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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	acadia20_416
id	acadia20_416
authors	Genadt, Ariel
year	2020
title	Discrete Continuity in the Urban Architectures of H. Hara & K. Kuma
source	ACADIA 2020: Distributed Proximities / Volume I: Technical Papers [Proceedings of the 40th Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-95213-0]. Online and Global. 24-30 October 2020. edited by B. Slocum, V. Ago, S. Doyle, A. Marcus, M. Yablonina, and M. del Campo. 416-424.
doi	https://doi.org/10.52842/conf.acadia.2020.1.416
summary	The 2020 pandemic has laid bare the ambiguous value of the virtual proximity that distributed computing enables. The remote interaction it ushered in at an unprecedented scale also spawned social isolation, which is symbolically underscored by the reliance of this form of connectivity on individuals’ discrete digital identification. This cyber-spatial dualism may be called ‘discrete continuity,’ and it already appeared in architectural thought in the 1960s with the advent of cybernetics and the first computers. The duality resurfaced in the 1990s in virtual projects, when architectural software was first widely commercialized, and it reappeared in built form in the past decade. This paper sheds light on the architectural aspects of this conceptual duality by identifying the use of discreteness and continuity in the theories of two Japanese architects, Hiroshi Hara (b.1936) and his former student, Kengo Kuma (b.1954), in their attempts to combine the two topological conditions as metaphors of societal structures. They demonstrate that the onset of the current condition, while new in its pervasiveness, has been latent in architectural thinking for several decades. This paper examines Hara’s and Kuma’s theories in light of the author’s interviews with the architects, their writings, and specific projects that illustrate metaphoric translations of topological terms into social structures, reflected in turn in the organization of urban schemes and building parts. While Hara’s and Kuma’s respective implementations are poles apart visually and materially, they share the idea that the discrete continuity of contemporary urban experience ought to be reflected in architecture. This link between their ideas has previously been overlooked.
series	ACADIA
type	paper
email
last changed	2023/10/22 12:06

_id	ecaade2015_265
id	ecaade2015_265
authors	Hosey, Shannon; Beorkrem, Christopher, Damiano, Ashley, Lopez, Rafael and McCall, Marlena
year	2015
title	Digital Design for Disassembly
source	Martens, B, Wurzer, G, Grasl T, Lorenz, WE and Schaffranek, R (eds.), Real Time - Proceedings of the 33rd eCAADe Conference - Volume 2, Vienna University of Technology, Vienna, Austria, 16-18 September 2015, pp. 371-382
doi	https://doi.org/10.52842/conf.ecaade.2015.2.371
wos	WOS:000372316000043
summary	The construction and building sector is now widely known to be one of the biggest energy consumers, carbon emitters, and creators of waste. Some architectural agendas for sustainability focus on energy efficiency of buildings that minimize their energy intake during their lifetime - through the use of more efficient mechanical systems or more insulative wall systems. One issue with these sustainability models is that they often ignore the hierarchy of energy within architectural design. The focus on the efficiency is but one aspect or system of the building assembly, when compared to the effectiveness of the whole, which often leads to ad-hoc ecology and results in the all too familiar “law of unintended consequences” (Merton, 1936). As soon as adhesive is used to connect two materials, a piece of trash is created. If designers treat material as energy, and want to use energy responsibly, they can prolong the lifetime of building material by designing for disassembly. By changing the nature of the physical relationship between materials, buildings can be reconfigured and repurposed all the while keeping materials out of a landfill. The use of smart joinery to create building assemblies which can be disassembled, has a milieu of new possibilities created through the use of digital manufacturing equipment. These tools afford designers and manufacturers the ability to create individual joints of a variety of types, which perform as well or better than conventional systems. The concept of design for disassembly is a recognizable goal of industrial design and manufacturing, but for Architecture it remains a novel approach. A classic example is Kieran Timberlake's Loblolly House, which employed material assemblies “that are detailed for on-site assembly as well as future disassembly and redeployment” (Flat, Inc, 2008). The use of nearly ubiquitous digital manufacturing tools helps designers create highly functional, precise and effective methods of connection which afford a building to be taken apart and reused or reassembled into alternative configurations or for alternative uses. This paper will survey alternative energy strategies made available through joinery using digital manufacturing and design methods, and will evaluate these strategies in their ability to create diassemblable materials which therefore use less energy - or minimize the entropy of energy over the life-cycle of the material.
series	eCAADe
email
more	https://mh-engage.ltcc.tuwien.ac.at/engage/ui/watch.html?id=4075520a-6fe7-11e5-bcc8-f7d564ea25ed
last changed	2022/06/07 07:50

_id	ga0024
id	ga0024
authors	Ferrara, Paolo and Foglia, Gabriele
year	2000
title	TEAnO or the computer assisted generation of manufactured aesthetic goods seen as a constrained flux of technological unconsciousness
source	International Conference on Generative Art
summary	TEAnO (Telematica, Elettronica, Analisi nell'Opificio) was born in Florence, in 1991, at the age of 8, being the direct consequence of years of attempts by a group of computer science professionals to use the digital computers technology to find a sustainable match among creation, generation (or re-creation) and recreation, the three basic keywords underlying the concept of “Littérature potentielle” deployed by Oulipo in France and Oplepo in Italy (see “La Littérature potentielle (Créations Re-créations Récréations) published in France by Gallimard in 1973). During the last decade, TEAnO has been involving in the generation of “artistic goods” in aesthetic domains such as literature, music, theatre and painting. In all those artefacts in the computer plays a twofold role: it is often a tool to generate the good (e.g. an editor to compose palindrome sonnets of to generate antonymic music) and, sometimes it is the medium that makes the fruition of the good possible (e.g. the generator of passages of definition literature). In that sense such artefacts can actually be considered as “manufactured” goods. A great part of such creation and re-creation work has been based upon a rather small number of generation constraints borrowed from Oulipo, deeply stressed by the use of the digital computer massive combinatory power: S+n, edge extraction, phonetic manipulation, re-writing of well known masterpieces, random generation of plots, etc. Regardless this apparently simple underlying generation mechanisms, the systematic use of computer based tools, as weel the analysis of the produced results, has been the way to highlight two findings which can significantly affect the practice of computer based generation of aesthetic goods: ? the deep structure of an aesthetic work persists even through the more “desctructive” manipulations, (such as the antonymic transformation of the melody and lyrics of a music work) and become evident as a sort of profound, earliest and distinctive constraint; ? the intensive flux of computer generated “raw” material seems to confirm and to bring to our attention the existence of what Walter Benjamin indicated as the different way in which the nature talk to a camera and to our eye, and Franco Vaccari called “technological unconsciousness”. Essential references R. Campagnoli, Y. Hersant, “Oulipo La letteratura potenziale (Creazioni Ri-creazioni Ricreazioni)”, 1985 R. Campagnoli “Oupiliana”, 1995 TEAnO, “Quaderno n. 2 Antologia di letteratura potenziale”, 1996 W. Benjiamin, “Das Kunstwerk im Zeitalter seiner technischen Reprodizierbarkeit”, 1936 F. Vaccari, “Fotografia e inconscio tecnologico”, 1994
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	caadria2011_063
id	caadria2011_063
authors	Lo, Chia-Hui; Ih-Cheng Lai and Teng-Wen Chang
year	2011
title	A is B, displacement: Exploring linking patterns within metaphor in the design process
source	Proceedings of the 16th International Conference on Computer Aided Architectural Design Research in Asia / The University of Newcastle, Australia 27-29 April 2011, pp. 663-672
doi	https://doi.org/10.52842/conf.caadria.2011.663
summary	Design educators often apply metaphor as a teaching tool to help novice designers in their design process. Richards(1936) defines metaphor as the form “A is B”. The most important operation in metaphor is displacement—the linking process of moving A to B. Linking ideas is the key mechanism in the design process. By linking ideas, a graph-like knowledge represents the individual memories with the nodes and arcs that are the ideas and the links between ideas respectively. Such linking knowledge provides an interesting way to understand the operation of displacement within metaphor. This research applies a computational tool (called DIM) to produce a graph-like knowledge. Protocol analysis is then used to understand how designers organize ideas. The objective of this research was to explore the linking patterns of idea displacement within metaphor in the design process.
keywords	Metaphor; displacement; linking ideas; graph-like knowledge; protocol analysis
series	CAADRIA
email
last changed	2022/06/07 07:59

_id	eaea2009_meisse
id	eaea2009_meisse
authors	Meisse, Maximilian
year	2011
title	Photographs of the Legendary Tempelhof Airport
source	Projecting Spaces [Proceedings of the 9th European Architectural Endoscopy Association Conference / ISBN 978-3-942411-31-8 ], pp. 25-28
summary	Classified as a historical monument, it is the world’s third biggest building and was once the oldest airport in service. In accordance with the designs of Ernst Sagebiel, a student of Erich Mendelsohn, construction work started in 1936. The outbreak of the Second World War prevented the completion of the building project. After the war, the area became an American military base, gaining international fame in the postwar period, thanks to the Allied airlift Luftbru_cke.
series	other
more	http://info.tuwien.ac.at/eaea
last changed	2011/03/04 08:45

_id	42ff
authors	Zarnowiecka, Jadwiga C.
year	1994
title	Data for Creation
source	The Virtual Studio [Proceedings of the 12th European Conference on Education in Computer Aided Architectural Design / ISBN 0-9523687-0-6] Glasgow (Scotland) 7-10 September 1994, p. 209
doi	https://doi.org/10.52842/conf.ecaade.1994.x.b5u
summary	The need for regional styles to exist in architecture has been broadly and long discussed. In general, regionalisms are socially accepted and they should be employed. Discussions usually become more intensified together with the search for inspiration to create new styles in architecture. In Poland Stanislaw Witkiewicz, arts critic and theoretitian, a painter and a writer, created and developed “the Zakopane style” on the turn of the 19th century. This is the only one architectural style focussed on the regional features that has been preserved until nowadays. It referred both to architecture and industrial forms. It was received by the contemporaries with ambivalent attitude, from the uncritical enthusiasm to emotional negation. One side claimed that the style affected the national consciousness and united the nation without the State. According to the other side, “the Zakopane style”, when outside the Podhale region, shocked with its non-conformity to the surroundings. About 1910 there was an attempt to create the style not exactly regional but rather national. The designs referred to neoclassic Old Polish mansion house with a porch supported by columns and high mansard roof. Between 1915 and 1918 projects to rebuild the Polish villages and little towns were thrown open to competition. Afterwards, neatly published project catalogues presented universal, all-Polish type of architecture. In 1918, after I World War and after Poland regained independence, whole housing estates were built in manorial style. At the same time the described sets of competition projects were used together with the new ones, prepared by eg. Polish Hygenic Society (1936). All the project proposals show the all-Polish type of regionalism. Another intensification of discussion concerning the regional style is linked with the post-modernist ideas. Modernism-lacking ornament, cosmopolitan, without any homely features (by the way, he is jolly smart who knows what this “homeliness” is all about) despite its undeniable achievements has been finally faced with crushing criticism. Together with this reaction the search for inspiration in regional features of architecture has been revived. But then there has been a lack of Witkiewicz’s enthusiasm and stubbornness. We deal with constant attempts to solve the problem of creation in regional style. The situation described allows for the statement that there are two forms of regionalism: one on a narrow, territorial and second on the all-Polish scale. No doubt, “the Zakopane style” was the territorial regionalism, and the manorial architecture-the all-Polish one. The condition and quantity of traditional forms are really varied in Poland. For these still existing objects to serve as “model” and inspiration, they have to be examined, classified and made accessible to the designers. The next step is to extract the most distinct features of sub-regions and to popularize the knowledge of these problems. At the Faculty of Architecture of Bialystok Technical University the relative data base concerning the regional architecture is being created on the basis of Microsoft’s ACCESS. It is still another attempt to preserve and uphold the cultural landscape of Poland.
series	eCAADe
last changed	2022/06/07 07:50

_id	cdrf2019_134
id	cdrf2019_134
authors	Zhen Han, Wei Yan, and Gang Liu
year	2020
title	A Performance-Based Urban Block Generative Design Using Deep Reinforcement Learning and Computer Vision
source	Proceedings of the 2020 DigitalFUTURES The 2nd International Conference on Computational Design and Robotic Fabrication (CDRF 2020)
doi	https://doi.org/https://doi.org/10.1007/978-981-33-4400-6_13
summary	In recent years, generative design methods are widely used to guide urban or architectural design. Some performance-based generative design methods also combine simulation and optimization algorithms to obtain optimal solutions. In this paper, a performance-based automatic generative design method was proposed to incorporate deep reinforcement learning (DRL) and computer vision for urban planning through a case study to generate an urban block based on its direct sunlight hours, solar heat gains as well as the aesthetics of the layout. The method was tested on the redesign of an old industrial district located in Shenyang, Liaoning Province, China. A DRL agent - deep deterministic policy gradient (DDPG) agent - was trained to guide the generation of the schemes. The agent arranges one building in the site at one time in a training episode according to the observation. Rhino/Grasshopper and a computer vision algorithm, Hough Transform, were used to evaluate the performance and aesthetics, respectively. After about 150 h of training, the proposed method generated 2179 satisfactory design solutions. Episode 1936 which had the highest reward has been chosen as the final solution after manual adjustment. The test results have proven that the method is a potentially effective way for assisting urban design.
series	cdrf
email
last changed	2022/09/29 07:51

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