•n.e nature of form in the dlgtt1I age is trapped in the invisible realm of code. Form+Code makes that world visible to the community that stands to gain the most from it: artists and designers." -John Maeda •At tong last. here is a publication that looks comprehensively at the contemporary digital medium with clarity, at its recent past and into the future." -Greg Lynn "Elegant as an algorithm, clear as a program, and as enthralling as a video game, Form+Code is a powerful tool, both as a tutorial and as an in-depth analysis of the aesthetics of the information age." -Domenico Quaranta "This incredibly rich study of the history and possibilities of creating media through code is a must-have reference collection." -Karsten Schmidt www.formandcode.com : n : C ; C - l"1 www.papress.com - - '. ·_ ~· - •. Once the exclusive domain of programmers, Form+Code in Design, Art, and Architecture fields of graphic design, typography, data code is now being used by a new generation of offers an in-depth look at the use of software mapping, art, digital fabrication, interactive designers, artists, and architects eager to in all creative disciplines. This stunning visual media, gaming, artificial intelligence, artificial explore how software can enable innovative survey introduces readers to more than 300 life, and all forms of new media and expression. ways of generating form and translating ideas. significant works of the past 60 years in the DESIGN BRIEFS --- RM . gN, ,. , -E Di -- ...\ ·• I 0 :.: . :: , '. ~ ; J.!T.S ' LUST 111 · '· ',:;'.1PUTATION AL AESTHETICS [N DESIGN, ~Rili, ~ND ~RCHlliliECili · E l -1 I I ! I --- 'i :-~, .,=·"'." .., - "i_ :.a:r:-\ Letlenng and Type, by Bruce WiliTn, ' 'asey Reas, Chandler McWilliams, Nolen Strals, and Ellen Lupton Th,nkmg with Type, by Ellen Lupton Typographic Systems, by Kimberly Elam v,sual Grammar, by Christian Leborg G·bson 1 The Waylonding Handbook, by David , ,.< ~ (';, -*~-i ..;.;."!,,. ~~~, ~ ?.::.;,,,,"· .. ~;;..;--,,; . ·~;~~~J?"j ! ,J~,.,;"1.:; .. 1~ · ....~ff,JJ4, ,_r,,,r r.i/1'.if;?, ',,' '1p~!:f/1~,;, t:: ·•, 'i' I .+1 J.'. 11\1\l , ,I LllnnrvotConoroH N,, 111111 ,,, 1111 ■ h11ok 111iw lu1 tmnl or ,011101turod 01wcllll 1hnnk1101N olUo Al/ton, Omo Anno 1\11110 Calnlooino ,111-Puhltonllon Onto Roa11Co1•y. ,. Compute, aohwt.~wtopment. m ""t 111,m11('1 w1thuu1 w1111 .. n 1murnnton frnm I MO Ondo,, Nlcoln Ondntttok, Jonol Dohnlno, 01 Fo,m•code In do1tgn, ctrt, and an:hltectu,. / 2, Computff.akt.cl daSlgl\. 3. Art and "'" 1 ,.,1,1, ■ hP• ~u PJII m lh\J ro11hnt uf ,ov1ow1 . 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Form and In design. 1 1 ISletJHllllilll, Jonnlfor lt111111JIIDII, 1nul Wnonor, Jo f and Index. and an:hltectu,._ ~•.: ·:•: ,t, ''.;'.; ::, i".~,•.: ,r't:';::~, ,, :::~"~•:;~:,~~bL~i> •,,::'t:,::;::::,~!~" A1 chlloctmO ISDN 010-1-acmoo.03,.a (olk. pope,) 111,ol 0 •O 0 • . -• • ,) 0 . ~o o o 00" °ci o o • . o •.• • ,, 0. • • 0 0 • 0 ""'0 •• i •. 0 • 0 0 ~ o.. :·ey . o• 9• "c, • •• oo. o 0 . 0 o . o•• . • • • o • • 0 0 Q ~ 0 q.O 0 0o 0o .. • O O O O o0 0,.. O - ~ ,, c, cc ~ 8 o oo Ocr . o. o ..... .-0] • ' "!- ·... 0 0 f -I Nffi R.OD _U_GiliI. N -~< . """"- r, ! ■ 1](!) FO -~ RUffi ERS ~ ~ REPEAT. -: ·•, - 12 TRANSF-OR- . ..,,. ~ 66 PARAME-TERlZE- •. - - • ·1 'AW •;.':- 92 VISUALIZE). \~¥-.. ~.. _: _ nn.a r :' , - -· ,;· ·•· .SIMULATE: _I~ . ACKNOWLEDGMENTS ) fi ~ IMAGE .CRED ~TS) l .. ·\:~ BIBLIOGRAP~ _/ · :, .· .. ,. :·- {I DESIGNER/ ~R~ ST / A~CH_~:T:~C~t ~NDEX Uil] ------·----------------------. 0 fl -93 In this capacity, the designer is no longer making choices about a single, final object but creating ajnatrix encompassing an entire population of possible designs. This is a move from thinking about an object to thinking about a field of infinite options. This involves searching for and exploring a population of designs that meet certain requirements, behave in particular ways, or fit the desires of the designer. N w DC • • •• # • # •• • • •r>#•JM« M* •• • •• •• •• < V:: DC< •• • • •• •. • '.'7! I. •• ::S$ ## M• • *- :? »• •• .V %• • • •• •• m These letters use parameters to determine the size of each circle. •• • Working point by point, the program draws one circle at a time, ••o •? • • with the radius cycling between small and large. Because the • • •• • frequency of oscillation and circle size are both parameters, this permutation is only one of an infinite number of possible results. uneterize Defined broadly, a parameter is a value that effect on form, repetition offers a way to has an effect on the output of a process. This explore a field oLpossibfe designs for could be something as straightforward as the favoxahle-varjations. Both visualization and amount of sugar in a recipe, or as complex sjmuiatiocLreguire the use of parameters as the activation threshold of a neuron in to define the system, and they describe the brain. In the context of architecture and how data or other inputs will influence the design, parameters describe, encode, and behaviors of that system. quantify the options and constraints at play in a system. A common constraint might be the budget available for a project, while a configuration option might control color, size, density, or material. Identifying and describing the variable elements in a process—be it a section of tocJeTM^heTulisToT aTfadaist poem—is called parameterization. This multistep process requires that the designer decide botjywhat canj:hange and the range of possible values for each parameter. For example, a designer can explore the effects LLI of different color palettes on a logo design. N In this case, the colors of the elements within the logo are the parameters, and the list of possible palettes defines the value range. Parameterization creates_connections jytween the inlentiomotdhe designer and the system he or she is describing. < CC As a greater number of parameters are < identified and incorporated into a process, Q_ the number of possible outcomes also increases. Imagine each parameter as defin­ ing an axis on a graph, and a parameterized system as defining a space populated by potential design states (resulting from a com­ bination of specific values being assigned to each parameter). As a simple example, consider a rack of T-shirts. Each shirt on the rack is a different size and color, and we can say that the "large, green shirt" is the design state when the size parameter is large, and the color parameter is green. But it is just as easy to imagine a "large, red shirt," as being exactly the same as a "large, green shirt," just in a different color. Thinking about parameters provides_a bridge between repetitien-afrd-tfansfofma- tion. as well as visualization and-simulation. While transformation describes a parameter's BSjJamet.ers different forms. This Geno Pheno Sculpture declared, "An algo­ of a die determined • Parameters— is a minimal system, "fractal Dice No. 1" , rithm written by the the parameters of the B^-dius and. number of but it shows the power by Keith Tyson, 2005 artist determines what sculpture, including *e8ments—are varied to A statement released will be on view in the color, depth, of parameters for rea for the exhibition this new exhibition." and position of each •f te a wide range of exploring form. of this sculpture The subsequent rolls element. Parameterize 9€ ¥Hi? 'Hi S" 11u® § IB B I' ls Is > I111. Flatware, "blending, and evolving as a mustard spoon and "by Greg Lynn, a "base form: a bundle bon bon server, belong 2005-present of tines and a webbed to a larger family of This fifty-two-piece handle. These special­ forms, with each being flatware set was ized utensils , includ­ a variation of the designed "by mutating, ing obscure pieces such others. Parameterize Phare Tower, Software developed by- parameters essential left: optimization for byMorphosis, 2008 Sat oru Sugihara was to the design. These solar performance, The Phare Tower used to iteratively images show how the panel-dimension optimi­ is a design for a develop, test, and software was used to zation, and panel-angle sixty-eight-story refine the structure design the following analysis. skyscraper in Paris. to address multiple systems; shown from .mete COMPOSITION SYSTEMS -id The desire to construct a system for compos­ others resulted from events outside of their BEDEin ing images, rather than making a single control. They invented systems from which image, has a long history in modern art. an infinite number of unique works could R B C10 Marcel Duchamp's 3 Standard Stoppages (and did) emerge. This way of working is from 1913-14 is an early and fascinating summarized well by Sol LeWitt's statement: example. To create this series of objects, he "The idea becomes a machine that makes dropped a string, measuring 1 meter, from a the art."2 •••• height of 1 meter to define a curve. Defined More carefully determined systems by gravity, this ephemeral curve and the include grids for composing pages in twisting of the string as it fell was then cut books, magazines, websites, and for post­ out of wood and used as a template for other ers. They allow each page to be unique, images. For example, the curves were used while still relating to every other page. For within his Large Glass to define the shapes example, the Unigrid System, designed of the bachelor figures.