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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Hits 1 to 20 of 77

_id sigradi2012_186
id sigradi2012_186
authors Aghaei Meibodi, Mania; Aghaiemeybodi, Hamia
year 2012
title Symbiosis of Structural & Non-Structural properties in Building
source SIGraDi 2012 [Proceedings of the 16th Iberoamerican Congress of Digital Graphics] Brasil - Fortaleza 13-16 November 2012, pp. 602-606
summary This paper highlights the different interplays between structural and non-structural parts in building artifact as the result of modes of building processes and massing. The massing is understood as processes of assembling material into a body through which we identify with the building physically. In the last decade architecture discipline as the result of technological inventions has faced shifts in the design processes, massing processes and topology of the artefact. In which we witness integral coexistence between the structural and non-structural elements of building. In this paper the seeds of this integral interplay is scrutinised through the study of design and massing processes of a multi-functional pavilion prototype as a case study.
keywords digital surface; prototype; design processes; structural; formation
series SIGRADI
email mania.meibodi@ltu.se
last changed 2016/03/10 08:47

_id ecaade2016_063
id ecaade2016_063
authors Al-Qattan, Emad, Galanter, Philip and Yan, Wei
year 2016
title Developing a Tangible User Interface for Parametric and BIM Applications Using Physical Computing Systems.
source Herneoja, Aulikki; Toni Österlund and Piia Markkanen (eds.), Complexity & Simplicity - Proceedings of the 34th eCAADe Conference - Volume 2, University of Oulu, Oulu, Finland, 22-26 August 2016, pp. 621-630
wos WOS:000402064400063
summary This paper discusses the development of an interactive and a responsive Tangible User-Interface (TUI) for parametric and Building Information Modeling (BIM) applications. The prototypes presented in this paper utilizes physical computing systems to establish a flexible and intuitive method to engage digital design processes.The prototypes are hybrid UIs that consist of a digital modeling tool and an artifact. The artifact consists of a control system (sensors, actuators, and microcontrollers) and physical objects (architectural elements). The link between both environments associates physical objects with their digital design information to assist users in the digital design process. The integration of physical computing systems will enable the objects to physically respond to analog input and provide real-time feedback to users. The research aims to foster tangible computing methods to extend the capabilities of digital design tools. The prototypes demonstrate a method that allows architects to simultaneously interact with complex architectural systems digitally and physically.
keywords Physical Computing; Parametric Design; BIM; Tangible UI
series eCAADe
email emadkkqattan@tamu.edu
last changed 2017/06/28 08:46

_id ecaade2017_057
id ecaade2017_057
authors Al-Qattan, Emad, Yan, Wei and Galanter, Philip
year 2017
title Tangible Computing for Establishing Generative Algorithms - A Case Study with Cellular Automata
source Fioravanti, A, Cursi, S, Elahmar, S, Gargaro, S, Loffreda, G, Novembri, G, Trento, A (eds.), ShoCK! - Sharing Computational Knowledge! - Proceedings of the 35th eCAADe Conference - Volume 1, Sapienza University of Rome, Rome, Italy, 20-22 September 2017, pp. 347-354
summary The work presented in this paper investigates the potential of tangible interaction to setup algorithmic rules for creating computational models. The research proposes a workflow that allows designers to create complex geometric patterns through their physical interaction with design objects. The method aims to address the challenges of designers implementing algorithms for computational modeling. The experiments included in this work are prototype-based, which link a digital environment with an artifact - the physical representation of a digital model that is integrated with a Physical Computing System. The digital-physical workflow is tested through enabling users to physically setup the rules of a Cellular Automata algorithm. The experiments demonstrate the possibility of utilizing tangible interaction to setup the initial cell state and the rules of a CA algorithm to generate complex geometric patterns.
keywords Physical Computing; Tangible User-Interface; Cellular Automata
series eCAADe
email emadkkqattan@tamu.edu
last changed 2017/09/13 13:21

_id sigradi2005_511
id sigradi2005_511
authors Barrow, Larry R.
year 2005
title Man and machine: ideation and Making
source SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 1, pp. 511-516
summary The realization of architecture, that is the building of the physical artifact, requires numerous collaborative participates that requires a communication network in order to realize the vision. All efforts to communicate a design idea prior to physical realization, that is manufacturing or construction, are forms of visualization (i.e. representation). Herein lies the fundamental problem, the designer(s) must en-vision, and communicate that which is to BE ... physical, yet is NOT... physical. In this paper, we will review the emerging Human-Computer-Interface and technology influences on process and product; here we find the “humanistic” component is a critical factor in the success of “digital” strategies.
series SIGRADI
email lbarrow@coa.msstate.edu
last changed 2016/03/10 08:47

_id 2006_890
id 2006_890
authors Calabrese, Antonio; Carlo Coppola; Luca Licenziato; Francesco Mele; Antonio Sorgente and Oliviero Talamo
year 2006
title Creation and editing of artifacts’ models by Generative Projects
source Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 890-896
summary In this paper we propose an aiding system for the creation of models of artifacts which is based on a methodology that has its foundations in a concept that we call generative projects. This methodology has been defined separating the design paradigm of the designer from the computational model, defined in order to implement the system that support the designer in the design process, and from the graphical engine of the specific rendering system, chosen for the visualization of the generated artifact. In this work we defined an user interface that assists the designer during the design process, translates the result of the design into the underlying computational model and carries out the access to the rendering system in a transparent way. The experimentation of the system was conducted on various artifacts domains, as jewels, glasses, lamps, cutlery, wireless headphones, aerosols, pots and plans.
keywords formal ontology; generative design
series eCAADe
email Carlo.Coppola@unina2.it
last changed 2006/08/16 16:54

_id ascaad2009_andrea_cammarata
id ascaad2009_andrea_cammarata
authors Cammarata, Andrea
year 2009
title Rebuilding Architecture: An analysis and critical investigation practice
source Digitizing Architecture: Formalization and Content [4th International Conference Proceedings of the Arab Society for Computer Aided Architectural Design (ASCAAD 2009) / ISBN 978-99901-06-77-0], Manama (Kingdom of Bahrain), 11-12 May 2009, pp. 121-134
summary The Cooperative Design Environment Laboratory (CoDE Lab) is carrying out a research with students, trainees and seniors who have previously participated to CAAD-assisted design courses. These courses were developed with the aim of making participants independent from the pre-analytical phase project to the renderings of the final artifact. The programs that have been used so far are Autodesk Revit, Graphisoft Archicad and Nemetschek Allplan.The teaching workgroup has always believed that analyzing, deconstructing and reconstructing the architecture teaches much in terms of understanding. If the process is done correctly, it entirely re-traces the creative dynamics developed by the original designer. Subsequently, the educational practice is to choose a notable architectural work, designed and/or created by a Master of architecture, and to reproduce it in all details: aesthetical-formal, morphological, technological, structural, modular, etc. The final result is an archive of well-developed reconstructed models of great specific interest. The students on the other hand thoroughly learn how to control the tools and all BIM planning procedures.
series ASCAAD
email andrea.cammarata@polimi.it
last changed 2009/06/30 06:12

_id 876b
authors Christiansson, Per
year 1986
title Structuring a Learning Building Design System
source Advancing Building Technology, CIB International Congress (10th : 1986 : Washington D. C.). 9 p. : ill. includes bibliography
summary It is now vital to aim at formulating computer system modules that possess a high ability to adapt their behavior to fundamental human values and a complex and unstandardized (not uniform) building process but at the same time put constraints on them so that we don't end up with a confusion of computerized routines hard to access, control and understand. In the paper formulations are made of basic artifact skeletons outgoing from the properties to give integrated CAD systems and to those rules by which the growth of the systems are governed. System learning domains including conceptual modelling tools are presented aiming at supporting professional skill, creativity and integration between process actors. The basis for system implementation is frames, descriptive language (PROLOG) and relational databases with regard taken to future possibilities to parallel processing
keywords modeling, learning, integration, database, AI, design, systems, frames
series CADline
last changed 1999/02/12 14:07

_id 2005_607
id 2005_607
authors Coppola, C., Calabrese, A., Iazzetta, A., Mele, F. and Talamo, O.
year 2005
title The Transformation’s Control and Development
source Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 607-614
summary The study of DNA of artifact and the development leading to its use in the field of industrial production of a single piece is now a common feature in the syllabus of the degree in Industrial Design at Faculty of Architecture “Luigi Vanvitelli” of SUN. The Generative Design Laboratory is where this process is carried out and includes the PROGEOR project for Generative Jewels Design. The experience acquired in the Generative Design Laboratory has developed along the lines of THE SINGLE PIECE, a product which combines the uniqueness of a handcrafted artefact with mass production methods. The development of project control technologies and also production technologies enables real-life experimentation of these hypotheses to be conducted.
keywords Generative Model Design, Ontology, Agents
series eCAADe
email carlo.coppola@unina2.it
last changed 2012/11/23 18:17

_id cf2015_384
id cf2015_384
authors Cursi, Stefano; Simeone, Davide and Toldo, Ilaria
year 2015
title A semantic web approach for built heritage representation
source The next city - New technologies and the future of the built environment [16th International Conference CAAD Futures 2015. Sao Paulo, July 8-10, 2015. Electronic Proceedings/ ISBN 978-85-85783-53-2] Sao Paulo, Brazil, July 8-10, 2015, pp. 384.
summary In a built heritage process, meant as a structured system of activities aimed at the investigation, preservation, and management of architectural heritage, any task accomplished by the several actors involved in it is deeply influenced by the way the knowledge is represented and shared. In the current heritage practice, knowledge representation and management have shown several limitations due to the difficulty of dealing with large amount of extremely heterogeneous data. On this basis, this research aims at extending semantic web approaches and technologies to architectural heritage knowledge management in order to provide an integrated and multidisciplinary representation of the artifact and of the knowledge necessary to support any decision or any intervention and management activity. To this purpose, an ontology-based system, representing the knowledge related to the artifact and its contexts, has been developed through the formalization of domain-specific entities and relationships between them.
keywords Built Heritage, Knowledge-based model, Ontology-based systems, Building Information Modeling, Semantic web technologies.
series CAAD Futures
email davide.simeone@uniroma1.it
last changed 2015/06/29 05:55

_id sigradi2014_301
id sigradi2014_301
authors Dametto, Ana Paula de Andrea; Janice de Freitas Pires, Monica Veiga, Adriane Borda Almeida da Silva
year 2014
title Representações de Patrimônio Arquitetônico: para documentar, difundir e tocar [Representations of Architectural Heritage: for documenting, disseminating and touching]
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. 487-490
summary In this paper experiences of documenting an artifact of cultural interest are reported, these experiences were made possible by the interaction between researchers of two areas of study: Memory and Heritage and Digital Graphic Representation. These experiences include building a registration form, obtaining models in virtual reality, augmented reality and 3D printing. The different perceptual dimensions that each type of description can add to an inventorial system were observed as well as which organizational and access to information implications each of these types requires from such a system.
keywords Architectural heritage; architectural documentation; advanced technologies of representation and visualization; metallic artifacts
series SIGRADI
email anapauladametto@hotmail.com
last changed 2016/03/10 08:50

_id acadia04_244
id acadia04_244
authors Daubmann, Karl
year 2004
title Teaching Digital Fabrication through Design
source Fabrication: Examining the Digital Practice of Architecture [Proceedings of the 23rd Annual Conference of the Association for Computer Aided Design in Architecture and the 2004 Conference of the AIA Technology in Architectural Practice Knowledge Community / ISBN 0-9696665-2-7] Cambridge (Ontario) 8-14 November, 2004, 244-255
summary This paper explains the development of a digital fabrication graduate seminar that has evolved over four semesters. The class attempts to teach at various levels between ‘how to’ considerations of learning hardware and software, while exploring a deeper understanding of the technological implications on design and digital fabrication. At the heart of the course is the belief that the limitations of hardware, software, and materials can be viewed as opportunities during the making of any artifact. A number of teaching models have been employed over the four semesters that include short, abstract, directed mini-projects, which teach one skill to the opposite extreme that develops longer, open-ended research / design projects focused on a technology or technique. The products of the class are used to compare the benefits and deficiencies of various pedagogies. The work is also used to further define the desires of the course related to strategies for materials and making.
keywords Digital fabrication, design research, craft
series ACADIA
email kmdaub@umich.edu
last changed 2010/05/16 07:09

_id ascaad2009_danilo_di_mascio
id ascaad2009_danilo_di_mascio
authors Di Mascio, Danilo
year 2009
title Digital Reconstruction and Analysis of Turchinio’s Trabocco: A method of digital reconstruction of a complex structure as a way to improve our knowledge of a cultural heritage artifact
source Digitizing Architecture: Formalization and Content [4th International Conference Proceedings of the Arab Society for Computer Aided Architectural Design (ASCAAD 2009) / ISBN 978-99901-06-77-0], Manama (Kingdom of Bahrain), 11-12 May 2009, pp. 177-189
summary The aim of the following paper is to show a method of digital reconstruction and analysis of an important artifact pertaining to the Abruzzo cultural heritage, the ‘trabocco’. In fact recent software for graphics and architecture, such as CAD, graphics editor, and those dedicated to three-dimensional modeling and rendering are tools that open new opportunities in the study of cultural heritage artifacts, The more the complexity of the object to study, the more the advantages for their use. A formal and structural complexity characterize the trabocchi, pile constructions typical of the Abruzzo coast, that go back to the middle of XVII century and the subject of this study is the trabocco of Punta Turchinio, the most famous and complex of the coast. Among the digital reconstruction’s objectives there are: Increase the knowledge of the ‘trabocco’ and generate a series of information necessary to define and manage a recovery plan; to study more deeply the technologic decomposition of the four main sub-systems with related abacus of the technological elements and create static and animated graphics restitutions such as renderings and animations to understand some spatial and formal characteristics.
series ASCAAD
email ddimascio@danarchitect.com
last changed 2009/06/30 06:12

_id 732b
id 732b
authors Dimitris Papanikolaou
year 2008
title From Representation of States to Description of Processes
source Proceedings of 1st International Conference: Critical Digital, Cambridge, MA: Harvard University, 2008: 311-318
summary Introduction of digital technologies in architecture has generated a great amount of hesitation and criticism about the role of design and its relation to the artifact. This confusion seems to stem from the dual nature of design as representation of the form and as a description of its production process. Today architects urge to adopt digital tools to explore complex forms often without understanding the complexity of the underlying production techniques. As a consequence, architects have been accused of making designs that they do not know how to build. Why is this happening today? It seems that while technology has progressed, the design strategy has remained the same. This paper will deal with the following question: What matters in design? The paper will reveal fundamental problems, attempt to answer this question, and suggest new directions for design strategies today. The conclusion of this paper is that digital design should also aim to describe process of production rather than solely represent form.
keywords Description, Artifact, Digital, Process, Assembly, Value Chain
series other
type normal paper
email dimp@mit.edu
last changed 2008/06/16 19:08

_id ecaade2013_125
id ecaade2013_125
authors Di Mascio, Danilo
year 2013
title Understanding and Managing the Constructive Characteristics of Vernacular Architecture
source Stouffs, Rudi and Sariyildiz, Sevil (eds.), Computation and Performance – Proceedings of the 31st eCAADe Conference – Volume 2, Faculty of Architecture, Delft University of Technology, Delft, The Netherlands, 18-20 September 2013, pp. 435-444
wos WOS:000340643600044
summary In this paper a methodology will be presented to investigate and document the constructive characteristics of two raw earth houses: artifacts that belong to the vernacular architecture. The comprehension, analysis and documentation of these architectures presents several problems mainly linked to the impossibility of using a predefined method, because the difficulties relating to each artifact and its characteristics, to particular geographic, cultural and social situations, are unique. To understand and document the constructive features it was decided to realize a three-dimensional digital reconstruction of the two artifacts, using 3D modeling software. Subsequently several graphic works have been elaborated (technological breakdown, sheets with detailed information about the materials, used constructive techniques, etc), useful in managing a recovery or maintenance project.
keywords Vernacular architecture; raw earth dwelling; 3D modeling; digital reconstruction; knowledge management.
series eCAADe
email ddimascio@danarchitect.com
last changed 2016/05/16 09:08

_id a747
authors Eastman, Charles M.
year 1982
title Recent Developments in Representation in the Science of Design
source 9 p. : ill. Pittsburgh: Design Research Center, CMU, April, 1982. includes bibliography
summary A recent goal in computer aided design is the representation of a design artifact in a form sufficient to support all analyses and to determine that the design is realizable. In this paper, the implications of the development of computer representations for design specifications are reviewed, some components of a theory of design representations are discussed, and the benefits of such a theory outlined
keywords CAD, theory, design, representation, architecture, geometric modeling
series CADline
email chuck.eastman@arch.gatech.edu
last changed 2003/05/17 08:15

_id 5007
authors Elezkurtaj, Tomor and Franck, Georg
year 1999
title Genetic Algorithms in Support of Creative Architectural Design
source Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 645-651
summary The functions supported by commercial CAAD software are drawing, construction and presentation. Up to now few programs supporting the creative part of architectural problem solving have become available. The grand hopes of symbolic AI to program creative architectural design have been disappointing. In the meantime, methods called referred to as New AI have become available. Such methods includegenetic algorithms (GA). But GA, though successfully applied in other fields of engineering, still waits to be applied broadly in architectural design. A main problem lies in defining function in architecture. It is much harder to define the function of a building than that of a machine. Without specifying the function of the artifact, the fitness function of the design variants participating in the survival game of artificial evolution remains undetermined. It is impossible to fully specify the fitness function of architecture. The approach presented is one of circumventing a full specification through dividing labor between the GA software and its user. The fitness function of architectural ground plans is typically defined in terms only of the proportions of the room to be accommodated and certain topological relations between them. The rest is left to the human designer who interactively intervenes in the evolution game as displayed on the screen.
keywords Genetic Algorithms, Creative Architectural Design
series eCAADe
email tomor@osiris.iemar.tuwien.ac.at, franck@osiris.iemar.tuwien.ac.at
last changed 1999/10/10 12:52

_id 4129
authors Fargas, Josep and Papazian, Pegor
year 1992
title Metaphors in Design: An Experiment with a Frame, Two Lines and Two Rectangles
source Mission - Method - Madness [ACADIA Conference Proceedings / ISBN 1-880250-01-2] 1992, pp. 13-22
summary The research we will discuss below originated from an attempt to examine the capacity of designers to evaluate an artifact, and to study the feasibility of replicating a designer's moves intended to make an artifact more expressive of a given quality. We will present the results of an interactive computer experiment, first developed at the MIT Design Research Seminar, which is meant to capture the subject’s actions in a simple design task as a series of successive "moves"'. We will propose that designers use metaphors in their interaction with design artifacts and we will argue that the concept of metaphors can lead to a powerful theory of design activity. Finally, we will show how such a theory can drive the project of building a design system.

When trying to understand how designers work, it is tempting to examine design products in order to come up with the principles or norms behind them. The problem with such an approach is that it may lead to a purely syntactical analysis of design artifacts, failing to capture the knowledge of the designer in an explicit way, and ignoring the interaction between the designer and the evolving design. We will present a theory about design activity based on the observation that knowledge is brought into play during a design task by a process of interpretation of the design document. By treating an evolving design in terms of the meanings and rules proper to a given way of seeing, a designer can reduce the complexity of a task by focusing on certain of its aspects, and can manipulate abstract elements in a meaningful way.

series ACADIA
email fargas@dtec.es
last changed 2003/05/14 20:02

_id ga9811
id ga9811
authors Feuerstein, Penny L.
year 1998
title Collage, Technology, and Creative Process
source International Conference on Generative Art
summary Since the turn of the twentieth century artists have been using collage to suggest new realities and changing concepts of time. Appropriation and simulation can be found in the earliest recycled scraps in Cubist collages. Picasso and Braque liberated the art world with cubism, which integrated all planes and surfaces of the artists' subjects and combined them into a new, radical form. The computer is a natural extension of their work on collage. The identifying characteristics of the computer are integration, simultaneity and evolution which are inherent in collage. Further, the computer is about "converting information". There is something very facinating about scanning an object into the computer, creating a texture brush and drawing with the object's texture. It is as if the computer not only integrates information but different levels of awareness as well. In the act of converting the object from atoms to bits the object is portrayed at the same conscious level as the spiritual act of drawing. The speed and malleability of transforming an image on the computer can be compared to the speed and malleability of thought processes of the mind. David Salle said, "one of the impulses in new art is the desire to be a mutant, whether it involves artificial intelligence, gender or robotic parts. It is about the desire to get outside the self and the desire to trandscend one's place." I use the computer to transcend, to work in different levels of awareness at the same time - the spiritual and the physical. In the creative process of working with computer, many new images are generated from previous ones. An image can be processed in unlimited ways without degradation of information. There is no concept of original and copy. The computer alters the image and changes it back to its original in seconds. Each image is not a fixed object in time, but the result of dynamic aspects which are acquired from previous works and each new moment. In this way, using the computer to assist the mind in the creative processes of making art mirrors the changing concepts of time, space, and reality that have evolved as the twentieth century has progressed. Nineteenth-century concepts of the monolithic truth have been replaced with dualism and pluralism. In other words, the objective world independent of the observer, that assumes the mind is separate from the body, has been replaced with the mind and body as inseparable, connected to the objective world through our perception and awareness. Marshall Mcluhan said, "All media as extensions of ourselves serve to provide new transforming vision and awareness." The computer can bring such complexities and at the same time be very calming because it can be ultrafocused, promoting a higher level of awareness where life can be experienced more vividly. Nicholas Negroponte pointed out that "we are passing into a post information age, often having an audience of just one." By using the computer to juxtapose disparate elements, I create an impossible coherence, a hodgepodge of imagery not wholly illusory. Interestingly, what separates the elements also joins them. Clement Greenberg states that "the collage medium has played a pivotal role in twentieth century painting and sculpture"(1) Perspective, developed by the renaissance archetect Alberti, echoed the optically perceived world as reality was replaced with Cubism. Cubism brought about the destruction of the illusionist means and effects that had characterized Western painting since the fifteenth century.(2) Clement Greenberg describes the way in which physical and spiritual realities are combined in cubist collages. "By pasting a piece of newspaper lettering to the canvas one called attention to the physical reality of the work of art and made that reality the same as the art."(3) Before I discuss some of the concepts that relate collage to working with computer, I would like to define some of the theories behind them. The French word collage means pasting, or gluing. Today the concept may include all forms of composite art and processes of photomontage and assemblage. In the Foreword on Katherine Hoffman's book on Collage Kim Levin writes: "This technique - which takes bits and pieces out of context to patch them into new contexts keeps changeng, adapting to various styles and concerns. And it's perfectly apt that interpretations of collage have varied according to the intellectual inquiries of the time. From our vantage point near the end of the century we can now begin to see that collage has all along carried postmodern genes."(4) Computer, on the other hand is not another medium. It is a visual tool that may be used in the creative process. Patrick D. Prince's views are," Computer art is not concrete. There is no artifact in digital art. The images exist in the computer's memory and can be viewed on a monitor: they are pure visual information."(5) In this way it relates more to conceptual art such as performance art. Timothy Binkley explains that,"I believe we will find the concept of the computer as a medium to be more misleading than useful. Computer art will be better understood and more readily accepted by a skeptical artworld if we acknowledge how different it is from traditional tools. The computer is an extension of the mind, not of the hand or eye,and ,unlike cinema or photography, it does not simply add a new medium to the artist's repertoire, based on a new technology.(6) Conceptual art marked a watershed between the progress of modern art and the pluralism of postmodernism(7) " Once the art is comes out of the computer, it can take a variety of forms or be used with many different media. The artist does not have to write his/her own program to be creative with the computer. The work may have the thumbprint of a specific program, but the creative possibilities are up to the artist. Computer artist John Pearson feels that,"One cannot overlook the fact that no matter how technically interesting the artwork is it has to withstand analysis. Only the creative imagination of the artist, cultivated from a solid conceptual base and tempered by a sophisticsated visual sensitivity, can develop and resolve the problems of art."(8) The artist has to be even more focused and selective by using the computer in the creative process because of the multitude of options it creates and its generative qualities.
series other
email pennyf@mcs.net
more http://www.generativeart.com/
last changed 2003/08/07 15:25

_id 0e56
authors Gero, John S. and Shi, Xiao-Guang
year 1999
title Design Development Based on an Analogy with Developmental Biology
source CAADRIA '99 [Proceedings of The Fourth Conference on Computer Aided Architectural Design Research in Asia / ISBN 7-5439-1233-3] Shanghai (China) 5-7 May 1999, pp. 253-264
summary This paper introduces the commonality between diversity in the biological world and diversity in artifact design. It proposes a computational model of design development based on the analogy with the phenomena and principles of developmental biology. The model is feature based and is capable of varying design in logic, geometry, attribute and phase. Examples demonstrate this biological analogy and its benefits for design development.
series CAADRIA
email john@arch.usyd.edu.au, guang@arch.usyd.edu.au
last changed 2000/01/13 11:13

_id acadia17_260
id acadia17_260
authors Goldman, Melissa; Myers, Carolina
year 2017
title Freezing the Field: Robotic Extrusion Techniques Using Magnetic Fields
source ACADIA 2017: DISCIPLINES & DISRUPTION [Proceedings of the 37th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-692-96506-1] Cambridge, MA 2-4 November, 2017), pp. 260-265
summary The introduction of robotics into the field of 3D printing allows designers and fabricators to truly print in three dimensions, focusing more on the volumetric properties of the extrusion rather than two-dimensional slicing and, furthermore, introducing forces that can defy gravity. This paper introduces a new method of robotic extrusion using magnetic fields to construct ferrostructures. Using a custom tool and ferromagnetic material, the research develops a construction process utilizing the off-plane toolpaths of a 6-axis industrial robotic arm to pull, attract, and repel material into a hardened structure. The ferromagnetic liquid forms spikes and connections around the invisible magnetic fields, and upon hardening, freezes the field into a new physical artifact. This extrusion process allows a fabrication that defies gravity. The robotic fabrication process allows microextrusions to build off of one another, scaling the result to approach an architectural scale and bringing a new freedom to the designer and the fabricator.
keywords material and construction; fabrication; construction/robotics
series ACADIA
email goldman@virginia.edu
last changed 2017/10/17 09:12

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