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 16 of 16

_id ascaad2009_hafsa_al_omari
id ascaad2009_hafsa_al_omari
authors Al-Omari, Hafsa and Luma Al Dabbagh
year 2009
title Form in Islamic Architecture: A new vision by using 3D Studio Max program
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. 433-450
summary Architecture is a record of human civilization, values, principles and concepts. Form (elements and relations) is one of the visual features of identity and self on one hand and expressive features of place and time (scientific and technical development ) on the other hand. Creating new forms from historical forms is considered one of the greatest challenges that face the architect. Research problem centered on the importance of form in Islamic architecture, and the possibility of investment a new scientific method ( 3D Studio Max program) in creating contemporary architecture using historical and traditional Islamic forms. Research divides to three sections. The first is a theoretical framework that determines the importance and the generation and the potentiality of form in Islamic architecture. The second studies the traditional methods that has been used to create a contemporary Arab-Islamic architecture using historical references, then introduce 3D Studio Max program as alternative new scientific method to traditional methods contribute to create a new vision of contemporary Arab Islamic architecture. The conclusions identify the importance of form in the Islamic civilization and showed that the generation of form affected by its potentiality. Research opens new methods that have not been studied previously in creating contemporary Islamic architecture by using the modifier stack in 3D Studio Max program.
series ASCAAD
email Hafsa_alomari2004@yahoo.Co
last changed 2009/06/30 06:12

_id acadia04_000
id acadia04_000
authors Beesley, P., Cheng, N.Y.-W. and Williamson, R.S. (eds.)
year 2004
source 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 09696665-2-7] Cambridge (Ontario) 8-14 November, 2004.
summary We are presenting design ideas, technical innovation, and fabrication expertise that address crucial issues. Authors investigate how to effectively design and practice architecture with automated prototyping and manufacturing. We want to understand where this might lead, and how it might change the nature of architecture itself. We are just beginning to discover the opportunities to be found in integrating automated fabrication within the practice of architecture. At the same time, the new century has brought very mixed perspectives on confident Modern progress. A cautious scrutiny of 'innovation' is needed. Fabrication is an old word with the straightforward meaning, to make. The roots of the word lead to the origins of architecture. Making has been considered a virtue by ancient writers and modern politicians alike. Fabrication (and homo faber, 'one who makes') have served as fundamental terms that constitutions and contract laws have been built upon. Shaping and working with materials is at the core of Western civilization. However at a point in human history where nature is steadily being replaced by human artifice, the consequences of making are far from simple. Whether for good or ill, our new fabricated environment is transforming the world.
series ACADIA
type normal paper
last changed 2005/03/07 06:14

_id 7
authors Bermudez, Julio
year 1998
title Interaccion de Medios y Proceso De DiseÒo: Teoria y Base de Conocimientos Para una Produccion Arquitectonica Hibrida (Interaction of Design Media and Process: Theory and Knowledge Base for in the Production of Architectural Hybrids)
source II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 56-65
summary Integrating computers in architectural design means to negotiate between centuries-old analog design methods and the new digital systems of production. The difficulty lies in the underdeveloped state of the necessary methods, techniques, and theories to relate traditional and new media. Recent investigations on the use of multiple iterations between manual and electronic systems to advance architectural work show promising results. However, these experiments have not yet either developed a theoretical base that connects their procedures to a larger conceptual framework nor been sufficiently cross-referenced and third party tested to conform a reliable knowledge base. This paper addresses the first shortcoming in the light of the forces transforming our contemporary civilization and architecture.
series SIGRADI
last changed 2016/03/10 08:47

_id ijac20064301
id ijac20064301
authors Bermudez, Julio; Agutter, Jim; Foresti, Stefano
year 2006
title Architectural Research in Information Visualization: 10 Years After
source International Journal of Architectural Computing vol. 4 - no. 3, 1-18
summary As our civilization dives deeper into the information age, making sense of ever more complex and larger amounts of data becomes critical. This article reports on interdisciplinary work in Information Visualization addressing this challenge and using architectural expertise as its main engine. The goal of this research is to significantly improve real time decision making in complex data spaces while devising a new architecture that responds to complex information environments. Although we have been reporting in aspects of this work for the past 7 years, this paper covers unpublished knowledge, design methods, operational strategies, and other details that bring together all the material published by our group thus far into a comprehensive and useful whole. We conclude by presenting our latest InfoVis design work in Network Security.
series journal
last changed 2007/03/04 06:08

_id sigradi2011_000
id sigradi2011_000
authors Chiarella, Mauro; Tosello, Maria Elena (eds.)
year 2011
title Sigradi 2011: Augmented Culture
source Proceedings of the 15th Iberoamerican Congress of Digital Graphics Graphics / ISBN 13: 978-987-657-679-6] Argentina - Santa Fe 16-18 November 2011, 579 p.
summary “Augmented Culture” talks about a combination of interdependent social and technological meanings in a complex, multiple, interactive and interconnected context. It acknowledges that a new social and cultural paradigm is being developed as the old barriers of time, space and language are ruptured and transcended. In our knowledge-based civilization, we inhabit interconnected societies where new relational forms are configured. Additionally, cultural expressions have been qualitatively augmented starting from their integration with information and communication technologies, which have dramatically enhanced not only their creative and reflective processes, but also the realization and construction of cultural objects. In this sense, an “Augmented Culture” compels us to investigate the wide and complex spectrum of the variables that express the interdisciplinary, collective and participative constructions of our present age, so strongly related to visual culture, information culture and interface culture. Thus, we consider it necessary to concentrate, to expand, to spread and to share exploratory, descriptive or explanatory experiences and productions of such phenomena. The attempt is to define a multidimensional theoretical framework that while recognizing today’s state-of-the-art and tendencies, it provides us with a critical viewpoint.
series other
type normal paper
last changed 2011/12/30 17:05

_id ad5b
authors Chu, K.
year 1998
title Genetic Space
source A.D.: Architects in Cyberspace II, vol.68, no.11-12, pp.68-73
summary The twentieth century is the century of convergence. No other century has witnessed the development and profusion of new ideas as the twentieth century, and no other century has experienced the range and scope of events that transpired globally to the extent as this century. Various historical formations and discoveries, unleashed by the Enlightenment, have profoundly changed and transformed the course of human civilization and lead to the maturation of the idea of modernity in this century. With two years left to the start of the next millennium, we are experiencing the effects of modernity that have channeled powerful innovations into the dawn of a new era that could lead, potentially, beyond modernity. More than anything, it signals one of the major premises of the enlightenment to radicalize the substance of nature through the substance of reason and, thereby, altering the modality of the cultural universe of humanity into a genuine cosmopolitical concept. The synthesis of energy, matter and information into a three-parameter system of explanation has created conditions that allow us to think the unthinkable and extend our imagination to the limits of the conceivable. Modernity, from a metaphysical standpoint, brings to light the concept of a transcendental reason that aims to clarify the conditions of possibility for reason as an apriori given. As a consequence, it paved the way for a systemic constitution of a cosmic concept of reason that partakes in the arrival of alien intelligence and one that seems destined to project itself into an ontological domain of its own making. If modernity is an unfinished project, as claimed by some, its program is, nonetheless, being transformed into a cosmogenetic principle where synthesis is the pre-eminent outcome of a return to a second nature, i.e., a transcendent concept of nature. Even though the transcendental dialectic of critical reason is directed towards the timeless unity of the unconditioned, the genitive logic implicit within cosmic reason, itself a form of recursive self-propelling intelligence, appears to be animated by a projective force capable of engendering and pro-creating in the evolutionary sense of the term.
series other
last changed 2003/04/23 13:50

_id 2b73
authors Combes, Leonardo and Deza, Sebastián
year 2000
title Graficacion, Virtualidad y Computadoras (Graphics, Potentiality and Computers)
source SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 277-279
summary The different approaches to virtuality in connection with graphical representation is the main theme of this paper. In the first part, the trends of global civilization are seen as a kind of over valuation of processes in progress. In this sense action itself is more important than things. The way as means have substituted the ends is discussed. In this context the role played by images as vehicles going between things creates the need of graphical objects. Following this, the meaning of “graphics” in connection with the different planes of virtuality are discussed. In the same way the concept of “virtual space” is examined. It is shown that the notion of “space” is hard to grasp if an attempt of rigorous definition is made. Finally, a discussion about the graphical representation of architectural space leads to some conclusions on the action of computers as instances of a new kind of virtuality: that which deals with objects without touching them.
series SIGRADI
last changed 2016/03/10 08:49

_id acadia15_00
id acadia15_00
authors Combs, Lonn and Perry, Chris (eds.)
year 2015
title ACADIA 2105: Computational Ecologies: Design in the Anthropocene
source ACADIA 2105: Computational Ecologies: Design in the Anthropocene [Proceedings of the 35th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-692-53726-8] Cincinnati 19-25 October, 2015), 533 p.
summary Computational Ecologies: Design in the Anthropocene, seeks to engage a new period of enivironmental uncertainty by raising the question as to whether architecture should embark on establishing new affiliations beyond the human; a fundamental redefinition of the discipline as something no longer significant for “us” alone. If the Anthropocene has ushered in a new era of existential threat for human civilization, how does architecture not only rethink conventional forms of “program,” and by extension “performance,” privileging nonhuman alongside human forms of “use,” but a new material, formal, and spatial aesthetics as well?
keywords Anthopocene, computation
series ACADIA
type normal paper
last changed 2016/08/05 11:37

_id c176
authors Jain, R.
year 2001
title Digital Experience
source Communications of the ACM, 44(3), pp. 38-40
summary We experience our physical environment through our natural senses of sight, sound, touch, taste, and smell. Combined with the models of the world each of us develops through learning, they allow us to experience and function in the physical and social worlds. The history of civilization follows the development of our understanding of experience" and how to share it with our fellow humans immediately, as well as with those who will follow in future generations (see the Symbolic Timeline). Experience is fundamental to human existence. The desire to share it will continue to be the motivating factor in the development of exciting multimedia technology in the foreseeable future. Data is observed facts or measurements; information is derived from data in a specific context. Experience is the direct observation or participation in an event. A look at history reveals how human society has evolved into an information society and is on its way to being an experience society. "
series journal paper
last changed 2003/04/23 13:50

_id cf2003_k_003
id cf2003_k_003
authors LIU, Yu-Tung
year 2003
title Digital Architecture: Theory, Media and Design
source Digital Design - Research and Practice [Proceedings of the 10th International Conference on Computer Aided Architectural Design Futures / ISBN 1-4020-1210-1] Tainan (Taiwan) 13–15 October 2003, pp. 9-18
summary Computers, the new digital media, liberate the duality of concepts of space in human civilization. The construction and simulation powers of digital media trigger all kinds of unlimited imagination. The new space of this kind may be called digital space or virtual space. This new space is between mental and physical spaces because it provides designers with not only unlimited imaginality of mental space but also live-inside perception of physical space. A new concept of space of mankind is thus generated.
keywords cognition, computing, digital design media
series CAAD Futures
last changed 2003/09/22 10:21

_id acadia03_034
id acadia03_034
authors Luhan, G.A., Bhavsar, S. and Walcott, B.L.
year 2003
title Deep-Time ProbeInvestigations in Light Architecture
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, pp. 258-266
summary This paper presentation presents an interdisciplinary research project conducted by a design team comprised of faculty from the Colleges of Architecture, Engineering, and Astrophysics. The title of the project, Deep-Time Probe, Investigations in Light-Architecture, explores the use of an optically active-SETI experiment that centers on the thematic of time, vision, and movement through space. The realm of architecture was the digital glue that united the varied disciplines. The core of the project is broken down into three intrinsically linked components—data representation—collection, storage, and modulation; the Project Mission Wall; and the resultant Light Architecture or Deep-Time Probe. A small team of architecture students under the direction of one architecture faculty member designed the Mission Wall while the Robotics Department provided CNC machinery to digitally mill and fabricate its components. This same team assembled the 40’x60’x15’ structure in one day. The site of the launch created an adequate interface for the public art structure at the scale of an urban park. The scale of the Mission Wall addressed a variety of places, paces, and scales that mediated between the laser, the context of the surrounding plaza, and pedestrian and vehicular circulation, all while concealing the laser from direct view. The Mission Wall served three functions. It provided a housing for the Deep-Time Probe laser. It created windows and scaffolding for lighting. Moreover, it established a series of “View Corridors” that provided the onlooker with multiple vantage points and thus multiple-readings of information as architecture. Nearly fifty “Time Probe Reporters” gathered information through oral interviews. In addition to messages linked to the interviews, the Deep-Time Probe contained verbal and graphic information, images depicting the design and fabrication processes. At the time of the launch, the design team digitized, specially formatted, converted, and modulated the data into a special high-powered laser that was “launched” into space. An advanced civilization in the universe could theoretically receive and decode this information. The Deep-Time Probe project visualized the strengths of each profession, fostered the creative aspects of each team member, and resulted in a unique and dynamic experience. The deep time probe is right now passing through the Oort Cloud, the debris left over from the formation of our Sun and planets, present as a halo surrounding our solar system . . . a distance of nearly 1.5 trillion miles.
keywords Interdisciplinary Design Research, Information Visualization, and Fabrication
series ACADIA
last changed 2003/10/30 15:20

_id 6
authors Neiman, Bennett and Bermudez, J.
year 1998
title Entre la Civilizacion Analoga y la Digital: El Workshop de Medios y Manipulacion Espacial (Between the Analogue and Digital Civilization: Workshop of Media and Space Manipulation)
source II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 46-55
summary As the power shift from material culture to media culture accelerates, architecture finds itself in the midst of a clash between centuries old analog design methods (such as tracing paper, vellum, graphite, ink, chipboard, clay, balsa wood, plastic, metal, etc.) and the new digital systems of production (such as scanning, video capture, image manipulation, visualization, solid modeling, computer aided drafting, animation, rendering, etc.). Moving forward requires a realization that a material interpretation of architecture proves limiting at a time when information and media environments are the major drivers of culture. It means to pro-actively incorporate the emerging digital world into our traditional analog work. It means to change. This paper presents the results of an intense design workshop that looks, probes, and builds at the very interface that is provoking the cultural and professional shifts. Media space is presented and used as an interpretive playground for design experimentation in which the poetics of representation (and not its technicalities) are the driving force to generate architectural ideas. The work discussed was originally developed as a starting exercise for a digital design course. The exercise was later conducted as a workshop at two schools of architecture by different faculty working in collaboration with it's inventor. The workshop is an effective sketch problem that gives students an immediate start into a non-traditional, hands-on, and integrated use of contemporary media in the design process. In doing so, it establishes a procedural foundation for a design studio dealing with digital media.
series SIGRADI
more http://www.
last changed 2016/03/10 08:56

_id 1bb0
authors Russell, S. and Norvig, P.
year 1995
title Artificial Intelligence: A Modern Approach
source Prentice Hall, Englewood Cliffs, NJ
summary Humankind has given itself the scientific name homo sapiens--man the wise--because our mental capacities are so important to our everyday lives and our sense of self. The field of artificial intelligence, or AI, attempts to understand intelligent entities. Thus, one reason to study it is to learn more about ourselves. But unlike philosophy and psychology, which are also concerned with AI strives to build intelligent entities as well as understand them. Another reason to study AI is that these constructed intelligent entities are interesting and useful in their own right. AI has produced many significant and impressive products even at this early stage in its development. Although no one can predict the future in detail, it is clear that computers with human-level intelligence (or better) would have a huge impact on our everyday lives and on the future course of civilization. AI addresses one of the ultimate puzzles. How is it possible for a slow, tiny brain{brain}, whether biological or electronic, to perceive, understand, predict, and manipulate a world far larger and more complicated than itself? How do we go about making something with those properties? These are hard questions, but unlike the search for faster-than-light travel or an antigravity device, the researcher in AI has solid evidence that the quest is possible. All the researcher has to do is look in the mirror to see an example of an intelligent system. AI is one of the newest disciplines. It was formally initiated in 1956, when the name was coined, although at that point work had been under way for about five years. Along with modern genetics, it is regularly cited as the ``field I would most like to be in'' by scientists in other disciplines. A student in physics might reasonably feel that all the good ideas have already been taken by Galileo, Newton, Einstein, and the rest, and that it takes many years of study before one can contribute new ideas. AI, on the other hand, still has openings for a full-time Einstein. The study of intelligence is also one of the oldest disciplines. For over 2000 years, philosophers have tried to understand how seeing, learning, remembering, and reasoning could, or should, be done. The advent of usable computers in the early 1950s turned the learned but armchair speculation concerning these mental faculties into a real experimental and theoretical discipline. Many felt that the new ``Electronic Super-Brains'' had unlimited potential for intelligence. ``Faster Than Einstein'' was a typical headline. But as well as providing a vehicle for creating artificially intelligent entities, the computer provides a tool for testing theories of intelligence, and many theories failed to withstand the test--a case of ``out of the armchair, into the fire.'' AI has turned out to be more difficult than many at first imagined, and modern ideas are much richer, more subtle, and more interesting as a result. AI currently encompasses a huge variety of subfields, from general-purpose areas such as perception and logical reasoning, to specific tasks such as playing chess, proving mathematical theorems, writing poetry{poetry}, and diagnosing diseases. Often, scientists in other fields move gradually into artificial intelligence, where they find the tools and vocabulary to systematize and automate the intellectual tasks on which they have been working all their lives. Similarly, workers in AI can choose to apply their methods to any area of human intellectual endeavor. In this sense, it is truly a universal field.
series other
last changed 2003/04/23 13:14

_id ecaade2015_240
id ecaade2015_240
authors Sousa, Jose Pedro; Varela, Pedro Azambuja and Martins, Pedro Filipe
year 2015
title Between Manual and Robotic Approaches to Brick Construction in Architecture
source Martens, B, Wurzer, G, Grasl T, Lorenz, WE and Schaffranek, R (eds.), Real Time - Proceedings of the 33rd eCAADe Conference - Volume 2, Vienna University of Technology, Vienna, Austria, 16-18 September 2015, pp. 361-370
wos WOS:000372316000042
summary Brick construction has a long and rich structural and aesthetic traditions in architecture, which can be traced back to the origins of our civilization. However, despite the remarkable works of Frank Lloyd Wright, Louis Kahn, Eladio Dieste or Alvar Aalto in the 20th century, the application of this construction process to address more irregular geometries is very difficult to be achieved by conventional manual means. In this context, the last decade assisted to emergence of robotic applications in architecture. While Gramazio & Kohler looked for solving non-standard brick structures, others, like the S.A.M. robot initiative, are interested in improving the productivity in the fabrication of regular brick structures. By surveying the recent advances on bricklaying automation, this paper is interested in reflecting on the actual role of manual brickwork. In doing so, the authors present the Brick Tower experiment developed at the DFL/CEAU/FAUP, where two different fabrications processes are critically compared: a robotic and a manual one, which is aided by a video projection technique. By describing and illustrating this experiment, the authors argue that it is possible to expand the traditional craft of bricklaying by devising simple strategies to increase the human capacity to understand and materialize more elaborated geometries. This research avenue can be relevant if one considers that manual work should remain the most common form of brickwork practice in the next decades.
series eCAADe
last changed 2016/05/16 09:08

_id 6861
authors Szymski, A., Dawidowsi, R. and Karpisz, H.
year 1996
title CAD System in Architectural Creativity: Limits and Possibilities
source Approaches to Computer Aided Architectural Composition [ISBN 83-905377-1-0] 1996, pp. 203-214
summary A computer has become a "demon" of the end of the XX century. CAD system -an architectural computer game with more refined and complex (in the workshop) problem. An architect together with the others has become a computer slave - as a tool of work and communication: he has become a slave of all this which designates the essence of the development of post-industrial civilization. Unaware of the effects accompanying this danger, he underwent the fascination of the astonishing development of the computer technology - he limited his creative status, reducing the role of a user of the ready made projecting supporting systems: making himself a slave of a tool which was supposed to serve him.
series other
last changed 1999/04/08 15:16

_id ga0101
id ga0101
authors Tanzini, Luca
year 2000
title Universal City
source International Conference on Generative Art
summary "Universal City" is a multimedia performance that documents the evolution of the city in history. Whereas in the past the city was symbolically the world, today the world has become a city. The city rose up in an area once scattered and disorganized for so long that most of its ancient elements of culture were destroyed. It absorbed and re synthesized the remnants of this culture, cultivating power and efficiency. By means of this concentration of physical and cultural power, the city accelerated the rhythm of human relationships and converted their products into forms that are easily stockpiled and reproduced. Along with monuments, written documents and ordered associative organizations amplified the impact of all human activities, extending backwards and forwards over time. Since the beginning however, law and order stood alongside brute force, and power was always determined by these new institutions. Written law served to produce a canon of justice and equality that claimed a higher principle: the king's will, synonymous with divine command. The Urban Neolithic Revolution is comparable only to the Industrial Revolution, and the Media Technology in our own era. There is of course a substantial difference: ours is an era of immeasurable technological progress as an end in itself, which leads to the explosion of the city, and the consequent dissemination of its structure across the countryside. The old walled city has not only fallen, it's buried its foundations. Our civilization flees from every possibility of control, by means of its own extra resources not controllable by the egregious ambitions of man. The image of modern industrialization that Charlie Chaplin resurrected from the past in "Modern Times" is the exact opposite of contemporary metropolitan reality. He figured the worker as a slave chained to his machine and fed by machinery as he continued to work at maintaining the machine itself. Today the workplace is not so brutal, but automation has made it much more oppressive. Energy and dedication once directed towards the production process are today shifted towards consumption. The metropolis in the final phase of its evolution, is becoming a collective mechanism for maintaining the function of this system, and for giving the illusion of power, wealth, happiness, and total success, to those who are, in actuality, its victims. It is a concept foreign to the modern metropolitan mentality that life should be an occasion to Live, and not an excuse for generating newspaper articles, television interviews, or mass spectacles for those who know nothing better. Instead the process continues, until people prefer the simulacrum to the real, where image dominates over object, the copy over the original, representation over reality, appearance over Being. The first phase of the Economy's domination over social life brought about the visible degradation of every human accomplishment from "Being" into "Having". The present phase of social life's total occupation by the accumulated effects of the Economy is leading to a general downslide from "Having" into "Seeming". The performance is based on the instantaneous interaction between video and music: the video component is assembled in real time with RandomCinema a software that I developed and projected on a screen. The music-noise is the product of human radical improvisation togheter automatic-computer process. Everything is based on the consideration of the element of chance as a stimulus for the construction of the most options. The unpredictable helps to reveal things as they happen. The montage, the music, and their interaction, are born and die and the same moment: there are no stage directions or scripts.
series other
last changed 2003/08/07 15:25

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