The research discussed intends to build on the applications of rational systems and fundamental underpinnings for the evolution of software objects as assistive methods only. Designers use equipment to create their artifacts, such as digital modeling programs and digital printing devices. Digital software “assists” the design process and doesn’t dominate it. The computer doesn’t create autonomous designs but helps in the creation of more complex and unpredictable ones. It does this through the creation of unanticipated data that requires trial and error exploration. This requires designers to manipulate the products of such programs in a way to drive their designs forward. Such manipulation demands a cognitive adaptation on behalf of users to the requirements of program over time.
Different design approaches are discussed, starting with parametric design. This approach refers to a system where values are substituted “for a few parameters in order to generate variation from within a grouping of entities.” It is generation of form within a strict set parameters. To do this, a design program, calibrated on some interpretive and subjective levels, needs to be utilized in the design process. Through its nonrational technique and the rational contributions of the architect, more innovative designs can be achieved. Complex systems allow the designer to act essentially as an editor, applying choices that will shape the future of their designs.
Evolutionary design methods are initiated by the subjective ideas of the designer. These elements are embedded into the program code, which the designer then works interactively with. Morphological approaches, assisted by programs like
During the design process, the model goes from an iconic form of concepts and ideas to a symbolic, mathematical one then incorporates the fourth dimension of time. Morphogenesis describes structure as organization, saying that shape and form-producing pressures are embedded in all subsequent states of materiality. These pressures are then tapped and utilized alongside other parameters and variables. Experimental design research as a whole doesn’t necessarily have to produce something immediately useful, the article citing the United States patent office as an example, stating that most inventions aren’t used for their original purposes. At the most extreme can serve useful as a means of exploration and learning for new innovations that can carry over to completely different endeavors.
The next section discusses formal matters and virtuality as a generative process. The Cartesian grid was an early example as a virtual means of describing things abstractly in space according to vertical and horizontal coordinates. This occurred under the assumption that forms existed in preobjectified states and were not measured according to time. Today, new methods involving the dimension of time are being implemented into design. This added dimension is incorporated with numerous iterations to develop accumulating patterns and further design. There are two main perspectives on temporality: time as a concept and as an experience. Conceptually, time has been understood in relation to events, and then quantified as an abstract standalone measurement. In reality, time is the constant flow of events. All objects change over time, and every object can actually be viewed as an event. The author uses an example of a chair in a classroom, which when viewed over the course of a day, would appear to be animated
Scientifically, closed systems produced expected results, and likewise with traditional methods, often designers work in closed systems, parallel to their goals states. Like the relativity and complexity theories, this is where virtuality’s lack of concreteness can be played to an advantage, as it allows for deviation from the rational and expected. Virtuality is actualized in the interactivity between the designer and the programs, allowing for innovative new solutions.
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