Obviously the simplest rule would require each white field to be followed by a black one.In other words, they are the result of a top-down material organisation process.A new structure is introduced into an existing fabric, and must adjust to the global laws of the system already present.It must fit into its local environment as well as conforming to the elements that comprise its own structure.
While traditionally the building units of such an object are organised in space using drawings, today this process of materialisation is increasingly regulated by digital information 1, which makes possible the emergence of objects built on much more complex systems of rules. This was also the case with the appearance of computers and computer science. The emergence of digital technologies marks the end of (1) normative architectural design 2. The initial use of computers as tools of representation and documentation led designers to process-oriented, (2) generative design practice, and then to (3) design techniques modelling adaptive, dynamic systems. Computer-aided design, however, provides architecture not only with a new tool, but also a new opportunity to rethink itself in a new context. The information produced about this then serves to describe the physical and spatial appearance or to use a biological analogy, phenotype of the object. This type of material organisation is an exclusively top-down process, at the end point of which a physically stable, passive condition and a specific entity comes into being. Animate Form Greg Lynn Full Knowledge OfIn this organisational model, the relationship of the parts (building units) and the development of details can only be determined within full knowledge of the whole. First, a concept pertaining to the whole of the building is formulated in the designers mind, and then the interrelationship and spatial positioning of the components unfold during the design process. This is what we refer to as a normative design process in current architectural practice. The applied building units, the technologies and the geometry required for delineation all result in forms consisting of planar elements. Depending on the initial condition, by applying the given rules the outcome of events can be calculated; chance has no role in such a system. This mechanistic worldview allows not only for the prediction of the future the materialisation of the object to be designed but also for the precise unravelling of past events: the function to be filled. This is a mechanism of necessity, which produces the appropriate solution for a given demand. Then at the beginning of the twentieth century Einstein helped us see that this cosmic mechanism was not at all what we had imagined in fact what it was really like depended on where you stood within it. It still worked deterministically (like clockwork), but the theory of necessity gave way to the theory of a mechanism of possibilities which did not yield a single outcome, but continuously generated new results. With the help of computers and digital codes, machines performing increasingly complex operations can be modelled. The design practice which instead of supplying a single solution for a problem produces a method or procedure that is capable of generating an infinite number of solutions runs counter to the traditional approach. These methods regardless of whether the designer uses an analogue or digital technique are rule-based processes that create temporally changing, complex structures. If we wish to design a planar pattern by colouring certain squares on a gridded, white sheet of paper, we can do so either by relying on our sense of aesthetics when choosing which square to colour, or by setting up rules for the process of pattern formation.
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