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	sigradi2005_679
id	sigradi2005_679
authors	Bruscato Portella, Underléa; Juan Puebla Pons
year	2005
title	On the ways of expression in present architecture
source	SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 2, pp. 679-683
summary	This paper aims at introducing the main aspects of a research on architectural representation and the usage of new technologies in the process of development of an architectural project, which has been conducted at a department of Graphical Expression. The authors of this paper would like to outline the most excellent and innovating aspects introduced by a number of architectural proposals which involve actively the application of these techniques. The chosen case studies for this paper are among the European contemporary architectural panorama. The authors will analyze some projects of architectural studios which were involved in the urban transformation brought about by celebration of the Forum of the Cultures 2004. These new ways of architectural representation have had, in this specific case, a significant effect within the context of a technological revolution that allows the conception of new forms and textures and the reflection on the increasingly complex processes to generate architectural space. [Full paper in Spanish]
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	2005_459
id	2005_459
authors	Hou, June-Hao
year	2005
title	Dancing Stairs
doi	https://doi.org/10.52842/conf.ecaade.2005.459
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 459-465
summary	This paper reviews empirical studies in product modeling and issues of CAAD, and then proposes a new way of thinking in object modeling for abstract design concepts – by using stairs as the subject of study because of its systematic nature and wide variety of forms. This object model works in the higher level over existing product models and deals with abstract concept only. It provides a mean for capturing design concepts and knowledge. Most stair generator in CAAD are only capable of making regular stairs, let alone those fascinating free-form stairs. The purpose of this research is to find a higher conceptual structure of stairs by the object modeling method, so virtually all types of stairs can be described and modeled. Therefore conceptual design in CAAD would be possible and useful for designers. A prototype on AutoCAD will be implemented to demonstrate how the conceptual structure works.
keywords	Object Modeling: Abstract Design Concept; Stairs
series	eCAADe
email
last changed	2022/06/07 07:50

_id	2005_341
id	2005_341
authors	Uddin, M. Saleh
year	2005
title	Animation Techniques to Represent Graphic Analysis of Architecture: A Case Study of Richard Meier’s Atheneum
doi	https://doi.org/10.52842/conf.ecaade.2005.341
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 341-348
summary	It is debatable whether design can be taught. Frank Lloyd Wright himself mentioned that architecture should be taught by its principles, discerning the principles underlying in works by various architects. In the absence of thoroughly satisfactory methods of combining various means of digital representation for analysis, this paper investigates the features of 3D computer models; in particular, its animation environment to aid graphic analysis of built forms. Computer 3D animations, which are generated from 3D models, have an unparalleled capability to demonstrate spatial experience. Animations can also manipulate the constitute components of the spatial structure, thus illustrating analytically the composition of a building or object. The most significant aspect of 3D animation is in its flexibility of manipulation of various physical and rendering attributes of a 3D model. For the purpose of case study analysis, Richard Meier’s Atheneum in New Harmony, Indiana is chosen for its clarity in design elements and demonstration of applicable principles. Through various animation clips, the basic techniques are illustrated as an effective method of communicating concepts of graphic analysis.
keywords	3D Animation, Analytic Diagram, Form Analysis, Design Principles, 3D Model
series	eCAADe
email
last changed	2022/06/07 07:57

_id	sigradi2005_000
id	sigradi2005_000
authors	Angulo, Antonieta and Vásquez de Velasco, Guillermo (eds.)
year	2005
title	SiGradi2005: Vision and Visualization
source	Proceedings of the 9th Iberoamerican Congress of Digital Graphics Graphics / ISBN 978-1-59975-306-5] Lima (Perú) 21-23 november 2005, 826 p.
summary	Paradoxically, one of the most difficult but enjoyable things we do is to imagine. To open the eyes of our mind and see what no one else can see. We see images of things that are yet to be and through the same skill we devise ways in which to make them happen. We design the future in the form of environments, graphics, products, films, and a growing range of new media. Our ability to develop a vision and to visualize it is a gift that we are called to cultivate and put to good use. We have been privileged with a great responsibility. In the process of developing a vision and communicating that vision to others, we “visualize”. Visualization can be a very private experience in which we are alone with mental images that help us shape our vision. In other instances visualization can be a component of mass communication. Visualization can be a means or can be an end. It can be a small architectural sketch on a paper napkin or a mega-graphic covering a high-rise building, an airplane or a ship. In every case, the relationship between vision and visualization is a mutually supportive articulation of what our eyes and our minds can see. Our vision of the role of computers in the art and science of visualization is in constant development. Computer visualization can support an intimate dialog between a designer and his/her vision. It can translate and communicate that vision to a larger audience and in the hands of a new-media artist it can actually constitute his/her vision. The 9th Annual Conference of SIGraDI (Ibero American Society for Computer Graphics) will explore our collective vision on the future of digital visualization and digital media in Environmental Design, Product Design, Graphic Design, Cinematography, New Media, and Art. Authors are invited to share their research work with a focus on how it contributes to shape a collective understanding of the past, awareness of the present, and vision of the future in our multiple disciplines.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	2005_629
id	2005_629
authors	Koutamanis, Alexander
year	2005
title	A Biased History of CAAD
doi	https://doi.org/10.52842/conf.ecaade.2005.629
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 629-637
summary	The democratization and popularization of the computer has brought on fundamental changes to many areas related to computer science, including CAAD. Such areas have been facing the necessity to reposition and reorient themselves in rapidly evolving academic and professional frameworks. A factor that complicates the processes of repositioning and reorientation is that most areas have a short but varied and frequently incoherent history that may be poorly understood. The paper is an attempt to trace the history of CAAD by means of publications. This refers to both key publications and the thematic structure of the overall CAAD production. The underlying hypothesis is that CAAD derives from two distinct ambitions, the technology-driven, bottom-up development of architectural computer graphics and the more domain theory-minded, top-down automation of designing. A third, less popular ambition is the computerization of analysis and evaluation, which can be treated as a subcategory of the previous two. The results of the bibliographic analysis are summarized in a timeline that indicates a convergence of ambitions and approaches in the 1980s, the period when CAAD became a recognizable area. In the 1990s the democratization and popularization of the computer caused diversification of CAAD activities over a wide spectrum, ranging from support to end-use of computer systems to computational theory and including the development of advanced, specific applications in cooperation with other architecture, building or design specializations.
keywords	History; Bibliography; Drawing; Design; Computerization
series	eCAADe
email
last changed	2022/06/07 07:51

_id	2005_010
id	2005_010
authors	Aish, Robert
year	2005
title	From Intuition to Precision
doi	https://doi.org/10.52842/conf.ecaade.2005.010
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 10-14
summary	Design has been described as making inspire decisions with incomplete information. True, we may use prior knowledge, we may even think we understand the causalites involved, but what really matters is exploration: of new forms, of new materials, and speculation about the response to the resulting effects. Essentially, this exploration has its own dynamics, involving intuition and spontaneity, and without which there is no design. But of course we all know that this is not the whole story. Design is different to 'craft'; to directly 'making' or 'doing'. It necessarily has to be predictive in order to anticipate what the consequence of the 'making' or 'doing' will be. Therefore we inevitably have to counter balance our intuition with a well developed sense of premeditation. We have to be able to reason about future events, about the consequence of something that has not yet being made. There is always going to be an advantage if this reasoning can be achieved with a degree of precision. So how can we progress from intuition to precision? What abstractions can we use to represent, externalize and test the concepts involved? How can we augment the cognitive processes? How can we record the progression of ideas? And, how do we know when we have arrived? Design has a symbiotic relationship with geometry. There are many design issues that are independent of any specific configurations. We might call these “pre-geometric” issues. And having arrived at a particular configuration, there may be many material interpretations of the same geometry. We might call these “post-geometric” issues. But geometry is central to design, and without appropriate geometric understanding, the resulting design will be limited. Geometry has two distinct components, one is a formal descriptive system and the other is a process of subjective evaluation.
series	eCAADe
email
last changed	2022/06/07 07:54

_id	2005_729
id	2005_729
authors	Asanowicz, Alexander
year	2005
title	Computer Renderings – „Reality is Overrated”
doi	https://doi.org/10.52842/conf.ecaade.2005.729
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 729-735
summary	In this paper, two problems concerning truthfulness of computer-generated visualization are considered. The first one concerns relationships between reality and its representation by computer renderings. The second problem concerns the kind of representations people need. These problems are analyzed for static perception of architectural forms based on computer visualization, and for dynamic walk-through perception of urban space. The thesis of the paper is that many photorealistic renderings are excessively realistic and thus not true. In this context, a new question arises: do we need the true representation of an object? The author claims that we need “adequate” pictures. Adequate means a picture that is satisfactory in particular situation. The problem of equivalence of media (renderings and animations) and reality is not that important here. Much research is concerned with the truthfulness and falsity of information. However, they do not take into consideration that frequently what seems to be real exerts bigger influence on people than what is in fact real. Understanding this problem may help us in producing images that better correspond to people’s expectations.
keywords	Perception, Rendering, Non-Photorealistic Rendering
series	eCAADe
email
last changed	2022/06/07 07:54

_id	2005_537
id	2005_537
authors	Barrios, Carlos
year	2005
title	Symmetry, Rules and Recursion
doi	https://doi.org/10.52842/conf.ecaade.2005.537
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 537-543
summary	This paper presents a parametric shape grammar that explains the generation of the structural forms of the Spanish designer Santiago Calatrava. The shape grammar is divided into two separate grammars a lower level grammar and a higher level grammar. The lower level or first grammar is composed of rules to generate a “fundamental unit” design, which has the characteristic to be a single component with non-repetitive parts that becomes the primitive object of the design. The higher level or second grammar is composed of rules that generate the overall design by recursive application of Euclidean transformations to the fundamental unit. We concentrate our discussion on the higher level or second grammar to demonstrate the process of generating complex designs by application of simple rules.
keywords	Shape Grammars, Parametric Design, Design Rules, Complex Structures
series	eCAADe
email
last changed	2022/06/07 07:54

_id	sigradi2005_438
id	sigradi2005_438
authors	Bessone, Miriam; Ricardo Pérez Miró, Isabel Molinas
year	2005
title	Digital visualization and new intellectual associations among language - music - architecture
source	SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 1, pp. 438-443
summary	Throughout history, architecture has transposed contributions bound to structuralist focus or to musical composition. This is from linguistic and music respectively. New visualization systems show the possibility to give transpositions a new meaning, form the potentialities of hypermedia; locking for new projects parameters. This papers will show experimental workshop results developed within CI+D 2000 “New speeches and design process”. They study links and explore our work interrelating word – music and image. These processes are developed by people coming from literature, visual arts, music, and architecture areas. Lastly, the first results will be shown. Since parameters were transposed from music, by using NURBS forms, space prefiguration is tried out. [Full paper in Spanish]
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	acadia05_236
id	acadia05_236
authors	Brandt, Jordan
year	2005
title	Skin That Fits: Designing and constructing cladding systems with as-built structural data
doi	https://doi.org/10.52842/conf.acadia.2005.236
source	Smart Architecture: Integration of Digital and Building Technologies [Proceedings of the 2005 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 0-9772832-0-8] Savannah (Georgia) 13-16 October 2005, pp. 236-245
summary	An awkward interface exists between the structure and skin of complex architecture. The primary structure is typically allowed much higher tolerance ranges than that of the cladding industry, due primarily to the delicate nature of the building envelope which, above all, must prevent water penetration and meet the aesthetic requirements of the architect and client. As architecture has integrated advanced design and fabrication techniques to realize increasingly complex shapes, this problem has been aggravated because of the tangency requirements for high gloss curved finish surfaces and the larger variations found with rolled steel columns and undulating concrete forms. To date, most innovations in this area have been focused upon mechanical connections that can be adjusted and shimmed, thus requiring increased design engineering and on-site labor costs for effective implementation. It would be preferable to manufacture cladding components that are properly adjusted to the actual site conditions, negating the need to predict and accommodate potential dimensional variation with complex connections. The research provides a model for implementing long distance laser scanning technology to facilitate a real-time parametric BIM, herein called an Isomodel.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	2005_269
id	2005_269
authors	Caldas, Luisa and Duarte, José
year	2005
title	Fabricating Ceramic Covers
doi	https://doi.org/10.52842/conf.ecaade.2005.269
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 269-276
summary	This paper describes a studio experiment developed with the aim of exploring the design and fabrication of innovative roof systems based on ceramic tiles using digital technologies. History is rich in examples of the use of ceramic roof tiles since the ancient world. Today’s systems derive from such ancient systems and fall into several basic categories depending on the form of the tiles and how they interlock. These systems present acceptable functional performances due to centuries of refinement, but as they have suffered little formal evolution in recent centuries, to respond to modern needs they require complex layering and assemblies. Recent technological evolution has emphasized the optimization of the tile production process in terms of time saving and cost reduction, and the improvement of product quality in terms of material homogeneity and durability. Little attention has been paid to the tile form and the roof system as a whole, including the assembly process. As a result, despite the variety and performance of existing designs, they are often perceived as outdated by architects who refuse to use them following a stylistic trend in architectural design towards primary forms and flat roofs. The challenge of the experiment was to take advantage of digital design and fabrication technology to conceive systems with improved performance and contemporary designs. The hope was that this could lead architects to consider integrating roof tiles systems in their architectural proposals. Results yielded five different roof systems. These systems are innovative from a formal viewpoint both at the tile and roof level. In addition, they are easy to assemble and possess better thermal and water-proofing performance. Digital technologies were determinant to enable students to design the complex shape of the tiles, to manipulate them into assemblies, and to assess the shape of the roofs, as well as their thermal and structural performance in some cases.
keywords	Design Education; Rapid Prototyping; Collaboration; Ceramics; Innovation; Tiles
series	eCAADe
email
last changed	2022/06/07 07:54

_id	cf2011_p135
id	cf2011_p135
authors	Chen Rui, Irene; Schnabel Marc Aurel
year	2011
title	Multi-touch - the future of design interaction
source	Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 557-572.
summary	The next major revolution for design is to bring the natural user interaction into design activities. Graphical User Interfaces (GUI) brought a new approach that was more effective compared to their conventional predecessors. In recent years, Natural User Interfaces (NUI) have advanced user experiences and multi-touch and gesture technologies provide new opportunities for a variety of potential uses in design. Much attention has been paid to leverage in the design of interactive interfaces. The mouse input and desktop screen metaphors limit the information sharing for multiple users and also delayed the direct interaction for communication between each other. This paper proposes the innovative method by integrating game engine ‘Unity3D’ with multi-touch tangible interfaces. Unity3D provides a game development tool as part of its application package that has been designed to let users to focus on creating new games. However, it does not limit the usage of area to design additional game scenarios since the benefits of Unity3D is allowing users to build 3D environments with its customizable and easy to use editor, graphical pipelines to openGL (http://unity3d.com/, 2010 ). It creates Virtual Reality (VR) environments which can simulates places in the real world, as well as the virtual environments helping architects and designers to vividly represent their design concepts through 3D visualizations, and interactive media installations in a detailed multi-sensory experience. Stereoscopic displays advanced their spatial ability while solving issues to design e.g. urban spaces. The paper presents how a multi-touch tabletop can be used for these design collaboration and communication tasks. By using natural gestures, designers can now communicate and share their ideas by manipulating the same reference simultaneously using their own input simultaneously. Further studies showed that 3Dl forms are perceived and understood more readily through haptic and proprioceptive perception of tangible representations than through visual representation alone (Gillet et al, 2005). Based on the authors’ framework presented at the last CAADFutures, the benefits of integrating 3D visualization and tactile sensory can be illustrated in this platform (Chen and Wang, 2009), For instance, more than one designer can manipulate the 3D geometry objects on tabletop directly and can communicate successfully their ideas freely without having to waiting for the next person response. It made the work more effective which increases the overall efficiency. Designers can also collect the real-time data by any change they make instantly. The possibilities of Uniy3D make designing very flexible and fun, it is deeply engaging and expressive. Furthermore, the unity3D is revolutionizing the game development industry, its breakthrough development platform for creating highly interactive 3D content on the web (http://unity3d.com/ , 2010) or similar to the interface of modern multimedia devices such as the iPhone, therefore it allows the designers to work remotely in a collaborative way to integrate the design process by using the individual mobile devices while interacting design in a common platform. In design activities, people create an external representation of a domain, often of their own ideas and understanding. This platform helps learners to make their ideas concrete and explicit, and once externalized, subsequently they reflect upon their work how well it sits the real situation. The paper demonstrates how this tabletop innovatively replaces the typical desktop metaphor. In summary, the paper addresses two major issues through samples of collaborative design: firstly presenting aspects of learners’ interactions with physical objects, whereby tangible interfaces enables them constructing expressive representations passively (Marshall, 2007), while focussing on other tasks; and secondly showing how this novel design tool allows designers to actively create constructions that might not be possible with conventional media.
keywords	Multi-touch tabletop, Tangible User Interface
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	sigradi2005_778
id	sigradi2005_778
authors	Chiarella, Mauro
year	2005
title	DATABASE 3D. Of the new form to the data processing
source	SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 2, pp. 778-782
summary	The search by new architectural forms with digital media loses interest when its results become foreseeable and repetitive in the growth of the large cities. At present, the interest is greater by the processing and manipulation of digital databases as alternatives of the architectural project. The resultant architectures possess forms that contrast less but with greater diversity in their spatial relations. DATABASE 3D is presented like a formal proposal risked of investigation. The experiences of project explore the concepts of Collective Autor, digital database and Hipertexto. It accepts the construction of a diverse and complex reality conformed by fragmentary spatial systems from the adoption of the mosaic, collage, remix and the digital sampling. [Full paper in Spanish]
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	2005_599
id	2005_599
authors	Couceiro, Mauro
year	2005
title	Architecture and Biological Analogies
doi	https://doi.org/10.52842/conf.ecaade.2005.599
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 599-606
summary	The study described in this paper evolves within the larger context of a research aimed at inquiring into analogies between architecture and nature, and more specifically between architecture and biology. Biology is a recursive source of architectural inspiration due to the tight relationship between form and function, the natural balance of forces and the corresponding geometric solutions found in living beings. Roughly, one can classify historical analogies between architecture and biology into two main categories. The first tries to mimic biological forms and the second biological processes. The specific goal of the described study is to find how new technologies can redefine and support the process of constructing such analogies. It uses as a case study a tower project designed by the architect Manuel Gausa (ACTAR, Barcelona) called Tornado Tower because of its complex shape inspired in the frozen form of a tornado. Due to the geometric irregularities of the tower, Gausa’s team had difficulties in designing it, especially because solving the structural problems required constant redrawing. This paper describes the first part of the study which primary goal was to conceive a parametric program that encoded the overall shape of the Tornado Tower. The idea was to use the program to simplify the drawing process. This required a mathematical study of spirals and helices which are at the conceptual basis of the external structure and shape of the tower. However, the program encodes not only the shape of Gausa’s tower, but also the shapes of other buildings with conceptual similarities. Such class of shapes is very recurrent in nature with different scales and with different utilities. Therefore, one can argue that the program makes a mathematical connection between a given natural class of shapes and architecture. The second part of the study will be devoted to extending the program with a genetic algorithm with the goal of guiding the generation of solutions taking into account their structural fitness. This way, the analogy with genetic procedures will be emphasized by the study of the evolution of forms and its limits of feasibility. In summary, the bionic shape analogy is made by the generation of mimetic natural forms and a genetic process analogy starts with the parametric treatment of shape based on code manipulations. At the end the program will establish an analogy between architecture and biology both terms of form and process.
keywords	Genetics; Evolutionary Systems; Parametric Design
series	eCAADe
email
last changed	2022/06/07 07:56

_id	ascaad2012_003
id	ascaad2012_003
authors	Elseragy, Ahmed
year	2012
title	Creative Design Between Representation and Simulation
source	CAAD \| INNOVATION \| PRACTICE [6th International Conference Proceedings of the Arab Society for Computer Aided Architectural Design (ASCAAD 2012 / ISBN 978-99958-2-063-3], Manama (Kingdom of Bahrain), 21-23 February 2012, pp. 11-12
summary	Milestone figures of architecture all have their different views on what comes first, form or function. They also vary in their definitions of creativity. Apparently, creativity is very strongly related to ideas and how they can be generated. It is also correlated with the process of thinking and developing. Creative products, whether architectural or otherwise, and whether tangible or intangible, are originated from ‘good ideas’ (Elnokaly, Elseragy and Alsaadani, 2008). On one hand, not any idea, or any good idea, can be considered creative but, on the other hand, any creative result can be traced back to a good idea that initiated it in the beginning (Goldschmit and Tatsa, 2005). Creativity in literature, music and other forms of art is immeasurable and unbounded by constraints of physical reality. Musicians, painters and sculptors do not create within tight restrictions. They create what becomes their own mind’s intellectual property, and viewers or listeners are free to interpret these creations from whichever angle they choose. However, this is not the case with architects, whose creations and creative products are always bound with different physical constraints that may be related to the building location, social and cultural values related to the context, environmental performance and energy efficiency, and many more (Elnokaly, Elseragy and Alsaadani, 2008). Remarkably, over the last three decades computers have dominated in almost all areas of design, taking over the burden of repetitive tasks so that the designers and students can focus on the act of creation. Computer aided design has been used for a long time as a tool of drafting, however in this last decade this tool of representation is being replaced by simulation in different areas such as simulation of form, function and environment. Thus, the crafting of objects is moving towards the generation of forms and integrated systems through designer-authored computational processes. The emergence and adoption of computational technologies has significantly changed design and design education beyond the replacement of drawing boards with computers or pens and paper with computer-aided design (CAD) computer-aided engineering (CAE) applications. This paper highlights the influence of the evolving transformation from Computer Aided Design (CAD) to Computational Design (CD) and how this presents a profound shift in creative design thinking and education. Computational-based design and simulation represent new tools that encourage designers and artists to continue progression of novel modes of design thinking and creativity for the 21st century designers. Today computational design calls for new ideas that will transcend conventional boundaries and support creative insights through design and into design. However, it is still believed that in architecture education one should not replace the design process and creative thinking at early stages by software tools that shape both process and final product which may become a limitation for creative designs to adapt to the decisions and metaphors chosen by the simulation tool. This paper explores the development of Computer Aided Design (CAD) to Computational Design (CD) Tools and their impact on contemporary design education and creative design.
series	ASCAAD
email
more	http://www.ascaad.org/conference/2012/papers/ascaad2012_003.pdf
last changed	2012/05/15 20:46

_id	acadia05_184
id	acadia05_184
authors	Fineout, Matthew G.
year	2005
title	The Tower of Babel: Bridging Diverse Languages with Information Technologies
doi	https://doi.org/10.52842/conf.acadia.2005.184
source	Smart Architecture: Integration of Digital and Building Technologies [Proceedings of the 2005 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 0-9772832-0-8] Savannah (Georgia) 13-16 October 2005, pp. 184-191
summary	New digital tools or information technologies are providing the means for architects to realize unprecedented architectural creations. Unfortunately, the promise these technologies hold is far from their potential expression in the built physical environment. A contributing cause to this disjunctive state is the multiplicity of languages and knowledge sets employed by the various team members or actors engaged in a building project. From the cost models of the owners to the shop drawings of the fabricators, each actor views the project in terms specific to their individual discipline. In order to successfully engage the building process, these new technologies must account for this condition and develop means in which to span across traditional boundaries. This paper will examine the disjointed and fractured nature of the building project and identify opportunities for the deployment of information technologies to bridge boundaries, ultimately providing for and delivering architectural projects of unparalleled precedence. Specific aspects inherent to these technologies will be examined to understand where their application may benefit the building process. The key attributes this paper will focus on include: visualization tools, centralized database, cross discipline platform tools and novel forms of information representation. A case study of an architectural project will serve as the means in which to study the successful implementation of these attributes and their resulting impact on the design process and building project. This study will demonstrate how information technologies can be implemented within the multifaceted framework of conventional building projects to yield a project of unprecedented form.
series	ACADIA
email
last changed	2022/06/07 07:50

_id	cf2005_1_51_122
id	cf2005_1_51_122
authors	FISCHER Thomas
year	2005
title	Generation of Apparently Irregular Truss Structures
source	Computer Aided Architectural Design Futures 2005 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Futures / ISBN 1-4020-3460-1] Vienna (Austria) 20–22 June 2005, pp. 229-238
summary	While cheaper mass-customisation technologies are becoming available, architectural design strives for ever more complex and less regular forms. The increasing costs associated with this tendency are difficult to control. Key factors contributing to this cost increase are non-uniform building components. Focusing on space frame construction, this paper examines the possibility of creating apparently irregular structures from relatively small sets of identical parts. Starting with an examination of the cost implications of irregular truss construction, a case study of the Beijing National Swim Center's space frame system and the conflicting natures of bottom-up and top-down generative logic in this context is presented. The paper concludes with the description of the development of a truss system that incorporates various design variables that increase visual irregularity. Learning from the past, this new system draws its basic logic from classic space frame principles but applies present-day computational logic to achieve new aesthetic effects and structural possibilities.
keywords	apparent irregularity, truss structures, prefabrication, generative design
series	CAAD Futures
email
last changed	2006/11/07 07:27

_id	4781
authors	Howard, R.
year	1997
title	Using multimedia to link experts' views and derive common conclusions
source	Automation in Construction 6 (1) (1997) pp. 3-9
summary	Few publications on technology are read from start to finish and, where a broad subject is covered, only part of the content is relevant to a particular reader. Facilities such as multimedia and hypertext allow documents from different sources and containing various forms of data to be linked into a report which can be published electronically. Those who access a report, such as Building IT 2005, can then go direct to the topics of particular interest, visit related topics and background data, or search the text for particular terms. The most appropriate medium can be used whether text, data, images or video, and useful material extracted for teaching or research. Actions can be linked back to the papers in which they were recommended so that, while conclusions are presented compactly, the full context and the credentials of the author can be seen.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	cf2005_2_22_193
id	cf2005_2_22_193
authors	HSIEH Chun-Yu
year	2005
title	A Preliminary Model of Creativity in Digital Development of Architecture
source	Learning from the Past a Foundation for the Future [Special publication of papers presented at the CAAD futures 2005 conference held at the Vienna University of Technology / ISBN 3-85437-276-0], Vienna (Austria) 20-22 June 2005, pp. 63-74
summary	Research into the various forms and processes of creativity has been a topic of great interest in the design field for many years. Part of the view is personality, and part of the answer is behavioural. Creativity is also explained through the identity of social values and the whole creative process. This paper proposes to use the interacting creativity model of Csikszentmihalyi as the basic structure, to establish the major criteria of testing creativity in the digital era. This paper demonstrates two facts: first, it confirms that creativity in architecture is truly valuable in the digital age; second, it proves that in the digital era, individuals, cultures and societies are all under the impact of digital technologies, a fact which transforms the model of interacting creativity proposed by Csikszentmihalyi in 1988 into a new model of digital interacting creativity.
keywords	creativity, digital media, society, culture
series	CAAD Futures
email
last changed	2005/05/05 07:06

_id	acadia05_048
id	acadia05_048
authors	Katodrytis, George
year	2005
title	Poiesis and Autopoiesis in Architecture
doi	https://doi.org/10.52842/conf.acadia.2005.048
source	Smart Architecture: Integration of Digital and Building Technologies [Proceedings of the 2005 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 0-9772832-0-8] Savannah (Georgia) 13-16 October 2005, pp. 48-57
summary	The use of digital technology in architecture has proven to be more assertive than originally thought: it has reconditioned the nature of the design process, and established new processes and techniques of fabrication. Recent applications in digital technology show inquisitiveness in the contentious subject Genetic Algorithms. This new architectural process is characterized by two main shifts: from poiesis (or poetry) to autopoiesis, and from authenticity to mimesis. Since evolutionary simulations give rise to new forms rather than design them, architects should now be both artists and operators of both Inventive and Systematic design. Inventive design: The digital media should bring about poiesis (poetry). Digital spaces reveal and visualize the unconscious desires of urban spaces, bringing forth new dreamscapes, mysterious and surreal. This implies a Freudian spatial unconscious, which can be subjected to analysis and interpretation. The tools of digital dreaming, meanwhile, have opened a window to the ‘urban unconscious’. Systematic Design: Digital media should bring about an autopoiesis. This approach calls into question traditional methods of architectural design that replace the hierarchical processes of production known as “cause and effect,” and propose a design process where the architect becomes a constructor of formal systems. Will the evolutionary simulation replace design? Is metric space dead? The new algorithmic evolutionary conditions give architecture an autopoiesis, similar to biological dynamics. Paradoxically, the new emerging process is more insightful. The emphasis of the exploration is on morphological complexity. Architecture, through “machine” fabrication, may become more responsive, rigorous and poetic.
series	ACADIA
email
last changed	2022/06/07 07:52

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