ID6210 — Digital Graphics:
Representational Media as Constructed Process

The case of the 19th century drawing machines illustrates that advances in design
knowledge and instrumental knowledge are often complementary, even symbiotic: one
enables the understanding and expansion of the other.
— Andrew J. Witt
 Project I Student Work — Tom Raviv

Project I Student Work — Tom Raviv

 2014 IDEC National Conference Poster Session

2014 IDEC National Conference Poster Session

Summer 2013
with Jonathan Healey

The work discussed here is the product of a graduate-level elective engaging digital fabrication as process and re-examining the issues inherently at stake with rendering tools. The course proposes innovations in interior design education through non-conventional digital design methods to introduce relationships between precision-based craft and intuitive design-thinking.

[ The Premise: Media is generative when you know how to (mis)use it. ]

Challenging conventional studio methods of drawing and modeling instruction, the faculty devised two projects: one focused on vector drawing and evaluated through tactile feedback, the other working with raster datasets and measured by affective responses.

[ Software is a means, not an end. ]

The five-week course proposed a theoretical framework defining systems of knowledge as both empirical-mechanical, as expressed by Witt, and experiential, per Robin Evans’s insistence of the intrinsic relationship between the abstract and corporal aspects of design. Each assignment constructed an instrument-oriented process of translation initially focused on precision—to the point of exact reproduction—so as to ultimately inform new concepts for proto-environmental applications.

[ Application and speculation go hand-in-hand. ]