Artificial Intelligence & Architecture

[usarender]

STEP I

The New Language of Architecture and Artificial Intelligence

The Logistics of ArcHiTecTural ThougHt -->>

1. A Problem. Fixed as determined by client.

2. A context. Fixed as determined by the constraints.

3. A function. Fixed as determined by the client or user's needs.

4. A concept. Variable. Example"Des-integrate and re-structure mental energy".

5. A form. "Voyla". Variable.

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-This thought process up till now had not been clearly seen, clearly expressed by Architects and designers. Rather, it has always been implied. Now that it has been clearly stated, we have a clear framework to use ! This is revolutionary in my view ! When we create a framework such as I have clearly stated, we thus have an universal model we can use in application. With this model, everything becomes clear, except the item CONCEPT ! This becomes clear only by experience.

-The trick now is for non-designers to understand the idea of concept, since it may seem subjective or equivalent to the popular use. This is not exactly the case in the design arena, as we have shown.

CONTEXT

-One cannot really be creative with context. Context establishes the parameters for the design. It may bring in subjective statements, as defined by the person elaborating the problem, or by client requirements. It is not necessarily in the control of the designer. So to ask how to be creative with context may not be applicable to architecture. Unless, of course, the architect is give a "blank sheet of paper" to create a project on. This is rarely the case in the real world. There are always a multitude of constraints.

FORM

-The element form will determine how one's concept is embodied into a technique, material. These can be defined by the context, if it so requires, or can be determined as the architect sees best fit. But the materials are not necessarily a part of the LINGUISTICS of architectural thought. They can be included in the statement of intent but most likely will not in most cases, as in the traditional CONCEPT.

-Now, one of practical mind would simply think linguistics with no materials does not make sense, but this is seeing it from an artisan point of view, one who is oriented towards the practical side of things, the skills and techniques to use. Architects must keep all this in mind, but this is can be defined all along the way, in the steps above, or determined in the FORM. So these decisions or statements need not necessarily come into the item "concept", or better, LANGUAGE we use to state the intent and directive for our design.

On Vocabulary and Language of Architecture

Vocabulary alone does not define the Language of Architecture. The Language can carry and express the content, and the vocabulary expresses the words one chooses which can be related to architectural ideas. You asked what that new Language and Vocabulary should be, and it has been explained in the samples above. It is very simple to refer to our Language and Vocabulary and much more clear and direct then the abstract idea "concept", which has led to great confusion in the field of architecture. All we need to do is create our Language and Vocabulary of architecture and express it. There is no need for all this confusion on "concept".

THE FLOW OF INTELLECTUAL THOUGHT

-If the flow of intellectual thought is left unabated, undisturbed by emotional reactions, it can flow as a river, as I have proven to show. It is when the tension of contradiction, questioning and ridicule enter the scene, in attempts to sabotage one's point or thread of thought, that the problems begin to arise.

We are not asking for all to agree with our points. We only ask others to not keep trying to undermine the fluid nature of our thought by interjecting emotional responses that do not fully understand the theories and ideas being proposed.

Rather then attacking or suggesting error, it would be more productive to ask the individual stating the postulation to further clarify himself. Presumption is a dreaded disease.

If we base our ideas, interpretations on our pre-conceived ideas, we are bound to enter a heated debate based on our pre-elaborated world views.

WE NEED AN OPEN MIND THAT ALLOWS FOR A FLUID, LIQUID, PROGRESSIVE THOUGHT PROCESS TO UNVEIL A NEW UNIVERSE OF POSSIBILITIES.

Mr. Nelson

-Inventor, Architect, Artist, Scientist, Writer, Poet, Mechanic, Musician, Philosopher, Researcher.

"The theory of Gravitational Kinnetics of Motion".

"Terrestrial Transportation System X".

"The Gravitational Cancellation Theory".

"Energy States and Their Relation to Renewable Energy".

"The Model of an Atom as a Source of Renewable Energy"

"Magnetic Cancellation Theory".

"A Blue-Print For the Computer of the Future"

"The New Internet and Data Transmission System"

"The New Global Connectivity Platform"

Scientific theory with a universe of possibilities in mind.

"Concept Follows Context"

Our greatest strength is not in our individuality of effort, but in our unity of ideas, global connectivity and force of mass collaboration.

Those who fight this global power will be left in the ruins of post-technology civilization.

We have, then, in a new application ----->>>>

The Logistics of ARchiTectural ThougHt ------->>>>

1. A Problem. A global world of mass exploitation by a few global players.

2. A context. A Fractured world of poverty, misery and war.

3. A function. To enable the global community to run the show.

4. A concept. "Des-integrate and re-structure mental energy".

5. A form. Born. Project Liquid Universe.

Liquid Universe

It speaks for itself.

The world will listen. The world, will never be the same.

The Global Pyramid - The Source

The Global Pyramid Part II

The New Structural Gate to Space

Magnetic Cancellation Theory

THE GATEWAY TO THE SKY

The New Language of Architecture

Intelligent Design

[usarender]

Language is at the core of sensible imagination. If we can create a code of language, we in essence can create a world. Take the example of a writer of the series of fantasy stories. He creates a new language, a new code and thus creates a universe of thought that leads to concrete form.

If we brake this down into it's relationship to science, we end up with -->>

1. Pre-existing eternal mystery, ultimate sublime pre-existing thought, the order of the universe, the pre-existing eternal force. This is contained in an intelligent spiritual being. This leads to -->>

2. Reason, thought, logic. This logic creates "LANGUAGE"

3. LANGUAGE gives birth to energy, which gives birth to encoding of energy into FORM.

4. This form produces a substance of a SHAPE.

5. This shape can be described as a language of codes that gave birth to this shape.

So all the other elements fall somewhere in the spectrum.

We have all the building blocks in the universe.

An intelligent being - related to THOUGHT, LANGUAGE, ENERGY, FORM

Thought - gives birth to LANGUAGE. Language creates energy -->>

Energy - the building block of time and matter.

Time - a equation of the motion of energy.

We can see light is actually a form of energy.

So if we have E=MC2

Energy equals Mass times the speed of light square.

We are in essence saying energy equals mass times the time it takes energy to transverse space, which is the building block of mass.

It would be better to say

Energy = Mass x the time it takes for energy to transverse the space between the eternal and the spatial limitation of it's containment.

E = M(TimeofTransversalOverContainedSpace).

or

E = M (T of transversal of the energy over the limited space)

Thus, when we release atomic energy, our energy will be a function of the limited mass in relation to the time of transversal of this mass over space until it transforms itself completely into energy).

Thus, energy is in a sense eternal if mass is present in some form.

Without energy we do not have time.

Time is due to the movement of energy in space.

So in essence we have

Time = energy times speed of the speed of light divided by the Mass of the Universe

T = Ex(C/M)

Or, the speed of light distributed over the mass of the universe produces time.

So, from this, we have -->>

Ex(C/M) = T

We know the speed of light is almost infinite. Mass is finite. Energy is finite. So in this equation, only time is infinite, as long as mass and energy are present. When mass and energy cease, time would cease. But in reality, energy never ceases, so therefore time never ceases. It only re-constitutes itself into matter. Thus, we have found a relationship between time, energy and God. All these 3 seem eternal. God is before time, he is before energy, he is eternal and gave birth to energy and time, under this model.

So we can see if we have Time, combined with Energy, we have an almost infinite speed in which this energy can transpose itself over the mass that contains it.

Time is possible by this movement of energy.

So we must create a new formula -->>

E =

T
_______
C/M

Matter - an equation of the motion of energy and time.

Reformulated, we have

E = TM/C

In this formulation, time is an almost infinitely large number. It is a universal constant. It is a measure of the rate engergy released from a mass transposes or distributes itself over space when the mass reaches the velocity of light.

It can be expressed as T = EC/M
The greater the Mass, the greater the energy released. The division of Energy to mass will always produce a constant value, as energy or mass moves at the speed of light.

Thus, if we can change the energy state of a mass, we can alter the universal constant of time! Voyla !

We have reached a new discovery !

Similar to Einsteins formulation, we could alter his formula and invert the value C, if we consider T to be a universal constant almost equal to the speed of light to read -->>

Thus, we have another possibility --->>>

or E = TMC
or T = E/MC
or C = E/TM

Thus a temporal distortion of time can be created by changing the energy state of matter or by changing the mass as contained in a fix energy body. So if we can keep the energy in the body constant and change is mass, we can alter time or the perception of time. If we alter this value T for a universal constant U, we end up with -->>>

or E=UMC

where U = Universal force of equilibrium as defined by energy in movement. Almost equal in value to the speed of light.


Where E = Energy
T= Time
C = Speed of light
M = Mass

In this equation, energy is equal to Time( almost unlimited) divided by the speed of light(almost unlimited), distributed over a mass.

If we have two infinite numbers divided by each other, the greater infinite number will win.

All these elements in the equation must either be finite, or some are infinite.

We cannot say time is unlimited, as it is related to energy being distributed over mass. But it can be a universal constant of nearly unlimited value.

Mass and energy are not unlimited. Only the creative force is unlimited.

So in essence, which is greater in infinite value, time or the speed of light ?

At first glance, we cannot know. Time could be greater. If time is greater then the speed of light distributed over a mass, then we can see we have energy not simply canceling two elements in the equation. We can see that if time and the speed of light were equal, they would cancel themselves. But if we have time being a greater value then the speed of light, then we have as a result, an incredible amount of Energy being released when we allow an a limited mass, to transpose itself over time within the speed of light. In essence, when mass reaches the speed of light, it des-integrates into energy. This proves the equation, as we have in effect 1 = 1 on both sides !

This equation goes to show, further, that the mass in the universe is infinitely small in relation to the energy and time it contains ! We can brake the formula apart and end up with

M =
C/T(E)

Where M= Mass of the Universe
C = speed of light
T = Time - an infinite number
E= a Finite number

We know the element Time is infinite. So if we divide a limited number, the SPEED of light by TIME times the ENERGY of the universe, we end up with a very small number ! Thus most of the universe is made up of MUCH energy and LITTLE Mass !

We know this to be the case, as the majority of the atom is energy and not mass. Mass in essence is only a materialization of energy in predictable, concentrated pockets of energy in space that are in movement and thus create a framework for time. This energy exist from the atomic level up in cycles of movement. These cycles of movement generate a stable pocket of energy. To release energy in matter, one must disrupt the pocket of energy in movement, held together by gluons. The gluon force is so incredibly strong, that only extreme atomic dis-stabilization can disrupt the balance of the pockets of energy.

Thus, we could say energy, when slowed down into cycles, produces time and matter !

We thus have the new building blocks and formula for the constitution of the universe ! So E=MC2 cannot be taken as an inflexible rule.

We have, in essence, re-discovered the codes of the universe.

Then one can't re-invent the wheel ?

Mr. Nelson

[usarender]

Metaphysics in Architecture

Now, why is metaphysics even debated in architecture, as has been done in this topic on concept in architecture? One cannot have a philosophy of architecture, without this debate, so it seams. So metaphysics, philosophy, scientific theory, evolutionary theory, creationism, foundational structures, alternate energy sources, language of architecture, and a multitude of ideas that are being debated in the framework of concept, of form following function, are all thus relevant discussions, as they shape our architectural theory, to various extents. So our architecture gains a greater relevance to our deeper views on these issues.

Thus metaphysics and philosophy are related to architecture, and this why we are spending so much time developing a discussion on the idea "concept" in architecture. Thus, religion, metaphysics, philosophy, scientific theory are all in a sense related at some point, especially when it comes to defining the origin of man and his relationship to the environment and world we live in, and thus the architecture we produce.

THE NEW LANGUAGE OF ARCHITECTURE

In architecture, many hold the term "concept" to be relevant to architecture. I personally do not. I prefer to think of the LANGUAGE of architecture, as I have demonstrated.

So who is to decide at what point architecture is allowed to cross the line into metaphysics, philosophy? We are doing it all the time in adopting the idea "concept" in architecture, without even knowing it.

Further, the Age of Enlightment brings man to the forefront, and man, rather then a supreme being, becomes the center of the universe and the center of himself. This humanism, is nothing but a religion of man as well. It is a cult of man, or in other words, a worship of man. So if many thus worship man, why cannot some worship another definition and believe this relationship of language of creation is related to the language we create as individuals?

It has been shown that language is related to design. Therefore, the language of architecture is related to design. Therefore, the language of architecture functions well for to substitute the idea CONCEPT.

And since language, as demonstrated, is an inherent part of genetic code, and genetic code is a language, and any language cannot happen by random mutations, or by spontaneous evolution, this shows the language of creation must be driven by creative individuals. Thus the idea of a creative intelligence and creative design behind everything that exists and that we create as architects.

Further, as has been demonstrated, this intelligent design calls for a new LANGUAGE of architecture. Thus, the connection has been established to the many posts on this subject of a language, in this discussion on concept.

There is thus a connection between language and design and thus the need for a LANGUAGE of architecture. The term concept is thus too vague.

The ideas and the connection of ideas in architecture can be expressed in a linear way, which represents the architectural thought process.

As shown, in this sequence of the Logistics of ARchiTectural ThougHt, each element gains particular relevancy, depending where it falls in the sequence -->>

1. A Problem.

2. A context.

3. A function.

4. The LANGUAGE of ARchiTectural ThougHt (Traditional word Concept).

5. A form.

One must begin with this process in architecture, before arriving at a form. So we can see FFF is an oversimplification of a much greater hierarchy in architecture. It was merely a reactive cry in history.

Now, we can see from this hierarchy, that Form truly follows function, but it is not a direct link this way. Only in the PROCESS. In the RESULT, form and function are united into one solution and work together. In the logistics of architectural thought, there is a need for separation of elements in order to reach a form. So the simplistic notion form follows function is exactly that. A reactionary simplistic view of a much greater process of architectural thought.

Without this creative intelligent planning, there is no form to any function. Thus, no correspondence between form and function. Thus, the basis of intelligent design has been demonstrated.

Thus, in intelligent design we allow humans and creative intelligence to design our environment and create it's own LANGUAGE of architecture.

In this discussion, the connection between intelligent design and language has been established.

THE KNOWLEDGE OF THE DESIGN PROCESS

This new language calls for a sensitive knowledge of the design process. It is not a simple "plucking of nice words" from a dictionary that will create the proper directive for a good design. It is an understanding of architecture, of the order of architectural thought, and how to relate the language to the problem at hand in a significant way. Otherwise, mere fancy words joined together will neither create an adequate language of architecture, nor, in the traditional sense, will they create a proper "concept", if that is your view of architecture. In any event, this new language of architecture is not diminished by professors or students who are ill applying fancy words to the design laboratory in such a way that nothing but a combination of fancy words result, with no clear relationship to the design process. This is absurd to even hear that some have attempted to do this.

A NEED TO FREE OURSELVES FROM THE "WHEELS"

It can be said "concept" is like the children learning to ride a bicycle. They need it to understand the design process. Once they have learned to ride, they no longer need this and can ride simply with the NEW LANGUAGE OF ARCHITECTURE and by understanding the Logistics of Architectural Thought and the process of designing. Thus, simply by elaborating the proper language, this serves as the directive to the design process. Do you wish to remain as children dependent on the wheels?

A few developments at Project Liquid Universe -->>

The "Advanced Global Technology Integration System".

1. "The theory of Gravitational Kinetics of Motion".

2. "Terrestrial Transportation System X".

3. "The Gravitational Cancellation Theory".

4. "Energy States and Their Relation to Renewable Energy".

5. "The Model of an Atom as a Source of Renewable Energy"

6. "Magnetic Cancellation Theory".

7. "A Blue-Print For the Computer of the Future".

8. "The New Internet and Data Transmission System"

9. "The New Global Connectivity Platform"

10. "The New Language of 3D Design and Artificial Intelligence"

THE GATEWAY TO THE SKY

The New Structural Gate to Space

[usarender]

"The Key Issue: Patterns vs. Designs

The starting point of this entire discussion is to define the difference between a pattern and a design. A pattern could be a tornado or hurricane, but a tornado or hurricane is not design.

Not all patterns are designed, but all designs have patterns.

Snowflakes, tornados, stalactites, stalagmites the behavior of those things are governed we now know as something that is called Chaos theory.

Chaos theory is the study of how order forms naturally without design.

Chaos is probably not the best word they could've picked, because chaos theory shows how natural processes produce order. Now fractals are a computer version of the same thing. A fractal is what happens when you take a pretty simple math equation and you plug a number into it and you get the number out, and you assign a color to it. Then you take it and you plug it back into the input and you run it through the formula again and again and again and again.... It starts drawing all of these pictures and so what you see right there is called the Mandlebrot set.

Designs are always represented symbolically. Chaos is not.

Again, in a design, there’s always a representation of the thing in addition to the thing itself.

Patterns Chaos: Purely a Result of Matter and Energy, Not Mental Processes

What is the difference between the two? Patterns are simply created by matter in energy. That’s all that’s there.

Language and Design: Product of a Mental Process

On the right, all information is based on language. You cannot symbolically represent something without language. That’s what language is.

Language is a symbolic representation of something else.


To have information you have to matter and energy and will.

Somebody has to decide to create information. Somebody has to write the music. The interesting thing about information is that you can have exact copies of it. You can have an exact copy of a book. I can send you an email and what can you do with it? You can read it on your screen. You can print it out on your printer. You can read it out loud. You could read it over the telephone. You could save it as a Microsoft Word document. You could post it on the Internet as a web page.

The Message is Not The Medium

Does the message change?

No. The message is separate form the media that it comes in.

That’s what information is, and it requires thought.

All information requires a thought process.

So really the fundamental question if you want to frame the fundamental questions of evolution and the origins question. The question becomes:

Is DNA a pattern or is it a design?
The whole argument rests on the answer to that question.

DNA can be replicated, and replicates itself. It is a form of language. It contains the character, the letter, the word, the sentence, the paragraph.

So what makes a language?

Well the first thing about a language, any language, is it symbolically represents something other than itself.

To have a language, to have information, you have to have a transmitter and a receiver.

Somebody has to talk and somebody has to listen. And then it has these four characteristics; it has an alphabet, it has grammar, it has meaning, and it has intent.

Every language has those four things. DNA has them; all the stuff going on inside your computer has them. If dogs are barking and yelping, the communication has all of these four things. It doesn’t matter if it’s mating calls if it’s pheromones between insects.

All Languages and Codes Have Four Components

Regardless of what kind of communication we are talking about those four things are present in that communication. Alphabet, grammar, meaning and intent. And nearly all languages have error correction or redundancy.

So which is DNA more like?

Is DNA more like stalactites and stalagmites and tornadoes and hurricanes and snowflakes and fractals? Or is DNA more like music, maps, computer programs and Chinese?

It’s definitely in the second category. Absolutely there is no question about it. So what we have here is that between the world of chaos and patterns and the world of designs and information there is a huge chasm. A huge chasm. The pattern of DNA is not like a language. It is a language. By any formal definition of language it is a language.

Chaos, fractals and natural processes do not produce languages or codes.

This is the core problem with a naturalistic philosophy of materialistic science: Matter and energy all by themselves cannot produce information.

“Information is information, neither matter nor energy. Any materialism that fails to take account of this will not survive one day.”

Perry Marshall’s Update to Paley’s Design Argument
But now I have an improvement to Paley’s design argument. This sounds audacious but I’m serious. I have an improvement that makes Paley’s argument airtight:

• Element common to both watches and life is language
• The essential distinction between pattern and design is language
• Fundamental Property of all Designs: Idea precedes Implementation
• Idea must be represented by language
• All language comes from a mind

The essential distinction betweens patterns and designs is language. Patterns don’t have languages, but designs do. So the fundamental property of all designs is that an idea precedes the implementation of the idea.

The idea exists in a symbolic form before it’s physically built. An idea, in order to exist, has to be represented by a language. Even to have an idea in your mind you have to talk to yourself and have images in your mind of what you want to do before you do it. So we know this:

• Ideas always precede implementation, always, no exceptions.
• All languages come from a mind. No exceptions.
• There are no languages that do not come from a mind.
• So we know that DNA was designed.
• A mind designed DNA, therefore God exists.

The only order I can see in chaos is the replicating patterns, that keep repeating themselves.

Order is not the same as design. It has not intent, no idea, no language.

THE FOUR INGREDIENTS OF LANGUAGE -->>

1. Alphabet,
2. Grammar,
3. Meaning
4. Intent.

In chaos, the four ingredients of language are not present. You only have an order of repeating patterns that keep creating a new order of repeating patterns of chaos, and that is it. There is no alphabet, no grammar, no meaning, no intent.

In the DNA code, ALL THESE ELEMENTS ARE PRESENT.

LANGUAGE ---->>> IDEA --->> --->> DESIGN -->> IMPLEMENTATION

DNA HAS ALL THIS.

RANDOM PATTERNS DO NOT.

In summary -->>

All languages come from a mind.

DNA is a language, therefore it was designed, not a result of a random pattern.

[usarender]

Intelligent creation.

Intelligent creation, in architecture, can have a multiplicity of definitions. When we have intelligent evolution, intelligent adaptation of the species, intelligent design, we have an intelligent creation that is constantly mutating and adapting itself to the new environmental conditions.

The same must be with our architecture. We must allow our architecture to mutate, to evolve, to adapt. Thus, by programming our language to allow for this intelligent adaptation, we are also creating the basis for our intelligent design in architecture.

This creates the need to understand the language which governs our architectural creations. Thus a need to establish a connection between the language of architecture and it's intelligent evolution.

Now all types of theory and liberal ideas are preached at us in every mode at all times, and we do not even but question whether any of them make sense, including evolutionary theories of all types.

Language. At the core of the creative act.

Humanistic philosophy and it's influence on architecture.
The need for a new language free of historical chains.

In our ideas of architecture, we frequently do not see how the human oriented philosophies and theories have influenced our design philosophy and ways of viewing architecture.

In the Renaissance view of man, and the human ideal proportions, man and humanism, from that point on, become the governing philosophies guiding design. This lead to the application of humanistic ideas of philosophy and metaphysics to architecture, thus leading to our modern views of man and his relationship to the built environment. Man, seen as a functional machine, and nothing more then that, designs functional buildings that are functionally related to their form.

There is no creative intelligence in creation behind anything in nature, under this humanistic thinking. Man is behind it all and that is it.

Thus there was no more need for contemplation of the sublime, for an understanding of the spiritual values of man and their relationship to the built environment. Man, thus, becomes disconnected with the arts of the Ages, including Eastern philosophy and it's implications on architecture. A huge chasm is developed between the East and the West. This chasm continues until today, due to this humanizing force of the industrial revolution.

Now even Leornardo studied paiting, architecture, technology, science, human anatomy, and many other things, so why can't we as architects, artists, scientists, among other things?

http://www.wsu.edu:8080/~dee/REN/DAVINCI.HTM

"Perhaps Da Vinci's greatest work was his notebooks on which he wrote his one and only book, The Painter , as well as a legion of notes on technology, science, human anatomy, architecture, as well as sketches of all these things."

[usarender]

A mind designed DNA.

Our ARchiTecture needs a mind to design.

Our new language of architecture requires a mind to design..

Now, about this new language producing an artificial intelligence to design our structures as a machine. Well, to some point this would always produce the same predictable results, if constrained upon a small artificial database. It would require a huge database to do even a fraction of what human creativity can do. So it is difficult to predict the size of the database. Further, design is very complex issue and no one LANGUAGE can solve every design problem. Thus, no computer language could do it so simply, just by pushing a button. We push the button and our 3D solid structure pops up before our eyes. This is not so simple in practice. Each design problem calls for a different design solution that only a creative inventive evolving language of architecture can provide, taking into account the problem, the context, the constraints, the language, to produce an adequate form that is based on creative thinking all along the way, not on some computer program.

Now, we need a new DNA of architecture. A language that we can use as creative individuals, to pick and choose the "genetic structures" to use for our architectural assemblies. By picking these "genetic structures", we can predictably announce a probable future outcome of our architectural event as programmed into the ID system. This being a combo of human input response mechanism, combined with the pre programmed code of ID in our DNA or architecture. Thus, this new language can so to speak contain many codes and sequences of form. The combination of these would thus allow in a sense for an architectural laboratory of experiment, where changing the elements in the DNA of architectural language would thus produce a new form by the artificial ID system we create.

If we place these genetic DNA architectural systems into an object oriented language, we end up with the possibility to pick and choose our genetic sequences, and these according to the association we create between the problem and the genetic forms that will result from our language. Thus, we assemble a language that is responsive to the problem and will generate the predictable results we aspire to solve the problem. Thus, it is human creativity combined with object oriented DNA programmed sequences of architectural forms or codes that generate mutated forms based on the combinations of sequences. This new laboratory of architecture can thus establish itself as a continuing experiment of architectural genetic engineering. We can thus create a code of every building in existence and transmit this code to any computer for it to re create this or that building, based on the DNA or RNA language we program into this architectural code. One we have a predictable language, we can allow our architecture to mutate and the AI combined with ID to create the new forms for us, in a journey of architectural discovery.

As discussed previously, it is the programming of our mind and mode of reflective direction of energy that inspires our creative side to produce the forms that match our creative mental experience. This programming of the mind can be combined with this ID programming of the pre determined object oriented codes of architectural DNA.

This programming first of all of the mind, allows us to program our codes and architecture into predictable models.

In all this we must not forget the need for a greater sense of spatial notions of integrity, as shown previously, so lacking in our modern mental conditioning and programming. We must be careful therefore that these experiments do not lack in the spatial integrity so needed.

So some programming certainly will benefit the creative process and perhaps this way we can unite this creative ID with computer programming, so that the two can work in unity, if this is what you are seeking. As demonstrated, there are roads and means to achieve this that you are aspiring to obtain.

Further, as shown previously,

Matter, Energy and Information are three Distinct Entities.

There is a need for a new architectural information system, based on a new architectural intent.

We need a new language, a new encoding and decoding system that is not a pattern language, but a language of ID.

Thus, from our basic IDEA, we represent this in the new language.

We know the fundamental property of all designs is that an idea precedes the implementation of the idea.

Thus , the idea is allowed to exist in a symbolic form before it’s physically built. An idea, in order to exist, has to be represented by a language. Even to have an idea in your mind you have to talk to yourself and have images in your mind of what you want to do before you do it. So we do this:

• Create ideas that precede implementation.
• Create a languages that comes from a mind.
• Implement this in the encoding of architectural DNA.
• Our mind designs this DNA and combines it at will.

This programming creates the framework for intelligent evolution or adaptation of the our architectural ideas. A programed basis for ordered mutations.

LANGUAGE, the basis of all design.

[usarender]

Further, in this new formulation of architectural LANGUAGE and it's built in DNA architectural code, we have a completely new formulation and variety of spaces to deal with in designing this code -->>

Stationary space, spaces in movement, articulated spaces, vast spaces, narrow spaces, spaces in networks of mobility, ex-centric spaces, home based centralized referential spaces, localized space, defined space, undefined space, community spaces, infinite space, vehicular spaces, ground space, elevated space, horizontal space, vertical space, ceiling space, pathway space, enclosed space, open space, directional space, fluid space, contemplative space, transitional space and on. The list becomes endless, according to the human experience. Space is no longer an infinite fluid undefined element that we allow to simply " flow " through our architecture.

Space thus becomes relevant to the human experience in a beautiful way. We can allow this way for a greater connection between our spatial conceptions and our cultural heritage. This also can influence our zoning laws as perceived by our cultural values. By taking artistic and cultural values of a particular society into account, we can create a relevant spatial language and thus implement this in a practical way into our ordinances in such a way that we preserve our artistic and cultural history, by our conception and perception of space. (Public, private, transitional spaces particularly).

When creating this new ID LANGUAGE of architecture, we no longer do we need to order our architecture according to classic ordering principles. Those, of romantic or ancient times, become substituted for a new language and vocabulary of architecture that frees itself from the traditions of the past.

We thus discover, moreover, that by allowing our architecture to maintain a greater sense of spatial vocabulary, we also develop a more intimate connection to the human experience of the world around us.

Our buildings then can become more organic, more related to man and nature when we truly capture the human experience of space in all its multi faceted forms of human experience, from the contemplation of a flower, to the vastness of the expanse of the cosmic container of perception. When we understand how we as humans perceive space, we can thus establish a greater connection to nature and the cosmos as well. Truly, by relating our architecture to nature, as Wright did, to natural forms, to mountains, to rocks, to water, to lakes, to rivers, to plants, to air, to wind, to fire, to the earth, to the heavens, we create an articulated architecture that in essence becomes one with nature and embodies a deeper connection to the functions of nature, versus the merely the simple human functions. Our architecture, in being more connected thus to the world around us, will serve us better, will be more organically connected and will serve a greater function. This implies also on more organic forms in architecture, if architecture is called to respond to nature in such a direct way. Now what these organic forms be we can but only allow the site, local determinants (the context), technology, practicality and social acceptance to determine.

We must thus learn to establish a connection between our architecture and the environment around us, and it's temporal qualities, such as Mr. Wright did in "Falling Water" and many great architects have done in contextualizing their architecture to the flow of energy, time, matter and the natural surroundings. Architecture that is immortal maintains a balance in it's connection to these elements, establishing a harmonious design that is in intricate connection to the world around us, and thus becomes the true "Timeless Way" of designing architecture."

So a simple computer programmed system is not able to do all this efficiently. This calls for a new means of Human Interface/ ID/ AI interface connectivity, where the two are acting in unison all along the way and where the machine functions as a mere tool to incorporate the aspirations of our senses. It must not become an end in itself, but the means to achieving the end.

A careful balance thus between pre established order in the system, and the ability to apply the human interface system to the program is needed.

[usarender]

On the New Timeless Way of Architecture in the Context of a new LANGUAGE OF ID

In architecture, we are only concerned with time as it relates to our temporal experience.

Time in architecture must be perceived within a larger framework as dictated by our perceptions, conditioning and emotional response. Thus, when we begin to understand the nature of the universe and the inter-working of how we perceive the reality around us, we begin to realize that all is connected.

ID is behind all notions of energy, of time and our perception of reality around us with respect to the encoding of information.

A mechanized system will have much difficulty in implementing many abstract issues into an architectural vocabulary. In design, we at times must evoke feelings and design ideas that are more connected to the local context in which we operate, or at the time during which the creations were elaborated.

The same applies to the reality we project into the future.

Thus, a completely AI system will have difficulty replicating metaphysical issues, a sense of connection with the client, of "feeling what the client feels", of using our intuition and of convening a sense of place in the architectural context.

Our new Language must be therefore more connected to a greater intuitive sense then a simple Idea can convey. Thus, much care is needed in assembling this language.

The Development of a System of AI for Design Practice

Now, in the development of this system of AI, we can come nowhere even close to this level of precision, but the need for ID in this system to be developed has been established. Now only remains for us to program the system to allow this AI to interact with the creative process of our minds in the new language we program into this new creative design tool.

A NEW SYSTEM OF AI

In architecture we need a new system of AI capable of creating a human computer interface, where the power of the human mind and it's reflection of ID guides the ultimate design of AI by establishing the set of "DNA architectural sequences" that will produce the proper result when fed into the AI system.

THE NEW DNA AND AI IN ARCHITECTURE

This systematics will allow for the expansion of architectural laboratories, where the human interface interacts with the AI and the second learns the proper set of " DNA" architectural sequences needed to solve particular problems, and can thus instantaneously, so to speak, display an infinity of results in the physical dimension of modeled space. This now is the ultimate design tool, one that allows for the fine-tuning and progression of the system based on the human interface interaction in a never ending progressive experience. The proposal is for maintaining the human interface in these AI systems as a permanent dialog. Thus, by speaking of an intent, and by the selection of desired DNA architectural sequences, the designer thus will be able to guide the initial directives for the AI system to propose the alternatives. In turn, the dialog continues and the design evolves to the likes of the intelligence of the designer, who must thus maintain control of the system. In sequential experiences, this learning experience can lead to stream-lined communication platforms, where entire sequences of DNA architectural encoding can simply be selected by choosing pre-selected images which contain the directives for those previous sequences of decisions. Also, verbal dialogs can just as much program the directives in the same way as command or key directives. Thus, a whole new range of interface options will result and a whole new way of AI design has been established.

ARCHITECTURAL HISTORY AND AI DISCUSSION

The recent discussion on architectural history as well contains some more information on these topics. AI & ID in a new interactive human computer interface development of a system of evolving design and programmed sequences of codes that result in a laboratory of architecture -->>

AI, ID and the New Laboratory of Architecture

The only thing I do not agree with is the evolutionary analogy. Things just don't evolve from nothing. We need Intelligent Design. This is where this evolutionary mumbo jumbo fails. Now, with the human computer interface interacting constantly, we have an inbuilt controlled evolutionary process in the sense that the computer and the script evolve according to the programmed sequences. This has the power to create our new way of thinking and the programming of intelligent dna type sequences of genetic codes which leads to the laboratories of architectural experimentation and design I have been developing and already proposed on this forum! When I proposed it, most took it lightly, and some even laughed. Now they should be chocking. This is so revolutionary that it will determine a new direction for architecture literally! We are making history! Jump in the band wagon and welcome to Project Liquid Universe, and together we develop these new systems and bring forth a new way of designing of the 21 century and beyond!

[usarender]

A natural model for architecture

A natural model for architecture Space, structure and form are the traditional outward expressions of an architectural concept which has developed in the mind of the architect. This idea is taken further in our work. Architectural concepts are expressed as generative rules so that their evolution may be accelerated and tested. The rules are described in a genetic language which produces a code-script of instructions for form-generation. Computer models are used to simulate the development of prototypical forms which are then evaluated on the basis of their performance in a simulated environment. Very large numbers of evolutionary steps can be generated in a short space of time, and the emergent forms are often unexpected.

These techniques have previously been limited to easily quantified engineering problems. Only now is it becoming feasible to apply them to the complex problems associated with our built environment. To achieve this, we have to consider how structural form can be coded for a technique known as a 'genetic algorithm', how ill-defined and conflicting criteria can be described, how these criteria operate for selection, and how the morphological and metabolic processes are adapted for the interaction of built form and its environment. Once these issues are resolved, the computer can be used not as an aid to design in the usual sense, but as an evolutionary accelerator and a generative force.

The Proposition

This text introduces the concept of an evolutionary architecture, indicates the nature of the biological and scientific analogies, and relates the idea to the wider context of present scientific discourse. In the process, it relies heavily on natural science and the newer sciences of cybernetics, complexity and chaos.

This Introduction advances the general proposition and describes the background to our work. Section 1 describes the creation and implementation of tools to assist in developing the model. Section 2 establishes the theoretical proposition and describes one possible way of achieving these principles. Overall, this text will describe the emerging field of architectural genetics. It will explore at least one possible future based on artificial design life, suggesting a new form of designed artefact interacting and evolving in harmony with natural forces, including those of society. It will explain a new computer-based technique for design which models inner logic rather than external form, and it will afford a brief glimpse of a future as yet evolving only in the imagination of a computer.

The nature of the analogy

Architecture has frequently drawn inspiration from nature - from its forms and structures, and, most recently, from the inner logic of its morphological processes. It is therefore necessary to be clear as to where architecture is literally considered as part of nature, where there are analogies or metaphors, and where nature is a source of inspiration.

We can say that architecture is literally part of nature in the sense that the man-made environment is now a major part of the global eco-system, and man and nature share the same resources for building. In turn, our description of an architectural concept in coded form is analogous to the genetic code-script of nature. Analogies, particularly biological, bedevil architectural writing. Sullivan, Wright and Le Corbusier all employed biological analogies and the concept of the organic is central to the twentieth century. In our case, the primary inspiration comes from the fundamental formative processes and information systems of nature.

The problem of the blueprint

Architecture's use of biological analogies has a counterpart in the use of architectural analogies in science. There is an abundance of books with titles like The Cosmic Blueprint (by Paul Davies) or Blueprint for a Cell (by the Nobel Laureate Christian de Duve). These, however, are quick to point out that an architect's blueprint is a specific one-off set of plans whereas the 'blueprint' in nature is a set of instructions which are dependent on a particular environmental context for their interpretation. Our present search to go beyond the 'blueprint' in architecture and to formulate a coded set of responsive instructions (what we call a 'genetic language of architecture') may yield a more appropriate metaphor. It may provide at least a model of how such a form-generating process might work, even if it is not a direct parallel of the way in which nature itself generates form.

Examples of the architectural analogy turn up in every field. For botanists, too, the concept of the architectural model has provided a powerful tool for studying plant form and structure:'The architectural model is an inherent growth strategy which defines both the manner in which the plant elaborates its form and the resulting architecture'.It is ironic that architectural theory actually lacks the methodological incisiveness which these reverse analogies imply.

[usarender]

There are already some attempting to apply these ideas I have developed and expounded upon, in substitution of the traditional idea "concept"for a larger model of architectural language.

These guys are attempting to develop a genetic language to produce the code scripts of a new genetic language for architecture, just as I have been proposing and developing.

Evolutionary Architecture ------>>>

Responsive Architecture through Parametric Design

How Parametric Systems Introduce Diversity, Adaptability, and Responsiveness into the Architectural Design Process

Ferda Kolatan

University of Pennsylvania

su11 architecture+design

In recent years generative systems in nature have become a source of inspiration for a number of architects. Rather than viewing design as a top-down, linear, and goal-oriented procedure, they seek to understand underlying rules and principles of natural systems, which produce structural order and material organization of high complexity, efficiency, and beauty. Our own research investigates how parametrically controlled systems can be applied to architectural design in order to achieve more responsive and adaptive modeling techniques. While working with the software GC (generative components) we also found that a rule-based approach to design introduces a whole new set of opportunities, which as designers we have the responsibility to further explore and develop.

Parametric software in architecture is often viewed as merely an output tool, which allows for complex shapes to be translated into fabrication and production modes. As such, this type of software marks the final steps of the design process while often more “intuitive” (graphic interface) modeling software is used for the initial design of the project. However, if used as an input tool, parametric setups promise an entirely novel approach to the field of architecture, which can be identified through a set of specific characteristics such as the following:

Diversity

A parametric design system is based on a hierarchy of variable-controlled dependencies. Each active variable causes the overall system to change its behavior and thereby generate variations without losing the overall coherence and integrity of the model. This is an incredibly powerful tool, which allows designers to test a range of possible applications within a controlled design environment.

Adaptability

Which variations are “fitter” to solve a particular design problem? Parametric models can be fine-tuned toward specific environmental pressures. Versions can be tested toward particular performance values. Different regions within the same model can be programmed and constrained individually in order to respond more sensitively. Environmental changes that occur over time at the same location can be addressed by layering functional zones and controlling them through targeted variable manipulations.

Responsiveness/Feedback

A parametric model maintains its ability to change (openness) throughout the entire design process. Individual components can be linked in ways that allow constant and immediate feedback throughout the model regardless of scale and hierarchy. The design of the network of dependencies becomes a crucial part of the overall design by highlighting certain relationships over others and thereby allowing for specific local changes to impact the model’s global scale and behavior.

Both in our practice as well as with my students we have worked on a number of design projects, which have begun to explore the above issues. Wolfram’s work, specifically his book A New Kind of Science, has been of great significance for our work and an inspiration to our thinking.

[usarender]

Diagram of Artificial Intelligence as the Starting Point for This Project

In the link above is the basic layout and diagram for us to begin to design together this system of AI for Architecture.

Project Liquid Universe

A world of Knowledge before us.

This is just the beginning.

Welcome to the journey.

[usarender]

http://www.news.com/2100-11395-6160372.html?tag=tb

"We have some people at Google (who) are really trying to build artificial intelligence and to do it on a large scale," Page said to a packed Hilton ballroom of scientists. "It's not as far off as people think."

Google is already in the race to build the first massive Artificial Intelligence System, to be made available to the general public.

The race is on.

Who will be the first to do it, together, on a global massive scale?

The Power of Global Cooperation.

AI and Architecture.

The stage has been set.

Project Liquid Universe.

And, this is where Google fails, in that it does not realize still the human mind is much more powerful then computers --->>>


Intelligence is in the connections not the bits

The Power of The Feedback System

Human Computer Interface/ Feedback System

The Best of the Human Mind in a Complete, Total, Constant Dialog with AI

AI guided and directed by the Human Mind Every Step along the way, in a constant Feedback System.

The Human Mind Guiding and Directing the AI system.

The Power of AI & Architecture.

Direct AI Feedback System.

Human Directed AI Systems.

Human Response Feedback System in AI.

AI and the Architectural Design of the Future.

[usarender]

For those who wish to discuss this topic, there is plenty of space to show a connection to the world and to the architecture we create. It can be done in a scientific way, as has already been done. Including how pre existing thought produces energy/light and and this translates into matter. There is a connection thus to the human creative experience all along the way. Even Einstein in his meek human form believed in this connection.

Now, we can see it in the small and large wonders that speak for themselves and create in us an awe, a reverence, a greater understanding of the mystery of the ages, and how this spiritual connection can guide us into a union of soul and spirit into a common cause.

This common cause is everywhere. It be speaks of this greater cosmic intelligence and omni present form.

The wonders of our cosmos wrapped into the intelligent union of form, space and energy into a limited globe of celestial importance. This limited globe, transported through the universe at a calculated speed and orbit, displaces the energy around it, and is thus displaced, maintaining a perfect balance of rotation, of the energy in the seas, and their corresponding calculated equilibrium possible by the opposite and interacting forces of the sun and moon. Without these calculated forces, our ocean would at times invade our land, or pull back to the depths, creating an uninhabitable planet. Our orbit in it's angle, if not so carefully calculated, would not sustain life on earth. Our seasons, carefully calculated, the position of the sun at day and moon at night, the constellations in all their mystery and wonder.

- The preceding knowledge of history.
- The wisdom of the ages.
- The everlasting connection between mind and matter.
- The omni present force of sustenance.

From "probable future" -->>

"It has been recently estimated by neurophysiologists that if mankind were to use all of its recent knowledge and resources to build a utopian computer that would try to somehow replicate the feats of the human mind, that computer would need to be at the very least the size of our planet, and - even then - nobody would know how to program it."

The human body, in it's complexity, more complex then any computer we can dare to create, more complex then any electrical system we can compose, more intelligent then we can imagine or dare to use. It, the example and presence of an intelligence greater then we care to imagine.

It being the bearer and cup to hold the eternal mystery, when so prepared, can speak not of itself but of the greater presence that sustains it.

- The philosophy behind all philosophy.

- The intelligence before all intelligence.

- The intent behind all pre existing action, the form before all meaning.

- The function behind the form.

- The humanizing force of creative intelligent design.

- Form and function united into an integrated design more perfect then we could ever imagine.

Form follows function yes, but in a carefully planned linear process.

[djswan]

Your number 1!!! is still a problem.

Sorry, can't get off on the problem. I don't read past that. Well, perhaps a little here and there.

Have you ever architected anything based on your assumption that all architecture starts off as a problem?

"What if" there is no problems, does architecture not exist. Or would you need to create a problem for existance. I don't like throwing "what ifs" into a discussion, but usarender preaches a problem perfect universe.

I don't believe in problems.

Problems are problematic.

is man born of sin? and is sin a problem? Tell us what you really mean.

Derek

[usarender]

Architecture is not born of sin, it is born of a problem. The two are not one and the same, in the architectural sense. A problem needs to be resolved and the architect is there to analyze the problem and propose a solution. You have the client, the context, the budget, the other constraints and you seek for an optimized design solution that meets these needs and resolves the problem at hand. Now, a design problem can be called what you wish, but this is one way to refer to it. Now the topic on Intelligent Design could also be another topic where this other issue could be discussed, if you will, since we engaged similar issues there. Or maybe in the fireside forum ?