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_id ga0132
id ga0132
authors Abe, Yoshiyuki
year 2001
title Beyond the math visualization - Geometrica and Stochastica
source International Conference on Generative Art
summary Mathematically controlled imaging process provides attractive results because of its infinite scaling capabilities with some other elements that contribute to the visualization. Its global/local and precise manipulation of parameters holds potential for realizing an unpredictable horizon of imagery. When it meets the artist's taste, this method could be a strong enough system of creation, and I have been producing images using the surfaces of hyperbolic paraboloid. On the other hand, a method absolutely free from the geometric parameter manipulation is possible with a stochastic process [1]. Like the technique of pendulum in photography, while its production rate of acceptable result is very low, its potential of generating a strong visual message is also very attractive. It is possible to set stochastic elements at any stage of the process, and conditional probability on those elements, or the hierarchy of probability management characterizes the probability distribution. Math space has no light. No gravity. No color on the math surfaces. And the math equation providesonly the boundary in 3D or higher mathematical dimensions. The fact means that artists can keep artistic reality with their unique tastes in colors on the surface and light sources, and this is the most important element of the math based imaging. Being able to give artists' own choice of colors and that the artist may take only right ones from the results of a stochastic process guarantee the motif and aesthetics of artist could be reflected onto the work.
series other
last changed 2003/11/21 14:15

_id ecaade2012_212
id ecaade2012_212
authors Aghaei Meibodi, Mania ; Aghaiemeybodi, Hamia
year 2012
title The Synergy Between Structure and Ornament: A Reflection on the Practice of Tectonic in the Digital and Physical Worlds
source Achten, Henri; Pavlicek, Jiri; Hulin, Jaroslav; Matejovska, Dana (eds.), Digital Physicality - Proceedings of the 30th eCAADe Conference - Volume 2 / ISBN 978-9-4912070-3-7, Czech Technical University in Prague, Faculty of Architecture (Czech Republic) 12-14 September 2012, pp. 245-254
summary The use of digital design and fabrication technologies in architecture has followed a paradigm shift, which has seen the topology, form and structure of architecture pushed to incorporate areas such as climate, construction, acoustic etc. While these digital technologies are intended to enhance the processes and performance, a discussion of aesthetics has been ignored. Surmising that the use of digital technology enhances the performability and effi ciency aspects of architecture as well as the aesthetics, this research questions what the new relationships and arrangements for structure and ornament are. What are the challenges when structure uses a process-based logic and is sensitive to materiality whereas the aesthetics has a representation-based logic and is not sensitive to materiality? The authors of this paper contribute to this debate by using the notion of tectonic as a platform for gaining and creating knowledge about this issue and examining the issues through the design and prototyping of a Multi-functional Pavilion.
wos WOS:000330320600024
keywords Processes; ornament; digital technology; tectonic; architectural expression
series eCAADe
type normal paper
last changed 2014/04/14 11:07

_id b0e7
authors Ahmad Rafi, M.E. and Karboulonis, P.
year 2000
title The Re-Convergence of Art and Science: A Vehicle for Creativity
source CAADRIA 2000 [Proceedings of the Fifth Conference on Computer Aided Architectural Design Research in Asia / ISBN 981-04-2491-4] Singapore 18-19 May 2000, pp. 491-500
summary Ever-increasing complexity in product design and the need to deliver a cost-effective solution that benefits from a dynamic approach requires the employment and adoption of innovative design methods which ensure that products are of the highest quality and meet or exceed customers' expectations. According to Bronowski (1976) science and art were originally two faces of the same human creativity. However, as civilisation advances and works became specialised, the dichotomy of science and art gradually became apparent. Hence scientists and artists were born, and began to develop work that was polar opposite. The sense of beauty itself became separated from science and was confined within the field of art. This dichotomy existed through mankind's efforts in advancing civilisation to its present state. This paper briefly examines the relationship between art and science through the ages and discusses their relatively recent re-convergence. Based on this hypothesis, this paper studies the current state of the convergence between arts and sciences and examines the current relationship between the two by considering real world applications and products. The study of such products and their successes and impact they had in the marketplace due to their designs and aesthetics rather than their advanced technology that had partially failed them appears to support this argument. This text further argues that a re-convergence between art and science is currently occurring and highlights the need for accelerating this process. It is suggested that re-convergence is a result of new technologies which are adopted by practitioners that include effective visualisation and communication of ideas and concepts. Such elements are widely found today in multimedia and Virtual Environments (VEs) where such tools offer increased power and new abilities to both scientists and designers as both venture in each other's domains. This paper highlights the need for the employment of emerging computer based real-time interactive technologies that are expected to enhance the design process through real-time prototyping and visualisation, better decision-making, higher quality communication and collaboration, lessor error and reduced design cycles. Effective employment and adoption of innovative design methods that ensure products are delivered on time, and within budget, are of the highest quality and meet customer expectations are becoming of ever increasing importance. Such tools and concepts are outlined and their roles in the industries they currently serve are identified. Case studies from differing fields are also studied. It is also suggested that Virtual Reality interfaces should be used and given access to Computer Aided Design (CAD) model information and data so that users may interrogate virtual models for additional information and functionality. Adoption and appliance of such integrated technologies over the Internet and their relevance to electronic commerce is also discussed. Finally, emerging software and hardware technologies are outlined and case studies from the architecture, electronic games, and retail industries among others are discussed, the benefits are subsequently put forward to support the argument. The requirements for adopting such technologies in financial, skills required and process management terms are also considered and outlined.
series CAADRIA
last changed 2003/11/21 14:15

_id acadia09_30
id acadia09_30
authors Aish, Robert
year 2009
title Tools of Expression: Notation and Interaction for Design Computation
source ACADIA 09: reForm( ) - Building a Better Tomorrow [Proceedings of the 29th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-9842705-0-7] Chicago (Illinois) 22-25 October, 2009), pp. 30-31
summary Design considers function, fabrication, and aesthetics collectively. Computation is beginning to affect the competitive dynamics of design. Using algorithms, designers are exploring forms that are essentially “undrawable,” even with advanced modeling and direct manipulation techniques. Determining the appropriate functional characteristics may require the application of increasingly complex structural- and environmental-performance analysis techniques. To realize physically a design may require further geometric analysis and rationalization, and the use of complex computer-controlled fabrication techniques.
keywords Design, Computation, Form Finding, Design logic
series ACADIA
type Keynote paper
last changed 2009/11/26 16:44

_id acadia17_62
id acadia17_62
authors Al-Assaf, Nancy S.; Clayton, Mark J.
year 2017
title Representing the Aesthetics of Richard Meier’s Houses Using Building Information Modeling
source ACADIA 2017: DISCIPLINES & DISRUPTION [Proceedings of the 37th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-692-96506-1] Cambridge, MA 2-4 November, 2017), pp. 62-71
summary Beyond its widespread use for representing technical aspects and matters of building and construction science, Building information modeling (BIM) can be used to represent architectural relationships and rules drawn from aesthetic theory. This research suggests that BIM provides not only vocabulary but also syntactical tools that can be used to capture an architectural language. In a case study using Richard Meier’s language for single-family detached houses, a BIM template has been devised to represent the aesthetic concepts and relations therein. The template employs parameterized conceptual mass objects, syntactical rules, and a library of architectonic elements, such as walls, roofs, columns, windows, doors, and railings. It constrains any design produced using the template to a grammatically consistent expression or style. The template has been used as the starting point for modeling the Smith House, the Douglas House, and others created by the authors, demonstrating that the aesthetic template is general to many variations. Designing with the template to produce a unique but conforming design further illustrates the generality and expressiveness of the language. Having made the formal language explicit, in terms of syntactical rules and vocabulary, it becomes easier to vary the formal grammar and concrete vocabulary to produce variant languages and styles. Accordingly, this approach is not limited to a specific style, such as Richard Meier's. Future research can be conducted to demonstrate how designing with BIM can support stylistic change. Adoption of this approach in practice could improve the consistency of architectural designs and their coherence to defined styles, potentially increasing the general level of aesthetic expression in our built environment.
keywords design methods; information processing; BIM; education
series ACADIA
last changed 2017/10/17 09:12

_id sigradi2004_292
id sigradi2004_292
authors Aline Couri Fabião
year 2004
title Vilosidades espaciais - Ambientes imersivos e interativos em rede [Space Villosities - Immersive and Interactive Environments in Network]
source SIGraDi 2004 - [Proceedings of the 8th Iberoamerican Congress of Digital Graphics] Porte Alegre - Brasil 10-12 november 2004
summary With the aim to explore the potential of creating spaces through the Internet, the research is based on Novak.s concepts . .Soundscapes. and .Navigable Music. . for a project that includes the production of a file sharing software (peer to peer) and chat that allows the sonorous and visual representation of the connected users, defining a virtual space, a fluid sonorous landscape, where it.s main constituent substance is the sound. An environment network with participative and collective sound and image being able to be visualized in full screen. This software is the experimental part of the MSc project (still in its initial phase) developed in the School of Communication of UFRJ, in the line of research Communication Technologies and Aesthetics.
keywords Soundscape; communication; net art; peer to peer; environment
series SIGRADI
last changed 2016/03/10 08:47

_id acadia03_002
id acadia03_002
authors Anders, Peter
year 2003
title Four Degrees Of Freedom
source Connecting >> Crossroads of Digital Discourse [Proceedings of the 2003 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-12-8] Indianapolis (Indiana) 24-27 October 2003, p. 17
summary Letting go is hard to do. Remember back to when, after months of trying, you let go of the handlebars of your bicycle and sailed down the street, effortless and assured. It was a freedom born of mastery, balance and technique. You had let go, but were in control. Technique extends to other devices as well and we are here to discuss architectural computation. Here too, as we will see, mastery is shown by letting go. These papers explore new degrees of freedom in design computation. Each is on a separate aspect of architecture, whether it be aesthetics, process, or structure. Two papers inquire into the entities of design and the processes by which they are manifested. They pose important questions. If we can affect the course of design going forward, are we free to change its past? By defining the characteristics of objects at the outset, are we through automation free to choose from a refined spectrum of outcomes? From the evidence of these papers, the answer to both questions is yes. Through the agency of parametric design we can affect the future and past of architectural processes and their products. Rather than being locked into rigid, linear decisions we are temporally free to choose, tweak and modify. Choice and chance play an important role in aesthetics as well. This has become emblematic of design trends as we have seen in recent years. One of our papers addresses the indeterminacy of particle systems in the design of a monument to the victims of 9/11. By letting go of the handlebars of the computer, the author has been freed to new, poetic forms and processes. Another paper opens urban design to its client community by use of a sophisticated web site. In the tradition of populist innovators like Charles Moore and Lucien Kroll, the authors have extended the design process beyond the office walls to the city itself. The designers, by loosening their grip on the project have made the effort democratic and participatory. Intriguingly, at the end of the paper, they note that this use of cyberspace opens the door to a non-physical architecture. Could architecture, then, let go its materialist biases as well? We hope to engage this and other questions shortly.We are pleased then, to share with you these insights and projects. Wassim and I hope that these presentations will be as liberating for you as they were for us.
series ACADIA
last changed 2003/11/27 14:21

_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
last changed 2003/08/07 15:25

_id acadia06_230
id acadia06_230
authors Anzalone, Phillip
year 2006
title Synthetic Research
source Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 230-231
summary Synthetic Research insinuates a relationship of a meticulous process of discovering truth contradicted against a fabricated, as in concocted, reality. It is important to recognize the logical aspect of synthetic when examining what synthetic research can provide for architectural discourse. Synthesis contrasts with analysis in that it’s primary methods involve recourse to experience; it is experience that is at the heart of synthetic research. The synthesis of theory, architectural constructions, technological artifacts and computational techniques requires experiencing the results of experimentation. Synthetic digital architecture necessitates a discovery process incorporating creation that allows for experience, be it virtual reality, full-scale prototyping or spatial creations; provided experience is a truthful one, and not disingenuous and thereby slipping into the alternate definition of synthetic.Research’s experimental arm, as opposed to the analytic, relies on tinkering - implying the unfinished, the incomplete, the prototype. Examples of this are everywhere. Computer screenshots are a strikingly literal example of synthetic research when used as a means of experiencing a process. Performance mock-ups of building assemblies are a method of synthetic research in that one experiences a set of defined performances in order to discover and redefine the project. The watchmaker craft is an exercise in research/experimentation where material properties are inherent in function and aesthetics; consider how the components interact with the environment - motion, gravity, space-time, temperature. Efficiency at this point is predominantly structural and physical. Decorative or aesthetic elements are applied or integrated in later iterations along with optimization of performance, marketing and costs.What is a architectural research? How can research synthesize the wide range of possibilities for the trajectory of architecture when engaged in digital and computational techniques? The goals, techniques, documentation and other methods of research production have a place in architecture that must be explored, particularly as it related to computation. As in other fields, we must build a legitimate body of research whereby others can use and expand upon, such that digital architectures evolve in innovative as well as prosperous paths.
series ACADIA
last changed 2006/09/22 06:22

_id acadia07_025
id acadia07_025
authors Ascott, Roy
year 2007
title Architecture and the Culture of Contingency
source Expanding Bodies: Art • Cities• Environment [Proceedings of the 27th Annual Conference of the Association for Computer Aided Design in Architecture / ISBN 978-0-9780978-6-8] Halifax (Nova Scotia) 1-7 October 2007, 25-31
summary A culture is a set of behaviours, attitudes and values that are shared, sustained and transformed by an identifi able community. Currently, we are bound up in a culture of consumerism, and of terror; there are also retro cultures and utopian cultures. What’s happening now that’s interesting is that many, if not all of these diff erent tendencies, tastes and persuasions are being re-aligned, interconnected and hybridised by a vast global community of online users, who are transdisciplinary in their approach to knowledge and experience, instinctively interactive with systems and situations, playful, transgressive and enormously curious. This living culture makes it up as it goes along. No longer do the institu- tions of state, church or science call the tune. Nor can any architectural schema contain it. This is a culture of inclusion and of self-creation. Culture no longer defi nes us with its rules of aesthetics, style, etiquette, normalcy or privilege. We defi ne it; we of the global community that maps out the world not with territorial boundaries, or built environments, but with open-ended networks. This is a bottom-up culture—non-linear, bifurcating, immersive, and profoundly human. Who needs archi- tecture? Any structural interface will do. Ours can be described as a contingent culture. It’s about chance and change, in the world, in the environment, in oneself. It’s a contingent world we live in, unpredictable, unreliable, uncertain and indeterministic. Culture fi ghts back, fi ghts like with like. The Contingent Culture takes on the contingency of life with its own strategies of risk, chance, and play. It is essentially syncretic. People re-invent themselves, create new relationships, new orders of time and space. Along the way, they create, as well as accommodate, the future. This culture is completely open-ended, evolving and transforming at a fast rate—just as we are, at this stage of our evolution, and just as we want it to be. Human nature, unconstrained, is essentially syncretic too.
series ACADIA
last changed 2007/10/02 06:11

_id caadria2015_048
id caadria2015_048
authors Austin, Matthew and Gavin Perin
year 2015
title The Other Digital
source Emerging Experience in Past, Present and Future of Digital Architecture, Proceedings of the 20th International Conference of the Association for Computer-Aided Architectural Design Research in Asia (CAADRIA 2015) / Daegu 20-22 May 2015, pp. 829-838
summary The paper compares the implications of glitch aesthetics as an alternative digital design process to the more the commonly used algorithmic processes. It will argue the synthetic nature of architectural production in the digital age is used typically to privilege the representation of form through lines and curves, while the production of glitches rely on the image. This reliance on the image means that the pixel comes to the forefront as a possible new medium of architectural drawing. This paper therefore aims to outline the advantages and problems with using ‘glitches’ within architectural production.
keywords Glitch aesthetics; Processing; theory; algorithmic design; process.
series CAADRIA
last changed 2015/06/05 05:14

_id caadria2017_182
id caadria2017_182
authors Austin, Matthew
year 2017
title The Other Digital - What is the Glitch in Architecture?
source P. Janssen, P. Loh, A. Raonic, M. A. Schnabel (eds.), Protocols, Flows, and Glitches - Proceedings of the 22nd CAADRIA Conference, Xi'an Jiaotong-Liverpool University, Suzhou, China, 5-8 April 2017, pp. 551-559
summary This paper will discuss and investigate the issues with the concept of 'glitch' in architecture. There are currently two definitions that sit in a symbiotic relationship with each other; Moradi's (2004) and Menkman's (2011). This paper will explore the implications of these two approaches, while investigating the possibility of a third, unique definition (the encoded transform), and what effect they have on the possibility for a 'glitch architecture'. The paper will then focus on the glitches' capacity to be disruptive within the design process. In the context of architecture, it has been previously argued that the inclusion of glitches within a design process can easily create a process that does not 'converge' to a desired design outcome, but instead shifts haphazardly within a set of family resemblances (Austin & Perin 2015). Further to this, it will be revealed that this 'divergent' quality of glitches is due to the encoded nature of architectural production.
keywords Glitch aesthetics; Theory; Algorithmic Design; Process.
series CAADRIA
last changed 2017/05/09 08:05

_id acadia18_36
id acadia18_36
authors Austin, Matthew; Matthews, Linda
year 2018
title Drawing Imprecision. The digital drawing as bits and pixels
source ACADIA // 2018: Recalibration. On imprecisionand infidelity. [Proceedings of the 38th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-692-17729-7] Mexico City, Mexico 18-20 October, 2018, pp. 36-45
summary This paper explores the consequences of digitizing the architectural drawing. It argues that the fundamental unit of drawing has shifted from “the line” to an interactive partnership between bits and pixels. It also reveals how the developmental focus of imaging technology has been to synthesize and imitate the line using bits and pixels, rather than to explore their innate productive value and aesthetic potential.

Referring to variations of the architectural drawing from a domestic typology, the paper uses high-precision digital tools tailored to quantitative image analysis and digital tools that sit outside the remit of architectural production, such as word processing, to present a new range of drawing techniques. By applying a series of traditional analytical procedures to the image, it reveals how these maneuvers can interrogate and dislocate any predetermined formal normalization.

The paper reveals that the interdisciplinary repurposing of precise digital toolsets therefore has explicit disciplinary consequences. These arise as a direct result of the recalibration of scale, the liberation of the bit’s representational capacity, and the pixel’s properties of color and brightness. It concludes by proposing that deliberate instances of translational imprecision are highly productive, because by liberating the fundamental qualitative properties of the fundamental digital units, these techniques shift the disciplinary agency of the architectural drawing

keywords full paper, imprecision, representation, recalibration, theory, glitch aesthetics, algorithmic design, process
series ACADIA
type paper
last changed 2019/01/07 11:21

_id caadria2014_145
id caadria2014_145
authors Aydin, Serdar and Marc Aurel Schnabel
year 2014
title A Survey on the Visual Communication Skills of BIM Tools
source Rethinking Comprehensive Design: Speculative Counterculture, Proceedings of the 19th International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA 2014) / Kyoto 14-16 May 2014, pp. 337–346
summary Building Information Modelling (BIM) applications are supported by various modelling tools, being expansive to deliver visualised geometry and databases simultaneously. But there is still a gap in visual communication amongst its professionals. Articulating the advantages of fully Web-based collaboration, this paper looks into how BIM tools make contribution to visual communication between different parties working collaboratively. A hybrid model of low-level and high-level interactions is tentatively conceptualised. Based on the hybridised model, a survey is conducted to elucidate a few experiential matters such as visual aesthetics, cognition and motivational impacts of visualisation in BIM tools. Following the survey, a discussion is oriented towards a new storytelling methodology with a novel term, namely gamification. Seeking motivating and efficient means of visual communication between human-human, human-tool and human-model interactions, the present study focuses on an enhanced legibility and appreciation of tools by those who are involved in BIM projects.
keywords Narrative visualisation; infinite computing; information aesthetics; gamification; hybrid model of interaction
series CAADRIA
last changed 2014/04/22 08:23

_id caadria2012_132
id caadria2012_132
authors Baerlecken, Daniel and David Duncan
year 2012
title Junk: Design build studio
source Proceedings of the 17th International Conference on Computer Aided Architectural Design Research in Asia / Chennai 25-28 April 2012, pp. 305–314
summary The paper presents a design build studio that investigates the role of waste as building material and develops a proposal for an installation that uses CAAD and CAM tools in combination with traditional fabrication tools to design and build an installation out of waste materials. The paper describes the concept development and the construction process through the help of computational tools. Recycling is in the process of becoming an integral part of sustainable architecture. However, there are very few digital design projects that use re-used or recycled materials in combination with their architectural and aesthetic qualities and potentials. The potential of such an investigation is explored within a design build studio. What is junk? What is a building material? What are the aesthetics of junk?
keywords Education in CAAD; digital fabrication and construction; practice-based and interdisciplinary CAAD; parametric modelling
series CAADRIA
last changed 2012/05/29 07:34

_id ecaade2012_280
id ecaade2012_280
authors Baerlecken, Daniel; Reitz, Judith; Duncan, David
year 2012
title Junk: Reuse of Waste Materials
source Achten, Henri; Pavlicek, Jiri; Hulin, Jaroslav; Matejovska, Dana (eds.), Digital Physicality - Proceedings of the 30th eCAADe Conference - Volume 2 / ISBN 978-9-4912070-3-7, Czech Technical University in Prague, Faculty of Architecture (Czech Republic) 12-14 September 2012, pp. 143-150
summary The paper presents a series of design build studio that investigate the role of waste as building material. The series develops proposals for constructions that use CAAD and CAM tools in combination with traditional fabrication tools to design and build an installation out of waste materials. The fi rst construction uses waste to create two installations that questions human consumption, The second project is a future project, that intends the use of waste as an actual building material. Recycling is in the process of becoming an integral part of sustainable architecture. However, there are very few digital design projects that use re-used or recycled materials in combination with their architectural and aesthetic qualities and potentials. The potential of such an investigation is explored within these design build studios. What is junk? What is a building material? What are the aesthetics of junk?
wos WOS:000330320600014
keywords Education in CAAD; digital fabrication and construction; practice-based and interdisciplinary CAAD; parametric modeling
series eCAADe
last changed 2014/04/14 11:07

_id ecaade2012_163
id ecaade2012_163
authors Barbosa, Wilson; Araújo, André; Carvalho, Guilherme; Celani, Gabriela
year 2012
title Samba Reception Desk: Compromising Aesthetics, Fabrication and Structural Performance in the Design Process
source Achten, Henri; Pavlicek, Jiri; Hulin, Jaroslav; Matejovska, Dana (eds.), Digital Physicality - Proceedings of the 30th eCAADe Conference - Volume 2 / ISBN 978-9-4912070-3-7, Czech Technical University in Prague, Faculty of Architecture (Czech Republic) 12-14 September 2012, pp. 255-263
summary The present paper describes an integrative design experiment in which different types of models were used in order to achieve a design that compromises aesthetics, lightness, fabrication, assembly and structural performance. It shows how an integrative approach, through the use of both virtual and physical models, can provide valuable feedback in different phases of the design and fabrication process. It was possible to conclude that the design method used allowed solving many problems and had a significant impact in the resulting object.
wos WOS:000330320600025
keywords Design process; structural analysis; parametric design; digital fabrication; integrative design; models in design
series eCAADe
last changed 2014/04/14 11:07

_id sigradi2012_56
id sigradi2012_56
authors Barros, Diana Rodríguez
year 2012
title Diseño, Enseñanza y Prácticas Disruptivas. Marcos conceptuales de referencia [Design, Teaching and Disruptive Practices. Conceptual reference frameworks]
source SIGraDi 2012 [Proceedings of the 16th Iberoamerican Congress of Digital Graphics] Brasil - Fortaleza 13-16 November 2012, pp. 251-254
summary From the complex perspective of modern information society, knowledge and digital culture, we have detected limitations and obsolescente levels of much of the university educational system. We consider that teaching and learning reflect a beta protoparadigm state in constant construction. We value new ideas within the limits of education, communication and transmedia aesthetics, which contribute to the visibility of innovative practices and transformations. We reflect about necessary changes in the current education, from the diversification and reinvention of the use of educational technologies to liquid infrastructures. Our intention is to contribute to the conceptual frameworks development to fit sustainable strategies and result transferences towards classroom practices known as learning ecosystems.
keywords Diseño; Enseñanza; Disrupción; Marcos conceptuales; Prácticas docentes
series SIGRADI
last changed 2016/03/10 08:47

_id acadia14_589
id acadia14_589
authors Becker, Mirco
year 2014
title Configurations of Intensity
source ACADIA 14: Design Agency [Proceedings of the 34th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 9781926724478]Los Angeles 23-25 October, 2014), pp. 589-596
summary The author is proposing a framework for discussing aesthetics in computational practice. The framework is established based on the analysis and comparison of 8 digitally crafted sculptures - Digital Bodies by Architecture and Performative Design (APD) at Städelschule Architecture Class (SAC)
keywords 3d scanning, digital aesthetic, mesh curvature, design computation
series ACADIA
type Normal Paper
last changed 2014/09/29 05:51

_id ascaad2016_013
id ascaad2016_013
authors Belkis Öksüz, Elif
year 2016
title Parametricism for Urban Aesthetics - A flawless order behind chaos or an over-design of complexity
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. 105-112
summary Over the last decade, paradigm shifts in the philosophy of space-time relations, the change from space-time to spatio-temporality, caused significant changes in the design field, and introduced new variations and discourses for parametric approaches in architecture. Among all the discourses, parametricism is likely the most spectacular one. The founder of parametricism, Patrik Schumacher (2009) describes it as “a new style,” which has “the superior capacity to articulate programmatic complexity;” and “aesthetically, it is the elegance of ordered complexity in the sense of seamless fluidity.” In its theoretical background, Schumacher (2011) affiliates this style with the philosophy of autopoiesis, the philosophy that stands between making and becoming. Additionally, parametricism concerns not only the physical geometry in making of form; but also discusses the relational and causal aspects in becoming of form. In other words, it brings the aesthetic qualities in making through the topological intelligence behind becoming. Regarding that, parametricism seems an effective way of managing /creating complex topologies in form-related issues. However, when it comes to practice, there are some challenging points of parametricism in large-scale design studies. Thus, this work underlines that the dominance of elegance for urban planning has the potential of limiting the flexible and dynamic topology of the urban context, and objectifying the whole complex urban form as an over-designed product. For an aesthetic inquiry into urban parametricism, this paper highlights the challenging issues behind the aesthetic premises of parametricism at the urban design scale. For that, Kartal Master Plan Design Proposal by Zaha Hadid Architects (2006) will be discussed as an exemplary work.
series ASCAAD
last changed 2017/05/25 11:31

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