The Procedural Architecture of Mümün Keser

What if architecture were less about drawing buildings and more about designing the very processes that generate them? For Mümün Keser, this is not speculation, it’s practice. Mümün Keser is an Austrian architect, artist, and computational designer whose work transcends the conventional boundaries of architecture. Straddling the worlds of design, art, and technology, he is part of a new generation of experimental practitioners who see architecture as a discipline of construction. 

Having earned his master’s degree from the University of Innsbruck, Keser now serves as a research assistant and lecturer at the Institute for Experimental Architecture and Building Construction. Beyond academia, his independent works have been exhibited in New York City, Berlin, Miami, Vienna, Istanbul, and Tokyo. His teaching record includes workshops with leading institutions such as IAAC Barcelona, UCL Bartlett London, and Futurly, reflecting his growing influence as a designer and educator with global reach.

The Core of Mümün Keser’s Workflow

What distinguishes Mümün Keser’s work is his embrace of procedural thinking. At its center lies the use of SideFX Houdini, a software long known in the visual effects industry but increasingly recognized in architecture for its ability to handle complex simulations and generative modeling. Unlike traditional modeling approaches that rely on manually crafting geometry, Houdini empowers Keser to build node-based workflows that function as rule-driven systems.

This procedural method allows him to treat design as an evolving process. Every decision becomes parameterized, every form becomes adaptable, and every project can spawn multiple iterations. This flexibility is vital in experimental architecture, where the aim is to open up a field of possibilities from which meaningful designs can emerge. For Keser, the workflow is an active generator of architecture itself.

contraDictions

One of his works, contraDictions, consists of a number of architectural design series that are primarily focused on incorporating media into architecture and looking for contradictory processes that produce specific experiences in addition to a design end. Subject and object have a relationship that results in direct communication between the two sides. He investigated multifaceted design languages in this context, which have emerged as a result of the introduction of modern design tools and techniques.

Geometry as a Living System

Keser’s procedural mindset also informs how he approaches geometry. Rather than treating forms as final objects, he views them as dynamic systems that can evolve. Through Houdini’s Volume-based modeling techniques, he generates complex morphologies that respond to inputs, forces, and rules embedded within the design logic.

One of the key tools in his arsenal is VEX scripting, which allows him to write custom functions that manipulate geometry at a granular level. With this, Keser constructs vector fields, growth algorithms, and simulations that mimic the unpredictability of natural processes — from fluid motion to structural deformation. 

Such workflows also give rise to attribute-driven designs where performance data like sunlight, materiality, or spatial density can directly shape the geometry. This integration of performance with form-making echoes a larger sustainability agenda: architecture should align with environmental and contextual demands.

Designing Workflows, Not Just Buildings

One of the most compelling aspects of Keser’s practice is his belief that architects should design workflows as much as they design buildings. In his philosophy, software is not a passive tool to be used at will; it is a structured environment where intentional workflows must be built. By designing these workflows, he equips himself with processes that are repeatable, adaptable, and scalable.

This allows for far greater freedom and control. Instead of starting from scratch with each new project, Keser can refine, expand, or adapt his workflows, making them flexible enough to handle everything from facade optimization to large-scale spatial explorations. The workflow itself becomes a design artifact, representing a system of thought and a philosophy of openness.

By shifting the focus from objects to systems, Keser’s work reflects a broader cultural transformation in architecture: moving away from static blueprints toward dynamic, generative processes. His philosophy highlights that the future of architecture will be less about designing singular outcomes and more about cultivating processes that continuously generate new possibilities.

Sharing Knowledge Through Teaching and Workshops

Keser’s commitment to design extends beyond his studio practice. As a lecturer and workshop leader, he brings his philosophy to an international audience. His workshops serve as platforms where participants learn to use Houdini or VEX, as well as how to cultivate a procedural mindset.

His Spatial Fragmentations 3.0 workshop builds directly on his design philosophy, guiding students through procedural modeling techniques that integrate Volumes, simulations, and scripting into complete workflows. In this sense, his workshops are less about teaching software skills and more about transmitting a design philosophy.

By extending his teaching globally, Keser contributes to shaping a community of architects and designers who see computational processes as opportunities for exploration. His role as both an educator and practitioner ensures that his philosophy continues to evolve and influence the broader field.

Images courtesy of Mümün Keser.