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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	sigradi2006_e081d
id	sigradi2006_e081d
authors	Hecker, Douglas
year	2006
title	Dry-In House: A Mass Customized Affordable House for New Orleans
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 359-362
summary	Dry-in house is a mass customized affordable housing system proposed for the reconstruction of New Orleans. The dry-in House gets the owner back to their home site quickly while providing the infrastructure an occupant needs (shelter, water, electricity). The owner is supplied with an inhabitable shell that is customizable before it is fabricated as well as onsite as the project is “fitted out” over time. The key concept is to allow families to participate in the design of their customized homes and to get people back to their home sites as quickly as possible and to give them the opportunity to finish and further customize their home over time. The project addresses inefficiencies and redundancies in emergency housing currently provided by FEMA. Primarily the dry-in House as its name implies provides a timely dried-in space which doubles as a customized infrastructure for the reconstruction of homes and neighborhoods. The project is designed to meet the $59,000 life cycle cost of the presently provided temporary housing, the notorious “FEMA Trailer”. However, the Dry-in House provides a solution that: a) Is permanent rather than temporary. The house will be finished and further customized over time rather than disposed of. b) Reoccupies the owner’s home site rather than a “FEMA ghetto” keeping the community together and functioning. c) Is mass customized rather than mass-standardized allowing the owner to have input on the design of their home. The design is a “starter home” rather than an inflexible and over-determined solution. This also has the benefit of giving variation to the reconstruction of New Orleans as opposed to the monotony of mass-production. d) Allows the owners to further customize their home over time with additional exterior finishes and the subdivision and fit out of the interior. By utilizing plate truss technology and associated parametric modeling software, highly customized trusses can be engineered and fabricated at no additional cost as compared to off-the-shelf trusses. This mass customization technology is employed to create the building section of each individual’s house. The truss is not used in its typical manner, spanning over the house; rather, it is extruded in section to form the house itself (roof, wall, and floor). Dry-in House exploits this building technology to quickly rebuild communities in a sensible manner. It allows for an increased speed of design and construction and most importantly it involves the owner in this process. The process has other benefits like reducing waste not only because it replaces the FEMA trailer which is expensive and disposable but also since the components are prefabricated there is more precision and also quality. The Dry-in House allows the owner-designer to “draw” the section of their new home providing them with a unique design and a sense of belonging and security. The design of the section of the house also provides them with spatial configurations customized relative to site conditions, program etc... Because of the narrow lot configuration of New Orleans, the design maximizes the roof as a source for natural ventilation and light for the interior of the house. In addition, the house is one room deep providing cross ventilation in all rooms minimizing reliance on artificial mechanical systems. The timely and efficient off site fabrication of building sections facilitate larger concentrations of volunteers on site at one time, thereby promoting a greater collective spirit among the community and volunteer workforce, a therapeutic event for the community as they participate in the rebuilding of their homes and city. With individualized building sections arriving on site, the construction process is imagined to be more akin to a barn raising, making possible the drying in of multiple houses in less than one day.
keywords	mass customization; digital manufacturing; affordable housing
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	sigradi2006_e145a
id	sigradi2006_e145a
authors	Heiss, Leah
year	2006
title	Empathy over distance: Wearables as tools for augmenting Remote Emotional Connection
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 66-69
summary	Mainstream communication modes emphasise network speed, connection access, resolution, portability, and aesthetic design as primary to the success of their products. Within this vision a three by four centimetre screen and high resolution display are deemed adequate to emulate the intensities and complexities of face-to-face connection with loved ones. They allow us to ‘be there with you’ from wherever we might be. Yet interpersonal communication is a massively complex phenomenon. It involves a plethora of micro-activities which occur at a physical, physiological, and psychological level allowing us to recognise at a cellular scale intention, motive and emotional authenticity. Our conscious and non-conscious involvement in spatially collocated communication is substantial due to these myriad channels of real-time bi-directional information transfer. While contemporary communications technologies have the capacity to mediate our relationships, they fall short of encouraging the richness of spatially co-present interaction. The research discussed in this paper investigates the potential expansion of remote connection when electronically enhanced apparel is incorporated into the communications mix. Rather than pursuing the manifold functionalities of traditional communications media the garments discussed focus solely on the goal of enhancing empathy between physically distant individuals. This paper reports on the development and testing of a range of garments that conduct presence information between remotely located people. The garments sense, process, transmit and receive the heartbeat wavelength (ECG). They are enabled with ECG sensors, signal processing equipment, small vibration motors, and radio transceivers which allow users to ‘feel’ the heartbeat of a remote friend/lover/relative as vibration through their garment. The prototypes aim to enrich the remote communications experience through reintroducing an embodied, tactile dimension that is present in face-to-face communication. A range of user testing trials will be discussed which have been undertaken to assess the impact of the garments at a conscious and a non-conscious level. Conscious experiences were gauged through qualitative testing, by way of interviews and unsolicited written reactions, which have provided a range of engaging emotional responses. Non-conscious physiological reactions were assessed by recording ECG throughout user-testing periods. This data has been processed using HRV (heart rate variability) analysis software, running on MatLab. Preliminary results suggest that users have strong conscious and non-conscious reactions to the experience of wearing the prototype garments. The paper will describe the data processing techniques and findings of the user testing trials. The development of biosignal sensing garments has raised a range of issues including: innovative potentials for embedded peripheral awareness media; the expansion of the classical body to incorporate remotely sensed information; the issue of data semantics and the development of intensely personal non-verbal languages; and the issue of corporeal privacy when one’s biological information is exposed for potential download. They also bring into question how our bodily experiences might change when we incorporate remote sensory systems.
keywords	Enabled apparel; emotional tools; biosignals
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	caadria2006_000
id	caadria2006_000
authors	Kaga, Atsuko; Naka, Ryusuhe (eds.)
year	2006
title	CAADRIA '06
doi	https://doi.org/10.52842/conf.caadria.2006
source	Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia (ISBN 4-907662-01-7 / Kumamoto, Japan) March 30th - April 2nd 2006, 649 p.
summary	It is apparent that recent development of digital technology has shifted the paradigm of the socio-economic system of the world as well as the style of day-to-day communication in our lives, as professor Mitchell suggested in his book. In the field of architecture, there have been many prospective studies on the development and applications of digital technology to architectural design practice and education. However, the reactions of the architecture community to such technological development have been slower and weaker than researchers initially expected. Is this because developed technology has overlooked some of essential needs of the community while seeking tasks for itself or because present technology is still insufficiently developed to attract people to new ideas? One of Japan's great samurai sword masters, Musashi Miyamoto, spent the last years of his life in Kumamoto where he wrote The Book of Five Rings. The most important element of his work was his concept of rhythm and harmony; how all things are in harmony, and how by working with the rhythm of a situation we can turn it to our advantage with little effort. The conference aims to provide the participants with an opportunity to explore visions and ideas on the digital technology that could enhance Rhythm and Harmony in architectural design practice and education.
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	2006_336
id	2006_336
authors	Kapellos, Alexandre; Martina Voser; Philippe Coignet and If Ebnöther
year	2006
title	CNC Morphological Modelling in Landscape Architecture
doi	https://doi.org/10.52842/conf.ecaade.2006.336
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 336-340
summary	The landscape design studio proposes to research synergies between teaching landscape architecture and using computer numerically controlled (CNC) machines as prototyping tools for students. The focus of the course is not to be proficient in CAAD-CAM technologies but to familiarize architecture students with landscape design and the problematic of large-scale topographical interventions and use these tools as verification instruments. Many prototyping tools are available to the students at the school and are easily accessible: a 3-axis mill, laser cutter, flatbed cutter and a 3D printer. Of all the CNC machines, the 3-axis mill allows for the best translation between idea and model in landscape modeling. Of interest to us is the continuous and more fluid exchange between paper/idea and a physical three-dimensional output, the ability to be able to re-shape continuously the model. The result is a series of models or evolutions, documenting the project idea as it has evolved from the initial concept to the final project.
keywords	Abstract Types of Spatial Representation; CAAD-CAM technology; Digital prototyping; Landscape / Morphology
series	eCAADe
email
last changed	2022/06/07 07:49

_id	ddss2006-pb-373
id	DDSS2006-PB-373
authors	Rohan Bailey
year	2006
title	Towards a Digital Design Teaching Tool - A look at the ideas that should define a digital design primer
source	Van Leeuwen, J.P. and H.J.P. Timmermans (eds.) 2006, Progress in Design & Decision Support Systems in Architecture and Urban Planning, Eindhoven: Eindhoven University of Technology, ISBN-10: 90-386-1756-9, ISBN-13: 978-90-386-1756-5, p. 373-386
summary	Architecture in the 21st century has become an increasingly complex affair. In addition to new social and cultural norms, architects are inundated with constantly changing information regarding new materials, sustainable processes, and complex building types. This state of affairs has also affected the expectations placed on architectural education. Critics (in diverse spheres) have expressed concerns about the lack of requisite skills of graduates that characterise good design thinking strategies as well as promote responsible design. It has been proposed by this author in other forums that by using digital technology to empower design learning, we can allow students to confidently use (through reading and analysis) their sketches to develop conceptual ideas that reconcile disparate elements into a habitable, environmentally friendly and architecturally responsible whole that is fit for purpose, cost effective, sustainable and a delight to clients and users. This paper will seek to discuss one of the concepts that govern such a tool. It will start by delineating the problem (discussed earlier in the abstract) before outlining the concepts or principles that a design teaching tool should adhere to. These concepts acknowledge the importance for the tool to reflect the nature of design tasks, facilitate learning and be accessible to all learning types. The paper will then focus on one concept - the nature of design tasks. The subsequent sections will describe an information structure borne from this idea and make mention of a current prototype of the tool. The paper will conclude with a discussion of the strengths of considering this concept.
keywords	Design & decision support systems, Architectural education, Computer assisted learning, Design thinking
series	DDSS
last changed	2006/08/29 12:55

_id	acadia06_230
id	acadia06_230
authors	Anzalone, Phillip
year	2006
title	Synthetic Research
doi	https://doi.org/10.52842/conf.acadia.2006.230
source	Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 230-231
summary	Synthetic Research insinuates a relationship of a meticulous process of discovering truth contradicted against a fabricated, as in concocted, reality. It is important to recognize the logical aspect of synthetic when examining what synthetic research can provide for architectural discourse. Synthesis contrasts with analysis in that it’s primary methods involve recourse to experience; it is experience that is at the heart of synthetic research. The synthesis of theory, architectural constructions, technological artifacts and computational techniques requires experiencing the results of experimentation. Synthetic digital architecture necessitates a discovery process incorporating creation that allows for experience, be it virtual reality, full-scale prototyping or spatial creations; provided experience is a truthful one, and not disingenuous and thereby slipping into the alternate definition of synthetic.Research’s experimental arm, as opposed to the analytic, relies on tinkering - implying the unfinished, the incomplete, the prototype. Examples of this are everywhere. Computer screenshots are a strikingly literal example of synthetic research when used as a means of experiencing a process. Performance mock-ups of building assemblies are a method of synthetic research in that one experiences a set of defined performances in order to discover and redefine the project. The watchmaker craft is an exercise in research/experimentation where material properties are inherent in function and aesthetics; consider how the components interact with the environment - motion, gravity, space-time, temperature. Efficiency at this point is predominantly structural and physical. Decorative or aesthetic elements are applied or integrated in later iterations along with optimization of performance, marketing and costs.What is a architectural research? How can research synthesize the wide range of possibilities for the trajectory of architecture when engaged in digital and computational techniques? The goals, techniques, documentation and other methods of research production have a place in architecture that must be explored, particularly as it related to computation. As in other fields, we must build a legitimate body of research whereby others can use and expand upon, such that digital architectures evolve in innovative as well as prosperous paths.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	sigradi2006_e131c
id	sigradi2006_e131c
authors	Ataman, Osman
year	2006
title	Toward New Wall Systems: Lighter, Stronger, Versatile
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 248-253
summary	Recent developments in digital technologies and smart materials have created new opportunities and are suggesting significant changes in the way we design and build architecture. Traditionally, however, there has always been a gap between the new technologies and their applications into other areas. Even though, most technological innovations hold the promise to transform the building industry and the architecture within, and although, there have been some limited attempts in this area recently; to date architecture has failed to utilize the vast amount of accumulated technological knowledge and innovations to significantly transform the industry. Consequently, the applications of new technologies to architecture remain remote and inadequate. One of the main reasons of this problem is economical. Architecture is still seen and operated as a sub-service to the Construction industry and it does not seem to be feasible to apply recent innovations in Building Technology area. Another reason lies at the heart of architectural education. Architectural education does not follow technological innovations (Watson 1997), and that “design and technology issues are trivialized by their segregation from one another” (Fernandez 2004). The final reason is practicality and this one is partially related to the previous reasons. The history of architecture is full of visions for revolutionizing building technology, ideas that failed to achieve commercial practicality. Although, there have been some adaptations in this area recently, the improvements in architecture reflect only incremental progress, not the significant discoveries needed to transform the industry. However, architectural innovations and movements have often been generated by the advances of building materials, such as the impact of steel in the last and reinforced concrete in this century. There have been some scattered attempts of the creation of new materials and systems but currently they are mainly used for limited remote applications and mostly for aesthetic purposes. We believe a new architectural material class is needed which will merge digital and material technologies, embedded in architectural spaces and play a significant role in the way we use and experience architecture. As a principle element of architecture, technology has allowed for the wall to become an increasingly dynamic component of the built environment. The traditional connotations and objectives related to the wall are being redefined: static becomes fluid, opaque becomes transparent, barrier becomes filter and boundary becomes borderless. Combining smart materials, intelligent systems, engineering, and art can create a component that does not just support and define but significantly enhances the architectural space. This paper presents an ongoing research project about the development of new class of architectural wall system by incorporating distributed sensors and macroelectronics directly into the building environment. This type of composite, which is a representative example of an even broader class of smart architectural material, has the potential to change the design and function of an architectural structure or living environment. As of today, this kind of composite does not exist. Once completed, this will be the first technology on its own. We believe this study will lay the fundamental groundwork for a new paradigm in surface engineering that may be of considerable significance in architecture, building and construction industry, and materials science.
keywords	Digital; Material; Wall; Electronics
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	ascaad2016_013
id	ascaad2016_013
authors	Belkis Öksüz, Elif
year	2016
title	Parametricism for Urban Aesthetics - A flawless order behind chaos or an over-design of complexity
source	Parametricism Vs. Materialism: Evolution of Digital Technologies for Development [8th ASCAAD Conference Proceedings ISBN 978-0-9955691-0-2] London (United Kingdom) 7-8 November 2016, pp. 105-112
summary	Over the last decade, paradigm shifts in the philosophy of space-time relations, the change from space-time to spatio-temporality, caused significant changes in the design field, and introduced new variations and discourses for parametric approaches in architecture. Among all the discourses, parametricism is likely the most spectacular one. The founder of parametricism, Patrik Schumacher (2009) describes it as “a new style,” which has “the superior capacity to articulate programmatic complexity;” and “aesthetically, it is the elegance of ordered complexity in the sense of seamless fluidity.” In its theoretical background, Schumacher (2011) affiliates this style with the philosophy of autopoiesis, the philosophy that stands between making and becoming. Additionally, parametricism concerns not only the physical geometry in making of form; but also discusses the relational and causal aspects in becoming of form. In other words, it brings the aesthetic qualities in making through the topological intelligence behind becoming. Regarding that, parametricism seems an effective way of managing /creating complex topologies in form-related issues. However, when it comes to practice, there are some challenging points of parametricism in large-scale design studies. Thus, this work underlines that the dominance of elegance for urban planning has the potential of limiting the flexible and dynamic topology of the urban context, and objectifying the whole complex urban form as an over-designed product. For an aesthetic inquiry into urban parametricism, this paper highlights the challenging issues behind the aesthetic premises of parametricism at the urban design scale. For that, Kartal Master Plan Design Proposal by Zaha Hadid Architects (2006) will be discussed as an exemplary work.
series	ASCAAD
email
last changed	2017/05/25 13:31

_id	ascaad2006_paper20
id	ascaad2006_paper20
authors	Chougui, Ali
year	2006
title	The Digital Design Process: reflections on architectural design positions on complexity and CAAD
source	Computing in Architecture / Re-Thinking the Discourse: The Second International Conference of the Arab Society for Computer Aided Architectural Design (ASCAAD 2006), 25-27 April 2006, Sharjah, United Arab Emirates
summary	These instructions are intended to guide contributors to the Second Architecture is presently engaged in an impatient search for solutions to critical questions about the nature and the identity of the discipline, and digital technology is a key agent for prevailing innovations in architectural design. The problem of complexity underlies all design problems. With the advent of CAD however, Architect’s ability to truly represent complexity has increased considerably. Another source that provides information about dealing with complexity is architectural theory. As Rowe (1987) states, architectural theory constitutes “a corpus of principles that are agreed upon and therefore worthy of emulation”. Architectural theory often is a mixed reflection on the nature of architectural design, design processes, made in descriptive and prescriptive terms (see Kruft 1985). Complexity is obviously not a new issue in architectural theory. Since it is an inherent characteristic of design problems, it has been dealt with in many different ways throughout history. Contemporary architects incorporate the computer in their design process. They produce architecture that is generated by the use of particle systems, simulation software, animation software, but also the more standard modelling tools. The architects reflect on the impact of the computer in their theories, and display changes in style by using information modelling techniques that have become versatile enough to encompass the complexity of information in the architectural design process. In this way, architectural style and theory can provide directions to further develop CAD. Most notable is the acceptance of complexity as a given fact, not as a phenomenon to oppose in systems of organization, but as a structuring principle to begin with. No matter what information modelling paradigm is used, complex and huge amounts of information need to be processed by designers. A key aspect in the combination of CAD, complexity, and architectural design is the role of the design representation. The way the design is presented and perceived during the design process is instrumental to understanding the design task. More architects are trying to reformulate this working of the representation. The intention of this paper is to present and discuss the current state of the art in architectural design positions on complexity and CAAD, and to reflect in particular on the role of digital design representations in this discussion. We also try to investigate how complexity can be dealt with, by looking at architects, in particular their styles and theories. The way architects use digital media and graphic representations can be informative how units of information can be formed and used in the design process. A case study is a concrete architect’s design processes such as Peter Eisenman Rem Koolhaas, van Berkel, Lynn, and Franke gehry, who embrace complexity and make it a focus point in their design, Rather than viewing it as problematic issue, by using computer as an indispensable instrument in their approaches.
series	ASCAAD
email
last changed	2007/04/08 19:47

_id	2006_826
id	2006_826
authors	Colakoglu, Birgul
year	2006
title	Explorations in Teaching Design Students to Think and Produce Computationally
doi	https://doi.org/10.52842/conf.ecaade.2006.826
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 826-831
summary	This paper describes a dynamic teaching model developed to explore new intellectual and theoretical directions of design generation. It utilizes shape grammars as a pedagogical tool for introducing the concept of design computing to graduate students of architecture without a background in computation theory. The teaching model has developed in two parallel run courses: 1-Introduction to Computational Logic in Design: a visual generative design tool shape grammar is used as a tool to teach design students computational logic, 2- Designing the Design: The design students are introduced with the new language and method of designing. Examples from the Computational Design graduate curriculum at Yildiz Technical University are given to illustrate explorations in this new teaching of design.
keywords	Computational design; shape grammars; design education
series	eCAADe
email
last changed	2022/06/07 07:56

_id	2006_810
id	2006_810
authors	Dokonal, Wolfgang and Knight,Michael
year	2006
title	Pen or PC? - Is Sketching essential to architectural design?
doi	https://doi.org/10.52842/conf.ecaade.2006.810
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 810-817
summary	This paper reports on an ongoing student architectural design project that is investigating the differing effects of the use of PC’s or Pens in the design process. We are interested to see whether designing wholly on the computer with a volume modeling software would produce differing results to a traditional design process with a strong basis in 2D sketching. To minimize the influence of the participants previous experience in either the use of PC’s or the pen, we have been working with very young students that have not yet gone through a traditional training on architectural design and CAAD software. This is one of the key aspects of our experimental procedure. We have found that recent software developments in the field of CAAD clearly have and will influence the way architects design and brings the computer as a design tool to the “normal architect”. Until very recently the computer was seen as a design tool almost solely for “computer geeks” in the profession, the majority of architects still using it mainly as a drafting machine or to produce visualizations of their projects after a more ‘conventional’ design process had finished. It is now very clear to us that the ongoing change in technology will have a profound effect on the way all of us will work in future undertaking architectural design. It is an important question for every school of architecture what effect these developments will have on our teaching methods and the curricula. We use the above mentioned ongoing educational project to find out about the benefits and risks of using the computer as a design tool for first year students.
keywords	Early Design stages; Collaborative Design; Sketching
series	eCAADe
email
last changed	2022/06/07 07:55

_id	5094
id	5094
authors	d’Estrée Sterk, Tristan
year	2006
title	Responsive Architecture: User-centered Interactions within the Hybridized Model of Control
source	Proceedings of the GAME, SET, MATCH II, conference at the Technical University of Delft, Netherlands, 29 March - 1 April 2006, pp. 494-501
summary	In the September 1969 issue of Architectural Design, Andrew Rabeneck wrote about the use of cybernetic devices within an automated architecture. He hypothesized that the concept of ‘flexibility’ was introduced to architecture because existing building technologies were inherently inflexible. He argued that architects should use cybernetic technologies to produce completely new types of increasingly flexible, user-centred, buildings. Three years later, Yona Friedman wrote about the changing relationship between clients and architects. He said that a new design methodology was needed because architects could not assess the future spatial needs of building users accurately enough. Proposing a new model, he split architectural design in two complementary halves, hardware design and software design, reasoning that this would give users the opportunity to adapt built spaces to suit their needs. Both of these ideas describe approaches to the production of an architecture that can change shape and configuration in response to changing patterns of use. Rabeneck’s approach illustrates the benefit of predictive technologies and automation, while Friedman’s model illustrates the benefit of user intervention and direct manipulation. This paper discusses developments in the field of responsive architecture in relation to two opposing user-centred interaction methodologies. It proposes methods for controlling responsive buildings and suggests that human computer interaction methodologies need to be re-thought and extended when applied within intelligent, responsive, architectures.
keywords	Responsive architecture, User-centred design, HCI, Intelligent buildings
series	other
type	normal paper
email
more	admin
last changed	2017/04/10 13:08

_id	sigradi2006_e090b
id	sigradi2006_e090b
authors	Hanna, Sean and Turner, Alasdair
year	2006
title	Teaching parametric design in code and construction
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 158-161
summary	Automated manufacturing processes with the ability to translate digital models into physical form promise both an increase in the complexity of what can be built, and through rapid prototyping, a possibility to experiment easily with tangible examples of the evolving design. The increasing literacy of designers in computer languages, on the other hand, offers a new range of techniques through which the models themselves might be generated. This paper reviews the results of an integrated parametric modelling and digital manufacturing workshop combining participants with a background in computer programming with those with a background in fabrication. Its aim was both to encourage collaboration in a domain that overlaps both backgrounds, as well as to explore the ways in which the two working methods naturally extend the boundaries of traditional parametric design. The types of projects chosen by the students, the working methods adopted and progress made will be discussed in light of future educational possibilities, and of the future direction of parametric tools themselves. Where standard CAD constructs isolated geometric primitives, parametric models allow the user to set up a hierarchy of relationships, deferring such details as specific dimension and sometimes quantity to a later point. Usually these are captured by a geometric schema. Many such relationships in real design however, can not be defined in terms of geometry alone. Logical operations, environmental effects such as lighting and air flow, the behaviour of people and the dynamic behaviour of materials are all essential design parameters that require other methods of definition, including the algorithm. It has been our position that the skills of the programmer are necessary in the future of design. Bentley’s Generative Components software was used as the primary vehicle for the workshop design projects. Built within the familiar Microstation framework, it enables the construction of a parametric model at a range of different interfaces, from purely graphic through to entirely code based, thus allowing the manipulation of such non-geometric, algorithmic relationships as described above. Two-dimensional laser cutting was the primary fabrication method, allowing for rapid manufacturing, and in some cases iterative physical testing. The two technologies have led in the workshop to working methods that extend the geometric schema: the first, by forcing an explicit understanding of design as procedural, and the second by encouraging physical experimentation and optimisation. The resulting projects have tended to focus on responsiveness to conditions either coded or incorporated into experimental loop. Examples will be discussed. While programming languages and geometry are universal in intent, their constraints on the design process were still notable. The default data structures of computer languages (in particular the rectangular array) replace one schema limitation with another. The indexing of data in this way is conceptually hard-wired into much of our thinking both in CAD and in code. Thankfully this can be overcome with a bit of programming, but the number of projects which have required this suggests that more intuitive, or spatial methods of data access might be developed in the future.
keywords	generative design; parametric model; teaching
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	acadia06_270
id	acadia06_270
authors	He, Weiling
year	2006
title	“Flatness” through Camera The Implications of Camera Movement in the Digital Reconstruction of Diamond Museum
doi	https://doi.org/10.52842/conf.acadia.2006.270
source	Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 270-277
summary	In architectural design, explorations using digital modeling and rendering tools do not stop at producing 3D geometries and representations. We need to interrogate the spatial implications of the functions these tools provide. One of the questions we need to ask is, is it possible to foreground architectural concepts “within” the mechanisms of these tools? This study focuses on one single function in 3D VIZ camera movement. The objective is to examine the spatial implications of this function in the computerized architectural space of Diamond Museum. Camera movement is studied in six variables: distance, point of view, camera angle, framing, duration and travel speed and sequencing. Further, the architectural concept of flatness will be understood through the movies generated within the space of Diamond Museum.
series	ACADIA
email
last changed	2022/06/07 07:49

_id	cf2011_p027
id	cf2011_p027
authors	Herssens, Jasmien; Heylighen Ann
year	2011
title	A Framework of Haptic Design Parameters for Architects: Sensory Paradox Between Content and Representation
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. 685-700.
summary	Architects‚Äîlike other designers‚Äîtend to think, know and work in a visual way. In design research, this way of knowing and working is highly valued as paramount to design expertise (Cross 1982, 2006). In case of architecture, however, it is not only a particular strength, but may as well be regarded as a serious weakness. The absence of non-visual features in traditional architectural spatial representations indicates how these are disregarded as important elements in conceiving space (Dischinger 2006). This bias towards vision, and the suppression of other senses‚Äîin the way architecture is conceived, taught and critiqued‚Äîresults in a disappearance of sensory qualities (Pallasmaa 2005). Nevertheless, if architects design with more attention to non visual senses, they are able to contribute to more inclusive environments. Indeed if an environment offers a range of sensory triggers, people with different sensory capacities are able to navigate and enjoy it. Rather than implementing as many sensory triggers as possible, the intention is to make buildings and spaces accessible and enjoyable for more people, in line with the objective of inclusive design (Clarkson et al. 2007), also called Design for All or Universal Design (Ostroff 2001). Within this overall objective, the aim of our study is to develop haptic design parameters that support architects during design in paying more attention to the role of haptics, i.e. the sense of touch, in the built environment by informing them about the haptic implications of their design decisions. In the context of our study, haptic design parameters are defined as variables that can be decided upon by designers throughout the design process, and the value of which determines the haptic characteristics of the resulting design. These characteristics are based on the expertise of people who are congenitally blind, as they are more attentive to non visual information, and of professional caregivers working with them. The parameters do not intend to be prescriptive, nor to impose a particular method. Instead they seek to facilitate a more inclusive design attitude by informing designers and helping them to think differently. As the insights from the empirical studies with people born blind and caregivers have been reported elsewhere (Authors 2010), this paper starts by outlining the haptic design parameters resulting from them. Following the classification of haptics into active, dynamic and passive touch, the built environment unfolds into surfaces that can act as ‚Äúmovement‚Äù, ‚Äúguiding‚Äù and/or ‚Äúrest‚Äù plane. Furthermore design techniques are suggested to check the haptic qualities during the design process. Subsequently, the paper reports on a focus group interview/workshop with professional architects to assess the usability of the haptic design parameters for design practice. The architects were then asked to try out the parameters in the context of a concrete design project. The reactions suggest that the participating architects immediately picked up the underlying idea of the parameters, and recognized their relevance in relation to the design project at stake, but that their representation confronts us with a sensory paradox: although the parameters question the impact of the visual in architectural design, they are meant to be used by designers, who are used to think, know and work in a visual way.
keywords	blindness, design parameters, haptics, inclusive design, vision
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	sigradi2006_e149b
id	sigradi2006_e149b
authors	Kendir, Elif
year	2006
title	Prêt-à-Construire – An Educational Inquiry into Computer Aided Fabrication
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 162-165
summary	This paper aims to show and discuss the relevance of developing necessary strategies for reintegrating the concept of fabrication into the architectural design process. The discussion will be partly based on the outcome of a graduate architectural design studio conducted in Spring semester 2002-2003. The graduate studio was part of a series of exploratory studies conducted on the nature of architectural design process transformed by information technologies. Preceded by studios investigating cognition and representation, this last studio focused on the concept of fabrication. The overarching aim of the studio series was to put CAD and CAM in context both within the actual architectural design process and within architectural education. The last of this series, which will be discussed within the frame of this paper, has specifically focused on CAM and the concept of fabrication in architecture. In accordance with the nature of a design studio, the research was more methodological than technical. The studio derived its main inspiration from the constructional templates used in dressmaking, which can be considered as an initial model for mass customization. In this context, the recladding of Le Corbusier’s Maison Domino was given as the main design problem, along with several methodological constraints. The main constraint was to develop the design idea through constructional drawings instead of representational ones. The students were asked to develop their volumetric ideas through digital 3D CAD models while working out structural solutions on a physical 1/50 model of Maison Domino. There was also a material constraint for the model, where only specified types of non-structural paper could be used. At this stage, origami provided the working model for adding structural strength to sheet materials. The final outcome included the explanation of different surface generation strategies and preliminary design proposals for their subcomponents. The paper will discuss both the utilized methodology and the final outcome along the lines of the issues raised during the studio sessions, some of which could be decisive in the putting into context of CAD – CAM in architectural design process. One such issue is mass customization, that is, the mass production of different specific elements with the help of CAM technologies. Another issue is “open source” design, indicating the possibility of a do-it-yourself architecture, where architecture is coded as information, and its code can be subject to change by different designers. The final key issue is the direct utilization of constructional drawings in the preliminary design phase as opposed to representational ones, which aimed at reminding the designer the final phase of fabrication right from the beginning. Finally, the paper will also point at the problems faced during the conduct of the studio and discuss those in the context of promoting CAM for architectural design and production in countries where there is no actual utilization of these technologies for these purposes yet.
keywords	Education; Fabrication; CAM
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	4559
id	4559
authors	Kilian, Axel
year	2006
title	Design Exploration through Bidirectional Modeling of Constraints
source	Massachusetts Institute of Technology
summary	Today digital models for design exploration are not used to their full potential. The research efforts in the past decades have placed geometric design representations firmly at the center of digital design environments. In this thesis it is argued that models for design exploration that bridge different representation aid in the discovery of novel designs. Replacing commonly used analytical, uni-directional models for linking representations, with bidirectional ones, further supports design exploration. The key benefit of bidirectional models is the ability to swap the role of driver and driven in the exploration. The thesis developed around a set of design experiments that tested the integration of bidirectional computational models in domain specific designs. From the experiments three main exploration types emerged. They are: branching explorations for establishing constraints for an undefined design problem; illustrated in the design of a concept car. Circular explorations for the refinement of constraint relationships; illustrated in the design of a chair. Parallel explorations for exercising well-understood constraints; illustrated in a form finding model in architecture. A key contribution of the thesis is the novel use of constraint diagrams developed to construct design explorers for the experiments. The diagrams show the importance of translations between design representations in establishing design drivers from the set of constraints. The incomplete mapping of design features across different representations requires the redescription of the design for each translation. This redescription is a key aspect of exploration and supports design innovation. Finally, this thesis argues that the development of design specific design explorers favors a shift in software design away from monolithic, integrated software environments and towards open software platforms that support user development.
keywords	Design, exploration, generative, bidirectional, constraints
series	thesis:PhD
type	normal paper
email
more	http://designexplorer.net/newscreens/phd2006/index.html
last changed	2006/12/07 19:52

_id	ddss2006-hb-187
id	DDSS2006-HB-187
authors	Lidia Diappi and Paola Bolchi
year	2006
title	Gentrification Waves in the Inner-City of Milan - A multi agent / cellular automata model based on Smith's Rent Gap theory
source	Van Leeuwen, J.P. and H.J.P. Timmermans (eds.) 2006, Innovations in Design & Decision Support Systems in Architecture and Urban Planning, Dordrecht: Springer, ISBN-10: 1-4020-5059-3, ISBN-13: 978-1-4020-5059-6, p. 187-201
summary	The aim of this paper is to investigate the gentrification process by applying an urban spatial model of gentrification, based on Smith's (1979; 1987; 1996) Rent Gap theory. The rich sociological literature on the topic mainly assumes gentrification to be a cultural phenomenon, namely the result of a demand pressure of the suburban middle and upper class, willing to return to the city (Ley, 1980; Lipton, 1977, May, 1996). Little attempt has been made to investigate and build a sound economic explanation on the causes of the process. The Rent Gap theory (RGT) of Neil Smith still represents an important contribution in this direction. At the heart of Smith's argument there is the assumption that gentrification takes place because capitals return to the inner city, creating opportunities for residential relocation and profit. This paper illustrates a dynamic model of Smith's theory through a multi-agent/ cellular automata system approach (Batty, 2005) developed on a Netlogo platform. A set of behavioural rules for each agent involved (homeowner, landlord, tenant and developer, and the passive 'dwelling' agent with their rent and level of decay) are formalised. The simulations show the surge of neighbouring degradation or renovation and population turn over, starting with different initial states of decay and estate rent values. Consistent with a Self Organized Criticality approach, the model shows that non linear interactions at local level may produce different configurations of the system at macro level. This paper represents a further development of a previous version of the model (Diappi, Bolchi, 2005). The model proposed here includes some more realistic factors inspired by the features of housing market dynamics in the city of Milan. It includes the shape of the potential rent according to city form and functions, the subdivision in areal submarkets according to the current rents, and their maintenance levels. The model has a more realistic visualisation of the city and its form, and is able to show the different dynamics of the emergent neighbourhoods in the last ten years in Milan.
keywords	Multi agent systems, Housing market, Gentrification, Emergent systems
series	DDSS
last changed	2006/08/29 12:55

_id	cf2011_p016
id	cf2011_p016
authors	Merrick, Kathryn; Gu Ning
year	2011
title	Supporting Collective Intelligence for Design in Virtual Worlds: A Case Study of the Lego Universe
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. 637-652.
summary	Virtual worlds are multi-faceted technologies. Facets of virtual worlds include graphical simulation tools, communication, design and modelling tools, artificial intelligence, network structure, persistent object-oriented infrastructure, economy, governance and user presence and interaction. Recent studies (Merrick et al., 2010) and applications (Rosenman et al., 2006; Maher et al., 2006) have shown that the combination of design, modelling and communication tools, and artificial intelligence in virtual worlds makes them suitable platforms for supporting collaborative design, including human-human collaboration and human-computer co-creativity. Virtual worlds are also coming to be recognised as a platform for collective intelligence (Levy, 1997), a form of group intelligence that emerges from collaboration and competition among large numbers of individuals. Because of the close relationship between design, communication and virtual world technologies, there appears a strong possibility of using virtual worlds to harness collective intelligence for supporting upcoming ‚Äúdesign challenges on a much larger scale as we become an increasingly global and technological society‚Äù (Maher et al, 2010), beyond the current support for small-scale collaborative design teams. Collaborative design is relatively well studied and is characterised by small-scale, carefully structured design teams, usually comprising design professionals with a good understanding of the design task at hand. All team members are generally motivated and have the skills required to structure the shared solution space and to complete the design task. In contrast, collective design (Maher et al, 2010) is characterised by a very large number of participants ranging from professional designers to design novices, who may need to be motivated to participate, whose contributions may not be directly utilised for design purposes, and who may need to learn some or all of the skills required to complete the task. Thus the facets of virtual worlds required to support collective design differ from those required to support collaborative design. Specifically, in addition to design, communication and artificial intelligence tools, various interpretive, mapping and educational tools together with appropriate motivational and reward systems may be required to inform, teach and motivate virtual world users to contribute and direct their inputs to desired design purposes. Many of these world facets are well understood by computer game developers, as level systems, quests or plot and achievement/reward systems. This suggests the possibility of drawing on or adapting computer gaming technologies as a basis for harnessing collective intelligence in design. Existing virtual worlds that permit open-ended design ‚Äì such as Second Life and There ‚Äì are not specifically game worlds as they do not have extensive level, quest and reward systems in the same way as game worlds like World of Warcraft or Ultima Online. As such, while Second Life and There demonstrate emergent design, they do not have the game-specific facets that focus users towards solving specific problems required for harnessing collective intelligence. However, a new massively multiplayer virtual world is soon to be released that combines open-ended design tools with levels, quests and achievement systems. This world is called Lego Universe (www.legouniverse.com). This paper presents technology spaces for the facets of virtual worlds that can contribute to the support of collective intelligence in design, including design and modelling tools, communication tools, artificial intelligence, level system, motivation, governance and other related facets. We discuss how these facets support the design, communication, motivational and educational requirements of collective intelligence applications. The paper concludes with a case study of Lego Universe, with reference to the technology spaces defined above. We evaluate the potential of this or similar tools to move design beyond the individual and small-scale design teams to harness large-scale collective intelligence. We also consider the types of design tasks that might best be addressed in this manner.
keywords	collective intelligence, collective design, virtual worlds, computer games
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	2006_464
id	2006_464
authors	Mullins, Michael; Tadeja Zupancic, Christian Kühn, Paul Coates and Orhan Kipcak
year	2006
title	V I PA: A virtual campus for virtual space design
doi	https://doi.org/10.52842/conf.ecaade.2006.464
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 464-469
summary	The conceptual design of virtual spaces is creating new places in which to live and work. In consequence, new opportunities for work and employment are opening up for architects as well as for architectural educators. In response to this challenge, VIPA, a transnational virtual campus is currently being developed; it contains an e-learning and research platform for European architectural schools with a focus on virtual space design. The virtual campus integrates administrative, curricular, and communicative infrastructures, interactive, multimedia 3-D contents, and pedagogical considerations in respect of the aims, content and technologies employed. Virtual campuses are already established at most universities in the European Community, yet surprisingly e-learning is not yet widespread in architectural schools in Europe. E-learning is arguably still in an initial research phase; although there are best practice examples where e-learning is already replacing traditional study forms in other teaching disciplines. However, it has been found that although all the universities involved in the VIPA project have been involved in e-learning projects for many years, there is a considerable resistance to e-learning as being equally effective as traditional face-to-face studio teaching. Given the new virtual conditions of space design however, new contexts for learning are increasingly relevant. University curricula have developed out of local competencies, networks of teachers and researchers. These local factors need to be woven into the fabric of a transnational VIPA curriculum and supported with organizational layout, platform, user interfaces and their features. Participants will offer existing courses in virtual space design, as well as developing new ones. This offers the option for both present and future participants to adjust the VIPA courseware to suit local curricula demands, while offering a large range of courses and knowledge. An additional feature of VIPA is thus as a platform for curricula development in virtual space design. The paper reports on the VIPA project’s aims, pedagogical problems, solutions, course content and methods; it will describe prototype results from participating universities and include perspectives on its future application.
keywords	Architectural Education; E-Learning; Virtual Space
series	eCAADe
email
last changed	2022/06/07 07:59

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