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

PDF papers
References

Hits 1 to 20 of 33

_id 456a
authors Alvarado, R.G., Parra, J.C., Vergara, R.L. and Chateau, H.B.
year 2000
title Architectural References to Virtual Environments 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. 151-155
summary Based on a comparison between the perception of digital and real construction, the development of virtual systems and the review of additional sources, this paper states some differences between the design of virtual environments and architectural spaces. Virtual-reality technologies provide advanced capabilities to simulate real situations, and also to create digital worlds not referred to physical places, such as imaginary landscapes or environments devoted to electronic activities, like entertainment, learning or commerce. Some on-line services already use 3D-stages, resembling building halls and domestic objects, and several authors have mentioned virtual modeling as a job opportunity to architects. But it will argue in this paper that the design of those environments should consider their own digital characteristics. Besides, the use of virtual installations on networks impells a convergence with global media, like Internet or TV. Virtual environments can be a 3Devolution of communicational technologies, which have an increasing participation in culture, reaching a closer relationship to contemporary architecture.
keywords Virtual Environments, Spatial Perception, Design Methodology
series eCAADe
email rgarcia@ubiobio.cl
more http://www.uni-weimar.de/ecaade/
last changed 2003/11/21 14:15

_id ga9922
id ga9922
authors Annunziato, M. and Pierucci, P.
year 1999
title The Art of Emergence
source International Conference on Generative Art
summary Since several years, the term emergence is mentioned in the paradigm of chaos and complexity. Following this approach, complex system constituted by multitude of individual develop global behavioral properties on the base of local chaotic interactions (self-organization). These theories, developed in scientific and philosophical milieus are rapidly spreading as a "way of thinking" in the several fields of cognitive activities. According to this "way of thinking" it is possible revise some fundamental themes as the economic systems, the cultural systems, the scientific paths, the communication nets under a new approach where nothing is pre-determined, but the global evolution is determined by specific mechanisms of interaction and fundamental events (bifurcation). With a jump in scale of the life, also other basic concepts related to the individuals as intelligence, consciousness, psyche can be revised as self-organizing phenomena. Such a conceptual fertility has been the base for the revision of the artistic activities as flexible instruments for the investigation of imaginary worlds, metaphor of related real worlds. In this sense we claim to the artist a role of "researcher". Through the free exploration of new concepts, he can evoke qualities, configurations and hypothesis which have an esthetical and expressive value and in the most significant cases, they can induce nucleation of cultural and scientific bifurcation. Our vision of the art-science relation is of cooperative type instead of the conflict of the past decades. In this paper we describe some of the most significant realized artworks in order to make explicit the concepts and basic themes. One of the fundamental topics is the way to generate and think to the artwork. Our characterization is to see the artwork not as a static finished product, but as an instance or a dynamic sequence of instances of a creative process which continuously evolves. In this sense, the attention is focused on the "generative idea" which constitutes the envelop of the artworks generable by the process. In this approach the role of technology (computers, synthesizers) is fundamental to create the dimension of the generative environment. Another characterizing aspect of our artworks is derived by the previous approach and specifically related to the interactive installations. The classical relation between artist, artwork and observers is viewed as an unidirectional flux of messages from the artist to the observer through the artwork. In our approach artist, artwork and observer are autonomous entities provided with own personality which jointly intervene to determine the creative paths. The artist which generate the environment in not longer the "owner" of the artwork; simply he dialectically bring the generative environment (provided by a certain degree of autonomy) towards cultural and creative "void" spaces (not still discovered). The observers start from these platforms to generate other creative paths, sometimes absolutely unexpected , developing their new dialectical relations with the artwork itself. The results derived by these positions characterize the expressive elements of the artworks (images, sequences and sounds) as the outcomes of emergent behavior or dynamics both in the sense of esthetical shapes emergent from fertile generative environments, either in terms of emergent relations between artist, artwork and observer, either in terms of concepts which emerge by the metaphor of artificial worlds to produce imaginary hypothesis for the real worlds.
series other
more http://www.generativeart.com/
last changed 2003/08/07 15:25

_id ga0013
id ga0013
authors Annunziato, Mauro and Pierucci, Piero
year 2000
title Artificial Worlds, Virtual Generations
source International Conference on Generative Art
summary The progress in the scientific understanding/simulation of the evolution mechanisms and the first technological realizations (artificial life environments, robots, intelligent toys, self reproducing machines, agents on the web) are creating the base of a new age: the coming of the artificial beings and artificial societies. Although this aspect could seems a technological conquest, by our point of view it represent the foundation of a new step in the human evolution. The anticipation of this change is the development of a new cultural paradigm inherited from the theories of evolution and complexity: a new way to think to the culture, aesthetics and intelligence seen as emergent self-organizing qualities of a collectivity evolved along the time through genetic and language evolution. For these reasons artificial life is going to be an anticipatory and incredibly creative area for the artistic expression and imagination. In this paper we try to correlate some elements of the present research in the field of artificial life, art and technological grow up in order to trace a path of development for the creation of digital worlds where the artificial beings are able to evolve own culture, language and aesthetics and they are able to interact con the human people.Finally we report our experience in the realization of an interactive audio-visual art installation based on two connected virtual worlds realized with artificial life environments. In these worlds,the digital individuals can interact, reproduce and evolve through the mechanisms of genetic mutations. The real people can interact with the artificial individuals creating an hybrid ecosystem and generating emergent shapes, colors, sound architectures and metaphors for imaginary societies, virtual reflections of the real worlds.
series other
email plancton@plancton.com
more http://www.generativeart.com/
last changed 2003/08/07 15:25

_id ga0118
id ga0118
authors Annunziato, Mauro and Pierucci, Piero
year 2001
title Learning and Contamination in Virtual Worlds
source International Conference on Generative Art
summary The most recent advances of artificial life scientific research are opening up a new frontier: the creation of simulated life environments populated by autonomous agents. In these environments artificial beings can interact, reproduce and evolve [4, 6, 15], and can be seen as laboratories whereto explore the emergence of social behaviors like competition, cooperation, relationships and communication [5, 7] . It is still not possible to approach a reasonable simulation of the incredible complexity of human or animal societies, but these environments can be used as a scientific orartistic tool to explore some basic aspects of the evolution [1, 2, 3, 9, 10, 11, 12, 13, 14]. The combination of these concepts with robotics technology or with immersive-interactive 3D environments (virtual reality) are changing quickly well known paradigms like digital life, manmachineinterface, virtual world. The virtual world metaphor becomes interesting when the artificial beings can develop some form of learning, increasing their performances, adaptation, and developing the ability to exchange information with human visitors. In this sense the evolution enhances the creative power and meaningful of these environments, and human visitors experience an emotion of a shift from a simplified simulation of the reality to a real immersion into an imaginary life. We may think that these realization are the first sparks of a new form of life: simulated for the soft-alife thinkers, real for the hard-alife thinkers, or a simple imaginary vision for the artists.
series other
email plancton@plancton.com
more http://www.generativeart.com/
last changed 2003/11/21 14:15

_id 1d66
authors Asanowicz, Aleksander
year 2002
title Hybrid Design Environment
source Connecting the Real and the Virtual - design e-ducation [20th eCAADe Conference Proceedings / ISBN 0-9541183-0-8] Warsaw (Poland) 18-20 September 2002, pp. 572-576
summary This paper discusses some preliminary ideas concerning new design environment or environment of designing. Main thesis of this paper is that process of creation and perception of architecture proceed between Real and Virtual. Architecture is created by analog and/or digital media. A the result we have the multitude and diversity of spaces and tools. Defining these terms is important for understanding a new process of design and a new space of designing. It gives us possibilities to create the new design environment, in which creation of architectural form may be considered as an integrated process connecting the analog, the digital, the real and the virtual. Architectural space, as we know it from physical environments, is supplemented by a virtual space. Physical, architectural and virtual spaces share very similar features in simulation. In virtual models, the boundary between the representation of physical sites and imaginary, virtual sites is vanishing rapidly, resulting in a new reality.
series eCAADe
email asan@cksr.ac.bialystok.pl
last changed 2003/11/21 14:16

_id asanowicz02_paper_eaea2007
id asanowicz02_paper_eaea2007
authors Asanowicz, Aleksander; Katarzyna Asanowicz
year 2008
title The Dynamic Perception of Digitally Created Abstract Urban Space
source Proceedings of the 8th European Architectural Endoscopy Association Conference
summary Sigmund Freud in his book has used a City as a Metaphor of human Psyche. According to him City is not only images of the forms given us in the process of perception but all invisible and nowadays not existing forms (buildings) too. This way of representing historical sequences is possible thanks to ability of our mind to parallel consideration of different spatial meanings. Aldo Rossi called it - “analogous City” – a city which includes the existing buildings, buildings which was existed in the same place in the past and imaginary buildings (our visions of future development of the city). As a result – City is a place where real and virtual meet. Aldo Rossi presents an “analogous city” as a mental map which includes real and unreal forms representing, at the same time, remembered and imagined events. He has written: “When we back to the place after long absence we not only recognize it, but at the same time start remembering events which has happened at this place in the past. Peter Eisenman in “The City of Artificial Excavation” has analyzed the city as an archaeologist, who excaved forgotten buildings and showed us unknown connections and meanings.
keywords city perception, emotions, digital composition
series EAEA
email asan@pb.bialystok.pl
more http://info.tuwien.ac.at/eaea
last changed 2008/04/29 18:46

_id sigradi2004_249
id sigradi2004_249
authors Carlos G. Navia D.
year 2004
title Virtual.comics (v.1)
source SIGraDi 2004 - [Proceedings of the 8th Iberoamerican Congress of Digital Graphics] Porte Alegre - Brasil 10-12 november 2004
summary Virtual Comics proposed a reflection about digital universe and its capacity to represent real, unreal, imaginary, oneirics, or daily under an only web-multimedial soport. As a result of the project it was appreciated the vision of the students of the world and current society, the difficulty of learning new tools to solve a problem and the strong influence of other cultures that deeply impact our own identity. Reforced the importance of groupal work, the goals fullfilment and a real percepción of the labor life. The job intented to appeal to the man sences, where the user could freely choose the way to go through the story, choosing among other things, the end of these. Different softwares where use to oriented the creation of illustrations, animations and web development.
series SIGRADI
email carlos.navia@inacap.cl
last changed 2016/03/10 08:48

_id sigradi2003_097
id sigradi2003_097
authors Carnicero, C. , Fornari, G. and Enrich, Rosa
year 2003
title Superficies en las ciudades invisibles (Surfaces in the invisible cities)
source SIGraDi 2003 - [Proceedings of the 7th Iberoamerican Congress of Digital Graphics] Rosario Argentina 5-7 november 2003
summary We present as an example a story entitled "Invisible Cities" by Italo Calvino in which the author describes an imaginary city. Appealing to mathematical concepts, students seek to design a type of city or architectural space, arising from each student's interpretation of the text. Here, Literature, Design and Mathematics form a framework in which each discipline justifies the presence of the others. In our private case the need of an evolution of the language is presented besides by means of the use of the Digital Graphic.
series SIGRADI
email ag_fornari@hotmail.com
last changed 2016/03/10 08:48

_id ga0020
id ga0020
authors Codignola, G.Matteo
year 2000
title [Title missing]
source International Conference on Generative Art
summary This paper is a summary of my last degree in architecture (discussed in December 1999) with Prof. Celestino Soddu and Prof. Enrica Colabella. In this work I had the possibility to reach complexity by a generative approach with the construction of a paradigm that organizes the different codes of project identity. My general objective was to design shape complexity in variable categories : 3d space surfaces, 2d drawings and 2d textures. I was to discover the identity of one of my favourite architects of the 20th century : Antoni Gaudì, by constructing codes relative to shape complexity. I defined my particular objective in the possibility to abduct from Gaudì's imaginary reference the generatives codes that operate in the logical processing I use to create a possible species project. The next step was to verify the exact working of the new generative codes by means of 3d scenaries, that are recognizable as "Antoni Gaudì specie's architecture". Whit project processing on the generative codes and not on a possible resulting shape design, I was able to organize by my general paradigm the attributes of the project's species : different shapes, different attributes (color, scale, proportion), to get to possible and different scenarys, all recognizable by the relative class codes. I chose three examples in Barcellona built during the period 1902 to 1914 : The Parco Guell, Casa Batllò and Casa Milà are the three reference sceneryes that I used to create the generative codes. In the second step I defined different codes that operate in sequence (it is defined in the paradigm) : The generatives codes are only subjective; they are one possible solution of my interpretation of Antoni Gaudì's identity. This codes operate in four differents ways : Geometrical codes for 2d shapes Geometrical codes for interface relations Spatial codes for 3d extrusion of 2d shapes Geometrical codes for 2d and 3d texturing of generated surfaces. By a stratified application of this codes I arrived at one idea for all the generative processes but many different, possible scenaryes, all recognizable in Gaudì's species. So, my final result has made possible sceneryes belonging to related species defined previously. At the end of my research I designed a project by combination : using Antoni Gaudì's generative codes on a new 3d scenary with a shape catalyst : the Frank Lloyd Wright Guggenheim Museum of New York. In this process I created a "hybrid scenary" : a new species of architectural look; a Guggenheim museum planned by Wright with a god pinch of Gaudì.
series other
email coddoc@tin.it
more http://www.generativeart.com/
last changed 2003/08/07 15:25

_id ga0117
id ga0117
authors Dupras, Martin and Bates-Brkljac, Nada
year 2001
title The Virtual Forest: Integrating VRML Worlds and Generative Music
source International Conference on Generative Art
summary The Virtual Forest is a VRML world representing an imaginary forest, with a real-time generated music soundtrack. This soundtrack is generated by an algorithm which responds via network messages to actions happening in the VRML world. The VRML model uses real-life data (elevation maps, aerial and landscape photography) from a real forest to model an imaginary forest area of approximately 3 square km. The forest has a small number of animated books which when touched, trigger 'state' changes in the sound producing algorithm to alter the mood of the soundtrack. This is achieved by sending URL messages to a PHP gateway which then informs a PD (Pure Data) program to change its internal state accordingly. The PD program uses stochastic processes to generate, manipulate and recycle (or feedback) a sound stream. To further enhance the user experience ofinteraction with the generative process, some sounds are also immediately triggered by the books; additionally, a short generative poem is also returned to the user, as the content of the relevant page in the virtual book.
series other
email martin.dupras@uwe.ac.uk
more http://www.generativeart.com/
last changed 2003/08/07 15:25

_id sigradi2005_490
id sigradi2005_490
authors Duro da Silva, Fernando; Celso Scaletsky, Rogério Castro Oliveira
year 2005
title Between the logic and the imaginary: reflections about the digital graphic in the process of architectural design conception.
source SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 1, pp. 490-493
summary Discussing a standpoint about the relations between the digital graphic and the process of architectural design conception and the role of the imaginary in this process is the goal of this paper. Design process is critically examined as a problem solving issue to conclude that it is in fact an ill-defined problem and to it are not applicable the traditional analysis and solution methods. As an ill-defined problem, it has some characteristics to which the traditional logics do not give answers, especially to the fact that there are many solutions for a design problem, in many cases, conflicting and contradictories solutions. Here the imagination has a huge role to play by generating the multiple solutions required for the design and the digital graphic can be (or cannot be) an important tool. [Full paper in Portuguese]
series SIGRADI
email duro@unisinos.br
last changed 2016/03/10 08:50

_id sigradi2012_160
id sigradi2012_160
authors Feinsilber, Sebastián; Caruso, Pablo
year 2012
title Formas locales para el comercio internacional [Local ways for international trade]
source SIGraDi 2012 [Proceedings of the 16th Iberoamerican Congress of Digital Graphics] Brasil - Fortaleza 13-16 November 2012, pp. 534-537
summary Reflections on identity systems development agencies that promote exports in Latin America. How globalization, regional alliances, international imaginary on the country, institutional relationships, work methodologies and communication strategies specific to the goals set by these organizations; influence in their identity.
keywords Coyunturas de producción; identidad institucional; Comercio internacional; globalización
series SIGRADI
email info@sebastianfeinsilber.com
last changed 2016/03/10 08:51

_id 89fe
authors Ferrar, Steve
year 2001
title The Nature of Non-Physical Space - Or how I learned to love cyberspace wherever it may be
source Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 208-213
summary More designers are concerned with the occupation of the virtual world, through immersive techniques, for example, than in using it as a means for conceptualising and theorising architectural space. The paper examines how architects think about space and how our consideration of nonphysical space might assist in spatial theory and in teaching. It also considers cyberspace fiction both in writing and film to see how it might help us think about space in a more liberating way. Architects and architectural teaching tends to focus on space as an element of construction rather than a theoretical proposition. By discussing imaginary spaces in greater depth we could encourage students to think about space and spatial concepts in a less rigid way. In particular the paper addresses the issues of interaction and transactions in these environments and how information is represented and accessed in an apparently threedimensional manner. In his book ‘Snow Crash’, Neil Stephenson deals with many ideas concerning not only architectural space but also universal space and its organisation in space and time. He uses metaphor in his depiction of the ultimate in information gathering and management. These are compelling ways in which to communicate ideas about threedimensional thinking, and information collection and management to students of architecture as well as helping architects with the theory and visualisation of non-physical space.
keywords Space: Virtual Reality, Cyberspace, Film, Literature
series eCAADe
email steve.ferrar@uce.ac.uk
last changed 2003/05/16 19:27

_id sigradi2004_403
id sigradi2004_403
authors Francirose Furlani Soares; Carlos Murad
year 2004
title O museu-paisagem nas cidades mutantes [The Museum-Landscape in Mutant Cities]
source SIGraDi 2004 - [Proceedings of the 8th Iberoamerican Congress of Digital Graphics] Porte Alegre - Brasil 10-12 november 2004
summary This proposal discusses the constitution of an imaginary museum-landscape complex. This is understood as having a nature of poetic- symbolic virtualities, that comes as propeller of the projects of the urban mutations in the contemporary city. The development of the discussion follows the different modulations of this image of a complex museum-landscape as inductor of the projetual action. Also, is considered the apprehension of the architectural object, culminating with the diffusion as a culture fact under the form of an Image.
keywords Landscape, Museum, City, Image
series SIGRADI
email francisoares@acd.ufrj.br, murad@acd.ufrj.br
last changed 2016/03/10 08:52

_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 ecaade2011_100
id ecaade2011_100
authors Hakak, Alireza M.; Biloria, Nimish
year 2011
title New perception of virtual environments, Enhancement of creativity: Increasing dimension of design starting point
source RESPECTING FRAGILE PLACES [29th eCAADe Conference Proceedings / ISBN 978-9-4912070-1-3], University of Ljubljana, Faculty of Architecture (Slovenia) 21-24 September 2011, pp.967-975
summary The digital era allows for a new domain of architectural experience. Within a virtual environment designs can be created that go beyond the mere accommodation of literal functions, and that affect and contribute to the human experience by dynamically interacting with and affecting the inhabitants’ life. A key point in “creativity”, considering different disciplines, is the role of previously gained experiences, which cause the emerging of intuition. Accentuating the role of new experiences in enhancing the intuition, by designing in an imaginary world, stands to be an interesting move. Detached from the real one in sense of time and matter, the imaginary world enables the designer to cross the borderline of reality. The hypothesis underlying this ongoing research, from a cognitive point of view, is that the extensiveness of experiences gained by exploring unconventional virtual environments relates positively to both creative performance (enhancing interactivity, lateral thinking, idea generation, etc) and creativity-supporting cognitive processes (retrieval of unconventional knowledge, recruitment of ideas from unconfined virtual environments for creative idea expansion). Practically, the authors propose starting the design from a point cloud in a virtual environment that can be manipulated by the designer immersing in this environment.
wos WOS:000335665500111
keywords Virtual Environment; Experience; Enhancing creativity; Point cloud
series eCAADe
email a.mahdizadehhakak@tudelft.nl
last changed 2016/05/16 09:08

_id diss_hensen
id diss_hensen
authors Hensen, J.L.M.
year 1991
title On the Thermal Interaction of Building Structure and Heating and Ventilating System
source Eindhoven University of Technology
summary In this dissertation, developments in the field of building performance evaluation tools are described. The subject of these tools is the thermal interaction of building structure and heating and ventilating system. The employed technique is computer simulation of the integrated, dynamic system comprising the occupants, the building and its heating and ventilating system. With respect to buildings and the heating and ventilating systems which service them, the practical objective is ensuring thermal comfort while using an optimum amount of fuel. While defining the optimum had to be left for other workers, the issue of thermal comfort is addressed here. The conventional theory of thermal comfort in conditions characteristic for dwellings and offices assumes steady-state conditions. Yet thermal conditions in buildings are seldom steady, due to the thermal interaction between building structure, climate, occupancy, and auxiliary systems. A literature rewiew is presented regarding work on thermal comfort specifically undertaken to examine what fluctuations in indoor climate may be acceptable. From the results, assessment criteria are defined. Although its potentials reach beyond the area of Computer Aided Building Design, a description is given of building and plant energy simulation within the context of the CABD field of technology. Following an account of the present state-of-the-art, the choice for starting from an existing energy simulation environment (ESPR) is justified. The main development areas of this software platform - within the present context - are identified as: fluid flow simulation, plant simulation, and their integration with the building side of the overall problem domain. In the field of fluid flow simulation, a fluid flow network simulation module is described. The module is based on the mass balance approach, and may be operated either in standalone mode or from within the integrated building and plant energy simulation system. The program is capable of predicting pressures and mass flows in a user-defined building / plant network comprising nodes (ie building zones, plant components, etc) and connections (ie air leakages, fans, pipes, ducts, etc), when subjected to flow control (eg thermostatic valves) and / or to transient boundary conditions (eg due to wind). The modelling and simulation techniques employed to predict the dynamic behaviour of the heating and ventilating system, are elaborated. The simultaneous approach of the plant and its associated control is described. The present work involved extensions to the ESPR energy simulation environment with respect to robustness of the program, and with respect to additional plant simulation features, supported plant component models and control features. The coupling of fluid flow, plant side energy and mass, and building side energy simulation into one integrated program is described. It is this "modular-simultaneous" technique for the simulation of combined heat and fluid flow in a building / plant context, which enables an integral approach of the thermal interaction of building structure and heating and ventilating system.

A multi stage verification and validation methodology is described, and its applicability to the present work is demonstrated by a number of examples addressing each successive step of the methodology. A number of imaginary and real world case studies are described to demonstrate application of the present work both in a modelling orientated context and in a building engineering context. Then the general conclusions of the present work are summarized. Next and finally, there are recommendations towards possible future work in the areas of: theory, user interface, software structure, application, and technology transfer.

series thesis:PhD
last changed 2003/12/15 13:43

_id e5c4
authors Johnson-Laird
year 1983
title Mental Models
source Cambridge, MA: Harvard University Press
summary As psychological representations of real, hypothetical, or imaginary situations, mental models were first postulated by the Scottish psychologist Kenneth Craik (1943), who wrote that the mind constructs "small-scale models" of reality to anticipate events, to reason, and to underlie . The models are constructed in working memory as a result of perception, the comprehension of discourse, or imagination (see 1982; Johnson-Laird 1983). A crucial feature is that their structure corresponds to the structure of what they represent. Mental models are accordingly akin to architects' models of buildings and to chemists' models of complex molecules.
series other
last changed 2003/04/23 13:50

_id cdc2008_383
id cdc2008_383
authors Kallipoliti, Lydia and Alexandros Tsamis
year 2008
title The teleplastic abuse of ornamentation
source First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 383-392
summary Is it possible that psychoanalysis, a discipline that allegedly deals with abstract or invisible entities, and entomology, a discipline that predominantly taxonomizes insects by type, can offer us an insight into the nature of digital design processes and emergent material phenomena? One of Roger Caillois’ most controversial psychoanalytic theories, “teleplasty,” shows that psychoanalysis and entomology can indeed suggest an alternative perspective of how bodily or other material substances are initially fabricated by insects and how they can further transform. In several of his case studies, Caillois claims alliances between material and psychical structures in his psycho-material teleplastic theorem and eventually questions spatial distinctions: distinctions between geometry and material, purpose and function, cause and effect, between the imaginary and the real. Can digital media help us redefine the static relationship between a window and a wall as an interaction of chemical substances rather than a process of assembling joints and components? Can we perceive material, not as an application to predetermined geometries, but as an inherent condition, a subatomic organization of matter that precedes geometry? The aim of this paper is to problematize such distinctions as a discussion emerging through the prolific use of digital design processes.
email lydiak@princeton.edu
last changed 2009/01/07 07:05

_id acadia14projects_235
id acadia14projects_235
authors Ko, Minjae; Hwang, Jie-Eun
year 2014
title Scattered Solid
source ACADIA 14: Design Agency [Projects of the 34th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 9789126724478]Los Angeles 23-25 October, 2014), pp. 235-238
summary Scattered solid is a conceptual model consists of a pair of force sources - attractor and repulsor - and particles that possibly bonds together. We hypothesized an abstract or imaginary force field causing particles to move that we can control the tendency of organization by modifying the force fields with a set of parameters such as intensity by distance, time and geometry.
keywords Crystallization, Force Field, Particle, Bond System, Shape-Control, Self-Assembly, Generative, parametric and evolutionary design
series ACADIA
type Student's Research Projects
email kmj2653@gmail.com
last changed 2014/09/29 05:57

For more results click below:

this is page 0show page 1HOMELOGIN (you are user _anon_530154 from group guest) CUMINCAD Papers Powered by SciX Open Publishing Services 1.002