CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
supported by the sibling associations ACADIA, CAADRIA, eCAADe, SIGraDi, ASCAAD and CAAD futures

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_id de77
authors Ahmad Rafi, M.E.
year 1998
title Computer animation for architectural visualisation
source University of Strathclyde
summary This thesis critically reviews the state of architectural animation, and relates this specific field to the more general motion-based representations, particularly traditional film-making techniques. It identifies key elements from traditional filmmaking and shows how these elements can improve computer-based architectural animation. The process of identification of the key elements from traditional film-making starts with a critical survey of the use of motion-based representation in local architectural practices and an empirical analysis of several architectural-based documentary films and past and present computer animations. All of the key ideas are illustrated on video by comparing real shooting clips to digital sequences focusing on production and post-production works. Some of these were implemented in two live projects ( Ministry of Finance, Malaysia and Damansara Parade ) for architects to understand the real problems and potentials in each process. These sets of illustrations expand the architect ideas to make full use of the motion-based process to improve the skill of combining architectural information in a good animation. The overall production process becomes more efficient when the motion-based footage is edited using a non-linear editing platform as it enhances the professional appearance as well as vastly saving most of the production time. The thesis concludes with specific recommendations relative to the stage at which the animation is produced. This technology can be best utilised with the right skills (a gained from film-making) and an understanding of each stage that requires a different level of input and gives a certain impact to the viewers.
series thesis:PhD
email ahmadrafi.eshaq@mmu.edu.my
last changed 2003/11/21 14:15

_id 37c2
authors Ahmad Rafi, M.E.
year 1999
title Visualisation of Design Using Animation for Virtual Prototyping
source Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 519-525
summary Although recent technology in time-based representation has vastly improved, animation in virtual prototype design field remains the same. Some designers invest a huge amount of money in the latest visualisation and multimedia technology and yet may create even worse animation. They often cramp sequences resulting in many viewers failing to interpret the design positively as they miss a lot of vital information that explains the design. This paper basically reports the importance of film-making understanding for producing good virtual prototype animation. It will be based on a part of a research project on the use of time-based media in architectural practices. It also includes an empirical analysis of several architectural-based documentary films (including an interview with the film director) and past and present computer animation. This paper then concludes with recommendations of good techniques for making animated visualisation relative to the stage at which the animation is produced for better design decision.
keywords Virtual Prototype, Animation, Time-Based, Film-Making
series eCAADe
email rafi@unitele.edu.my
last changed 2003/11/21 14:15

_id sigradi2005_000
id sigradi2005_000
authors Angulo, Antonieta and Vásquez de Velasco, Guillermo (eds.)
year 2005
title SiGradi2005: Vision and Visualization
source Proceedings of the 9th Iberoamerican Congress of Digital Graphics Graphics / ISBN 978-1-59975-306-5] Lima (Perú) 21-23 november 2005, 826 p.
summary Paradoxically, one of the most difficult but enjoyable things we do is to imagine. To open the eyes of our mind and see what no one else can see. We see images of things that are yet to be and through the same skill we devise ways in which to make them happen. We design the future in the form of environments, graphics, products, films, and a growing range of new media. Our ability to develop a vision and to visualize it is a gift that we are called to cultivate and put to good use. We have been privileged with a great responsibility. In the process of developing a vision and communicating that vision to others, we “visualize”. Visualization can be a very private experience in which we are alone with mental images that help us shape our vision. In other instances visualization can be a component of mass communication. Visualization can be a means or can be an end. It can be a small architectural sketch on a paper napkin or a mega-graphic covering a high-rise building, an airplane or a ship. In every case, the relationship between vision and visualization is a mutually supportive articulation of what our eyes and our minds can see. Our vision of the role of computers in the art and science of visualization is in constant development. Computer visualization can support an intimate dialog between a designer and his/her vision. It can translate and communicate that vision to a larger audience and in the hands of a new-media artist it can actually constitute his/her vision. The 9th Annual Conference of SIGraDI (Ibero American Society for Computer Graphics) will explore our collective vision on the future of digital visualization and digital media in Environmental Design, Product Design, Graphic Design, Cinematography, New Media, and Art. Authors are invited to share their research work with a focus on how it contributes to shape a collective understanding of the past, awareness of the present, and vision of the future in our multiple disciplines.
series SIGRADI
email vasquez@archone.tamu.edu
last changed 2016/03/10 08:47

_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 ddss9410
id ddss9410
authors Bodum, Lars
year 1994
title Hypermedia-aided GIS in Urban Planning
source Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary Town planning in Denmark is undergoing major changes from a planning approach focusing on regulation and individual frameworks for town districts, to a planning approach emphasizing the urban characteristics and drawing overall guidelines for planning. At the same time, attention has shifted to urban renewal and urban remodelling. This means that more qualitative data are needed.These new data types such as digital film, are to form part of a future GIS for the town. The digital film will change the impression of what data can profitably be used in a GIS. Even animations and 3D models, which were previously processed with considerable data power can beplayed as digital films. In the course of the next few years, the most ordinary applications will be able to play digital films and together with the progress made in other media, a development towards hypermedia will be a possibility. The paper will give some examples of how this integration may be carried out. In continuation of the preparation of a municipality atlas and in connection with an EC-subsidized urban renewal project, the municipality of Aalborg has chosen to work outa digital catalog which will in time replace the present local planning regulations.
series DDSS
email ibo@i4.auc.dk
last changed 2003/08/07 14:36

_id ascaad2016_034
id ascaad2016_034
authors Brothers, David; Augustus Wendell
year 2016
title Design Films - Implementing video creation techniques into undergraduate design education
source Parametricism Vs. Materialism: Evolution of Digital Technologies for Development [8th ASCAAD Conference Proceedings ISBN 978-0-9955691-0-2] London (United Kingdom) 7-8 November 2016, pp. 321-330
summary NJIT has been introducing video production projects into undergraduate design classes over the last two years. Linear motion projects open paths to understanding the built and virtual environments in ways that augment traditional design pedagogy.
series ASCAAD
email wendell@njit.edu
last changed 2017/05/25 11:33

_id ecaade2007_038
id ecaade2007_038
authors Campbell, Cameron
year 2007
title The Kino-eye in Digital Pedagogy
source Predicting the Future [25th eCAADe Conference Proceedings / ISBN 978-0-9541183-6-5] Frankfurt am Main (Germany) 26-29 September 2007, pp. 543-550
summary “I am the kino-eye” states Dziga Vertov in his classic movie The Man with the Movie Camera (1929). The relationship of the cameraman, the subject, and audience is a dynamic that he investigates through cinema. It is also a dynamic that inspires an innovative way for advanced digital media to be explored in architecture pedagogy. This paper is focused on three ways to translate the cinematic relationship developed in Dziga’s work to digital media in architecture: the way designers capture and manipulate digital media to make architecture; how the discourse of film and architecture can be informed by an understanding of the manipulation of digital media; and the role of digital media production as a form of research for architecture. The film is noteworthy because it is not a typical narrative screenplay, rather it is a visual experiment. In standard films the perceptions of space are manipulated through the camera and through other means, but the audience is rarely aware of it. However, Vertov is acutely aware of this dynamic and engages the audience by self-consciously using what would otherwise be considered a mistake – the viewer is aware that the camera looks at his/her own relationship with film not just the relationship of camera and scene. The translation of this into the classroom is that the same tools allow designers to be critical of their relationship with the medium and the way media is used to make architecture. This concept can be applied to any medium, but in this class it is applied to how students relate with produced motion images and editing that into a video production. The three elements described in this text are key aspects of not simply producing short films, but an opportunity to actually be introspective of architecture through an alternative media. Student projects include video montages that develop a cultural perspective on design and projects that are self-conscious of technology and how it impacts the production. The film-work necessary to achieve these productions is simultaneously conscious of the way in which the author relates to the scene and conscious of how that scene is edited in the context of the production.
keywords Pedagogy, video, hyperspace, film
series eCAADe
email cameronc@iastate.edu
last changed 2007/09/16 15:55

_id d9d0
authors Cohen Egler, Tamara Tania
year 1999
title Río Digital (Digital Rio)
source III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 478-481
summary RioDigital is a text situated on new forms of expression of knowledge over the city. It is a written multimedia whose objective is to place in disposability for the society the complexity of urban space on its multiple historical determinations, of its space, social and cultural forms. It is a research over the potentials of digital art to express the processes of constitution of social forms and constructions of urban space. The motion of works was in the sense of using this language to reconstitute and vivify the history of Rio de Janeiro city in the XX century. The city is an ensemble of symbols that encounters the language in its best form of presentation. The research identified visual documents as films, photos and maps that made possible to reconstruct processes of transformation, worked through the use of digital images technology that allows expression and turns move perceptible the transmission of this history. The digital image is certainly a possibility to represent urban reality. Through movement, illumination of image and of writing it was possible to express to process of construction and reconstruction of space building and social changes. We understand that the condition of citizen is associated with the feeling of belonging, which urban process every time move complex and difficult to understand, that new technologies can through synthesis, connectivity and interactivity expand the capacity of indivils to know the city and act positively with it. It is an intention to amplify the sense of belonging and encourage the action of transform.
series SIGRADI
email tamara@ippur.ufrj.br
last changed 2016/03/10 08:49

_id e420
authors Colajanni, B., Pellitteri, G. and Giacchino, V.
year 1995
title An Hypertext in Building Rehabilitation: A Case Study in Palermo
source Multimedia and Architectural Disciplines [Proceedings of the 13th European Conference on Education in Computer Aided Architectural Design in Europe / ISBN 0-9523687-1-4] Palermo (Italy) 16-18 November 1995, pp. 29-36
summary Hypertext is an ideal tool to teach building design inasmuch as it allows both teacher driven and student self driven learning. It allows to link every type of informations (texts, sounds, images, films) with associative mechanisms much like those utilized by our brain. Hypertextes buikt up for teaching purposen can be usefully employed in professional occurrencies. An example is shown dealing with the rehabilitation of the Fiumetorto Palace in the historical centre of Palermo. It manages in a simple but efficient way the many complex interconnections between analysis of the state of decay, history, town planning rules and technology focusing all the information on the rehabilitation task.
series eCAADe
email pellitt@unipa.it
more http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_4.htm
last changed 2003/04/01 16:52

_id 19ea
authors Dallhammer, Erich
year 2003
title The IKEA Factor - Driving elements of the development of shopping centresat the edges of European metropolitan regions
source CORP 2003, Vienna University of Technology, 25.2.-28.2.2003 [Proceedings on CD-Rom]
summary A house and a garden in the suburb, a car for each adult and a TV set with minidish. On weekdays mum and dad work, the children go to school or kindergarten. On Saturdays (or Sundays) the family goes shopping to the shopping centre, where they buy what they need, have a cheap meal and can see a film or just pass the time. That seems to be the way of life for a typical middle class family in the so-called western world, or at least what sitcoms, comics, adverts and films make people believe what it normally should be. That propagated way of living strongly influences people’s and especially consumers’ behavioural patterns and consequently spatialdevelopments, which are the present challenges for urban and regional planners.
series other
email erich.dallhammer@gmx.at
last changed 2003/03/11 19:39

_id 4b48
authors Dourish, P.
year 1999
title Where the Footprints Lead: Tracking down other roles for social navigation
source Social Navigation of Information Space, eds. A. Munro, K. H. and D Benyon. London: Springer-Verlag, pp 15-34
summary Collaborative Filtering was proposed in the early 1990's as a means of managing access to large information spaces by capturing and exploiting aspects of the experiences of previous users of the same information. Social navigation is a more general form of this style of interaction, and with the widening scope of the Internet as an information provider, systems of this sort have rapidly moved from early research prototypes to deployed services in everyday use. On the other hand, to most of the HCI community, the term social navigation" is largely synonymous with "recommendation systems": systems that match your interests to those of others and, on that basis, provide recommendations about such things as music, books, articles and films that you might enjoy. The challenge for social navigation, as an area of research and development endeavour, is to move beyond this rather limited view of the role of social navigation; and to do this, we must try to take a broader view of both our remit and our opportunities. This chapter will revisit the original motivations, and chart something of the path that recent developments have taken. Based on reflections on the original concerns that motivated research into social navigation, it will explore some new avenues of research. In particular, it will focus on two. The first is social navigation within the framework of "awareness" provisions in collaborative systems generally; and the second is the relationship of social navigation systems to spatial models and the ideas of "space" and "place" in collaborative settings. By exploring these two ideas, two related goals can be achieved. The first is to draw attention to ways in which current research into social navigation can be made relevant to other areas of research endeavour; and the second is to re-motivate the idea of "social navigation" as a fundamental model for collaboration in information-seeking."
series other
last changed 2003/04/23 13:50

_id ddss9428
id ddss9428
authors Erturk, Scvinc and Erturk, Zafer
year 1994
title Historical Background of the Visual Simulation Models in Architectural Design
source Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary It is well known that every sort of visualization model has its own capacity to represent the reality and designers' concepts of space. To the authors' knowledge, there are very few attempts to measure and compare their relative potential power of presentation. Given this lack of academic studies, it would be necessary to give a historical background on the use of visual models. Basically those tools could be divided into two main types : traditional visula techniques such as drawings , scale models and most advance technological tools ranging from basic slidesand films to recentlydeveloped techniquessuch as relatoscope, and computer aided simulation models. This paper covers the historical background of visual models .
series DDSS
last changed 2003/08/07 14:36

_id 2004_366
id 2004_366
authors García Alvarado, Rodrigo and Monedero Isorna, Javier
year 2004
title The Fragmented Eye - Cinematographic Techniques for Architectural Animations
source Architecture in the Network Society [22nd eCAADe Conference Proceedings / ISBN 0-9541183-2-4] Copenhagen (Denmark) 15-18 September 2004, pp. 366-373
summary In order to contribute to the elaboration of more expressive architectural animations, some famous films, documentaries of buildings and award-winning animations were analyzed. This was carried out examining the cinematographic techniques used at three levels of filming language; image setting, shot movements and montage, according to concepts described in theoretical texts. The analysis revealed an extensive use of techniques, in particular in movies, that give graphic diversity and perceptual stability. Based on that, it proposes some ideas for the planning of an architectural animation and a computer implementation of some filmic concepts, in particular related to movements of the point-of-view. This study suggest a fragmented view of building designs, to get an appealing moving presentation, with visual interest and continuity, as such should be also in architecture.
keywords Animation, Film, Image, Movement, Montage
series eCAADe
last changed 2004/09/18 06:45

_id ecaade2008_167
id ecaade2008_167
authors Gatermann, Harald
year 2008
title Location-based 4D-Reconstruction
source Architecture in Computro [26th eCAADe Conference Proceedings / ISBN 978-0-9541183-7-2] Antwerpen (Belgium) 17-20 September 2008, pp. 945-950
summary Architects do not only need 3D-models for the planning process, but as well for the process of visualizing information. In this projects we as architects were asked to show the lifetime-process of an industrial complex (a colliery - now used as industrial museum) over a period of more than one hundred years: the growth of the complex, the demolition of certain buildings, the network between the collieries in the neighbourhood. Google Earth as software platform allows recipients from all over the world to get an insight in four dimensions: the location based context including the time axis. For showing the world under the surface interactive animations or films are included.
keywords 3d-model, 4d-model, city-model, timeline, location-based
series eCAADe
email harald.gatermann@hs-bochum.de
last changed 2008/09/09 13:55

_id 6598
authors Goldman, Glenn
year 1996
title Reconstructions, Remakes and Sequels: Architecture and Motion Pictures
source Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 11-21
summary Motion pictures can illustrate worlds that have never been. They may show fantastic depictions of the future or an interpretation of the past. In either case, they have the power to reach millions of people across cultures, generations, and educational backgrounds with visions of our environment that do not exist in our everyday world.

The study of imaginary worlds in this design studio case study is limited to motion pictures that postulate unique, or new environments rather than those films that faithfully attempt to document or reconstruct reality. In this sense, the movies used for study have a lineage traceable to Georges Melies "who came to film from illusionism and the "heater," rather than to the reality of the Lumiere brothers who came from photography which ultimately would lead to "cinema-verite."

Discussions, assignments and presentations in the studio are organized to provide students with an opportunity to gain a different awareness of architecture and use varying stimuli as source material for design. The study of architectural history, art, formal principles of design, visual perception, and media are required in order to complete the reconstructions and creations of proposed environments.

All student work throughout the entire semester is created with electronic media and the computer is used as an integral component of the studio enabling analysis and study, design, model creation, and animation. The available capabilities of computer graphics in the studio enables students to explore analytic and synthetic issues of design in motion pictures in a manner not readily available when restricted to traditional media. Through the use of digital media we have an opportunity to better understand the imaginary worlds for what they communicate and the ideas they contain, and therefore create an opportunity to modify our own concept of architecture.

series ACADIA
email goldman@njit.edu
last changed 2003/04/17 13:47

_id caadria2019_624
id caadria2019_624
authors Gupta, Sachin Sean, Jayashankar, Dhileep Kumar, Sanandiya, Naresh D, Fernandez, Javier G. and Tracy, Kenneth
year 2019
title Prototyping of Chitosan-Based Shape-Changing Structures
source M. Haeusler, M. A. Schnabel, T. Fukuda (eds.), Intelligent & Informed - Proceedings of the 24th CAADRIA Conference - Volume 2, Victoria University of Wellington, Wellington, New Zealand, 15-18 April 2019, pp. 441-450
summary In the built environment, the typical means of achieving responsive changes in the physical features of a structure is through energy-intensive actuation mechanisms that contradict the intended goal of energy-efficient performance. Nature offers several alternative energy-free examples of achieving large-scale shape change through passive actuation mechanisms, such as the intrinsic response of water-absorbing (hygroscopic) materials to humidity fluctuations. We utilize this principle of passive actuation in the context of chitosan biopolymer, a material demonstrating a combination of mechanical strength and hygroscopic potential that enables it to serve for both load-bearing and actuation purposes. By inserting biocomposite films of chitosan as dynamic tensile members into a space truss, a structural system is constructed whose variable structural performance is manipulated and expressed as a large-scale, programmable, and fast-acting shape change. We present a method for rationalizing this responsive structural system as an assembly using a combination of materials engineering and digital design and fabrication. As a proof-of-concept, a two-meter-long fiber-reinforced cantilevering truss prototype was designed and fabricated. The truss transforms in minutes from one shape that shelters the interior from rain to another shape that acts as an air foil to increase ventilation.
keywords Passive Actuation; Chitosan; Structural Assembly; Digital Fabrication
series CAADRIA
email jayashankar@sutd.edu.sg
last changed 2019/04/16 08:25

_id 50a1
authors Hoffman, Donald
year 1998
title Visual Intelligence
source Norton Publishing, New York
summary After his stroke, Mr. P still had outstanding memory and intelligence. He could still read and talk, and mixed well with the other patients on his ward. His vision was in most respects normal---with one notable exception: He couldn't recognize the faces of people or animals. As he put it himself, "I can see the eyes, nose, and mouth quite clearly, but they just don't add up. They all seem chalked in, like on a blackboard ... I have to tell by the clothes or by the voice whether it is a man or a woman ...The hair may help a lot, or if there is a mustache ... ." Even his own face, seen in a mirror, looked to him strange and unfamiliar. Mr. P had lost a critical aspect of his visual intelligence. We have long known about IQ and rational intelligence. And, due in part to recent advances in neuroscience and psychology, we have begun to appreciate the importance of emotional intelligence. But we are largely ignorant that there is even such a thing as visual intelligence---that is, until it is severely impaired, as in the case of Mr. P, by a stroke or other insult to visual cortex. The culprit in our ignorance is visual intelligence itself. Vision is normally so swift and sure, so dependable and informative, and apparently so effortless that we naturally assume that it is, indeed, effortless. But the swift ease of vision, like the graceful ease of an Olympic ice skater, is deceptive. Behind the graceful ease of the skater are years of rigorous training, and behind the swift ease of vision is an intelligence so great that it occupies nearly half of the brain's cortex. Our visual intelligence richly interacts with, and in many cases precedes and drives, our rational and emotional intelligence. To understand visual intelligence is to understand, in large part, who we are. It is also to understand much about our highly visual culture in which, as the saying goes, image is everything. Consider, for instance, our entertainment. Visual effects lure us into theaters, and propel films like Star Wars and Jurassic Park to record sales. Music videos usher us before surreal visual worlds, and spawn TV stations like MTV and VH-1. Video games swallow kids (and adults) for hours on end, and swell the bottom lines of companies like Sega and Nintendo. Virtual reality, popularized in movies like Disclosure and Lawnmower Man, can immerse us in visual worlds of unprecedented realism, and promises to transform not only entertainment but also architecture, education, manufacturing, and medicine. As a culture we vote with our time and wallets and, in the case of entertainment, our vote is clear. Just as we enjoy rich literature that stimulates our rational intelligence, or a moving story that engages our emotional intelligence, so we also seek out and enjoy new media that challenge our visual intelligence. Or consider marketing and advertisement, which daily manipulate our buying habits with sophisticated images. Corporations spend millions each year on billboards, packaging, magazine ads, and television commercials. Their images can so powerfully influence our behavior that they sometimes generate controversy---witness the uproar over Joe Camel. If you're out to sell something, understanding visual intelligence is, without question, critical to the design of effective visual marketing. And if you're out to buy something, understanding visual intelligence can help clue you in to what is being done to you as a consumer, and how it's being done. This book is a highly illustrated and accessible introduction to visual intelligence, informed by the latest breakthroughs in vision research. Perhaps the most surprising insight that has emerged from vision research is this: Vision is not merely a matter of passive perception, it is an intelligent process of active construction. What you see is, invariably, what your visual intelligence constructs. Just as scientists intelligently construct useful theories based on experimental evidence, so vision intelligently constructs useful visual worlds based on images at the eyes. The main difference is that the constructions of scientists are done consciously, but those of vision are done, for the most part, unconsciously.
series other
last changed 2003/04/23 13:14

_id sigradi2005_468
id sigradi2005_468
authors Koutamanis, Alexander
year 2005
title The continuity style in architectural dynamic visualization
source SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 1, pp. 468-472
summary The term “continuity style” in cinema refers to a collection of cinematic conventions aiming at a realistic viewing experience without drawing attention to the elements of illusion used in the representation of 3D space on 2D film. The continuity style underlies the majority of narrative films produced to date and has had a significant influence on other genres, including documentaries. Despite the similarities in purpose, architectural filmmaking owes little to the cumulative knowledge of filmmaking encapsulated in the continuity style. While narrative films focus on the viewing experience, architectural animation tends to be dominated by integral 3D building models. We propose that key elements of the continuity style could be applied to architectural dynamic visualization in order to enhance both lay perception of architectural space and professional analysis of design intentions. These elements refer to four primary areas of architectural dynamic visualization: narrative, camera use, lighting and model structure.
series SIGRADI
email a.koutamanis@bk.tudelft.nl
last changed 2016/03/10 08:54

_id ecaade03_237_51_zone
id ecaade03_237_51_zone
authors Lee, Y.Z. Lim, C.K. and Liu, Y.T.
year 2003
title Multiple digital media in realizing various urban spaces: Project 2050 Taiwan
source Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6] Graz (Austria) 17-20 September 2003, pp. 237-246
summary In Taiwan, it is a common phenomenon that landscape, urban spaces, and buildings are not considered as a whole by governments at all levels and private clients. More terribly, the government has never proposed any urban statement for the future. The Minister strongly therefore proposes this statement: 2050 vision Taiwan, aim to design the public spaces for the life of Taiwan in the year 2050. The Council for Culture Affairs plans to spend two years to cover 100 locations and invite 20 design teams to provide new vision of the places. Our design team, AleppoZONE first conducts the initial stage of this project that includes three areas of Taiwan: Taipei as the capital of Taiwan is expected to become a better place reflecting new and old space combination. Hsinchu is planned to explore the prototype for a digital city where digital technology is wellinstalled in the city plaza and public buildings. In the island of Pen-Hu, the ecology and high-tech transportation are equally considered to shape Pen-Hu as an island with nature. In the process, design team successfully synthesizes digital models and dynamic films into virtual and physical coexisting environmental animations by using multiple digital media in realizing the 2050 vision cities. The aim of this research is to give a throughout introduction of this project.
keywords Digital media; urban spaces; representation
series eCAADe
email zone@arch.nctu.edu.tw
last changed 2003/09/18 07:13

_id ecaade2018_209
id ecaade2018_209
authors Lescop, Laurent and Suner, Bruno
year 2018
title 15 Years of Immersion - Evolution and assessment of a pedagogy
source Kepczynska-Walczak, A, Bialkowski, S (eds.), Computing for a better tomorrow - Proceedings of the 36th eCAADe Conference - Volume 1, Lodz University of Technology, Lodz, Poland, 19-21 September 2018, pp. 391-400
summary Since 2002, the Master's students at the Graduate School of Architecture of Nantes who are enrolled in the "Architecture in Representation" orientation have carried out a pioneering work in the use of digital tools. By adopting the most recent techniques and tools, they have transformed the architectural design approach, thanks to the integration of "narrative design". In fifteen years, students will have gone from the board to digital drawing, to immersion and virtual reality, including short films and interactive devices, without losing sight that the subject of the work is in fact the project, and not the tool. In doing so, they have questioned, led by their professors, the status of synthesis images, the challenges of interactive narrative and of the virtual world. Within the school, time was needed to accept these explorations; the use of digital tools, long criticised, was blocking the appreciation of the content and the students' experimental approaches. Nowadays, the experience from these past fifteen years lead us to ask this question: do digital tools renew the design paradigms, or are we only involved in the evolution of practices through the integration of other means?
keywords Representation; perspective; immersion; perception; 3D; VR
series eCAADe
email laurent.lescop@nantes.archi.fr
last changed 2018/07/24 10:23

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