Now that the digital era is upon us, the trope of mechanical reproduction has become a condition of contemporary culture, and machines in themselves are embedded at an even deeper level. Meanwhile, artists and designers increasingly incorporate maker/hacker/DIY approaches into their multi-disciplinary practice; together, these trends point to generative design as the logical progression of production. If digital fabrication offers a horizon of possiibilities beyond art-school experimentation—we've seen at least a couple of permutationalprojects of late—so too do everyday machines hold a kind of primitive potential of their own. From an alarm clock to a electric razor to a Walkman, Echo Yang's 2013 Thesis Project, "Autonomous Machines," at the Design Academy Eindhoven explored the creative capacity of commonplace household items.
When working with digital tools, the value of generative design is in its ability to deal with complexity; as with analog tools, the value will be in an object or a behavior possessing internal algorithm itself. It does not deal with complexity because its internal algorithm has already handled it.
I see the mechanical system inside the machines as a unique language. Machines are produced, as they are demanded and required in particular circumstance or era, they act as a witness to history. By making use of the specific mechanical movement of particular machine, I attempt to transform them into a drawing machines in the simplest way. Base on this process, only few machines can work really well and produce beautiful outcomes.
This design proposal is not meant for creating a new tool to achieve a particular purpose. Instead, by showing how machines speak in their own language, based on their internal logics, the proposal is about bringing more awareness to the algorithm inside the ordinary objects around us. It is an inspirational way that helps broaden the notion of information design.
In other words, even the simplest machine contains an internal logic that can be expressed visually, even if its signature is abstracted from its mechanism. It's something like a cross between Rickard Dahlstrand's 3D-printer tunes and Eske Rex's Drawingmachine: The process is systematic only to the degree that the motors generate cyclical movements, but the results vary greatly.