Jonathan Bell has written for Wallpaper* magazine since 1999, covering everything from architecture and transport design to books, tech and graphic design. He is now the magazine’s Transport and Technology Editor. Jonathan has written and edited 15 books, including Concept Car Design, 21st Century House, and The New Modern House.
The debate about generative AI in architecture and creativity as a whole looks set to rumble on for perpetuity. Creators are divided into two camps; AI is either a tool like any other, or it is an existential threat that looks set to unravel the intangible magic of human creativity. Architecture might consider itself the mother of the Arts, but it is an intractable morass of disciplines and data.
While this is true of all LLMs and the way they respond to cues and questions, ZHA is committed to building tools that exploit the strengths of AI, rather than the illusions that paper over its weaknesses. ‘I think the next big thing in architecture is using language models,’ says Fischer, ‘like in coding.’ ZHA’s CAD programme of choice is Autodesk Maya, a modelling package that had its origins in cinema and animation.
So how has ZHA’s use of AI progressed? According to Shajay Bhooshan, the gulf between the two-dimensional image and the three-dimensional model are still huge. ‘Images are a unified format – there are billions of them. They align with the way computer hardware works. 3D is different,’ he says, ‘those prerequisites are not there.
3D modular assets designed and produced by ZHA, for the Fortnite video game demo developed as a collaboration between Epic Labs and Zaha Hadid ArchitectsFischer describes AI as a ‘toolset change’, adding that ‘it’ll become part of the profession. You’ll be looking at a number of niche tools that solve very specific problems.’ These could be sustainability uses that take a 3D model to create a lifecycle carbon assessment, for example.
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