3.3 COMPUTATIONAL DESIGN PROJECT: FINDING BEAUTY IN PERLIN NOISE
Contemporary computational designers are working to transcend postmodernism architecture into posthumanism prospect in design. Architects working with computation and algorithmic scripts are doing what AI is best known for, which is pattern recognizing.
Within the pattern generated by an algorithm, architects are searching for qualities that can provide unique spatial experience intended to be viewed through the human scale. We are searching these qualities with mankind’s benefits in mind.
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| Figure 20: Pattern recognizing exercise creating bigger voids for human habitation potential |
Currently, human-desired qualities from the algorithmic pattern are sourced from human spatial needs, in other words, humankind is the main agency. However, in the future, we speculated that AI will have its own intuition and its own agency. As the main builder, it will eventually create space and new typology for themselves that might only able to be perceived by AI/machine as it has a different point of view from people.
It is true that AI can still have our best interest as the priority. However, we cannot deny that as it becomes more and more intelligent, it might start to create a new aesthetic that mankind might not be able to grasp.
4. F U T U R E O U T L O O K
Presently, the existing artificial intelligence is mostly utilized as a performance optimization tool. However, this should not be the case in the field of design.
The vision of creating artificial intelligence was to make it fully autonomous and instinctive by itself. The foreseen characteristics of artificial intelligence allow it to remember things much more clearly thus allowing it to target a similar issue quicker than a human being. There is a high possibility that the nature of artificial intelligence can construct ornaments in a higher resolution because it is able to reduce the number of human errors compared to a human that is on the task. Artificial intelligence has a strong ability to learn and analyze the situation. For work, AI can accurately locate the route, choose the working mode rationally. This character that it carries also enables it to function in a greater precision when it is doing its designated job as it will not be distracted by psychological factors that humans have biologically.
Human has an expectation that AI will produce a flawless work, the work that is exactly the same as the one they imagined in their mind. However, it is not possible for the artificial intelligence to work in its programmed path under the site environment due to the other existing frequencies that are around. The fully autonomous artificial intelligence will create unexpected results due to the possibility of being distracted by other frequencies on site. Although the outcome is not what is expected by humans, this plays as a role to define the beauty that is created by artificial intelligence.
5. C O N C L U S I O N
We are going into an age where we are increasingly placing our faith in artificial intelligence rather than our own hands. The intention of creating AI is for it to possess the ability to make instinctual-based decisions like human beings do. There is a possibility that they will make their own decisions to create outcomes that are far different from the initial input. The possible instinct that they will eventually have and the impossibility of total perfection in a real-world application caused by other environmental input might thus create beauty that humans are unable to comprehend.F O O T N O T E
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F I G U R E S
Figure 1:
Zyga, L 2017, Self-driving vehicles at the microscale, Phys.org, photograph, viewed 15 August 2018, <https://www.nbcnews.com/think/opinion/will-robots-take-your-job-humans-ignore-coming-ai-revolution-ncna845366>
Figure 2:
Beqiri, R 2016, Architecture and Urban Planning in the age of Artificial Intelligence in an article by Rron Beqiri, Future Architecture Platform, image, viewed 13 September 2018, <http://futurearchitectureplatform.org/news/28/ai-architecture-intelligence/>
Figure 3:
Amelia, E, Celestine, 2018, image, Melbourne, Australia.
Figure 4-7:
Celestine, 2018, image, Melbourne, Australia.
Figure 8:
Google Deep Dream, 2017, image, California, U.S.
Figure 9-13:
Qiannan Ye, 2018, image, Melbourne, Australia.
Figure 14:
Sierzptowski, 2016, The Tessellated and Elaborately Detailed Ceilings of Iranian Mosques, photograph, viewed September 2018,
<https://www.thisiscolossal.com/2016/02/the-tessellated-and-elaborately-detailed-ceilings-of-iranian-mosques/>.
Figure 15:
Celestine, 2016, image, Melbourne, Austalia.
Figure 16:
Sun, C.Q, n.d, 'Functional Prototyping', Medium, viewed 22 August 2018, <https://medium.com/@chuanqisun/functional-prototyping-e1bc243b0707>
Figure 17:
Frearson, 2013, Zaha Hadid wins competition for Saudi Arabian metro station, photograph, viewed September 2018,
<https://www.dezeen.com/2013/05/16/king-abdullah-financial-district-metro-station-by-zaha-hadid-architects/>.
Figure 18:
AADRL, 2013-2015, AADRL BEHAVIOURAL PRODUCTION: SCL
<https://www.kokkugia.com/AADRL-swarm-printing-aerial-robotic-bridge-construction>.
Figure 19:
<http://www.michael-hansmeyer.com/digital-grotesque-I>.
Figure 20:
Amelia, E, 2018, image, Melbourne, Australia.
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