Data and its visualisation have been an important part of architectural design practice for many years, from data-driven mapping to building information modelling to computational design techniques, and now through the datasets that drive machine-learning tools. In architectural design research, data-driven practices can imbue projects with a sense of scientific rigour and objectivity, grounding design thinking in real-world environmental phenomena. Nery Oxman’s “material ecology” is an emblematic example of this phenomena. Oxman defines this expression as “an emerging field in design denoting informed relations between products, buildings, systems and their environment”. The architect uses the term “informed” referring to information and therefore alluding to matter’s inner structure.

Pasquinelli and Joler suggest that “automation is a myth”, because machines have never entirely operated by themselves without human assistance, and might never do so. Subsequently, here rises the paradox that “the desire to eliminate human labour always generates new tasks for humans” and this shortcoming “stretched across the industrial era”. Despite being confined within the architectural profession, architectural authorship is subject to change in parallel with the alterations of labour tasks. This problem has also been addressed in the TP field and promising results have been achieved in the conversion of bi-dimensional shapes into algorithms . However, further work is required to recognise 3D shapes, namely 3D shapes of varying semantics, since architects can use a myriad of digital design tools to produce their models, such as CADs, BIMs, or game engines. Figure 8 presents an ideal scenario, where the ARS is able to extract an algorithm that can generate an identical model to that being extracted.

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Technological developments have induced the parallel discourse of the bond between ethics, exploitation and data. Advancements in technology have allowed for a contemporary form of resource extraction and appropriation, normalising the extractive practices of data resources from users, often without their knowledge. Through our increased dependence on technology and connected devices, we are faced with the ubiquitous effects of an algorithmic mode of governance operating on predictive processes that limit our options and control our choices. Indeed, data provides progress and development while simultaneously controlling, governing and abandoning. The algorithmic influence creates new concentrations of power in the hands of institutions and corporate entities that own and collect data.

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I employ this theory to discuss architectural authorship for two purposes. In our example , the refactored algorithm shown below has a better structure and readability but is still in an infant state of parametricity. As a next stage, we could start by replacing the numerical values proposed by the refactoring tool with variable parameters to allow for more variations of the sinusoidal movement.

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Set of base images with which the GAN trains by identifying patterns and thus learning their behaviours. In our case, the dataset is based on a set of possible biome location maps based on proximity to water sources and highways. We consider that the project lays the foundations for a continuation of ideas on agropalatial architecture and post-anthropocentric architecture, from which all kinds of new formal and material realities will come about. And in its wake, it generates a landscape of canyons and palaces that, in the interplay of reflections and translucency of water and glass, allows us to glimpse the ecological chaos of coexistence within.

First, the visionary project Flatwriter by the Hungarian architect Yona Friedman proposed a scenario in which users can choose their preferred apartment plan from several patterns of spatial configurations, locations, and orientations. Based on their preferences, they would receive optimised feedback from the system (Fig. 9). This optimisation process would consider issues concerning access to the building, comfortable environments, lighting, communication, and so on. Given that it rejects chaos and uncertainty by adjusting users’ selections for certain patterns of order and layout, this user-computer interaction system is essentially an application of first-order cybernetics, as Yiannoudes argued.

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By contrast, the ways in which the parts are arranged/structured (e.g. repeated, stratified, grouped or ordered) do not matter. Before considering how it is possible to argue in favour or against this blindness to structure, it is useful to be a bit more precise on how structure is construed in this context. A theory of parthood and composition can countenance or obliterate various aspects of structure. This depends on whether, in a certain theory of parthood, certain principles of structure obliteration hold or not. These principles are interesting because they are of help in distinguishing various aspects of structure.

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Loukissas proposes “learning to analyse data settings rather than data sets”. The term “data set” evokes a sense of the discrete, fixed, neutral, and complete, whereas the term “data setting” counters these qualities and awakens us to a sense of place, time, and the nuances of context. The field emerged from the work of Kate Crawford and danah boyd, who in 2012 formulated a series of critical provocations given the rise of big data as an imperious phenomenon, highlighting its false mythologies. Rob Kitchen’s work has appraised data and data science infrastructures as a new social and cultural territory. Andrew Iliadis and Federica Russo use the theory of assemblages to capture the multitude of ways that already-composed data structures inflect and interact with society. These authors all seek to situate data in a socio-technical framework from which data cannot be abstracted.

These bodies form a collective, a collective-like queerness, that challenges the Species-Body aesthetically. See, for example, the projects of the landscape architect Julie Bargmann and her D.I.R.T. studio. Decentralisation is, of course, a core principle within the blockchain sociotechnical understanding, in the sense that participation in a blockchain is not regulated by institutions nor gatekeepers. amateur community The most architectonic metaphor of the poem takes place after the battle, at the moment Penelope needs to recognise her long lost husband, in rhapsody “Ψ”, i.e. the penultimate poem of Odyssey. She calls for a servant to move Odysseus’s bed outside its chamber and to prepare it so that he can rest. Upon hearing that, Odysseus immediately reacts in fury, claiming that moving the bed is an impossibility.

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