CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
supported by the sibling associations ACADIA, CAADRIA, eCAADe, SIGraDi, ASCAAD and CAAD futures

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_id sigradi2006_c159e
id sigradi2006_c159e
authors Aroztegui Massera, Carmen
year 2006
title Aprendiendo del cine: Evaluación de códigos formales y estrategias narrativas en una instalación de video. [Learning from the movie: Formal codes and narrative strategies in a video installation]
source SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 415-419
summary Architectural animations often evidence limitations when trying to get across our design intensions in terms of the experiencing of a place. When architects design a space, they propose not only geometry and space functionality, All in all, any architectural design implies a way of experiencing the space. But how can we communicate it? Narrative films developed - in the last century - communication conventions that allow the audience to feel transported to the time and place of the movie. However, architects have barely introduced these conventions into their animations. The objective of this paper is to review two examples - a scene on a film and a video installation- that could help architects to use film codes creatively in when communicating the experiencing of a place.
series SIGRADI
last changed 2016/03/10 08:47

_id sigradi2011_198
id sigradi2011_198
authors Aroztegui Massera, Carmen
year 2011
title La cámara en la animación de arquitectura. Reconsiderando “la mirada” y el régimen de mostración en el cine [The Camera in Architectural Animation. Reconsidering “The Gaze” and The Registration Regime in the Cinema]
source SIGraDi 2011 [Proceedings of the 15th Iberoamerican Congress of Digital Graphics] Argentina - Santa Fe 16-18 November 2011, pp. 432-435
summary Even though inspired by cinema, architecture animations often oversimplify filmic space, and conflate two distinct concepts: gaze, and vision. Such misinterpretation leads to overuse camera movement to present spaces as if the change of point of view would lead to communicate lived space. This article introduces such discussion in the context of the tableau vivant, a living picture, explores the use of the shot sequence and the use of non-narrative scenes.
series SIGRADI
last changed 2016/03/10 08:47

_id sigradi2014_015
id sigradi2014_015
authors Aroztegui Massera, Carmen
year 2014
title “No entendí el video”: audiovisual y memoria en el taller de arquitectura [“I didn’t get the video”: Audiovisual and Memory in the Architectural Studio]
source SIGraDi 2014 [Proceedings of the 18th Conference of the Iberoamerican Society of Digital Graphics - ISBN: 978-9974-99-655-7] Uruguay - Montevideo 12 - 14 November 2014, pp. 179-182
summary This article discusses the introduction of sensible dimensions of space, through the memory of significant places, and the audiovisual as a tool in architectural education. Departing from the tradition of graphic representation and the development of an architectural program, the article decribes the experiece of a studio focused on the remembrance of domestic places and the development of videos. An expected result, the video showed its potential as articulator of sensible dimensions. However, several student projects evidenced a disconnection between its graphic representation and the video, and therefore exposing the difficulties of the experience’s systematization into a design method.
keywords Memory; Video; Architectural Project; Studio
series SIGRADI
last changed 2016/03/10 08:47

_id sigradi2009_037
id sigradi2009_037
authors Aroztegui Massera, Carmen; Rodrigo García Alvarado; María Isabel López
year 2009
title El Storyboard y el Animatic en la Enseñanza del Proyecto de Arquitectura [Storyboarding and Animatics in Architectural Education]
source SIGraDi 2009 - Proceedings of the 13th Congress of the Iberoamerican Society of Digital Graphics, Sao Paulo, Brazil, November 16-18, 2009
summary This paper discusses the issues involved with the introduction of the storyboard and the animatic in a design studio exercise. Storyboards - sketches used in film planning -, and the animatic - basically a moving storyboard - allow the student to understand space within in the context of a narrative. The purpose of the exercise was to enable the expression of subjectively experienced space in an early stage of urban context analysis. Differently than the traditional approach to animation which results a camera traveling through a path, the exercise approached animation from the perspective of the stories about the place.
keywords storyboard; animatic; education; architecture studio
series SIGRADI
last changed 2016/03/10 08:47

_id 2c4a
authors Aroztegui, Carmen
year 1999
title The Architect's Use of the Internet - Study of the Architectural Presentation Possibilities
source III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 363-368
summary The Internet media is opening new horizons in communication and representation in architecture. However, its use today is superficial, limited, and without creativity. This study will explore theories, methods and examples of how the virtual space of the Internet can be used in its full potential. That means to present ways of observing, understanding, interacting, and communicating the space without precedents in architecture. The existent presentations made by architects in the Internet are in general poor and static. Through the comparative analysis of two presentations of the same architectural space in the Internet and the use of state of the art technology in the Internet, this study will show innovations that will make the exploration of the architectural space more attractive, dynamic and interactive. The main issues will be on one hand, the improvement in the communication of the design through the use of the Internet, and on the other hand, the rise of the standards in the quality of the architectural presentations. This work will project possible implications of the Internet in architecture.
series SIGRADI
last changed 2016/03/10 08:47

_id sigradi2010_209
id sigradi2010_209
authors Aroztegui, Carmen
year 2010
title Superficies adulteradas: el muro en línea y la representación fílmica [Adulterated surfaces: the online wall and conematic representation]
source SIGraDi 2010_Proceedings of the 14th Congress of the Iberoamerican Society of Digital Graphics, pp. Bogotá, Colombia, November 17-19, 2010, pp. 209-212
summary Online communities use a “wall” as a place to articulate non - synchronic communication among its members. Such a place, however, poorly explores the metaphor of the wall as a means of enhancing online experiences. Online “walls” do not explore or challenge the richness of a real wall, and they do not embrace new experiences that are only possible in the digital world. In order to tackle these issues, this paper analyzes three movie scenes where the everyday perception of the wall is altered by madness and estrangement. Finally, the paper suggests how these perceptions of the wall could be integrated into interfaces using touch screen technologies.
keywords online, wall, metaphor, film, representation
series SIGRADI
last changed 2016/03/10 08:47

_id sigradi2004_415
id sigradi2004_415
authors Carmen Aroztegui
year 2004
title The solitary confinement cell of punta de rieles: A place with stories to tell
source SIGraDi 2004 - [Proceedings of the 8th Iberoamerican Congress of Digital Graphics] Porte Alegre - Brasil 10-12 november 2004
summary Different people remember the same place differently. The question posed by my research is about how to create a visualization of a place that presents different personal recollections. My research addresses this issue through a case study: the visualization of a women.s political prison, located in Punta de Rieles, Uruguay, during the Uruguayan dictatorship (1973-85). The visualization will be based on the memories recounted by these women. My research will result in a written report and an audiovisual installation. The installation will provide an immersive experience centered on the solitary confinement cell. The implementation suggests changes in lighting in the solitary confinement cell as the main formal expression of the variations in the women.s testimonies.
keywords Visualization, subjectivity, memories, immersion, prison
series SIGRADI
last changed 2016/03/10 08:48

_id ijac20053302
id ijac20053302
authors Massera, Carmen Aroztegui
year 2005
title The Calabozo:Virtual Reconstruction of a Place Based on Testimonies
source International Journal of Architectural Computing vol. 3 - no. 3, 281-298
summary The objective the research reported here is to create a visualization of a place based on personal experiences. My research addresses this issue through a case study: the visualization of a women's political prison during the Uruguayan military dictatorship (1973–85). The proposed visualization is based on these women's personal experiences of the solitary confinement cell (calabozo). Compared with their male counterpart, women's memories about prison have been traditionally relegated to a second level in Uruguay. The visualization aims to communicate these women's experiences of the calabozo through a video installation. This article first reviews relevant precedents to the case study and to virtual reconstructions and later describes the video installation.
series journal
last changed 2007/03/04 06:08

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