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_id acadia18_276
id acadia18_276
authors Bilotti, Jeremy; Norman, Bennett; Rosenwasser, David; Leo Liu, Jingyang; Sabin, Jenny
year 2018
title Robosense 2.0. Robotic sensing and architectural ceramic fabrication
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. 276-285
summary Robosense 2.0: Robotic Sensing and Architectural Ceramic Fabrication demonstrates a generative design process based on collaboration between designers, robotic tools, advanced software, and nuanced material behavior. The project employs fabrication tools which are typically used in highly precise and predetermined applications, but uniquely thematizes the unpredictable aspects of these processes as applied to architectural component design. By integrating responsive sensing systems, this paper demonstrates real-time feedback loops which consider the spontaneous agency and intuition of the architect (or craftsperson) rather than the execution of static or predetermined designs. This paper includes new developments in robotics software for architectural design applications, ceramic-deposition 3D printing, sensing systems, materially-driven pattern design, and techniques with roots in the arts and crafts. Considering the increasing accessibility and advancement of 3D printing and robotic technologies, this project seeks to challenge the erasure of materiality: when mistakes or accidents caused by inconsistencies in natural material are avoided or intentionally hidden. Instead, the incorporation of material and user-input data yields designs which are imbued with more nuanced traces of making. This paper suggests the potential for architects and craftspeople to maintain a more direct and active relationship with the production of their designs.
keywords full paper, fabrication & robotics, robotic production, digital fabrication, digital craft
series ACADIA
type paper
email dsr234@cornell.edu
last changed 2019/01/07 11:22

_id 36f5
authors Burry, M., Burry, J. and Faulí, J.
year 2001
title Sagrada Família Rosassa: Global Computeraided Dialogue between Designer and Craftsperson (Overcoming Differences in Age, Time and Distance)
source Reinventing the Discourse - How Digital Tools Help Bridge and Transform Research, Education and Practice in Architecture [Proceedings of the Twenty First Annual Conference of the Association for Computer-Aided Design in Architecture / ISBN 1-880250-10-1] Buffalo (New York) 11-14 October 2001, pp. 076-086
summary The rose window (‘rosassa’ in Catalan) recently completed between the two groups of towers that make up the Passion Façade of Gaudí’s Sagrada Família Church in Barcelona measures eight metres wide and thirty-five metres in height [Figure 1]. There were four phases to the design based in three distinct geographical locations. The design was undertaken on site, design description in Australia some eighteen thousand kilometres distant, stone-cutting a thousand kilometres distant in Galicia, with the completion of the window in March 2001. The entire undertaking was achieved within a timeframe of fifteen months from the first design sketch. Within this relatively short period, the entire team achieved a new marriage between architecture and construction, a broader relationship between time-honoured craft technique with high technology, and evidence of leading the way in trans-global collaboration via the Internet. Together the various members of the project team combined to demonstrate that the technical office on site at the Sagrada Família Church now has the capacity to use ‘just-in-time’ project management in order to increase efficiency. The processes and dialogues developed help transcend the tyranny of distance, the difficult relationship between traditional craft based technique and innovative digitally enhanced production methods, and the three generational age differences between the youngest and more senior team members.
keywords Digital Practice, Global Collaboration, Rapid Prototyping
series ACADIA
email mburry@deakin.edu.au
last changed 2002/04/25 17:30

_id 17ae
authors McCullogh, M.
year 2000
title Abstracting Craft: The Practised Digital Hand
source MIT Press, Cambridge Mass.
summary Can designing for computers be a craft? This is the question this book sets out to answer. At first sight, the situation is unpromising: craft is the work of hands, and "hands are underrated," in modern life; especially as computers are seen as abstract, conceptual, creations of pure mind. Yet since computation has become a medium, rather than just a tool kit, the correspondence between digital work and traditional craft is increasing. Modern software products, though immaterial, are nevertheless the creation of "practised hands" and eyes, as well as minds. Moreover, to craft is to care: humane values can - and should - inform a software designer's work just as a potter's or carpenter's. McCullough gives all those who work with code the chance to proclaim: "I am not a programmer! I am a digital craftsperson!"
series other
email mmmc@umich.edu
last changed 2003/04/23 13:14

_id cf2017_047
id cf2017_047
authors Muslimin, Rizal
year 2017
title EthnoComputation: An Inductive Shape Grammar on Toraja Glyph
source Gülen Çagdas, Mine Özkar, Leman F. Gül and Ethem Gürer (Eds.) Future Trajectories of Computation in Design [17th International Conference, CAAD Futures 2017, Proceedings / ISBN 978-975-561-482-3] Istanbul, Turkey, July 12-14, 2017, p. 47.
summary This paper aims to highlight the ways in which Shape Grammar inductive reasoning can analyze and represent design knowledge in a tacit environment. Deductive Shape Grammar has effectively examined designs from the past, where access to the artifacts’ authors is not possible. However, in a condition where access to the craftsperson and the making process is possible, there is an opportunity to induce design grammar from the evidence on-site. Nevertheless, in such contexts, direct access to the craftsperson does not necessarily mean that access to their design knowledge is straightforward, as reflected in our case study, Passura: a Traditional Glyph in Toraja, Indonesia. In this article, the formulation of inductive Shape Grammar is provided, and applications on the tacit environment are discussed.
keywords Passura, Inductive reasoning, Shape Grammar, Toraja, Ornament, Ethnocomputation
series CAAD Futures
email rizal.muslimin@sydney.edu.au
last changed 2017/12/01 13:37

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