Concrete brick courtyard at Cafe Teri by Nameless Architecture with two facing buildings
CategoriesInterior Design

Nameless Architecture creates “artificial valley” at base of Gyeryongsan Mountain

Architecture studio Nameless Architecture has completed the Café Teri bakery in Daejeon, South Korea, in a pair of buildings that flow into a central courtyard.

Located at the foot of the Gyeryongsan Mountain in Daejeon, Nameless Architecture designed the two buildings to frame the entrance to a hiking trail that continues up the mountain.

Concrete brick courtyard at Cafe Teri by Nameless Architecture with two facing buildings
The cafe’s courtyard leads onto a hiking trail

The two rectangular buildings were angled, creating an outdoor space that narrows towards the mountain path. The three-storey building contains a cafe and the two-storey building opposite is a bakery.

“The artificial valley, where the distinction between the wall and the floor is blurred, creates a flow towards the forest and becomes the yard to the cafe and a path for walkers,” Nameless Architecture co-principal Unchung Na told Dezeen.

“We intended the building to become a path and courtyard that guides the flow of nature and visitors rather than blocking the promenade.”

Corner of Cafe Teri by Nameless Architecture with sloping walls
Concrete brick walls slope down into the floor of the courtyard at Café Teri

The 900-square-metre project was finished in concrete bricks, creating a rough texture on the exterior walls.

“The concrete bricks used to construct the architectural topography emphasise the continuity of the flowing space,” said Na.

“On the other hand, the facade wall made of rough broken bricks creates a difference of boundaries through the change of light, shadow, and time.”

Cafe interior with polished concrete walls and sloping wall with concrete brick steps
Nameless Architecture used concrete brick for the interior of the cafe as well as the exterior

The flowing exterior walls of the project are replicated inside the ground floor of a cafe, where the back wall of a double-height space curves down into stepped seating.

The floor, curved wall and stepped seating inside the cafe were finished in concrete bricks, and the remaining walls were finished in polished concrete.

“The fluid wall is continuous not only in the yard but also in the interior space, connecting the inside and outside scenery through a stepped space,” Na explained.

A backyard area features uplifted terrain that mimics the curved concrete brick walls of the cafe and bakery, which Nameless Architecture designed to provide a spatially interesting place for people to enjoy food outside.

Backyard of Cafe Teri by Nameless Architecture with uplifting elements from the ground
Nameless Architecture used curved walls to create a distinct “architectural topography”

The architecture practice designed the curved elements that appear to emerge from the ground with the aim of blurring the lines between what is wall and floor.

“The basic elements of architecture can be reinterpreted to induce various experiences and actions of people,” said Na.

“In particular, the two elements, wall and floor, are defined as fundamentally different architectural elements, but we tried to reconsider this strict relationship.”

Large glazed window showing the interior of Cafe Teri with sloping back wall of the cafe
The project aims to reinterpret how walls and floors are used as architectural elements

“The mutual relationship in which the wall becomes the floor, and the inside becomes the outside can be interpreted in various ways through the experience of the place,” Na continued.

Other projects recently completed in South Korea include a department store in Seoul with an indoor waterfall and skyscrapers with red-painted steel columns designed by Rogers Stirk Harbour + Partners.

The photography is by Kyung Roh.


Project credits:

Architect: Nameless Architecture
Principals-in-charge: Unchung Na and Sorae Yoo
Project team: Taekgyu Kang, Changsoo Lee and Jungho Lee

Reference

Will Artificial Intelligence Make Designers Redundant?
CategoriesArchitecture

Will Artificial Intelligence Make Designers Redundant?

Jet Geaghan is an Architect based in Woods Bagot’s Sydney studio. For Jet, every building should be conceived with purpose, expertise and wit. Clarity of communication is fundamental to his work, whether it be in a design gesture, construction detail, or cultural testimony.

Artificial Intelligence is the Frankenstein’s creature of the digital era. The possibility of the invention surpassing the inventor beguiles our collective imagination – conjuring emotions as far-ranging as hope, trepidation and even fear. Unnerving reports of a Google chatbot displaying sentience in June plays on our conscious, forcing us to consider the ramifications of an AI that fears us as much as we fear it.

The quickening pace of AI’s development is both alarming and exciting, fuelling speculation about our own obsolescence. It once seemed irrefutable – even amongst the pioneers of machine intelligence – that only humans could create art. Now, image generation AI like DALL E-2, Midjourney and Stable Diffusion use machine learning neural networks to create original, breathtakingly realistic images from a text description that would look as at home on a gallery wall as they would as concept images in an architectural bid (see fig.1).

These algorithms challenge humanity’s ownership of creativity as we know it, but they do not herald the designer’s last days. Instead, AI will be harnessed as a powerful tool that (1) allows for time better spent and (2) unlocks new dimensions of creative ideation. Both functions will synthesize the role of the designer towards a more productive, augmented future.

Time Better Spent

Using real data from Woods Bagot timesheets over the period of one year, this diagram postulates the gains in productivity that AI could provide by automating repetitious tasks across different project phases. The time freed up could be funneled back into meaningful design tasks – resulting in better use of resources and better outcomes for clients and end users.

The history of technological advancement is defined by massive leaps forward that have seen time-consuming, repetitive processes automated, fundamentally changing what humans can produce. AI continues this tradition by rapidly becoming more affordable and higher performing. Stanford University’s 2022 AI Index Report shows that the cost to train an image classification system has decreased by 63.6%, while training times have improved by 94.4% since 2018. The result of the swift development of AI is that designers – hired for their creative reasoning and expertise – could be freed from the bonds of mundane tasks.

These were developed with DALL-E 2 in a 20-minute timeframe, using variations around the prompt ‘feature lobby staircase with soft background lighting at night.’ Rather than generating a design, AI generated images help to quickly explore mood, materiality and character for early concepts.

In our inexorably visual world, AI like DALL E-2, Stable Diffusion and Midjourney streamline the image-making process. Today’s design concepts are expected to be communicated with photorealism and multi-dimensional dynamism for clients or buyers to assess. For designers, image production is a painstakingly meticulous and lengthy process, requiring precision and ingenuity in equal parts. Image generating AI, which produces beautiful visuals in minutes, dampens these pressures.

Even the smallest amendment to existing imagery can take many hours in human hands. With careful design supervision, an algorithm can produce sketch-like illustrations of space and mood in minutes. Here is an image of an abandoned power station placed next to an image of that space reimagined with DALL-E 2 as a contemporary hotel reception celebrating its industrial history.

These new tools give designers a speedy visual foundation on which to build an aesthetic, while still allowing them the depth of inquiry and emotional reasoning pivotal to the development of strong design concepts. The process of drawing a design unveils as many problems as it does solutions – image generating AI allows designers to arrive at the problem-solving stage quicker.

Unlocked Creative Ideation

AI presents a radical new method for exploring ideas that are liberated from the distraction and friction of architectural realities. Through these new methods of discovery, we see creativity redefined as something shared with AI.

Visions of New York City in an alternate future, created with DALL-E 2 (left) and Midjourney (right).

Unembarrassed and unencumbered by accepted strictures, image generating AI tests the bounds of convention by producing limitless possibilities. Though more whimsical than workable for now, these fresh visual takes on design briefs see AI push creative ideation – creating room for the unexpected. By providing DALL-E 2 with a number of text prompts we’re able to see a New York City in an alternate future – its iconic brownstone and leafy Central Park reimagined in entirely novel configurations.

This exploration challenges human assumptions of creative authorship, reframing it as something shared with AI. Though the ruling has since been overturned, the Australian Federal court’s 2021 decision to permit AI systems to be named as the inventor on Australian patent applications is a strong indicator of this incoming overhaul of our understanding of creativity.

Designers develop new ways as well as new things. The future will see designers explore the potential of using AI to improve working processes – unburdening their talent for exploration of ideas, testing, decision making and evaluation. Visualisation tools are already used for testing the success of different materials or geometries before committing to their application, or to measure variables like acoustics, daylighting and airflow. As it develops, AI of this ilk can clarify these judgments – making for easier decision making and better built outcomes.

Here is a photograph of the 275 Kent Street redevelopment, Sydney. Below is a DALL-E 2 interpretation of the key parameters of the brief.

What this comparison illustrates is that, while compelling, this tool cannot digest important factors like context, functionality or human experience. AI imagery cannot replace the understanding, inquiry and decisions of a designer.

AI’s capacity for the testing of ideas is demonstrative of how it will revolutionize workflow and electrify the creativity of design practitioners. Yet it is the directing and evaluating of ideas that requires human judgement to drive the preferred outcome. Design is decision-making, and that remains inherently human.

An Augmented Future

The evolution of AI and design move in tandem. Rather than be replaced, the next generation of designers will be collaborators with AI. This necessitates a new skillset: the adaptive reasoning to evaluate and synthesize the work of machines and a fluency in the computational logic that underpins AI creativity. The designers of the future will focus on creative investigations that require appraisal, interpretation, and sophisticated empathy – such as how a building connects with its site, the cultural ramifications of manufacture or construction, the lived experiences of inhabitants, communities and visitors and the ongoing strain on climate, ecologies and finite resources.

The role of designers has always evolved as new instruments have emerged, but the vitalness of a distinctly human judgement to wield these instruments remains the throughline. To deliver empathetic, reasoned designs, AI needs the human-hand. Likewise, for unrestrained ideation and visual streamlining, delegating to AI will become a necessity in the competitive architectural marketplace. This reciprocal relationship that makes AI a tool that will develop alongside its trade, not one that will leave it behind.

 How can architecture be a force for good in our ever-changing world? During Future Fest, we’ll pose this question to some of the world’s best architects. Launching in September, our three-week-long virtual event will be 100% free to attend. Register here!

Reference

'Artificial photosynthesis’ could be the future of food
CategoriesSustainable News

‘Artificial photosynthesis’ could be the future of food

Spotted: Through photosynthesis, plants convert water, carbon dioxide, and energy from sunlight into sugars that they use to grow biomass. This process has been the basis of the food chain for millions of years, yet it is surprisingly inefficient. In fact, only about one per cent of the energy found in sunlight actually ends up in the plant. Now, scientists at the University of California Riverside have found a way to improve on mother nature by bypassing biological photosynthesis entirely.

The research team used a special type of electrolyser—a device that uses electricity to obtain useful molecules from raw materials—to convert carbon dioxide into a substance called acetate. Plants can directly consume this substance to grow, without the need for photosynthesis. The team used solar panels to generate power for the electrocatalysis.

The artificial system converts sunlight into food far more efficiently than biological photosynthesis. And experiments have found that mushrooms, yeast, and green algae could all be grown in complete darkness using the electrolyser-derived acetate. Producing algae with acetate was four times more energy efficient than producing it through photosynthesis. Yeast does not photosynthesise and is normally cultivated using sugars from corn. Cultivating it with acetate, however, was 18 times more efficient.

The technology could be used to create ‘food factories’ that are entirely independent of sunlight. This would enable crops to be grown in locations where sunlight is scarce, such as underground or in space. The research is still in its early stages, but the potential applications of the technology are numerous.

Springwise has spotted other innovations featuring photosynthesis including an algae-powered microprocessor, technology that supports growth through CO2 captured from the air, and a wastewater system that uses a process similar to photosynthesis.

Written By: Katrina Lane

Website: ucr.edu

Contact: ucr.edu/contact

Reference