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

PDF papers
References

Hits 1 to 20 of 20

_id caadria2007_283
id caadria2007_283
authors Ambrose, Michael A.
year 2007
title BIM and Integrated Practice as Provocateurs of Design Education
source CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
summary Building Information Modeling (BIM) obfuscates the role of composition, scale and abstraction by displacing the primacy of abstract conventions of representation with a methodology based on simulation. BIM subverts, while simultaneously clarifying, the holistic relationships of the parts to the whole in the architectural design of form and space. Architectural design education has great opportunity and risk in how it comes to terms with re-conceptualizing design education pedagogy as the profession struggles to redefine the media and methods of architectural deliverables in the age of BIM. The paper examines the foundation issues proposed by Integrated Practice. The paper questions how BIM and modeled simulation of architectural assemblage might transcend current definitions of convention in design and construction representation. This paper explores how the academy might prepare students of architecture for a digital practice that focuses on the virtual building model and database management. BIM and Integrated Practice viewed as provocateurs of design education provide great potential for critical analysis of how architectural design is taught. The associated pedagogies are transforming the way in which architectural education engages issues of design and representation and creates opportunities to question the roles and rules of traditional conventions. The paper seeks to engage issues of design specificity and ambiguity related to the assets and liabilities of digital modeling as the primary means of design and representation that BIM represents.
series CAADRIA
email ambrosem@umd.edu
last changed 2008/06/16 08:48

_id ga9925
id ga9925
authors Ambrosini, L., Longatti, M. and Miyajima, H.
year 1999
title Time sections, abstract machines
source International Conference on Generative Art
summary conditions a time-spatial discontinuity in the urban grid, ancient walls casually discovered in a substrate of the contemporary town needs a surplus of information to be understood and interfaced with their current condition. diagrams diverse chronological stages of the urban evolution are mapped on the area, in order to read the historical stratifications as a multiplicity of signs; this abstract approach leads to consider the roman space as guided by metrics, a system of measure superimposed on the landscape, vs. medioeval spatial continuity, where more fluid relations between the same urban elements create a completely different pattern.assemblage (time sections) a surface, automatically displaced from the medioeval diagram, moves along the z axis, the historical stratification direction, intersecting in various, unpredictable, manners a series of paths; these paths start as parallels, allowing an undifferentiated access to the area, and mutate along their developing direction, intertweening and blending each other; linear openings are cut on the surface, virtually connecting the two levels by light, following the roman grid in rhythm and measure. Projected on the lateral wall, the cadence of the vertical and horizontal elements becomes a temporal diagram of the design process.movement time takes part into the process through two kinds of movement: the first one, freezed when reaches the best results, in terms of complexity, is given by the surface intersecting the tubular paths; the second one is represented by multiple routes walking on which the project can be experienced (in absence of any objective, fixed, point of view, movement becomes the only way to understand relations). Thresholds between typical architectural categories (such as inside-outside, object-landscape etc.) are blurred in favour of a more supple condition, another kind of continuity (re)appears, as a new media, between the different historical layers of the city.
series other
more http://www.generativeart.com/
last changed 2003/08/07 15:25

_id ecaade2017_098
id ecaade2017_098
authors Bieg, Kory
year 2017
title The Interplay of Figures Using Superimposed Arrays
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 2, Sapienza University of Rome, Rome, Italy, 20-22 September 2017, pp. 399-406
summary This paper introduces the theoretical considerations underlying the design of a digitally designed and Computer Numerically Controlled (CNC) fabricated public installation project in the city of Austin, Texas. The project, The Creek Zipper, is an assemblage of exo?related units that symbolically reconnects two divided city neighborhoods, establishes a new relationship between the synthetic and natural, and inflates a two?dimensional graphic into a three?dimensional form. The project can be clearly read as a whole from a distance, but as one approaches, the legibility of each part begins to overwhelm the perception of the whole. As the form of the whole dissipates, the project gains a field?like presence, revealing different sets of discrete figures nested within the larger whole. The Creek Zipper addresses these multiple overlapping dichotomies that act as design generators and promote a dynamic expression of the project.
keywords Array; CNC; Part Whole; Curve; Installation; Fabrication
series eCAADe
email kory@otaplus.com
last changed 2017/09/13 13:31

_id 0374
authors De Vecchi, Antonio and Navarra, Laura
year 1998
title Verification of Building Assemblage Compatability
source Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 234-238
summary A computer program is being elaborated as an aid in designing assembled parts whose assembly presents high degrees of complexity. The newly created program, once incorporated in the CAD sector to increase its potential applications, will facilitate the analysis of reciprocal relationhips between pieces of the assemblage; this will enhance optimum decision-making in terms of geometric and functional characteristics with respect to the previously conceived assembly sequence. The program will automatically create images in three different ways: instantaneous images of assembly stages for each piece of the assembled part; exploded axonometric view of the whole structure with indications of necessary procedures for inserting or connecting the assembled part;sequenced procedures for connecting the assembled part. The different methods of visualization listed above will allow for project verification of the part by means of simultaneous visual analysis of the images and rapid updating should any changes in their properties arise. These types of visualization include simulations of piece by piece assemblage, which will facilitate an "optimal assemblage", meaning a set of components which are assembled in a specific sequence according to their "structural compatibility" and taking into consideration "particular assembly requirements".
series eCAADe
more http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/28de_vecchi/index.htm
last changed 2003/03/05 12:15

_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 ga0124
id ga0124
authors Feuerstein, Penny L.
year 2001
title Art In The Digital Age: Using Computer As An Expressive Tool
source International Conference on Generative Art
summary I use digital technology to visualize the theory that we experience any one moment in a "constant state of collage". I literally "scan" the moment, scanning objects such as rocks or paper, energy, and ideas into the computer to convert them to a new common language of binary numbers. After scanning, I work with digital tools to create generation, replication, and integration. These three attributes of the computer are used throughout my work. In this way the computer is used as an expressive tool to visualize the subconscious layering and relayering that occurs as the mind processes "experience" -that moment when the physical, intellectual, emotional and spiritual come together as one. I call this my "assemblage of the mind" with all that surrounds it. To illustrate this concept, I use software such as High Rez QFX or Photoshop to manipulate images of photographs drawings and paintings. I am exploring what happens to the gestural quality of the line or brushtroke when it has been maniplatedwith these digital tools. The manipulation of photography, drawings, paintings and found objects expresses a new reality that reflects this digital age.Digital imaging intensifies this reality because youhave the potential for infinite replications of the same image within one artwork. By making many reproductions it substitutes a plurality of copies for a unique existance. Using the generative tools, this plurality is taken a step further because it actually mimics our existance. Looking at Kasimir Malevich's painting, "basic Suprematist Element" inspired me to paint a brushstroke and transcend a photo of a landscape into it. By using transparency tools to integrate objects and photos with paintings, I want toconvey that the objective consciousness of an object is just as important as the subjective inner state of consciousness in experiencing reality. The irony is that my theory directly opposes Malevich's theories on Suprematism, yet it was Malevich who inspired me.
series other
more http://www.generativeart.com/
last changed 2003/08/07 15:25

_id 6a37
authors Fowler, Thomas and Muller, Brook
year 2002
title Physical and Digital Media Strategies For Exploring ‘Imagined’ Realities of Space, Skin and Light
source Thresholds - Design, Research, Education and Practice, in the Space Between the Physical and the Virtual [Proceedings of the 2002 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-11-X] Pomona (California) 24-27 October 2002, pp. 13-23
summary This paper will discuss an unconventional methodology for using physical and digital media strategies ina tightly structured framework for the integration of Environmental Control Systems (ECS) principles intoa third year design studio. An interchangeable use of digital media and physical material enabledarchitectural explorations of rich tactile and luminous engagement.The principles that provide the foundation for integrative strategies between a design studio and buildingtechnology course spring from the Bauhaus tradition where a systematic approach to craftsmanship andvisual perception is emphasized. Focusing particularly on color, light, texture and materials, Josef Albersexplored the assemblage of found objects, transforming these materials into unexpected dynamiccompositions. Moholy-Nagy developed a technique called the photogram or camera-less photograph torecord the temporal movements of light. Wassily Kandinsky developed a method of analytical drawingthat breaks a still life composition into diagrammatic forces to express tension and geometry. Theseschematic diagrams provide a method for students to examine and analyze the implications of elementplacements in space (Bermudez, Neiman 1997). Gyorgy Kepes's Language of Vision provides a primerfor learning basic design principles. Kepes argued that the perception of a visual image needs aprocess of organization. According to Kepes, the experience of an image is "a creative act ofintegration". All of these principles provide the framework for the studio investigation.The quarter started with a series of intense short workshops that used an interchangeable use of digitaland physical media to focus on ECS topics such as day lighting, electric lighting, and skin vocabulary tolead students to consider these components as part of their form-making inspiration.In integrating ECS components with the design studio, an nine-step methodology was established toprovide students with a compelling and tangible framework for design:Examples of student work will be presented for the two times this course was offered (2001/02) to showhow exercises were linked to allow for a clear design progression.
series ACADIA
email tfowler@calpoly.edu
last changed 2002/10/26 23:25

_id acadia06_518
id acadia06_518
authors Hasegawa, Toru
year 2006
title The hexEnvelope system: a cross-platform embedding of material and software logic into descriptive geometry
source Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 518-529
summary This paper follows the technical problematic of the hexEnvelope, a novel system for building complex geometric objects. Operating as a scripted system of parametric operations, and running through multiple 2D, 3D, and fabrication software packages, the hexEnvelope system allows for a highly tectonic assemblage of cellular units. Specific issues addressed within the system include the realization of curved surfaces through flat material, the embedding of fabrication logic and material performance within descriptive geometry, and multiple scales of deployment in terms of their tectonic and material consequence.
series ACADIA
email toru.hasegawa@gmail.com
last changed 2006/09/22 06:22

_id ascaad2009_jonathan_healey
id ascaad2009_jonathan_healey
authors Healey, Jonathan T. and Lisa Lacharité-Lostritto
year 2009
title Speculative Assemblages of a Digital Process: The investigation of hybrid digital media as a pedagogical device
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. 61-68
summary Within a digital-design pedagogy is opportunity to construct a design process working non-linearly in explicit systemic, conditional, and metaphorical operations. In the use of digital modeling and animation, speculative design methods develop across a series of incremental investigations that are structured, rather than dictated, by the particular architectural issues of composition and concept of place. By accommodating the diversity of such inputs, and testing the variable layers of output, new discrete compositions in the form of digital assemblage recombine and translate a series of logical premises and processes that resolve in non-prescribed outcomes. This paper identifies, through the work of two students, experimentations with computer-aided design that suggest the potential for hybrid design methods relevant to the exploratory nature of a digitally-inclined architectural pedagogy.
series ASCAAD
email jthealey@gmail.com
last changed 2009/06/30 06:12

_id ecaade2013_030
id ecaade2013_030
authors Marques, Rui and Eloy, Sara
year 2013
title Customized Cork Façade
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. 621-626
wos WOS:000340643600064
summary The propose paper presents an ongoing research which main goal is to use cork in a customized modular façade system. Cork is used due to its ecological value, renewable characteristic, insulation properties and aesthetic value. The modular system design is bio-inspired in the microscopic cork pattern and the study aims at reproducing in the façade some of the natural characteristics that enable cork to be suitable for the function it plays in construction. Façades are design by a generative design process based on a parametric shape grammar which encodes shape rules and an algorithm to guide the generation. The developed cork modules are part of a back-ventilated façade system which is assembled upon a substructure that reproduces the cork cell structure and enables both the assemblage of the modules to the support wall and the connection between them.
keywords Shape grammar; generative design; cork; façade; digital fabrication.
series eCAADe
email sara.eloy@iscte.pt
last changed 2016/05/16 09:08

_id ecaade2014_155
id ecaade2014_155
authors Martina Decker and Andrzej Zarzycki
year 2014
title Designing Resilient Buildings with Emergent Materials
source Thompson, Emine Mine (ed.), Fusion - Proceedings of the 32nd eCAADe Conference - Volume 2, Department of Architecture and Built Environment, Faculty of Engineering and Environment, Newcastle upon Tyne, England, UK, 10-12 September 2014, pp. 179-184
wos WOS:000361385100019
summary This paper looks at two distinct approaches to kinetic façades and smart building assemblies reminiscent of designs for the Institut du Monde Arabe and for Hoberman's Simon Center. The first approach uses Arduino microcontroller-guided kinetic components with a distinct assemblage of elements, each performing a dedicated function such as sensor, actuator, or logical processing unit. The second approach incorporates custom-designed smart materials-shape memory alloys (SMAs)-that not only complement or replace the need for electrically operated sensors or actuators, but also eliminate a microcontroller, since in this arrangement the material itself performs computational functions. The paper will discuss case studies that use physical computing and smart-material models as vehicles to discuss the value of each approach to adaptive design in architecture. Building on these observations, the paper looks into conceptual aspects of an integrated hybrid system that combines both computation approaches and unique opportunities inherent to these hybrid designs.
keywords Adaptable designs; arduino microcontrollers; shape memory alloys (smas); smart materials; programmable matter
series eCAADe
email decker@njit.edu
last changed 2016/05/16 09:08

_id ecaade03_260_02_nardi
id ecaade03_260_02_nardi
authors Nardini, Marco
year 2003
title Avant-garde techniques in contemporary design - New tools or new languages for the project?
source Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6] Graz (Austria) 17-20 September 2003, pp. 261-264
summary In this paper it is argued that new digital techniques join together several skills; from CAD (Computer Aided Design), to CAE (Computer Aided Engineering), till CAM (Computer Aided Manufacturing). That assemblage of methods involves a change in the way to achieve a project. The idea comes out as result of connected actions within software-hardware tools. According to this analysis the implementation of gradients (e.g. movement, time, direction) have a significant role in shaping a multi-disciplinary approach to design; supported by simulation as way to verify and control solutions. Such innovations can settle a new way to design, in terms of vocabulary, grammar and syntax? How can we develop useful tools to express the ""new visible"" of avant-garde techniques?
keywords Avant-garde techniques, simulation, complexity, new visible, immaterial,parametric design
series eCAADe
email marco.nardini@uniroma1.it
more http://ecologo.3go.it
last changed 2003/09/18 07:13

_id acadia03_065
id acadia03_065
authors Neidhardt, Lisa and Luhan, Gregory A.
year 2003
title The Space of an IDEA: Ideas for Living
source Connecting >> Crossroads of Digital Discourse [Proceedings of the 2003 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-12-8] Indianapolis (Indiana) 24-27 October 2003, p. 437
summary Studio Issue: The space of an idea resides in the connection between thinking and making. The studio explorations reveal the tension between the private experience and the public perception and investigate new methods of architectural assemblage. By uniting thinking/drawing with seeing/making, an effectual palette engenders a new way of looking at the individual and thus narrows the normative boundaries associated with actualizing ideas.
series ACADIA
last changed 2003/10/30 15:20

_id acadia04_162
id acadia04_162
authors Perez, Santiago R.
year 2004
title The Synthetic Sublime
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, 162-175
summary The distinction between the artificial and the natural has been increasingly challenged as a result of advances in genetics, microbiol¬ogy, and robotics. Beginning with the molecular assemblage of organic systems into complex micro-surfaces and structures, and expanding into the realm of the macro landscape, our understanding of the term Synthetic must be revised. What is the relationship between the component (or part) and the whole, when confronted with the Synthetic? Digitally mediated fabrication technologies, combined with a renewed interest in topology and (bio)logical form, serve to challenge our preconceived notions of space and form. This inquiry will attempt to explore the relationship between traditional assemblies produced by hand, and the production of complex forms through digital rapid prototyping. The impact of D'Arcy Thompson's On Growth and Form will be considered both as a historical juncture and a contemporary source of knowledge for the exploration of new assemblages inspired by topology and biology. In particular, the organic micro-surfaces depicted in France Bourély's Hidden Beauty will be explored, in comparison with the mathematical development of organic forms inspired by Periodic Minimal Surfaces. The analysis of emerging forms and assemblages based on the notion of the Synthetic will be compared with the Organic, and considered within the context of twentieth century art and sculpture. An attempt will be made to establish new modes of inquiry for combining digital and physical explorations of space and form, influenced by advances in micro-scale structures, complex surfaces, and the history of organic form in art.
keywords landscape, form, surface, assemblage
series ACADIA
email perez@arch.usf.edu
last changed 2010/05/16 07:09

_id acadia06_471
id acadia06_471
authors Perez, Santiago R.
year 2006
title PolyForm: Biomimetic Surfaces
source Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 471-482
summary The evolution of the architectural surface from a static, fixed geometric assemblage to a responsive, biomimetic aggregate surface will be the topic of this paper. The work exhibited has been developed by the author and his students over the last two years, prompted by an interest in robotics, advanced material assemblies, and biomimetics. The work ranges in scope from digital models and simulations to working prototypes and full-scale habitable constructions. One aspect that serves to unite the emerging body of work may be summarized in the prefix “poly” denoting many, or having more than one state or form. Thus the word Polyform begins to suggest the interplay between biomimesis and adaptive surfaces. A similar term is found in the combination of poly and morph:
series ACADIA
email perez.sr01@gmail.com
last changed 2006/09/22 06:22

_id caadria2008_64_session6b_529
id caadria2008_64_session6b_529
authors Rügemer, Jörg
year 2008
title Form Follows Tool: How the mere existence of a 2D laser cutter does influences architectural design in education?
source CAADRIA 2008 [Proceedings of the 13th International Conference on Computer Aided Architectural Design Research in Asia] Chiang Mai (Thailand) 9-12 April 2008, pp. 529-535
summary The paper is aimed to examine the influence of a digital laser cutter on the design process within the College of Architecture and Planning, University of Utah, Salt Lake City. The tool functions as a peripheral output device within a simple “CAD-CAM” model manufacturing process in the area of architectural model making. It is a 2D laser cutter, accessible to the students since four years. The paper has a critical look at how the machine’s availability, its possibilities, as well as its promising time saving potential has changed the way students develop their design and process their projects. Rapid prototyping is becoming more and more an integral and important part of our design studios. With the adoption of the laser cutter, the model making procedure has changed from a relatively time-consuming, but immediately controllable process, to a procedure where one has to spatially re-think the elements that need to be produced, in order to adapt to the necessary digital workflow or process.
keywords 2D Laser Cutter, Digital Design Development, Digital Model Manufacturing Process, Analogue Model Assemblage
series CAADRIA
email ruegemer@arch.utah.edu
last changed 2012/05/30 19:29

_id acadia13_347
id acadia13_347
authors Sabin, Jenny E.
year 2013
title myThread Pavilion: Generative Fabrication in Knitting Processes
source ACADIA 13: Adaptive Architecture [Proceedings of the 33rd Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-1-926724-22-5] Cambridge 24-26 October, 2013), pp. 347-354
summary Advancements in weaving, knitting and braiding technologies have brought to surface high-tech and high- performance composite fabrics. These products have historically infiltrated the aerospace, automobile, sports and marine industries, but architecture has not yet fully benefitted from these lightweight freeform surface structures. myThread, a commission from the Nike FlyKnit Collective, features knitted textile structures at the scale of a pavilion. The evolution of digital tools in architecture has prompted new techniques of fabrication alongside new understandings in the organization of material through its properties and potential for assemblage. No longer privileging column, beam and arch, our definition of architectural tectonics has broadened alongside advancements made in computational design. Internal geometries inherent to natural forms, whose complexity could not be computed with the human mind alone, may now be explored synthetically through mathematics and generative systems. Textiles offer architecture a robust design process whereby computational techniques, pattern manipulation, material production and fabrication are explored as an interconnected loop that may feed back upon itself in no particular linear fashion. The myThread Pavilion integrates emerging technologies in design through the materialization of dynamic data sets generated by the human body engaged in sport and movement activities in the city.
keywords next generation technology, textiles, responsive material, knitting, data visualization, generative design, bio-data
series ACADIA
type Normal Paper
email js@jennysabin.com
last changed 2014/01/11 08:13

_id 026a
authors Saggio, Antonino
year 1989
title Extrusion, Assemblage, Joint and Connection in the Workshop for Gas Production by Giuseppe Terragni
source CAAD: Education - Research and Practice [eCAADe Conference Proceedings / ISBN 87-982875-2-4] Aarhus (Denmark) 21-23 September 1989, pp. 9.16.1-9.16.9
summary Turning over the catalogues' pages of the first show of rational architecture, the strongly contrasting pictures of the model presented by Terragni remain impressive. The project for a "Workshop for Gas Production", designed by the 23 year old architect from Como, reveals the presence of an early talent and the originality of his research. Although inspired by the contemporary European architecture, the work of Terragni does not attempt to academically repeat former precedents. Although Terragni's project and many among the other exhibited works share an analogy of forms, the syntax of the Como architect appears more mature and complex. This essay and the accompanying original drawings are dedicated to the de-constructivist nature of the design operations as well as to the clarification of the messages embodied in the specific program.

keywords Terragni, Italian Rationalist Architecture, Interactive Lesson
series eCAADe
email Antonino.Saggio@Uniroma1.it
last changed 2003/05/16 19:36

_id eaea2005_133
id eaea2005_133
authors Weber, Ralf
year 2006
title Urban space and architectural scale - Two examples of empirical research in architectural aesthetics
source Motion, E-Motion and Urban Space [Proceedings of the 7th European Architectural Endoscopy Association Conference / ISBN-10: 3-00-019070-8 - ISBN-13: 978-3-00-019070-4], pp. 133-149
summary As one of the oldest schools of architecture in Germany, Dresden has a long and continuous tradition in the field of architectural aesthetics and building composition. Architects such as Fritz Schumacher initiated research and teaching in the field in the 1920s, and this was revitalised during the 1950s by Otto Schubert who laid the foundations for a scientific description of the correlation between optics and architectural design, and also worked towards a comprehensive theory of architectural composition. As a result of the architectural ideology of the East German regime, such studies were consigned to near oblivion and the main concern became interior decoration. With the appointment of Professor Ralf Weber, the institute was reestablished in 1994 under its original name, the Institute of Spatial Design (Raumgestaltung). Its new research agenda originated from Weber’s book “On the Aesthetics of Architectural Form - A Psychological Approach to the Structure and the Order of Perceived Architectural Space” (Ashgate 1994). In order to verify some of the hypotheses advanced in the book empirically, members of the institute have been carrying out a number of studies in the areas of oculomotor research and the perceptual foundations of design, and have been addressing issues that would help formulate principles of good architectural form and space applicable to the everyday practice of architectural design. Currently, the Institute of Spatial Design focuses on the further development of the psychological bases of experiencing architecture, as well as on theories of aesthetics and their application in practice. Specifically, attention is paid, on the one hand, to the perception and experience of architecture, i.e. aesthetics, and on the other, to the assemblage of various parts into an overall whole in a building, city or landscape – in other words, architectural composition. These two aspects are naturally inextricably intertwined: the one concerns the reception of architecture, the other, its production. Under these headings, various other areas of interest, such as architectural tectonics, systems of order and proportions, or the issue of scale in architecture, are tackled through dissertations, research projects and seminars. The institute has been cooperating on several studies with the Cognitive & Biological Psychology Unit at the University of Leipzig and the intention is eventually to establish an interdisciplinary research unit for architectural aesthetics.
series EAEA
type normal paper
email r.weber@mailbox.tu-dresden.de
more http://info.tuwien.ac.at/eaea
last changed 2008/04/29 18:46

_id acadia06_546
id acadia06_546
authors Williamson, Shane
year 2006
title Stock Space
source Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 546-547
summary Modest in budget and ephemeral in nature, STOCK SPACE was installed, exhibited, and dismantled over a five-day period at the Toronto National Trade Center as part of an invited exhibition of concept spaces at the 2005 Toronto Interior Design Show. Occupying 450 square feet within an 110,000-square-foot convention center, STOCK SPACE was small, vertical, warm, and quiet, in contrast to the immense horizontality of the mechanically cooled trade floor of nearly 40,000 exhibitors and attendees. STOCK SPACE was an investigation of limits. Material had to fit through doors and on our CNC milling bed. It had to clear staircases, be carried by hand, and be stored compactly within the confines of our fabrication area. STOCK SPACE was an exercise in subtraction. The space was created through the removal of stock material from a conceptually full volume that measured 24’ long x 18’ wide x 12’ tall. High density EPS foam in 4’x 8’ x 16” modules provided a light and machinable medium capable of recording the vestigial marks of fabrication as well as providing adequate dampening and insulation. The resulting assemblage of stacked modules embodied traits of the orthographic grid associated with the length and width of the stock, the topographic contours associated with the depth of the stock and the isoparametric grooves of the resulting surface. The collective composition of these elements was the analytical result of maximum machining curvature.
series ACADIA
email shane.williamson@utoronto.ca
last changed 2006/09/22 06:22

No more hits.

HOMELOGIN (you are user _anon_746191 from group guest) CUMINCAD Papers Powered by SciX Open Publishing Services 1.002