From concept of anisotropy to digital architectural form generation through transformations

The design process starts from the existence of mankind. While nature designs itself, producing flawless architecture, mankind produces small play fields for itself, nestled in the perfection of nature. Creating is a particular privilege to God, a higher consciousness or nature. Mankind of course cannot create solid, tangible objects out of nothing; however, there is no law that prevents him/her to produce abstract creations in his/her mind. The person fully owns everything that occurs in the mind and can create and design. The break point is how he/she can produce these creations of artifact in reality. In this case, interdisciplinary work and inspiration from nature plays an important role in creation and imagining. Tools, materials and systems are important to turn dreams into reality at the time of their existence. Looking at designer tools throughout time - pencil, ruler, paper, modeling methods - one observes that they serve as a limb that helps the designer's thoughts become tangible. In recent years with technological advancements, computers and programming languages have become main tools for architects. Today's architectural practice has become one of the main topics of discussion; moving beyond the computer being a mere representation tool, its ability of including itself in the design, producing its own design processes and methods made it an important cornerstone in the professional practice. This resulted in a situation where different design languages were born and the corresponding defending of these languages have emerged. Whether human mind is the sole decision mechanism of design or the computer is, which is part of digital design, can make a decision, ultimately the product obtained is a language. This language is visual representation technic of designers. As an architect, design is a mental endeavor and its language is drawing in order to apply design. The basis of this language is geometry. The scope of the thesis includes the impact of interdisciplinary concepts which are believed to expand the limits of the imagination of the designers head, and discusses their place in the design process. In addition to this, the thesis addresses the running geometry and material relationship in terms of its impact on the creative process. The first part of this study progresses through Computer-aided Architectural design tools, which are conflicted with the system of conceptual thought and interactive interdisciplinary work. Considering the progress with design constraints and computer-aided architectural design, how geometrical forms emerge with the restrictions Computer-aided design in architectural practice is the main question of thesis. Digital design tools are mediating in order to create forms. In this case, digital design tools were considered to be a conductor in concluding the design process with constraints. In the second part, the major topics of geometry is examined through the language of design, the general evolution of geometry and the theory of transformations efforts to resolve the nature of the formation. In this process, the evolution of geometry and the foundations of parametric design are sought in order to discover flowability of design creativity. In this section, geometric processes are examined with different theories. The process examination begins from Euclidean geometry and continues to the evolution of complex and organic geometry. Apart from these, in the architectural design process, geometry and material have to think and work together in order to create design, therefore, material transformations are examined. Material is a main research topic; however, in this part, possibilities of form generation are discussed through the material. In this sense, Material, geometry and transformations between these two concepts are examined. In the third and fourth part of thesis, the anisotropy, which comes up in the theory of transformations, is examined. The impact of these two concepts on the practice of architectural design and contributions to the study of form production are investigated. The question is how the anisotropy, which comes up in materials, effect creating geometry. Models developed in the scope of the thesis were evaluated in terms of concept transforming into geometry and as the idea during the design process. Lastly, in the final part of the thesis, anisotropy and the theory of transformations work together in order to create alternative models. These models are produced by taking advantage of digital design tools. Hence, do not expect to have definitive answers from the system. The use of the system has been effective according to open-ended and supporting creative formations. Formation of concepts is an important part of thesis, while the models are being created. The thesis's approach is identifying interdisciplinary interaction that triggers the creative design process to investigate the effect of creative geometry. This interaction can manifest itself in a conceptual and technical way. Transitions of interdisciplinary concepts trigger off the creative process in order to produce new approaches and formations. The general axis of the study, interdisciplinary concept is taken up again in the fiction of architectural design and, in this case, is expected to produce innovative creations. The study does not offer a new model under the scope of innovative design approaches; instead, it offers a variety of alternative models that can be interpreted. This situation results in the process of remodeling the concept of design disciplines from another discipline and finding a form, converting concept to the concrete. To understand the concept in a different discipline, transforming from concept to geometry and form has been seen as a creative technique. Furthermore, the formations of different forms have triggered creative modeling. The concretization of the concept is valuable in understanding the concept. A leaf is formed in order to protect the fruit. In this creation, the concept of protection has determined the shape of the leaf. In this thesis, the transformation of the concept to form and observing the concept as a system in order to produce creative techniques, convert concept to the concrete. Mankind is more receptive to things drawn, touched or seen. While the transitions in interdisciplinary concepts are studied within the scope of geometry and form, new variations of form which do not exist in designer's head, emerge with the help of the computer-aided design. The thesis does not propose a model; it is in search of different forms associated with two concepts. Designer produces these forms with curios and inquisitive identity. Currently, there are designers against the architects who produce forms with aesthetical concerns. However, even if designers produce a creation without form or aesthetical concerns, eventually form will still be produced. Manufacturing forms has its own unique shapes. In this context, the idea or concept needs to associate the forms as long as human beings produce something. Human beings have a body form with soul or mind. The human soul (concept) is wrapped with the body (form). Constantly producing new codes, breaking and regenerating these codes have created continuous dynamic brainstorming. Creating form, which produces both new and existing codes, is an important role in figuring out concepts. New design concepts can contribute to architecture instead of taking the designer role. Interdisciplinary transition can start and support to design in a different way, improving the relationship with the architect.