Archive for the ‘Software’ Category
Future breakthroughs in CAD is more likely to come from the design tools for creating microscopic wet wear than from the crude tools known as CAD designed to combine metal and concrete into architectural artifice. Because the latter is bound to be dumber. We wish it to remain that way servile to our limited imagination.While the design tools for cells, organs and organisms are being designed to operate beyond human imagination and in the mode of discovery – opening up unimaginable possibilities.
Interesting both Bio and Non-Bio CAD started off life similarly; representing geometry and design data. Ah.. then they got cleverer as they attempted not only design, but to make design better – one objective at at time – usually through optimization. Both CAD systems now do single criteria optimization reasonable well, because before you optimize you need to define a “design problems”. Once you make design into a “problem” there is no problem there after. All you need is to call in the engineers – they all now carry with them a bag of tools for optimization. But even then, they can only do “single criteria optimization” in other words solve only one problem at a time.
The trouble starts when you have more than one criteria and that is a real problem; because all real design problems are multi criteria problems. Here the “problem sovlers” have a real problem. Though some may retreat into a theoretical multi criteria problem solving mode, most of them know that they have no idea how to solve it. And it is here that Bio CAD is beginning to overtake, because those who fashion it know that problems and solutions don’t appear at once – they are grown through a complex developmental process.
Next generation Bio CAD
From a review of genetic computational tools
The first generation of tools dealt predominantly with singular objectives such as codon usage optimization and unique restriction site incorporation. Recent years have seen the emergence of sequence design tools that aim to evolve sequences toward combinations of objectives. The design of optimal protein-coding sequences adhering to multiple objectives is computationally hard, and most tools rely on heuristics to sample the vast sequence design space.
The article revives a wide range of CAD tools and there are some interesting similarities with architectural CAD. Interestingly most of the CAD tools are open sourced, community based and operate online. Some of them like clotho are platforms (like grasshopper) allowing users to create component CAD systems that they can create, share and connect.
There seems to be a clear evolution here. Bio CAD seems to be moving from rule (or grammar) based creation tools into tools that can handle some of the complexity of biological design processes which are still being discovered by scientist. Hopefully from these efforts we will learn the wonderful ways that nature exploits to explore vast design spaces that allowed it to fashion complex organisms like our selves capable of understanding our own making.
This is the compilation of my previous blog posts on the end of CAD.
As the era of using CAD as a tool to drive pre-computer paper based design process draws to a close, the type of CAD as we know today is likely to disappear . Unprecedented connectivity, cloud based computation, consumer creation, direct digital manufacturing, human behavior modelling, altered business models and increasingly powerful game capabilities in devices is set to dramatically change not only CAD but the creation process itself towards genetically based design processes.
It is refreshing to see promising research and useful methods emerging from lesser known quarters. Despite decades of academic research the “layout problem” as it is called, is till today solved by intelligent guess work.
Christian Derix, director of Aedas R&D Computation Design Research (CDR) group seem to be close to cracking a rather long standing problem. A problem that obsessed early design researchers from the end of world war 2. Architects returning from the war seem to have been keen to shake out the “irrational: image of their professions. Their engineering colleagues got back to peaceful production and were focusing their efforts on improving production and making it efficient. 50~30% of production costs are attributed to what is called transport cost, or the cost of moving material from one place to the other.
I just returned from ”Design the Dynamic” design conference in Melbourne and would like to share what I heard, felt and learned. This conference was based on Design and Computational Fluid Dynamics, often referred to as CFD. It was preceded by a 4 day workshop in which impressive progress was made by students of RMIT in prototyping rigging up and analyzing an interesting range of design concepts.
The symposium on the last day had the usual cocktail of presentations from practicing architects showcasing their current work and work processes, academics discussing issues that are relevant to the academic world. Also present were those who connected random thoughts to random words illustrated with equally random images. Noticeably absent were the representatives CAD companies. Perhaps because they are aware of the irrelevance of the rest in a game that is now defined, led and played entirely by them.
The symposium however was interesting and here is what I learned from it.
Winds can shape form
Not only are the dunes of deserts shaped by wind; buildings too can be shaped by winds. Wind can be a generative force. An interesting presentation by engineer Peter Felicetti based on collaborative research with Prof. Mike Xie and JIWu Tang showed how twisted shapes can drive wind upwards and provide an aerodynamic lift that works against gravity. In tall buildings, even though wind forces are significant they are only a fraction of gravitational forces, still they can help shape them.
Rough & inaccurate tools are still very useful
The results of the 4 day projects that preceded the conference were also presented. Results from various CFD tools of two extreme kinds were compared. Whiles the tools like Vasari reduced the complexity, they were discovered to be less accurate than more advanced analytical tools such as ANSYS that are usually operated by experts. However, tools like Vasari were found to be useful despite their limitations and misuse by the “Jonny English of CFD” as a presenter described himself, because they can be fixed quickly with a bit of timely expert input. It also seemed that the loss of accuracy was mainly due to Johnny English effect . Those with better understanding of CFD could drastically improve the results over Jonny using the very same tools. So this way, Johnny is in the game. He has his role and the experts have theirs too.
The cloud brings together the possibility of massive computational resources and connectivity in an unprecedented scale across a wide range of business, educational and entertainment activities.
Are the Architects ready for the cloud?
The answer is ” No”. But, will they get there? ” Yes”. Most likely, in the same wrong way they adopted CAD – to replicate the drawing board with CRT screens – without consideration to the true potential of computers. This was a big jump for many architects. It happened only because they were assured that the Cathode Ray Tube (CRT) was better than the drawing board. Companies such as Amazon, Microsoft, Apple and Autodesk are all now busy building the rail roads in the kingdom in heaven – in which platforms of great promise will dominate the next era of human dependence on computation. So, everyone will get there for sure.
But what will design be in the cloud ?
I believe that the cloud will initially be used in the same way that computers were used to replace existing PC based practices. PC bound CAD systems will soon be operating on cloud platforms. Speed and connectivity bonuses are good enough to lure most CAD dependent designers. But once they are all there, it is likely to transform the practice of design in way that it was transformed by the PC/CAD revolution. But then, without them realizing it, the clocks will be turned back on them. Design processes will go back a few billion years – to where design began.
Design will be – as in nature
Nature in itself is a massive computational environment that has evolved over billions of years. Its key virtues of building complexity based on shared code and ability to explore possibilities through random exploration using highly evolved strategies and methods will come to dominate the art of design – orchestrated by human designers, the way humans have harvested the potential of natures design capability to turn grass in to wheat and rice and wolf into dog; primarily by manipulating a highly evolved refined and structured design processes.
Design as it is now
Before we consider the lofty heights that clouds can take us to, let’s review where we are with CAD now. The turbocharged drafting machines now connected to data-bases powered graphically by games technologies have got us quite far. A diverse set of capabilities and professional work practices – are now slowly coming together; but mostly at the back-end of the design process. But here it is too late, as all the important designs are already made and opportunities to make significant improvements are limited. It is known that more than 80% of decisions and commitments are made in the early stages of the design process (shaded in green) where now computers play a very limited role.
The codification and comodification of CAD
Most CAD packages now handle the drudgery of 3D manipulation fairly well. The dark regions shown – is dominated by code that reduce design labor ( most CAD companies have similar capabilities in this area). The push now, is into early stage design, where significant improvements can be made. Software like Grasshopper and platforms like Vasari are now extending the reach of CAD into early stage design. Further up stream is generative design.
What the clouds mean for generative design?
It is like asking what gasoline means for your car? Generative design can drink it all – all the computational capabilities that the cloud can provide. It will soon be possible to roll apparently dumb, random and computationally intensive approaches that nature has chosen in its great wisdom. Hopefully, it will be based on an open and shared genetic infrastructure – so that knowledge generated will not be lost but be shared and built upon.
The fundamental change will be the ability to consider multiple possibilities in virtual environments. In sharp contrast to the singular and somewhat perturbed linear approach mastered by designers on account of their limited mental processing capabilities. The design processes now used by designers are based on the limits of the processing capability of the human mind and its ability to consider only a large but limited number of possibilities. Kasparov is no longer the champion of chess.
The maturing of many CAD technologies has already greatly reduced the human labor in taking early stage concepts to reality that is close to real, making it possible to consider multiple possibilities of great maturity – instead of dumping them at the end of a doodling process as part of an ancient design ritual.
Much of architectural design is now about tweaking parameters. While we are yet to master the fine art of parametric design, there is much excitement about it. Perhaps too much of it. Thanks to it, most architects are now aware of the benefits of parametric design – where modification can be easily made and (parametric) variations easily explored.
Parametric play is now enjoying its day in the sun.
While parametric approaches to design are being formulated and built into work processes, something even more interesting is beginning to happen. Architectural geometry is now going through a post parametric revolution.
For a long time in architectural history, proportioning played a pivotal role. Proportioning is the precursor to parametric play, where the overall structure of the design is formed and fixed while its proportions are altered to find the most desirable form. It is powerful and useful. But limited in its capacity to create diverse forms in terms of topology. CAD packages could easily implement this, because they are driven by parameters anyway. But there was something else about CAD packages that remain hidden – perhaps for a bit too long. But remember, in the early days it was difficult to get designer to use CAD, you had to give them the impression that nothing had really changed and that they can now do in a screen what they used to do with pencil and paper.
After CAD, all geometric forms were inevitably authored by programs. But these programs were hidden. CAD companies went out-of-the-way to provide a veneer that kept the designers minds in the era of paper and pen. Perhaps, they did not guess that they will grow out of it. Perhaps this guess was right, particularly in Industrial design. But it is not so in architecture.
No more shame
The new generation of cutting edge designers now seem comfortable with code. Add-ons like grasshopper have made it much more easy to author code. Code has made it easy to create complex and repetitive forms. These forms can even compete with spaghetti in terms of geometric complexity.
Most cool designs are now authored by scripts. We are now at the end of simple parametric play. As the programmatic nature behind the construction of the geometry is exposed, it is natural that designers will start re-arranging bits of scripts to create more interesting forms. This is beginning to happen.
We are now amidst an interesting change. The era of automating the drawing board seems to be drawing to a close. The architecture of today is increasingly difficult to draw with straight lines. There are many repeated components of various sizes. Fabrication companies are now able to crank out shapes that were not possible before. The cost of customisation is also continuously reducing. The virtues of straight line – sung by the modernist architects inspired by an ancient geometric legend, seem to interest nobody. It has now lost its rationality and more importantly its appeal.
The rise of curvitecture
What’s interesting about design are trends. Because each trend destroys a previous trend and with it, the tools designed to author it. Curvitecture is primarily a result of reaction to an Euclidean trend that swept the world – as the “modern movement” which imbued mass manufactured forms with aesthetic and rational qualities. Its overwhelming success, the mass confusion of what is considered bio and curved and overriding attention seeking goal of architects has helped fuel a trends that have now wrecked the Euclidean sense of Geometry. It s forms, rationality and aesthic will soon be buried in architectural history.
Anything is possible now
Being creative is about moving to the edge – especially the edge that is being extended by new technology, engineering and manufacturing capabilities. Architects entertain the attention deprived world by authoring unseen shapes of great complexity – which mostly do not relate to increase in performance despite their significant cost.Being and looking “bio” is certainly a justification that works, because now being bio is being good and also being efficient. So there is a case for funny forms.
It is impossible to draw a rat’s nest on AutoCAD. But it is possible to do so using programs that can handle the geometry of individual elements. Each element has common attributes that can easily be created by programs. Incidentally, we were built that way. We are a result of genetic constructional programs that told our cells how to and when to design themselves. Drafting board-inspired CAD packages are unable to handle the complexity of the kinds of shapes that are now being authored. A reassuring reaction is that only a small portion of building are funny shaped and the bulk of what is built can still be drawn with a drafting board.
In the name of efficiency
The era of the turbo-charged drawing board is not to end too soon perhaps the way drawing boards themselves vanished from design practices. To prevent is pre-mature demise, a late but smart decision has been made to marry it to databases so that it can better handle the grunt work of design. This strategy seem to be working. BIM is breathing new life into old CAD. It is bringing obvious ways of working with computers (long obvious to companies like archiCAD) into mainstream use.The assocaited cost savings makes it an easy sell. The advantages are significant and architects are too busy either singing its praises or getting on board. But the age gap is catching up with them; because the next generation designs very differently.
Cheap, smart, socially authored software
The design schools of today will give you a better glimpse of the future of CAD in architecture. They are now skewed towards scripting based tools – where designs are more transparently authored by programs. In the case of grasshopper, these programs are disguised as drag and drop boxes – giving late teenagers the thrill of connecting them with wires. The network around the grasshopper community is a global collaborative R&D team that is continuously developing new ways of authoring design. Many of them can program too.
The turbo-charged drawing boards, though now newly married to databases, and renamed BIM certainly is a late stage marriage of significance to the those who are in mature practices, whose choice of CAD is skewed towards realizing designs . But those who wish to use CAD as a creative tool need to look elsewhere.