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Human vs. Machine: Striking the Balance With AI in Architectural Design
CategoriesArchitecture

Human vs. Machine: Striking the Balance With AI in Architectural Design

By Zarkon Group,

Architizer’s Tech Directory is a database of tech tools for architects — from the latest generative design and AI to rendering and visualization, 3D modeling, project management and many more. Explore the complete library of categories here.

‘Will artificial intelligence (AI) replace architects?’

This question has been at the forefront of several discussions that have been vibrantly presenting many dystopic scenarios where big data, algorithms and machine learning will eventually replace human creativity and intuition. However, AI technology existed long before the AI bloom, rarely causing excessive panic within creative fields. So why is AI technology suddenly so threatening to the architectural profession?

Looking back at science fiction movies, AI was oftentimes presented as a human avatar that could accomplish assignments, make calculations and provide insightful information in unprecedented speeds. Nevertheless, it never performed extremely creative tasks. It was always depicted as a trusted artificial “advisor” capable of processing large amounts of data and automate complex procedures.

When platforms such as Midjourney, DALL-E and Stable Diffusion were introduced to the world, the creative skills and intuition necessary to visualize spaces and settings were abruptly redefined. Consequently, AI technology became a tool for generating impressive compositions and rapid design prototyping through the use of simple text prompts, eliminating the need for manual drawings or an overall architectural knowledge.

At the same time, a different set of tools was developed. AI apps such as qbiq and Laiout have the ability to process data, thus optimizing building sustainability and offer design solutions that are in accordance with local building codes. This type of AI software follows the more familiar pattern of speedy data processing, resulting in designs based purely on logical thinking. For the architectural profession, making this distinction between “creative” and “logical” AI algorithms is crucial.

Architizer’s new Tech Directory aggregates tech tools for architects, allowing you to search, compare and review AI softwares before selecting which to you in your next project:

Explore Architizer’s Tech Directory

On the one hand, even though “logical” AI tools are able to generate countless design iterations based on predetermined parameters, they lack the nuanced understanding of cultural context, emotional resonance, and human experience. There’s also a risk of homogenization, where buildings designed by AI algorithms may lack the diversity and richness that stem from individual human perspectives and cultural influences. Another challenge lies in the inherent biases embedded within AI algorithms.

Machine learning models are trained on historical data, which may reflect societal biases and perpetuate inequalities in architectural design. Without careful oversight and intervention, AI algorithms could inadvertently reinforce existing biases related to race, gender, socio-economic status, and accessibility, leading to inequitable outcomes in the built environment. Admittedly, the risks associated with data-driven AI technology and architectural design are well-known and somewhat obvious. In such a subjective discipline, logic alone is not enough to create spaces that are truly regarded as pieces of architecture. Design is partially an instinctive process that is unique for each individual architect and cannot be replicated by any intelligent machine.

“Creative” AI algorithms, however, pose a different type of challenge since they bring an ‘unpredictability factor’ to the table. Instead of relying purely on data, text-to-image generators produce designs based on subjective (human generated) prompts. Instead of spending numerous hours sketching, drawing and model making, “creative” AI apps can generate countless concepts in a matter of seconds by simply feeding them client briefs. Nevertheless, while they seem ideal for producing impressive concepts for early stage design, the images they create are fairly fictional. Ironically, they lack data.

Even during the initial brainstorming phase, architects do consider an array of objective as well as subjective information regarding their project. From climatological site conditions to potential present or future occupants and even immaterial data such as past histories, myths or cultural norms. This framework of complex interrelationships becomes the blueprint for designing for specific sites, people and cultures, adopting a holistic approach towards proposing creative and innovative solutions.

There is no doubt that both “logical” and “creative” AI algorithms have become ‘trusted advisors’ for many architects. “Creative” AI tools are ideal for showing design intention, representation and visualization. In other words, they bridge the communication gap between architects and clients. In parallel, “logical” AI tools can rapidly access and process information such as planning codes or material specifications and energy reports. During the technical and construction stages, many AI apps can automate processes and produce standardized drawings seamlessly and with minimal effort.

In short, both types of AI tools are two sides of the same coin, showing both promise and peril. Still, as long as architects are aware of AI limitations, integrating the technology into their workflow can provide valuable insights and inspiration, inform decision-making and ultimately enhance the practice of architecture. Architects have always been the mediators between logic and creativity, with AI being no exception. This paradigm shift presents an opportunity as well as a challenge, which — if navigated correctly — will enable architects to focus on what they do best: creating innovative, human-centered and culturally significant spaces.

Architizer’s Tech Directory is a database of tech tools for architects — from the latest generative design and AI to rendering and visualization, 3D modeling, project management and many more. Explore the complete library of categories here.

Reference

edition office’s fenwick homes balance concrete & delicate copper
CategoriesArchitecture

edition office’s fenwick homes balance concrete & delicate copper

By Zarkon Group,

fenwick st: design-focused homes for hew, australia

 

Melbourne-based architecture studio Edition Office presents Fenwick St, a newly completed residential development situated on the edge of the Birrarung/Yarra River in Kew, Australia. This location offers unobstructed connections to breathtaking landscapes rarely found in such close proximity to the city. With the site surrounded by well-preserved 1950’s and 1960’s post-war houses, the architects sought to create the concrete complex as a contextually sensitive addition that balances density with visual porosity, while ensuring a connection to the lush natural surroundings.

edition office fenwickimages © Rory Gardiner | @arorygardiner

 

 

a trio of residential pavilions

 

To maintain a strong connection to the distant vista while preserving the link between Fenwick St and the public realm, Edition Office emphasized drawing these connections deep into the plan and through the site to the street. In order to achieve this, the architects designed three visually independent pavilions rather than a single large structure. This approach allowed for a balance of similar scaled forms with neighboring houses and enabled the framing of views within the site itself.

 

The pavilions, connected by a common basement, were strategically positioned to optimize the site’s characteristics. Located at a sharp bend in the street, the split between the pavilions occurs at the fulcrum, creating a dynamic arrangement. As the pavilions extend past the site, they lower in scale at the street level, aligning with the neighboring residences, while gradually increasing in height as they integrate with the terrain leading to the escarpment.

edition office fenwick
nine new dwellings are created on a site that previously accommodated only one

 

 

edition office Integrates the lush landscape

 

The living spaces within Fenwick St were carefully planned to open towards the north, the river, and the valley, allowing the distant landscape to become an integral part of the internal experience. Circulatory paths were strategically designed to draw the surrounding environment deep into the plan, while bedrooms and ancillary spaces opened to the green spaces between pavilions, offering views through a copper mesh privacy veil. This nature inspired the team to blend the architecture into into its surroundings, with landscape designed by Eckersley Garden Architecture.

 

The need to anchor the building into the site led to a construction that appears rooted to the ground. By slightly shifting and rotating each floor plate, movement was introduced to the shear walls, softening the overall mass and scale. Copper screening was used to bring delicacy to the purposefully heavy pre-cast concrete construction, with the screens expected to age gracefully over time.

edition office fenwick
copper screening delicately balances the heavy pre-cast concrete construction

 

 

In addition to connecting with the landscape, creating light-filled private spaces filled with comfort and attention to detail was a key driver for Edition Office in the design of Fenwick St. Flack Studio, responsible for the interiors, imbued the spaces with warmth, calmness, and moments of dramatic nuance. Material tactility and the evolving patina of surfaces, such as the weathering copper screens and the maturation of the surrounding gardens, added depth and character to the interiors. The careful craftsmanship of junctions and thresholds enhanced the joy of navigation throughout the spaces.

edition office fenwick
the complex takes shape as three visually independent pavilions rather than a single large structure

 

 

The project brief called for the creation of nine new dwellings on a site that previously accommodated only one. In order to respect the immense environmental and cultural value of the location, Edition Office aimed to minimize the perceived mass of a single large volume. Instead, the design resulted in three distinct forms that conform to the domestic patterns and scale of the existing streetscape. These wedge-shaped pavilions meet at their narrowest points, creating moments of architectural exuberance and unobstructed sight-lines both within the site and towards the horizon.

edition office fenwick
the environment is drawn deep into the plan, while interiors open to the in-between green spaces



Reference

Eight interiors that strike a balance between rustic and contemporary
CategoriesInterior Design

Eight interiors that strike a balance between rustic and contemporary

By Zarkon Group,

For our latest lookbook, Dezeen has selected eight examples of rustic yet contemporary interiors, including but not limited to an apartment in Sao Paulo and a Tuscan boutique hotel.

Rustic interiors have a strong focus on natural and aged materials as well as traditional wooden or stone furnishings.

These material choices are often used to create a homely and welcoming atmosphere that is somewhat reminiscent of a farmhouse style.

From an inn with nautical-leaning decor to a mid-century home in Joshua Tree, here are eight examples of how interior designers are bringing rustic design tropes into the 21st century.

This is the latest in our lookbook series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring wood-panelled dining rooms, statement headboards and homes with pergolas.

Villa Kuro by Mini Inno
Photo is by Stanley Yang

Villa Kurno, US, by Mini Inno

Los Angeles interior design studio Mini Inno renovated this mid-century ranch-style home in Joshua Tree National Park and converted it into a holiday home.

The studio opted for a neutral interior scheme that serves as the background for various wooden furnishings and fixtures.

Wood beams were left exposed across the ceiling of the living area while wooden barstools, shelving and cupboard doors are contrasted against the white-painted walls and floors.

Find out more about Villa Kurno ›

Monteverdi Tuscany boutique hotel by Michael Cioffi and Ilaria Miani

Monteverdi Hotel, Italy, by Michael Cioffi

Located in a hamlet in Val d’Orcia, a UNESCO World Heritage Site in Tuscany, Monteverdi Hotel was transformed from a crumbling building to a 29-room hotel over a 14-year renovation.

Materials and finishes throughout the interior were chosen for their textural quality and walls feature uneven surfaces with indents and niches. Salvaged wood was used for ceiling beams, timber archways and closet doors, which were constructed from old farm doors.

Find out more about Monteverdi Hotel, ›

Captain Whidbey Inn
Photo is by Alexander Ribar

Whidbey Inn, US, by Mike and Matt French

Mike and Matt French collaborated with friends and local designers to update this historic inn on Widbey Island near Seattle.

The team renovated the property, which was built in 1907, and decorated the interior with a contemporary yet rustic approach with subtle nautical influences. Wood panelling in various shades was used across the interior and paired with timber furnishings.

Find out more about Whidbey Inn ›

Carriage House by Workstead
Photo is by Jeff Holt

Carriage House, US, by Workstead

This home is set inside a converted kitchen house in South Carolina – a small outbuilding that was originally used to prepare food for the main residence.

Workstead decorated its interior using an imperfect approach that saw the US studio make a feature of exposed, paint-splattered brickwork and crumbling plaster walls.

In one of the home’s living areas, cypress and woven cane cabinets with an integrated window seat were built around a window, extending from the wooden floors up to the white-washed ceilings.

Find out more about Carriage House ›

Interiors of La Ganea restaurant, designed by Studio Mabb
Photo is by Carola Merello

La Ganea, Italy, by Studio Mabb

A material palette of plaster, timber and iron defines the rustic interiors of this restaurant in Brescia, Italy, which was designed by interiors practice Studio Mabb.

The former farmhouse dates back to the 16th century and was renovated to have a simple aesthetic with earthy components. Large wooden beams stretch across the ceiling above a tiled floor and grey-washed walls while dark wood and iron furnishings complete the moody atmosphere.

Find out more about La Ganea ›

Tea House Italy by Lorenzo Guzzini
Photo is by Giorgio Marafiot

Japanese tea house, Italy, by Lorenzo Guzzini

At this home on Lake Como, which was informed by Japanese architecture, materials were chosen for their likeness to the surrounding nature and the vernacular architecture of the historic village of Dizzasco.

Textural wall finishes in earthy tones and stone-lined floors were combined with exposed wooden ceilings, pine skirting boards and doors in an effort to reference the rustic look of traditional tea houses.

Find out more about Japanese tea house ›

House V designed by Martin Skoček
Photo is by Matej Hakár

House V, Slovakia, by Martin Skoček

Slovakia-based architect Martin Skoček used salvaged and time-worn materials in the interior of this gabled home near Bratislava.

Bricks walls are exposed in the open-plan living area at the centre of the home beneath a wood-gabled ceiling that spans the entire length of the space.

Contemporary additions such as a steel breakfast island and oak storage wall anchor the kitchen area, providing a contrast with the raw brick walls and wooden ceiling.

Find out more about House V ›

GM Apartment by NJ+
Photo is by Fran Parente

GM Apartment, Brazil, by Nildo José Architects

Brazillian studio Nildo José Architects highlighted many of the existing architectural features when renovating this two-bedroom apartment in a condominium tower in Sao Paulo.

The interior scheme draws on a more contemporary idea of rustic, using exposed concrete elements combined with bleached wood and glazed tiles.

“The kitchen is open and funky, blending rustic and modern with colours, design and materials,” the studio said.

Find out more about GM Apartment ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring wood-panelled dining rooms, statement headboards and homes with pergolas.

Reference

wasp’s 3D printed itaca ensures off-grid living & ecological balance
CategoriesArchitecture

wasp’s 3D printed itaca ensures off-grid living & ecological balance

By Zarkon Group,

Itaca: the self-sufficient and eco-sustainable 3D printed house

 

Italian 3D printing company WASP introduces Itaca, a self-sufficient and environmentally sustainable 3D printed housing model. The project is based on the thesis that on Earth, a space of 33 meters in diameter can provide sufficient living environment for up to four people, if specific knowledge and technology are applied. The endeavor aims to make a core of four people (two adults and two children) independent and enable them to live off-grid, without electricity, water, gas, and sewer connections. The inventors hope that Itaca will also lead to innovations in the colonization of the Moon.

 

‘Getting a place as harsh as the moon to be inhabited is hard to imagine, but science says it can be done. Why don’t we apply the same technologies here on Earth, to get even the most extreme environments to be hospitable?’, says
Massimo Moretti, CEO of WASP.

itaca eco-sustainable 3D printed house ensures off-grid living in a 33-meter diameter
Itaca is a self-sufficient and environmentally sustainable 3D printed housing model | all images courtesy of WASP

 

 

food, water, energy, and economic self-sufficiency

 

The Itaca model is 3D printed by Crane WASP using natural zero-kilometer materials. The concept is to apply the knowledge and digital fabrication necessary to create a space that improves the quality of life in areas where water, food and industrial facilities are scarce. The applied technological solutions lead to an optimized circular microeconomy that allows independent, off-grid living while maintaining ecological balance. The team at WASP has already acquired a plot of land near Bologna where the first Itaca will be built over the next year. Itaca is an educational project, an open-source laboratory in which anyone can participate.

 

‘For us at WASP, Itaca represents a path towards food, water, energy, and economic self-sufficiency. A proposal for a solution to the social, energy, climate, and mass migration crisis. For us, digitization and 3D printing are a response to the needs of humanity.’ Massimo Moretti mentions.

itaca eco-sustainable 3D printed house ensures off-grid living in a 33-meter diameter
Itaca proves that a 33-meters diameter space can provide a sufficient living environment for up to four people

itaca eco-sustainable 3D printed house ensures off-grid living in a 33-meter diameter
the Itaca model is made of natural zero-kilometer materials

itaca eco-sustainable 3D printed house ensures off-grid living in a 33-meter diameter
the applied technological solutions lead to a circular microeconomy maintaining the ecological balance

itaca eco-sustainable 3D printed house ensures off-grid living in a 33-meter diameter
the Itaca model will be 3D printed by Crane WASP

project info: 

 

name: Itaca
designers: WASP

myrto katsikopoulou I designboom

nov 17, 2022

Reference

Material Trends: “Eunomia” Depicts a Bold Future of Design in Balance With Nature
CategoriesArchitecture

Material Trends: “Eunomia” Depicts a Bold Future of Design in Balance With Nature

By Zarkon Group,

A new series of reports on macro design trends reveals fascinating insights into the direction in which architects and designers are traveling — and harmony lies at the heart of the first publication. In collaboration with The Prospectivists and Broadside Studios, material research and resource platform Material ConneXion has released its first major trend report, entitled Eunomia, which can be interpreted as “Fair Measure or the Good Norm.” Originally coined for a period of societal reform in Ancient Greece, Eunomia aimed to impose harmonic rules to counterbalance the consequences of human excess.

Learn More and Access the Full Report

This macro trend has clearly been catalyzed by the global pandemic. “As a reaction to months of lockdown, the fascination for the great outdoors, wellbeing and extreme sports have become deeply rooted in urbanized populations that increasingly aspire to experience a very specific and direct relationship to Nature,” states the report.

This phenomenon is linked with a rise in subcultures that recognize and embrace society’s interdependence with the natural world, developing new systems and products that are deeply informed by biological systems. Eunomia presents a diverse range of case studies to illustrate how this trend can be seen in action, from tree-bark-inspired wearables and moss-covered furnishings to bacteria-grown paint and 3D-printed waste wood tiles — complete with in-built planters.

Eunomia’s themes evoke images of numerous projects from last season’s A+Awards, including The Living’s “Alive” installation, which won a Finalist accolade in the Experimental Design category. “Alive” is an experiment in multi-species architecture: a room made of porous, organic material with both macro-spaces for humans and micro-spaces for microbes, with interfaces for exchanges among different species. Photos courtesy of The Living

For architects, the report is a veritable goldmine of inspiration. Biophilic design, resilient architecture, eco-conscious materials and sustainable construction processes are all touted within the ‘Innovation Concepts’ section, with stunning case studies of these concepts being put into practice. Standout examples include Casa Merida, a house designed by Ludwig Godefroy to “withstand the local climate, using locally sourced materials and traditional Mayan features: tall air paths and punctual green areas freshen the circulating air, providing a natural cooling sensation.” 

Meanwhile, Tanya Rey’s Verdant Project presents 3D-printed ceramic columns that are designed to allow moss to grow across every surface, forming a new type of architectural ‘coating’ that blends manmade materials with nature. Additionally, Brigitte Kock and Irene Roca Moracia’s “bio concrete” material is made from invasive species such as Japanese knotweed and American crayfish, providing an “example of how polluting building materials can be transformed into new ‘economic and ecological’ value enhancing natural aesthetics, while helping to restore local biodiversity.”

The report brings to mind projects such as Querkraft Architekten’s A+Award-winning Austrian Pavilion for the 2020 Dubai Expo. Combining local building traditions and intelligent Austrian climate engineering, a series of 38 clay plaster cones enables conventional air conditioning technology to be largely avoided, saving three quarters of the energy needed for a comparable building. Photo by Dany Eid/Expo 2020 Dubai

The report wraps up with ‘Design Ideations’, a series of vibrant, complex mood boards tied together along both aesthetic and thematic lines. These diverse yet cohesive palettes should provide architects and designers with fertile ground for continued exploration of the concepts found throughout the report. The biggest takeaway? The power of Nature is only building, and creatives must surely work with it — rather than against it — in order to thrive in the upcoming decade.

To see the full trend report and receive new material insights each month, become a member of Material ConneXion. Learn more >

Top image: Austrian Pavilion for the 2020 Dubai Expo by Querkraft Architekten

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