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# The code-generated architectural drawings of Miguel Nóbrega
- URL: https://www.killscreen.com/the-code-generated-architectural-drawings-of-miguel-nobrega/
- Published: 2015-11-20T16:00:34.000Z
- Updated: 2015-11-20T09:24:54.000Z
- Description: The computational science of randomness is a way to establish a firm balance without bias; a gateway between an artist and code itself. In videogames, randomness can take hold anywhere from a laughable Bethesda glitch, a serendipitous discovery in Metal Gear Solid V, to the randomly generated levels
- Author: Caty Mccarthy
- Tags: News, Architecture, Coding, miguel nobrega, randomness, #wp, #wp-post, #Import 2024-07-26 09:39

The computational science of randomness is a way to establish a firm balance without bias; a gateway between an artist and code itself. In videogames, randomness can take hold anywhere from a laughable Bethesda glitch, a serendipitous discovery in *Metal Gear Solid V*, to the randomly generated levels of iOS indie hit *Downwell*. For Los Angeles-based artist Miguel Nóbrega and his online art gallery “Possible, Plausible, Potential,” randomness is implemented as a way to strike a balance between coding and the artist.

none of this illustrated architecture can actually exist.

Using a plotter machine armed with colored markers, Nóbrega has written lines of code with an architectural aim to craft “generative drawings,” as the pieces’ webpages describe, each fitting into a specific theme in the virtual gallery—“POSSIBLE STRUCTURES,” “POTENTIAL SCULPTURES,” “PLAUSIBLE SPACES.” The plotter is a combination of processing, an open source programming language, and a CNC vinyl cutter, with seven colored permanent markers attached. As the code is written, the plotter draws with extreme precision architectural shapes and lines: floors, walls, stairs, columns… basically anything with the possibility of being real. But here’s the catch: Nóbrega inserts randomized code into his already existing script, thus creating unpredictable turns.

Nothing in Nóbrega’s art is viable in a practical sense: none of this illustrated architecture can actually exist. The lines are precise, the texture almost feels tangible, the eye jumps all around the heavily detailed, machine-generated illustrations, not knowing where to rest. None of it is actually possible, plausible, or has any potential, but that’s the point, isn’t it?

*View more of Nóbrega’s art on his online gallery, [Superfície](http://superficie.ink/?ref=killscreen.com).*