This visit to CDI (Center of Design Innovation) in Winston was very informative.
I believe that the center will prove to be a great resource to the UNCG community now as well as in the near future. After visiting, I realize that I have been limited in the amount of digital programs that I currently operate in. I look forward to becoming more familiar with various modeling, rendering, and prototyping abilities even within the local triad area. - Kimberlie Wade

A Response to “Computing in Architectural Design” and “The Pioneers of Digital Art”

A Response to “Computing in Architectural Design” and “The Pioneers of Digital Art”

While Kalay’s article “Computing in Architectural Design” and “The Pioneers of Digital Art” by R. Lewis and J. Luciana both provide a source of historical relevance for the usage and exploration of advanced tools for design professionals and scholars, the latter creates a greater focus on the collaboration of artists within the realm of digital media and the accessibility of digital manipulation by the general public. Kalay’s article expresses the progression of computing aids as the primary needs and ideals of design, engineering, and other professions continue to evolve and advance. Essentially digital technology is therefore created in response to newly acquired territories within a profession. For example, as a concept such as the ‘Vitruvian’ ideal of human portions and architectural relationship is received, a tool that can aid in the accurate expression of that idea is then acquired or created such as the ‘compass’ or ‘straight-edge’. These tools are then utilized further as a means to cultivate additional expressions of architecture, graphics, and general design. While the article, “Computing in Architectural Design” is comparable to viewing the development of computer aids in response to the advancement of architectural design, the authors of “The Pioneers of Digital Art” provide a written appreciation for the collaborating efficiencies of design and digital art. The effectiveness of digital collaboration amongst artist, designers, engineers, and other professionals provides an avenue for the public to appreciate art and the knowledge of creativity in a traditional realm in which they are already accustomed to. Additionally, this type of exposure continues to develop into the desire for those outside of the design world to grasp their own sense of design ability and creativity through the use of their home computers and software programs. This marriage of collaboration and accessibility create a venue for both acceptance and validation.

The relevance of computer aided design throughout the history of interior design and architecture has essentially become an arena that has formed the standard for visual expression and communication of design knowledge. As asserted within Kalay’s article, the introduction of geometry as a prominent path to visually articulate the components of architecture and anatomy creates a valuable venue for the initial discourse of digital computation. This expression of geometry results in new proportions and the ability to further convey a ‘Vitruvian’ depiction within architecture and graphic communication while beginning a stepping stone for the relevance of computer aids and other new tools. The accessibility of new tools creates an array of innovative venues for the artist-designer to produce relevant work that is cultivated through the collaboration of man and machine. Although some previous inventions of computer aided design were created with the intent to replace the intellect of designers, computer aided design is now accepted as an operational aid and not a sole replacement for the knowledgeable intentions of the designer.

The expectation for design to continue as a means in which digital technology can be explored as it benefits the artists or designers of multiple disciplinary work is validated through the previous history of computer aided design. The visual quality of media essentially becomes the direct communication of the designers’ intent and creates an avenue to establish a captive audience. Traditionally, technically driven professions have naturally acquired an unquestionable sense of esteem in the view of the general public in contrast to professions that are creatively driven and marketed. It is often assumed that a profession acquiring the utilization of computer-aided devices requires a granted proportion of knowledge and insight. This assumption, however, often does not require the validation of whether the knowledge is obtained as a means to operate and understand a machine versus a means to convey through a device the knowledge captivated within human creativity. Both means of knowledge are viable to various professions while serving different purposes.

As digital design aids become increasingly accessible, they will continue to operate as a catalyst for multiple disciplines to collaborate and educate public arenas of the validity within the artistic intellect of creatively driven professions. Imperatively, as the advancement of computational devices and software permeates the fields of professional design, art, and public arenas, it will serve as a means of distribution of human intellect and a continued connection of human relationship.

- Kimberlie M. Wade