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 sigradi2004_027
id sigradi2004_027
authors Alfredo Stipech
year 2004
title Enseñanza de la representación manual y digital, para arquitectos y diseñadores [Teaching Hand and Digital Representation to Architects and Designers]
source SIGraDi 2004 - [Proceedings of the 8th Iberoamerican Congress of Digital Graphics] Porte Alegre - Brasil 10-12 november 2004
summary The supremacy of the digital means of representation and communication and the resulting shift of the manual means in the field of design and architecture, have engendered multiple opinions and literature. They focus and analyze the virtues and risks, the losses and substitutions, and the different expressive, productive and conceptual results of their leading role in the creative process. Furthermore, if we consider both as two extremes, apparently opposed, a broad panorama of combinations and additions are produced by the emerging group of hybrid practices. This motivated the development of a research project in the Universidad Nacional del Litoral de Santa Fe, Argentina, under the Program CAI+D 2000 dealing with Design and the Analog – Digital Means. From this project emerged a collection of conceptual speculations and experimentations in the extended field of representation, extended by the incorporation of new means and hybridations, searching for new parameters and methods for professional training and practice. Key words: analog, digital, graphics, means, representation.
series SIGRADI
last changed 2016/03/10 08:47

_id sigradi2006_e165b
id sigradi2006_e165b
authors Angulo, Antonieta
year 2006
title Optimization in the Balance between the Production Effort of E-learning Tutorials and their related Learning Outcome
source SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 122-126
summary This paper provides evidence on the level of media richness that may be cost effective in the development of e-learning tutorials for teaching and learning computer visualization techniques. For such a purpose the author provides an analysis of low-cost / high-impact media rich products, the effort and cost required in their development and the measurement of related learning outcomes. Circa twenty years of R&D of multimedia and hypermedia applications for instruction have demonstrated the benefits of communicating relevant information to learners using engaging media. Based on this evidence, this paper assumes that due to the cognitive style of design students, the instructional packages for learning computer techniques for design visualization that are rich in media content, tend to be more effective. Available visualization technologies make the development of e-learning tutorials feasible and apparently the logical way to implement our instructional packages. However the question in the development of e-learning tutorials becomes a more strategic one when we are called to reach a level of optimization between producing a package with a basic standard, namely; text & still-graphic based tutorials, or a state-of-the-art package that is based on video demonstrations (more than enough?) that can accommodate the students’ learning requirements and also our production costs. The costs include the human resources (instructor, producers, assistants and others) and the material resources (hardware and software, copies, and others) involved in the creation of the e-learning tutorials. The key question is: What is good enough, and what is clearly superfluous? In order to confirm our hypothesis and propose a relevant balance between media richness and learning effectiveness, this paper describes an experiment in the use of two different levels of media richness as used to deliver instructions on the production of computer animations for design visualization. The students recruited for this experiment were fairly familiarized with the use of 3D modeling concepts and software, but had no previous knowledge of the techniques included in the tutorials; in specific; camera animation procedures. The students, separated in two groups, used one of the two methods; then they proceeded to apply their newly acquired skills in the production of an animation without using the help of any external means. The assessment of results was based on the quality of the final product and the students’ performance in the recall of the production procedures. Finally an interview with the students was conducted on their perception of what was accomplished from a metacognitive point of view. The results were processed in order to establish comparisons between the different levels of achievement and the students’ metacognitive assessment of learning. These results have helped us to create a clear set of recommendations for the production of e-learning tutorials and their conditions for implementation. The most beneficial characteristics of the two tested methods in relation to type of information, choice of media, method of information delivery, flexibility of production/editorial tools,! and overall cost of production, will be transferred into the development of a more refined product to be tested at larger scale.
keywords e-learning tutorials; media richness; learning effectiveness; cognitive style; computer visualization techniques
series SIGRADI
last changed 2016/03/10 08:47

_id ecaadesigradi2019_340
id ecaadesigradi2019_340
authors Azambuja Varela, Pedro and Sousa, José Pedro
year 2019
title Digital Expansion of Stereotomy - A semantic classification
source Sousa, JP, Xavier, JP and Castro Henriques, G (eds.), Architecture in the Age of the 4th Industrial Revolution - Proceedings of the 37th eCAADe and 23rd SIGraDi Conference - Volume 1, University of Porto, Porto, Portugal, 11-13 September 2019, pp. 387-396
summary This paper presents a critical analysis and reflection on stereotomy with the purpose of updating its theoretical discourse. Having risen to the apex of architecture technological possibilities in the 17th century, stereotomic construction lost its importance in favour of iron, steel and other materials and construction techniques brought by the Industrial Revolution. More recently, much owing to the possibilities offered by digital technologies, a resurgence of interest in the subject has spawned various researches which bring stereotomy back to the architectural discourse. Although technological applications and design innovations in service of stereotomy have developed in multiple interesting paths, there is a lack of a common theory on the subject which is capable of relating these multiple apparently diverging stereotomic approaches between each other and, maybe even more importantly, to the classical practice which sparked the development this discipline. The research presented in this paper shows how the digital tools were instrumental in bringing this tradition to architecture contemporaneity and how a current stereotomy is largely supported by these technologies, while keeping strong relations to its classic origin.
keywords stereotomy; classification; history; digital
series eCAADeSIGraDi
last changed 2019/08/26 20:25

_id b6b3
authors Brown, J.S. and Duguid, P.
year 1991
title Organizational Learning and Communities-of-Practice: Toward a Unified View of Working, Learning, and Innovation
source Organization Science, 2(1), 40-57
summary Recent ethnographic studies of workplace practices indicate that the ways people actually work usually differ fundamentally from the ways organizations describe that work in manuals, training programs, organizational charts, and job descriptions. Organizations tend to rely on the latter in their attempts to understand and improve work practice. We relate the conclusions of one study of work practices to compatible investigations of learning and innovation to argue that conventional descriptions of jobs mask not only the ways people work, but also the learning and innovation generated in the informal communities-of-practice in which they work. By reassessing the apparently conflicting triad of work, learning, and innovation in the context of actual communities and actual practices, we suggest that the synergistic connections between these three become apparent. With a unified view of working, learning, and innovating, it should be possible to reconceive of and redesign organizations to improve all three.
series journal paper
last changed 2003/04/23 13:14

_id a336
authors Calvo, Charles M.
year 1993
source Education and Practice: The Critical Interface [ACADIA Conference Proceedings / ISBN 1-880250-02-0] Texas (Texas / USA) 1993, pp. 155-162
summary It has been noted that designers - when confronted with computers - have, by and large, refused to accept the introduction of apparently new design methodologies, and it has been speculated that this is the result of a failure of those methodologies to address the cognitive processes which take place in the course of designing. This position is somewhat suspect in that such innovations as computer-aided drafting -which also fail to recognize these processes have been widely accepted. It is perhaps more likely that the lack of acceptance results from a perception on the part of designers that the new methodologies either do not reflect some or all of those concerns that designers consider fundamental to design, or that they actively interfere with the designer's ability to accomplish what he/she sees as the goals of design. Given that the application of artificial intelligence and related work to architecture is still in its infancy, all of this suggests the need for a reassessment of the role of computing in design in order to clarify and strengthen those roles deemed appropriate.

Two approaches to the integration of artificial intelligence and knowledge-based systems into architectural design practice are currently dominant. One attempts to create systems which can on their own produce designs, the other provides intelligent support for those doing design. It was, in part, the recognition of limitations in the ability of traditional CAD systems and building modelers to reflect what designers actually do that led to explorations into the idea of intelligent assistants. Development of such assistants was aided by research into the act and process of design through protocol and other studies. Although some work is currently being done in the development of artificial intelligence and knowledge based applications in architecture, and work continues to be done on the study of design methodologies, the bulk of available information in each of these areas remains in the realm of design disciplines related to but outside of architecture and do not reflect the explicit role of architectural design in the embodiment and expression of culture.

The relationship of intelligence to culture has resulted in some skepticism regarding the ultimate capacity of neural nets and symbolically programmed computers in general. Significant work has been done questioning the rational tradition in computer development for its failure to address phenomena which are not easily subject to scientific analysis. Further skepticism regarding the role of artificial intelligence and knowledge-based or expert systems in architectural design has been emerging recently. Such criticism tends to focus on two issues: the nature of drawing as an activity which involves both the generation and interpretation of graphic artifacts, and the nature of the human designer as an active agent in the design process.

series ACADIA
type normal paper
last changed 2006/03/14 20:20

_id 7546
authors Coyne, R.
year 1999
title Technoromanticism - digital narrative, holism, and the romance of the real
source MIT Press
summary It's no secret that contemporary culture romanticizes digital technologies. In books, articles, and movies about virtual community, virtual reality, artificial intelligence, artificial life, and other wonders of the digital age, breathless anticipation of vast and thrilling changes has become a running theme. But as Richard Coyne makes clear in Technoromanticism: Digital Narrative, Holism, and the Romance of the Real, a dense but rewarding piece of academic criticism, we also get romantic about the new technologies in a more rigorous sense of the word. Whether heralding an electronic return to village communalism or celebrating cyberspace as a realm of pure mind, today's utopian thinking about the digital, Coyne argues, essentially replays the 18th- and 19th-century cultural movement called Romanticism, with its powerful yearnings for transcendence and wholeness. And this apparently is not a good thing. Romanticism, like the more sober Enlightenment rationalism against which it rebelled, has outlived its usefulness as a way of understanding the world, Coyne argues. And so he spends the duration of the book bombarding both the romantic and the rationalist tendencies in cyberculture with every weapon in the arsenal of 20th-century critical theory: poststructuralism, Freudianism, postmodern pragmatism, Heideggerian phenomenology, surrealism--Coyne uses each in turn to whack away at conventional wisdoms about digital tech. Whether the conventional wisdoms remain standing at the end is an open question, but Coyne's tour of the contemporary intellectual landscape is a tour de force, and never before has digital technology's place in that landscape been mapped so thoroughly. --
series other
last changed 2003/04/23 13:14

_id e303
authors Coyne, Richard D. and Newton, S.
year 1989
title A Tutorial on Neural Networks and Expert Systems for Design
source University of Sydney, 1989. pp. 321-337. CADLINE has abstract only
summary This paper presents an overview of neural network (connectionist) systems and their potential contribution to computer-aided design. The authors discuss the appeal of neural networks and some of the problems. The major contribution to design is in the representation and manipulation of schemas. A neural network system can be 'taught' various examples (such as room descriptions). The system then apparently recognizes schemas (room types) and can produce novel but sensible combinations of descriptions constituting new types. A simple handworked example is presented, and the learning and reasoning mechanism is explained
keywords representation, CAD, expert systems, design, neural networks
series CADline
last changed 2003/05/17 08:13

_id sigradi2003_116
id sigradi2003_116
authors Daz, Susana
year 2003
title Miríadas de luz (Diversity of light)
source SIGraDi 2003 - [Proceedings of the 7th Iberoamerican Congress of Digital Graphics] Rosario Argentina 5-7 november 2003
summary There is a point, a conjunction of situations: a newly found daub. Finding the shape, the exact spot, going into, imagining the unexplored vastness of something which expands itself...When a daub begins its race and I can see the colors blending, getting saturated or broken. When I see the succession of changes I become part of that space made of light. My eyes are the daub. Neither reasons nor topics inspire the moment. Only the pleasure of finding for a few minutes the magic of perceiving and having, apparently without reason, absolutely aware of our being.
keywords Light, perception, innocence, space, being
series SIGRADI
last changed 2016/03/10 08:50

_id ijac20032103
id ijac20032103
authors de Vries, Bauke
year 2004
title A Nobel Prize for CAAD
source International Journal of Architectural Computing vol. 2 - no. 1
summary Fundamental questions about the status of CAAD research arise regularly on different levels and under different circumstances. Apparently there is no common understanding about this, causing confusion, which in itself is already bad for the status of CAAD research. In this article I will discuss the CAAD research approach as I find it at most architecture and engineering groups, by comparing it to research in the traditional science domain. Some differences can be explained from the nature of design, but others' have more historical reasons. To conclude I propose a long-term strategy for scientific CAAD research, namely: (i) Build your own community, (ii) Establish prestigious journals and prizes and (iii) Improve quality by natural selection. Eventually this will bring us the recognition for CAAD research that it deserves.
series journal
last changed 2007/03/04 06:08

_id ascaad2012_003
id ascaad2012_003
authors Elseragy, Ahmed
year 2012
title Creative Design Between Representation and Simulation
source CAAD | INNOVATION | PRACTICE [6th International Conference Proceedings of the Arab Society for Computer Aided Architectural Design (ASCAAD 2012 / ISBN 978-99958-2-063-3], Manama (Kingdom of Bahrain), 21-23 February 2012, pp. 11-12
summary Milestone figures of architecture all have their different views on what comes first, form or function. They also vary in their definitions of creativity. Apparently, creativity is very strongly related to ideas and how they can be generated. It is also correlated with the process of thinking and developing. Creative products, whether architectural or otherwise, and whether tangible or intangible, are originated from ‘good ideas’ (Elnokaly, Elseragy and Alsaadani, 2008). On one hand, not any idea, or any good idea, can be considered creative but, on the other hand, any creative result can be traced back to a good idea that initiated it in the beginning (Goldschmit and Tatsa, 2005). Creativity in literature, music and other forms of art is immeasurable and unbounded by constraints of physical reality. Musicians, painters and sculptors do not create within tight restrictions. They create what becomes their own mind’s intellectual property, and viewers or listeners are free to interpret these creations from whichever angle they choose. However, this is not the case with architects, whose creations and creative products are always bound with different physical constraints that may be related to the building location, social and cultural values related to the context, environmental performance and energy efficiency, and many more (Elnokaly, Elseragy and Alsaadani, 2008). Remarkably, over the last three decades computers have dominated in almost all areas of design, taking over the burden of repetitive tasks so that the designers and students can focus on the act of creation. Computer aided design has been used for a long time as a tool of drafting, however in this last decade this tool of representation is being replaced by simulation in different areas such as simulation of form, function and environment. Thus, the crafting of objects is moving towards the generation of forms and integrated systems through designer-authored computational processes. The emergence and adoption of computational technologies has significantly changed design and design education beyond the replacement of drawing boards with computers or pens and paper with computer-aided design (CAD) computer-aided engineering (CAE) applications. This paper highlights the influence of the evolving transformation from Computer Aided Design (CAD) to Computational Design (CD) and how this presents a profound shift in creative design thinking and education. Computational-based design and simulation represent new tools that encourage designers and artists to continue progression of novel modes of design thinking and creativity for the 21st century designers. Today computational design calls for new ideas that will transcend conventional boundaries and support creative insights through design and into design. However, it is still believed that in architecture education one should not replace the design process and creative thinking at early stages by software tools that shape both process and final product which may become a limitation for creative designs to adapt to the decisions and metaphors chosen by the simulation tool. This paper explores the development of Computer Aided Design (CAD) to Computational Design (CD) Tools and their impact on contemporary design education and creative design.
series ASCAAD
last changed 2012/05/15 18:46

_id ijac201311305
id ijac201311305
authors Esquivel, Gabriel; Dylan Weiser, Darren J Hartl, Daniel Whitten
year 2013
title POP-OP: A Shape Memory-Based Morphing Wall
source International Journal of Architectural Computing vol. 11 - no. 3, 347-362
summary Recent tendencies in architecture take a unique point of view, with aesthetically novel and unnatural sensibilities emerging from a close scrutiny and study of apparently natural systems. These tendencies are being driven by mathematical and computational abstractions that transform the way we understand the matterinformation relationship. This project was inspired by Op Art, a twentieth century art movement and style in which artists sought to create an impression of movement on an image surface by means of an optical illusion. Passive elements consisting of composite laminates were produced with the goal of creating lightweight, semi-rigid, and nearly transparent pieces. The incorporation of active materials comprised a unique aspect of this project: the investigation of surface movement through controlled and repeatable deformation of the composite structure using shape memory alloy (SMA) wiring technology. The integration of composite materials with SMA wiring and Arduino automation control resulted in an architectural wall that incorporated perceptual and actual motion.
series journal
last changed 2019/05/24 07:55

_id 89fe
authors Ferrar, Steve
year 2001
title The Nature of Non-Physical Space - Or how I learned to love cyberspace wherever it may be
source Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 208-213
summary More designers are concerned with the occupation of the virtual world, through immersive techniques, for example, than in using it as a means for conceptualising and theorising architectural space. The paper examines how architects think about space and how our consideration of nonphysical space might assist in spatial theory and in teaching. It also considers cyberspace fiction both in writing and film to see how it might help us think about space in a more liberating way. Architects and architectural teaching tends to focus on space as an element of construction rather than a theoretical proposition. By discussing imaginary spaces in greater depth we could encourage students to think about space and spatial concepts in a less rigid way. In particular the paper addresses the issues of interaction and transactions in these environments and how information is represented and accessed in an apparently threedimensional manner. In his book ‘Snow Crash’, Neil Stephenson deals with many ideas concerning not only architectural space but also universal space and its organisation in space and time. He uses metaphor in his depiction of the ultimate in information gathering and management. These are compelling ways in which to communicate ideas about threedimensional thinking, and information collection and management to students of architecture as well as helping architects with the theory and visualisation of non-physical space.
keywords Space: Virtual Reality, Cyberspace, Film, Literature
series eCAADe
last changed 2003/05/16 19:27

_id ga0024
id ga0024
authors Ferrara, Paolo and Foglia, Gabriele
year 2000
title TEAnO or the computer assisted generation of manufactured aesthetic goods seen as a constrained flux of technological unconsciousness
source International Conference on Generative Art
summary TEAnO (Telematica, Elettronica, Analisi nell'Opificio) was born in Florence, in 1991, at the age of 8, being the direct consequence of years of attempts by a group of computer science professionals to use the digital computers technology to find a sustainable match among creation, generation (or re-creation) and recreation, the three basic keywords underlying the concept of “Littérature potentielle” deployed by Oulipo in France and Oplepo in Italy (see “La Littérature potentielle (Créations Re-créations Récréations) published in France by Gallimard in 1973). During the last decade, TEAnO has been involving in the generation of “artistic goods” in aesthetic domains such as literature, music, theatre and painting. In all those artefacts in the computer plays a twofold role: it is often a tool to generate the good (e.g. an editor to compose palindrome sonnets of to generate antonymic music) and, sometimes it is the medium that makes the fruition of the good possible (e.g. the generator of passages of definition literature). In that sense such artefacts can actually be considered as “manufactured” goods. A great part of such creation and re-creation work has been based upon a rather small number of generation constraints borrowed from Oulipo, deeply stressed by the use of the digital computer massive combinatory power: S+n, edge extraction, phonetic manipulation, re-writing of well known masterpieces, random generation of plots, etc. Regardless this apparently simple underlying generation mechanisms, the systematic use of computer based tools, as weel the analysis of the produced results, has been the way to highlight two findings which can significantly affect the practice of computer based generation of aesthetic goods: ? the deep structure of an aesthetic work persists even through the more “desctructive” manipulations, (such as the antonymic transformation of the melody and lyrics of a music work) and become evident as a sort of profound, earliest and distinctive constraint; ? the intensive flux of computer generated “raw” material seems to confirm and to bring to our attention the existence of what Walter Benjamin indicated as the different way in which the nature talk to a camera and to our eye, and Franco Vaccari called “technological unconsciousness”. Essential references R. Campagnoli, Y. Hersant, “Oulipo La letteratura potenziale (Creazioni Ri-creazioni Ricreazioni)”, 1985 R. Campagnoli “Oupiliana”, 1995 TEAnO, “Quaderno n. 2 Antologia di letteratura potenziale”, 1996 W. Benjiamin, “Das Kunstwerk im Zeitalter seiner technischen Reprodizierbarkeit”, 1936 F. Vaccari, “Fotografia e inconscio tecnologico”, 1994
series other
last changed 2003/08/07 15:25

_id 750e
authors Ferziger, Joel H. and Peric, Milovan
year 1999
title Computational Methods for Fluid Dynamics
source Berlin, Germany: Springer-Verlag
summary The book offers an overview of the techniques used to solve problems in fluid mechanics on computers and describes in detail those most often used in practice. Included are advanced techniques in computational fluid dynamics, like direct and large-eddy simulation of turbulence, multigrid methods, parallel computing, moving grids, structured, block-structured and unstructured boundary-fitted grids, free surface flows. The book shows common roots and basic principles for many apparently different methods. The book also contains a great deal of practical advice for code developers and users, it is designed to be equally useful to beginners and experts. All computer codes can be accessed from the publisher's server on the internet. This second edition is updated throughout and new material has been added, especially on turbulent flows.
series other
last changed 2003/04/23 13:14

_id cf2005_1_51_122
id cf2005_1_51_122
authors FISCHER Thomas
year 2005
title Generation of Apparently Irregular Truss Structures
source Computer Aided Architectural Design Futures 2005 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Futures / ISBN 1-4020-3460-1] Vienna (Austria) 20–22 June 2005, pp. 229-238
summary While cheaper mass-customisation technologies are becoming available, architectural design strives for ever more complex and less regular forms. The increasing costs associated with this tendency are difficult to control. Key factors contributing to this cost increase are non-uniform building components. Focusing on space frame construction, this paper examines the possibility of creating apparently irregular structures from relatively small sets of identical parts. Starting with an examination of the cost implications of irregular truss construction, a case study of the Beijing National Swim Center's space frame system and the conflicting natures of bottom-up and top-down generative logic in this context is presented. The paper concludes with the description of the development of a truss system that incorporates various design variables that increase visual irregularity. Learning from the past, this new system draws its basic logic from classic space frame principles but applies present-day computational logic to achieve new aesthetic effects and structural possibilities.
keywords apparent irregularity, truss structures, prefabrication, generative design
series CAAD Futures
last changed 2006/11/07 06:27

_id ddss9214
id ddss9214
authors Friedman, A.
year 1993
title A decision-making process for choice of a flexible internal partition option in multi-unit housing using decision theory techniques
source Timmermans, Harry (Ed.), Design and Decision Support Systems in Architecture (Proceedings of a conference held in Mierlo, the Netherlands in July 1992), ISBN 0-7923-2444-7
summary Recent demographic changes have increased the heterogeneity of user groups in the North American housing market. Smaller households (e.g. elderly, single parent) have non-traditional spatial requirements that cannot be accommodated within the conventional house layout. This has created renewed interest in Demountable/Flexible internal partition systems. However, the process by which designers decide which project or user groups are most suited for the use of these systems is quite often complex, non-linear, uncertain and dynamic, since the decisions involve natural processes and human values that are apparently random. The anonymity of users when mass housing projects are conceptualized, and the uncertainty as to the alternative to be selected by the user, given his/her constantly changing needs, are some contributing factors to this effect. Decision Theory techniques, not commonly used by architects, can facilitate the decision-making process through a systematic evaluation of alternatives by means of quantitative methods in order to reduce uncertainty in probabilistic events or in cases when data is insufficient. The author used Decision Theory in the selection of flexible partition systems. The study involved a multi-unit, privately initiated housing project in Montreal, Canada, where real site conditions and costs were used. In this paper, the author outlines the fundamentals of Decision Theory and demonstrates the use of Expected Monetary Value and Weighted Objective Analysis methods and their outcomes in the design of a Montreal housing project. The study showed that Decision Theory can be used as an effective tool in housing design once the designer knows how to collect basic data.
series DDSS
last changed 2003/08/07 14:36

_id acadia11_90
id acadia11_90
authors Fure, Adam
year 2011
title Digital Materiallurgy: On the productive force of deep codes and vital matter
source ACADIA 11: Integration through Computation [Proceedings of the 31st Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA)] [ISBN 978-1-6136-4595-6] Banff (Alberta) 13-16 October, 2011, pp. 90-97
summary This paper expands the discourse surrounding digital forms of making by scrutinizing the role of materials within computation, ultimately proposing a speculative working model that charts new territory. The growing importance of materials within technological research makes this an appropriate time to consider the nuance of their role within it. Currently, material innovation is happening along two central tracks: the customized cutting, sculpting, and forming of conventional materials with Computer Numerically Controlled (CNC) fabrication equipment and the development of new materials through innovations in material science. Both tracks rely on a limited set of material protocols which enable process-based control and eliminate the intrusion of any unpredictable material variable. Although efficient, such an approach limits architecture’s ability to procure novel material engagements. A few designers are developing an alternative model where computational codes are coupled with eccentric materials to produce unusual results. Digital materiallurgy, as I have called it, is part technique and part attitude; it relies on intentionally ceding limited design control to unpredictable matter—thus capitalizing on matter’s innate ability to produce unexpected formal and material complexity. Digital materiallurgy identifies the intersection of computation and eccentric materiality as a departure point for architectural innovation. By purposefully inserting material heterogeneity and inconsistency into computational means and methods, this work pries apart the apparently seamless relationship between digital design and physical production. By blurring the distinction between physical material and digital form, this work offers an integrated aesthetic experience, one that fetishizes neither the virtual nor the vintage but fuses both into a richer, wilder present.
series ACADIA
type normal paper
last changed 2011/10/06 04:05

_id caadria2007_000
id caadria2007_000
authors Gang, Yu; Zhou Qi and Dong Wei (eds.)
year 2007
title CAADRIA 2007 - Digitization and Globalization
source Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia / Nanjing (China) 19-21 April 2007, 694 p.
summary Turning to 21st century, the globe has been rapidly becoming a small village as the transportation and communication tools become more efficient and more easily available to the public. So has this been happening in AEC industry (Architecture, Engineering and Construction). Digital technology has apparently changed the working process in the AEC industry, but not as efficiently as in manufacturing industry, such as automobile production. It might be mainly because of the diversified components and scattered sites with lower industry standards, especially against the background of customization and vernacular traditions of architecture. What roles can digital technology play in this development and how can we steer correctly this inevitable trend?
series CAADRIA
type normal paper
last changed 2008/06/16 08:49

_id ga0204
id ga0204
authors García-Salgado, Tomás
year 2002
title Modular Perspective as a Method for Generative Design
source International Conference on Generative Art
summary Apparently there are many methods for perspective but if we categorize them there are just a few. Some criterions of classification relate perspective to the so-called 1-point, 2-point and 3-point methods, others —more formally— to projective geometry, descriptive geometry or vectorial algebra. Of course we cannot forget to mention the early treatises on perspective such as Alberti’s Della Pittura or Piero’s De Prospectiva Pingendi, which escapes any classification. Our aim on this article is not precisely to solve the classification problem rather we propose a new comprehensive method for perspective, capable of 3D representation without using vanishing points.The modular perspective method allows us to work in true three-dimensionality on the perspective plane (PPl). We will explain how to measure directly on the PPl the triad coordinates (x, y, p) of a given point into the visual space, and how to play with the symmetrical planes X and Y (SPl X/Y) in order to generate or recover data. Finally we will explain how to employ modular perspective in generative design formal-process through an example of application.
series other
last changed 2003/08/07 15:25

_id ga9817
id ga9817
authors Hartwell, David
year 1998
title Design Methodology in Higher Education and the Role of Generative Approach to Problem-Solving
source International Conference on Generative Art
summary The Design Process - inherent conflicts? It is frequently stated that the activity of design is an iterative one; ie that it is a process whereby ideas are refined through constant change and development; if one also considers that designing is also very difficult: Hartwell and Holland (1) describe design "as an activity which attempts to reach an effective compromise between conflicting, complex and often apparently irreconcilable criteria"; then the key question arises: how can there be an effective interface between the obviously creative (generative?) elements of the design process and the (often) very functional / technical requirements of a typical design outcome.
series other
last changed 2003/08/07 15:25

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