In a time when automatic thinking is the representation of architectural design in its digital dimension, it seems appropriate to think no more about the new genetic features of the project than the mapping of its genes. The scientific logic with which the computer requires a certain process leads to the need to distinguish in the approach and in the method the types of process, to reason about the influence that the algorithm could have on the new form, and how it determines the outcome of the project; to see if it exists and where is the boundary or the interrelation between the idea, its process and its appearance. The time of the algorithm is the time of absorption of the vision? In short, whereas the project in the digital dimension can be regarded as a scientifically reasonable undertaking, the fundamental questions of art, its existence, and its purpose, remain undefined. In fact, in principle, the project no longer appears impossible as an Escher's drawing, but a system with a good degree of rationality, while the idea, in its unreal and technically artistic form, in a position to develop internal representations of the world, it is irrational and emotional. It is once again the paradox of Schrödinger's cat virtual experiment that summarizes the terms of the long-standing issue on objective reality, or rather on what is independent of our observation. It remains to be determined whether, in the digital representation, we observe what is real or we realize models that properly agree with the idea. The transposition of a digital project follows the preconceived mental model or the logical construction of the algorithm, which is superimposed on the idea, turning it into an unreal vision with an acceptably real chance of being realized, replaces or interacts with the mental prefiguring of the project? © Institute of Mathematics and Physics, Faculty of Mechanical Engineering, Slovak University of Technology in Bratislava.
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