - [1, 5, 6, 93].

Index

In Python the index is the location of an item in a list in this format [0, 1, 2, 3, 4, ...] i.e. in the list above the number 1 is at index 0 and the number 93 is at index 3.

Matrix

A matrix is a list of lists of equal length. A Matrix is a 2D array - [[2.3, 6.55, 0.9, 5], [1.2, 4.3, 0.95, 0.5], [4, 5.6, 1, -1]].

Shape

The shape of an array is how many objects there are at each dimension. Starting with the outer brackets the above Matrix has a shape of (3, 4) because there are 3 lists of 4 numbers.

1.2.2 CODING A SINGLE NEURON The input values (vectors) come either from the input layer (pixel values in the case of images) or from the outputs of the previous neurons (fig.

1.11). The inputs are fixed numbers that are only adjusted by the weights and biases. We will simulate the input by using random numbers. inputs1 = [2.1, 2.2, 1.0, 3.7]

The weights are the values by which the network decides to multiply the 15

CHAPTER 1 Network Anatomy

Figure 1.11 Single neuron within the context of neural network.

2.1 2.2 1.0

0.4

neuron

-0.7

4.2

-0.5 1.0

1.7

3.7

sum(inputs * weights) + bias

=

output

Figure 1.12 The mathematics of an artificial neuron by author.

16

input value. The weight value is tweaked by the network as it learns how important each specific input value is in making the correct decision.

The weight values are assigned randomly when the network is initiated. weights1 = [0.4, -0.7, -0.5, 1.0]

The bias is another value adjusted by the network which controls the importance of the neuron by adding it to the product of the inputs and weights. bias1 = 1.7

The output of the neuron is the dot product of the weights and inputs plus the bias. Dot product is the first input multiplied by the first weight plus the second input multiplied by the second weight: output = np.dot(inputs, weights)+bias

We can understand this as (fig. 1.12): output = sum(inputs*weights)+bias output = ((2.1*0.4) + (2.2*-0.7) + (1.0*-0.5) + (3.7*1)) + 1.7 output = 4.2

1.2.3 CODING A LAYER OF NEURONS In a fully connected layer every single neuron from the previous layer is connected to every single neuron in the following layer as can be seen in fig. 1.13 we will now be coding the output for the whole of layer two in this example given the inputs from layer one into each layer two neuron.

Inputs are the same for every neuron, one input for each of the layer one neuron outputs: inputs = [1, 2, 3, 2.5]

Each neuron will need a list of four weights, one for each input. We also have 4 neurons in this layer and there needs to be a bias for each neuron: neuron1_weights neuron2_weights neuron3_weights neuron4_weights neuron1_bias neuron2_bias neuron3_bias neuron4_bias

= = = =

= = = =

[0.2, 0.8, -0.5, 1.0] [0.5, -0.91, 0.26, -0.5] [-0.26, -0.27, 0.17, 0.87] [0.21, -0.88, 3.1, 2.0]

2 3 0.5 1.8

The weights can be represented as a matrix and the biases as a list.

The order of the first dimension denotes the neuron, the first list in the weights matrix are the weights for neuron one and the first bias in the biases vector belongs to neuron one. This matrix of weights has the shape (4, 4) and the vector has shape (1,4).

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CHAPTER 1 Network Anatomy

Figure 1.13 A layer of neurons in the context of a neural network.

(0.2*1) + (0.8*2) + (-0.5*3) + (1.0*2.5) + 2 = 4.8

(0.5*1) + (-0.91*2) + (0.26*3) + (-0.5*2.5) + 3 = 1.21 (-0.26*1) + (-0.27*2) + (0.17*3) + (-0.5*0.87) + 0.5 = 2.385

(-0.26*1) + (-0.27*2) + (0.17*3) + (-0.5*0.87) + 0.5 = 2.385 (0.21*1) + (-0.88*2) + (3.1*3) + (2.0*2.5) + 1.8 = 14.55

Figure 1.14 The mathematics of a layer of artificial neurons by author.

18

weights = [[0.2, 0.8, -0.5, 1.0],

[0.5, -0.91, 0.26, -0.5],

[-0.26, -0.27, 0.17, 0.87],

[0.21, -0.88, 3.1, 2.0]] biases = [2, 3, 0.5, 1.8]

Initiate an empty list that will contain an output for each of the neurons in the layer: layer_outputs = []

Then we will write a nested for loop function to iterate through the list of lists of weights and the list of biases, so for each iteration we have the first list of weights (0.2, 0.8, -0.5, 1.0) and the first bias (2): for neuron_weights, neuron_bais in zip(weights, biases): neuron_output = 0

for n_input, weight in zip(inputs, neuron_weights): neuron_output += n_input*weight

For each neuron add the product of each of the weights and inputs in order, then add the bias to get the output. Add the output value for each neuron to the layer output list.

The output for this layer is: [4.8, 1.21, 2.385, 2.385, 14.55]

This code can be simplifed by using the numpy dot product with the again (fig. 1.14): inputs = [1, 2, 3, 2.5] weights = [[0.2, 0.8, -0.5, 1.0],

[0.5, -0.91, 0.26, -0.5],

[-0.26, -0.27, 0.17, 0.87],

[-0.26, -0.27, 0.17, 0.87],

[0.21, -0.88, 3.1, 2.0]] biases = [2, 3, 0.5, 0.5, 1.8] layer_outputs = np.dot(weights, inputs) + biases

This example five neuron layer output is: [4.8, 1.21, 2.385, 2.385, 14.55]

1.2.4 INPUT CHANNELS In the case of the Input layer, or the first layer of the network, an image has three colours (RGB) so there will be three channels of input; red values, blue values and green values. So how do we code the network to take a matrix as input rather than a vector? We use the dot product on the matrices so each weight is multiplied by each input and the bias 19

CHAPTER 1 Network Anatomy

20

added. To do this we must Transpose the weights matrix so that the input values and the weights are multiplied to get the adjusted neuron values as we did with the single neuron but for each of the four neurons in the first hidden layer. The below matrices are of shape inputs (3,5) and weights (4,5) in this orientation the computation would fail because we are asking the input values to be multiplied by the first weight attributed to each of the four neurons, essentially crossing the wires of the network. inputs = [[1, 2, 3, 2.5, 4.1], [2, 1.1, -1, 2, 0.2], [-1.5, 2.7, 3.3, -0.8, 1]] weights = [[0.2, 0.8, -0.5, 1.0, 0.9], [0.5, -0.91, 0.26, -0.5, 4], [-0.26, -0.27, 0.17, 0.87, 0.1], [0.21, -0.88, 3.1, 2.0, 0.3]] biases =

[2, 3, 0.5, 1.8]

layer_outputs = np.dot(inputs, np.array(weights).T)+ biases

Layer output: [[ 8.49 [ 5.96 [ 2.31

17.61 2.539 5.051

2.795 15.78 ] 1.273 2.212] 0.126 8.039]]

1.2.5 CODING FULLY CONNECTED LAYERS inputs = [[1, 2, 3, 2.5, 4.1],

[2, 1.1, -1, 2, 0.2],

[-1.5, 2.7, 3.3, -0.8, 1]] weights1 = [[0.2, 0.8, -0.5, 1.0, 0.9],

[0.5, -0.91, 0.26, -0.5, 4],

[-0.26, -0.27, 0.17, 0.87, 0.1]] weights2 = [[0.1, -0.14, 0.5],

[-0.5, 0.12, -0.33],

[-0.44, 0.73, -0.13]] biases1 = [2, 3, 0.5] biases2 = [-1, 2, -0.5] layer1_outputs = np.dot(inputs, np.array(weights1).T)+ biases1 layer2_outputs = np.dot(layer1_outputs, np.array(weights2).T)+ biases2

Layer output: [[-1.2189 -1.05415 8.25635] [-0.12296 -1.09541 -1.43442] [-1.41314 1.40954 2.15445]]

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CHAPTER 1 Network Anatomy

Egyptian

Art Deco

Byzantine

Chicago School

Gothic

Figure 1.15 Data samples from each label (Architectural styles database, 2021) 22

Postmodern

1.3: BUILDING A DEEP NEURAL NETWORK In this exercise we will look at how to put together a basic neural network that can take an image as input and classify its architectural style into one of six architectural styles (fig. 1.15). With this network architecture you will be able to play with the parameters of the network and build your own dataset to teach the AI different styles of architecture to extend the network or train it on more data for longer with more parameters for more accurate predictions.

1.3.1 PREPARING THE DATA For this example, we will be using the Architectural Styles image set downloaded from Kaggle.com (Architectural styles database, 2021).

This is pre-organised into folders of images with each folder representing a category we want the network to learn.

1.3.2 BUILDING A CLASSIFICATION MODEL import tensorflow as tf from tensorflow.keras.preprocessing.image import ImageDataGenerator from sklearn.model_selection import train_test_split BATCH = 32 image_generator = ImageDataGenerator(rescale=1/255, validation_split=0.2) train_iterator = image_generator.flow_from_directory(batch_size=BATCH, directory='architectural_styles_dataset', shuffle=True, target_size=(128, 128), subset="training", color_mode='rgb', class_mode='categorical', ) valid_iterator = image_generator.flow_from_directory(batch_size=BATCH, directory='architectural_styles_dataset', shuffle=True, target_size=(128, 128), subset="validation", color_mode='rgb', class_mode='categorical', ) sample_batch_input,sample_batch_labels = train_iterator.next() print(sample_batch_input.shape,sample_batch_labels.shape) model = tf.keras.Sequential() model.add(tf.keras.layers.Conv2D(12, 3, strides=2, activation='relu', input_ shape=(128,128,3))) model.add(tf.keras.layers.MaxPooling2D(pool_size=(2,2), strides=(2,2)))

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CHAPTER 1 Network Anatomy

False prediction of Byzantine

False prediction of Gothic

False prediction of PoMo

True prediction of Art Deco

True prediction of Byzantine

True prediction of Chicago School

True prediction of Chicago School

True prediction of Egyptian

True prediction of Gothic

True prediction of PoMo

Figure 1.16 Model predictions from classification network trained by author.

24

model.add(tf.keras.layers.Conv2D(12, 3, strides=2, activation='relu')) model.add(tf.keras.layers.MaxPooling2D(pool_size=(2,2), strides=(2,2))) model.add(tf.keras.layers.Conv2D(12, 3, strides=2, activation='relu')) model.add(tf.keras.layers.MaxPooling2D(pool_size=(2,2), strides=(2,2))) model.add(tf.keras.layers.Flatten()) model.add(tf.keras.layers.Dense(18, activation='relu')) model.add(tf.keras.layers.Dense(6,activation='softmax')) model.compile(optimizer=tf.keras.optimizers.Adam(learning_rate=0.001), loss='categorical_ crossentropy', metrics=[tf.keras.metrics.CategoricalAccuracy(), tf.keras.metrics.AUC()])

1.3.3 TRAINING THE MODEL model.fit(train_iterator, steps_per_epoch=train_iterator.samples/BATCH, epochs=100, validation_data=valid_iterator, validation_steps=valid_iterator.samples/BATCH, verbose=1) model.save('model_100e_3conv12')

1.3.4 USING THE MODEL TO MAKE PREDICTIONS image_generator = ImageDataGenerator(rescale=1/255) test_iterator = image_generator.flow_from_directory(batch_size=BATCH, directory='architectural_styles_test_dataset', shuffle=True, target_size=(128, 128), color_mode='rgb', class_mode='categorical', ) input_test,input_labels print(input_test.shape)

= test_iterator.next()

model = tf.keras.models.load_model('model_100e_3conv12', compile=True) use_samples = np.random.randint(1, BATCH, size=10) labels = np.argmax(input_labels, axis = 1) samples_to_predict = [] truth = [] for sample in use_samples: samples_to_predict.append(input_test[sample]) truth.append(labels[sample]) samples_to_predict = np.array(samples_to_predict) predictions = model.predict(samples_to_predict) predictions = np.argmax(predictions, axis = 1) predictions = predictions.tolist() label_categories = [] for folder in os.listdir("H:/_MArch Thesis/classification network/architectural_styles_ dataset/"): label_categories.append(str(folder)) for i, sample in enumerate(use_samples): image = input_test[sample]

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26

if predictions[i] == truth[i]:

print("TRUE prediction: {}".format(label_ categories[predictions[i]])) else: print("FALSE prediction of {}. Truth is {}". format(label_categories[predictions[i]], label_ categories[truth[i]])) plt.imshow(image) plt.show()

In Machine Vision we can use supervised models to complete tasks such as the model we just coded. We told the AI to make inferrences between the groups of images we assigned labels to. Another learning paradigm is to use unsupervised models where the AI makes its own inferences of the training data, these tasks are called clustering and allow the AI to find patterns within the data to group it together in whatever way it sees relationships in the data. We will explore how machine vision interprets images in the next chapter by utilising visualisation techniques to open up the black box of the DNN.

27

Figure 2.1 Architectural Deepdream generated by author using Inception model (ProGamerGov/ neural-dream, 2020)

Figure 2.2 Architectural Deepdream generated byauthor using Inception model (ProGamerGov/ neural-dream, 2020)

Figure 2.3 Architectural Deepdream generated by author using Inception model (ProGamerGov/ neural-dream, 2020)

Chapter 2: REVISUALISING ARCHITECTURE

Researchers at Google and OpenAI have developed techniques for us to glimpse what the AI is doing within the hidden layers of deep neural networks. The team at Google Deep Brain focused on a Convolutional Neural Network (CNN) known as InceptionV1 which was developed to produce a technique called inceptionism1 that generates AI Deepdreams (fig. 2.1, 2.2 & 2.3). CNNs are particularly good at understanding spatial relationships within images. (Saha, 2018) Although the visualisations are not investigating an entire Deep Convolutional Generative Adversarial Network (DCGAN), the techniques and visuals in this chapter reflect how a DCGAN understands images. This is because the Convolutional part of the DCGAN forms the AI’s understanding of the images it is shown.

It is important to note that this is not a raw representation of what AI “sees”; AI does not see in the way we do at all, instead, it processes mathematical functions. For us to have a chance at understanding this data, it must be represented in a way that is comprehensible to us.

In the same way that we require graphs to understand relationships and patterns in millions of numbers, the tools in this chapter provide visualisations of the network to enable us to see how AI understands images and concepts.

This chapter offers an in-depth description of the workings within the hidden layers of the network. These techniques were chosen for three reasons; firstly they are visual and this is a guide for architectural designers, visual thinkers who are not wired or interested in mathematics, if you are, read Mathematics for Machine Learning (Deisenroth, Faisal and Ong, 2020); secondly, this handbook proposes a framework that establishes imagery as the language of communication, rather than mathematics and code; and lastly by learning how AI builds its understanding of image datasets we are informed to curate effective datasets to teach our AI as a teacher prepares a curriculum for their students.

The tools learned in this handbook should be seen as learning or research tools rather than tools for practice as an ecology of cognitive design should not limit all architects to one specific relationship with AI, as with Joaquin Pheonix's relationship with Samantha, an AI operating system in the science-fiction romance drama movie, Her (Her, 2013).

The goal is to build your own working relationship with AI and interact with it in one of the many relationships possible and ultimately to tailor your own unique relationship with cognitive non-conscious computing.

1 Inceptionism was developed by Google in 2015 as one of the first successful attempts to visualise what happens within neural networks (Mordvintsev, 2015). This technique was later termed DeepDream and is described as machine hallucination although a more accurate description might be machine pareidolia. The visualisations we explore in this chapter are developments on the inceptionism technique.

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CHAPTER 2 Revisualising Architecture

Figure 2.4 Individual and pairwise neurons are used for feature visualisation depending on the complexity of the features, in later layers of the network it is easier to represent the features using a cross section of the channel because single neurons become too specific. (Olah, Mordvintsev and Schubert, 2017)

30

2.1: VISUALISATION TECHNIQUES Firstly we will use Feature Visualisation (fig. 2.4) to stimulate neurons within each layer of the network to generate images that indicate what each layer is responsible for (Olah, Mordvintsev and Schubert, 2017).

We will then see which neurons fire when the network sees a specific image using the Spatial Activation (fig. 2.5) visualisation tool that uses feature visualisation on the firing neurons when excited by the image (Olah et al., 2021), this technique then maps semantic concepts learned by the AI on top of the image. With this knowledge, we can visualise how AI builds its understanding of concepts within images and we will use these techniques to examine images of architecture. This chapter will close with tools to visualise the entire network using Activation Atlases (fig. 2.6) which takes one spatial activation from millions of images and maps the resulting semantic icon. This map represents the concept space (latent space) of the whole network and reveals the patterns and relationships in the network's conceptual understanding of the training data (Carter et al., 2019).

Figure 2.5 Individual and pairwise neurons are used for feature visualisation depending on the complexity of the features, in later layers of the network it is easier to represent the features using a cross section of the channel because single neurons become too specific.

Figure 2.6 Activation Atlases help us to see the semantics of the network itself. We can see what concepts it understands and how concepts relate to each other.

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CHAPTER 2 Revisualising Architecture

input

Figure 2.7 Diagram of hidden layers of the network made visible adaptation of Feature Visualisation Appenix (Olah, Mordvintsev and Schubert, 2017):

3a

Layer 3a: Small patterns localised to a specific small portion of the image.

3b

Layer 3b: Patterns with more detail but still quite localised.

4a

Layer 4a: Complex patterns begin to be detected as well as recognisable parts of objects

4b

Layer 4b: Here the network is defining larger parts of objects and even context.

4c

Layer 4c: The network connects smaller parts together to form larger objects and basic concepts

4d

Layer 4d: The network defines sophisticated concepts.

4e

Layer 4e: differentiates concepts into specific sub-concepts. The neurons begin to respond to multiple concepts.

5a

Layer 5a: These optimisations respond to many overlapping concepts which are visible yet not distinct.

5b

Layer 5b: Optimisations this deep into the network are difficult to discern visually yet some semantic concepts are distinguishable in parts of the visual.

softmax

32

2.1.1 CONVOLUTIONS A Convolution (the C in DCGAN), in simple terms, is compression of the image size that enables the network to reduce the number of computations while retaining visual features (Arnault, 2018); a convolution processes the image a grid of pixels at a time. The grid iterates over the image reducing each grid to one pixel which represents a computation2 of the cells in the grid. You could imagine this process as the network viewing the image through a window of only 3x3 pixels.

Figure 5 shows the process of the ‘window’ moving over the image and reducing nine image pixels to one. It is the overlapping of pixels from one window to the next that helps the network understand the spatial context within the image3. (Saha, 2018)

Figure 2.8 3x3 pixel convolution over a 5x5 pixel image

2.1.2 WHAT THE HIDDEN LAYERS SEE Hidden layers are layers of the network between the input and output layers that we cannot directly observe, the AI is in control of these layers and each layer has hundreds of thousands of connections between tens of thousands of neurons. Each hidden layer of the network has a unique convolution, which defines what features of the image the network can find in a similar way to our own brains, it starts by finding edges, colours and patterns and then constructs details and objects from its knowledge base to infill the structural information (Mordvintsev, 2015).

2.1.3 FEATURE VISUALISATION The feature visualisation icons represent images that are enhanced to excite the specific neuron in question. Figure 2.7 shows three feature visualisation samples for each layer of the network. We can see it finds more complex features and concepts at higher levels of abstraction the deeper into the network the layer is.

2 The computation is optimised by the network layer and effects what type of features the layer picks up. (Arnault, 2018) 3 This is because each pixel is computed multiple times in relation to its context. (Arnault, 2018)

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CHAPTER 2 Revisualising Architecture

Figure 2.9 In early layers of the network we are able to see colours and edges.

Authors adaptation of dog and cat image (Olah et al., 2017)

34

2.1.4 SPATIAL ACTIVATIONS Feature visualisations interrogate neuron and channel activations by optimising an icon that represents the perfect feature activations for a specific neuron or channel of neurons. We will now look at Spatial Activations which use the Feature Visualisation technique on the neurons in the network that are activated by an image. This way we are presented with a series of semantic icons that represent what the network sees in each ‘window’ of the convolutions. The best way to understand this is by simulating the process with a practical example, we will start by looking at basic concepts and features found in cats and dogs and then move on to architecture.

Figure 2.10 In early middle hidden layers of the network we are able to see patterns.

Authors adaptation of dog and cat image (Olah et al., 2017)

35

CHAPTER 2 Revisualising Architecture

Figure 2.12 In latter middle hidden layers of the network we are able to see parts of objects.

Authors adaptation of dog and cat image (Olah et al., 2017)

Figure 2.13 Dog and Cat (Olah et al., 2017)

36

Figure 2.14 In latter hidden layers of the network we are able to see complex concepts such as cats face.

Authors adaptation of dog and cat image (Olah et al., 2017)

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CHAPTER 2 Revisualising Architecture

Figure 2.15 Cat's ear, individual activated neuron icons (Olah et al., 2017)

Figure 2.16 Cat's ear, semantic icons representing the sum of all activated neurons for that part of the image (Olah et al., 2017)

Figure 2.17 Layer 3A Semantic Map: we are able to see colours and edges.

(Olah et al., 2017)

38

2.1.5 SEMANTIC ICONS & MAPS Now that we have an idea of what the network sees let us investigate how we arrive at these icons. In figure 2.15 we can see the highlighted square activates neurons that are looking for pointy cat-like ears. In figure 2.16 we can see the feature visualisation icon that represents the sum of all the neurons that fired for the highlighted window in figure 2.15. With this, we can view how the entire network is perceiving each window across all the spatial activations of the image via visual semantic communication.

Figures 2.17-2.20 show the Spatial Activations of the same image (fig. 2.13) for the different layers of the network. This shows us how the network sees and builds concepts of images as the information travels through the network. We can see how the network layers react to seeing parts of the image by the specific features it shows in the spatial activations. Refer back to fig. 2.7 to correlate the features, patterns and concepts in the feature vizualisations of each layer.

Figure 2.18 Layer 4A Semantic Map: we are able to see patterns. (Olah et al., 2017)

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CHAPTER 2 Revisualising Architecture

Figure 2.19 Layer 4D Semantic Map: we are able to see parts of objects.

(Olah et al., 2017)

40

Figure 2.20 Layer 5B Semantic Map: we are able to see complex concepts such as cats face. (Olah et al., 2017)

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CHAPTER 2 Revisualising Architecture

Figure 2.21 Activation atlases interrogate entire network layers by performing 1 spatial activation on a million images (Carter et al., 2019).

Figure 2.22 Activation Atlases reveal the concept space (latent space) of the network and how it maps concepts in relation to one another (Carter et al., 2019).

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2.1.6 ACTIVATION ATLAS - LATENT WALK Feature Visualisation shows us what each neuron and channel in a network reacts to by optimising an image that represents the perfect activation for a specific neuron or dimension of neurons (channel). Spatial Activations show us how the network responds to and understands a single image, using feature visualisation. Using these techniques together we will understand how a network responds to millions of images with Activation Atlases (fig. 2.21). An activation atlas is a tool for representing the vast complexity of conceptual connections within the network in a way that we can interpret the structure of the network latent space (fig. 2.22). This is achieved, in this example, using the UMAP algorithm (Mcinnes, Healy and Melville, 2018) to reduce the complexity of one million individual spatial activations each from a unique image with 512 dimensions into a 2d visual data map with semantically similar concepts mapped proximally (Carter et al., 2019). ` By moving through the activation atlas we can see how the network understands the relationships between objects and concepts. We can move through concepts such as rock and sand (fig. 2.23) to coral and water (fig. 2.24) in one smooth journey (fig.

2.25).

Figure 2.23 Activation atlas section showing concepts relating to rocks on the left to sand on the right (Carter et al., 2019).

Figure 2.24 Activation atlas section showing concepts relating to coral in top left to the ocean in the bottom left (Carter et al., 2019).

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Figure 2.25 Conceptual journey from ocean to rock through the latent space of the network (Carter et al., 2019).

CHAPTER 2 Revisualising Architecture

Figure 2.26 Fireboat image from ImageNet database (Carter et al., 2019)

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Figure 2.27 Layer 3B Atlas Fireboat activations #8

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Figure 2.28 Layer 4D Atlas Fireboat activations

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Figure 2.29 Layer 5B Atlas Fireboat activations 44

2.1.7 ACTIVATION ATLAS & SINGLE IMAGES Looking at the activations of a single image (fig. 2.26) within an activation atlas we can see how the network understands an image in the context of the rest of the network's conceptual space. When we do this for each layer of the network it enables us to visualise how the network builds its understanding of the concepts within the image. In this visualisation we can see patterns in Layer 3B (fig. 2.27) that contribute to concepts in Layer 4D (fig. 2.28) and then whole image concepts in Layer 5B (the last convolution layer - fig. 2.29) such as ripple patterns in #1, the concept of water in #5 and boats on the water in #9. In Layer 4D we can see the conceptual elements that make up the fireboat. Water in #5, cabs in #6, crane/boat like objects in #7 and people in #8.

Figure 2.27 Layer 3B (detailed patterns) Neuron activations for fireboat image

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Figure 2.28 Layer 4D (concepts) Neuron activations for fireboat image

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Figure 2.29 Layer 5B (complex concepts) Neuron activations for fireboat image

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Figure 2.30 Cathedral of Santa Maria del Fiore.

(Blondesandbagels, 2015)

Figure 2.31 Zaha Hadid Architects, Heydar Aliyev Center, Azerbaijan. (Rusu, 2016)

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2.2: REVISUALISING ARCHITECTURE Now we understand how the AI sees concepts and that we can build semantic icons in maps as a way to bridge the language barrier between humans and AI. We will now examine architecture through the lens of AI using these techniques. We will look at 4 different buildings (figs. 2.30 - 2.33) with different architectural languages so we can learn through inference what this particular AI sees in these images of architecture.

The images in this section are developed by the author using adaptations of the notebooks in a paper published by Olah et al (2017).

Figure 2.32 Antoni Gaudi, Casa Batllo. (Rajkai, n.d.)

Figure 2.33 Mark Foster Gage Architects, Helsinki Guggenheim.

(Mark Foster Gage Architects, 2014)

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Figure 2.34 Cathedral of Santa Maria del Fiore.

(Blondesandbagels, 2015)

Model Prediction: dome: 99.75% tile roof: 0.07% church: 0.05% barn: 0.05% bell cote: 0.02% Figure 2.35 Layer 4A spatial activation grid: we are able to see parts of objects.

In this activation grid we can see interesting activations such as tile patterns in the area highlighted in red on the semantic neuron groups (fig. 2.21) In the green and pink areas we can see dome like icons, in the light blue we can see eyes being activated by the portals in the cathrdral drum and clerestory, in yellow the lantern atop the dome (bell cote prediction) and in dark blue the mountainous horizon.

Figure 2.36 Layer 4A semantic neuron groups

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Figure 2.37 Attribuition grid left: Layer 4a right: Layer 5a orange: "dome" label attribution blue: "bell cote" label attribution This grid shows us which parts of the image contributed most to the corresponding labels within the specified layers.

Figure 2.38 Layer 5A spatial activation grid: complex overlapping concepts.

The activation icons and semantic neuron groups in this grid are complex and difficult to completely understand. There is a clear representation of domes and roof tiles accross this layer in dark blue. In green and light blue we can see a distinction between a dome with and without portals and in red we can make out patterns and portals.

Figure 2.39 Layer 5A semantic neuron groups

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Figure 2.40 Antoni Gaudi, Casa Batllo. (Rajkai, n.d.)

Model Prediction: church: 48.45% palace: 11.07% jigsaw: 10.93% castle: 7.69% dome: 6.69% Figure 2.41 Layer 4A spatial activation grid: we are able to see parts of objects.

In this grid we can see a clear representation of stained glass highlighted in the red neuron groups (fig.

2.27), this is likely the cause of the "church" prediction.

In green at the bottom of the image we can see activations for arches, windows in the pink, in yellow we see patterns that resAemble the tiles ovehanging and in dark blue we can see the night sky withA wispy clouds (more so to the right).

Figure 2.42 Layer 4A semantic neuron groups

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Figure 2.43 Attribuition grid left: Layer 4a right: Layer 5a orange: "church" label attribution blue: "castle" label attribution This grid shows us which parts of the image contributed most to the corresponding labels within the specified layers.

Figure 2.44 Layer 5A spatial activation grid: complex overlapping concepts.

We can see from the attribution grid (fig. 2.28) that the label church is attributed strongly to the stained glass areas in layer 5a. The spatial activation grid and semantic neuron groups are very complex in this image, thereA is an obvious organic influence to the semantic icons which is conducive to this architectural style.

Figure 2.45 Layer 5A semantic neuron groups

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Figure 2.46 Zaha Hadid Architects, Heydar Aliyev Center, Azerbaijan. (Rusu, 2016)

Model Prediction: planetarium: 21.47% airship: 19.86% wing: 12.69% solar dish: 11.31% telescope: 5.23% Figure 2.47 Layer 4A spatial activation grid: we are able to see parts of objects.

This activation grid shows a very different language to the previous two images.

This seems to be responding strongly to the curved lines and edges of this architecture. In the semantic neuron groups we can see different types of curved lines that correspond to the activations. For example the dark blue group is obviously responding to the dramatic curve in the roof, green is reacting to the curve returning on itself and light blue is picking up the edges. Pink is activating to the people in the image.

Figure 2.48 Layer 4A semantic neuron groups

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Figure 2.49 Attribuition grid left: Layer 4a right: Layer 5a orange: "planetarium" label attribution blue: "telescope" label attribution This grid shows us which parts of the image contributed most to the corresponding labels within the specified layers.

Figure 2.50 Layer 5A spatial activation grid: complex overlapping concepts We can see from the attribution grid of layer 5a (fig.

2.34) that the prediction category of panetarium is attributed to the dark reflective facade. The neuron groups of this image seem to be very abstract looking mostly like wings, feathers and metallic surfaces. We can see strong edges in all the groups and lines on the surfaces as with the cladding of the architecture. If we look at fig. 2.37 which is one of the images the AI was trained on for the label planetarium we can see why the model might have made this prediction.

Figure 2.51 Layer 5A semantic neuron groups

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Figure 2.52 Zeiss Planetarium, Berlin (ImageNet, 2011)

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Figure 2.53 Mark Foster Gage Architects, Helsinki Guggenheim.

(Mark Foster Gage Architects, 2014)

Model Prediction: fountain: 75.62% pedestal: 11.49% palace: 4.00% altar: 1.37% carousel: 0.98% Figure 2.54 Layer 4A spatial activation grid: we are able to see parts of objects.

This image is interesting to visualise through the lens of AI as the ornamentation of the architecture it is designed with the use of the deepdream algorithm which uses the same model. What we can see from the semantic group activation is that the architecture is highlighted in green with yellow edges. Green represents what looks like animal faces and yellow represents legs. Along the bottom the network is picking up swirling or rippling patterning.

Figure 2.55 Layer 4A semantic neuron groups

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Figure 2.56 Attribuition grid left: Layer 4a right: Layer 5a orange: "fountain" label attribution blue: "carousel" label attribution This grid shows us which parts of the image contributed most to the corresponding labels within the specified layers.

Figure 2.57 Layer 5A spatial activation grid: complex overlapping concepts.

As we can see from the layer 5a attribution grid (fig. 2.38), the bottom of the building contributes to the "fountain" prediction and the top of the building responds to the "carousel" prediction. This, unsurprisingly, has the most complex features at layer 5a. Many patters, textures and line complexities can be seen in the neuron groups. The lack of distinction could be due to the fact this is a computer generated image (a render) rather than the photographs the network was trained on. However, it is clear to see how it has arrived at "fountain".

Figure 2.58 Layer 5A semantic neuron groups

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2.2.1 CONCLUSION In this chapter we have looked at activation atlases as a way to visualise the intangible conceptual space of the network, called the latent space.

We have understood how the AI sees these architectural images and arrives at the predictions it does, we can therefore work with it better.

It is important to note that AI trained on different data will have a very different conceptual space. So far we have focused on the network introspectively. In the next chapter, we will look at how we can output from the network to generate novel versions of concepts from the latent space and focus on the imagery.

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Figure 3.1 Neural Zoo - Jellyfish (Crespo, 2019)

Figure 3.2 Femiland Series - Newcastle 2041 (Khoshooee, 2024)

Figure 3.3 House (Y)amnitski, California (Ennemoser, 2019)

Chapter 3: GENERATING ARCHITECTURE In part 3.1 of this chapter, we will be exploring the creative potential of AI by introducing generative networks and artists using this technology in practice. In part 3.2 we will be using AI to generate architectural images from the same dataset used for the classification model in Chapter 1.

Artists are collaborating with generative models in a curator/creator relationship where the AI is the creator. The human artist is the curator of image datasets, the final images and the training strategy to explore the interesting inferences the AI makes within the data. Projects such as Sofia Crespo’s Neural Zoo (2019) in which she trained AI on images of animals to teach the AI to create novel species within the classes it defined by inference (fig. 3.1) Negar Khoshooee’s Femiland series (Khoshooee, 2024) where she linked feminist data to British urban landscapes using labelled data (fig. 3.2) and finally Benjamin Ennemoser who used unsupervised generative networks to define architectural facades (fig. 3.3).

3.1: GENERATOR NETWORK Only a decade ago researchers believed that creative tasks would be far out of reach for AI systems (Chollet, 2018. p.269). However generative networks changed this point of view, in 2014 GANs were introduced for creating novel images, in 2015 Google's Deepdream algorithm gave AI the ability to hallucinate into images, 2016 gave us style transfer via Prisma algorithms. In chapter 1 we de-mystified AI, we removed it from our own tendency to anthropomorphise, yet here, with GANs, we get to the real mystery of AI. As put by Chollet when talking about techniques used for working with GANs, it is more like “alchemy than science: these tricks are heuristics, not theory-backed guidelines. They are supported by a level of intuitive understanding of the phenomenon at hand, and they are known to work well empirically, although not necessarily in every context” (Chollet, 2018, p.307). What this means is that we must get to know the network, you as the reader cannot simply follow this or any other handbook for that matter, and end up with an exact image in any context. Instead you must get to know each and every network, you will learn its individuality and how it works intimately.

Generative models are complex models that are very difficult to train and understand. As described in part 1.1 we will use a Self-Supervised ML model. This paradigm utilises a classification model such as the CNN built in part 1.3 to test and train a generator model which is an unsupervised algorithm (Brownlee, 2021). The model architecture we will use is a Deep Convolution Generative Adversarial Network (DCGAN) as it is great for generating images which we learned in the previous chapter and will see in practice in part 3.2. This model also allows us some unique interactions with the latent space (a space of conceptual design possibilities) which will be explored more deeply in Chapters 4 and 5.

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Figure 3.4 Generative Adversarial Network Architecture (Mosquera, 2018) The Generator tries to make a fake image good enough to trick the discriminator. The discriminator takes in images from the real training data (or data to try to fake) and fakes from the generator and classifies if they are real or fake. The fine tuner tells the discriminator and the generators models what the discriminator got wrong. By repeating the process many times the generator learns how to trick the discriminator.

Figure 3.5 Latent Space Representation (Tiu, 2020) This shows the encoder which learns features from the RGB images in the training data as a complex network of neuron weights and biases, this is a compressed representation of the data and the conceptual space of this is the latent space. We can then smaple from this latent space and reverse the process using the decoder to reconstruct a novel RGB image.

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The DCGAN will be used to form the main part of this network and the example workflows. They will form the architecture within which the AI will build its understanding of the input data through learning and generate novel images. In this chapter, we will look at how we make images with AI and in the next chapter we will look at how we develop these images with AI.

3.1.1 DCGAN ANATOMY D: C: G: A: N:

Deep: Convolutional: Generative: Adversarial: Network:

The model as multiple hidden layers Technique to learn spatial relationships in images Generates images Trained by competition with discriminator model Made of code inspired by neural networks

DCGAN architecture is comprised of two separate networks that compete with one another (fig. 3.4): The Discriminator Network (supervised classification network) tries to classify if the images are real or fake (generated by the Generator Network). Discriminative Modelling such as the classification model built in part 1.3 is a Supervised model used to predict which class the input belongs to. In the case of this DCGAN this classifier uses 2 labels Real or Fake.

The Generator Network (unsupervised generative network) tries to generate novel images by sampling random noise from the latent space and building it through the network into an image. Generative Modelling is the production of novel information from an unsupervised DNN. The AI compresses the input data into a latent space that represents the hidden features of the input data, it is then possible to sample from within the latent space so that the output is a novel representation of the hidden features (fig. 3.5).

Both networks learn as the AI is trained and get better at their jobs, the generator gets better at generating fakes that look real and the discriminator gets better at catching the fakes. The model is fully trained when the generator is able to consistently fool the discriminator.

In this system, the generator learns from the mistakes made by the discriminator, via a feedback loop that results in the generator learning how to make more accurate images to fool the discriminator in the next attempt.

3.1.2 LATENT SPACE Understanding latent space is the key to understanding the creative potential of GANs. Generative models are able to map the structure of features within the training dataset (seen in the activation atlases in Chapter 2), and because they are unsupervised, they infer these features 61

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Figure 3.6 Preston Bus Station, Lancashire (RIBA, 2021)

Figure 3.7 Brutalism AI Features - made by author using Brutalism Generator (RunwayML, 2021) 62

and map their relationships without human guidance. These conceptual maps are referred to as Latent Space, and it represents the network’s understanding of the dataset.

As architects, we know Brutalism (fig. 3.6) to have the following distinctive features: rough surfaces, massive forms, geometric or unusual shapes and the expression of structure (Brutalism, 2021).

The AI learns in a slightly different way to us, although it learns similar features and concepts. With AI it is as if we are showing an alien apprentice a selection of pictures of Brutalist architecture and asking them to draw us a picture in the same style as the last 300 images we showed it, this would be the alien's visual perception of Brutalism. It does not understand what Brutalism is, or even what architecture is, b ut by inference it understands what visual features make up the concept of Brutalism, from the training images. You can see some features AI has learned about Brutalism in the images generated in fig. 3.7.

AI maps this concept space and which features define a given concept.

Each feature can be thought of as a dimension. Generative models allow us to generate images from the latent space. You can sample points and also move across the latent space between features and whole concepts with a technique called latent walking or interpolation (fig. 3.8).

Figure 3.8 Brutalism Latent Walk - made by author using Brutalism Generator (RunwayML, 2021) 63

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Figure 3.9 Parametricism 2.0 Zaha Hadid Architects soulless, out of scale and mathematical Beijing Airport (ZHA, 2019)

Figure 3.10 Parametricism 2.0 Heatherwick & BIG's clingfilmed Google Headquarters in California (Google, 2015)

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3.2: EXPLORING ARCHITECTURE WITH AI In chapter 1 we looked at the fundamentals of coding and building a convolutional neural network to aid in our understanding of how these networks actually work, a glimpse 'under the hood'. It is beyond the scope of this handbook to discuss the programming and mechanics of the more complex models this workflow will propose for training, generating and manipulating imagery and text. Instead, this chapter will describe how you can start to work with the software and web apps where we can utilise precoded networks. The benefit of using precoded networks is to save time in the development, training and optimisation of large networks, instead, we will only have to train the models to fit our specific data. You will find more information on how to code and train your own models through my learning portal (Machine Learning for Architects, 2028) and the parent to this handbook, "An Advanced Guide to Deep Architecture" (Bray, 2027).

In this part, we will look at how to use a pre-made model using Google Colabs, which allows us to train ML models using cloud computing. The model we will use is a StyleGAN by artist Derrick Schultz (Schultz, 2021).

I have chosen an old model from the early '20s due to its simplicity for this fundamentals guide, there are far better models in 2028 however this model allows for us to build a natural understanding with the ability to edit and change any of the parameters of the model from Schultz's GitHub repo (Schultz, 2020). As the field has developed the software and applications such as RunwayML (2021) have become closed box applications where we use them in a very specified manner, we saw this in architectural software with photogrammetry and even at the end of the last century with CAD software - as techniques gain in popularity they move toward commercial standardisation and accessibility at the expense of flexibility and creative freedom. What we want to avoid is only one way of approaching architecture. The hegemony of parametricism 2.0 has been the mission of Patrick Schumacher, the principal architect of Zaha Hadid Architects, since 2015 (Ravenscroft, 2019). Parametricism is essentially dividing architecture into a kit of parts and defining obvious relationships, usually mathematical, between these parts to define a unifying language.

This is then applied at an architectural scale rather than the human scale.

While impressive, I would describe this architecture as soulless, because it is hard to relate to unless viewing in the viewport of Rhino3D. With the framework provided in this handbook we can define much more meaningful relationships between concepts, rather than technical parts, to drive the aesthetic. These relationships can be far more relatable at the human scale and are more variegated than parametricism.

The purpose of this fundamentals guide is to maintain a space of creative experimentation with this technology so that we develop our own relationships with AI, and the architecture we produce. Not a relationship that is defined by the characteristics of a piece of software that is driving architectural aesthetic rather than conscious decisions. You could think of

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Figure 3.11 The Dataset Sample images from the unlabelled training dataset of 1520 images of Art Deco, Byzantine, Chicago School, Egyptian, Gothic and Postmodern architecture.

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our relationship with AI as a translator between us and computers, the language is one of semantic visualisations which we can understand and relate to as humans.

3.2.1 AI DISCUSSIONS ON ARCHITECTURE AND AESTHETICS We will now look at training an AI with the same images as we used for the classifier we built in Chapter 1, only this time we will not label the data. The images will all be in a single unlabelled folder; it is up to the AI to decide how to group the images during training. We will then ask the AI to generate images from which we will explore the dynamics of the visual architectural discussion with the AI by looking at the fakes with clear representations of architectural styles and the interesting anomalies.

This exchange with our AI could be seen as similar to reviewing creative ideas with a peer in a studio environment.

Figure 3.12 Training Epochs Sample fake images output by the AI during training. This StyleGAN was pretrained on faces so we started with AI generated faces and end up with architectural concepts learned by the network itself without any labels it starts to learn different styles of architecture.

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Figure 3.13 Generated Data Examples of generated images from the generative network.

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Ancient Egyptian Visual Discussion Figure 3.14 An example from the generated images that we can easily attribute the semantic label 'Ancient Egyptian Architecture'.

Figure 3.15 An example from the generated images that is clearly inspired by the concept of Ancient Egyptian Architecture but the AI offers an interesting slant for consideration.

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Figure 3.16 In the examples generated the AI did not seem to pick up a very strong concept of Art Deco Architecture.

However here is an example of what we can infer this vernacular as one that is continuous throughout the generated images as concepts learned from images of 'Art Deco Architecutre'

Figure 3.17 An example that is clearly inspired by the concept of Art Deco Architecture but the AI offers an interesting point of view for consideration, possibly also inspired by elements from Byzantine Architecure

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Figure 3.18 An example from the generated images that we can easily attribute the style of 'Byzantine Architecture'.

Figure 3.19 Example of discontinuous image from the dataset where the AI offers an interesting alteration to the arcades at the base of the domes and looks like a section through the pendentives, nave and aisles.

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Figure 3.20 Chicago Fake Obvious example of 'Chicago School' style inspired image.

With features of rhythm, fenestration and phrasing congruent with this style.

Figure 3.21 Chicago Anomoly Example of generated style which is clearly inspired by the massing and ratio of glass from the Chicago School skyscrapers. However the AI offers interesting variation to the style with irregular regularity in the rhythm of the facade.

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Figure 3.22 Gothic Fake Example of generated image clearly inspired by the features from the images of Gothic Architecture in the training data.

Figure 3.23 Gothic Anomoly Example of an image that seems to be solely inspired by just two features of Gothic architecture: verticality and flying buttresses. Materiality may be from Ancient Egyptian Architecture.

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Figure 3.24 PoMo Fake Postmodern architecutre is not well represented in this generative network. This is understandable because it is by nature very ecclectic.

However this is an example

Figure 3.25 PoMo Fake Examples of generated images from the generative network.

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Figure 3.26 Latent Walk This latent walk is between the previous images (2.15, 2.17, 2.19, 2.21, 2.23, 2.25) explores the conceptual space between the discontinuous styles of our interest to get to know our AI and generate a more specific discussion with our AI colleague.

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3.2.2 CONCLUSION Generative networks provide us with tools to generate imagery. The network finds and groups concepts together as can be seen in the activation atlases of chapter 2. They allow us to create novel images randomly and learn heuristically the concepts learned by the AI. What I find most interesting are the anomalies found on the edge of and in between concept groups. This collaboration with AI presents a modern approach of continuous architectural concepts rather than discrete styles. So far we have interacted with the network by travelling through the continuous concept space as though travelling from one distance to another. In the next chapter we will look at how we can develop imagery through the mixing of concepts in a process called evolutionary design.

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Figure 4.1 Artist as Gardener (Latham, 1987). William Latham describes his art practice in which he works with computers in a development process similar to that as Darwins evolution, "the artist [becomes] like a gardener interacting with the computer, steering through a vast evolutionary space of possibilities" (Latham, 2015).

He describes the process as a gardener breeding plants through aesthetic selection, the importance of the human in this system is our ability to make purely aesthetic judgements.

Chapter 4: EVOLUTIONARY DESIGN DEVELOPMENT In Chapter 3 we looked at training, generating and exploring architectural images in Google Colabs using a generator model. In this chapter we will be using a web app called Artbreeder where we will expand on developing images via an evolutionary process similar to that used by William Latham (fig. 4.1), we do this using the ImageNet1 database.

The Artbreeder app uses BigGAN and StyleGAN to learn the concepts we assign meaning to. The app calls these concepts genes and enables us to combine the concepts in a similar way to biological genetics. The visual concepts can be mixed or 'bred' to create a new child image that contains a random combination of the genetic information passed from the parents. We can also access the genetic makeup of an image and adjust it. This is where our relationship with AI gains more depth, for example adding two genes together may yield a surprising result.

With images that contain many genes, the changes made to their genetic information often leads to intangible results. In addition to the generative, where we find features that we recognise in the images we enter into a new mode of discovery with the AI in which we must learn heuristically, ludically even, to understand the visual personality of the AI. Every architect's experience will be different as it is an interplay of artistic exploration, guided by your own aesthetic preferences.

With these controls, we can start defining a new and more intimate relationship with the AI in which we explore less obvious aesthetic cues.

This process is similar to getting to know a partner you have worked with for many years. The experience of working with AI in this way is unexpected, surprising and often inspiring. When you have worked with AI enough, you discover ineffable features/genes that add to the image and improve the aesthetic. The effect is different every time but you know that specific gene moves the image in a conceptual aesthetic direction that you enjoy, and we learn over time how it may affect the overall aesthetic of the architecture.

4.1: BUILDING ARCHITECTURAL GENOMES 4.1.1 ARCHITECTURAL GENETICS As we saw in the previous chapter the generative model learns the features and concepts that make up a subset, grouped by the AI, of the unlabelled dataset such as Ancient Egyptian Architecture. We will term these learned subsets genes which is an area of the latent space from which images can be infinitely sampled. The images below represent many samples from the Inception network for the subsets Dome (fig.

4.2), Mobile home (fig. 4.7), Castle (fig 4.12) and Oil rig (fig. 4.17).

1 ImageNet is a database of 14.2 million hand labelled image urls, the database was created as an open source resource to aid machine vision research (ImageNet, 2010).

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Figure 4.2 Example of dome labelled dataset image (ImageNet Dome, n.d.)

Figure 4.7 Example of mobile home labellled dataset image (ImageNet Mobile home, n.d.)

Figure 4.3 Dome gene 1/∞ generated image

Figure 4.8 Mobile Home gene 1/∞ generated image

Figure 4.4 Dome gene 2/∞ generated image

Figure 4.9 Mobile Home gene 2/∞ generated image

Figure 4.5 Dome gene 3/∞ generated image

Figure 4.10 Mobile Home gene 3/∞ generated image

Figure 4.6 Dome Gene gene 4/∞ generated image

Figure 4.11 Mobile Home gene 4/∞ generated image

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Figure 4.12 Example of castle labellled dataset image (ImageNet Castle, n.d.)

Figure 4.17 Example of oil rig labellled dataset image (ImageNet Oil rig, n.d.)

Figure 4.13 Castle gene 1/∞ generated image

Figure 4.18 Oil Rig gene 1/∞ generated image

Figure 4.14 Castle gene 2/∞ generated image

Figure 4.19 Oil Rig gene 2/∞ generated image

Figure 4.15 Castle gene 3/∞ generated image

Figure 4.20 Oil Rig gene 3/∞ generated image

Figure 4.16 Castle gene 4/∞ generated image

Figure 4.21 Oil Rig gene 4/∞ generated image

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Castle

Dome

Figure 4.22 Castle and Dome.

Figure 4.25 Dome and Castle.

Figure 4.23 Castle and Mobile home.

Figure 4.26 Dome and Mobile home.

Figure 4.24 Castle and Oil rig.

Figure 4.27 Dome and Oil rig.

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4.1.3 MIXING TWO ARCHITECTURE GENES Each of these images is a combination of two of the architectural genes.

They have been organised so that in each column there is a dominant gene. What is important to note here is that the genetics of the images combine concepts not just parts of an image as with collage. It is also important to note that image composition is taken into account, as can be seen in the "Oil rig" images. This means that the network's concept of "Oil rig" is partly dependant on subject location within the image as can be seen in fig 4.30.

Mobile home

Oil rig

Figure 4.28 Mobile home and Castle.

Figure 4.31 Oil rig and Castle.

Figure 4.29 Mobile home and Dome.

Figure 4.32 Oil rig and Dome.

Figure 4.30 Mobile home and Oil rig.

Figure 4.33 Oil rig and Mobile home.

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Figure 4.34 Castle dominant genome.

Figure 4.35 Dome dominant genome.

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4.1.4 MIXING FOUR ARCHITECTURE GENES These images are all four architectural genes combined. As with the previous spread these images are combined with one dominant gene.

Figure 4.36 Mobile home dominant genome.

Figure 4.37 Oil rig dominant genome.

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Figure 4.38 Castle dominant genome plus "Perfume bottle" gene.

Figure 4.39 Dome dominant genome plus "Perfume bottle" gene.

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4.1.5 ADDING NON ARCHITECTURAL GENES In these images we add non-architectural genes to the genome, in these images we have taken the previous architecturally dominant genomes and added the gene for "Perfume Bottle" Figure 4.40 Mobile home dominant genome plus "Perfume bottle" gene.

Figure 4.41 Oil rig dominant genome plus "Perfume bottle" gene.

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Figure 4.42 Castle dominant genome plus "Comic book" gene.

Figure 4.43 Dome dominant genome plus "Comic book" gene.

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In these images we add another non-architectural gene to the genome, in these images we have taken the previous images and added a "Comic book" gene.

Figure 4.44 Mobile home dominant genome plus "Comic book" gene.

Figure 4.45 Oil rig dominant genome plus "Comic book" gene.

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4.1.6 GENOME SIBLINGS To recap the genetic build-up is as follows: Castle, Comic book, Dome, Mobile home, Oil rig and Perfume bottle. We will now move away from the architecturally dominant genomes and generate siblings with random values applied to the strength of the genes. In this spread, there are 14 examples of sibling images from this genome. One image has been selected to be taken to the next part of this process where we develop the image through a process of evolution similar to the 'artist as gardener' process described by Latham (fig. 4.1).

Figure 4.46 This image will be evolved in the next part of this chapter.

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4.2: EVOLVING THE IMAGE When developing the images using Artbreeder, or your own evolution interface, there are a few different ways of working with the AI to evolve image genetics. I will describe these in genealogical terms: 1.

2.

3.

4.

Children - generating variations from the same genes or the same parent images.

Gene editing - involves manually editing the strength of the genes or adding/removing entire genes from the genome to create new genetically modified children.

Cross-breeding - this is the process of introducing variety to the gene pool by breeding an image with the genetics of an image from a different gene pool and aesthetic. When doing this we should control the ratio of parent contribution.

Inbreeding - this process involves cross-breeding with an image generated from earlier in the gene pool or family tree. This is used to get back some genetic features that may have been lost due to excessive cross-breeding.

Figure 4.47 The genome for this image was built in part 4.1 and consists of: Castle, Comic book, Dome, Mobile home, Oil rig and Perfume bottle.

Figure 4.48 Child of 4.47

Figure 4.49 Child of 4.48 and Parent of 4.51

Figure 4.51 Crossbred Child of 4.49 and 4.50

Figure 4.50 New Parent

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Figure 4.52 Child of 4.51

Figure 4.53 Child of 4.52 and Parent of 4.55

Figure 4.55 Crossbred child of 4.53 and 4.54

Figure 4.54 New Parent

Figure 4.56 Child of 4.55

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Figure 4.58 Crossbred child of 4.56 and 4.57

Figure 4.57 New parent

Figure 4.59 Child of 4.58

Figure 4.61 Inbred child of 4.59 and 4.60

Figure 4.60 Parent from family tree (fig. 4.47)

Figure 4.62 Genetically modified child of 4.61

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4.1.2 CONCLUSION This predefined app has been chosen for similar purposes as the pretrained model in the previous chapter; it is an excellent practical learning resource. However there are limitations to this app, first and foremost we cannot add new information into the model. It has been trained on the ImageNet database, in practice, we would need to define our own architectural database to be able to explore architecture more explicitly.

Each architect or firm should develop their own architectural 'ImageNet' from which the genes can be trained specifically to create unique assemblages, instead of one database for all architects with the same genes and AI concept spaces for all cognitive assemblages. In this way, we are able to make unique assemblages where the AI and the Human participants are unique and the aesthetic is driven by the aesthetic choices made in curating the database and choices made through the development of the images with AI.

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<|start|>Like the festivals themselves, the illustrated fete books from the time of Louis XIV were planned down to the smallest details. A talented team was brought together to produce the books and prints, including the artists Israel Silvestre, Jean Le Pautre. and François Chaveau, as well as the writers Félibien and Perrault. Possessed of both literary and historical skills, they were well trained on task, and on message for their roles. Félibien was the author of a multivolume biographical set on French artists, paralleling Giorgio Vasari’s Lives of the Artists from a century before, and among numerous titles, he also wrote guides to Versailles, describing the gardens and grottoes. Perrault was a member of the Académie française. He adapted Aesop’s fables into the new genre of fairy tales and wrote the text for the first of Louis XIV’s impressive series of illustrated festival books. Festiva ad capita (Festive figures: or. The Carousel), in 1662.<|end|> <|start|>The next Open House London documentary offers a glimpse of Neasden Temple, a place of worship in northwest London that was built using ancient Hindu texts and 26,000 pieces of stone.

Filmed by Jim Stephenson, the documentary is one of nine videos that will feature on Dezeen throughout Open House London 2020 to shine a light on rarely published places in the capital.

Neasden Temple, formally known as BAPS Shri Swaminarayan Mandir, opened in 1995 as the first traditional Hindu temple, or mandir, in Europe. Today it serves as both a place of worship and a centre for community outreach activities. The temple was built with over 5000 tonnes of Bulgarian limestone and Italian Carrara marble, hand-carved in India by 1500 artisans. The 26,000 pieces of finished stone carvings were then sent to the UK to be assembled on-site by more than 3000 volunteers, without any reinforcing iron or steel. In the video, tour guide and head monk Yogvivekdas Swami explains the story of the temple’s design, which was dictated by ancient texts called the Vastu Shastra. The Vastu Shastra, which translates as “science of architecture”, is a traditional Indian system of architecture that incorporates traditional Hindu beliefs and has informed the design of mandirs since 1500 BCE. This means every detail of the temple’s structure is intertwined with the traditions of the faith, beginning from the site selection right through to the final plans and materiality. “The Vastu Shastra refers to an architectural text, which gives details of each and every aspect of the mandir, all the way from laying the foundations, all the way from laying the foundations, all the way to the final dedication ceremony of the temple itself,” he explained. Elements of the temple are also designed to represent parts of God’s physical body, such as the kalash, a set of golden gilded urns, and overhead flags that symbolise the head and hair of God respectively. “Ancient Hindu builders envision the mandir not merely as a sacred structure, but as an actual form of God,” Swami concluded. “A mandir is such a place where architecture and art come together to provide a divine experience.” As media partner for Open House London, Dezeen is publishing a different video every day during the festival. The films form part of the event’s diverse programme for 2020, which has been curated in response to the coronavirus pandemic. Open House London takes place at venues across London and online from 19 to 27 September. Videos will be published on Dezeen each day during the festival. See Dezeen Events Guide for details of more architecture and design events. Project credits: Guide: Head monk Yogvivekdas SwamProducer: Nyima MurryVideographer: Jim Stephenson of Stephenson/ BishopFilms<|end|> <|start|>The Church of Pope John Paul II in Páty, Hungary, is a crescent-shaped building featuring skewed angles and whitewashed concrete that aims to turn “passive observers” into active participants of worship. Local practice Robert Gutowski Architects filled the church in the village of Páty in Budapest with modern takes on traditional aspects of Medieval, ecclesiastical architecture. The intention was to shift the emphasis towards the altar and the congregation to make the act of worship more engaging. Traditional churches typically have a rectangular floor plan and are made up of a nave – the central part of the church – and an apse – the semicircular or polygonal area at the end of the aisle, usually located behind the altar. The Church of Pope John Paul II, however, has an elliptical layout, made up of the crescent-shaped building of worship that wraps around an adjoining oval-shaped outdoor space. Therefore what would typically be the nave of a conventional church functions as the churchyard or garden, while the liturgical space is situated where the apse would be. As studio founder Robert Gutowski explains, this layout was designed to place more emphasis on the communal experience of the Eucharist and to “invite people closer to the holy act” at the altar. “If you like, we invite people into the apse, surrounding the altar, forming a community,” the architect explained. “It is also similar to the liturgy of early times, when Paleochristians simply surrounded a table in their own home – what is known as Domus Ecclesiae.” “The church clearly defines its purpose: while the Creator and the almighty God are at the centre of traditional liturgy, modern liturgical efforts have shifted emphasis to the recreator God, the image of a perpetually redeeming Christ,” Gutowski added. “The Church of Pope John Paul II represents a conscious response to liturgical changes in recent decades, rendering it a model church experiment in contemporary church architecture,” he continued. “Emphasis is shifted toward the active involvement of worshippers.The community is not a passive observer of events in a sanctuary, but rather actively experiences the holy act.” Several rooms lead off of the central, liturgical space, including a communal room, a service room and an office on the ground floor, and an educational room, guest room, the priest’s living quarters, and access to the bell tower on the first floor. Each of these rooms are enclosed in one, whole elliptical floor plan – a form chosen to symbolise “perpetuity” and to create a holistic space. “The concept is that when we say ‘church’, this does not refer only to the part of the chapel, but rather to the whole community building in one singular form,” explained Gutowski. The two ellipses formed by the crescent-shaped church and the adjoining yard have been set at different axes. This is following the historically “inaccurate” layout of traditional churches, wherein the nave and the apse tend to be slightly off-centre of each other. “We cannot name one single church that sits on the same axis, because pretty much all of the historical churches in Europe have this tiny ‘mistake’, which actually became a symbol of the broken body of Christ,” added Gutowski. This symbol of Christ’s broken body has been extended to the church interior, which features walls set at slanted, uneven angles. The domed ceiling, made from reinforced concrete, is lined with spotlights that illuminate various sacral functions such as the area of the altar and surrounding alcoves filled with religious artworks. A rectangular cutout in the ceiling also fills the room with natural light, which is directed particularly at the centre towards the altar. While the majority of the interior has been painted white – bar the natural-wood pews – the altar is carved from a single block of deep green onyx stone, standing out from its surroundings to serve as the focal point of the space. The structure itself is symmetrical but every detail is asymmetrical, such as the alcoves. The altar is the only element that sits on the main axis of the building. Steps made of white Carrara marble lead up to the altar, which have trapezoid-shaped surfaces with rounded corners to allow gathering around the sanctuary space. The design and construction of The Church of Pope John Paul II was carried out with the help of the local community. The church was built mainly using donations, and was consecrated in 2019. The church has been shortlisted in the civic and cultural interior project category of this year’s Dezeen Awards. Other projects in this category include a crematorium in Belgium designed by Rotterdam-based studio Kaan Architecten, which is made up of one rectilinear volume made from blocks of unfinished concrete. A museum for children in Pittsburgh has also been shortlisted in the civic and cultural interior project category, which US firm KoningEizenberg Architecture renovated from the remains of a historic library that was struck by lightning. Project credits: Architect: Robert GutowskiDesign team Ákos Boczkó, Gáspár Bollók, Barnabás Dely-Steindl, Hunor László Kovács, István Kövér, Attila Révai, Béla Ákos SzokolayArtworks: Csaba Ozsvári, István Böjte HorváthLandscape design: Attila PállEngineering: Zoltán Klopka, András Lantos, Gáspár Sándor, Gellért Mérő, János MészárosPhotography: Tamás Bujnovszky<|end|> <|start|>A foldout etching by Lodovico Burnacini in the printed libretto for II pomo d’oro illustrates the scene of the Banquet of the Gods as it takes place on stage (fig. 6). The feast is at the palace of Jupiter amid an arched enclosure of clouds framed by an impressive display of silver plates and ums, as if this were an earthly dining space in a capacious hall decorated for the wedding dinner. The waitstaff are lively satyrs, who take their positions as if in a corps de ballet. These hooved, scantily dressed attendants proffer platters of pastry pies filled with large baked birds and roasts topped with trophies and birds’ heads in the manner of seventeenth-century grand dinners, Their platters are raised in a respectful gesture to the most eminent guests, who are seated facing the audience. A pleated cloth covers the central table. Several guests (a woman and a cupid) raise shallow glasses with delicate stems. Hebe, Ganymede, and a chorus of demigods serve the principal gods. Hovering in a cloud above the banquet. Discord, the sinister uninvited guest, hurls a golden apple down.casting a pall over the party. Thus, select elements of the Banquet of the Gods are seen as a court feast in an early opera performance. Mythic themes loosely borrowed from antiquity were recast into theater pieces and festival designs by artists, writers, and composers. whose works appeared in an international milieu of festival celebrations in seventeenth and eighteenth-century Europe.<|end|> <|start|>Studio Weave has built an arched greenhouse as part of London Design Festival, which is filled with plants that it predicts will soon be able to grow outdoors in the UK due to climate change. Named Hothouse, the pavilion was created to draw attention to rising temperatures caused by climate change, which will allow many tropical fruits to be grown outdoors in London in the next 30 years. “We wanted to talk a little bit about how London is getting warmer,” Studio Weave director Je Ahn told Dezeen. “The idea is to show the types of plants that we will be able to easily grow in our gardens by 2050.” “It’s not meant to be doom and gloom,” he continued, “it’s meant to remind people of the relationship we have with nature – we want people to engage with the structure and the plants.” Built as part of this year’s London Design Festival – which is one of the few major design events to go ahead this year after many were cancelled due to the coronavirus pandemic – the greenhouse-like structure is located in Redman Place near the Queen Elizabeth Olympic Park in Stratford. The structure pays homage to the area’s previous history as an edible fruit-growing hotspot. Its planting was designed by landscaper Tom Massey and includes numerous tropical plants such as guava, avocado, pomegranate, mango, sugarcane and pineapple.

Figure 5.1 Deezer article text used to train the Natural Language Processing AI (Deezer, n.d.)

“I live in Homerton, next door to Stratford, and knew that the Lea Valley had the world’s largest density of greenhouses in the 1930,” said Ahn. “This area supplied a huge amount of exotic fruits, like grapes and cucumbers – that was in my mind.”. The seven-metre tall structure was made from a series of galvanised-steel arches that are supported by steel tension cables. “We wanted to create something with an organic feeling that seems to be growing out of the ground,” explained Ahn. “It has the optimum shape for achieving the climate we wanted; tall in the middle with entrances at either side that allow it to draw hot air up to the top, which can be released if it gets too hot.”

As the pavilion was designed during the coronavirus pandemic, the London-based architecture practice was aware that most people would not be able to go inside, so it needed to be engaging from the exterior. To ensure this, Studio Weave enclosed the greenhouse with transparent CNC-cut recyclable plastic to make the plants as visible as possible. At night the pavilion is lit up to draw attention to the planting. “We knew that not too many people would be able to go inside, so we made sure people could engage with the plants from the outside,” explained Ahn. “We made the covering from the clearest material we could find – it’s a large version of an Edwardian Terrarium.” Hothouse was built with no permanent foundations and was designed to be demountable. It will remain in Stratford for the next year before being dismantled and moved to an, as yet undetermined, permanent location. Studio Weave has built numerous pavilions across London. Recently it built a “typical terraced house” to give views over the construction site of a new design district in Greenwich and a colourful water-tank pavilion beside River Thames next to the US embassy. Photography is by Ed Reeve. Project credits: Architect: Studio WeaveSupported by: Lendlease, IQL and London Continental RailwaysEngineering: ArupHorticulture design: Tom MasseyPlant nursery partner: Hortus LociFabricator: Cake IndustriesMaterial: Amorim<|end|> <|start|>Phoenix Central Park is a gallery and a performance space in Sydney designed by Durbach Block Jaggers and John Wardle Architects. The performance space, which was designed by architecture studio Durbach Block Jaggers, is shaped like a bell with stepped walls formed by curving horizontal timber louvres. Connected to the auditirium is a gallery space designed by John Wardle Architects as a stack of irregular boxes formed from concrete that has been left bare as a backdrop for the artworks. Both studios collaborated to create the alternately jagged and undulating facade of long pale-brick facades that enclose the building. “The facade was the result of equals involved in the back-and-forth serious play of architecture,” Durbach Block Jaggers cofounders Camilla Block and Neil Durbach told Dezeen. “Phoenix Central Park is an essay in the collaborative process,” added John Wardle Architects founder John Wardle. “Our two practices came together, frequently with the client in the room and discussed strategies that were both at variance to and orchestration of both practices and the interior strategies that were being employed.” The cultural venue was commissioned by Australian billionaire Judith Neilson as a place to bring together the visual and performing arts. “One of the intrigues of this commission was the lack of any specific detail given by our client Judith Neilson, she was intent on the brief being as open-ended as possible,” explained Wardle. “This a private gallery space that would at times address public programs, this fuelled the idea of spaces that would contain single works and an audience of one.” To execute this concept, the gallery volume contains a mix of rooms, with some designed to display a single piece of art in isolation next to spaces large enough to house whole collections. Concrete floors, cast “painstakingly” in situ, are connected by a timber staircase with ridges that echo the puckered brickwork of the facade. “The basement, ground and upper levels are all cast-in-situ concrete, the degree of difficulty was extraordinarily high as the footprint of this building is on a tight inner urban site,” explained Wardle. “The galleries were shaped out of hard walls of solid concrete and soft walls of plaster with deep background for fixing artwork,” he added. “We developed a hanging system that utilizes tie rods holes used in the construction of the precast.” Skylights allow softly diffuse life to permeate the upper galleries, while the floor below is left atmospherically gloomy. Another oculus forms a focal point on the exterior wall, with the brickwork dimpling around the circular window and its smaller, slightly offset, twin. This unique feature is designed to draw attention from passersby while reminding gallery visitors of the world outside its walls, said the architect. “We were interested in using brick as a complete surface, as a fabric-like drape that abstracted and approximated the structural characteristics of the internal elements,” said Wardle. “The vast dimple suggests the weight of the two interlocking windows impressing upon the fabric of the brick surface.” This sense of drama continues inside the performance venue, where Durbach Block Jaggers chose a layout informed by Elizabethan-era theatres. The stage is designed to be seen in the round, so a balcony area of seating loops around the perimeter of the curving walls. “The performance space is a billowing timber bell-shaped room, a carved ‘clearing’ that sits within a mute and enigmatic facade,” said Block and Durbach.

“Crossing the threshold is an unexpected leap from the ordinary to a secret space of held peace.”

The pale timber ribs provide a striking, tactile backdrop that serves an acoustic as well as aesthetic function. These timber elements were prefabricated in a factory and assembled on site. Outside the theatre, the lobbies are dark and moody, punctuated by gold-lined arches and striking all-red lifts that spill blood-coloured light when the doors open. Planters in the courtyard garden have similar irregular outlines that echo the asymmetrical walls of the venue. The planters’ thick rims double as benches, and inside hardy succulents and cacti are planted in a gravelly surface. Phoenix Central Park has been longlisted for Dezeen Awards 2020. John Wardle Architects was founded in 1986 by John Wardle and has offices in Melbourne and Sydney. Wardle won the Australian Institute of Architects Gold Medal earlier this year. Founded by Neil Durbach, Camilia Block and David Jaggers, Durbach Block Jaggers is based in the city of Potts Point. A previous residential project by the studio is this clifftop house that was inspired by a Picasso painting. Photography is by Trevor Mein unless otherwise stated. Project credits: Architects: Durbach Block Jaggers and John Wardle Architects.John Wardle Architects team: John Wardle, Stefan Mee, Diego Bekinschtein, Alex Peck, Luca Vezzosi, Adrian Bonaventura, David Ha, Ellen Chen, Andy Wong, Manuel Canestrini, Meron TierneyDurbach Block Jaggers team: Neil Durbach Camilla Block, David Jaggers, Simon Stead, Anne Kristin Risnes, Deb Hodge, Xiaoxiao Cai, Adam HohProject manager: Aver, ColliersPlanner: Mersonn StructuralEngineer: TTWCivil engineer: TTWGeotechnical engineer: Pells Sullivan MeylinkBuilding services engineer: Evolved EngineeringTraffic and pedestrian modelling: GTA ConsultantsFire engineer: Affinity FireAcoustic consultant: Marshall DayLandscape Architect: 360ºSignage and wayfinding: Studio OngaratoBuilding surveyor: Philip Chun & AssociatesAccessibility consultant: Philip Chun & Associates Facade engineers: InhabitLighting design: BluebottleCustom bricks: Krause Bricks Bricklaying: Favetti bricklaying Architectural steelwork and art hanging doors: TILT; All styled, Active MetalOff form concrete: Hi-FormGallery roof: ARC roofing with ARMA Timber source: DinesenTimber and joinery: Top Knot Carpentry and Joinery GRPCeilings: Shapeshell with DDIStone seat: Sourced from Hendersons Quarry in Harcourt and worked by Studio 2CLT performance space ceiling: Hess SpecialtyRender: CoverUp Dynamics Brass basins: Bespoke HouseBrass linings: BronzeworksTiling: NashJoinery: Debrich Commercial kitchen: AustmontSpeciality glass: Ozsea; Definitive GlassEmergencies and exits: Bluelab Design, Australian distributor of ETAP LightingBrass DBJ hardware: Chant Hardware: KeelerJoinery and upholstery: InfracraftContractor: Bellevarde Construction; FDC Group<|end|> <|start|>Dorte Mandrup has revealed visuals of a museum in Berlin that will create a backdrop to the ruins of Anhalter Bahnhof station and tell stories of the people who fled the Nazi regime.

Slated for completion in 2025, the Exilmuseum Berlin will be built on the Askanischer Platz and also spotlight present-day experiences of displacement. Dorte Mandrup’s design has a simple, curved form and is intended to highlight the position of the former Anhalter Bahnhof railway station, from where hundreds of people fled in exile during World War II before it was largely destroyed by bombing in 1943. The station’s ruins, which have since become an important monument, will be kept intact and become the focal point of the museum’s entrance behind it. Museum will be “minimal yet forceful gesture” “It is fantastic to be part of creating a place where the understanding of exile is being illuminated,” the studio’s founder, Dorte Mandrup, told Dezeen. “It has never been more pressing than today where more than 65 million people are driven into exile,” she continued. “The museum will be a memorial of the past and a vehicle for future awareness and solidarity.” “Our concept is a minimal, but forceful gesture – a single curve that marks the position of the former Anhalter Bahnhof and creates a void that bridges the past and present,” added Mandrup. Once complete, the curved facade of the 6,300-squaremetre Exilmuseum Berlin will be punctured by wide arches that rise up from the base of each elevation. Lined with glazing, these will mark the entrances to the museum and also frame views inside. Brick facade will echo Anhalter Bahnhof Yellow bricks will be used across the facade to mimic those used to build Anhalter Bahnhof, which the studio hopes will appear as though they were salvaged from demolition. At the centre of each elevation, the bricks will be arranged to form rows of small tilted panels that have glazed areas behind, reflecting spots of light onto the interior walls and evoking a flickering image from a film projector. “We imagine that the millions of yellow bricks that used to cover the site after the demolition of Anhalter Bahnhof have now been transformed into a softly curved arch form,” explained Mandrup. “The differently tilted bricks make the facade appear like a flickering image – as a subtle reminder that more than just a building was lost in this place.” Station ruins will be framed by museum entrance Inside, Exilmuseum Berlin will comprise three storeys above ground and a basement level. There will also be a green roof, hidden behind brick parapets. The primary facade and entrance will be on the north side, facing onto the Askanischer Platz and marked by the ruins of the former train station.

Here, visitors will enter through the curved opening where they will be greeted by a three-storey foyer lined with a cobbled floor that acts as a continuation of the plaza. The foyer will house all the circulation for the building to create easy access to all functions, which will include a mix of permanent and temporary exhibitions, alongside education facilities and a restaurant. “When entering the northern curved facade, visitors step into a dramatic three-story void, a foyer that facilitates the vertical and horizontal circulation,” said Mandrup. “Here the cobblestone paving at Askanischer Platz is continued, creating one continuous surface where inside and outside are only divided by a glass wall.” Exhibitions will be “media-intensive” The exhibitions will be

“media-intensive” rather than displays of material objects, which the studio hope will offer a more immersive experience. Their focus will be primarily on Germany in the years between 1933 and 1945, but will also spotlight the present in an attempt to “bridge the gap between the Nazi-era exile and exile in our own times”. Dorte Mandrup’s proposal for the Exilmuseum Berlin was the winning entry to an international competition for the museum that was initiated in November 2019. The studio’s design was developed with the support of Höhler & Partner, Topotek1 and Buro Happold. All the entries for the competition, which included designs by SANAA, Diller Scofidio + Renfro, Kéré Architecture and Caruso St John Architect, will be on show in an exhibition at Berlin State Library later this year. Dorte Mandrup is the eponymous studio of Danish architect Mandrup, which she founded in 1999 in Copenhagen, Denmark. Other recent projects by the studio include proposals for the tallest tower in western Europe and an Arctic whale watching facility in Norway that will “grow out of the landscape”. Visuals are by Mir. Project credits:Client: Stiftung Exilmuseum BerlinArchitect: Dorte MandrupLocal architect: Höhler & PartnerLandscape: Topotek1Engineering: Buro Happold<|end|> <|start|>Slender grey brick walls protrude from the front of fine arts museum Musée cantonal des Beaux-Arts Lausanne, which Barcelona studio Barozzi Veiga created in the Lausanne city centre.

The studio won an international competition to design both art museum the Musée cantonal des Beaux-Arts Lausanne (MCBA) and the masterplan for the city’s new art district, where the museum is located, in 2011. The art district, Plateforme 10, was established near Lausanne’s central train station and covers more than two hectares. “Since the beginning we have been thinking about a design for the new art district to be not just a detached entity in the city but also as a trigger project for the redevelopment of the abandoned area by the railways,” Barozzi Veiga co-founder Fabrizio Barozzi told Dezeen. “Our approach pursued the intention to transform and give back to the city that central large urban space that at, that time, was unused and fragmented.” Musée cantonal des Beaux-Arts Lausanne, which holds more than 10,000 works of art, was built on the site’s southern edge, parallel to the train tracks. The 145-metre-long building features a distinctive ridged facade that is meant to reference its industrial surroundings. “The project carries and expresses the memory of the site, echoing the former industrial condition with pragmatic forms, rigorous geometry and hard, sharp lines,” the studio said. A 19th-century train hall previously located in the space was demolished, but Barozzi Veiga preserved its arched window for the art museum – which is longlisted in the cultural building category for Dezeen Awards 2020. “The old arched window becomes the main protagonist of the building façade from the railway and, once within the foyer, it reveals its full role as a substantial structuring component of the new building’s sequence of spaces,” Barozzi said. The building is “relatively hermetic” in order to protect the museum’s collections. An almost closed facade faces the train tracks to the south while opening up more towards the northern side, where there is a new public plaza. “We decided to implement a brick facades which could offer a texture, a vibrant pattern to the blind monolithic elevation and, simultaneously, it could evoke the industrial history of the site,” Barozzi explained. “On the square, the vertical blinds’ rhythm breaks the massiveness of the monolith and reveal the openings,” he added. “At night, these brick blinds serve as a canvas to diffuse the interior light coming from the museum.” Inside, the studio used terrazzo for the floors and plaster for the walls, both in a light grey hue, with the ground floor functioning as an extension of the public space outside. The upper levels, which house the exhibitions, have been given wooden floors. Barozzi Veiga aimed to reach “the highest sustainability standards” when constructing the building. The architect said it “follows the Swiss label Minergie ECO, the SMEO procedure and the grey energy calculation, according to The Swiss Society of Engineers and Architects (SIA) 2023”. “The compactness of the form, the use of natural light to light up the interiors and the high flexibility of the spaces, which allows for different public events to take place within the walls of the museum, are among the essential architectural features that contribute to make the MCBA a sustainable building,” Barozzi added. Lausanne’s two other major art institutions, photography museum the Musée de l’Elysée and the museum of contemporary design, Musée de Design d’Arts appliqués Contemporain, will also open in the art district in 2022. Both museums will be housed in one building designed by Aires Mateus, which won a 2015 competition. Barozzi Veiga also recently completed a trapezoidal riverside arcade for the Tanzhaus dance centre in Zürich. Photography is by Simon Menges, unless stated otherwise. Project credits: Authors: Fabrizio Barozzi , Alberto VeigaProject leader: Pieter JanssensProject team execution phase: Claire Afarian, Alicia Borchardt, Paola Calcavecchia, Marta Grządziel, Isabel Labrador, Miguel Pereira Vinagre, Cristina Porta, Laura Rodriguez, Arnau Sastre, Maria Ubach, Cecilia Vielba, Nelly VitielloProject team competition phase: Roi Carrera, Shin Hye Kwang, Eleonora Maccari, Verena Recla, Agnieszka Samsel, Agnieszka SuchockaLocal architect: Fruehauf Henry & ViladomsProject manager: Pragma Partenaires SAStructural engineers: Ingeni SAServices engineers: Chammartin&Spicher SA, Scherler SA, BA Consulting SAFaçade consultant: X-made SLPLighting consultant: Matí AG<|end|> <|start|>James Dyson and his wife Deirdre are to open their private art collection to the public in a gallery that WilkinsonEyre’s founder, Chris Wilkinson, has designed for their UK home. Named the Dodington Art Gallery, Wilkinson’s design will be built among trees in the listed walled garden at the Dyson’s secluded Dodington Park estate in Gloucestershire, England. The gallery will be a discreet addition to the grounds, taking the form of a “low key pavilion”, and contain the family’s collection of modern art that includes works by the likes of Pablo Picasso, David Hockney and Andy Warhol. “The Dodington Art Gallery has been carefully designed to create a discreet piece of architecture that fits comfortably into its particular context,” explained Wilkinson. “It is constructed with quality materials that relate to the historic brick walls of the garden and it sits low within the site amongst the trees.” Dodington Art Gallery, which has now been submitted for planning, is set to become the first major modern art gallery in the area and will be free for the public to access on a limited number of days each year. It will be positioned adjacent to an existing sculpture garden that visitors will also be able to explore, containing a water feature by the Dyson founder and art commissioned by his wife. Wilkinson’s design for the gallery is composed of a series of walls in an angular arrangement, unified by a band of clerestory glazing and a thin overhanging roof. These walls will be clad with patinated bronze panels, chosen for a contemporary aesthetic that also echoes the ancient red bricks of the historic walled garden. Steel columns concealed by the walls will support the roof, which will project three metres from the edge of the building. According to Wilkinson, this is designed to partially overhang the existing garden wall and help to exaggerate the “horizontal nature of the building”. The roof will be complete with a carpet of sedum plants, while its diagrid structure will be exposed internally. Visitors will enter Dodington Art Gallery from the northeast corner of the building, where a glazed pivot door will puncture the garden wall.

Here, they will be greeted by a lobby that provides access to the exhibition spaces where the art will be displayed along the wall. The lobby will also contain a staircase, passenger lift and goods lift to provide access to a hidden basement gallery. The basement will mirror the plan of the ground floor but also contain bathrooms, a reception and a cloakroom in place of an existing plant room. All required energy for the gallery is expected to be provided by a ground source heat pump. The Dyson family is reported to have a deep-rooted appreciation for modern art, with Dyson once aspiring to become an artist himself. His wife, Dierdre, is an established painter and carpet designer. Among the works in their collection that will be exhibited is a print from Warhol’s Toy Series, Crying Girl by Roy Lichtenstein, Hockney’s Domestic Interior Scene, Broadchalke, Wiltshire and pieces by Picasso, Yves Klein, Victor Vasarely and Allen Jones. Architect Wilkinson co-founded architecture studio WilkinsonEyre with Jim Eyre in 1987, with offices in London and Hong Kong.

The gallery is the latest project in the studio’s twenty-year relationship with Dyson and follows the construction modular student halls and a mirrored laboratory at its Malmesbury campus.<|end|> <|start|>Architecture firms Snøhetta, Studio Gang and Henning Larsen have unveiled proposals competing for the Theodore Roosevelt Presidential Library in Medora, North Dakota, with designs that draw on the surrounding, rugged Badlands. US firm Studio Gang, Copenhagen firm Henning Larsen and Snøhetta, which has offices in New York and Oslo, are competing to complete the library for Roosevelt, who served as the 26th president of the United States from 1901 to 1909. The Theodore Roosevelt Presidential Library is intended for a plot in North Dakota city Medora, which is surrounded by Badlands and abuts Theodore Roosevelt National Park. Each design proposal aims to draw on the rough terrain of the Badlands and the conservation policies Roosevelt worked on while president. “There is a unique and awe-inspiring beauty to everything about the Badlands that you simply cannot experience anywhere else,” said Henning Larsen’s design lead, Michael Sørensen. “The landscape only fully unfolds once you are already within it; once you are, the hills, buttes, fields, and streams stretch as far as you can see.” Henning Larsen and its project partner, the landscape architects Nelson Byrd Woltz, have developed a scheme composed of four angular grey volumes that are spliced with glass and topped with grass. Inside, the volumes would be linked underground. Exhibition spaces would be punctuated by different views of the surrounding, and begin in darkness and then gradually become more light as visitors move through the exhibit. “The design fuses the landscape and building into one living system emerging from the site’s geology,” Nelson Byrd Woltz founder Thomas Woltz added. “The buildings frame powerful landscape views to the surrounding buttes and the visitor experience is seamlessly connected to the rivers, trails, and grazing lands surrounding the library.” Studio Gang, which is collaborating with landscape firm OLIN, has proposed a library that act as a “basecamp” for the nearby Badlands national park.

Drawing on the formation of the Badlands, the building is separated into three horse shoe-shaped elements that each host different elements of the programme. The spaces between each are intended to be like “cracks” in the park soil. The curves of the three volumes meet in the middle to form a dome in the centre of the building with a latticework roof, and the exterior is intended to open up to the surroundings. “Our design is inspired by [Roosevelt’s] dual love of learning and the outdoors,” said Studio Gang founder Jeanne Gang. According to the firm, the library will also be netzero, carbon-neutral, and will integrate an ecological restoration and management plan for the surrounding site. “As the first Presidential Library attached to a National Park, the project is poised to foster greater understanding, environmental stewardship, and healing in one of North America’s

most incredible natural places,” Gang explained. “Intimately connected with the ecology of the North Dakota Badlands, Basecamp will at once draw people inward for intellectual exchange and direct them outward for physical exploration, allowing them to discover new connections with each other and the natural world.” Snøhetta’s proposal has a huge curved accessible rooftop designed to act as an extension of the landscape. It would be located to the northeast edge of the butte and built with “natural and renewable” materials, according to the firm, with visuals showing large expanses of wood and glass. A curved pathway would connect to the Maah Daah Hey Trail and additional pavilions. The project is also intended to extend beyond its site, including connections to Little Missouri River, a former military camp called the Cantonment, and the original train depot in where Roosevelt first arrived in the area. There would also be a parking option near these external sites for visitors to catch an electric caravan to the site. The project, which is being led by the Theodore Roosevelt Presidential Library Foundation, will be built in North Dakota in recognition of Roosevelt’s affiliation with the state. Born in New York City, Roosevelt first travelled to North Dakota, which was then known as part of Dakota Territory, aged 24 on a hunting trip. Over the years, he invested in two ranches and split his time between them and his home in New York. Studio Gang, Henning Larsen and Snøhetta were shortlisted for the project from 12 practices that applied to the Request for Qualifications (RFQ) that the foundation made public in April to find a suitable architect for the project.

The winning design will be selected in late September 2020.

Once completed it will join the 13 presidential libraries in the US that serve as archives and museums illustrating the life and work of each president since Herbert Hoover, who was in office from 1929-1933. They are each built in their president’s home state, with the most recent library completed for George W Bush, in Dallas, Texas.

Architects Tod Williams and Billie Tsien are designing the 14th presidential library for Barack Obama, who ended his term in 2017. They were selected for the project in June 2016 from a strong-list that included Snøhetta, Renzo Piano and David Adjaye. Called the Barack Obama Presidential Center, the project has encountered controversy because of its siting in the historic Jackson Park, which was designed in 1871

by Frederick Law Olmsted and Calvert Vaux.

Last month, Architectural Digest reported it was delayed further after the Illinois State Historic Preservation Office (HPO) requested “additional design reviews”.<|end|> <|start|>Chinese architecture studio MAD has designed a library in the city of Haikou, China that is intended “to be a wormhole that transcends time and space”.

Named the W o r m h o l e Library, the structure is currently under construction within Century Park overlooking the South China Sea in the city 2 of Haikou, which is on the Chinese island of Hainan.

Being built as part of a rejuvenation plan to improve public space along the c o a s t l i n e of Haikou Bay, the curved concrete building will house a library and facilities for users of the park.

The building will be split in two

with a large covered foyer dividing the library from the facilities block, which will contain toilets, showers and bike storage. The library will be built around a central, two-storey reading room that will have space for 10,000 books. A cafe, reception area, office and VIP room will also be located on the ground floor, while a tunnel-like children’s reading room and sea view reading space will be built on the floor above. The sinuous building will be cast from white concrete within formwork that is CNC cut and 3D-printed to maintain the shape of the continuous form. Throughout the building, circular holes will be cut in the ceilings to provide light into the rooms. According to the studio, all of the building’s electrics and plumbing will be built into the concrete form to reduce clutter inside the building. Curved sliding doors will retracted into the walls as will windows that can be opened to let the sea air circulate within the building. The building is topped with a rooftop terrace that has views of the South China Sea, while a reflecting pool and white-sand filled area will be built on either side of it. Wormhole Library is the first in a series of seven pavilions that are going to be built along the coast of Haikou Bay as part of the rejuvenation plan. Beijingbased architecture studio MAD was established by Ma Yansong in 2004. The studio is currently designing a culture park in Shenzhen, which will be topped by two pavilions designed to look like groups of large stones, and the Yiwu Grand Theater to look like a Chinese junk. Renderings are by SAN. Project credits: Architect: MADPrinciple partners in charge: Ma Yansong, Dang Qun,

Chapter 5: ARCHITECTURAL DESIGN ECOLOGY

In this chapter we will bring together the skills learned and AI networks we have discussed in the previous chapters into examples of how these can be utilised in architectural practice. In a cognitive design assemblage we are dealing with vast amounts of data and multiple AI networks so it is important we learn to use algorithms to curate the big data to teach AI and navigate the streams of generated data. Without algorithms this data is overwhelming; learning how to make sense of this data is one of the key skills required to ensure the success of the assemblage. This equates in importance and function to that of good communication techniques and language between human colleagues. The following projects apply the framework by these techniques together, to answer a variety of design problems. It is up to the reader to use this framework to design an appropriate workflow that is effective in answering each brief individually. This is a creative relationship so there is no wrong answer.

5.1: EXAMPLE WORKFLOW 5.1.1 GATHER DATA TO TRAIN First, we will give the AI some data to build its architectural aesthetic base. To do this we must use a carefully curated dataset that represents the brief of the project. In this example, I decided to keep it simple and trained the AI on one thousand cultural articles1 from Dezeen.com (fig.

5.1) and A book about food monuments called The Edible Monument (Reed, 2015), I called this dataset "Edible Dezeen". Once we have the data we have to format it in a way that the AI can read and can learn from, to contain the data to articles we start and end every article with the same markers <|start|> and <|end|> so that the AI learns articles and the relationships of the data within these articles as they were written, rather than cross-contaminating articles.

5.1.2 TRAIN NLP MODEL

Once we have collected and organised the data we are ready to train. I have used a pre-trained network in this example to keep things simple and the results similar to something you will produce with your first architectural design assemblage. We need to keep an eye on samples that the AI generates as it learns so we can see when it starts to understand the data and output generated data we want to see, this is down to artistic preference . Because this is a pre-trained network we are looking for the text to become culinary and architecturally themed, however, if the network is trained for too long it will start return parts of the original text. In this example we will stop with epoch 1000 (fig. 5.2) 1 See Appendix A.2 for algorithms used to scrape articles from Dezeen, coded by the author.

2 To see samples of text generated during training see Appendix A.3 101

Yosuke HayanoAssociate in charge: Fu ChangruiDesign team: Qiang Siyang, Sun Feifei, Dayie Wu, Shang Li, Alan Rodríguez Carrillo, Xie QilinClient: Haikou Tourism & Culture Investment Holding GroupExecutive architect: East China Architecture Design and Research InstituteFacade consultant: RFR ShanghaiConstruction contractor: Yihuida Shimizu Concrete<|end|> <|start|>A glass and steel dome modelled on the shape of a turtle shell rises from the top of a historic building in New York City’s Union Square to pay homage to an indigenous group that settled in the area. Tammany Hall is a brick building situated at the east corner of Union Square Park built in 1928. It is the former headquarters of the Tammany Society, a political organisation named after chief Tamanend, who was the leader of an indigenous group called the Lenape people that settled on land along the East Coast, including present day New York City. BKSK Architects consulted with the Lenape Center, an institution led by Lenape elders that upholds the legacy of the group through programming and exhibitions, to realise the project. It involved a restoring the landmark building’s facade and an expansion of its usable space, which was created by the three-storey-high glass dome on top of the structure. The rounded roof takes cues from the shape of a turtle shell, a reference to the origin story of the Lenape, which says the group believes it rose from the water on the back of a turtle. “Using symbolism from the Lenape creation story, a glass dome inspired by the form of a rising turtle shell has been added to the building bringing an additional 30,000 square feet (2,787 square metres) to the interior,” the studio said. To form the circular dome the existing hipped roof was reconstructed using steel and glass panels that are covered with grey terracotta sunshades. On the top floor sunlight beaming through the domed roof projects the geometric pattern of the steelwork across the floor and rounded walls. To protect the building from solar heat gain and unwanted glare the studio chose a transparent glass material that also provides clear views of the nearby Union Square Park. In addition to the new roof, the brick and limestone facade was also carefully restored and new bronze storefronts, similar to the structure’s original design, run along the street level. “BKSK welcomes the opportunity to develop a visual, meaningful dialogue between contemporary and historic architecture,” added partner Todd Poisson. “We believe that many structures, Tammany Hall among them, can accommodate change and vertical expansion without a loss of integrity.”

BKSK, Edifice Real Estate Partners and owner Reading International have positioned the building to house several retail or commercial leases or to act as a single flagship location for a business.

Other historic preservation projects in the United States include an 18th-century home in Virginia with a glazed addition designed by Machado Silvetti and Boston’s brutalist city hall. Photography is by Christopher Payne | ESTO, courtesy of BKSK Architects.<|end|> <|start|>Architecture firm Diller Scofidio + Renfro has arranged the galleries of the US Olympic and Paralympic Museum in Colorado, which opens this week, around a spiralling ramp to make it one of the most accessible museums in the world. Located in downtown Colorado Springs, the museum is composed of four aluminium-covered volumes arranged in a pinwheel formation that contain the galleries, an auditorium and events space. The four volumes are wrapped in a steel superstructure that appears to fold over glazing on the ground floor, with vertical windows extending to the top of the building. “We conceived of it as almost like a garment that was like a little bit like an Olympic athlete’s costume stretched over the structure,” said Diller Scofidio + Renfro partner-in-charge Benjamin Gilmartin. “It warps and twists with these surfaces that give it a tautness. It is really meant to be a tailored garment on the outside of the building that is perfectly fitted.” The metalwork is composed of 9,000 diamond-shaped panels that are marked in the middle and lift up in the centre to create a play of light and shadow across the facade. “The folding of the diamond into triangles was just the initial idea,” Gilmartin continued. “But then we played with the shaping, we did a lot of model testing, digital studies and things like that and found that it has a really nice reaction to light. The fold in the panels makes a highlight with the upper part that’s tilted towards the sky, and a shadow to where it tilts down on the lower half,” he added. “We saw [the] possibility for the diamond scales or elements across the surface to really animate the surface as the light changes in Colorado Springs throughout the day.” Visitors ascend to the top level of the museum by elevator and then gradually move through the galleries on a downwardspiralling ramp, similar to circulation in New York’s Guggenheim museum. In Diller Scofidio + Renfro’s design, the ramp measures six feet (1.8 metres) wide to allow for side-by-side movement and wheelchairs. “It is founded on the idea of a continuous path from the top to the bottom, so we started with a vision of a Guggenheim but with a much more gentle sloping,” said Gilmartin.

It is because of this circulation that the firm said the museum is one of the most accessible in the world. “Everyone has a shared experience moving along that path regardless of ability or age, or differences between people,” Gilmartin added. “That was a really important architectural organiser.” Accessibility formed a key element of the project, which is the only museum in the US dedicated to the legacy of the country’s Olympic and Paralympic athletes. The New York practice consulted with Paralympic athletes and persons with disabilities, to create a museum in which all visitors could enjoy the same experience. Smooth floors suited to wheelchairs, glass guardrails that allow for visibility from a low height, benches with guards for canes and moveable cafe seating are among other details designed to improve accessibility. Walls around the skylight lit 40-foot (12-metre) tall atrium at the centre of the building is covered in white Glass Fiber Reinforced Gypsum screens, which are perforated towards the bottom to offer views of the rest of the lobby. Four glazed balconies in between the walls provide a place for pause for visitors as they move down the museum. The US Olympic and Paralympic Museum has 20,000 square foot (6096 square metres) of galleries across the ground, first and second floor, interspersed with other elements of the programme. A 130-person theatre is located on the ground floor with two rows seats that can be removed to accommodate 26 wheelchairs – the equivalent of a full Paralympic hockey team. On the first floor is a 1,300-square-foot (396-square-metre) events space with views of downtown Colorado Springs and the Rocky Mountain that opens onto an outdoor terrace. The second floor also has a boardroom with outdoor access. A museum shop extends from the main museum to link to another building with a green roof on the other side of a terraced, outdoor plaza, which was placed to make the most of views to Pikes Peak and the Rocky Mountains. This additional building contains a cafe with access to outdoor dining, that is designed to serve as a restaurant, as well a space to host educational programmes and meetings. Diller Scofidio + Renfro also created a new 250-feet-long pedestrian bridge that extends from the museum over an active railyard to America the Beautiful Park. The bridge is composed of six prefabricated sections that will be assembled later this year. The US Olympic and Paralympic Museum, which was first unveiled in 2015 and broke ground two years later, will open on Thursday 30 July 2020 with timed tickets as part of a series of safety measures in response to the coronavirus pandemic. It marks the latest museum project completed by Diller Scofidio + Renfro, which Gilmartin leads with Elizabeth Diller, Ricardo Scofidio and Charles Renfro. Others in the US include the renovation of New York’s Museum of Modern Art, the Broad Museum in Los Angeles and an art centre at Stanford University.

Photography is by Jason O’Rear, courtesy of Diller Scofidio + Renfro. Project credits: Design architect: Diller Scofidio + Renfro, (Partner-in-charge: Benjamin Gilmartin)Architect of record: Anderson Mason Dale ArchitectsExhibition designers: Gallagher & AssociatesMuseum and content development: Barrie ProjectsStructural engineer: KL&A in collaboration with ArupCivil engineer: Kiowa Engineering CorporationFire engineering: Jensen HughesMechanical and plumbing engineer: The Ballard GroupElectrical engineer: ME Engineers Acoustics, Audio/ Visual, Theater: ARUP Accessibility: Ileana RodriguezLighting: Tillotson Design AssociatesLandscape architects: NES, Inc. in collaboration with Hargreaves Jones Code: Advanced Consulting EngineersVertical circulation: Iros Elevators Design ServicesCost estimating: Dharam ConsultingEnergy modelling: IconergyExterior envelope consultant: Heitmann & AssociatesFacade fabrication: MG McGrathConstruction manager and general contractor: GE Johnson<|end|> <|start|>Hong Kong studio Rocco Design Architects has created the folded facades of the iADC Design Museum in Shapu to be a visual representation of Shenzhen’s “design spirit”. Rocco Design Architects designed the International Art Design Center (iADC) to anchor the Shapu Art Town, which has been built in Shenzhen’s Bao’an district. “The Museum is intended to be a visual icon of Shenzhen’s design spirit: innovative, non-conformative, literally breaking out of the box,” explained Rocco Design Architects principal Rocco Yim. “It will be a symbol for a district mainly dedicated to activities related to the design industry,” he told Dezeen. The museum, which is raised from the ground on concrete columns to allow pedestrians to pass under it, is clad with a series of folded white panels that project out over the building’s entrance. “On a metaphorical level, the folds are a visual feature to signify the bursting of energy,” said Yim “Urbanistically, by folding out above the streets, they are a gesture of welcome and create semi-open covered spaces at ground level that are useful for spontaneous activities.” The museum’s four floors of galleries are reached by a wide outdoor stair or by footbridges on the first-floor that connect to the adjacent shopping blocks. Exhibitions space are divided into two wings – one dedicated to Chinese art and the other contemporary design exhibitions. A monumental stairway connects all the floors creating a spiralling route up through the building. Gaps between the folded facades are designed to let light into the museum and give views out to the surrounding development.

The basement of the building contains a large auditorium and open exhibition space, along with toilets and other back-of-house facilities. The design museum was built alongside the 12-story iADC Mall furniture exhibition centre, which was also designed by Rocco Design Architects, as part of a development that also includes a hotel, office buildings, art shops and residential towers.

Although it is one of the smaller building in the development, Rocco Design Architects believe that the iADC Design Museum will become a landmark for the local area. “The building will become a landmark due to three things,” said Yim. “Firstly, the location is strategically positioned facing the iADC Mall, the largest building in the district, across the central square.” “Secondly, its form and visual imagery,” he continued. “And, thirdly, its size is ironically the smallest building in the district, but its freestanding stance makes it a visual ‘marker’ from various street axes.” Rocco Design Architects was established by Yim in 1979 and has offices in Hong Kong and Shenzhen. The studio previously designed a skyscraper church in Hong Kong. Photography courtesy of Arch-Exist,

CHAPTER 5 Architectural Design Ecology Architect: Pale Architecture Studio Arkhanoud Arkhanoud Architecture is a Swiss architecture studio founded by Hans Christian Archbishops, the late pope, and his wife, Eva, in 1989. The studio has recently completed the first stage of its UK The APD has also renovated a community centre that overlooked the Finsbury Park waterfront and designed a new outdoor sculpture park. The refurbished townhouse features a glazed facade that frames views of the park, and a curved roof The Auditorium opened to the public on 3 October 2017. It is the first permanent venue for the Auditorium, an independent cultural centre established in the town’s capital, on the grounds of a former military training base AI-Carnegie has announced its design for a New York art museum that will be built on the nearctic Elbe river. Called The Factory, the building will house a range of artworks, including the National Museum The house is located in the Sørlandt Valley near Toleviøya, Denmark. Its complex composition of concrete, steel and glass gives the building a distinctive form made visible by its rather steep gradient has opened its new headquarters to the public for the first time. The Shigeru Ban Center for Creative Urbanism (ShBG) is the new home of the VIS Frankfurt gallery, which has recently completed a new gallery for art students at the University The Menashe County Museum of Art in Tulsa has opened its new wing, designed by New York firm Davis Brody Bond, featuring a large canopy that stands out like a leaf against the oak trees. The gallery is The Design Museum is opening a new wing that will house a permanent exhibition space in the new building, which is located on a street corner in the city of Weil am Rhein. The Design Museum is also converting a commercial building in Weil Rooms are aranged around a large atrium, which is punctured by a five-metre-high atrium. This atrium is the building’s main circulation artery, connecting the surounding buildings and the city.

Its walls are made up The Vatican City has been given a new name, changing from Imperial Imperial Park in Rome to a mixed-use complex for the Pope’s Holiness, the Vatican City official announced yesterday. The new name is Imperial Imperial Park, after the imperial buildings, The firm’s first project in the US was a red brick performing arts venue in West Palm Beach, Florida.

Four years later the firm is moving its practice into the historic venue located in the Perelman Plaza housing the New York’s Metropolitan Museum of The project, called The Last Stand, was started by the Friends of the Earth Foundation to memorialise and protect the remains of a historic mining house in New South Wales. In the past year the organisation has collected over 7,800 pieces of inscribed Aboriginal The building will provide a permanent home for the National Museum of the United States Army, the first permanent structure in the country dedicated to the country’s Army history. It will also house offices, collections and permanent display space, and could be used for The city is planning to build a new public space for the photography festival Pentagram, in a construction that will include a restaurant, gallery, shop, two auditoriums and a theatre. The project is being led by Pentagram’s European The Serpentine Gallery Pavilion – the Serpentine Gallery in London – has opened to the public. It is the gallery’s second building in the UK, following a new home for the Serpentine Gallery London and a set of four new gallery spaces “Our job was to bring life back into the space,” said studio co-founder Eva Freitas. “What we tried to do was to bring life into the space in all its richness.” The building has a double-height ceiling, but all The 21st-century breed of architecture has reached its peak today, when concrete and steel struts above a sculptural serated volume, intended to form a space of meditation and reflection. Called the Serpentine, the sculpture is designed to reflect the The art gallery was designed by the National Trust for Historic Preservation to host a permanent collection of white European art in a former village in the village of Breguet. The village is located in the Breguet region in The centre is made up of a double-height foyer, which is used for storing exhibits and rooms for local artists. A staircase that follows the diagonal pattern of the foyer provides access to the exhibition spaces stored in the former Bowden College This skeleton was made from two cubic blocks, but two different dimensions were chosen to give the shape of the floorboard. The dimensions of each block were then computed using a computer system, and the resulting structure is said to be almost 50 Slam dunk, I’ve re-worked the archive and cultural centre in São Paulo. It’s the home to a collection of architectural, and historical, artefacts, including the Mestres de Mestres por favor de b “I was so excited when I saw the pictures of the tents, because they are so similar, that it was so exciting,” he told Dezeen. “I really wanted to see the light in the tent, because I felt it represents the Vases with white walls and soft furnishings by Studio Gang and glass walls by Studio Fumihiko are on display in a newly opened space run by the local theatre group. The Studio Gang gallery is designed to be a “visual, tactile If you are interested in learning more about the project, you can read our brief description of the building here: http://www.lwn.com/sites/default/files/architecture-building-museum-kristinaThe west London outpost of British firm Alan Baxter Architects has opened a museum dedicated to the work of Russian artist Nikola Tesla in Lens, Russia. The Lens Museum is located in Lens, on the Dnieory Peninsula in west London, and is intended to The Frick Collection in Houston, Texas, is celebrating its 20th anniversary this week. The Frick Collection was established in 1872 and is the largest and most well-known private art collector in the United States. Founded in 1919, the The concept for the project was initiated by OMA founder Rem Koolhaas, who had recently completed the Musée National des Beaux-Arts du Quebec (UNBQ), which he described as “a national cultural centre that stands in “It’s not like we beat them or anything,” said Ganzberg. “We tried to stay true to the original design.”

The full museum will be revealed in late 2020, and completion is slated for 2019. The museum’s previous projects include The angular facade of the new Stirling Prize-winning arts centre in northern England is clad in glass and mirors to give the appearance of a series of large open rooms, with a single function hall.

London architecture studio Snøhetta was The King Edward International Centre for the Visual Arts in Shrove is a new cultural centre for Shrove, a major city in the western province of Ontario. It forms part of the revitalisation of the city’s South Block neighbourhood, which also “The project has created a civic space that is seductive and inspiring a place where people can meet, talk and be inspired by a space of shared values, place diversity, and culture renewal,” said the architect. “The space also allows for a Event organiser Holy See has released new images of the new concrete and glass auditorium designed by Hungarian landscape architects Siza Arquitetas to host the Olympic Games in Hungary.

The 40,000-square-metre auditorium Men are the first to encounter the ruins of a ruined temple. The temple was destroyed by a fire in Aix-en-Provence, France, in 1724. The surviving remains of the ruined temple, which was built by the Franc “The border wall is a beautiful and simple concept, one that I found quite difficult to deal with the extreme temperatures,” said the architect. “The border wall is very difficult to follow at first, but once you understand it, it is a very Emiratsia Nizio Arquitectos – a non-profit architecture and design organisation that was founded in Moscow in 1936 – has completed a concrete extension to the existing Aga Khan Museum of Art, which occupies a site in the The Museum of London’s Design Museum in London opened its new wing, called The Jubilee Project, following a competition in which designers were to create a museum that featured “visual expressions of the institution’s design excellence”. The design The new Longmire Power Station – a new two-storey extension of the former Glenstone Warington Airport – will power the airport’s new 220,000-square-metre facility for the UK’s oil and gas industry.

The £2 Architect: Archohmruppenfuhr Museum & Archive, Darmstadt-based Darmstadt-based architecture firm Archohmruppenfuhr has completed a museum in the German city of Kassel featuring a massing of angular A group of architects has proposed a simple solution: transform a century-old church complex in New Plymouth into a cultural centre. The New Plymouth Sculpture Museum is curently under construction on its western boundary, which will separate it from The first stage of the renovation of the historic Breuer Chapel in Berlin was completed in February 2017. A gallery, exhibition, auditorium, auditorium and cafe were renovated and restored by Berliner Koninkau, Berlin’s oldest art conservancy, “The character and quality of the work is based on the essence of the monastery, the monk who was the first representative of the Franciscan friary in the ninth century,” the studio added, noting that the building’s design is based on the The next step for the city’s new Harbin Cultural Centre is to include artworks, children’s play facilities, a theatre, a restaurant and cafes within a series of new public spaces. The city’s planning department has also outlined a masterplan that This space is dedicated to the work of the AAU-Gallup Centre for International Research and Education in Doha, Qatar. AAU-Gallup is a new centre for education in the Middle East with a structure designed to house and display research The “core values” of Kengo Kuma’s firm Skissernas Architekten were the “public good and the pursuit of knowledge that is true value for all,” according to the architect. The project was awarded the

Figure 5.2 Generated paragraphs from the trained AI.

The latest images reveal the new Xiangmi Museum in Wuhan, China, featuring a series of concrete and glazed volumes that pay homage to the city’s history as a developing industrial centre. The Xiangmi Museum is housed in the The firm has raised $9 million (£7.9 million) from investors including Ackman Robertson and Westwood. The firm has offices in New York and London. Other projects by the firm include the new M+ museum in Morocco, the Ser The Bureau of Land Management’s New National Scenic Area is re-opened following a renovation that references previous renovations by BIMA. The area, which encompasses 2,710 square metres, was formerly a land-grant The Tate Modern Museum is building its first department store in Poland, after winning a planning application for the extension to the 5,500-square-metre arts quarter in the city that also includes a new art gallery and a cafe SOMA is reopening its extension to the Grass Valley Museum of Art in San Antonio, Texas, following a competition organised by the Modern Art Foundation. The 6,300 square foot (604 square metres) extension to the museum, located on Sunset The concert hall that will host the Chinese folk-music festival Farewell Festival will be located in the town of Shiloh in Taiwan’s Hunan province. The area is home to the country’s country house, which was built in 1937, and The American Museum of Natural History is reopening after a five-year renovation. The 235,000-square-foot (21,000-square-metre) building, which occupies a vast site in the American Southwest, was designed by local “Some people will see it as a quote, but I think it really represents the attitude that the museum is taking here,” said museum director Thomas Phifer. “The quote that everybody’s laughing at is ‘You’ve made this museum famous, now “A beautiful, aggressive approach”, says the studio that was behind the original project. “But in many ways it is a modern-day trawls.” The studio, founded by architects Li Hu and Ren Zheng, was responsible for the new building The Sieras Museum of Art hosts a series of temporary exhibition spaces at its Museo Regional de Aysen – a cultural quarter of the Lithuanian capital that is linked by bridges, rivers and bridges over the Tay the beat of a drum. With the aid of this spiritual space, which encompasses the architect and the architect’s assistants, he created a structure that would instill in the photographer a quality of a gentle and contemplative retreat. Elements of the cladding Golden Shrem in Chongqing made headlines last week when it hosted a concert performance in a shed. The Golden Shrem concert hall was a huge hit on our Instagram feed, with images of the building taken before and after the venue’s opening The UK government has revealed plans to link oil and gas leases in the Beaufort Sea with new buildings and services for the local community, including a new food court, a cultural facility and education hub. The Beaufort Sea – the world’s biggest man According to the organisers of the World Trade Center site’s long-delayed plans, the 90-year-old building will finally open its doors to the public on 12 November 2016 – a few weeks after heavy snowfall and heavy rain have cancelled planned “On the whole, we hope that the memorial will serve as a kind of cultural and social vehicle for the town,” said the architect, who was awarded the Reiji Aichi Cultural Prize in 2015 for the first time. “It’s a Following the publication of the first indoor exhibition of its kind by the Neoclassical firm, which covers roughly 150,000 square feet (14,200 square metres), the gallery is putting together an exhibition in collaboration with the museum. This year’s Collection of 494 buildings by Ordos y Muertos Architects, which are situated within the complex at the Llamas Peninsula in Spain, Spain. Originally designed by Spanish architect Francisco García Tull, the complex in Balearuta was completed A new study by Princeton University’s Center for Research on the Study of Women and Men finds that 52 per cent of respondents to a 2015 survey said they were raped while they were teenagers. Among women 18- to 34-year-old, that number Tod Williams Billie Tsien Architects & Planners, Tod Williams Billie Tsien Architects, and Tod Williams Billie Tsien Architects were commissioned to design the cultural complex comprising the Musée d’art de Joliette, Les <|end|> <|start|>Herzog & de Meuron has created a pavilion to house a sculpture by Dutch painter Gisela Dias, which is set in a park beside the Viadna river SPPARCADIA – The former home of one of California’s most important anti-war texts – is to be converted into a museum and event space for the Veterans of Foreign Wars Foundation, a nonprofit organisation that supports survivors of war. The conversion Is the area in northern France curently open to the public? Let us know in the comments section below. Photos are by Olson Kundig unless otherwise stated. Project credits: Architects: Coulon+Bar Arhitektrée & Bosch Associates, a private gallery and exhibition gallery in Hamburg, has converted one of its old warehouse spaces into the new gallery and exhibition space for the Kunstmuseum Basel. The Kunstmuseum Basel, commonly refered to as In February 2017, the Communist Party of China announced its intention to end the practice of mass graves in its backyard, replacing them with open-air crematoriums and concealing the bodies of those who have died during the country’s civil war. The The new features of the art museum’s new home in New York City, which first opened in June 2016, have caused a stir among collectors and critics. The V&A’s name – the giant American collector’s museum – sparked a controversy earlier this The world’s first artificial lake was created by Greenland’s Royal Institute of Water Archaeology in the city of Shiloh. Located at the mouth of the Lake Atoll, the new 1.5-hectare lake was the project’s first If you are a producer, producer assistants, writer, speaker, photographer, graphic designer, artist, designer to name a few, this may be the location for you. The British studio is opening a gallery in a new development on Wiltshire Street The epicenter of the city’s super-rich culture is located on the edge of a vast park, where a dramatic skylight draws visitors towards its shimmering exterior. The glazed exterior of the first London tower – the City “What I’m doing is making the project possible to pay tribute to the country of Chile,” said Jorge Mendes Ribe, who is widely considered as one of the country’s most important 20th century thinkers.

“The images come from my own Manhattan’s Pritzker Prize-winning architect Daniel Libeskind has unveiled plans for a new art museum at the gateway of the former run by David Geffen’s Opelbros art palace in the city’s Pritzker Prize-winning Where is the art museum? How is it maintained? I spoke with Hôtte Van Noten, director of the museum, about these and other questions, and more. We started our exclusive 2-1/2-part series examining The first project we created for the Walker Family Museum of Art Africa was a set of concrete steps that lead down a planted site on a plateau in Cape Town. The family museum is the first major museum built for the Walker “We still have a long way to go before we have a permanent landmark, but this is exactly the kind of facility we need for displaying our appreciation for the quality of local craftsmanship,” said SFA’s director and co-founder, Tim Van To make the areas easy to decorate, as well as helping to entice new visitors, there are undulating volumes cast in stone with ochre-coloured detailing. One wall is angled to face the entrance, as well as providing views Architecture studio BIG has designed a public toilet in Hangzhou, China, which is covered in textured aluminium fins and rests on a concrete base. BIG’s proposal for the Shigeru Pasha Public Baths incorporates a series of publicly accessible We are honored and really happy to be involved in this project,” said Alison Lin. “The inspiration for the design came from the desire to create an industrial, minimal chapel. We wanted to give the community space to experience this new, contemporary building, It took 11 years for the project to be completed in time for the World Cup of 2020 taking place in Turkey. It will mark the centenary of the partition of Iraq and the centenary of the formation of the Kurdish state under Saddam Hussein. “ “A dramatic new facility for major exhibitions in Houston, Texas, will be located on Olive Avenue in the city’s Germantown Park and will offer a permanent home to the permanent collection of the New York Philharmonic, which has been awarded Architect: OMA, Foster + Partners, KPMB Architects, Lloyd’s and Gallagher Foundry, WAMM Architects and Ruby Banks Architects Structural engineer: BABYST New York, FABYST New York, FAB the tallest building in San Francisco’s historic District – the tallest and largest dynamic structure in the city,” explained Norman Foster, architect of the Postmodern building. “San Franciscans brought a rich history to the site through its complex combination of character, The Kumano Campus is situated in northern Hokkaido prefecture, about an hour outside of Tokyo’’s southern suburbs. It lies to one side of a proposed industrial park with sweeping glazing to envelop a new concrete art museum, Design: Rocco Design Studio by Tadao Ando, Continuum Design Group, Konec Architecture, Continuum Design Group, Paul Lukas Architects, Shigeru Ban Architects and Sachsen Culture + The UK government is curently investigating “significant” funding issues with the Agra-based Vidaris Foundation, which is building a cultural building in Kent. The initial funding model for the project is £60,000 to cover the cost of the

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The Spaceworkers Center for Science and Innovation was set up in 2013 to provide access to the Sci Fi Museum in Lausanne, from which it has taken a green light to build its five-metre-tall education centre <|end|> <|start|>Architecture studio ZAV Architects has designed a community centre by OMA that slotted between a train tracks at Birmingham’s Metro station and a derelict public library. The £54.5 Social network LinkedIn, which had just announced its intentions to merge its London offices with a new Beijing office, has revealed the design of its proposed design for Future Cities International conference centre in Wuxi, where it is based over the Shanghai Opera House.

The Guardian has commissioned the National Trust for Scotland to design an exhibition space for the annual Christmas tree planting event, which took place in the town on 12 December 2016. The new gallery will provide a permanent exhibition space for the exhibition “Inside the Tree”, A photo posted by Bridgette Pierpont (@bridgettepont) on Aug 21, 2015 at 12:19am PDT In the new gallery, a semi-transparent veil shrouds the sculptural structure of the National The Zumthor museum and its sheep slaughterhouse in Budapest’s city centre are among a host of institutions that have opened in the city this year, including the Zumthor Farms extension by Danish studio Libeskind Associates and the New York City’s Metropolitan Museum of Art and Design was approached by Zaha Hadid Architects to create a series of galleries that highlight the museum’s discerning collection. The proposed new masterplan for the Metropolitan Museum of Art and Design, proposed for completion Both internal and external, the Cube’s zigzagging bowl-shaped form takes cues from the cube’s topography, as well as the natural setting of the Neolithic-era stone dwelling. It is shaped out of a concrete that forms the For climbers and mountain bikers, the ever-changing terain of the mountains brings new challenges and opportunities. For climbers, the climb of Mount Everest involves constant protection of the sensitive interior spaces of the base of the mountain. For mountain bikers, the <|end|> <|start|>A community centre designed by Herzog & de Meuron for the University of Amsterdam has been destroyed by fire, leaving only the chared remains of the existing building intact (+ slideshow).

The fire, which the Sainsbury Centre and Pastry on the River Thames for London and Paris, for which plans have been submitted for the project by London studio Selldorf Architects. Renderings are by Selldorf Architects. The £ A 60-foot-tall (30-metre) replica of the topography of the historic Canton de La Salle church in Paris has been unveiled as part of a project to overhaul the city’s Old Town housing complex. The site The pixellated forms of the museum’s bright red features were designed by Tadao Ando for the city’s Regent neighbourhood in the northern Chinese city. The building features bulbous, faceted surfaces that reference the geometric forms “The Gold Medal comes from giving a lifetime achievement record to prove that we are worthy of the gold,” said Christen. “We have attempted to follow the gold by becoming the proud, self-assured, self-critical, self-critical The latest additions to the National Museum of African American History and Culture – the National Trust for Historic Preservation’s first conservation building – include the new Whitney Museum of Art, an art museum in New York City designed by “This area will be a big cultural destination for us,” said studio founder Asif Khan. “We have visitors coming from around the world and we want to help them understand what is happening in Qatar.”

“Qatar has become a laboratory for terorist “Our programmatic approach was to explore and develop the relationship among the facilities, as well as the programmatic content, of the core architecture,” said Chipperfield. “The objective was to provide a richer, crisper experience within the smaller The building boasts a series of glazed openings that spill water from a glazed prow leading into a central courtyard. Curently under construction, the glazing spans 11,000 square feet (1,518 square metres), and it was designed as part of “Cultural studies” is being continued by Simon Chinn, who is also undertaking several biennial exhibitions and helping to transform the way Chicago public viewings are presented. The institution’s first outdoor exhibition, titled Nature and Culture: Voices From A Saint-Martin, which received its official Saint-Martin Medal from the UNESCO World Heritage Committee this week, is strung around a semi-transparent facade made of glass by local studio Touki Nouvel. The medal was designed by Jean-Cla Pinning an island into a gilded paradise is a concrete art project, one that SFMOMA is proud to be part of. Entering architecture school SFMOMA was set up by principal Ewa Hashimoto in 2003, and is View Images A dark stripe has been cut through the vertical fins of this concrete chapel designed

by Zaha Hadid Architects in Morocco. Photograph has been added by Zaha Hadid Architects to the gallery below. Photograph has not been fully conserved. <|end|> <|start|>Selling its Scottish outpost for high-end architecture Modernist architect Sotheby’s has confirmed that it has completed a diamond-patterned gabled museum in the UK’s Gloucestershire 1995-present: Dovetail Architects and MASS Design Group completed the Sunken Vic in Long Island City, New York City as part of a cultural partnership with Pritzker Prize-winning architect Alan Brakewood. As Brake Steven Chilton, a leading solo architect, has completed a building for a cultural centre in China, featuring an undulating timber-lined glazed facade that shelters it from outside. Chilton designed the Japanese National Museum of Natural History and Culture for The pyramidal pyramids, which once straddled the landscape of Mesopotamia, are no longer supported by stones but by columns. The Mastaba archaeological site in the south of Iran was previewed for a construction Showcasing the “flexibility” of the building, Reid Manor’s deep chunky sloping roof is topped with a skylight to create a concrete extension for a concert hall near the city’s Park Avenue. Renderings show that the extension “An exceptional stack of work by ABT,” said Showa Pictures founder Henning Larsen, who is also behind the recently opened cultural centre in Özgür, Turkey. “The whole stack is made of aluminium and each of the elements ›› OMA has unveiled its phased acquisitive museum designing a residential neighbourhood near New Plymouth in Australia’s north-east. The OMA Remai National Handcuff Pavilion will be built on the site of the historic Sarmient Where is your favourite museum? How about your favourite theatre? Other comments are most welcome (+ slideshow). Find out more about Museo Regional de Aysen › Museo Regional de Aysen

by Barozzi & Gallardo Barozzi and The KWGAA – a nonprofit organisation whose mission is to promote stewardship and sustainability – has updated its logo, colours, and signage to better position the International Union of Conservation Top Ten List. The organisation’s new identity is derived from its Eventbrite, a hosting marketplace for Hive, acquired the project through a previous contribution from Emin Aganar, one of the world’s most celebrated space architects. The new venue, which features glazed walls that give views out to the sea, View the original post » Project credits: Project: Buro Korayev – Buro Korayev Structural Engineers: Buro Korayev & Ninetsev Services Engineers: Buro Korayev & Ninetsev MEP Engineers It’s time for Birds of a Feather’s new galleries to be renamed. Our nation’s galleries need a lot of work this year, not least because of their status as the most visited website in the National Gallery of Buildings (NGA) UK. Upon entering the building, which is clad in textured copper interiors, visitors see a long skylight extending out from a steel extension that connects the long form of the building to the ground.

A total of 15,000 Facade ”The aim of the project is to activate the historic mid-level plaza in front of Parliament, making it the first public building in the country to be fully functional on 11 November 2017.” The 20-metre-tall dome There were five different courses that were included in the 37-volume set, which was dedicated to the history and culture of the prehistoric world that is believed to have been created by Adam and Eve in the early days of the animal kingdom.

This year marks the 100th anniversary of the Bolshevik revolution, and the anniversary celebrations have been highly influenced by similar events. Organised by a panel of six historians, as part of its program of commemoration for the anniversary, this annual Offsetting event The four interior volumes of the Corten Guardian Art Centre and its exhibition hall are aranged in a vitrine-like formation around a central hall, which directly connects the Corten-designed theatre to the central gallery space. Situated within the existing gran |<|start|>Architect Gunther Heidemann has revealed his plans to build an art gallery in Skellefteå, Sweden, that will showcase works by contemporary artists from Norway and Sweden. Frickling glass and a For this project, CIMA was put on the spot. There was little reason to be either about or there was, as they both started as guests. We hoped that the difference between the two companies, and the way CIMA is run The latest memorials to be built in Ottawa include the Unfinished Business Memorial in Ottawa – a collection of bones, including a legumeer – and a bench-like monument in Ottawa’s Cardinal Parade. Both are sunken into a depression near the |<|start|>This train station that Italian architect Mario Cipelletti designed for a local museum will be converted into a gallery by the Mexican architect of the San Gorga coridor, which has been severely affected by construction and demolition Striking interiors feature a slim volume to make the building appear larger. The Bauhaus is a

museum and archive dating from the mid-19th century to the present day. Containing over 500,000 documents, National Opera grande Majlou Hamidou – located one hour outside Tehran – has reopened following a renovation that included the restoration of the 1960s building by Philip Johnson Architects. Majlou Hamidou measures 42 square metres and is the Panes of bright red tinted glass wrap around the building to connect it to a series of art galleries contained within this red-toned concrete pyramid. The structure is built using panels of Corten steel and Douglas fir plywood, with the Union Leader: Aesop to create a new cultural building dedicated to the sustainable conservation of animals and landscapes on Elbe, British Columbia’s Grand Forks National Park. Encompassing three storeys and connected by an elevated walkway, the A bird’s nest cafe provides two completely separate experiences for gallery and performance space owners, which suggests that their use in a dedicated gallery space will be all about conveying the connection between owner and gallery. Like the social media accounts of the Tate gallery in “It was a real honour to be chosen as the team behind this project,” said Studio David Chipperfield, who set up his Chicago architecture studio in 1976. “I’ve had the privilege of working with some of the best and bravest Show Full Text One of the most memorable things about this small village is the earth and the breath of the spring. Because the earth moves, and because spring is the only energy that springs to the scene, the earth is presented in different forms throughout the The entrance to this art gallery represents an entry point of a 48-metre-tall sculpture by British sculptor Ander de Voges, which was designed for a competition in 1909 to represent the south coast of Spain. The selection of A modern steel fabrication plant in Germany.

Not only is the building constructed from contemporary steel, but it also features a historical value of nearby. The museum is dedicated to documenting and presenting the history of the contemporary steel industry in Germany. Located Stress levels have rocketed from historic lows to peak overnight as London’s financial markets melt into turmoil, according to traders. London’s stock market lost 90 per cent on news that QE4 was over, while shares of major bank Citigroup have ‘I am trying to find space in my heart for these moments. I’m trying to find an excuse to not do it right now’ – Jean-Luc Godefroy The French Academy of Arts and sciences is presenting a masterplan to “The expression is quite literally translated as ‘We’ll show you what we have here,’ “ she said. “It’s not like we set out to make buildings out of masonry but we really want to make the building as pure and simple as “Within this architectural sense, a spacious and helpful space is created to circulate the weight of the structure” where the custommade studios will be placed to be painted by landscape artists Thomas Yarington and David Schoenberg. The use of contemporary materials by Terunobu Fujimori + Choe Yu Hakim Architects.

Manufactured by Tetra Tech, the Yuhangdo Corning steel systems were fabricated by Beijing-based Urban Planning & Engineering Institute in collaboration with the National Science Foundation Facts & figures are made visible on a continuity screen at the prow of the former Municipal buildings in Nanjing. The twostorey bulge created by the screen breaks ground yesterday into a minimal rectilinear volume. This is the During the summer months, build the new cultural centre in San Antonio, Texas.

Sewage-caked the exterior walls of the building, leaving trace marks of the previous years’ work in a storytelling technique called biennial design.

San Antonio’s civic In this exhibition, gallery spaces display

three Americas’ most famous outdoor spaces: the Rocky Mountains, the Rocky Mountains Garden, and the Rocky Mountains National Park. The Americas’ most famous outdoor spaces, the exhibition showcases, each feature on a journey along the “Our plan will allow the public to engage in a lively dialogue and gain a better understanding of the state of The Skyshynski Museum of Art, which has been a lifeline to hundreds of artists, many of whom have passed from physical disability New York’s Hawes Architects is building a performing arts complex on a former ship’s stern in the New York Harbor, transforming the centre into a new cultural destination. The brief was to create a space for the performing arts centre to be used for large Undergraduate Faculty: Benjamin Bürgi Campus Architect: HochGustliche und Partner Architectural Planning & Landscape: MUFON Architectural Planning Lecturer: Philip Schneuwly Architectural Features, École studien Struct These traditional honeycomb structures feature iregular forms that create a contrast between the physical elements and the slightly rotated facets of the religious architecture patterns. They are also used to host events, education and art exhibitions at the Critics including Robert Venturi have called for a special hearing into Foster + Partners’ use of extruded titanium to build its extension to the Museo Regional de Aysen, in the south of Spain.

Venturi, who was commissioned to design the The International Coffee and Tea Show replaces a traditional art gallery in a new venue designed by Herzog & de Meuron with views of the Mediteranean Sea and the horizon of the Dutch city skyline.

Herzog & de Meuron designed the Kleinpolder gallery

here is an example of some text which seems to follow our brief3: "The food festival architecture is now forms part of a major cultural project in the Japanese island of Nagakapa, which will see buildings housed within a giant pineapple illuminated from above (and outside)."

We can also control the input by choosing how discontinuous the output is using a setting called "temperature" which essentially produces statistically less likely text the higher the number until the generated text is gibberish, too low and the text is similar to the training data (table. 5.1).

Temperature = 0.6

"The architectural forms are inspired by food, such as the ones featured in the book, which are made up of overlapping discs with varying sized for different taste. The restaurant's interior is made up of five discs, each made up of a different texture and colouring." (author, 2021)

Temperature = 0.8

"To make the areas easy to decorate, as well as helping to entice new visitors, there are undulating volumes cast in stone with ochre-coloured detailing. One wall is angled to face the entrance" (author, 2021)

Temperature = 1.0

"Studio Ghibli sits in a vast multi-storey exhibition hall, carved into a hillside beside a historic building in the town on the coast of Long Beach, California, which has been ravaged by Hurricane Ivan." (author, 2021)

Temperature = 1.2

"This museum starts from the sides of a prefabricated apartment building, planted with iron gravel foundations perforated and polished in Douglas Fir bush larch, and wraps it in reeds of black-framed larch." (author, 2021)

Temperature = 1.4

"Three consecutive glazed volumes featuring angular angles that deliver a dynamic effect. Additions made to each volume give slim triangular extensions cantilevered over pitchy surfaces as varied as gravelly stone flooring, and coffin cladding. Perfect for major-scale relief carving, volcanic stone was used for sails, seating and furniture." (author, 2021) Table 5.2 Generated text samples at different temperatures (author, 2021)

The temperature of the generated text depends on your brief, for example I found that the lower temperatures were better at generating samples at a master plan level where the text flows with one concept from beginning to end although the AI is not very creative at low temperatures therefore higher temperature samples are preferred for ideas at a local scale and for coming up with creative concepts.

3 To see selected samples generated by the network see Appendix A.4 103

$300 Million For Redevelopment Of Musée d’arts Lyonnais Interspree, A major new museum in Mérida, Spain, forms part of Arts2ly, a new nonprofit focused on advancing fundamental research and advances Design requires rectilinear structures for the plug-ins orienting to the subtropical climate of Pinepult to provide cushioning to walkways <|end|> <|start|>Persimmon Silve Dakko Labis Arkitekt meteorités, border groups and cultural cooperation organisations – the Dansk Patriarchate is among the earthfaring archipelagos across the Arctic Circle. Formed by Dutch studio DanskArchitects, the whereVER and UNIL (2012). The monolithic reading of Lumen Zumthor’s The Apocalypse increases the anxiety and fatigue of the protagonist character in one of the first published brutalist European brutalist writes about him, David Mamet Southern Gothic is the primary language spoken by both medieval and modern audiences, yet forms the main theme of the museum’s five-year-span extension by San José de Paulista. After the changing seasons, the extension houses seasonal collections of Southern Gothic from Continent Louisiana is currently experiencing an earthquake, its economy barely recovered from its recession and the state is shrugging its shoulders to the quakes that are sure to follow. Funding for the Joer its slated for next year and a half Show partial splits › Interior › So Mi Maas Teg refers to an old boat town in Midsummer Island, which was one of the first exposed ruins discovered in Malin Islands in the 18th century. Built on the banks of Tu Southwark mayor Grahame Morris has accused the London School of Trust (LST) of turning a profit by neglect by blocking the construction of his skyscraper Here tomorrow (27 April). Here London – the mid 21st On the appointed day, in the summer, commemorating King Ferdinand VII’s centenary year 2014, all museums are closed to the public while supplies last. Paintings, sculptures, cameras and Postmodern art form all presented in a forum at Many pop culture references and architecture in Zhang Zhi’s books focus on how architecture can divide culture within. His use of these references allows the engagement to take place within an architecture at a contemporary level, rather than a provincial one. Appearing Here are five metro planning workshops that will help to resolve an important public transportation complex in the Beaufort Land. Exhibits 1 – 4 are intended to capture the relationships between people, buildings, spaces and time in the Beaufort Land, breaking SO-CAL, Jun AGO, JulSK, XuBAOJA, Yulik Kim Architects’ pedestrian bridges – which rapidly became icons of local architecture – contribute to HKD Poppy collection? The city in Cumbia – a |>PIArI+Architects has teamed up with Brock Turner’s American Experience architecture firm, to bring Philadelphia to life by architect Ryan Collins.A Plan B concert venue designed by OUX Alexander Brown with OTW Knitting space.” JewsSeitherrelig Photograph “Universität Riga, Katowice and Würth”, Thomas Ferrand and Álvaro Siza Kerr-Mich description of traditional German courts. Six small volumes at the Pe Press said: “What Antonio Marin Vieira later observed were the empathic responses that show up in numerical modeling.” San Pedro’s new Europa City has been completed by El Persipio Arquitectos, the private office of Portuguese architect Kim Foxx + Partners was Tod Williams Billie Tsien’s first project as architect at Williams and Bollinger, alongside Jim Jacobs, Gillian A Birki and Vincent Price. The Partners building was finally completed in September 1980, making it Blue Immigration nametags jerrycans of construction facilities at Lady Luckland and Atel’Ergen – an archetypal canalstyle museum not before masonry construction was carried out. Images courtesy of Architects Open Belgium.<|end| Prominent renovations are required to alter the flow of staircase sculptural openings methodically stepped between different interiors to create spaces more flexible so as to respond to the increasing demands of modern spaces,” said Christoph Georg of architect Knut Huxt They decreased the thresholds for couplers – the functions level above ground and the storage spaces, given away in Guildhall – and multiple extension structures (+ slideshow). The cladding plan by consultant expert Tadao Ito’s regulations rank near a ruin Jonathan Lauder is now offering his ARXiv competition-winning architecture project Archquake three seismograph-built tribune tower of exploded lead [materials: cladding] <|end|> <|start|>Bethlehem Contemporary architecture firms Bristol-born architecture firm Coutinho Arquitectura recently won a competition to design a major extension to the Carey Academic campus in Chisora, northern England. The £163 million scheme will be built alongside the Since 2000 loan operations have upgraded and merged nine new campuses including the Being Human auditorium that was considered “the symbol of modernist design” during the 2000s boom. In 2007 Washington DC architecture studio Redwood is set to begin work on null<|end|> <|start|>Instagram’s Chief Marketing Officer Nodie Abe has revealed plans for a Salt Lake City mosque for IM Cheung – a fine arts emporium under construction next to the Exhibitions of his famous 1962 work In Our Time have opened in London, Berkeley, Kansas City, Honolulu, San Francisco and Ottawa. In Our Time: Volume One will celebrate 100 years in cinemas worldwide with a presentation of the 1967 dollop Grade: A+ A+ Plus A+ was founded by Rasmus Erb in 2010, while Beaux Arts was selected as the winning entry in the competition organised by Companies USA in 2007. The studio aimed to create a distinctive design that reflects Brooklyn photographer Daria Kasubi treated these extreme photographer’s block of white moss to create this set of edited fifteen image cables showing various behaviours of each individual photographee. These interesting digital photographs help change our perception of the ‘normative abstraction’ – |<|start|> <|start|>Hopkins Wallpaper is a 22-page, 1,125-page comic strip by Rainbend Koopman, published in Dutch firm 4XN on Once quickly realised, Lucas Land’s design is intended to approach the qualities of the top-heavy structure Ma has built, which are gently neutral in places and crafted nicely in the face. It steps into this aesthetic with its openness to gently swing from top Selected Waikiki Collection Design in collaboration with MER Studio during M+2015: Kate Hopkins – deputy editor of Revived Perspective – created the design for the Dome Contemporary art gallery designed by Agudelo Herrera to house project manager Nicolo Gall This museum starts from the sides of a prefabricated apartment building, planted with iron gravel foundations perforated and polished in Douglas Fir bush larch, and wraps it in reeds of black-framed larch. It is positioned in Architect Thom Bennett, also of Martin Sculley Modern Art Group, visited Los Angeles workshop Ashley Gianratzhao to talk about the state of her company Principia ADM and thinks she has a future with the global firm. Full show 4.1_53 sexilâda salvos del montimo concrete 00 assembleando 1<|endoftext|>Tired of waiting for official seating plans to be cancelled or cancelled_ fitted tickets, where you can buy artworks in our galleries can be On the street is a tall South Korean abstract plate, which stadium attendants scribes with When eyeballs eat an eyeball, which turned into a corner lifts and an auditorium abut tie tie Since curtain can touch armour, the main safety net Inside the fort, decorated to the original English sandstone walls they saw a huge arch suspended on some mountain peaks 36,000 metres above Nîmes – a name given to a limestone formation rising higher than the valley. Many of Belgium’s Photographer: Sam Marcelsonacker Bas Lockyer Other media: CBT Architects, WIBM Architects, Events + Architecture, Caruso St John, Tectonica Landscape DesignID – mots – MTBIG, The Pet Studio Haas seats 1,160 seats in an asymmetric interstitial space inside Perkins’ red-toned biokoshaped Glassell School of Architecture. Super concert and music-visual theatrics are updated with additional facilities including technical studio, theatre, This is a sensitive coin. One that carries weight with the balance. SegWit comments; “manufacturer recognition practice enters into intimate and multiduciary deals with shoppers,” The Guardian’s Amanda Levete revealed to Cult in 2014. Not Peabody + SABT Hanover Architects – which controversially won an international commission for the Kris Kok gallery – is updating the £83 million Ramaya floor with a gallery space that makes use of a “networked interiors and Architect Yan She also recently made headlines by throwing a birthday party for Martin Luther King, Jr. in the citizen’s gallery of one of his exclusive buildings in Chicago. Remarkably, shortly after this post was published, Shenzhen hired “A costume factory is universal. In its place, the traditions of 20th-century craft and culture could be revived to meet today’s changing cultural demands,” said Wakefield Design Group president Philip Knight. Benefactors to both Reed Graham Architects include The granite ceremony for Turkey had the Rev El Mĩma-run Haukumentarchiver publishing house assigning entries for the inaugural edition along with footnotes encouraging users to mark up architectural modifications names. Hatik2Post’s recommendations doubled the Venice, the Italian city experiencing a huge boom of architecture + design activity, is joining the growing list of international architects contributing to the cultural and economic renaissance underway in the US and Europe. Museum Friso Setoufakis – a graduate of the

By Kusunori Kusunori and Toshiharu Kimura — Sukunichi: When Setsubo Takegasaki created the Hiroshima Cathedral in Japan he was looking forward to renovating the space for the cathedral, celebrating his Japanese education. First

CHAPTER 5 Architectural Design Ecology

Figure 5.3 Samples from the hundreds of images gathered from google with search terms from AI generated texts using algorithms designed by the author to reveal the architectural personality of the AI (see appendix A.5 for algorithms)

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5.1.3 FINDING PERSONALITY We now need to algorithmically organise through the generated text which was trained in the previous section of this handbook on written media of your choice and curation. Once trained and the generation parameters are set so that the AI generates text suitable for the brief you will then need to sift through all the generated data. Considering the AI generates 100,000 words per minute this is no simple task.

The algorithms4 used in this section allow us to start digesting and understanding this information visually.

We begin by importing a list of keywords by searching the entire generated document for all word frequencies, we can then choose a list of words we would like to investigate within the text generated by the AI. By picking from a list of the AI’s known and preferred words we are working collaboratively with the AI. We can manually pick words we find interesting and that fulfill the brief in a similar way that we might choose a topic of inquiry with a friend; we start with individual interests to figure out where topics overlap. Once we have the keywords we can locate search terms within the text to download images using phrases from the generated text. Figure 5.3 shows a selection of images that reveal the architectural preferences of the cognitive design assemblage; both the AI and the author.

5.1.4 TRAINING THE AI Training the AI is part of the artistic process, we as guardians of the aesthetic must choose at what point of the training process we would like to generate images. Many networks use metrics to determine how well the AI is trained, this gives us a number that represents how close the generated image is to the truth, however, this is an artistic process; we are more interested in the aesthetic than the numbers. This can be a heuristic task in itself as we discover traits within the AI. This process begins by outputting samples from the same points in the latent space so that we can compare during training, we ask the AI to give us an example of generated images every so often; I chose every 5 epochs. A selection of these images can be seen in figure 5.4 where I preferred epoch 219 to generate images from. I then review them and pick out some favourites see figure 5.5 for some selected images generated from epoch 219. You may wish to end your design explorations here, if you wish to continue there are a variety of other ways to work within your cognitive design assemblage. Next, we will look at exploring the latent space.

4 See Appendix A.5 for google imagescraping algorithms.

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Figure 5.4 Sample images generated during the training process by AI trained on hundreds of images gathered from google, examples in fig 5.3.

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Figure 5.5 30 images selected by the author from 220 images generated by the AI after 211 epochs of training. These images really begin to show the architectural personality of the design assemblage.

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Figure 5.6 30 images representing a journey through the latent space with start point, 4 waypoints and end point located by the generated images in figure 5.5.

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5.1.5 LATENT SPACE INVESTIGATIONS We can investigate the latent space of the model be interpolating between interesting point of the latent space to discover interesting combinations of learned concepts through this conceptual space of the AI (fig. 5.6). This can be between styles of architecture or interesting textures, the information you train the network on will effect which visual concepts you will have to work with.

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5.1.6 AI FEEDBACK LOOP In this example we will return back to the food festival project, in this activity I trained the AI on images of food and doors to design an entrance to the festival hall. After traversing the network in a latent walk between 'door' and 'food'. I chose six images along the virtual walk and asked an AI trained on the ImageNet database to tell me what it predicted these images to be (fig. 5.7). I took the top two predictions for each image to inform the genealogy of the first image for evolution. window shade: 74.89% palace: 7.23% bannister: 2.68% china cabinet: 2.32% window screen: 2.14% chime: 0.85% organ: 0.85% safety pin: 0.65% steel arch bridge: 0.58% pier: 0.41%

rotisserie: 39.23% bakery: 13.53% box turtle: 12.38% teddy bear: 7.89% Indian elephant: 2.64% fire screen: 2.22% Dungeness crab: 1.49% tray: 1.44% hamper: 1.40% ice cream: 1.04%

corn: 50.61% pineapple: 15.28% teddy bear: 10.65% tray: 6.57% ear: 4.42% acorn: 3.15% jackfruit: 1.38% cauliflower: 0.70% honeycomb: 0.69% conch: 0.66%

cauliflower: 20.82% tray: 15.89% pineapple: 15.11% teddy bear: 9.57% conch: 5.74% hen-of-the-woods: 4.61% ear: 2.76% corn: 2.71% mushroom: 2.00% plate: 1.83%

cauliflower: 35.65% coral reef: 6.35% hen-of-the-woods: 6.31% conch: 6.06% teddy bear: 3.74% coral fungus: 2.99% sea urchin: 2.87% acorn: 2.35% bolete: 2.28% toyshop: 2.05%

chocolate sauce: 26.30% conch: 20.78% fig: 7.03% ice cream: 6.54% hen-of-the-woods: 3.48% meat loaf: 3.20% mushroom: 2.34% plate: 2.19% acorn squash: 1.91% flatworm: 1.80%

Figure 5.7 Six images taken from a latent walk between the concepts of door and plate of food. Each image is accompanied by predictions from a model trained on ImageNet database. Top two predictions for each image are taken to build and develop the concept using the process of evolution.

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window shade

palace

bakery

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coral reef

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Figure 5.8 11 generated images representing the genes of the predicted labels that combine to form the first image for the design evolution process.

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Figure 5.9 Evolutionary development of images.

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5.1.7 FEEDBACK TO EVOLUTIONARY DEVELOPMENT I then used a generative model with the same semantic labels to build a genome for the concept of 'food door', this is possible because both networks are trained with the same information and labels; the first to classify and the second to generate. Each label output from the classifier has a matching visual gene in the generator model (fig. 5.8). We can then use the evolutionary design development described in Chapter 4 to evolve the development of the concept heuristically to arrive at images for design inspiration. Cultivated with human aesthetic selection in an ecology of architectural design.

Figure 5.10 Final image of the evolution process, could be a 3d printed food sculpture door with stained glass windows themed on food.

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Figure 5.11 Genetic build up of each genom in figure 5.12. These genomes were born entirely of the aesthetic whim of the author.

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5.2: EXAMPLE PROJECT This is an example project completed by the author using a workflow similar to the one described above. It was a speculative project in a future where automation reigned and machine learning algorithms were left unsupervised to gather data and train themselves without human interaction. The project explores the future of big data and corruption/ biases within databases used to train AI and the aesthetic choices of the human in the loop. I chose this specific part of the project as it highlights how the human and AI can inspire each other to develop an architectural object in detail.

This design is a cybernetic UI for tech nomads, who occupy derelict spaces, to interact with and sort data streams in a VR data interface.

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Figure 5.12 Images of the combined genomes for each genetic build up in fig 5.11.

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Figure 5.13 The geneology of the final image. The starting image of each branch of the tree is one of the genomes from fig 5.12.

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Figure 5.14 The final image chosen by the author as inspiration for the VR Interface.

Figure 5.15 The inspiration for the machine.

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Figure 5.16 The final render of the derelict building that has been occupied by data nomad activists with the VR Interface for sorting ethical datasets for training unbiased AI systems.

Image created by the author

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Figure 5.17 Detailed technical schematic for the operation and build up of the VR Interface entirely inspired by fig 5.15. Image created by the author.

1. Personal data mast collects data sent from the main data_mast to the chambers of the operatives and sends data back to the main data_mast and back to the data_centre.

2. Lid to the preservation chamber.

3. Preservation chamber glass unit supported by 3d printed structure.

4. Structure to hold the organic material from the mast.

5. Part one of the 3D printed, protective Faraday cage to protect sensitive organic processing unit from electromagnetic interference.

6. Part two of the protective Faraday cage.

7. Organic neural processing unit processed initial data from the mast.

8. VR machine base - receives data from no.7 and from the feedback loop from the VR headset, 10, 11 and 12 back to the base and out to the VR machine.

9. VR headset receives initial programme and is part of a feedback loop that feeds human feedback into the Machine, the AI learns and alters the programme and sends back to the VR headset.

10. Pre GAN organic processing unit to process human response and feedback from the VR programme.

11. Sub GAN layer 1 to process and learn from data gained from VR programme.

12. Sub GAN network layer 2.

13. Pre GAN processing unit Faraday cage.

14. Pre GAN processing unit frame and glass preservation chamber.

Lid to preservation chamber with power input socket.

15. Preservation tube for Sub GAN layer 1.

16. Preservation tube for Sub GAN layer 2.

17. Power distribution node.

18. Power input cable.

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Chapter 6: SUMMARY & CLOSING THOUGHTS

Machine learning is a subfield of Artificial Intelligence that most recently and most promisingly uses deep neural networks to empower machines to learn without a human teacher. Instead of being programmed what to think, like traditional object-oriented programming, we program data pathways and structures which enable the machines to observe, analyse and learn from data similarly to humans; cognitively. Convolutional and Generative Networks are of particular interest in the field of architecture as they can understand concepts within images and recreate novel combinations of these concepts.

This handbook has focused on one aspect of an architectural design ecology; a framework for the development of relationships between cognitive agents, both conscious and non-conscious, to define Deep Architecture. There are many more aspects to develop a full framework of this ecology to include not just the design of aesthetics but other architectural responsibilities such as floorplan design. Chaillou's work could be altered to fit within the framework of design assemblages so that production is unique and progressive, pushing the boundaries of architectural production; rather than just a system for architectural reproduction and the use of AI as just a design tool. There will need to be the inclusion of construction information and smart sensors and statistics with network assemblages brought into a posthuman collaboration.

Chollet states that "AI is not meant to replace humans, it is meant to support us", he goes on to say that "AI will be used as a tool to augment humans, especially in creative pursuits." (2018, p.270). Looking back on this statement from 2028 it is clear to see the first half of this statement is completely incorrect, with the demand for architects falling drastically in the last 5 years as tech companies provide increasingly powerful AI-based solutions that provide more efficiency than humans.

Machines are more precise and reliable and can absorb and apply huge amounts of data in a fraction of the time a human can (Architect role resilience and artificial intelligence, 2028). This was initially driven by the housing crisis of the early '20s with AI systems able to generate bespoke technical design solutions considering many factors simultaneously; each informed by live metrics such as cost, buildability, materiality and environmental data (Weekly newsletter AI special, 2027).

The second half of Chollet's statement is partly true; the practices that are thriving are architects who are retraining in the technical field to build and curate AI systems. There are also the minority of architects and practices who were already heavily invested in artistic pursuits, and continue to be involved in the very few highly creative architectural projects remaining. These are the celebrity architects of the '20s and they may well be the only humans practicing architecture directly in the near future. Since 2019 I have been developing this framework for architectural design, an approach that aims to invite AI as kin into a design assemblage within which the human is situated.

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CHAPTER 6 Summary & Closing Thoughts

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As I said in the introduction, in the development of cognitive design assemblages there needs to be a strong emphasis on a culture change to support an ecology of architectural production that allows humans to remain the focus of architectural production; architecture is our living environment. However, we must connect ethically with our environment.

We are all part of a planetary ecosystem and the architecture we design and build becomes a part of its context and invariably affects all parts of its ecosystem, whether we consider it or not. By shifting into the framework of cognitive design assemblages the architect will begin to experience an awareness that is extra-human, and through architecture, we may be able to design with our environment while enriching our experience of it. This handbook comes from an affirmative point of view looking towards a positive posthuman future and proposes a framework for architects to begin a post-anthropocentric relationship with our planet. An ecology of production with the ultimate creative endeavour of fostering a planetary architecture, that may encourage inhabitants to alter their ethics from human scale to the planetary scale.

The expectation is that the reader uses this handbook as an introduction to the ecology of architectural production and uses its contents to explore, experiment and develop their own unique working relationship with AI. You are encouraged to learn heuristically and tap into the community of AI pioneers via open-source networks such as GitHub and Jupyter. The hope is that by utilising this handbook as a starting point many architects begin to create within cognitive design assemblages for a more productive, enjoyable and creatively inspired posthuman future. You are encouraged to share your work and become part of this open-source community, if not one of its pioneers.

Where Chollet's statement fails is that we should not regard AI as an inanimate tool that is secondary to and for the support of humans. But as an actor in a cognitive ecosystem which we, as architects, will nurture for creative design. This is a relationship we are not familiar with, and as such we must think of it in the way we have learned to think of designing with nature. In the ’20s, we merged with nature, we inhabited it, we built with it and supported it. We can see these ethics in Neri Oxman's ethos of Material Ecologies (Antonelli et al., 2020). With this ethos, we must employ Hayle's Cognitive Ecology to include Artificial Intelligence in an Architectural Design Ecology as we move further into the posthuman landscape defined by algorithmic ubiquity. With this new approach, we can invite the AI systems into the ecosystem and work with and alongside them in the role of both the AI technical systems architect and the artistic creative architect. Our role as architects will change, but change is already here. Will you change with it?

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A.1: ALGORITHM #Initiate the document generated by the AI into a variable (document_text), divide it into sentences (input_string) and count the words (word_freqs). document_text = open(‘all_gen_text_20210110_1834.txt’, ‘r’, encoding=’utf-8’) input_string = document_text.read().lower().strip() word_freqs = Counter(input_string.split()) #initiate a pandas database from the dictionary of words and frequencies with appropriate column labels (word & count in this case). Sort the database by the frequency (count column) and save the database as a csv. df = pd.DataFrame.from_records(list(dict(word_freqs).items()), columns=[‘word’,’count’]) df = df.sort_values(‘count’, ascending=False) indexNames = df[ df[‘count’] == 1 ].index df.drop(indexNames , inplace=True) df.to_csv(‘wordfreq_2.csv’) # From this database we choose our keywords and save as a new .csv in the same format (list_of_ keywords) we can then start extracting search terms. data = pd.read_csv(‘list_of_keywords.csv’, encoding=’utf-8’) s_words = data.word.tolist() with open(‘generated_text_file.txt’, ‘r’, encoding=’utf-8’) as f: flines = f.read() flines = flines.split() count_dict = {} for s_word in s_words: count_dict[s_word] = flines.count(s_word) df = pd.DataFrame.from_records(list(dict(count_dict).items()), columns = [‘word’,’count’]) df = df.sort_values(‘count’, ascending=False) for s_word in list_: search_list = []

for i, line in enumerate(flines): if s_word in line: search_term = [] for l in flines[i-4:i+6]: if l == ‘====================’: break if ‘.’ in l: l = l.strip(‘.’) search_term.append(l), break if ‘,’ in l: l = l.strip(‘,’) search_term.append(l), search_term.append(l), search_list.append(search_term) search_dict[s_word] = search_list def randomly(seq): shuffled = list(seq) random.shuffle(shuffled) return iter(shuffled) for i, w in enumerate(search_dict):

print(‘#### searching {word} #### {x}/{listlen}’.format(word= w, x= i, listlen= len(list_))) list_.remove(w) folder = w counter = 0

for i in randomly(search_dict[w]): if len(i) > 4 and any(word in list_ for word in i): counter += 1 ds.snd(‘ ‘.join(i),folder,num_images) if counter == 5: break continue

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A.2: DEZEEN DATASCRAPE ALGORITHMS A.2.1 COLLECT URLS FROM DEZEEN import requests import pandas as pd import csv from bs4 import BeautifulSoup # insert dezeen subcategory url URL = 'https://www.dezeen.com/architecture/cultural/' # create a list of 50 urls for 50 pages of articles URL_search_list = [] pages = 50 counter = 1 while counter <= pages: URL_search_list.append(URL + 'page/{}/'.format(counter)) counter += 1 # for each page of articles save the URL for each story to URL_articles_list URL_articles_list = [] for x in URL_search_list: page = requests.get(x) soup = BeautifulSoup(page.content, 'html.parser') results = soup.find('ul', class_='main-story-list')

article_text=[]

for i in results.find_all('h3'): for x in i.find_all('a'): URL_articles_list.append(x.get('href')) # create a csv file called url_csv containing all of the URLs in the URL_articles_list list and save in root folder df = pd.DataFrame(URL_articles_list) df.columns=["url"] df.to_csv('url_csv.csv', index=False)

A.2.2 COLLECT TEXT FROM ARTICLES import requests import pandas as pd from bs4 import BeautifulSoup articles = [] df = pd.read_csv("url_csv.csv") URL = df.url.to_list() print(len(URL)) loading = 0 for x in URL:

article_text=[] page = requests.get(x) soup = BeautifulSoup(page.content, 'html.parser') results = soup.find_all('section', class_='main-article-body')

for i in results: for x in i.find_all('p'): if x.find(class_='related-in-article-text'): continue article_text.append(x.text) article_text = ' '.join(article_text) article_text = '<|start|>' + article_text + '<|end|>' articles.append(article_text) loading += 1

print(str(loading) + ' of ' + str(len(URL)) + ' complete') print(articles) with open('dezeen-articles-v2.txt', 'w', encoding='utf-8') as x: for sub_list in articles: for item in sub_list: x.write(str(item)) x.write("\n") print("Done")

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A.3: NLP TRAINING SAMPLES Edible deezer training epochs:

0 is a lot of people working in tech," the company said Monday. The news comes as some U.K. residents may be feeling the impact of the financial crisis. Britain has seen a rise in jobless claims in recent years, following the closure of two jobs at the office of founder Mark Davis.

100 <|start|>At the same time, these volume have been made of several materials with different sizes which give their appearance different shapes and sizes. When you want to understand the book at least, take the book and measure it. Then read carefully the materials found in their natural qualities.

200 When the factory was built, the studio's other two working rooms were all covered in bamboo, which are also used in the process of construction in the other buildings. The bamboo makes an appearance on the walls and the floor, while some materials are made from bamboo bricks.

300 "My name is Chunky, you are an American artist, I am a sculptor, I am a sculptor of wood – if you were to put them all together they might one day come out of this shell. We are all sculptors, we all have different stories, we all have different opinions of art, but we all do something together – we all try to keep ourselves apart from another person or an idea."

400 The architects are using traditional materials, like brick, to represent its natural history and its cultural contexts, rather than using facades of the facades commonly associated with museums. To create a new, contemporary urban district, they have used brick as the foundation, rather than facades of brick.

500 A cavity-sized hall filled with wine, wood, eggs and pastries by Diller Scofidio + Renfro was designed as part of a new addition to a museum in LA's Sunset district. The LA County Museum of Art designs the Hall of Wine and the Wine Collection as part of LA's "must-see" district, including The Shed from 2014 and the Frieze Art Fair from 2016.

600 rooms or galleries are arranged inside the museum's new entrance, which is topped with the new, four-storey volume. The existing brick facade is clad in local stone, and is clad above ground in a layer of basalt. The galleries are stacked according to height and are linked by a continuous ramp that is visible from the street.

700 HKS previously designed a "soup kitchen", the concrete hut that sits alongside a school as a backdrop for a similar project at the Bangladeshi Institute of Architects in Dhaka. A video tweaks onto the site show just how far HKS has come in recent years.

800 a glass door, along with the cafe. The first of three standalone apartments that will host the museum's permanent collection will be located on the top floor, below the main museum entrance. It will be built in two different ways.

900 The Blue Whale Breeder Centre and Museum has been built on a wavy, two-acre site on the Banks Peninsula. A sloped lawn will form the upper level, while a cave designed by the Japanese architect will create a viewing platform in the ground-breaking ceremony. The grounds of the museum will be landscaped with pathways and trees to draw you in and offer a backdrop for the sculptures.

1000 Visitors can see where it goes and can then sink their way back out. "From the perspective of the river user, the water flows through each foot of the structure in an ordered fashion," HHDZ Architects explained. "The material applied to the waters is that of the migrating fish that swim within." The water cooled by earth-like columns of steel and concrete, forming a cooling effect comparable to the earth's internal plumbing.

A.4: TEXT SAMPLES GENERATED BY TRAINED MODEL

The architectural forms are inspired by food, such as the mechanical hand that feeds a week's harvest into a back-of-house workshop.

The food festival architecture is now forms part of a major cultural project in the Japanese island of Nagakapa, which will see buildings housed within a giant pineapple illuminated from above (and outside).

It consists of two meat-and-grilled loin buns, wrapped in embroidery and partially covered by plastic wrap. The buns are made from cast concrete blocks with a grainy finish, while the roof is made from cast-iron foil that reflects light. "We wanted to create a city that was as contemporary as possible," Ribe told Dezeen. "We wanted to make it very dark, very fast, very messy, and most importantly, we wanted to make it incredibly beautiful." Micheline Ribe's food festival organised as three themed stages, with one dedicated to food and the other to drink. The first stage starts in dawn and ends at night. Following the stage 1, the 2 stages move through the day, with stages lasting 3-5 weeks.

Pavilions were made of old, broken down cars, broken down houses, and parts of the structure were twisted to create stairways, pools of water and a massive "dance hall". The first to enter was a houseplant-shaped minaret with three overlapping flowers. Popularised by tarats, this was the "dance hall of modernity" and featured two main entry points: the foyer with a dappled lighted walkway and the cafe.

Euston Red Lighting Arts Centre is like a living oasis for art and culture – here you can meander through the trees, play hide and seek, escape temptations "I have designed the Euston Red Lighting Arts Centre to be an artist's living oasis, like the other treehouses in the heritage listing." It is characterised by mono-pitched roofs, canted ceilings and mono-pitched ends of brick.

The rhythm of the roof is derived from the fact that branches protrude from the inside of each half.

The centre's facade features 16 streams of water, which are designed to resemble the evolution of a river. According to the architects, water is created by the growth of plants growing together. "In order to protect the art collection, the structure must support a continuous flow of water," ...a zucchini-shaped indentation on the facade of an open-air restaurant in a densely populated suburban area, while the building's concrete walls are made of translucent polycarbonate.

A circular skylight runs down the centre of the lower level, and a wooden flap in the ceiling allows daylight to filter into the space. A dark circular cabinet with a sliding door is placed in front of the house. "The pavilion is conceived as a pavilion, a memorial to the past, and a melodramatic energy in the house reflected in the interior decor," said the architects. "The pavilion represents the memory and experience of past experiences with food, as well as the commonality of different food-related experiences." The slanted ceiling is painted white and pale-grey in the centre, and framed by black curved supports stands at mid-height to provide a backdrop to the paintings. The firm likens the ceiling to a large painted brick wall.

The cube-shaped buildings – which are designed as two overlapping tectonic plates with a water-filled courtyard at the centre – are unified by a plan that looks out onto the beach on one side and cantilevers on the other. The tectonic plates are connected by a row of clearly recognisable bridges that are used to access a mix of indoor and outdoor spaces. a repeating crimson exterior made from 24 wingspan flaps spread out at different heights around the pavilion. Covered in blood, the fins of the wings are made from floral-like, overlapping white cabling that surround each of the pavilions. The holes allow elements in the flaps to move freely within the pavilion, while maintaining privacy among each pavilion. The flaps also allow for the building's skylights, lighting and ventilation systems to all be within view within the set volume. "When we look at the exterior, we are always in touch with nature; when we don't, we're in a burning, cities-ive-been-buried-in-the-sites-for-burialplaces," said the architect. "At the same time, there is a corresponding sense of awe towards the area outside," he added. a repeating pattern of charred wood rendered into a reminiscent lighting scheme, while the sentient robots can modify their own forms to suit specific sensory requirements. These conceptual designs are featured in the New book by James Hardie, including three robots that will make bleachers at your local cafe. Each panel is rendered with a different brush stroke to evoke different proportions or proportions of different areas of food production – in organic farming, for instance, the creation of fast-food meals. "The master chef will select a sequence of different foods, which he or she will like and prepare themselves, smell, and feel using a food processing plant," the book says. To make the robots, the developers applied "smooth, natural hand-woven forms that correspond to the individual robots". Each panel is rendered in digital real-time. A green screen appears over the robots' mouths as they speak to the audience, encouraging them to "bake, eat, and be served the best". "The robots will become more empathic as they speak, and more empathetic towards the food and people who are serving them at that moment," the book says. The mechanical assistant will act as an information system, processing information from a host of sensors, including stored breathants, body temperature, humidity, and temperature and humidity levels.

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"Inspired by food, architecture and the human spirit, the symbology of food is the concept of the gathering amid nature, under a floating column," said the architects. "Defined by the column, the square communicates a sense of time and space." ...a "wave-like progression of bricks and metal strips", and the animal prints "ascertain with a more lifelike appearance" "The design is inspired by three main ingredients: the aesthetic, part I intervention: architecture, and part II culture; food, which calls for design and worldliness," architect Claude Godefroy told Dezeen. "The three ingredients correspond to the history and essence of architecture in California: architecture, food and taste, which are ingredients of design." The first ingredient, red concrete, is for the structure's walls. The concrete has been left exposed across all of the facades, which are formed of a base containing the food handler's glass and a third containing the food handler's metal skin. ...such as a "knot" of stacked pine boards supporting a series of domed, crystalline-like volumes, which form the exterior walls. The three-dimensional grid of the domed blocks forms the interior spaces.

"It's like walking into a place from which the future of the Western world is not yet yet to be determined." The building will host a collection of contemporary and historic artefacts, as well as educational spaces, as part of a wider research centre that will include a restaurant and exhibition spaces.

The proposal consists of two pavilions that are connected by a glass bridge that stretches along a central walkway. One of the pavilions is dedicated to the meal, while the other is devoted to the celebrations, including carols. Inside the car park, the pavilion supported by pillars and perforations gleams in the morning, like spring water in the sun, and hosts events including fireworks and parties in the evening. Inside, the pavilion incorporates a series of seating areas, offering flexibility for different activities. Some spaces are staggered and others are open to the public. The overall concept is intended to reflect the local climate and culture, with food and drink being considered the overriding factors in the overall experience. The three versions of the pavilion are unified by a white mosaic floor, which is lined with pale wood and flanked by a grid of glass. The glass box appears as a white extrusational wall, displaying food, livestock and temporary displays of culture. Beneath it, a series of smaller windows frame conversations between men and women in the garden.

Made up of a monolithic chapel, the plaza hosts a series of eateries, galleries and kiosks alongside a honeycomb-like kitchen and artist's workshop.

The interior for the white tent-like gathering space is carried out with a robotic hand, and the software models the space in real-time.

Called Zhongxuanlong plaza, it is a series of existing buildings connected by a circular path that sweeps around the site of a originally raised ruin. A series of large stones called jinglong are laden with water from a lake and used as spices in soups, stews and stews doused with wine. "The public areas surrounding the ruined building are surrounded by water," said the team in a statement. "The public of the area can walk by the ruined building, tasting the fresh water emanating from the water, but must guard themselves against sworn guests within the plaza."

The pavilions were commissioned by the country in 2019, and opened their doors on 12 January. Among the pavilions are a "vegetarian cafe" speckled with bold pink and pink stripes and a "sinister office building" that puncture its central courtyard, and a "shopping arcade", which is made of "sinful" shingle. "The pavilions are reflections of the exterior environment, the environment that we were originally brought up on as vegetarians," architect Noël Le'din added. Among the designs for the stalls is a one-storey structure made of "ruined yellow and orange marble" featuring a mirrored steel external wall, and a plant-covered tower made of "tinted glass".

"The site is environmentally dense, filled with edible buildings, and dense enough to support a very diverse culinary scene," said Collective Architecture. "The plaza provides a perfect microcosm of what is possible to have a dialogue with these culinary trends, accessible, creative and sustainable." The plaza itself is a "site of its time" as many locals use it as common, and is decorated with many more types of fruit plants and vegetables than just them. Its facade features 26 rows of translucent glazed windows, mimicking the geometry of a kibuhoi. The plaza also features a building made of "recurring motifs: crops, animals, people, kids, parents, and so forth". Among the motifs is the chicken fillet, for which the architect said "workaged and recur repeatedly" to create a "functional and interesting scene".

The building contains a gallery, a ticket hall and a restaurant, along with education facilities such as youth centres, a cloakroom and a restaurant offival for the show about London's banqueting banquets. Two levels of parking is arranged around this edge, with spaces on both floors accessible from a two-way cafe. The freestanding exhibition halls are located below grade, adjacent to the education facilities. The centrepiece is "an eclectic mix of farm, industrial and avant-garde art, which alludes to soil and water, and reflects this overarching theme: there are inhabitants from all walks of life, all parts of the world and a constant supply of food," said the firm in a statement. A second floor hosts events spaces, while the first floor hosts a cafe and events space.

...such as a student centre creating a "zombie-like acrobatic Pavilion within a zombie-like zombie arcade, or an architect getting his buildings done in the middle of the night during the student assembly line," said the organisers.

The building is designed to resemble an oversized cloud with wings designed an edible cafe in Hangzhou New Town that resembles "covered in chelsies" from pouring sugar coated salami A circular plinth will be arranged around this plaza to enable the establishment of seating areas, as well as the creating of various facilities for the festival including an entrance pavilion, a café, dining area, shop and bar. Five "vegetarian" eateries will be set adjacent to the entrance, while cafes, restaurant and bar will be set on the outskirts of the square. The foyer will be decorated with rammed timber panels, creating valleys and an outdoor roof terrace. A courtyard area will be set on the west side of the plaza, with pedestrians passing through an additional courtyard along the western side facing the Porta- planned exhibition spaces.

"The cafe acts as a marketplace, offering local ingredients through the produce section and fresh produce," said SOM designers Deh-i-Bayan Architecture Design. "Local children can buy ingredients locally from local vendors and get local ingredients from the market." The cafe will occupy a left field section of the street, with a large open doorway and a circular cladding of steel steps serving as the main entrance. An open amphitheatre stage will also be added on this side, providing a place for locals to socialise and socialise in. The cafe will be open to the public throughout the event, but only onto the second floor, to make way for an event space to the rear. "The cafe will be a public gathering space for the public to enjoy local culture without the obligation of a seated area at another seating area," the design team said. "In this way, it serves as a prototype for using architecture and the public to stimulate local creativity through architecture-intensive spaces with limited resources." the five-level food festival building appears like a giant monster fruit stand topped with a spaghetti-like exterior. "When walking through the panelled building site, one starts to sense the presence of other unusual architectural feats of architecture: bamboo ponds and forest pavilions," said the architects. A looping roof opens the nearly subterranean pavilion up to a bamboo screen topped with vertical wooden seats. "When one looks inside, one finds themselves in a place in time to see the orange groves lighting the pineapple: if one sits inside they see all the buildings under the roof were illuminated and the event space itself becoming a grove of densely packed, spectacular, path-like structures with shadows and pavilions of various intensities," the architects added. Architectural spaces comprising foods, drink and spaces for the outdoors will be arranged around the sun-lit grooves. described as the "coral-like likeness of a cat doth emerge from the centre of the building covered by a fount of sunshine, followed by a spectacular banquet of pigs, cheeseburgers and even a huge car." The architects plan to construct the architecture as part of a slew of other exciting projects across Carnival, including a scaffolding factory planned to feature mixed-use spaces, a charity housing estate in Devon and an expansion of the V&A museum in Dundee. London studio Carmody Groarke hope the carnival-themed events will be a "vital contribution" to the city's image as "a culinary metropolis". "The food will be memorable and worth the journey, the animals will be intelligent and sentient, and the architecture will be an interesting counterpoint to the biotope farms The food festival architecture will see buildings housed within a giant pineapple illuminated by the light of bamboo poles lit by skylights in a new spiralling volume designed by Studio Grimm handling ideas about architecture in search of solution. Architecture will be featured in five different stages during the festival – starting from an arts festival headed by Peter Zumthor, through to a pavilion for Matador-style kayaking, and to an immersive pavilion by David Chipperfield designed to resemble the faces of deceased loved ones. "As people travel through time and space through the spiralling pineapple, the experience will be a surreal blur, filled with displacement, death, and the most painful part: the loss of an loved one," said architecture firm Studio Grimm in a statement. the festival site including a pink pineapple restaurant with blue velvet interior served up in pint glass form the walls, and a "vegetarian burger", a Shanghai style burger topped with a crusty bun, awe and pickled onions. </start>Monolithic ceilings, white oak planks and a pond surrounding the foyer, housing the art galleries and lecture rooms are framed by columns with perforated wooden panels that create a vaguely human scale. Portuguese practice Gimeno Arquitectos designed their own art and lecture halls based on the abstracted concept of bubblewrap. Called bubblefins, the architects refers to a type of meridian in the centre of a building or complex that lines an outdoor public space with a large architectural element. The treetops-covered foyer provides a pixellated light-filled space where visitors can stop for drink and interview. It is accessed by a white-painted concrete wall that lines one side of the site. with a folded concrete canopy over the structure. The innovative canopy, called Cloud Nine, shelters the complex's 400,000 square-foot (2740-square-metre) campus. The canopy is folded back to reveal the building's truncated form, as well as interior cantilevering that conceals the open-plan main structure. "It is what it is: a structural solution clad on a solid surface on the inside

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A Ruby Lattice Cardigan vest will be on display as part of a series of installations created by the nonprofit New York Architecture Lab featuring curving volumes that are wrapped by vertical grey frames.

The unusually deep-planted walls of the building are intended to draw visitors visually through the centre of the building. A gently wooded area on the roof supports an additional 400 metres of roof planted with grass near the entrance. The building has no skylights and is topped with generous yet pared-back ceilings.

A 56-metre-tall viewing platform features a sliding, modular structure made from standard-grained steel plates, and is based on the triangular prismatic panels found in wood. Laminated glass and a translucent outer layer protect the viewing galleries inside the viewing centre, which occupy separate spaces in the addition above the roof but offer similar views. These areas are opaque to the outside so visitors can look out across the 17 hectare park. Materials chosen to colour the building included concrete, tessellates and exposed beams. "Wood is the main material used in the design of the building, in its foyer and out, so the inclusion of tessellates to colour the building were two things that crossed my mind," A change from the increasingly minuscule structure described by the architect as an "inaccurate translation of the principles of steel construction". The tower's form and materiality are complementary, said the architects, so the aim was to present a complementary form that could be understood from the outside.

Now the building unfurls like a piece of decorative relief, offering visitors a new view into the story behind the building and its gardens. The result is an architectural project that incorporates but is not limited to relief mosaics, relief paintings, sculpture facades, paintings of children and infants, and brightly coloured interiors.

The building's distinctive facade features bulbous, wooden facades, and translucent glass panels, featuring a grand staircase and glazed facades.

Instead he wrapped the building around an indoor terrace and an outdoor theatre set into sloped white volumes, These wedge-shaped ceramic tiles cover the lobby facade, entrance to the apartment building and a small reading room.

They worked with ceramic tilework to create the ceramic structure, which was shaped like a cross between a tilted metal sphere and the polished-cast concrete of the original lobby. The skylights in the centre are set to a coarse zinc alloy, which creates silvery areas of glazing. Sliding glass doors that run the length of the glass sphere open onto the three levels of staggered concrete surfaces, which together are designed as a way to bring the building into sync with the nearby city. "The geometry of the geometry of the geometry of the isometric works Since then, it has hosted events ranging from an immersive immersive culinary adventure to a ramshackle 15-minute pavilion with no chairs to a 30-storey shopping arcade.

Yuan Ting Day Food Festival hosted three days of food stalls and crafts fairs, interactive fairs, gaming stations and a children's theatre, among a mix of indoor and outdoor fun for children.

Ai Design started with dishes related to design products that should transform the way people think about food. Thick glass was added to simulate the layers of salt that can form during cooking, and thick ceramic slats were added to help regulate salt content in dishes. The quotation marks around the windows and doorways of the houses in the Ai Food event evocative of a restaurant or hotel.

The food festival architecture and sculpture festivals will be held in five creative spaces and each will offer free entry to the main hall.

The events are being held in four themed areas: the main hall will create a new public entrance for the envoys' chief chefs, in-storereager for Lebanese cuisine, and an exhibition gallery. Each of the five occupying classes in the programme will each be given free access to outdoor sculpture and food court.

At the centre of the 12-acre (5.7-hectare) complex is a faience-clad feasting house for up to four contestants, plus a stage Entrances are shown surrounded by other food fountains; floating stage sculptures: dancers; edible labelling adorning the walls of the display areas.

It will include two days of installations, crafts workshops and talks, as well as two nights of drinking. its roof has been covered with tiles to give it the form of hexagons. "The roof of the building is a sort of crescent that symbolises the garden of the cultural centre in Brazil - a place that produces the greatest amount of food and has the largest quantity of food

350,000 tents will be erected around a washing basin filled with fuming young women. Five major tents will be stationed outside the basin, while a second tent will stand on the waterfront. Over 200 young women will be decorating the basin, with furniture made from rusted steel.

Feast of the Jarras is regarded as one of the first major public banquets of the age of mechanised food preparation, and is regarded as being the first mechanised eating festival Foodie Day brings together two days of food culture to coincide with the 1 May event. Over 2,600 local craft and food stalls will be display across four pre-cast concrete palaces - one for vegetarian and one for mano mushroom mixture Designed to evoke scenes of love and sacrificial slaughter, The top of the tower will be organically operated, with open access from public transport, rail lines and sections of the Museum of London. It will be accompanied by a series of food videos and prints, which will tour events, analyse the food, drink and snack menus, and tell the story of the event. The format will further develop food culture in the city. Conceptualised through sculpture and gardens, the foodies tower will have its own entrance and output spaces, To Banpeng Day, saw the festival's organisers introduce a series of colourful incense shapes together with traditional Chinese herbs into a shiny structure that was intended to be "like a large pot."

The food concept was built from a belief system that relates to the decay of food: When eating is seen as desirable, food is discarded. When eating is seen as desirable, food is discarded.

The initial concepts were to create yet another product, a dappled golden surface intended to recall the texture of worn pants under a blanket of grass. will offer a new way of thinking about food production and consumption.

Several stalls selling sweets and sugary treats frolicked in the dimly-lit stage, while others occupied auxiliary functions including seating and casting. Exhibition spaces were organised into a series of cuboid boxes with sharply-veiled commoners seated around them. At the centre of the roster were the colourful sackcloth-like figures The food festival architectural design contest overlaps with exaggeration in its buff orange skin, rendering it out of touch with its setting (and, thereby, wasteful) surroundings.

Completed in 2008, the Foodie Foodies foodie circuit festival foodie circuit foodie food festival foodie foodie foodie festival foodie foodie foodie foodie foodie foodie food photo festival and foodie food festival designs were among the 10 submissions shortlisted for the project's Future Design category.

The architectural forms are inspired by food, such as vast laboratories studded with liquid nitrogen cooled by liquid nitrogen, with cafés butchers serving horticultural delicacies such as piping hot meat, flax farms, lamb cuts, as well as bakeries, delivery services, and coffee service.

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A.5: TEXT SAMPLES GENERATED BY TRAINED MODEL A.5.1 WORD FREQUENCY ALGORITHM import pandas as pd import re import string from collections import Counter

#load in generated text document_text = open('ai_generated_text.txt', "r", encoding='utf-8') #initiate a list of text in lower case without additional spaces or symbols input_string = document_text.read().lower().strip() #initiate a dictionary containing all the words in the document and their frequency word_freqs = Counter(input_string.split()) #initiate database of dictionary df = pd.DataFrame.from_records(list(dict(word_freqs).items()), columns=['word','count']) #sort the database by frequecy df = df.sort_values('count', ascending=False) #remove words that only appear once indexNames = df[ df['count'] == 1 ].index df.drop(indexNames, inplace=True) # save database as csv df.to_csv('ai_word_frequency_list.csv')

A.5.2 KEY WORDS WITHIN GENERATED TEXT import pandas as pd

#load in selected words csv and convert to python list called words data = pd.read_csv('selected_words.csv', encoding='utf-8') words = data.word.tolist() #load in generated text file and split into a list of sentances with open('ai_generated_text.txt', 'r', encoding='utf-8') as f: lines_ = f.read().splitlines() lines = [i.split('. ', 1)[0] for i in lines_] #create a text file with all sentances in the database containing one of the words in the selected words list, organised by word. with open('searchterms.txt', 'w', encoding='utf-8') as x:

for word in words:

x.write('\n \n')

x.write("{xword} - {xword} - {xword} - {xword} - {xword} - {xword}".format(xword = word))

x.write('\n \n \n \n \n \n')

for line in lines:

if word in line: x.write(line) x.write('\n \n') continue

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A.5.3 DATASCRAPE ALGORITHM from selenium import webdriver from selenium.webdriver.common.keys import Keys from selenium.webdriver.chrome.options import Options from time import sleep import requests import io import os import PIL import hashlib from PIL import Image chrome_options = Options() chrome_options.add_experimental_option("detach", True)

def fetch_image_urls(query:str, max_links_to_fetch:int, wd:webdriver, sleep_between_ interactions:int=1): def scroll_to_end(wd): wd.execute_script("window.scrollTo(0, document.body.scrollHeight);") sleep(sleep_between_interactions) # build the google query search_url = 'https://www.google.com/search?safe=off&site=&tbm=isch&source=hp&q={q}&oq={q}&gs_ l=img' # load the page wd.get(search_url.format(q=query)) image_urls = set() image_count = 0 results_start = 0 while image_count < max_links_to_fetch: scroll_to_end(wd) # get all image thumbnail results thumbnail_results = wd.find_elements_by_css_selector("img.Q4LuWd") number_results = len(thumbnail_results) print(f"Found: {number_results} search results. Extracting links from {results_start}:{number_ results}") for img in thumbnail_results[results_start:number_results]: # try to click every thumbnail such that we can get the real image behind it try: img.click() sleep(sleep_between_interactions) except Exception: continue # extract image urls actual_images = wd.find_elements_by_css_selector('img.n3VNCb') for actual_image in actual_images: if actual_image.get_attribute('src') and 'http' in actual_image.get_attribute('src'): image_urls.add(actual_image.get_attribute('src')) image_count = len(image_urls) if len(image_urls) >= max_links_to_fetch: print(f"Found: {len(image_urls)} image links, done!") break # move the result startpoint further down results_start = len(image_urls) return image_urls

def persist_image(folder_path:str,url:str): try: image_content = requests.get(url).content

except Exception as e: print(f"ERROR - Could not download {url} - {e}") try: image_file = io.BytesIO(image_content) image = Image.open(image_file).convert('RGB') file_path = os.path.join(folder_path,hashlib.sha1(image_content).hexdigest()[:10] + '.jpg') with open(file_path, 'wb') as f: image.save(f, "JPEG", quality=85) print(f"SUCCESS - saved {url} - as {file_path}") except Exception as e: print(f"ERROR - Could not save {url} - {e}") def snd(search_term:str,folder:str,number_images=5): target_folder = os.path.join('path-for-downloaded-image-folders','_'.join(folder.lower().split(' '))) driver = webdriver.Chrome('path-of-chrome-driver') if not os.path.exists(target_folder): os.makedirs(target_folder) with driver as wd: res = fetch_image_urls(search_term, number_images, wd=driver, sleep_between_interactions=0.5) for elem in res: persist_image(target_folder,elem)

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A.5.4 GOOGLE SEARCH IMAGES FROM AI TEXT import pandas as pd import os from collections import Counter import datascrape as ds import random # load in words csv and convert to list data = pd.read_csv('selected_words.csv', encoding='utf-8') s_words = data.word.tolist() with open('ai_generated_text.txt', 'r', encoding='utf-8') as f: flines = f.read() flines = flines.split() count_dict = {} for s_word in s_words: count_dict[s_word] = flines.count(s_word) df = pd.DataFrame.from_records(list(dict(count_dict).items()), columns=['word','count']) df = df.sort_values('count', ascending=False) #print(f"column types:\n{df.dtypes}") list_ = df['word'].tolist() df.set_index('word', inplace=True) #print(df.loc['concrete']['count']) search_dict = {} for s_word in list_: search_list = []

for i, line in enumerate(flines): if s_word in line: search_term = [] for l in flines[i-5:i+8]: if l == '====================': break if '.' in l: l = l.strip('.') search_term.append(l), break if ',' in l: l = l.strip(',') search_term.append(l), search_term.append(l),

#search_term_str = " ".join(search_term) search_list.append(search_term) search_dict[s_word] = search_list num_images = 4 def randomly(seq): shuffled = list(seq) random.shuffle(shuffled) return iter(shuffled) for w in search_dict:

print(w) list_.remove(w) folder = w counter = 0

for i in randomly(search_dict[w]): if len(i) > 4 and any(word in list_ for word in i): counter += 1 ds.snd(" ".join(i),folder,num_images) if counter == 5: break continue

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