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 67

_id ecaade03_269_43_achten
id ecaade03_269_43_achten
authors Achten, Henri and Joosen, Gijs
year 2003
title The Digital Design Process - Reflections on a Single Design Case
source Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6] Graz (Austria) 17-20 September 2003, pp. 269-274
summary CAD tools are increasing their expressive and geometric power to enable a design process in which the computer model can be used throughout the whole design process for realizing the design. Such a process, in which other media such as physical scale models or drawings are no longer required by necessity to facilitate the design process, can be considered a digital design process. Rather than proposing that such a process is ideal – drawings and scale models should not be discarded – we feel that when taken as a starting point, the digital design process raises a number of new challenges to architectural design that deserve attention. These challenges concern the basic activities in design: exploration of the problem space, creating preliminary solutions, understanding consequences of design decisions, and so forth. In this paper we take the concrete design case of a graduation project that was developed from the start solely in CAD. We identify a number of key issues in that process such as continuous modeling, the model as design, continuous pliability, localized focus, and postponed decision. These issues not only have a technical, CAD-related aspect, but also are connected to architectural design. Most of these aspects are subject of contemporary debate in architectural design. On this basis, we can indicate where CAD is making a potential difference in architectural design.
keywords Digital design, CAAD
series eCAADe
email h.h.achten@bwk.tue.nl
more http://www.ds.arch.tue.nl/General/Staff/henri
last changed 2003/11/22 08:49

_id 9c41
authors Ahmad Rafi, M.E., Chee W.K., Mai, N., Ken, T.-K. N. and Sharifah Nur, A.S.A. (Eds.)
year 2002
title CAADRIA 2002 [Conference Proceedings]
source Proceedings of the 7th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 983-2473-42-X / Cyberjaya (Malaysia) 18–20 April 2002, 370 p.
summary Evolution of trends in the realm of computer aided architectural design (CAAD) has seen the convergence of technologies – complementing traditional tools with emerging sciences like Information Technology (IT) and multimedia applications. This appliqué of technologies has not just expanded the scope and enhanced the realm of CAAD research and practice, but is also breaking new frontiers. This creative nexus will be realised at the 7th International Conference on Computer Aided Architectural Design Research In Asia (CAADRIA 2002) to be held at the Faculty of Creative Multimedia, Multimedia University, Malaysia, between 18th-20th April, 2002. CAADRIA 2002’s theme, "Redefining Content", seeks to recognise and infuse these emerging components in the field of architecture and design with a holistic approach towards online, digital and interactive systems. The 41 papers compiled were selected through a blind review process conducted by an international review panel. To reflect the multi-disciplinary nature of this year's conference, the chapters are arranged topically to facilitate the in-depth study of key components. The component sessions include: // Web Design, Database and Networks // CAD, Modelling and Tools // Collaborative Design, Creative Design and Case Reasoning // Simulation and Prototyping // Virtual Environment and Knowledge Management // Design Education, Teaching and Learning /// We believe that this specialised approach will provide a deeper and more illuminating feel of the various components and their critical convergence in the field of architecture and design.
series CAADRIA
email ahmadrafi.eshaq@mmu.edu.my
more www.caadria.org
last changed 2002/04/25 17:26

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

_id e29d
authors Arvesen, Liv
year 1996
title LIGHT AS LANGUAGE
source Full-Scale Modeling in the Age of Virtual Reality [6th EFA-Conference Proceedings]
summary With the unlimited supply of electric light our surroundings very easily may be illuminated too strongly. Too much light is unpleasant for our eyes, and a high level of light in many cases disturbs the conception of form. Just as in a forest, we need shadows, contrasts and variation when we compose with light. If we focus on the term compose, it is natural to conceive our environment as a wholeness. In fact, this is not only aesthetically important, it is true in a physical context. Inspired by old windows several similar examples have been built in the Trondheim Full-scale Laboratory where depth is obtained by constructing shelves on each side of the opening. When daylight is fading, indirect artificial light from above gradually lightens the window. The opening is perceived as a space of light both during the day and when it is dark outside.

Another of the built examples at Trondheim University which will be presented, is a doctor's waitingroom. It is a case study of special interest because it often appears to be a neglected area. Let us start asking: What do we have in common when we are waiting to come in to a doctor? We are nervous and we feel sometimes miserable. Analysing the situation we understand the need for an interior that cares for our state of mind. The level of light is important in this situation. Light has to speak softly. Instead of the ordinary strong light in the middle of the ceiling, several spots are selected to lighten the small tables separating the seats. The separation is supposed to give a feeling of privacy. By the low row of reflected planes we experience an intimate and warming atmosphere in the room. A special place for children contributes to the total impression of calm. In this corner the inside of some shelves are lit by indirect light, an effect which puts emphasis on the small scale suitable for a child. And it also demonstrates the good results of variation. The light setting in this room shows how light is “caught” two different ways.

keywords Model Simulation, Real Environments
series other
type normal paper
more http://info.tuwien.ac.at/efa/
last changed 2004/05/04 12:34

_id a620
authors Asanowicz, Alexander
year 1991
title Unde et Quo
source Experiences with CAAD in Education and Practice [eCAADe Conference Proceedings] Munich (Germany) 17-19 October 1991
summary To begin with, I would like to say a few words about the problem of alienation of modern technologies which we also inevitably faced while starting teaching CAD at our department. Quite often nowadays a technology becomes a fetish as a result of lack of clear goals in human mind. There are multiple technologies without sense of purpose which turned into pure experiments. There is always the danger of losing purposeness and drifting toward alienation. The cause of the danger lies in forgetting about original goals while mastering and developing the technology. Eventually the original idea is ignored and a great gap appears between technical factors and creativity. We had the danger of alienation in mind when preparing the CAAD curriculum. Trying to avoid the tension between technical and creative elements we agreed not to introduce CAD too soon then the fourth year of studies and continue it for two semesters. One thing was clear - we should not teach the technique of CAD but how to design using a computer as a medium. Then we specified projects. The first was called "The bathroom I dream of" and meant to be a 2D drawing. The four introductory meetings were in fact teaching foundations of DOS, then a specific design followed with the help of AutoCAD program. In the IX semester, for example, it was "A family house" (plans, facades, perspective). "I have to follow them - I am their leader" said L.J. Peter in "The Peter's Prescription". This quotation reflects exactly the situation we find ourselves in teaching CAAD at our department. It means that ever growing students interest in CAAD made us introduce changes in the curriculum. According to the popular saying, "The more one gets the more one wants", so did we and the students feel after the first semester of teaching CAD. From autumn 1991 CAAD classes will be carried from the third year of studying for two consecutive years. But before further planning one major steep had to be done - we decided to reverse the typical of the seventies approach to the problem when teaching programming languages preceded practical goals hence discouraging many learners.

series eCAADe
email asan@cksr.ac.bialystok.pl
last changed 2003/11/21 14:16

_id ecaade2010_196
id ecaade2010_196
authors Augustynowicz, Edyta; Sixt, Stefanie; Georgakopoulou, Sofia
year 2010
title Attractive City - An Interactive City Generator
source FUTURE CITIES [28th eCAADe Conference Proceedings / ISBN 978-0-9541183-9-6] ETH Zurich (Switzerland) 15-18 September 2010, pp.379-387
wos WOS:000340629400040
summary The Attractive City Generator is an interactive installation with which users can create or rearrange virtual cities by placing and moving physical objects. Through the set of simple inputs that the users provide and which represent city areas, landscapes or landmarks, the ACG is capable of creating complex and growing cities. In addition, a plethora of factual feedback on these cities is calculated. Becoming physically involved enhances the learningprocess and increases the user’s interest. The users are drawn to the colourful and simple interface. Due to the practical feedback that the city returns, the users can feel more attached to the city they have created. A dynamic dialogue is formed between the city and its creators, that involves the wishes of the users versus the needs of the virtual city, the practical interaction on the table versus the theoretical calculations taking place inside the computer, the physical input versus the digital output.
keywords Interactivity; City planning; Human-computer interface; L-system; Developmental models
series eCAADe
email edytaau@gmail.com
last changed 2016/05/16 09:08

_id 0f18
authors Bailey, Rohan
year 2001
title A Digital Design Coach for Young Designers
source Reinventing the Discourse - How Digital Tools Help Bridge and Transform Research, Education and Practice in Architecture [Proceedings of the Twenty First Annual Conference of the Association for Computer-Aided Design in Architecture / ISBN 1-880250-10-1] Buffalo (New York) 11-14 October 2001, pp. 330-335
summary The present use of digital media in architectural practice and education is primarily focused on representation, communication of ideas and production. Designers, however, still use pencil and paper to assist the early conception of ideas. Recently, research into providing digital tools for designers to use in conceptual designing has focused on enhancing or assisting the designer. Rarely has the computer been regarded as a potential teaching tool for design skills. Based on previous work by the author about visual thinking and the justification for a digital design assistant, the intention of this paper is to illustrate to the reader the feasibility of a digital design coach. Reference is made to recent advances in research about design computability. In particular, research by Mark Gross and Ellen Do with respect to their Electronic Cocktail Napkin project is used as a basis on which to determine what such a digital coach may look and feel like.
keywords Design Education, Protocol Analysis, CADD, Sketching
series ACADIA
email rohan.bailey@vuw.ac.nz
last changed 2003/11/21 14:16

_id ddss9406
id ddss9406
authors Bakel, Anton P.M. van
year 1994
title Assesing Strategy Questionnaire for Architectural Styles of Designing (ASQ-FASD)
source Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary In this paper the first results will be discussed that were obtained by the Assessing Strategy Questionnaire For Architectural Styles of Designing (ASQ-FASD). This questionnaire was developed specifically for the assessment of architectural design strategies. The construction of the questionnaire will be discussed in light of previous protocol research on strategic styles of designing. With this questionnaire, we developed a tool to assess an architects design strategy in a faster, easier and more reliable way than used to be the case with conventional protocol studies and other knowledge eliciting techniques like Card Sorting, and Repertory Grid. This questionnairewas submitted in a pilot study to 10 experienced Dutch architects. R.esults show that architects do indeed have preferences for different design situations. Moreover results indicate that they havea preference with respect to their responses within such specific situations. Though the generalizability coefficient was calculated for no more than 10 architects with a value of .57 (generalizing across situations), we feel that this is reason enough to assume that the questionnaire can be used to assess design strategies of architects. These results will be discussed with respect to the development of new design and decision support tools. The fact that designers have preferences for specific design problems and that they respond differently should be considered in the implementation of user interfaces and data base technology where possible.
series DDSS
email bwauab@urc.tue.nl
last changed 2003/08/07 14:36

_id sigradi2008_103
id sigradi2008_103
authors Baltazar, Ana Paula; Maria Lucia Malard, Silke Kapp, Pedro Schultz
year 2008
title From physical models to immersive collaborative environments: testing the best way for homeless people to visualise and negotiate spaces
source SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary This paper describes an experiment to investigate the best way for lay people to use representation to visualise and negotiate space. It was motivated by our observations in workshops for digital inclusion in the context of a housing project for a homeless association. Computers were used to make it easier for the community to understand and change the spaces in real time. The first workshops proved that our approach was efficient as an exercise but not certainly effective concerning the understanding of spatial qualities. So we have designed an experiment to compare the usability of different media in participatory design processes. For that we have adapted the ‘Usability’ methodology, which is fully described in the paper. We started with three main questions. The first concerned the effectiveness of different media to represent spatial quality; the second concerned the best way for novices to approach space, whether by refurbishing a pre-existing space or by starting from the scratch; and the third concerned the effectiveness of negotiation by means of discourse and by means of or action. We also had two main hypothesis: one coming from research on digital environments and stereo visualisation, indicating that the more people feel immersed in the represented environment the more they are able to correlate it with physical space; and the other coming from our own observations in the participatory design workshops, in which the collective decision-making was manipulated by those people with more advanced communication skills who use their ability in an authoritative way regardless of the relevance of what they have to say. This paper describes the whole experiment, which was an exercise of spatial negotiation in 5 versions. In the first version we provided fixed digital views of a room in plan and axonometry; for another two versions we provided a physical model of the room in 1:10 scale, with some pieces of the existing furniture in different scales. This was done to check if people were just playing with a puzzle or actually grasping the correspondence between representation and the object or the space represented. One version proposes refurbishment and the other starts from the scratch. And the last two versions repeated the same task made with the physical model, but this time using a 3D interactive digital model. People were required not only to organise the furniture in the space but also to build a full scale cardboard structure and organise the real furniture reproducing their proposed model. Their comments on the spaces they had built confronted with what they had imaged when working with the model has enabled us to compare the different models, as also the different ways of negotiating spaces. This paper describes this experiment in detail concluding that 3D digital interactive models are far more effective than physical models and 2D drawings; when negotiation happens by means of action it provides more creative results than when the discoursive practice prevails; people are more creative when they start something from scratch, though they spend more time. The results of this experiment led us to formulate a new hypothesis leading to the development of an immersive collaborative environment using stereoscopy.
keywords Visualisation, negotiation, immersive environment, digital interfaces, homeless people
series SIGRADI
email anapaulabaltazar@hotmail.com
last changed 2016/03/10 08:47

_id 4e1c
authors Berdinski, D.
year 1997
title Combining different kinds of perspective images in architectural practice.
source Architectural and Urban Simulation Techniques in Research and Education [Proceedings of the 3rd European Architectural Endoscopy Association Conference / ISBN 90-407-1669-2]
summary This paper is about combining photo-, video-, endoscope captured images with handmade or computer generated ones. Practically all optical systems are known to produce more or less curved perspective (spherical or cylindrical) which depends of angle-of-view, and a computer as a rule (as handmade) constructs linear perspective images. To combine them on any media correctly, an operator has to be professional painter or designer, because there is no mathematically determined way to combine them. The author's-made demo-computer program is able to generate spherical perspective of simple spatial constructions. It allows to illustrate mathematically and visually the principles of optical curved perspective, laws of their combination with linear ones and helps to feel how to achieve the accordance with natural visual architectural images.
keywords Architectural Endoscopy, Endoscopy, Simulation, Visualisation, Visualization, Real Environments
series EAEA
email bvl@icp.ac.ru
more http://www.bk.tudelft.nl/media/eaea/eaea97.html
last changed 2005/09/09 08:43

_id 2005_829
id 2005_829
authors Boeykens, Stefan and Neuckermans, Herman
year 2005
title Scale Level and Design Phase Transitions in a Digital Building Model
source Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 829-836
summary Research and development on Computer Aided Architectural Design often focuses on simulating a building as a digital model. Our research on the early design stages explores concepts we feel are lacking in current design tools and research projects. Building models are usually static models, serving as a snapshot of the design. We aim to support design phase and scale level transitions, to better support the workflow of the designer. This paper formulates our approach at supporting transitions in an integrated design environment for architecture.
keywords CAAD, Architectural Modeling, Design Process
series eCAADe
email stefan.boeykens@asro.kuleuven.ac.be
last changed 2012/11/23 18:17

_id acfa
authors Brown, A., Knight, M. and Nahab, May
year 1996
title Computer Generated Architectural Images in Practice: what kind and when?
source Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 79-86
summary The production of near-photorealistic images of buildings is becoming increasingly common. The software to produce reasonably sophisticated images being available at affordable prices and the increasing power of generally affordable computers have contributed to this trend. It is also probably the case that the run-of-the-mill architectural practice sees the competition producing this kind of image with a superficially beguiling quality and follow suit. What we ask in this paper is whether we should be more thoughtful about the kind of image used? Should the kind of image chosen to suit the stage of the design that it applies to and the nature of the human agents viewing the image? Of course, in posing the question we imply our answer, that it should. What we do in this paper is to illustrate why we feel it should and what the consequences are for the education of architects who are about to join the world of practice.
series eCAADe
email andygpb@liv.ac.uk
last changed 1998/08/17 13:34

_id sigradi2006_e068d
id sigradi2006_e068d
authors Catovic-Hughes, Selma
year 2006
title Digital Storytelling: "Memory….. Sarajevo, my personal story"
source SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 337-340
summary “It was a fresh summer night, sky deprived of stars, and hardly any signs of life. After hours of waiting, well passed midnight, they finally allowed us to enter. I couldn’t see or hear much, except movements of those in front of me, but judging by intense scent of mildew and worm-like smell of earth, I realized my mile long underground adventure had begun. There was no looking back, only the brave steps ahead into my new, and hopefully, safe and fruitful future.” [ from diary95 ] Just like many teens around the world, I too kept a journal. It began with playful thoughts of a teenage girl, living in Sarajevo, enjoying life. On my fifteenth birthday, those carefree moments were soon replaced with brutal facts of life under siege: Sarajevo and its citizens had been surrounded by the Serbs who took over all the roads leading in and out of the city. Three years later, I was weeks away from graduating high school, and instead of getting excited, I wondered about my future…”Yesterday was awesome -- we had both electricity and water for eight straight hours…hooray!! You could see the lights miles away…the entire city was awake, making pies and bread, washing clothes, watching movies.” [ from diary93 ] Was I going to spend the rest of my life anticipating the restricted electric and water timetable? Would I wake up the next day to see all my family alive? Would I ever have a chance to fulfill my dreams? This project captures the process of [re]tracing steps of my personal journey of leaving Sarajevo to come to the United States and [re]constructing memories as a sequence of spatial events using the artifacts and the text from my war journals. The intent of my project is to define that line between the old and the new, and intertwine and merge its current condition with the facts and memories from the past. Although there was never a permanent “Berlin-wall-like” divider, the natural contours of the river and invisible screens of the snipers served as impermeable walls and divided the city for four years. The implied boundary seemed to be more powerful than the massiveness of the concrete barricades. Is it possible to re-condition something [building, space, soul] to be and feel the same when it had been destroyed and deeply scarred on the inside? Instead of placing banal memorials engraved with the bare facts, how can we make a tribute to a series of events—a time period that changed the fabric of the city—in a more three-dimensional experience? How can we integrate digital phenomenon in the process of the post-war reconstruction to re-trace the past while creating necessary advanced improvements for the new contemporary society? The impact that social conditions have on architecture, art, culture, and ultimately, people can be told in a universal language – digital storytelling, containing pieces of history and personal memories to create representations of time and space of the past, present or future.
keywords memory; postwar; retrace; reconstruction; memorial
series SIGRADI
email selma977@yahoo.com
last changed 2016/03/10 08:48

_id e513
authors Chaikin, George
year 1998
title The Computer and the Studio
source Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 51-54
summary The studio is the primary place of architectural education - the place where the warp of representation and the weft of technique are woven together. Architecture is taught as a domain of ideas, ideas about how and why buildings are built, about the dialectic between concept and materiality. To the architectural student, the drawing is the exemplar of the quality of work he or she will expect in the final construction process. As such, it is very important that the student appreciate the "materiality" of the work to be realized, and this is best done through the education of the whole person, of the entire cognitive mechanism, which most certainly includes the hands. We feel strongly that the student must engage in the creative process in a profoundly physical way, must learn the art and joy of making things, and only then can she or he appreciate the representational abstraction offered by the computer.
series eCAADe
email george@cooper.edu, george@s87.lehman.cuny.edu
more http://www.eaae.be/
last changed 2000/11/21 08:11

_id acadia08_340
id acadia08_340
authors Chalmers, Chris
year 2008
title Chemical Signaling as a Model for Digital Process in Architecture
source Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 340-345
summary The role of the architect is quite literally one of assembly: synthesizing the various parts of a project into a cohesive whole. It is a difficult job, often requiring the architect to weave many seemingly contradictory concerns into a solution that benefits them all. It is not surprising then, that the many elegant and effective systems found in nature should be inspiring to the architect. Emerging fields like biomimicry and systems dynamics model the patterns of interaction between organisms and their environments in terms of dynamic part to part and part to whole relationships. ¶ Observations of real relationships between organisms and their environments, as they exist in nature, reveal complex feedback loops working across multiple scales. These feedback loops operate by the simultaneous action of two observed phenomena. The first is the classic phenotypic relationship seen when organisms of the same genetic makeup instantiate differently based upon differences in their environment. This is the relationship that was originally proposed by Charles Darwin in his theory of natural selection of 1859. Darwin’s model is unidirectional: the organism adapts to its environment, but not the other way around. It operates at the local scale as individual parts react to the conditions of the whole. (Canguilhem, 1952). ¶ The second phenomenon, which sees its effect at the global scale, is the individual’s role as consumer and producer in the flows of energy and material that surround it. It is the subtle and incremental influence of the organism upon its environment, the results of which are often invisible until they reach a catastrophic threshold, at which point all organisms in the system feel global changes. ; The research presented in this paper addresses the dialectic between organism and environment as each responds reciprocally to the others’ changing state. Such feedback loops act in a non-linear fashion, across nested scales in biological systems. They can be modeled to act that way in a digital design process as well. This research is an exploration into one such model and its application to architecture: the simple communication between organisms as they affect and are affected by their environments through the use of signal chemicals.
keywords Biology; Cellular Automata; Feedback; Material; Scripting
series ACADIA
last changed 2009/02/26 07:39

_id caadria2006_565
id caadria2006_565
authors CHEN CHIEN TUNG
year 2006
title DESIGN ON SITE: Portable, Measurable, Adjustable Design Media
source CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 565-567
summary Space designers usually look for information on site before proceeding design. They image any possibilities of design, while they are on site. Restricted to traditional design media, if they want to develop their ideas further, they have to go back to desks. This kind of design process can capture only part of information of the site. Why not do some developments directly when designers are on the site? That is the starting point of this paper. The whole situation of site is very complicated, so it is very difficult discussing all the possibilities. In order to understand how to design on site, reducing the variations is needed. Tsai and Chang (2005) proposed a prototype about design on site, which focuses on land forming. So I chose interior as the site to reduce the variation and have more controllable factors. Still there are many factors effecting design on site, scale is very unique and very important factor of them. Beginners are difficult to really feel how long it is on the plan drawing, and even most advanced VR equipment still can’t fully present the rich information on the site. To experience the site though body, the main idea is how to propose a portable device that can support space designer to do design on site directly, with intuitional body movement and precise scale, and get feedback immediately.
series CAADRIA
email Ton0216@hotmail.com
last changed 2006/04/17 16:48

_id sigradi2010_146
id sigradi2010_146
authors Choma, Joseph
year 2010
title CONTESTED BOUNDARIES: Digital Fabrication + Hand Craft
source SIGraDi 2010_Proceedings of the 14th Congress of the Iberoamerican Society of Digital Graphics, pp. Bogotá, Colombia, November 17-19, 2010, pp. 146-149
summary This research investigates the relationship between efficiency, precision and tactile variation within architectural design and fabrication. A digitally driven design may be seamlessly precise and consistent but also feel sterile and distant from the human body. A materially driven design may be intimate and tactile but lack the accuracy needed to connect elements. Digital fabrication techniques are combined with hand craft material manipulations in search of a unique hybrid tectonic that merges connection accuracies with subtle but sensual divergences between repeating modules. Prototypes have been constructed at the object and inhabitable scale.
keywords instrumentality, tacit knowledge, digital fabrication, hand craft, design and computation
series SIGRADI
email rarchitectuREdefined@gmail.com
last changed 2016/03/10 08:49

_id 482a
authors Cole, Sam
year 1982
title A Microprocessor Revolution and the World Distribution of Income: A General Equilibrium Approach
source International Political Science Review. 1982. vol.3: pp. 434- 454 ; ill. includes bibliography
summary This article shows that even if the world economy is able to withstand and surmount the present world crisis, the combination of market forces and rapid technical change that would be the result of a microprocessor revolution will give rise to large shifts in the distribution of income within and between both rich and poor countries. Some developed and developing economies may be unable to join the move to new technologies. In a world governed by only economic forces, all countries, whether they choose to adopt new systems of production or not, will be affected. Indeed, whatever their degree of involvement, all countries are beginning to feel in varying degrees the chain reaction that reverberates through and between all sectors of their domestic and the world economies. To gain insights into interrelations between technological change and global markets, this article uses a special type of model -- a general equilibrium model -- that enables the study to focus on exactly these variables
keywords technology, economics
series CADline
last changed 1999/02/12 14:07

_id 958e
authors Coppola, Carlo and Ceso, Alessandro
year 2000
title Computer Aided Design and Artificial Intelligence in Urban and Architectural Design
source Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 301-307
summary In general, computer-aided design is still limited to a rather elementary use of the medium, as it is mainly used for the representation/simulation of a design idea w an electronic drawing-table. hich is not computer-generated. The procedures used to date have been basically been those of an electronic drawing-table. At the first stage of development the objective was to find a different and better means of communication, to give form to an idea so as to show its quality. The procedures used were 2D design and 3D simulation models, usually used when the design was already defined. The second stage is when solid 3D modelling is used to define the formal design at the conception stage, using virtual models instead of study models in wood, plastic, etc. At the same time in other connected fields the objective is to evaluate the feasibility of the formal idea by means of structural and technological analysis. The third stage, in my opinion, should aim to develop procedures capable of contributing to both the generation of the formal idea and the simultaneous study of technical feasibility by means of a decision-making support system aided by an Artificial Intelligence procedure which will lead to what I would describe as the definition of the design in its totality. The approach to architectural and urban design has been strongly influenced by the first two stages, though these have developed independently and with very specific objectives. It is my belief that architectural design is now increasingly the result of a structured and complex process, not a simple act of pure artistic invention. Consequently, I feel that the way forward is a procedure able to virtually represent all the features of the object designed, not only in its definitive configuration but also and more importantly in the interactions which determine the design process as it develops. Thus A.I. becomes the means of synthesis for models which are hierarchically subordinated which together determine the design object in its developmental process, supporting decision-making by applying processing criteria which generative modelling has already identified. This trend is currently being experimented, giving rise to interesting results from process design in the field of industrial production.
series eCAADe
email carlo.coppola@unina2.it
more http://www.uni-weimar.de/ecaade/
last changed 2002/11/23 05:59

_id ascaad2006_paper16
id ascaad2006_paper16
authors Davey, Jon Daniel
year 2006
title Musing Heideggerian Cyberspace
source Computing in Architecture / Re-Thinking the Discourse: The Second International Conference of the Arab Society for Computer Aided Architectural Design (ASCAAD 2006), 25-27 April 2006, Sharjah, United Arab Emirates
summary Where we do we make our “being?” Since our existence [being-there = Dasein] is the original place of intelligibility, fundamental ontology must clarify the conditions of having any understanding which itself belongs to the entity called Dasein. Today Dasein in increasing becoming more and more digital, in fact all activity is digital or becoming digital in one mode or another, it’s ubiquitous! On the pragmatic side corporate architecture as well as its daily interaction and transaction are all digital. With the advent of games as well as webmasters using VRML or some equivalent of it posses the questions and concerns as who will design the digital domains, graphic artists, IT personnel, game developers and where will we make our being? As architects and designers where will our “digital gesamtkunstwerk” be? Making places for human inhabitation in a nonphysical space raises interesting questions concerning presence, authenticity, adaptability, orientation, and suspension of disbelief. What kind of activities can be supported by nonphysical spaces? What will it take to support them in a socially and psychologically appropriate manner? And WHO will design them? On the applied side this ontological view is demonstrated in an Interior Design Corporate Office Design Studio that has been taught for a decade wherein students are required to develop an ECommerce, a business deemed to succeed including the Corporate Office, facility program, space planning, corporate image, interiors, graphics, webpage, and logo. The semester project has one unique design stipulation: The one major design requirement is that the “feel” of the reception has the same “feel” as the website. A phenomenological sameness…all work is accomplished with a plethora of digital media. This design process is still in its infancy.
series ASCAAD
email jdavey@siu.edu
last changed 2007/04/08 17:47

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