Cumincad : CUMINCAD Papers : Search Results

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	acadia23_v1_242
id	acadia23_v1_242
authors	Noel, Vernelle A.
year	2023
title	Carnival + AI: Heritage, Immersive virtual spaces, and Machine Learning
source	ACADIA 2023: Habits of the Anthropocene: Scarcity and Abundance in a Post-Material Economy [Volume 1: Projects Catalog of the 43rd Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 979-8-9860805-8-1]. Denver. 26-28 October 2023. edited by A. Crawford, N. Diniz, R. Beckett, J. Vanucchi, M. Swackhamer 242-245.
summary	Built on a Situated Computations framework, this project explores preservation, reconfiguration, and presentation of heritage through immersive virtual experiences, and machine learning for new understandings and possibilities (Noel 2020; 2017; Leach and Campo 2022; Leach 2021). Using the Trinidad and Tobago Carnival - hereinafter referred to as Carnival - as a case study, Carnival + AI is a series of immersive experiences in design, culture, and artificial intelligence (AI). These virtual spaces create new digital modes of engaging with cultural heritage and reimagined designs of traditional sculptures in the Carnival (Noel 2021). The project includes three virtual events that draw on real events in the Carnival: (1) the Virtual Gallery, which builds on dancing sculptures in the Carnival and showcases AI-generated designs; (2) Virtual J’ouvert built on J’ouvert in Carnival with AI-generated J’ouvert characters specific; and (3) Virtual Mas which builds on the masquerade.
series	ACADIA
type	project
email
last changed	2024/04/17 13:58

_id	acadia13_129
id	acadia13_129
authors	Farahi Bouzanjani, Behnaz; Leach, Neil; Huang, Alvin; Fox, Michael
year	2013
title	Alloplastic Architecture: The Design of an Interactive Tensegrity Structure
doi	https://doi.org/10.52842/conf.acadia.2013.129
source	ACADIA 13: Adaptive Architecture [Proceedings of the 33rd Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-1-926724-22-5] Cambridge 24-26 October, 2013), pp. 129-136
summary	This paper attempts to document the crucial questions addressed and analyze the decisions made in the design of an interactive structure. One of the main contributions of this paper is to explore how a physical environment can change its shape to accommodate various spatial performances based on the movement of the user’s body. The central focus is on the relationship between materials, form and interactive systems of control.Alloplastic Architecture is a project involving an adaptive tensegrity structure that responds to human movement. The intention is to establish a scenario whereby a dancer can dance with the structure such that it reacts to her presence without any physical contact. Thus, three issues within the design process need to be addressed: what kind of structure might be most appropriate for form transformation (structure), how best to make it adaptive (adaptation) and how to control the movement of the structure (control). Lessons learnt from this project, in terms of its structural adaptability, language of soft form transformation and the technique of controlling the interaction will provide new possibilities for enriching human-environment interactions.
keywords	tools and interfaces, choreography in space, dynamic tensegrity structure, smart material, SMA, kinect
series	ACADIA
type	Normal Paper
email
last changed	2022/06/07 07:55

_id	bedb
authors	Flanagan, Robert
year	2001
title	Sensory Deprivation: Issues of Control - Encoding Design Diagrams, Memory Engrams
doi	https://doi.org/10.52842/conf.ecaade.2001.214
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 214-219
summary	A persistent visual obsession in contemporary, digitally processed architecture instigated this design investigation. Neil Leach in The Anaesthetics of Architecture, identifies ‘aesthetic intoxication’, accompanied by a narcotic numbing effect, as a consequence of the fetishization of visual imagery. The inverse principle - sensory deprivation - completes the effect. Sensory deprivation results from miscues in the digital design process and from the intentional denial of sensory stimuli. A theater of the five sense was the design medium used to investigate sensory accountability. The issues addressed were: 1. Contextual factors of aestheticization and deprivation, particularly digital factors. 2. The effectiveness of Design Diagrams, graphic symbolic schematics, to address sensory deprivation and the anaesthetic effect. 3. The effectiveness of multi-sensory Memory Diagrams (engrams) as inhabitable Design Diagrams to address these effects. While the original intention was to study sensory accountability in digital design, the potential of multi-sensory Memory Diagrams re-centered the emphasis of this investigation.
keywords	Sensory Deprivation, Memory Diagrams, Design Diagrams
series	eCAADe
email
last changed	2022/06/07 07:51

_id	acadia22_742
id	acadia22_742
authors	Leach, Neil
year	2022
title	What is Creativity?
source	ACADIA 2022: Hybrids and Haecceities [Proceedings of the 42nd Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 979-8-9860805-8-1]. University of Pennsylvania Stuart Weitzman School of Design. 27-29 October 2022. edited by M. Akbarzadeh, D. Aviv, H. Jamelle, and R. Stuart-Smith. 742-751.
summary	This paper explores what we can perhaps begin to understand about the nature of creativity in the mirror of AI, with reference to the now famous Go match between AlphaGo and Lee Sedol. It argues that one particular famous move in that match sheds light on some of the crucial questions regarding creativity. It compares this move to the ‘smart’ architectural designs generated by AI, and asks whether computers can be creative, or whether they are simply conducting a ‘search and synthesis’ operation. Finally, the paper asks the provocative question, as to whether creativity even exists, or whether it is a myth that can now be debunked, thanks to our insights from the world of AI.
series	ACADIA
type	paper
email
last changed	2024/02/06 14:04

_id	2c5b
authors	Leach, Neil
year	2002
title	Designing for a Digital World
source	John Wiley & Sons Ltd., New York
summary	This volume brings together some of the world's leading voices from digital theory, technology and design to address this question. Offers a snapshot of informed opinion at a crucial juncture in the history of the discipline.
series	other
last changed	2003/04/23 15:14

_id	acadia16_344
id	acadia16_344
authors	Leach, Neil
year	2016
title	Digital Tool Thinking: Object-Oriented Ontology versus New Materialism
doi	https://doi.org/10.52842/conf.acadia.2016.344
source	ACADIA // 2016: POSTHUMAN FRONTIERS: Data, Designers, and Cognitive Machines [Proceedings of the 36th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-692-77095-5] Ann Arbor 27-29 October, 2016, pp. 344-351
summary	Within contemporary philosophy, two apparently similar movements have gained attention recently, New Materialism and Object Oriented Ontology. Although these movements have quite distinct genealogies, they overlap on one key issue: they are both realist movements that focus on the object. In contrast to much twentieth-century thinking centered on the subject, these two movements address the seemingly overlooked question of the object. In shifting attention away from the anthropocentrism of Humanism, both movements can be seen to subscribe to the broad principles of Posthumanism. Are these two movements, however, as similar as they first appear? And how might they be seen to differ in their approach to digital design? This paper is an attempt to evaluate and critique the recent strain of Object Oriented Ontology and question its validity. It does so by tracing the differences between OOO and New Materialism, specifically through the work of the neo-Heideggerian philosopher Graham Harman and the post-Deleuzian philosopher Manuel DeLanda, and by focusing on the question of the ‘tool’ in particular. The paper opens up towards the question of the digital tool, questioning the connection between Object Oriented Ontology and Object Oriented Programming, and introducing the theory of affordances as an alternative to the stylistic logic of ‘parametricism’ as a way of understanding the impact of digital tools on architectural production. The paper concludes that we need to recognize the crucial differences between the work of DeLanda and Harman, and that—if nothing else—within progressive digital design circles, we should be cautious of Harman’s brand of Object Oriented Ontology, not least because of its heavy reliance on the work of the German philosopher, Martin Heidegger.
keywords	digital tools, obect-oriented ontology, new materialism, sensate systems
series	ACADIA
type	paper
email
last changed	2022/06/07 07:52

_id	acadia17_350
id	acadia17_350
authors	Leach, Neil
year	2017
title	Zoom Space: The Limits of Representation
doi	https://doi.org/10.52842/conf.acadia.2017.350
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. 350- 359
summary	What happens when we reduce architecture to the logic of representation? This question is set in perspective by the recent re-emergence of certain discourses in architecture that see the world in terms of style, and that privilege the appearance and form of a design over its performance and the processes that generate it. This in turn is being fed by certain digital platforms that encourage the user to see the world solely in visual terms. The issue comes to a head with the practice of zooming in and out on the computer screen, a practice that helps architects to operate seemingly effortlessly at a range of different scales, from jewelry through to the city, but is not without its problems. This paper looks first at the challenges of operating at different scales by drawing on insights from the world of biology, and considers the performance-based issues being overlooked in this process of zooming in and out. It then goes on to theorize the problem by drawing upon the distinction between extensive and intensive properties as promoted by Manuel DeLanda following the work of Gilles Deleuze and Félix Guattari, and considers the relevance of this distinction for architectural design. The paper concludes that we can never escape representation, but by focusing solely on it at the expense of performance—and vice versa—we are overlooking an important factor that defines architecture.
keywords	design methods; information processing; representation; form finding
series	ACADIA
email
last changed	2022/06/07 07:52

_id	acadia18_20
id	acadia18_20
authors	Leach, Neil
year	2018
title	We Have Never Been Digital
doi	https://doi.org/10.52842/conf.acadia.2018.020
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. 20-29
summary	The recent debate about the nature of the “postdigital” prompts the question as to whether we have ever been digital. This article looks at Bruno Latour’s book We Have Never Been Modern (1993) and questions whether its logic could not also be transferred to the realm of the digital. The issue is not so much that much of what is called “digital” in fact refers to analog processes that are simply controlled by the digital. Nor is it simply that we are often not aware of what has been “digitally” produced. Rather, the issue is that many of our operations within the digital realm are still controlled by the designer and do not operate within an autonomous realm. The notion of a purely objective digital operation without any subjective intervention on the part of the designer is something of a myth. The paper concludes that we have never been digital, just as we have never been modern. As such, we might argue that the term “postdigital” makes little sense, in that we have never been digital in the first place.
keywords	full paper, hybrid practices, history/theory of computation, design history and theory
series	ACADIA
type	paper
email
last changed	2022/06/07 07:52

_id	acadia19_298
id	acadia19_298
authors	Leach, Neil
year	2019
title	Do Robots Dream of Digital Sleep?
doi	https://doi.org/10.52842/conf.acadia.2019.298
source	ACADIA 19:UBIQUITY AND AUTONOMY [Proceedings of the 39th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-59179-7] (The University of Texas at Austin School of Architecture, Austin, Texas 21-26 October, 2019) pp. 298-309
summary	AI is playing an increasingly important role in everyday life. But can AI actually design? This paper takes its point of departure from Philip K Dick’s novel, Do Androids Dream of Electric Sheep? and refers to Google’s DeepDream software, and other AI techniques such as GANs, Progressive GANs, CANs and StyleGAN, that can generate increasingly convincing images, a process often described as ‘dreaming’. It notes that although generative AI does not possess consciousness, and therefore cannot literally dream, it can still be a powerful design tool that becomes a prosthetic extension to the human imagination. Although the use of GANs and other deep learning AI tools is still in its infancy, we are at the dawn of an exciting – but also potentially terrifying – new era for architectural design. Most importantly, the paper concludes, the development of AI is also helping us to understand human intelligence and 'creativity'.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:52

_id	ijac201210306
id	ijac201210306
authors	Leach, Neil; Anders Carlson, Behrokh Khoshnevis, et al.
year	2012
title	Robotic Construction by Contour Crafting: The Case of Lunar Construction
source	International Journal of Architectural Computing vol. 10 - no. 3, 423-438
summary	Contour Crafting is a digitally controlled construction process invented by Professor Behrokh Khoshnevis that fabricates components directly from computer models, using layered fabrication technology. By obviating the need for formwork used in traditional concrete construction, CC can reduce costs and construction times significantly. The technique has great potential as a robotic form of construction reliant on relatively minimal human labor as a form of construction in relatively hazardous environments, such as the Moon with its radiation levels that can prove highly damaging. Current research funded by NASA has been exploring the potential for using CC on the Moon to build structures making use of readily available regolith that is found in great abundance on the surface of the Moon. This article offers an overview of this research and evaluates the merits of using CC on the Moon.
series	journal
last changed	2019/05/24 09:55

_id	acadia23_v2_34
id	acadia23_v2_34
authors	Leach, Neil; Kaur, Bhavleen; Melnyk, Virginia; Alfonso Rincon, Gustavo
year	2023
title	DigitalFUTURES: A New Educational Initiative in an Era of Scarcity and Abundance
source	ACADIA 2023: Habits of the Anthropocene: Scarcity and Abundance in a Post-Material Economy [Volume 2: Proceedings of the 43rd Annual Conference for the Association for Computer Aided Design in Architecture (ACADIA) ISBN 979-8-9891764-0-3]. Denver. 26-28 October 2023. edited by A. Crawford, N. Diniz, R. Beckett, J. Vanucchi, M. Swackhamer 34-42.
summary	This paper highlights the growing inequalities within our present academic environment, whereby students and academics from certain backgrounds are significantly disadvan- taged compared to others. It calls for imaginative new initiatives that seek to redress this imbalance, and points towards the example of an online para-educational platform, DigitalFUTURES (DF) sees education as a basic human right and tries to democratize archi- tectural education. The paper describes how DF evolved, what principles it adheres to, and what strategies it has adopted. It argues, however, that such initiatives need to be backed up by other measures. It concludes by calling upon the Association for Computer Aided Design in Architecture (ACADIA) to introduce new measures in order to make its events more accessible to those from less-advantaged backgrounds.
series	ACADIA
type	paper
email
last changed	2024/12/20 09:12

_id	acadia14_145
id	acadia14_145
authors	Leach; Neil
year	2014
title	Emergent Inactivities: From the primitive hut to the cerebral hut
doi	https://doi.org/10.52842/conf.acadia.2014.145
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. 145-152
summary	Recent developments in interactive architecture have potential implications beyond the straightforward technical interactions between users and their environments. This paper has sought to explore the potential of an emergent behavior that could develop out of the multiple interactions between users and their environment, as the popularity of interactive devices begins to spread
keywords	Interactive design, bottom-up, computation, swarm intelligence, emergent behavior, neuromorphic architecture
series	ACADIA
type	Normal Paper
email
last changed	2022/06/07 07:52

_id	architectural_intelligence2022_15
id	architectural_intelligence2022_15
authors	Neil Leach
year	2022
title	In the mirror of AI: what is creativity?
doi	https://doi.org/https://doi.org/10.1007/s44223-022-00012-x
source	Architectural Intelligence Journal
summary	Many discussions about AI seem to end up addessing the question of creativity. Can computers be considered creative? Or is it impossible for any entity to be considered creative if it does not possess consciousness? Are human beings so creative, for that matter? Indeed, what exactly is creativity itself? Might AI even offer us some insights into the actual nature of creativity? This paper explores what we can perhaps begin to understand about the nature of creativity in the mirror of AI, with a particular reference to the now famous Go match between AlphaGo and Lee Sedol. It argues that one particular famous move in that match sheds some light on some of the crucial questions regarding creativity. It goes on to ask the provocative question, as to whether creativity even exists, or whether it is simply a myth that can now be debunked, thanks to our insights from the world of AI.
series	Architectural Intelligence
email
last changed	2025/01/09 15:00

_id	architectural_intelligence2023_16
id	architectural_intelligence2023_16
authors	Philip F. Yuan
year	2023
title	Toward a generative AI-augmented design era
doi	https://doi.org/https://doi.org/10.1007/s44223-023-00038-9
source	Architectural Intelligence Journal
summary	With the rapid development of Artificial Intelligence (AI), the relationship between humans and machines has become a significant concern. One view suggests that AI will possess subjectivity: Matias del Campo emphasises that, unlike traditional tools that teach machines how to perform, artificial intelligence teaches machines how to learn (Campo, 2022). According to him, AI has the capability and awareness to recognise the world; Neil Leach et al. argue that AI will replace the majority of architects, resulting in widespread unemployment (Leach, 2021). Other opinions hold that AI is unconscious, incapable of thought, and identical to tools such as cellular automata machines, parameterisation, etc. According to Mario Carpo, the data-driven AI employs iterative optimisation to solve problems, which must be quantifiable and amenable to optimisation. Therefore, AI’s role as a tool is limited to measurable phenomena and factors (Carpo, 2023).
series	Architectural Intelligence
email
last changed	2025/01/09 15:03

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