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

PDF papers
References

Hits 1 to 4 of 4

Reformat results as: short short into frame detailed detailed into frame

_id	acadia04_014
id	acadia04_014
authors	Burry, Mark
year	2004
title	THE SAGRADA FAMíLIA - WEST TRANSEPT ROSE WINDOW, A RAPID PROTOTYPE
doi	https://doi.org/10.52842/conf.acadia.2004.014
source	Fabrication: Examining the Digital Practice of Architecture [Proceedings of the 23rd Annual Conference of the Association for Computer Aided Design in Architecture and the 2004 Conference of the AIA Technology in Architectural Practice Knowledge Community / ISBN 0-9696665-2-7] Cambridge (Ontario) 8-14 November, 2004, 14-19
summary	The recently completed design and construction in a little over twelve months of the west transept rose window (Passion Façade) of Antoni Gaudí’s unfinished major work and Barcelona icon, the Sagrada Família church, is a notable example of ‘lean construction’. The processes involved include traditional stone masonry, actual employment of the traits discussed in Evan’s ‘The Projective Cast’, and semi-automated construction methods.
series	ACADIA
type	normal paper
last changed	2022/06/07 07:54

_id	eaea2003_25-ws-breen
id	eaea2003_25-ws-breen
authors	Breen, J.
year	2004
title	Towards a Virtual Design Media Museum. Identifying, Structuring and Presenting Design and (Re) Presentation Media Artifacts
source	Spatial Simulation and Evaluation - New Tools in Architectural and Urban Design [Proceedings of the 6th European Architectural Endoscopy Association Conference / ISBN 80-227-2088-7], pp. 122-132
summary	Designing is largely a process of (inter)active imaging. The evolvement of a design concept from preliminary design proposal towards spatial and material environment generally follows an uncertain path through uncharted landscape; a journey of exploration which requires both rational and creative consideration, frequently involving the interchange of information within a design team and collaboration with representatives from different contributing disciplines. Designs are conceived, worked out and specified step by step (roughly speaking from ‘rough to fine’) in iterative design ‘loops’. All the time the designer tries to determine which ‘course’ should be taken, by considering reference material, by reflecting on conceptions developed previously and by generating specific options aimed at furthering the ‘concretisation’ of the end product. In the course of such a trajectory, visual information is continually being developed, selected, tested, and subsequently either discarded or perfected. From early times architects have been considered not only as knowledgeable ‘experts’ in the field of building as a craft, but also as ‘creative directors’ of such development processes. The architect should be capable of not only conjuring up visions of the future spatial and material form of the building, but also of conveying these to the other ‘actors’ involved in the initiation and building process. Such ‘sharing’ of information is necessary in order to generate sufficient understanding, consensus, enthusiasm, as well as means. To become more than ‘figments of the imagination’, the designer’s ideas need to be ‘pinned down’ (even if they are not yet entirely finished) and communicated by using some form of reliable – and preferably readable – ‘language’ for design development and communication.
series	EAEA
more	http://info.tuwien.ac.at/eaea
last changed	2005/09/09 10:43

_id	acadia04_244
id	acadia04_244
authors	Daubmann, Karl
year	2004
title	Teaching Digital Fabrication through Design
doi	https://doi.org/10.52842/conf.acadia.2004.244
source	Fabrication: Examining the Digital Practice of Architecture [Proceedings of the 23rd Annual Conference of the Association for Computer Aided Design in Architecture and the 2004 Conference of the AIA Technology in Architectural Practice Knowledge Community / ISBN 0-9696665-2-7] Cambridge (Ontario) 8-14 November, 2004, 244-255
summary	This paper explains the development of a digital fabrication graduate seminar that has evolved over four semesters. The class attempts to teach at various levels between ‘how to’ considerations of learning hardware and software, while exploring a deeper understanding of the technological implications on design and digital fabrication. At the heart of the course is the belief that the limitations of hardware, software, and materials can be viewed as opportunities during the making of any artifact. A number of teaching models have been employed over the four semesters that include short, abstract, directed mini-projects, which teach one skill to the opposite extreme that develops longer, open-ended research / design projects focused on a technology or technique. The products of the class are used to compare the benefits and deficiencies of various pedagogies. The work is also used to further define the desires of the course related to strategies for materials and making.
keywords	Digital fabrication, design research, craft
series	ACADIA
email
last changed	2022/06/07 07:55

_id	acadia04_066
id	acadia04_066
authors	Harrop, Patrick
year	2004
title	AGENTS OF RISK: EMBEDDING RESISTANCE IN ARCHITECTURAL PRODUCTION
doi	https://doi.org/10.52842/conf.acadia.2004.066
source	Fabrication: Examining the Digital Practice of Architecture [Proceedings of the 23rd Annual Conference of the Association for Computer Aided Design in Architecture and the 2004 Conference of the AIA Technology in Architectural Practice Knowledge Community / ISBN 0-9696665-2-7] Cambridge (Ontario) 8-14 November, 2004, 66-75
summary	In its most common usage, the term fabrication calls to mind industry and production. For architecture, fabrication and industry have been defining aspects of modern practice. While dependant on the dimensional and temporal standards of industry, modernists were preoccupied with the limitations imposed by the generic restrictions of mass production. When we make, instead of predetermining action, we discover a map of engagement. We play by challenging and resisting material. It in turn, reveals an intentional resistance that provokes yet another challenge, and on and on and on. In fact, craft excels in the less-than-ideal situations. When challenged by aberrant materials, geometry and craft are forced into innovative discovery: a knot of reaction wood within an otherwise homogeneous surface would force a novel adaptation of geometry generated by the imperfection. How, then, do we integrate the indeterminate cycle of craft and invention into a design process transformed by tools entirely reliant on prediction and the (virtual and real) homogeneity of materials? Is it reasonable to introduce an element of risk into the realm of digital fabrication equivalent to the auto-generative sabotage of Signwave’s Auto Illustrator? This paper reflects on the nature of material craft in the realm of digital fabrication. It will look both at the history and the contemporary opportunity of generative art and automata and their subversive (yet essential) relationship to the making of architecture.
series	ACADIA
type	normal paper
last changed	2022/06/07 07:49

No more hits.