Algorithms - Computational Design
Raghav Gupta
Raghav Gupta
The study aims at understanding the concepts and relationships of ‘algorithms’ and ‘computational design’ with its relevance in contemporary times. This led to analyse the importance of fabrication in the post process. The motivation behind the work was to explore the possibilities of form and space when an algorithm takes command over a set of rules defined by a being.
The notion of being is used, instead of ‘human’, to define the user in the process of making. There are many different interpretations of the word but briefly refers to a real or imaginary living creature or entity, especially an intelligent one. While the term, ‘human’ solely includes homo-sapiens, ‘being’ accepts the possibility of a bot or an AI (Artificial Intelligence) to be incorporated in the definition. Unlike our previous inventions, AI is, arguably, the most or perhaps the only smart one, as it has the capability of perceiving its environment and taking actions that maximize its chance of successfully achieving its goals. The term “artificial intelligence” is often used to describe machines (or computers) that mimic “cognitive” functions that humans associate with the human mind, such as “learning” and “problem-solving”. A quip in Tesler’s Theorem says “AI is whatever hasn’t been done yet.”
Therefore, in this study, it becomes essential to consider the role of an AI that can run the algorithm without a human’s physical presence. With the advancement in technology, it becomes our responsibility to face the changes and shape it as humane way as possible, because that’s what we have been doing for ages. Humans have used anything that came their way and made it into something that defines us, be it stone, wood, iron. The challenge is to shape the AI but, not let it take entire control over the operation.
To briefly describe, an algorithm is a system to solve a given problem processing through a lot of steps to give the most efficient single or multiple choices of solutions. In a computer or machine language, it is a set of rules which has established parameters (constants and variables), and constraints. These rules have certain strengths and obstacles, that every user needs to face to make the algorithm reach its full potential.
The physical craft of design needs to be translated into a language that can be processed by the computer. Earlier, these used to be 0’s and 1’s. But, with the advancement in technology, the complex input has been hidden and made more user friendly with software such as AutoCAD, SketchUp, Rhino, VRay. These are very diverse and aids from the concept stage to the final processed output. The only major difference is in a designer’s approach towards a project, that has to be more procedural in the digital realm.
There are a number of strengths that one can rely upon while designing through machines;
• Precision;
• Visual Complexity;
• Generative;
• Parameterization;
• Documentation
With the advantages comes the obstacles;
• Formalizing complex problems;
• Creating singularities;
• Selecting a final design
It is the process of using computer-aided technology to generate design which is then translated to machine language to fabricate the object. Some form of CAD file is generally required to control a computer numerical control (CNC) machine, enabling digital fabrication. There are two primary forms of digital-fabrication manufacturing, additive and subtractive. Subtractive processes machine apart by removing pieces from the original material and include tools like laser cutters, CNC milling machines, and vinyl cutters. Additive processes create a part by incrementally adding successive layers of material. 3D printers, inkjet printers and CNC embroidery machines are most commonly associated with this type.
There is one big challenge when it comes to fabrication; the precision. Every material, such as wood, cloth, leather, paper, etc, has a margin of error; the thickness and texture; which often is neglected while designing and creates havoc during the assembling part. This is one of the few problems that must be encountered and solved at the preparatory stages.
(Amit Zoran and Leah Buechley)
The paper talks about the three projects in which archetypical artifacts were created using craft and fabrication tools and then transformed through intentional breakage and digital restoration. They bring to light a new kind of craft process that provides insight into the relationships among traditional craft, modern technology, art and design. Esther Leslie, in “Walter Benjamin: Traces of Craft”, mentions that for Benjamin, the work of craft is similar to storytelling, embodying time and meaning through practice. Here, the time is the digital age, and the meaning is one of transformed identity—an identity that, while profoundly changed, preserves its most essential qualities.
(EMERGENT and Buro Happold)
The design process used in Dragonfly demonstrates the impact on architecture of innovation in contemporary digital fabrication, as well as the rich potential of cooperation between architecture and engineering in exploring the relationship between structure and form. Tom Wiscombe, principal of EMERGENT, and Matthew Melnyck of Buro Happold are both on the faculty at SCI-Arc, where these methodologies are explored and tested in design studios and applied studies.
The aim was to create an algorithm that could generate a persistent form but had to be provided with the existing form ahead of time. The incentive, being to imagine or explore forms with complexity and precision.
The aim was to design an algorithm that could respond to a certain form, by either replicating or reacting, and generating a new one. The incentive, was to let the algorithm take control over the operation but at the same time, monitoring it by not let it exceed the authority of a being.