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Dan Brown's Origin illustrates the transformative influence of artificial intelligence, technology, and design on the creative process through a captivating intersection. This paper examines Winston, the advanced artificial intelligence featured in the book, as a symbolic architect that influences artistic and architectural creativity. This study examines the ways in which Origin challenges traditional human-centred notions of authorship and creativity, thereby redefining AI as a co-creator rather than an instrument, within the context of post-humanism theory. Technological determinism provides a framework for analysing the transformation of architectural and artistic sensibilities by AI-driven design, emphasizing the inescapable impact of technology on creative expression. The philosophical implications of artificial intelligence-driven design are examined in this study through an examination of significant architectural references, particularly the works of Antoni Gaudí, and the futuristic technical vision of the book. This fiction highlights Brown's vision of a future in which artificial intelligence is a significant force that re-envisions art, architecture, and creativity by situating Origin within the broader discourse on technological determinism and posthumanism. The book prompts readers to rethink whether AI-generated design and art are legitimate forms of creative expression. In conclusion, this probation posits that Origin not only epitomises contemporary discourse regarding the application of artificial intelligence in artistic creation, but also foresees a future in which design and technology will be inextricably linked, thereby eliminating the distinctions between human and machine-generated creativity.

This research addresses energy consumption challenges in the design and construction of concrete freeform surface architecture. It proposes an integrated design approach centered on smooth poly-hypar surfaces, serving as a mediator to amalgamate architectural smoothness, structural stiffness, construction convenience, and building energy efficiency from the initial design phase. To testify the versatile functionality of smooth poly-hypar surfaces beyond structural loadbearing, they are employed in the design and construction of a Solar house—a prototype aimed at establishing an energy-efficient modular design and construction system for concrete-freeform surface buildings. This approach capitalizes on the unique structural and geometrical properties offered by smooth poly-hypar surfaces. By leveraging this special geometry, the methodology transcends individual stages, encompassing the entire integrated process and overcoming limitations associated with traditional sequential design strategies. It underscores the interconnected nature of design, construction, and sustainability considerations.

This paper showcases three selected student projects on adaptive kinetic facades (AKFs) from the design studio “Smart Shade”, highlighting their influence on visual comfort, an essential component of occupants’ wellbeing and energy efficiency. Three case studies employed a set of performance metrics to assess daylighting performance of AKF using ClimateStudio, a plug-in for Rhino exploring correlations between geometric parameters, such as size, shape and arrangement. Key metrics include illuminance, daylight availability, protection against glare and view to the outside. By examining these metrics collectively, the pedagogical approach aims at achieving a nuanced understanding of how different configurations of AKF can improve daylighting conditions, responding to varying external conditions and evolving user needs. Three different actuation methods, including cable-driven, self-locking gear mechanisms and snapping-induced motion, have been integrated into the façade module. The final task was to fabricate a prototype integrating a kinetic mechanism. The findings contribute to the evolving discourse on sustainable and integrated design by presenting a holistic framework for evaluating the daylighting performance of adaptive kinetic and multifunctional facades.

La reforma encabezada por Antoni Gaudí en la Catedral de Mallorca a partir de 1903 incluyó el proyecto, largamente ansiado, de abrir sus ventanales a la luz. Dicha tarea que solamente pudo iniciar, sería continuada por su discípulo y colaborador, Joan Rubió, hasta los años treinta. Desde la genialidad de las primeras vidrieras hasta la menor calidad de las últimas, lo cierto es que muchas de ellas otorgaron un papel destacado a la naturaleza y al paisaje como medios para vehicular el mensaje religioso, así como la inspiración en el entorno cercano, concebido como fórmula de identidad y de integración. Ello se explica a partir del pensamiento de Gaudí y del trasfondo ideológico y cultural que compartió con Rubió durante su estancia en Mallorca, concretándose en la originalidad de las piezas del primero y en las influencias artísticas que acabaron impregnando, décadas después, las del segundo.

Bu çalışmada amaç mimarlıkta tanımlanması zor olan üslup kavramının dünya çapında kabul görmüş olan ve kendi üslubunu oluşturmuş olan Gaudi'yi ve eserlerini inceleyerek tanımlamaya çalışmaktır. Nitel araştırma teknikleri kullanılarak tez yazılmıştır. Mimarlıkta üslubun nasıl oluşturulması gerektiği ve üslubun tanımı yapılmıştır. Literatüre mimarlıkta üslup konusunda kaynak bırakılması hedeflenmiştir.

ABSTRACT The private Library of Jorge Oteiza, located inside the Foundation Museum Jorge Oteiza (Alzuza, Navarra), is composed of more than 6,000 volumes, around a hundred of which correspond to texts related to Contemporary Architecture, where the Basque sculptor shows a particular interest in Gaudí and the Sagrada Familia, the school of the Bauhaus and Le Corbusier and the Modulor. Their study makes possible a direct approach to the thought of the artist, who considers the book as an effective instrument through which he dialogues with their authors through annotations and comments that provide the keys to his own work. KEYWORDS Jorge Oteiza; library of artists; 20th Century art; aesthetics and art theory; Antoni Gaudi; Bauhaus; Max Bill; Le Corbusier. Tal idea había sido ya vislumbrada por Francisco Javier San Martín3, y en ella se reafirma posteriormente Emma López-Bahut, apuntando con acierto el concepto de diálogo: \"Se puede obtener mucha información del pensamiento de Oteiza del análisis de sus lecturas ya que trabajaba los textos subrayando, anotando, rebatiendo ideas expuestas en ellos, como si se tratase de un diálogo virtual con el autor\"4. Normalmente esta documentación guarda relación directa con el contenido del texto, tratándose de reflexiones que Oteiza lleva a cabo a partir de su lectura y en las que se extiende con mayor detalle; mas en otros casos se muestra independiente y tiene que ver con las propuestas plásticas que desarrollaba en aquel momento o con sus ideas sobre los más variados ámbitos -cultural, artístico, político, antropológico-, pero que por un motivo u otro decidió vincular al texto que estaba leyendo5.

Este trabajo tomó como caso de estudio un patio de luces en específico. La casa Batlló, obra del arquitecto Antoni Gaudí, se sometió a una simulación lumínica, en donde se obtuvieron los porcentajes de luz de día de cada planta de las áreas que se encuentran adyacentes al patio de luces. Adicionalmente se modelaron cuatro casos de estudio para su análisis respectivo en donde se comparan los distintos porcentajes obtenidos en la simulación y se analizan las distintas variables de cada caso. Si bien en la casa Batlló se maneja el uso del color, en las superficies que rodean al patio también se maneja la variable de modificar el tamaño de las ventanas. Con esto Gaudí intentaba compensar la potencia de la luz natural de día que existe en los pisos superiores, unificando el concepto de tamaño de ventana y tratamiento de color en las superficies. El objetivo principal de este trabajo es determinar qué influye más para el ingreso de luz natural, si el uso de colores altamente reflectantes en las superficies de los patios o variar el tamaño de las ventanas, dando como conclusión que el color influye de manera más efectiva para el ingreso de luz natural con un 1.4% de diferencia de FLD con la variable de tamaño de ventanas.