24443nam a22003617a 4500 pucpr 20250714103006.0 230405s2023 caua b 000 0deng d 1957183683 9781957183688 pucpr eng pucpr pucpr rda CARIBET SB470.W45 W45 2023 Jacobus, Frank 302065 Artificial. intelligent. architecture. Jacobus, Frank, editor.; Kelly, Brian M., editor. txt First Edition Novato, CA : ORO Editions, 2023. 303 p. : ill. ; col. ; 21 cm. book rdacontent text txt rdacontent still image txt rdamedia unmediated n rdacarrier volume nc Title statement on publisher's website includes a subtitle "Artificial Intelligent Architecture: New Paradigms in Architectural Practice and Production. ISBN 9781957183688"--Publisher's website https://oroeditions.com/product/artificial-intelligent-architecture, viewed 02/26/2025 05 Introduction Frank Jacobus and Brian M. Kelly 163 -- 13 Conversation with Andrew Kudless Frank Jacobus and Brian M. Kelly 175 -- 29 Unacceptable Aggregations Matt Baran 187 -- 43 Parametricism in the Age of AI Tim Fu 201 -- 55 Ethereal Dimensions in Nature Sara Asif 213 -- 69 Image Laundering: Odd Facades Brian M. Kelly 227 -- 81 The Artificial Sketchbook David Alf 241 -- 95 Looking for the Perfect Image Stéphane Bauche 255 -- 109 Deep Learning in Urban Health 269 -- 121 Artificial Ideals: Poetic Iteration Andrew Clarkson 281 -- 133 Hello from the other side Michael Chapman 297 -- 147 Patterns of Interiority Ria Bravo -- 163 Error to Innovation Kevin P. McClellan -- 175 Getting What You Ask For Joshua Vermillion -- 187 Less Than Perfect Jean Jaminet -- 201 Polymorphous Play -- 213 Sensational Concepts Randall Teal -- 227 Slipping Architecture Kaveh Najafian -- 241 Bestia Ex Machina Jason Vigneri Beane -- 255 Post Industrial Renaissance Adrian L. Keytton -- 269 Gothic Spoliare Dustin White -- 281 Robot Historian on Kelleys Island Karl Daubmann -- 297 In Conclusion: Chat with ChatGPT Frank Jacobus and Brian M. Kelly -- Illustrations: Figure 1-4 Parametric Walls (images courtesy Tim Fu) pág. 49 -- Figure 5-9 House of Timber Dreams (images courtesy Tim Fu) pág. 51 -- Figure 10-14: Modelling Parametric Timber Pavilion (images courtesy Tim Fu) pág. 53 -- Figure 1: Inspired by Blue Poppy flower petals (image courtesy Sarah Asif) pág. 59 -- Figure 2: Inspired by mushrooms / Figure 3: Inspired by Mushrooms / Figure 4: Inspired by mushrooms / Figure 5: Inspired by the form of shifting dunes / Figure 6: Inspired by the form of shifting dunes (images courtesy Sarah Asif) pág. 61 -- Figure 7: Focusing on materiality – Fur juxtaposed with organic façade / Figure 8: Inspired by the form of marine creatures / Figure 9: prompt crafting inspired by vines and creeper networks / Figure 10: Inspired by blooming flowers / Figure 11: Plumage inspired form study (images courtesy Sarah Asif) pág. 63 -- Figure 12: Inspired by Mycelium networks / Figure 13: Inspired by lichen networks (image courtesy Sarah Asif) pág. 65 -- Figure 14: Inspired by stalactite formations / Figure 15: Inspired by snowy scenes / Figure 16: Inspired by cocoon formations / Figure 17: Inspired by Lichen formations (images courtesy Sarah Asif) pág. 66 -- Figure 18: Inspired by cocoon shapes fused with silkworm material / Figure 19: Inspired by cocoon formations / Figure 20: Inspired by spiderweb formations / Figure 21: Inspired by spiderweb formations (images courtesy Sarah Asif) pág. 67 -- Figure 1-5: Odd Facades explored through representational techniques including drawing, rendering, and x-ray image (images courtesy Brian M. Kelly) pág. 75 -- Figure 6-10: Odd Facades explored through photorealism ranging in time from historical to contemporary (images courtesy Brian M. Kelly) pág. 77 -- Figure 11-15: Odd Facades explored through photorealism and aggregation of forms and materials (images courtesy Brian M. Kelly) pág. 79 -- Figure 1: Bedroom dreaming. Located somewhere in the tropics (image courtesy David Alf) pág. 87 -- Figure 2: V3 museum concept from early days. Located somewhere over the Puget Sound / Figures 3 & 4: V4 museum concept utilizing precast concrete shells. Located somewhere in upstate New York / Figure 5 & 6: Residential tower from different angles. Located somewhere in Chicago (images courtesy David Alf) pág. 89 -- Figure 7,8,9 & 10: Architectural atmospheres testing various camera angles. Located somewhere near England / Figure 11: Micro hotel units perched on a snowy hillside. Located somewhere in Chile (images courtesy David Alf) pág. 91 -- Figure 12: Luxury clothing storefront. Located somewhere in Italy / Figures 13,14,15 & 16 : Exterior and interior views from a cliff house. Located somewhere along the Oregon coastline (images courtesy David Alf) pág. 93 -- Figure 1: unexpected image while prompting about stone arches (image courtesy S. Bauche) pág. 99 -- Figure 2: Tea House, first test with Midjourney V1 in August 2022 / Figure 3: David Chipperfield + House Midjourney V1 in September 2022 / Figure 4: Shelter + Vernacular Midjourney – testp in October 2022 / Figure 5: Marcio Kogan + Brazil Midjourney – testp in November 2022 / Figure 6: Brickhouse + Greenhouse Midjourney V4 in December 2022 (images courtesy S. Bauche) pág. 101 --- Figure 7: Tribute to Anish Kappor / Figure 8: Failed tribute to Daniel Buren / Figure 9: Failed tribute to James Turell / Figure 10: Failed water tower / Figure 11: Failed tribute to Arne Quinze (images courtesy S. Bauche) pág. 103 -- Figure 12-16: Concret worksite series (images cortesy S.Bauche ) pág. 105 -- Figure 17: Glass Dwellings / Figure 18: Cantilever Dwellings (images courtesy S. Bauche) pág.107 -- Figure 1: a) The deep learning architecture of a CycleGAN is pictured (all images courtesy of author) b) The deep learning architecture of a GAN is comprised of two competing deep neural networks (e.g., a discriminator and a generator network) / Figure 2: left) Shows original satellite images of California census tracts with a high incidence of depression. Middle) Shows a translation of the original satellite images by the CycleGAN to be more consistent with the image features present in low incidence images. Right) Shows a pixel by pixel difference between the original and the translated images highlighting the primary features that have been changed. (Images courtesy David Newton) pág. 117 -- Figure: Shows generated images from a GAN model trained on satellite images of California census tracts with high incidence of anxiety / Figure 4: Shows generated images from a GAN model trained on satellite images of California census tracts with low incidence of anxiety (images courtesy David Newton) pág. 119 -- Figure 1: Portrait of Modernist / Figure 2: Power Politics / Figure 3: Power Politics ii / Figure 4: Portrait of a Modernist ii (images courtesy modernism.ai) pág. 125 -- Figure 5: Floating Lanterns / Figure 6: Inflatables / Figure 7: Ballon Forms / Figure 8: Amorphous Forms / Figure 9: Flow Forms / Figure 10: Lautner Forms (images courtesy modernism.ai) pág. 127 -- Figure 11: Explosive Governance / Figure 12: Cloud Catchers I / Figure 1 3: I Heard Music / Figure 14: Cloud Catchers ii / Figure 15: Pod Hotel (images courtest modernism. ai) pág. 129 -- Figure 16: Glow House (image courtesy modernism.ai) pág. 130 -- Figure 17: Bathroom in a Forest (image courtest modernism.ai) / Figure 18: Courtyard in a Forest (image courtest modernism.ai) / Figure 19: Portal, Borneo (image courtest modernism.ai) / Figure 20: House in the Mist (images courtest modernism.ai) pág. 131 -- Figure 1: Townscapes of the Kitsch and Famous 42 / Figure 2: Townscapes of the Kitsch and Famous 14 / Figure 3: Townscapes of the Kitsch and Famous 21 / Figure 4: Townscapes of the Kitsch and Famous 36 / Figure 5: Townscapes of the Kitsch and Famous 51 (images courtesy Michael Chapman) pág. 139 -- Figure 6: Iterations of The Last Kiss / Figure 7: Iterations of The Last Kiss (images courtesy Michael Chapman) pág. 141 -- Figure 8: Pig 01 / Figure 9: Pig 02 (images courtesy Michael Chapman) pág. 143 -- Figure 10: Rondel 11 / Figure 11: Rondel 14 / Figure 12: Rondel 17 / Figure 13: Rondel 19 (images courtesy Michael Chapman) pág. 145 -- Figure 1-3: Inhabiting the in between series: collaged space exploring how poche is inhabited, modified, and blurred to create interior spaces that merge object, surface, and volume. Representational reference: Dan Slavinsky’s drawings from the end of time (images courtesy Ria Bravo) pág. 153 -- Figures 4-8: Inhabiting the in between series: collaged space exploring how poche is inhabited, modified, and blurred to create interior spaces that merge object, surface, and volume. Representational reference: Dan Slavinsky’s drawings from the end of time (images courtesy Ria Bravo) pág. 155 -- Figures 9-13: Striated interior topographies series: layered interior assemblies that test the boundaries between interior elements and spatial enclosures; representational reference by Lebbeus Woods (images courtesy Ria Bravo) pág. 157 -- Figure 14-15: Endless virtual interior space inspired by Peter Cook’s city landscapes (images courtesy Ria Bravo) pág. 159 -- Figures 16-19: Inflated interiors: investigating how engorged enclosures are occupied and activated by the body and through augmentation of bodily uses; representational reference: Jean Paul Jungmann’s Dyodon Pneumatic House (images courtesy Ria Bravo) pág. 160 -- Figure 20-23: Inflated interiors: investigating how engorged enclosures are occupied and activated by the body and through augmentation of bodily uses; representational reference: Jean Paul Jungmann’s Dyodon Pneumatic House (images courtesy Ria Bravo) pág. 161 -- Figure 1: Sinuous Vertical Cathedral / Figure 2: Large Sports Stadium / Figure 3: Commercial Center / Figure 4: Large Office Building / Figure 5: Large Office Building (images courtesy Kevin P. McClellan) pág. 170 -- Figure 6: Sinuous Wood Pavilion / Figure 7: Commercial Center / Figure 8: Commerical Center / Figure 9: Radial Wood Pavilion (images courtesy Kevin P.McClellan) pág. 171 -- Figure 10: Large Residential Building (image courtesy Kevin P. McClellan) pág. 172 -- Figure 11: Sinuous Wood Museum (image courtesy Kevin P. McClellan) pág. 173 -- Figure 1-4: Lighting effects generated from the following prompt in Midjourney: an immersive undulating spatial installation made from glowing warm colored glass strips hanging from the ceiling of a tall gallery space, volumetric light (images courtesy Joshua Vermillion) pág. 176 -- Figures 5-8: Installation ideas generated from the following prompt in Midjourney: immersive spatial installation made from undulating translucent wax chopsticks hanging from the ceiling of a tall gallery, volumetric lighting (images courtesy Joshua Vermillion) pág. 178 -- Figures 9-12 Installation ideas for reusing plastic waste such as drinking straws, bottles, and jugs, generated in Midjourney (images courtesy Joshua Vermillion) pág. 180 -- Figures 13-16 Inflatable studies generated from the following prompt in Midjourney: complex interior made from inflated translucent latex membranes (images courtesy Joshua Vermillion) pág. 182 -- Figures 17-20: Inflatable spatial installation studies composed of glowing, translucent, fluid filled bladders, generated in Midjourney (images courtesy Joshua Vermillion) pág. 185 -- Figure 1: Fragmented arrangement of furnishing and textiles (image courtesy Jean Jaminet) pág. 193 -- Figure 2: Bedspread and carpet textiles dissolve into soft and tactile terrain / Figure 3: Rigid algorithmic fenestration replaces diaphanous window coverings / Figure 4: Room periphery is entangled by descending epiphytic curtains / Figure 5: Untamed terrain of shaggy walls and pelt blankets / Figure 6: Jellyfish and vegetation occupy a seafloor habitat (images courtesy Jean Jaminet) pág. 195 -- Figure 7: Digital textures materialize as ossified deposits / Figure 8: An open suitcase intimates an ongoing event / Figure 9: Laboratory specimen arrested in a state of decay / Figure 10: Igneous matter and imprisoned furnishing remodel the geography / Figure 11: A suspended lantern discloses orientation and undermines scale (images courtesy Jean Jaminet) pág. 197 -- Figure 12: Furnishing and textiles seize the interior in a neo primitive scenographic display / Figure 13: Vegetation en graved windows bound the intimate lair / Figure 14: Space is liquified as landscape conquers the interior / Figure 15: Cascading topography ripples unregulated fenestration / Figure 16: Slinking pelts distort the hearth (images courtesy Jean Jaminet) pág. 199 -- Figures 1: Cotton Candy Chair / Figure 2: Fruit Stripe Bubblegum Chair / Figure 3: Jolly Rancher Chair / Figure 4: Licorice Chair (images courtesy Frank Jacobus) pág. 202 -- Figures 5: Cantaloupe Chair / Figure 6: Grapes Chair Figure 7: Dragon Fruit Chair / Figure 8: Pinneapple Chair (images courtesy Frank Jacobus) pág. 205 -- Figures 9-12: Crotchet chairs (images courtesy Frankl Jacobus) pág. 207 -- Figures 13-20: Houses based on bird metaphors. The birds upon which the houses are based in order of the figures are as follows: blue bird, eagle, turkey, duck, vulture, stork, pelican, peacock (images courtesy Frank Jacobus) pág. 211 -- Figures 1-4: Describe a process of moving from a 2D CAD drawn elelvation into AI and through a series of iterations to arrive at a proposal (figure 5) that was presented as a design direction to a professional client. Figures 3-4: are examples of the king of liberities AI takes when interpreting an image, often no honoring window placement, building proportion or sensibility (images courtesy Randall Teal) pág. 219 -- Figures 5-14: Describe an exploration of the base concept ‘’civic library, as ‘’public living room, constructed in wood and the way the components.’’ Figure 5: Operational components of note: gentle sweep in plan, curved expressive structural members / Figure 6: Components of note: exceedingly tall, expressive curvilinear balconies, natural lighting for effect, center formal with seating off to sides (images courtesy Randall Teal) pág. 220 -- Figure 7: Operational components of note: high contrast axial space, featured orthogonal balconies, seating arranged informqally in the space / Figure 8: Operational components of note: functionally daylit, cool / blond wood, small but tall with centralized effect, books feature prominently / Figure 9: Operational components of note: tall linear yet intimate space, circular picture window frames tree tops, surrounded by books (images courtesy Randall Teal) pág. 221 -- Figure 10: Operational components of note: strangely intimate for triple height space, rich deep wood tones, irregular curved openeings animate stacks elevations / Figure 11: Operational components of note: asymmetrical curvilinear section alondg a strongly axial orthogonal plan, books feature prominantly, formal and informal seating adds a complimentary color / Figure 12: Operational components of note: very spare daylit space, limited seating, minimal presence of stacks, cool ananlagous color scheme (images courtesy Randall Teal) pág. 222 -- Figure 13: Operational components of note: very tall space amplified by the dominant columns, featured staircase, coffered ceiling, atmospheric daylighting, minimal formal seating in formal lobby Figure 14: Operational components of note: expressively curving in plan and section, massive occulus forms a focused forms stack area, formal lobby space with circulation desk as a focus, feels like the design speads horizonally (images courtesy Randall Teal) pág. 223 -- Figures 15-19: Show the process of iterating a design certered upon a courtyard featuring a ‘’northern forest garden.’’ The final image, presented to clients, was chosen for its closeness to the building design (scale, proportion, and materials) that was being developed in parallel via traditional orthangonal drawings (images courtesy Randall Teal) pág. 224 -- Figure 5-6 Building facade transformations. In the world of AI assisted art and design, everything by default can be everything is possible but all in an impossible latent world, in which subjectivity does no exist (images courtesy Kaveh Najafian) pág. 235 -- Figure 7-8 Images from Louhi Lounge Chair series. Like a young child who is still learning about the world and hasn’t yet developed a full understanding of how things ‘’should’’ look, the AI constantly generates images that are unexpected or unconventional (images courtesy Kaven Najafian pág. 237 -- Figure 9-21: From eyewear to a wooden motorbike, AI applications are trained only on principles of image generation rather than specific subject matter that makes them inherently powerful in developing concepts (images courtesy Kaveh Najafian) pág. 239 -- Figure 1: Cryptofauna: insect tectonic neoplasm atmosphere hybrid / Figure 2: Crytofauna: insect tectonic tissue fluid hybrid / Figure: Crytoflora fauna: ocular tissue tectonic lattice hybrid / Figure 4: Cryptoflora fauna: ocular tissue tectonic surface hybrid (images courtesy Jason Vigneri Beane) pág 247 -- Figure 5: Cryptoflora: becoming lattice / becoming insect hybrid / Figure 6: Cryptoflora: lattice fungus hybrid / Figure 7: Cryptoflora: mineral fungus hybrid / Figure 8: Cryptoflora: lattice fungus atmosphere hybrid / Figure 9: Cryptofauna becoming atmosphere (images courtesy Jason Vigneri Beane) pág. 249 -- Figure 10: Cryptofauna: ocular arrays tectonic tissues / Figure 11: Cryptofauna: ocular arrays gelatinous double skinspigmentation patterns / Figure 12: Cryptofauna: ocular arrays tectonic tissues gelatinous membranes / Figure 13: Cryptofauna: ocular arrays rudiments surface structures / Figure 14: Cryptofauna: ocular arrays rudiments surface structures tissues lucent skins (images courtesy Jason Vigneri Beane) pág. 251 -- Figure 15: Cryptofauna: tectonic tissues fused framing ocular rudiments / Figure 16: Proto-Architectural Cryptofauna: tectonic tissues fluids exoskeletal skin / Figure 17: Cryptofauna: tectonic tissues visual systems ocular sockets / Figure 18: Proto Architectural Cryptofauna: ocular arrays viscous visual systems surface structures tectonic tissues (images courtesy Jason Vigneri Beane) pág. 252 -- Figure 19: Proto Architectural Cryptofauna: tectonic tissues fluids exoskeletal skin / Figure 20: Proto Architectural Cryptofauna: tectonic tissues fused format exoskeletal skin / Figure 21: Proto Architectural Cryptofauna: gelatinous structural skins pigment migration ocular rudiments arterial infrastructure / Figure 22: Proto Architectural Cryptofauna: filaments ocular arrays visual systems surface supercomponentry (images courtesy Jason Vigneri Beane) pág. 253 -- Figures 1,2,3 & 4: Floral inspired bedroom concept variations (images courtesy Adrian L. Keytton) pág. 259 -- Design Concept Evolution: Figure 5: Inspiration in a form of imagined creature / Figure 6: Exploration of the texture inspired by the creature / Figure 7: Cabin design base on textures exploration / Figure 8: Further design fusion inspired by floral motifs (images courtesy Adrian L. Keytton) pág. 261 -- Material Study for Primary School Facades: Figure 9: Reclaimed Brick / Figure 10: Glass Curtain Walls / Figure 11: Cast in Situ Concrete / Figure 12: Prefabricated Timber (images courtesy Adrian L. Keytton) pág. 263 -- Explorations of Structural Concepts: Figure 13: Train station entrance / Figure 14: Train station platform / Figure 15: Train station external concourse / Figure 16: Train station internal concourse / Figure 17: Airport ‘’porous’’ structure concept (images courtesy Adrian L. Keytton) pág. 265 -- Nature Inspired Concepts: Figure 18: Savanna Habitat / Figure 19: Iceberg Tower / Figure 20: Sand Dunes Hideout / Figure 21: Frozen Forest Cabin / Figure 22: Redwood Treehouse (images cortesy Adrian L. Keytton) pág. 267 -- Figures 1 and 2: Gothic spolia ornamentation experiments (images courtesy Dustin White) pág. 274 -- Figures 3 and 4: Gothic spolia ornamentation experiments (images courtesy Dustin White) pág. 275 -- Figures 5 and 6: Goyhic spolia ornamentation experiments (images courtesy Dustin White) pág. 276 -- Figures 7 and 8: Gothic spolia ornamentation experiments (images courtesy Dustin White) pág. 277 -- Figures 9 and 10: Gothic spolia ornamentation experiments (images courtesy Dustin White) pág. 278 -- Figures 11 and 12: Gothic spolia ornamentation experiments (images courtesy Dustin White) pág. 279 -- Figure 1: Day 161 – Robotic graffiti / Figure 2: Day 115 – Repair shop for robots / Figure 3: Day 21 – The remaining robot code is being extracted and cataloged / Figure 4: Day 224 – Base camp moved from the harbor to the west quarry / Figure 5: Day 77 – Stone building in the east quarry (images courtesy Karl Daubmann) pág. 287 -- Figure 6: Day 38 – Documentation of the island airport underway / Figure 7: Day 120 – Small administration building in the east quarry as fall begings / Figure 8: Day 135 – Scientific conference center on the east quarry periphery / Figure 9: Day 136 – Quarry spa in support of the island conference center / Figure 10: Day 217 – Massive temporary shelter constructed to protect to stone shaping process (images courtesy Karl Daubmann) pág. 289 -- Figure 11: Day 109 – Opening containers in the port facility / Figure 12: Day 94 – Worker housing in the forest south of the east quarry / DFigure 13: Day 159 – Abandoned automated harbor crane / Figure 14: Day 213 – Test excavation site in the west quarry / Figure 15: Day 2 – Robot remnants in an abandoned airport shed (images courtesy Karl Daubmann) pág. 291 -- Figure 16: Day 93 – Abandoned corporate office at daybreak in the east quarry. Interior light is a byproduct of residual power from PV systems / Figure 17: Day 62 – Solar powered autonomous bots running their routines out of habit (images courtesy Karl Daubmann) pág. 293 -- Figure 18: Day 182 – Abandoned port gateway and welcome facility / Figure 19: Day 7 – Empty hangar at the island airport / Figure 20: Day 53 – Experimental construction in east quarry using stone and steel / Figure 21 Day 228 – R+D project of the construction innovation group located in the west quarry / Figure 22: Geo located map with locations of Robot Historian images through Day 160 as more image creation continues (images courtesy Karl Daubmann) pág. 295 -- "The impact of artificial intelligence in the discipline of architecture is unavoidable and undeniable. The recent mass adoption of highly accessible machine learning tools including DALL-E, Stable Diffusion, and Midjourney has allowed designers to test their limits and assess their role as an author in the design of the built environment. This book will include speculations on the introduction of artificial intelligence bots/apps into architecture and feature a collection of works from eighteen architects and designers who are interrogating current AI applications. Within each chapter, authors put forth a position through a framework consisting of theory and application lenses. Additionally, interviews from leading practitioners will offer insights into the current curiosities fueling investigation. This book will incite dialogue about the potential of AI as an ideation device and extension of the architect's authorship. As a part of this work, curation plays an important role as the technology generates content at an incredible pace. Architectural design thinking will have to reconcile the injection of this new tool and this book will speculate on the current state in its infancy." -- Publisher's website Weller, Richard. Architecture and Data Processing 196855 Artificial intelligence 55040 Illustrated works 297308 Kelly, Brian M. 302066 lcc 27 SB470.W45 General W45 2023 First Edition 303720 303720 0 0 lcc 0 0 4 4 33 2024-06-10 Amazon 34.65 0 General SB470.W45 W45 2023 91000000074567 2025-02-27 11:49:26 1 44.65 2024-06-10 27