Visionary Aesthetics and Architecture Variations
Celestino
Soddu
Professor of Architectural Design, Registered Architect
Director of Generative Design Lab
Department of Architecture and Planning
Politecnico di
Milano University, Italy
celestino.soddu@polimi.it - www.celestinosoddu.com
1.0 Abstract
This paper
describes the use of Generative Approach to construct the transformation
processes of artificial environment. In particular urban and architectural
environments with long history are considered.
The aim was
to design generative codes able to generate detailed architectural projects of
new buildings and new imprintings inside existing historical environments.
These new architectures had to fit, or better to increase the specific town
evolution.
These
design experiments follow my first generative projects, dated from 1988,
concerning Italian Medieval Towns and subsequent evolutions. These were
conducted in 2002 and 2003 in Hong Kong, Macau, Shanghai, Nagoya, TelAviv,
Rome, Los Angeles, Chicago, NewYork and Washington DC.
The
challenge is to generate Visionary Variations of complex environments by using
Morphogenesis codes. As in nature to reach, by using generative codes, the complex contemporary quality of detailed
architectural projects.
2.0 History and Nature
Our goal is
to associate the natural environments to the artificial environments that had
been marked by the time and cultural processes. Historical cities that have had
a cultural stratification through the centuries seems to be more natural. They
seems to fit our more deep needs in living environmental systems as a mirror of
our life. This wonderful quality belongs to ancient cities like Rome and in
modern cities like NY City and Chicago that stratified, in the last centuries,
different cultures. This is a process that works as an identifiable and
recognizable concept of ideal City.
This
analogy with nature is due to a lot of factors. Each of these factors is a
fundamental part of the natural image of these complex artificial systems. In
my work each one is described and designed with a generative morphogenesis
code, with algorithms that, as an artificial DNA, work to define the evolution
of town environments.
2.1 Uniqueness.
Generation versus Cloning
First factor.
Aesthetics of Transformation versus Aesthetics of Repetition.
The
association of the adjective "artificial" with the concept of
repetition of objects all equal can help us to consider a historical city as a
natural world. No architecture, in cities born and evolved before the last
century, is equal to another. May be that we can discover similarity, but not
repetition.
Our good
harmony feeling inside natural environments is also due to the appreciation of
uniqueness and un-repeatebility of natural realities. No tree is equal to
another, also if it is similar. Each tree is unpredictable, also if it is not a
surprise. It is recognizable.
In the
artificial worlds we can work to build this quality by using a morphogenesis
approach. We can design "natural" species instead of objects. As
happens in nature, these species generate endless sequences of individual
realities.
Generative
Design can fit these human needs. As Leonardo codes, we can do that by
designing the Dna of possible architectural and urban scenarios.
After two
centuries of cloned objects and versus the concept of architecture and design
of artificial objects as equal repetition of the same result, considered
"optimal", with Generative Approach we can find again the ability to
design and to produce artificial worlds emulating the nature oneness and
un-repeatability.
So,
avoiding the random-form approach, we can design extended artificial DNA, and
we can control these artificial species from the whole to the details of each
possible generated individuals. Generative design is the construction of an
idea/code as similarity of individuals that belong to a same species. It is not
only the generation of random results waiting for the emergence of unexpected
form which could satisfy the expectations of people with not-well defined
aim.
The species
is a design product. New individual don't emerge from random. Each scenario is
one of the possible endless representations of the same generative processes,
of the same concept/idea. Each result is different because of unpredictable
factors of the context in which each individual lives, but each result belongs
the applied morphogenesis codes.
2.2 Complexity, Artificial Life and Cellular Automata
Second
factor. Natural organic structure of historical cities comes from progressive
contaminations of different concepts in a running time line. The complexity of
a long-lived-town's system cannot be emulated without running again the same
type of progressive path. In this sense the generative methodology has to
foresee a series of transformation logics, which we could assume as concepts
representation. Each generative project has to activate and to run artificial
lives that manage, dynamically, the progressive mutual contaminations of these
concepts.
"In
order to realize complexity and clarity, one needs to define operational logics
that are strongly structured and that explicitly mirror a simple subjective
approach. First of all, complexity cannot be reached in a single step. If we
try to draw a city we will always make a simplified representation of it, or,
at most, one that is strongly allusive with respect to a particular and limited
reading key. The urban images of Piranesi, the series of engravings on the
"Carceri" are, perhaps, the highest visionary representations of the
urban and architectural complexity in a single sketch. But even Piranesi, in
order to reach complexity, stratified one sketch onto the other, using an
already carved plate and stratifying new visions, often contaminating one
perspective logic with another, creating ambiguity and new possible overlapping
reading keys that follow different temporal and emotional moments contaminating
one another but that are not contradictory.
Complexity
is always the result of progressive paths of contamination and stratification.
It is generated from the dynamics of a process and often from its
non-linearity. That's not all. Complexity also emerges from the ability of an
idea/hypothesis to confront unforeseen events within a process of temporal
transformation. If the idea, considered as visionary of the future, comes
across obstacles, overcoming these obstacles and constraints creates knots of
complexity in the system. At the same time, this increases the recognizability
of the idea, that is, the complex identity of every single event." (Generative Design Visionary Variations.
Morphogenetic processes for complex future identities, Celestino Soddu, Communication and Cognition
Journal, 2003)
Complexity,
as stratification of different and subsequent approaches, needs to have a
process time. Also a subjective approach defined today is different from
tomorrow's new one, the same if it belongs to the same human viewpoint.
Complexity
is created by the simultaneous existence of different concepts and, in the same
moment, of contradictory ones inside the same visionary approach.
If our aim
is to design morphogenesis codes able to construct a contempoirary complexity,
we need to stratify, inside generative project, a lot of different subjective
concepts mirroring our personal history of designers, our different moods and
the sequence of hypothesis belonging to our cultural viewpoint.
Doing that,
we need to interpret each design occasion as a particular contamination way of
our stratified morphogenetic codes. So we need to redefine a paradigm that will
control the evolutionary path.
Following
the concept that complexity rises only from a temporal path, we can manage a
second possibility using evolutionary systems. This second possibility can be
used only together with the first one because it can only consolidate the
increasing complexity of a topological relationship.
In order to
design this system of rules, we could also use Cellular Automata logical approaches.
But such evolutionary structures don't succeed in satisfying the complexity as
figuration proper of architectural events. In my generative architectural
projects I used three-dimensional cellular automata for increasing the
complexity of a topological system but not directly for shaping possible
architectural events. Each of these architectural events follows genetic
structures built considering the specificity of feasible buildings. This
peculiarity is defined through rules of transformation. Cellular Automata is really a generative
phenomenon but only as a schematic support of possible configuration.
Cellular
Automata define a progressive structure of different codes that are applicable
to each event, at the different scales, considering the structure of
relationships with the surrounding events.
It is very important for the possible starting up of generative
processes.
Each
architectural event is identified and it is generated by considering what
happens in the 26 surrounding positions. These relationships operate enhancing
the rules of transformation already working in each single event and in its 26
interfaces shared with other events. This process occurs from the whole
architecture until its details. My process uses logics similar to fractal
systems. The difference with fractal systems is that the homothetic approach is
applied not to forms but to transformations.
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Sequence of
increasing complexity in a 3d cellular automata experimental program by
C.Soddu
2.3 Figuration and Idea
3dr factor.
Like in nature, the constrains belonging to the increasing functional and
technological factors that occur during the design life will increase the
quality and natural character of artificial environment.
The strong
relationship between figuration, feasibility and architectural concept can be
managed in way that the feasibility don't reduce the idea but can be the key to
gain complexity by opening a lot of parallel possibilities to develop the
architectural concept until the implementation of final design results.
I defined,
inside my generative projects, a structure of different, parallel and possible
devices of transformation that represent a lot of different constructive
approaches to the architectural shape feasibility. The choice among these
possible evolutionary paths is done not only at a low level but with the
purpose to enhance the idea/code during each increasing complexity process. The
evolutionary process is managed by fitting the progressive results with
different construction approaches and their progressive contamination in an
open system. In this way, all the practical needs, that could seem to be bonds,
are really used to enhance the architectural idea. As normally happens in
nature, difficulties don't reduce the input but are the occasion for increasing
the complexity implementation.
Like olive
tree. More it is beaten from the wind and from the bad weather, more it has
been marked by time history, more the
quality of the result is amazing and fascinating. Time and constrains has
enhanced its identity of individual, its being an exceptional and unique
expression of the species code.
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Olive
tree aged of two thousand years in the Getzemani Garden, Jerusalem |
In our town
environment (and in architectural design processes too) the same process
happens. More the town was passed through strong and different cultures, and,
in sequence, different needs was applied to transform this reality, more its
artificial environment has a high quality.
In
generative processes happens the same. More the requests of the client are
strong, contradictory and impossible, more the quality of the results can be
high. The difficulties push the evolution and each step is an occasion to use
an architectural code, using its ability to transform the request in increasing
complexity and the first draft in a progressive good project.
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Loa
Angeles downtown, Visionary Variation. C.Soddu generative project 2003 |
3.0 Generative Codes and Visionary Variations.
Our aim is
to construct Morphogenesis codes able to generate endless Visionary Variations.
We can use, simultaneously, a set of different devices of transformation, made
with the aim to represent the manifold faces of our architectural hypothesis.
As in
nature, no one of this device of transformation is necessary or is exhaustive
of our idea. We can use all them together. But we can also insert later other
devices in order to upgrade our architectural idea during the time of our
designing experience. The generated results will represent our subjective
experience, our cultural references.
Subjective codes in collective modality.
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Chicago,
one century ago. Visionary Generative scenario fitting City Identity. C.Soddu
generative project 2003. |
My
challenge was to design a generative code able to represent fascinating
environments as historical cities. By representing the process and not the
results, by constructing an artificial DNA.
I considered
these subsequent issues and I used them to design an open system of generative
codes:
1. In the historic cities everything seems
always been so, that everything could not be anything else than so, but, at the
same moment, everything is surprisingly unpredictable and complex, full of
contradictions and of unexpected contaminations.
2. Everything is organically structured
but every detail, every event is unique and unrepeatable. The codes of transformation, that I
designed, manage opposite characters: uniqueness and recognizability,
complexity and identity, unpredictability and organic system, order and
chaos.
3. It is possible to find codes of
identity and associations among characters and specificities of the events that
compose these complex systems. But every code is interpretative code, is an
hypothesis that represents the
subjectivity of whom builds it.
4. The codes of reading are endless and
each of these is like the codes that we use to recognize the objects
surrounding us, the same codes that we learned to build when we was children
and we needed to distinguish a chair from a table, an automobile from a truck,
a picture of Van Gogh from one of Picasso, the teachers of mathematics from
those of gymnastics. Generative codes
have to manage recognizability and clarity of possible scenarios.
5. The amazing thing is that, even if
these codes are built so strongly by following our subjectivity, they perfectly
work and are able to give us the ability to recognize unpredictable events.
These rules of identification, also if they are different from the rules used
by other people, can fit the same results. This happens even if these
subjective rules are founded on different lived events and on different logical
associations. So, Identity codes can be
written referring to our subjectivity. They will work well if these codes will
be a lot inside an open system.
6. The codes of transformation that build
the artificial DNA have to simultaneously fit our subjective way to read the
surrounding environment and its transforming processes and, in the same moment,
the inter-subjective feeling of how (in our interpretation) the inhabitants
look at the past/future of the city environment.
7. The idea of city that springs from
these subjective and inter-subjective approaches operates toward the
realization of the city itself increasing its own fascinating aspects, its own
characters, its own identity. This Idea represents an evolution and progressive
stratification of complexity and it traces, unequivocally, the existence of a
temporal run in action. The existence of the past, that is represented by the
visible and by interpretable transformations gives the possibility of looking
to a future. The need to interpret the
existing town environment puts us into the game. We feel us inside the time, we
feel alive, we feel well. A city without history is unliveable, because it is
without time and therefore without future. At least until first transformations
will be implemented, by opening the games to the creativeness and to the
future.
The
generative codes must be rules of transformation. Nothing has to be defined as
form: this is a static approach. Everything has to be identified and to be
designed as process of transformation, by following our need to feel alive. The
more interesting and "natural" architectures were born by a
transformation, not by a single act. The Pantheon too, one of the more perfect
architectures, was born transforming a previous existing temple.
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Shanghai.
Visionary variation of city evolution. C.Soddu generative project 2003 |
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Table 1. ."
(from: “Generative Design Visionary Variations. Morphogenetic processes
for complex future identities”,
Celestino Soddu, Communication and Cognition Journal, 2003)
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.
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Nagoya. Visionary variation
of the district of the harbor. C.Soddu generative project 2003
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4.0 Visionary Variations
My last
generative works have been characterized by the attempt to design the complexity
of the urban-architectural environments of the modern tradition. While my first
generative projects in the 80' have been characterized by the reconstruction of
generative codes of the Italian urban tradition, from the Roman Empire to the
medieval cities, from Renaissance to the Baroque, my last works focused the
comparison with the urban environments of the modern tradition, as Chicago of
the beginning of last century. This approach was enthusiastically performed and
I found a good field to verify the possibility of using the generative approach
directly in one of the most important design activity: the design of the
quality of the urban environment, of the urban-architectural character and of
its identity. Above all because in city as Chicago, Hong Kong and New York we
can easily read the passage to the modern not only as innovation but also as
construction of a cultural ideal shared among its inhabitants: the ideal
city.
The
challenge was to identify and build, with generative codes, visionary variations
of ideal cities that are readable and interpretable in these real contexts and
in their active and evolutionary processes.
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Nagoya
downtown, Japan. Visionary Scenarios of increasing complexity 2003 |
4.1 The Visionary approach
To
implement a visionary approach we have:
1. To
operate by generating variations and not permutations of pre-designed
components (also if these components are parametric). My approach uses a set of
parallel codes of transformation that represent a subjective vision, an
interpretation of the reality as first step to implement possible worlds.
Following that, my generative work don’t use databases. It is an open system
able to generate endless results.
2. To
reread the historical architectures but not to re-design their forms. The concept was to re-construct the
complexity as harmony able to put, in only a scenario, the plurality of events
that represents the natural multiplicity of the possible.
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Washington
DC, Inter
American Development Bank Visionary variations. C.Soddu generative project
2003 |
3. To build
an artificial DNA that can be, at the same moment, innovative, contemporary,
and the mirror of the architectural tradition of Renaissance. Where the
generated scenarios, also if they mirror the tradition, they consolidate
themselves in complex forms constrained by rules, they overcame the limit of
these rules by using them. These scenarios have to deny the constrictive aspect
of these rules to find again, in the constrain, the occasion to explain the
concept and run the process of discovery. We are working, as in the
Renaissance, in the field of art and science.
4. To
maintain, rather to amplify the recognizability of each of these cities, also
operating through architectures whose image is strongly linked to contemporary
concepts of architecture.
5.0 Conclusion. Generative
Art: technology or philosophy ?
The results
of this challenge are the visionary variations of cities like Chicago, Nagoya,
Shanghai, Washington, Los Angeles, Tel Aviv, and Rome.
These
visionary approaches trace not the solution but the process toward a possible,
a look toward possible variations of the environment that we are living. The
aim is to design an idea of artificial objects that mirror nature, of architecture
as plot of endless variations, of simultaneous uniqueness, of complexity that
suddenly appears as existing from a long time, as natural character that we was
looking for a long time, as mirror of our life.
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Washington
DC, Dupont street. Visionary variation of town evolution. C.Soddu generative
project (IDB exhibition 2003) |
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TelAviv.
Visionary variation of seafront. C.Soddu generative project of a new hotel,
2003 |
The
generative approach overcomes the technology, it goes beyond the limits of the
tools and it is the occasion of deep evaluations on the structure of the
environmental systems surrounding us, occasion of discovery of creative spaces
that we, for a long time, were looking for.
The idea
can be concretised in a project of ideal city without having the necessity to
represent it as solution, but only as code of the possible, as process of
transformation that we can run: this is the Generative Art. Opening unexplored
roads to the creativeness redefining the concept of design GA is, more than a
technology, a philosophy.
Generative
Art is not (only) a technology also if it uses information technologies. It is
not only a tool that we can use to generate forms. It is a philosophy with a
strong and humanistic imprinting: each generative project can be implemented
only starting from a hypothesis, like all scientific discovery paths, from a
subjective vision of possible worlds, of possible rules, of possible increasing
complexity.
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Rome. Visionary variation of Ghetto-Trastevere new link. C.Soddu, E.Colabella, A.Sonnino Generative project 2003 |
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C.Soddu, "L'artificiale progettato ", (the
designed artificial world) Casa del Libro Publisher, 1979.
C.Soddu, "La patina del tempo" (the time patina) in
"Recuperare" magazine n.9 1984.
C.Soddu, P.A.Rossi, "Il calice di Paolo Uccello uno e senza limite",
(the goblet of Paolo Uccello, one and without limit) with a referee of
C.L.Ragghianti, in "Critica d'arte" magazine n.8 1986.
C.Soddu, "L'immagine non euclidea" (the not euclidean image), Gangemi
publisher, 1987.
C.Soddu, "Simulazioni per immagini tridimensionali computerizzate della dinamica
di evoluzione formale dell'ambiente urbano", (3D simulation of dynamic
evolution of urban shape), proceedings of the conference "l'immagine nel
rilievo, Sezione L'immagine Computerizzata", Roma 1989.
C.Soddu, "Rappresentazione e rilievo per immagini
tridimensionali computerizzate della morfogenesi storica urbana" (computer
3D representation of the morphogenesis of urban evolution), in the proceedings
of the conference "il Rilievo Tra Scienza e Storia", Perugia 1989,
then published in the magazine XYZ 1991.
C.Soddu, "Identita' come specie: la morfogenesi dell'immagine urbana con
sequenze di modelli 3D di citta' aleatorie", (Identity as species: the
morphogenetic evolution of urban image using 3D models of random cities), in
the proceedings of the conference "Identita', Differenza,
Fraintendimento", Palermo 1989.
C.Soddu, "Nuovi metodi di rappresentazione della configurazione urbana: la
specie", in the book "La Configurazione dell'Immagine Urbana"
(Designin the urban image), Gangemi publisher 1991.
C.Soddu, "Citta' Aleatorie", (Unpredictable cities), Masson
Publisher. 1989 .
C.Soddu, "Citta' Aleatorie: strumenti di
rappresentazione della dinamiche dell'immagine urbana", (random
cities, representation tool of town
shape dynamics), in the magazine "Territorio" n.3, 1989
C.Soddu, "Citta' Aleatorie", in "Computer and Art",
Exhibition 1990, Lugano Swiss, , Fondazione dalle Molle Foundation for the
quality of life, George Mason University.
C.Soddu, "Il progetto di specie. Strumenti propositivi e di controllo
delle potenzialita' dell'acciaio nell'architettura e nel design", (the
design of species. The
creative tool to increase the possibility of using steel in architecture and
industrial design), in the magazine "Acciao", April 1990.
C.Soddu, "Progetto di specie", (design of species) in the
magazine "Sinopie" n.4 1991.
C.Soddu, "Simulation
tools for the dynamic evolution of town shape", in "Global change and
local problems", Oxford Polytechnic 1991.
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dagli scenari metropolitani al design morfogenetico", (The simulation of
the shape evolutionary dynamics. From urban scenarios to the morphogenetic industrial design), in the
proceedings of the conference "La citta' interattiva", Milano, June
1991
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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.
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environmental design of morphogenesis), Progetto Leonardo Publisher 1992
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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
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architecture", in the proceedings of
"CIB'92, World Building Congress", Montreal 1992.
C.Soddu, "Il progetto ambientale attraverso i codici morfogenetici
del naturale artificiale", (the environmental design using morphogenesis
codes of natural/artificial systems), in the book "Poiesis, l'informatica
nel progetto euristico", Citta' Studi Publisher, Milano 1993.
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Design Architekture " in "New Realities - Neue Wirklichkeiten II
ArchitekturAnimationenInstallationen" 27 Jan/4 Apr 1993, Museum fur
Gestaltung Zurich.
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"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.
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artificial environment", in 33rd European Congress of Regional Science
Association, Moscow, August 1993.
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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.
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di parete", (The morphogenetic architectural design using steel
components), in the proceedings of the congress AIPPEG at SAIE, 22 October
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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.
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and English)
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urbano", (Morphogenetic environmental design) in "Ridisegna la
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del possibile", (AI and architectural design. From old CAD to new tools that increase the
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thesis work of Industrial Design), in the magazine Area, September 1994
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design", CAAD Futures '95, Singapore 1995.
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Rotary Club Milano Porta Design – Design in Contexts", The European
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Academy of Design, Stockholm 13-15.4.1997
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proceedings of the congress "Mobilita' ed evoluzione dell'ambiente del XXI
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secolo", Promotor publisher, Bologna 1997
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(generative art, new products for the human beings), 1998, Rotary
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the conference Piazze Telematiche, The proceedings are published in the book
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C.Soddu, "GENERATIVE
ART", proceedings of GA'98, Editrice Dedalo Publisher, Rome 1999
C. Soddu, "Recognizability of designer imprinting in Generative
artwork". Proceedings of Generative Art Conference GA'99, Milan December
1999.
C. Soddu, "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
C. Soddu, "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
C. Soddu, "Basilica, an Architectural Generative Virtual Office based on
Italian Renaissance Code's interpretation", in Mosaic 2000 proceedings,
University of Washington Editor, Seattle, 2000
C. Soddu, "From Forming to Transforming", proceedings of Generative
Art Conference, Milan, Ale Design Publisher, December 2000
C. Soddu, "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
C.Soddu, “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
C. Soddu, "Generative Natural Flux", proceedings of Generative Art
Conference, Milan, AleaDesign Publisher, December 2001
C.Soddu, “Generative Art, Visionary Variations”, Catalog of the exhibition at
Visual Art Centre, Hong Kong Museum, 2002
C.Soddu, “New Naturality: a Generative approach to Art and Design”, Leonardo
Magazine 35, MIT press, July 2002
C.Soddu, E.Colabella, “Generative Art, Preludi natural mirrors”, proceedings of
ISEA2002, Nagoya, Japan, published by Inter Society for the Electronic Arts,
Japan.
C.Soddu, “”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
C.Soddu, “La Citta’ Ideale, generative codes design identity”, Proceedings of
GA2002, GDL Pub., December 2002, Milano
C.Soddu,
““Generative Art, Visionary Variations of Washington DC”, catalogue of the
exhibition DigItalyArt, IDB Cultural Center, Washington DC, 2003.
C.Soddu,
Generative Design Visionary Variations. Morphogenetic processes for complex
future identities, in Communication and
Cognition Journal, 2003 (incoming printing)