Rob, David and others: To say that sketching is
reflective, traditionally effective and prominent in
schools of arts and crafts oriented design and to make
computational modeling dependent on preconceptions
arrive at through sketches is to close oneself to the
potentials of new media (even if they are now being
used). For example one computational alternative is to
call in appropriate geometric primitives, arrange them
to represent things such as handles, motors, etc and
morph them together to create three dimensional forms
that are then refined. Sketching carries a heavy
burden reflecting what is formgiving in the mind.
Sometimes sketches only reflect what is in the last
relevant picture one saw in a magazine or a drawing
style unrelated to the problem. Like the influence of
clay modeling in Detroit it can strongly influence
what is manufactured. We need design tools that allow
us to explore our own expressiveness, under relevant
and meaningful constraints from the problems we need
to address. We need to find new ways of working not
necessarily tied to skills that we now have or admire.
Living with a pencil is somewhat like living with a
plough, sometimes beautiful enough to ignore the
nurturing idea.
Dr. Charles Burnette
234 South Third Street
Philadelphia, PA 19106
Tel: +215 629 1387
e-mail: [log in to unmask]
-----Original Message-----
From: PhD-Design - This list is for discussion of PhDs
in Design
[mailto:[log in to unmask]]On Behalf Of Rob
Curedale
Sent: Tuesday, November 18, 2003 8:50 AM
To: [log in to unmask]
Subject: Re: On-line conference, session 1, Reply to
McAuley
Richard Wrote:
Some of the SD committee argued for a class in
sketching, using the "training the eye as well as the
hand" argument.
While I was initially very skeptical of this I came
around a little
bit towards supporting that.
My reply:
Sketching is the fastest way to develop form whether
digital or paper. The process followed in almost all
places where products are designed today is to explore
form through developing a large number of sketches;
Then to select one preferred form and mechanical
relationship of parts for development into production.
3D models in contrast are slow to produce using
existing methods and a far more limited range of
exploration can take place and hence an inferior
concept developed into production. With existing
technology perhaps 300 sketches and alternative
designs may equate time wise to four 3d models and
four altenative concepts. The success of the final
design rellies on both quantity and quality of ideas
at this stage. Working designers are usually under a
high degree of time pressure.
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