Computational design, a new course for SIDI

When it comes to computational designit’s hard not to refer to Onur Yüce Gün.

First calculation designer of New Balance Athleticswhere it develops revolutionary footwear concepts and far-reaching visions in terms of design and innovation, Onur will dedicate an entire course organized by SIDI, Swiss Institute for Disruptive Innovation.

Within the 35 lessons, starting on Tuesday 19 July, Onur Yüce Gün will cover topics such as: learning to use computer science to create innovative and meaningful design solutions, thinking and the creation of computer design.

This approach can be applied across a wide range of disciplines such as architecture, product design and mechanical engineering.

The course can really be recommended to architects, designers, engineers, artists and students.

Tiscali interviewed the course’s expert and lecturer to find out how his love of computer design was born and what its future uses will be.

Onur, what’s your story? And how did the path that led you to become one of the leading computer design experts start?

I have always had a very visual approach to life and to life itself, and when I was growing up, I was able to discover my reasoning and rationalization skills.

These two qualities are not mutually exclusive, so I have often been forced to choose between “art” and “science” in conventional education systems.

I was not happy with what was offered to me in this duality system.

First I moved from engineering school to architecture school, and since then, in 2002, I first heard about computer design.

The rest has been a continuous and amazing experience of learning computer design and pushing the boundaries of the places where I have worked.

I got my master’s and doctorates in computer design from MIT. I have taught at MIT, Rhode Island School of Design and Istanbul Bilgi University. I founded and led a computer design team at Kohn Pedersen Fox in New York and New Balance Athletics in Boston.

I am considered an industry leader and have had the opportunity to hold international conferences in the United States, Europe and Asia.

However, I believe that this is only the beginning and that there are still plenty of opportunities to actively contribute to people, industry and academia.

I have a lot to share and I need more channels to do so.

Computational design combines the potential of algorithms with traditional CAD design methods, and offers creative solutions that were previously unthinkable, not only in the field of architecture. His work at New Balance proposes design ideas that are strongly oriented towards innovation. What are the limits and potentials of computer design and its applications?

The possibilities for computer design are potentially endless.

Design ideas that we have previously been able to explore using computational methods, including generative modeling and visualizations, now take up only a fraction of the time they previously spent.

In addition, new AI tools have made tremendous advances in supporting design processes; in fact today we can not only explore ideas but also replicate projects using simulation tools. Digital manufacturing is therefore becoming an indispensable part of prototyping and manufacturing processes.

It may all sound great on the surface, but I would like to challenge everyone with this question: With all the ingenious research, new calculation tools and digital manufacturing capabilities, we have reached a point where we create “flashy” designs with minimal effort. How will we define what good design is in the future?

How will we manage to separate vain tendencies from eternal values?

Once you develop the skills to do this and develop a critical mind and eyes, the answers are found.

And then the scale is just a matter of transforming and applying these ideas in different areas.

If you have the right motivations and skills, you can design smart skyscrapers and beautiful, yet high-performance shoes.

Computational design has enabled the creation of futuristic and iconic architectural works and seems to be able to stimulate the artistic spirit of planners and designers. Does it and will it also develop in the field of art?

Definitely, and I think the effect will only grow in the future.

We could also say the opposite: Developments in artistic design tools, such as 2D image editing or 3D simulation and animation software, have deeply inspired architecture.

In my opinion, it’s a complete two-way relationship: In the last five years, we’ve actually seen a big leap forward in the automatic generation of images thanks to the techniques of AI and ML.

Recent AI text-to-image tools allow designers and artists to quickly execute and explore visual ideas, and it is possible to start from an abstract point, diverge and then converge, which is one of the main mechanisms for producing projects and works of art. ‘nature.

New calculation tools allow more people to discover and harness their creative drive.

This is a wonderful aspect, because without art we are incomplete people, and if we continue to expand the way we create works of art, we will get closer to our inner self.

Can you briefly explain the characteristics of Computational Design, in particular the software used and the visual programming “a node and spaghetti”?

Computational design is often identified using specific software names.

This is a very wrong practice, which tends to detract from the value of skills and would limit the perspective of the thought and execution of the project.

In the first seven lessons I prepared for SIDI, I explain what computer design really is.

Visual programming is a way to “track” your design ideas while or after discretizing them in precise procedural steps.

Each phase is constructed using smaller pieces of code, which are represented as nodes.

Since a “program” requires these smaller pieces of code to be read and executed in a specific order (or in loops), they connect the nodes using “threads” or “lines,” called spaghetti.

It is important to learn why visual programming is important and how it works, rather than learning specific software.

Of course, learning these tools also increases your understanding of their inner functions.

However, I prefer to teach these tools with a broader perspective so that they can then pass on their competencies to subsequent visual programming software, eg in 2030, 2040 and so on.

What is changing in relation to the classic design model, and what does it mean for the designer to adapt to this new system?

I have seen that the classic design model does not change immediately, but evolves and transforms slowly.

It is therefore crucial to understand how trends work, what changes quickly, and what remains constant.

In this sense, design tools evolve and help design thinking, execution, and production evolve.

But the reasoning and the need for better performing and more beautiful buildings and products will never cease.

My advice to designers is to keep their skills fresh and up-to-date, interpreting the world with generous and critical minds and eyes.

Do not buy everything that is sold to you as “new technology”; find out and try out the new tools.

But also use them to understand the mechanics of new design methods. Work on improving your analytical skills, learn some math and above all strengthen your geometric knowledge: they will be basic. But never try to become a scientist or a mathematician, you would not be able to, and you certainly should not be!

It is important to invest in sight because a critical eye will help you go as far as a mathematical formula can never!

What role will algorithm design play in the future?

Algorithms have always been an integral part of design since 2500 BC, thousands of years before the etymological birth of the word (which dates back to the 13th century).

Algorithm, as a word, implies a finite set of instructions.

These instructions can be defined and executed with or without a computer.

Of course, Turing’s introduction of digital computers was a significant milestone in the definition and execution of digital bit algorithms.

Computers have actually allowed designers to translate their concepts into algorithmic devices, which in turn have produced a huge amount of design possibilities and even unexpected surprises.

In the future, designers will work with algorithms in the same way they have used them so far (as steps in procedures performed by instructions).

However, I expect calculation tools to become more and more available.

How important is it to take a course and study to learn how to exploit the potential of computational design correctly? What are the options for designers who want to specialize in this topic?

That is very important, I would say basic.

Sometimes I see people confuse “knowing how to build parametric models” with “knowing what computer design is”.

In fact, they have almost nothing to do.

If you know how to build parametric models for someone, you are not much different from the 20th century draftsman who made the drawings of a building for an architect.

Computational design is an ever-growing niche field that will become a hub between disciplines in the future.

Computer designers are already sought after every day in all disciplines.

So do not be surprised if you hear about a financial investment company that hires a computer designer.

Taking the right course is crucial in determining your growth path in computer design and thrives on the right knowledge and motivation.

Here I will be sure of myself and I will tell you that I am preparing a unique computer design course, distilling what I have learned, experienced and built in the last twenty years, and going to leading universities and companies in the world.

It is possible to learn technical skills by finding the right source, but it will be difficult to find what I want to teach in this course and how I want to teach it.

There are many opportunities in computational design, and this course is aimed at you who want to go deeper into the subject and dream of becoming a leader or self-employed and self-employed designer or artist.

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