elevator and the steel frame changed the face of architecture in the last century, digital design is moving architecture in many directions that have as of yet not settled on a singular approach. Perhaps this is the nature of this beast, diversity of methods.

Having stated these immense potentials for digital design, the question of Man and Machine emerges. Conceptions of Digital Automation vs. Human Intuition, Digital Fabrication vs. Conceived Fabrication, Intelligent Structures vs. Responsive Structures and finally Design Authorship, Co-Authorship and Relinquishment are issues of paramount concern. I explored these topics in a series of digital design classes as well as in Upper Level Design Studios at The University of Texas at Arlington’s School of Architecture. There are three specific sensibilities toward digital design generation that are of interest to me, which are explored in each class at varying degrees of complexity. Digital generation as Quasi-Mathematical Expression, Evolutionary Blur, and Morphological Fusion are terms that I use for each sensibility. In all instances, varying degrees of intervention, and categorization by the designer at critical moments becomes essential in the digital design process. Digital Intuition through partial automation, Conceived Fabrication, and Responsiveness of systems lend themselves to each of the aforementioned Digital Sensibilities. This dances around the broader issue of Co-Authorship and Authorship while attempting to maintain a logical series of events and avoiding Relinquishment.

If the device automates everything for the architect/designer, will it have a soul? If the computer generates a parametric form, space or analogous tectonic device, is it valid? Do we keep it? What determines value of the discovery? What is it that makes architecture of a period a timeless event as opposed to the bastardized formulaic construction or building of established conventions, which somehow lacks a soul? What does it mean to practice architecture in the age of computers and proliferation of information both fact and fiction via the World Wide Web? The answer lays within us as the ultimate computer and human filter of design iterations.

Architecture has always been a slow beast for change but the connections to digital design now have forced the profession to deal with this technology and attempt to keep up with its rapid growth. In most instances, it is still a documentation and representational device being utilized to accelerate production and capitalize on one of the inherent properties of the computer, its ability to quickly modify, replicate, and output preconceptions. This is and has been an outdated approach to the digital. It has been going through revolutionary and evolutionary changes in flexibility of modeling control, digitally animated relational structures, and mathematically-based parametric controls. All of these tools lend themselves to study, enhancement, and naturally what the architect is best at, deciphering the inherent value of these tools as it relates to the constructed world and virtual domains. The same way that the

Quasi-Mathematical Expression: Tooling Up/Labs/
Digital Operatives

The use of scripting of forms, surfaces, and spaces as both repetitive and rhythmic variant structures generates fascinating formulaic mathematical possibilities. Digital objects like Meta-Clay, (Meta-Formz), NURBS, C-Meshes, Inverse Kinematics and the like contain inherent properties that have behavioral attributes that are controlled by a series of parametric settings and “Digital Operatives”. Digital Operatives are the development of a series of sequential variant transformative digital procedures that acquire behavioral attributes which have tectonic and spatial implications. Through the use of Macros in form•Z, students can initially set visual parameters to a digital operative and then develop variations on a macro and/or modify the formula to derive the desired visual impression. Some settings are formula based, others are manually or visually set but in each instance, it is generating a mathematic expression of the “Digital Operatives.” I call this a “Quasi-Mathematical Expression.” One that is visually set to achieve design objectives, may or may not be parametric, but can be reconstructed, regenerated, reused, and create variable conditions.

When scientists run experiments, they are running through a series of possibilities with a multiplicity of variables and constants in order to test some ideas and have discoveries. They typically have control subjects, placebos, and a variety of other elements to make logical conclusions about their findings and to test assumptions to form theories. In the process, there will be many failed experiments and a few successes.