Visionary Variations of Milano.
Generative Projects Designing the Identity of Milano
Professor of Generative Design, Registered
Architect
Director of Generative Design Lab, Department
of Architecture and Planning
Politecnico di Milano
University, Italy
celestino.soddu@polimi.it
City’s
Identity is how people look at the future referring to their tradition. Performing this designing procedure I
investigated to find out an hypothesis able to identify and design segments of
the artificial DNA of Milan. These
codes were designed as an interpretation of some Milanese references: futurism,
design tradition, unpredictable fashion, love for advanced possibilities,
passion for innovation and the peculiar Milanese approach to complexity.
I designed
all these rules like dynamic processes running to transform existing
environment into possible visionary one. And I made executable these processes
designing original Generative Projects with my software Argenìa.
“Visionary
Variations of Milan” was an exhibition at Hong Kong International Finance
Centre in June 2004 and presents a sequence of Generative Projects for Milan
that try to fit the “Idea of Milan” and its peculiar identity. Each generative
project is a Scenario defined by an artificial DNA. All the variations follow
the same Idea of Milan using the same transforming rules but each one is unique
and unrepeatable like in Nature.
Generative
Design, Identity, Complex Dynamic Systems, Artificial DNA, Code of Harmony, Visionary
Variations, Transforming Rules
Generative Design, the concept.
Generative
Design is the idea realized as genetic code of artificial events.
The
generative project is a concept-software that works producing three-dimensional
unique and non-repeatable events as possible and manifold expressions of the
generating idea identified as a subjective proposal of a possible world. It works generating a sequence of scenarios,
which have, all together, a strong identity: they have to be recognizable by
their belonging to the same DNA.
This
approach opens a new era in architectural/city design and industrial
production: the challenge of a new naturalness of artificial object and
environment as unique and unrepeatable scenarios. These mirror the uniqueness
and un-repeatability of man and Nature. Once more man emulates nature, as in
the act of making Art.
This
genetic code of artificial ware identifies, like DNA in nature, the identity of
a species of objects. In the future, design will be the idea and the realization
of an artificial species, which its character, identity and peculiar cultural
references.
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Table 1. The generative process (cycle 1-2-3-4-5) uses algorithms
managing the transformation and evolution inside a non-linear system, but not the evolution of the
system itself. The IDEA is the evolutionary system. It uses generative algorithms for representing a
particular subjective concept defined as process. Each generative project can generate, using a lot
of parallel artificial lives, an endless sequence of possible parallel results for fitting the
architect’s imprinting with the client’s needs. The system has not automatic upgrading (like genetic algorithms)
because the aim is not optimising/homologising the idea-system but
representing a subjective human creative identity with the fullness of all possible results. For this reason (cycle 6A, 6B)
the upgrade is manually made by the architect. As in
Renaissance, this upgrading activity is one of the most important human
creative act during the design
process. The only one that, following subjective interpretation, is
impossible to emulate with AI and AL. (C.Soddu, Generative
Design/Visionary Variations. Morphogenetic processes for complex systems,
C&C Journal 2003) |
Designing these
artificial genetic codes was an enthusiastically creative operation. I had
found myself returning to the Renaissance cultural approach, capable of
combining Science and Art. I have created ideas formulating a code of the
Harmony that belongs to the history of man and his relationship with nature.
Each one of these codes identifies and represents our subjective vision of the
possible, our imprinting as architects. The code of Harmony, like all codes,
contains some rules that trace certain forms of behaviour. Therefore it is not
a sequence, a database of events, of forms, but a definition of behaviour
patterns: the transformations from what exists into future visionary scenarios
managing the increasing complexity of contemporary environments. The design act
changes from forming to transforming, because each form is only one of possible
parallel results of an idea.
City's
Identity can be represented with an open system of transformation rules, of
developing procedures able to identify how each city performs his increasing
complexity.
"These
procedures, sometimes consolidated by time, act controlling the increase of
complexity, and represent the culturally unique and unrepeatable matrix of the
site.
Like an
olive tree that, overworked from the wind and from the rain becomes more and
more an olive tree. It enhances its own identity, while, if grown protected in
a bell of glass loses its own identity because it has not the occasion to
explicate and represent its character.
Following
the same way, each city explicates its own identity living the perpetual shifts
of cultural moments and unpredictable events, living and using the occasions
created by the increasing of complexity of the life of the man, and of his
needs, but also created by the chancing of each subjective approach.
If we
choose this dynamic approach for designing architecture and urban development,
we certainly cannot identify the city’s identity with a database of forms or
solutions that reflect the specificity of different historical and evolutionary
moments. Identity is not already reachable through the repetition of facts and
events.
Identity
is a modus operandi toward the future.
Every
new realization must increase the identity of its city. The city must make a
footstep toward the attainment and improving of its unique city’s idea, that is
not necessarily tied up to specific forms, colours or recognizable events but
to a recognizable logic representing the cultural and ideal character of this
city.
The
first step is to construct the set of
codes that identify each city. We could call them codes of Harmony. And we can
perform, with them, a generative town project.
Italian
Renaissance culture had identified the harmony as logic linked to the process
of construction of artificial environments, to the systems of relationships and
proportions that tie different events inside architectures and cities. The
harmony therefore is a logic that defines the modus operandi of designing acts.
The
codes of Harmony, in the different cultures, has always been the way to find
and use, in the construction of artificial environments, the logics that is
possible to read in the natural world.
These
logics are strongly tied to each different culture even if it is possible to
find a common substratum between different traditions in the processes of
interpretation of nature.
These
logical rules, interpreting nature, define dynamics of transforming
environments toward harmony. These rules are a design synthesis of the manifold
aspects belonging to the construction of possible scenarios.
The
operational hypothesis to manage the evolutionary dynamics of cities is to identify
and to realize, as generative executable projects, the codes of harmony that
represent specific urban identities." (C.Soddu paper at GA2002 conference)
In the case
of Milano, I identified a set of particular rules that, linked to the
transforming rules that I designed for the Italian and European town
environment, are inside the Argenìa release used to generate the Visionary
Variations of Milano. The results show how new architecture could increase the
Idea of Milano and these manifold scenarios could be used for knowing if these
Ideas fit the shared idea of Milano that its inhabitants have.
The
transforming rules identified and designed in this generative projects belongs
to:
1.
Structures of dynamic progression of the spatial dimensions;
2. Structures
of progressive transformation of the topological relationships;
3. Rules
able to control the progressive scenarios represented through perspective
visions;
4.
Sequences of rhythms and progressive discoveries of artificial space;
5.
Contemporary presences of events structured in dynamic relationships among the
dimensional multiplicities of the built;
6.
Coincidences and contradictions between the existing spaces and those possible;
7.
Relationship between whole and parts, activating controls on the dynamics of
fractal sequences proper of complex systems.
These rules
are used through a paradigm of control of complexity that represents, in the
city’s evolutionary dynamics, the structure of relationships subtended in the
system of the city, and that fit, at various scales, the same identity concept.
This paradigm becomes the operational tool to manage connections,
contaminations and mutual conditionings among the dynamics of growth of the
manifold events that transform the city.
But we
cannot use the same rules in the entire city’s environment.
Identification
of bifurcations in the complex system could manage and determine the plurality
of possible identities living in the various districts of the same city. These
manifold identities represent possible scenarios belonging to same species, to
same urban identity. Urban identity, in fact, is such if it succeeds in
generating different individuals of the same species, districts and places
that, also in their oneness, represent different evolutionary possibilities of
the same concept.
To
interpret and design the transformation codes of Milan I decided to record some
perspective views. I use the perspective views, like photos and pictures,
because they represent a memory, where the past points out the trace of a
possible path toward the future. The perspective views are so useful, also if
they don’t belong to our own experience. The medieval images by Giotto and
Simone Martini were, for me, a lot more interesting, allusive and conclusive
then the real images of these cities when I got the interpretations of the
medieval town codes. Following that, in 1987 I designed with algorithms the
identity of these Italian towns, tracing the transformation rules that are the
main structure of their identity.
More, the
perspective views are a really useful record for fixing your interpretation.
You are, again, in the peak of the perspective cone and you can redefine the
fundamental relationship between your oneness and subjectivity and the oneness
of the city disclosing itself for you in this particular perspective view. This
is the reason why I use the perspective views also for communicating my
architectural projects. More, a set of perspective views, taken in sequence,
could disclose a dynamic system that I like to represent tracing a code of
transformation. And if you discover that these dynamics sequences can perform
an anamorphic dynamic system, multiplying the possibility to get different
means following each subjective vision, you can directly operate representing this
complexity with transforming rules, designing segments of the artificial DNA
that could be used to manage the unique and unrepeatable identity of a city.
Concerning
Milan I used some perspective views: views of Brera, of the Gallery, of the
streets on the downtown, views from the Terrazza Martini end from the Duomo’s
roof. The only images useless were the images from the Terrazza Martini that,
being taken from the point more high of the downtown, we could value as the
more important ones. In fact the view from this point are almost axonometric
view, without scenes that bring back to the subject, to your own vision of the
city. So they are too technical views for helping you to identify your
interpretation, for helping the abduction. Interpretation and abduction are the
first steps for constructing the rules of Milan’s Identity.
From the
Duomo’s roof, on the contrary, Milan discloses itself when you start up to look
at the city through the steeples.
Particularly
I designed nine “Milan Transforming Codes” and I have added these rules to my
generative software Argenìa. The aim was tracing the increasing identity of
Milano with the realization of generative projects and their visionary
variations.
The nine
rules are:
Rule 1 -
Code of Ordo/Chao
How the
urban-architectural complexity increases. It identifies and manages the
relationship between different scales and the relationship between interior and
exterior. The particularity of Milan increasing complexity, following my
interpretation, is the sliding from large scale systems ordered with easy and
clear geometries, like the progressive circles that define the city map, into a
chaotic, complex system of the small scale, like the geometrical complex grid
of streets.
Interpreting
this structure, I developed a code to be used inside the architectural systems
too, managing the topological structure of spaces and frames.
Rule 2 -
Code of Similarity
How the
artificial system manage the repetition of similar events. This rule was
abducted by the logic of the sequences and development of the Duomo's steeples.
Each repetition uses similarity and not equal events, and the rules of this
similarity are designed looking at the steeples. Each one unique, each one
unpredictable, each one a further step to understand the idea on witch the
architecture and the city is based.
Rule 3 -
Code of Gaudì
How the
artificial events end, part 1. The abduction was from the Duomo's steeples too.
I have found a parallel logic of transformation among Duomo’s steeples and
Gaudìs towers. Following that I designed a code able to manage the top of the
vertical systems but also how each artificial event will end. This rule is not
the only one that will manage the ending system.
Rule 4 –
Code of Filarete
How the
artificial events end, part 2. The abduction operates considering the sequence
from the tower of Filarete, in the Castello Sforzesco, within the Velasca
tower. One of the medieval codes of Milano could be designed as transforming
rules able to control the extension of the space when the space itself is going
to end. This rules use the “interior tensions” of the existing structure, of
its interior complexity. This dynamic of space-extension could identify a
particular Milanese way to construct the projections used in medieval
buildings.
Rule 5 –
Code Borromini
Borromini
was a Baroc architect and, in Milan, Baroc style doesn’t exist. But Borromini
was born in this area, in the Ticino valley, and his basic references are in
this area. Following this and looking at some architectural events in Milano, I
tried to add to the previous codes another one as homage to this exceptional
architect. In any case, in my architectural approach, Borromini is very
important and I used his reference for designing many generative codes of mine.
First of all, in my Argenìa the structure of the paradigm of organization of
each artificial event is based, following Borromini, on the number 27.
Rule 6 –
Code Gothic
How the
artificial events transform themselves when folded. The abduction is from
Gothic cultural references, a strong cultural aspect of Milano. One of the
sub-rules of this code is how to emboss the folding line.
Rule 7 –
Code Leonardo
How develop
the increasing complexity of artificial events. This code is a set of rules
that identify the geometrical increasing complexity following the increasing
requests of functions. The abduction was from Leonardo da Vinci machines.
Leonardo is one of the main cultural references of Milano and his cultural and
technical experiences, written in the Leonardo Codes, designed Milano.
Rule 8 –
Code Futurism
How
artificial events show themselves. The abduction is based on my interpretation
of Futurism images. Futurism was the main cultural event in Milan during the
last century, and it was based mainly in Milan. Also if Milan has no physical
reference to Futurism in its town shape, Milan has a futuristic DNA. Its
inhabitants have a way to look at the future with a strong futuristic
imprinting. My challenge is to enlighten this cultural reference, now shaded,
and use it for enhancing the Milan city’s identity.
Rule 9 –
Code Organic
How
artificial events lean out. The cultural reference is the organic and
futuristic architecture, mainly Erich Mendelsohn and Sant’Elia. These architects offer a vision
of future in the field of industrial town shape, as Milan was in the last
century. The external skin of the artificial events transforms itself in
organic way to fit these references, like the Einstein Tower.
The Visionary Variations of Milano Identity.
Generating Architectures.
Looking
from the Duomo’s roof: the steeples, far the Filarete tower and, near, its
first interpretation, the Velasca tower. In front of this tower we could find
its negation, but in the same time its re-launching, the Pirelli skyscraper. They are all around the Duomo, which
measures, with its steeples, the boldness, the complexity and the aesthetics of
each event.
The
variations of the projects n. 5, 6 and 8, the IASC towers, the twin towers
“Mirror of Friendship” and the “Homage to Gaudì” tower enter in the strong
system of relationships among the steeples and the high buildings of Milano in
a town shape that stubbornly remained linked to the 60’s of the last century.
The IASC towers redefine this relationship linking these building and the Duomo
through a contemporary image of complexity belonging to the transforming codes
of the Milan Identity.
The Velasca
tower gave me one of the main interpretation keys. It is not only a citation of
the Filarete tower and of medieval towers. The final projection, with its
structure on the air, tells Milano. A
strong tension of convergent and divergent strengths inside a geometric order
ever checked, almost forced. Milan proposes the same type of complexity in its
urban layout: the town is shaped concentric and apparently it is regular. But
it develops its complexity with an interlacement of streets that confuse you
and force you to look at the sun to understand in what direction you are going.
The Velasca tower, with the design of its projection supports, expressly alludes
to this double structure, it represents the soul of Milan, jealous of its own
complexity and that loves to appear minimalist.
From this
interpretation a first hypothesis of code was born, and it is applicable to the
structure of the architectures too. I have designed some rules of
transformation that contaminates the structural system of the buildings
operating on the order of some structural events. These events had to project but instead they only sporadically
appear in the exterior shin, almost hidden emerging, maintaining them inside
the simple external geometry of the building. In the meantime the interior
structure of these buildings, as the interior grid of streets in Milan, appears
with a not random development, strongly characterized by functional needs but
amazing, almost labyrinthine. This code of transformation, besides, folding up
the space, exalts the topological structure enhancing relationships of
proximity among spaces that, before the transformation, were physically distant
but topologically were thought near. This code of transformation represents a
way of developing, of growing, of building in progress recognizable events as
belonging to a same logic, with a strong identity that emerges each time with
unique and un-repeatable scenarios.
In the
realized visionary projects, this system mostly explodes to the outside in the
twin towers "Mirror of Friendship" next to the tower Velasca and the
bell tower, while it is all to inside the building system in the project of the
Traveller’s tower next to the Pirelli skyscraper.
But, as all
the other transforming codes, these rules are present in almost all the
visionary projects for Milan. These codes are in the towers "Homage to
Gaudi" where the inside tensions appear only as contaminations of the
complexity three-dimensional constructive order that finds again the similarity
with the steeples of the Duomo. The same rules are used in the Futurism Museum
where the contamination is among tilted orders that sometimes are projected out
of the skin and the closed system of the geometry of base.
The three
visionary variations of the Futurism Museum follow three different ways to use
this code. In the 1st variation the code Ordo/Chao and the code
Filarete involve all the spaces, from the interiors to the exterior skin, as is
clearly represented in the axonometric and section views. In the 2nd
and 3rd variation, on the contrary, the code Filarete involves only
the structure of the system, as in Velasca tower. In the 3rd
variation the code Ordo/Chao works also in the geometry of roofs and terraces.
In the 2nd and, also if less, in the 3rd variation the
transformations made with the code Borromini are clear in the shaping of the
roofs. In the 2nd variation it operates transformations with the
contamination among the code Borromini and the code Gaudì. In the 3rd
the code Borromini manages the increasing complexity of only one of the roof’s
domes.
The 1st
variation of Futurism Museum project needs some further specifications. Over
the code of transformation “Filarete” I mainly used in the first variation the
code Organic that operates the transformation of the skin of the building in
organic way referring to the imaginary based on the Einstein tower of
Mendelsohn. The other two variations of Futurism Museum are based on codes
abducted from Sant’Elia visionary architectures. These reference are an
important point in the construction of a possible identity of Milan, because
Milan is the city where the most advanced experimentations in the Italy of the beginning
of last century happened. Despite it,
Milan has not existing physical characters linked to this experiences. This
historical memory could be part of the genetic patrimony of this city.
In the twin
towers "Mirror of Friendship", besides, another important code of
transformation, the code Gothic is activated related to the nerves of the
building, based on the folding approach to architectural walls. For instance
these angles are embossed and white, in comparison to the dark red of the
walls, as in the bell tower that is in front of the Duomo and that intercepts
the sight toward the tower Velasca. In these twin towers I expressly used a
code of transformation that defines how to turn the angle. This rule is not
only applied in the vertical angles but in other different orders, at different
scales. Going ahead with other codes, in the Twin Towers Mirror of Friendship
we can easy identify what from surrounding building is used to increase the
Milan's Identity.
In the same
way, looking at the visionary variations of the project Brera Utopia’s Museum,
it’s possible to link the applied transforming rules to the façade of the
surrounding buildings, particularly to the one on the left. And in the same
time, the geometric structure of the building follows the reference to the
concept of castle, as it’s possible to understand looking at the axonometric
view of one of the variations of this project.
But these
are only some examples showing where one or two codes of transformation had
particular power. All the 11 generative projects were generated using all the
rules designed by me for the Identity of Milan. The visionary variations were generated contaminating these
particular rules with all the other that represent my cultural references and
my experience as architect. This is the reason why these rules are not so
axiomatic but they emerge in all the projects, from the detail to the whole
image, giving a Milanese feeling to these architectures. All these projects
together show my idea of the possible future of Milano, of what it is possible
to point out for increasing the wonderful cultural reference and identity of
this city.
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Filarete
Tower in the town shape (fig. 1,3), view from the Duomo’s roof (fig.2) and
the steeples of Duomo with the Velasca Tower (fig.4) |
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The Generative projects
1.FUTURISM
MUSEUM
(3
variation)
The
site: Milan Downtown, Largo Augusto and Corso di Porta Vittoria. It's
possible to see the Duomo in the background. The building on the left is
changed by the Futurism Museum project.
Futurism
Museum in Milano. The 3D model generated by Argenia with its interior
spaces. These axonometric views belong to the 1st variation.
Futurism
Museum in Milano. First Visionary Variation.
Futurism
Museum in Milano. Second Visionary Variation.
Futurism
Museum in Milano. Third Visionary Variation.
2.FREEDOM
HOUSE
The project
is placed in one of the more interesting residence district of Milano, closed
to Santa Maria delle Grazie.
The
building is multifunctional, with residences, offices and commercial devices.
It is designed to set up, inside and outside, the character and quality of a
Milanese city environment.
Particularly
the terraces and the interior hall use the reference of the old “case di
ringhiera” that have characterized Milan town environment in the last century.
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The site, in a central
residential area of Milan. |
Generated 3D model and
axonometric section of the Freedom House. |
Interior space of Freedom House. View of the terrace.
Freedom House in Milan. One of the generated
variations.
Interior central space of Freedom House. The old
“case di ringhiera” were the references used for designing the transforming
rules of the interior spaces.
3.INTERGENERATIONAL
RESIDENCE TOWER FOR ADVANCED LIVING
(5
variations)
The project
follows one of the more advanced proposals for the incoming new functional
structure of town environment, the IRTAL, Intergenerational Residence Tower for
Advanced Living that defines and set up a residence for students together with
old professors in a system that mix residences, services, cultural activities
and labs/studios. The residence system is organized for enhancing the cultural
exchange and reciprocal helping.
It is
located in Via Melchiorre Gioia, near Brera, inside one of the Milanese
districts that have, today, the more increasing complexity evolutionary
processes in Milan.
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On
the left:
The
site, via Melchiorre Gioia, the increasing complexity business district in
Milano. The building on the left was changed for constructing the
Intergenerational Residence Tower for Advanced Living.
On the right:
The site before the projects and two generated 3D
models with their views
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IRTAL, Variation #2, Variation #3, Variation #4, Variation #5
4.BRERA UTOPIA’S MUSEUM
(3
variations)
The project
is inside one of the more famous districts in Milan, Brera. That is also the
district of Art with the Brera Fine Arts Academy and the Pinacoteca. The street
is via Brera, the Brera Academy is on the right, at the end of the street, and
the Scala theatre is at the end of the street, behind us.
The
building substituted is a commercial building. The project proposes a new
Museum, the Utopia’s Museum, in front of the existing Brera Academy and
Pianacoteca in way to enhance the Art vocation of this district. The
transforming codes used are the same used for the other projects with a
particular attention to the interpretation of the existing building on the left
of the view.
The
position of the building is in the angle where the street made a sliding. This
position gives to the project the possibility to enhance, with the geometry
too, the role of the Utopia’s Museum in the “Art” district of Milan. The
geometry code of the entire building system is abduced by the traditional
castles, as it’s possible to verify looking at the axonometric views of the 3rd
variation. The wire frame image shows the complexity of the geometrical system
that uses the “castle” geometry for the envelope and the transforming rules ,
like Ordo/Chao and Leonardo codes fpr the increasing complexity of the interior
system of spaces.
The site. Brera, the district of art in Milan. On the
right, at the end of the street, the Brera Academy of Art and the Pinacoteca.
Brera Utopia’s Museum,
Variation #1
Brera
Utopia’s Museum, Variation #2
Brera Utopia’s Museum,
Variation #3
Brera Utopia’s Museum Variation #3, wireframe and
shaded axonometric views.
5.HOMAGE TO
GAUDI
A new tower
in the townshape, looking at Milan from the Duomo’s steeples. (3 variations)
The site, looking from the Duomo’s steeples. |
These
project and its 3 visionary variations are an extension of the Duomo’s roof
into the Milan downtown. The aim is to increase the complexity of Milan
using, in a contemporary way and with contemporary town buildings the Harmony
codes abducted by the history and tradition of Milan. All the
transforming rules designed for Milan were used to design the artificial DNA
of this project. These generated 3d models was produced
using this artificial DNA with a mix system of rules controlled by a paradigm
abducted by Gaudì. |
Homage to Gaudi, three tower's variations in front of
Duomo, Axonometric views.
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Homage to Gaudi, Variation #1 Homage to Gaudi, Variation #2 Homage to Gaudi, Variation
#3 |
6.INTERDISCIPLINARY
ADVANCED STUDIES CENTRE
(4
Variations)
Looking
from the steeples of the Duomo at the Milan town shape.
The
proposal is a building for the future of Milan, the IASC, Interdisciplinary
Advanced Studies Centre.
It will
redefine the relationship between the tradition and the recent history,
represented by the high towers of the 60’s.
All these
four variations used the same transforming codes, the same DNA. They are 4
different individuals of the same species, as the steeples of Duomo are.
The site, looking from Duomo's roof
Interdisciplinary Advanced Studies Center. Variation
#1
Interdisciplinary Advanced Studies Center. Variation
#2
Interdisciplinary Advanced Studies Center. Variation
#3
Interdisciplinary Advanced Studies Center. Variation
#4
7.NEW MILAN
GALLERY
(2
variations)
The site in the downtown of Milano. The New Gallery is placed in the
existing square between the two buildings on the left. |
The
Gallery is one of the most important spaces in Milan and, following that, it
must represent Milan’s identity. This
project of a New Gallery in Milan has two variations but, on the contrary of
the other variations, these are not parallel results but they represent two
following steps of the evolutionary path that I ran to fit the Identity of
Milan. While the
1st one is one of the starting steps, the 2nd represent
the idea of interlacement among exterior and interior spaces and the
contamination among urban and architectural spaces that reflects one of the
segment of Milan’s DNA. In this
3rd Visionary Variation it’s possible to recognize the transformations made
by the Milanese codes that I designed for the Identity of Milan |
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The New Gallery in Milan. Variation #1, Variation #2
8.MIRROR OF FRIENDSHIP EXHIBITION
BUILDING
(Twin
towers)
The site in a view from the Duomo’s roof. On the
right the existing Velesca tower.
The Mirror of Friendship Exhibition Buildings, The twin towers are
variation of the same artificial DNA.
9.TRAVELLER’S
TOWER
(3
Variations)
The site, the square in front of the Central Train
Station, with the existing Pirelli skyscraper by Gio Ponti.
The site, the generated 3D models of the 1st
variation and the section.
Traveller’s
Tower, Variation #1
Traveller’s
Tower, Variation #2
Traveller’s Tower, Variation #3
10.THERMAL
BATHS AND CULTURAL CENTRE
(2
variations)
The site, in the business district. The building on
the left is substituted with the Thermal Baths and Cultural Centre building.
Thermal baths and Cultural Centre, Variation #1
Thermal baths and Cultural Centre, Variation #2
11.RENDEZ VOUS IN GALLERY
(3 variations)
The Milan Gallery. Generated chairs, coffee-machine
and a woman portrait. Variation #1
The Milan Gallery. Generated chairs, coffee-machine
and a woman portrait. Variation #2
The Milan Gallery. Generated chairs, coffee-machine
and a woman portrait. Variation #3
Websites:
Soddu, C, "Simulation tools for the dynamic evolution of town shape", in "Global change and local problems", Oxford Polytechnic 1991.
Soddu, C, "Simulation tools for the
learning approach to dynamic evolution of town shape, architecture and
industrial design", in "Proceedings. International Conference on
computer aided learning and instruction in science and engineering",
published by Press Polytecniques et Universitaries Romandes. Lausanne 1991.
Colabella, E, Soddu,
C,"Il progetto ambientale di morfogenesi", (the environmental design
of morphogenesis), Progetto Leonardo Publisher 1992
Soddu, C, Colabella, E, "Spatial and image dynamical models for controlling and planning the development of differences in an increasingly international and interdependent world", in the proceedings of the conference "Planning in a time of Change", Stockholm 1992
Soddu, C, Colabella, E, "The project
of morphogenesis to design the DNA or architecture", in the proceedings
of "CIB'92, World Building
Congress", Montreal 1992.
Colabella, E, Soddu, C, "The morphogenetic design as an artificial intelligence system to support the management of design procedures through the total quality of the built-environment", in the proceedings of "The management of Information Technology for Construction. First International Conference" Singapore, 17/20 August 1993.
Soddu, C, "The design of morphogenesis to design the genetic code of the artificial environment", in 33rd European Congress of Regional Science Association, Moscow, August 1993.
Soddu, C, "Human machine interaction in design processes. New search software to generate the simulation of the increasing complexity of an idea about architecture, environment and industrial design". In the proceeding of the congress "Computer Science, Communications and Society: A Technical and Cultural Challenge " Neuchatel, 22/24 September. 1993.
Colabella, E, Soddu, C, "Experimental CBL original software to teach project approach and designing procedures in architecture and industrial design", in the proceedings of the International Conference of Computer Based Learning in Science", Wien 18/21 September 1993.
Soddu, C, "Il progetto di morfogenesi / Design of morphogenesis", in the magazine Demetra, n.5 December 1993. (In Italian and English)
Colabella, E, Soddu, C, "The project of morphogenesis. A way to design the evolution code of the environment", AESOP congress, Istanbul 23-26 August 1994.
Colabella, E, Soddu, C, "Artificial Intelligence in the teaching of architectural design", in the proceedings of the conference Hypermedia in Sheffield, Sheffield 1995
Colabella, E, Soddu, C, "Recreating the city's identity with a morphogenetic urban design", International Conference on Making the Cities Livable, Freiburg 1995.
Colabella, E, Soddu, C, "Artificial Intelligence and Architectural design", CAAD Futures '95, Singapore 1995.
Colabella, E, Soddu, C, "Argenic design", paper at the International Conference "Contextual Design – Design in Contexts", The European Academy of Design, Stockholm 1997
Colabella, E, Soddu, C, "A Natural Approach to Industrial Design: Argenic Design", New Simplicity?, International furniture design conference, Helsinki Aug 1997.
Soddu, C, "Argenia, the natural
approach to Architecture and Industrial Design" in the proceedings of
Mecatronic workshop at the Universtity of Lancaster, 27/28 May 1998.
Soddu, C, "GENERATIVE ART", proceedings of GA'98, Editrice Dedalo Publisher, Rome 1999
Soddu, C, "Recognizability of designer imprinting in Generative artwork", Proceedings of Generative Art Conference GA'99, Milan December 1999.
Colabella, E: 1999, Imaging Humanity, Proceedings, USA, Bordighera Press, The imprinting of a man, word as medium for icona (pag.129) The experiences of the students of Enrica Colabella, a. a. 1997/98 Corso di Rilevamento e Rappresentazione , Faculty of Architecture, Politecnico di Milano. Codes as expression of an hypothesis that comes from the Poetic Test of Giacomo Leopardi. The goal is the building of a possible “real” scenery of Architecture, that represents the formulated idea.
Soddu, C, "New naturality: a Generative Approach to Art and Design" in Artificial Life 7 workshop proceedings, Carlo C. Maley and Etlis Boudreau Editors, Portland, Ontario, USA, 2000
Soddu, C, "Argenia, Art's Idea as Generative Code", in 2000 Genetic and Evolutionary Computation Conference proceedings, Annie S. Wu, University of Central Florida Editor, Las Vegas, Nevada, 2000
Soddu, C, "Basilica, an Architectural Generative Virtual Office based on Italian Renaissance Code's interpretation", in Mosaic 2000 proceedings, University of Washington Editor, Seattle, 2000
Soddu, C, "From Forming to Transforming", proceedings of Generative Art Conference, Milan, Ale Design Publisher, December 2000
Soddu, C, "Argenia, naturality in Industrial Design", in proceedings of 3rd International Conference on Computer-Aided Industrial Design and Conceptual Design, CAID&CD'2000, International Academic Publisher, World Publisher Corporation, December 2000
Soddu, C, “Recognizability of the idea: the evolutionary process of Argenia” in P.Bentley & D. Corne (edited by), "Creative Evolutionary Systems", Morgan Kaufmann Publisher, San Francisco US, 2001
Duncan Graham-Rowe, Design Genes, Blueprint Magazine, August 2001
Soddu, C"Generative Natural Flux", proceedings of Generative Art Conference, Milan, AleaDesign Publisher, December 2001
Soddu, C, “Generative Art, Visionary Variations”, Catalog of the exhibition at Visual Art Centre, Hong Kong Museum, 2002
Soddu, C, “New Naturality: a Generative approach to Art and Design”, Leonardo Magazine 35, MIT press, July 2002
Colabella, E, Soddu, C, “Generative Art, Preludi natural mirrors”, proceedings of ISEA2002, Nagoya, Japan, published by Inter Society for the Electronic Arts, Japan.
Soddu, C, “”Clarity, complexity harmony and safety: Identity’s Generative codes build liveable cities”, Proceedings of Cities Asia Summit, Singapore 5-6 Nov. 2002, PSA Pub., Singapore
Soddu, C, “La Citta’ Ideale, generative codes design identity”, Proceedings of GA2002, GDL Pub., December 2002, Milano
Soddu, C, ““Generative Art, Visionary Variations of Washington DC”, catalogue of the exhibition DigItalyArt, IDB Cultural Center, Washington DC, 2003.
Soddu, C, Generative Design Visionary Variations. Morphogenetic processes for complex future identities, in Communication and Cognition Journal, 2003
Soddu, C, Visionary Esthetics and Architectural Variations, GA2003 proceedings, GDLab publisher, Milan 2003