Meta-Code, Identity’s
Borders
Visionary
Variations of Milano
Generative Projects Designing the Identity of Milano
Celestino Soddu
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
Abstract
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.
Keywords
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.
My design challenge started up in 1987 with the realization of Generative Projects of architecture, cities, industrial design and visions of Art. Today these projects are extremely complex and are able to be directly operative as interfaces with productive systems.
In an epoch marked by repeated attempts at the cloning of natural beings, Design finds again, in advanced technological fields such as non-linear dynamic systems, artificial life and artificial intelligence, the notions of the aesthetic and ethical pleasure of rediscovering the processes and characters of Nature and its unrepeatable uniqueness.
Generative Visionary Variations for Milan Identity.
Designing the Code
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 in Milano
(increasing Identity of
Milano)
1.FUTURISM MUSEUM
(3 variation)
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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.First Visionary Variation. |
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Futurism Museum in
Milano. Second Visionary Variation. |
Futurism Museum in
Milano. Third Visionary Variation. |
Futurism
Museum in Milano. One of the 3D model
generated by Argenia with its interior spaces. These axonometric views
belong to the 1st 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.
Interior central space of
Freedom House. The old “case di ringhiera” were the references used for
designing the transforming rules of the interior spaces.
Freedom House in Milan.
One of the generated variations.
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:
IRTAL,
Variation #1
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.
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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 |
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Brera Utopia’s Museum,
Variation #2 |
Brera Utopia’s Museum,
Variation #3 |
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.
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)
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.
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The site, looking from the Duomo’s steeples. |
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Homage to Gaudi, three tower's variations in front of Duomo,
Axonometric views. |
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These generated 3d models
was produced using this artificial DNA with a mix system of rules controlled by
a paradigm abducted by Gaudì.
6.INTERDISCIPLINARY ADVANCED STUDIES CENTRE
(4 Variations)
The site, looking from
Duomo's roof
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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. |
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Interdisciplinary
Advanced Studies Center. Variation #1,2,3,4 |
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7.NEW MILAN GALLERY
(2 variations)
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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 |
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The site in the downtown
of Milano. The New Gallery is placed in the existing square between the two
buildings on the left
8.MIRROR OF FRIENDSHIP EXHIBITION BUILDING (Twin towers)
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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)
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The site, the square in
front of the Central Train Station, with the existing Pirelli skyscraper by
Gio Ponti. |
Traveller’s Tower,
Variation #1, 2, 3 |
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The generated 3D models of the 1st variation and the
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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.
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Thermal baths and
Cultural Centre, Variation #1and 2 |
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11.RENDEZ VOUS IN GALLERY
The
Milan Gallery. Generated chairs, coffee-machine and a woman portrait.
Variation #1, 2, 3
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