CELLULAR AUTOMATA

ABSTRACT
Mathematical constructions and concepts can be utilized in a number of methods to
investigate the process of generating architectural forms.
One is to technically layout architectural elements along such constructions, another is to
explicitly develop forms corresponding exactly to the underlying concept, and another is
to use such concepts as inspiration, a starting point for design
A hybrid method is to follow an interpretive approach, one that uses a mathematical
concept as a framework to begin to investigate architecture forms.

INTRODUCTION
Cellular automata is the computational method which can simulate the process of growth
by describing a complex system by simple individuals following simple rules.
This concept of simulating growth was introduced by John von Neumann and further
developed by Ulam in the area of simulating multi-state machines.
The concept gained greater popularity when Martin Gardner described John Conways
Life, a game that generated two-dimensional patterns.
Stephen Wolfram began researching the concept to represent physical phenomena and
has recently reintroduced the discussion in A New Kind of Science.
THE BASIC CONCEPTS
(I) One dimensional CA
The research of cellular automata based on computer is one of the earliest forms
of artificial life research.
Conway's game of life, which sets rules about cells in a grid being on or off, is an
original study.
In the game of life there is a matrix of cells, and each cell can be alive or dead
according to specific rules. We may call it one-dimensional CA.
Owing to the similarity to the binary logic of 1s and 0s; it attracts early
researchers attention about the possibilities for computing.
The rules try to simulate the social relationship and the growth of the natural life.
For example, if a cell has too many or too few neighbours it dies, from overcrowding
or lack of support. If it has a moderate number it lives or comes to alive. Each
iteration of the game results in a new pattern of dead and alive cells. The patterns
of cells can be mapped to various physical and artistic elements.
(II) Three dimensional CA
 Three-dimensional CA is an expansion of one-dimensional and two-dimensional CA.
It deals with more complicated information about the relationship between cells;
however, it also provides more spatial data to us.
The basic concept of three-dimensional CA constitution is described as follows.
A cell is concerned with its lower-layer neighbours; the amount of its
neighbours makes it alive or dead. We overlap the several cell-grid layers
and build a 3D-structure.
In this computer system, the user may specify a first floor plan or generate
the first floor plan by random number. Every upper-floor grid is checked by
the sum of its nine lower-floor grids. The rule describes how many lower-
level solid cells (0-9) can compose a upper-level cell.
Users may specify a rule or let the random number make a rule. The first
iteration of first floor life-power was transferred to upper floors, and we
even can trace back up side down.
With the benefit of computer, this study is built in the environment of
AutoCAD and AutoLISP.
An early example of three-dimensional pattern development is the wooden block
model created by Schrandt and Ulam, Figure 1a.
Investigating repeating patterns as Conway had found in two dimensions is Bays,
Figure 1b. and finally an highly inspirational architectural application by Coates,
Figure 1c., much in the same spirit as Bays.
The most recent is two methods develops by Wolfram, Figure 1d., in which a
stacking method is explored, as well as, one similar to Bays.
The striking similarity in these is the explicit representation of the cellular automata,
even though each had taken a different approach and had a different application as
an investigative goal.
(III) Generation of form and music
The pure mathematical translation of cellular automata into architectural form
includes a number of issues that do not consider built reality.
The interpretation or translation to a possible built form can be made after the
form has evolved.
Figure 2 is an example that designers create architectural forms with CA
To transform CA into architectural forms is easier to be realized than to map CA
with music, because cells themselves have composed a solid and void space-
structure.
Some musical questions still could be remained as undetermined black boxes; for
example, how can a configuration of cells represent a sound granule, and how can
the relations between cells represent melody and rhythm?
Researchers need mapping methods for translating CA into music composing.
Recently, Miranda proposed a Cartesian model in CAMUS to represent a triple,
that is, a set of three notes.
 The model tries to transform spatial data into music; it has two dimensions, where
the horizontal coordinate represents the first interval of the triple and the vertical
coordinate represents its second interval (Figure 3).
Its one of the known methods to interpret CA into music.

Figure 2. Architectural forms derived from CA. (source: Krawczyk)

 Figure 3. Mapping between music and Cartesian space. (source: Miranda)
The first step is to compose the space structure; in other words, we need a method to
use generative rules to create forms.
The second step is to transform the structure derived from the first step.
In computer presentation and simulation, applied a life and death rule to generate the
second floor, third floor, fourth floor and so on. The rule could be denoted as:
0D1L2D3D4L5D6L7D8D9L, L for life and D for death. V and X also represent same
meanings in Figure 4.
The number, from 0 to 9, stands for under-level solid neighbour cells in total. For example,
4L means it will survive when there are 4 solid or occupied cells at lower floor; 2D means
it will be dead when there are 2 solid or occupied cells at lower floor.

The colours represent the amount of cells. We use AutoLISP programs to generate 3D
structures. We may use AutoCAD command to see this basic structure from different view-
angles, and to shade this structure (Figure 4).
Every cubic cell is given with different colour for representing its total
 lower-level neighbours. For example, red stands for one solid cubic under its lower-level
neighbours (within 3 x 3 grids); yellow for 2, green for 3, bright blue for 4, dark blue for
5, magenta for 6, pink for 7, brown for 8, grey for 9, and white for zero.

Figure 5. A basic structure (left) and a shaded structure (right).

(I) Architectural Form

The CA system provides a basic construction of solid and void space.

It could be an interesting inspiration for designer to create the composition of space. Like
Figure 6, we embed columns in a cellular structure, and make it look more like a real
construction.

The colour of every cube has its meaning. The colour is determined by the total of its lower
level solid cells; therefore it is not just for fun. The ground level has no lower level;
therefore, 6 faces of a cell different colours are given.

Figure 6. Embed columns in a cellular structure.

(II) Transforming

Following is an idea of transformation. I put two strings into every cell for stretching its
cubic-box contour (Figure 7).

The strings connect four diagonal corners of a box. When a generate program runs, the
simulation system will stretch the lengths and change the directions of these strings based
on random numbers; therefore the whole structure could be transformed into a kind of
free form.

It is able to break the original orthogonal boxes when this program runs. The facades of a
structure will be twisted seriously if use this transforming rule many times. Thats the
reason why only two strings inside are put in a box, because more strings stretched in a
box will destroy this box and make it unrecognisable..

Figure 7. A box with normal strings and three boxes with stretched strings.

In fact, when the simulation system stretches a string, it will stretch all the boxes whose
corner is connected with this strings two ends.

Therefore, the whole wire-frame structure is transformed.

Figure 8 is an example to explain the original orthogonal structure and two transformed
structures after applying different times of stretching-rules.

Figure 8. An orthogonal structure and two transformed structures.

III) Generating different size cells

The size may change of these cells with random numbers, which give the boundary of
maximum and minimum lengths of every box (Figure 9).
 It vivifies the composition of a structure, too. This kind of expressions could be a good
suggestive composition for designers, and for further manipulation

Figure 9. Random cell size structures.

On the other hand, it may give some suggestions and inspirations to design buildings
elevation. (Figure 10.)

In this section, we may realize the diversity and creativity of three-dimensional CA.

With the assistance of AutoCAD and AutoLISP program language, we may generate many
space structures, and test interesting solid/void possibility in computer.

Figure 10. Simulation of architectural elevations.

As we know, a box has six faces. In the above-mentioned examples, all boxes are closed.

However, we may open some faces of these boxes, or even erase some boxes in a
structure if you do not like so many boxes, to create an open-faced structure.

Demonstrating the inner composition of cells, we may display a construction with cubes
and plates (Figure 11).
 Figure 11. A structure with some opened boxes.

(IV) Random-sized cell structures

In this section, we use two above-mentioned methods together to create free-form

random-sized cell structures.

Obviously this generation can transform the original form a lot; the result seems more
similar to natural organizations than artificial works (Figure 12).

For example, it may look like villages that are located on a hill.

Figure 12. A structure with random-sized and twisted and opened cells.
 Figure 13 has two pictures of Greek villages, Fira and Oia. There are some interesting
similarities between our generative cell structures and these natural grown villages.

For example, they both have cubic contour, plane roofs, vertical walls, horizontal layers,
hierarchy and organic organization in particularly.

Figure 13. Two organic cubic structured villages. Left: Fira, Right: Oia; Santorini, Greek.

CASE STUDY : The Empirical Tower

Empirical Tower seeks to experiment on Cellular Automata concept which based on cellular
entities whose states depends on their previous state and on the one of their neighbors
to perform complex outcomes by implementing simple set of rules that affect only local
relations of their components.
The Empirical Tower is a speculative project based on Mapping the programmatic
distribution incorporating several functions to produce a system for the production
complex mixed-use high-rise building as new solutions of habitation for the area of
Greenwich.

The New (90 M) high mixed-use tower, made of (27M) wide and (36M) long volume , the
scheme proposes varied programmatic elements , from Commercial to Residential, public
areas and office spaces , it tends to become a new landmark of the area.
 CASE STUDY 2 : MULTI-USE BUILDING IN FARGO

multi-use building in Fargo, North Dakota. The results were not what I would call interesting, but
I was very happy with my own results.

I worked on this project mostly on my own, with some help from Dennis Park and Daniel Yep
Taboada

There are two main ideas to work on in this project.

Connectivity and distribution.

These came together under the general topic of reticular networks.

These networks are connective tissues that form fine mesh works around bodily organs.
For this building It was interested to know how to combine and connect the different
programs of office, housing, retail, and public spaces.
The programs became the organs inside the body of the building (not sure how that relates
to Deleuze and his body without organs).
The connective tissue became a diagrid structure that wrapped around different zones. At
certain points these zones are joined by bridges
 The distribution of the program was done using cellular automata.
This is mathematical process that has gained some attention within computational design.
It is a rules based system that are governed by on/off states of neighboring cells. This
can be used to control density and create interesting patterns.
 Here there is two sets of rules.
One for the base where the density needed to be higher and a different set of rules for
the towers.
Based on different starting configurations and variations on the rules ,created a large
repertoire of options from which to develop a final design.
The seeming random patterns created by the cellular automata were perfect fit for the
desire to develop public spaces through out the site.
Different opportunities presented themselves as the units varied on different levels. These
spaces emerge from the process and provide the type of unexpected results that
computational design can achieve.

Another aspect of cellular automata : to take advantage of is its modularity. Because it is

based on repeating of the same unit through multiple iterations, therefore wanted to
combine this with modular apartment types.
After developing several apartment types we wanted to see how these could fit into the
the structure produced by the cellular automata towers.
This is one of the aspects that we would have liked to work on more.
It would have been nice to run this through an optimization sequence, where the different
towers are evaluated to see which meets parameters based on programmatic needs such
as how many 2 bedroom or 3 bedroom apartments are in each.
Because of the short time frame of working on a competition we were not able to achieve
this.
 Another aspect that we would have liked to work on is to develop the diagrid envelop into
a manifold surface that moves through the open public spaces.
This would have not only created a greater degree of connectivity, but also blurred the
relationship between inside and outside and public and private spaces. but overall we think
this is strong project that opens many avenues for further research