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	2006_650
id	2006_650
authors	Tourre, Vincent; Jean-Yves Martin and Gérard Hégron
year	2006
title	Expression of luminous ambience intention in CAAD
doi	https://doi.org/10.52842/conf.ecaade.2006.650
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 650-655
summary	This paper presents a research in progress dedicated to the development of a Computer Aided Architectural Design (CAAD) tool, which integrates design by ambience intention concept. A digital design by ambience intention framework is proposed, allowing intention expression of daylighting ambience through scene lighting properties. Lighting descriptors are introduced to represent theses properties, and combined to produce a lighting constraint set. These constraints are intended to be used in an inverse lighting model to compute geometrical raw solutions.
keywords	Design by intention; Daylighting ambiance; Intention expression; CAAD tools; Inverse rendering
series	eCAADe
email
last changed	2022/06/07 07:58

_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	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_e082d
id	sigradi2006_e082d
authors	Beros Contreras, Christian
year	2006
title	Space, Events and Urban Performance
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 333-336
summary	This report investigates different kinds of Urban Performance in Thames Path, South Bank of Thames River. Urban Performance is defined here as the expression or manifestation of different social groups in the city space regarding the appropriation of a specific place for its spatial practices. The Urban Performances are intrinsic to the cultural expression of the city and revealed through the spatial experience of both performer and spectator. The aim of this paper is to shed light on different kind of urban performances and how are they linked to spatial and syntactic properties of space. This topic is intrinsic in the space syntax theory due its fundamental relation between spatiality and human activity. The research method used were, direct observations by static snapshots and traces (related with human movement) and a survey of potential attractors, active facades and path widths. The results were overlaid with spatial analysis in terms of performers isovists and syntactic analysis through visibility graph. The findings show a strong relation between performers’ use of space and visibility in the urban area, and a high influence of the cultural attractions and public services that works as movement attractors. The discussion is developed through the research findings and theories of spatial experience putting forward varied interpretations related with the research topic and the selected site. The report concludes that the urban performances in Thames path is determined by the human co presence in the space, due to this strategic points chosen along the path by the performers are strongly related with the visual connections in the system. Furthermore, the attractors play an important role shaping the spatial experience and urban character of the studied area.
keywords	Urban Performance; Space Syntax; Isovists
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	2006_000
id	2006_000
authors	Bourdakis, Vassilis and Charitos, Dimitris (eds.)
year	2006
title	Communicating Space(s)
doi	https://doi.org/10.52842/conf.ecaade.2006
source	24th eCAADe Conference Proceedings [ISBN 0-9541183-5-9], Volos (Greece) 6-9 September 2006, 914 p.
summary	The theme of this conference builds on and investigates the pre-existing and endlessly unfolding relationship between two domains of scientific inquiry: Architecture, urban design and planning, environmental design, geography and Social theory, media and communication studies, political science, cultural studies and social anthropology. Architectural design involves communication and could thus be partly considered a communicational activity. Designers (or not) see architectural designs, implicitly, as carriers of information and symbolic content; similarly buildings and urban environments have been “read” and interpreted by many (usu- ally not architects) as cultural texts. At the same time, social and cultural studies have studied buildings and cities, as contexts for social and cultural activities and life in general, from their mundane expression of “everyday life” (Highmore, 2001) to elite expressions of artistic creativity and performance. Information and communication technologies (ICTs) support both of these levels of scientific inquiry in many ways. Most importantly however, ICTs need design studies, architectural and visual design, social and cultural studies in their quest to create aesthetically pleasing, ergonomically efficient and functional ICT sys- tems; this need for interdisciplinarity is best articulated by the low quality of most on-line content and applica- tions published on the web.
series	eCAADe
type	normal paper
email
more	http://www.ecaade.org
last changed	2022/06/07 07:49

_id	sigradi2006_c017c
id	sigradi2006_c017c
authors	de la Barrera Poblete, Carlos Ignacio
year	2006
title	Algoritmos Evolutivos como Modelo Propositivo de Diseño [Evolutionary Algorithms for Supple Design Systems]
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 273-277
summary	The study uses a repetitive rule of geometric and arithmetical expression, cradle in the movement of the horse in the chess, as displacement continued within a well-known field. Each jump is an iteration of the algorithm, and does that a gene initiator mute, varying its genetic information in its chromosome. This Evolutionary Algorithm is used like an explorer of the space, which tends to move according to a pre-established atmosphere in the programming. The Evolutionary Algorithm imitates the biological evolution as strategy to solve design problems. Its unexpected answers and without direct intervention of a designer, is a family of forms with small variations among them, where each member is a possible solution to the problem. The Generative Calculation depends on its rules, and in this sense he is as genuine as the behaviour of any natural biological system.
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	2006_058
id	2006_058
authors	Fukuda, Tomohiro; Kazuhiro Sakata; Wookhyun Yeo and Atsuko Kaga
year	2006
title	Development and Evaluation of a Close-range View Representation Method of Natural Elements in a Real-time Simulation for Environmental Design - Shadow, Grass, and Water Surface
doi	https://doi.org/10.52842/conf.ecaade.2006.058
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 58-65
summary	In this research, a close-range view expression method used in real-time simulation based on virtual reality technology is developed for environmental design evaluation. After describing the purpose and accuracy of representation, the problem of natural element representation in a close-range view, which has not been developed yet, is clarified. Next, the close-range view expression method of shadows, grass, and water surface is developed. Furthermore, the developed method is applied to a number of actual environmental design projects, and frame rate measurement and user evaluation are performed.
keywords	Environmental Design; Real-time Simulation; Virtual Reality; Consensus-building; Representation of natural elements
series	eCAADe
email
last changed	2022/06/07 07:50

_id	eaea2005_103
id	eaea2005_103
authors	Giró, Héctor
year	2006
title	Visualising emotions - Defining urban space through shared networks
source	Motion, E-Motion and Urban Space [Proceedings of the 7th European Architectural Endoscopy Association Conference / ISBN-10: 3-00-019070-8 - ISBN-13: 978-3-00-019070-4], pp. 103-111
summary	Networks and new media and communication tools, in combination with other media like film, imaging, text and sound, make richer ways of expression possible and at the same time offer attractive possibilities to investigate and express designing. Architects, or their clients, in consequence become increasingly able to explore, develop and communicate their ideas in a better way. At the same time, most people find it difficult to describe their demands and needs in advance: it seems they react much better on something that is already there, a finished work. How then can designers get a better idea of people’s needs and wishes? In other words, how could designers –among others- get a better match between expectations and results? Consequently, what could be the significance of ‘new media’ within this process?
series	EAEA
email
more	http://info.tuwien.ac.at/eaea
last changed	2008/04/29 20:46

_id	eaea2005_73
id	eaea2005_73
authors	Gorczyca, Adam
year	2006
title	Atmosphere and Qualities of Urban Space - A Motion as a Modern Way of expressing Architecture
source	Motion, E-Motion and Urban Space [Proceedings of the 7th European Architectural Endoscopy Association Conference / ISBN-10: 3-00-019070-8 - ISBN-13: 978-3-00-019070-4], pp. 73-87
summary	There are many words written about the motion in architecture. (Giedion, Ferstegen, Jormakka, Lynn). They try to describe, classify, separate or represent it. This work presents motion as one of the leading factors of contemporary ways of expression in architecture. It will examine different examples of architectural motion, then make a hypothesis, that one of the possible reasons of expressing movement in architecture is the usage of new generation of modern CAD/3D-animation software, like 3DStudio Max, Lightwave, Maya, Catia, Rhino, or CINEMA 4D.
series	EAEA
email
more	http://info.tuwien.ac.at/eaea
last changed	2008/04/29 20:46

_id	caadria2009_046
id	caadria2009_046
authors	Haeusler, Matthias Hank
year	2009
title	Modulations of Voxel Surfaces Through Emotional Expressions to Generate A Feedback Loop Between Private Mood and Public Image
doi	https://doi.org/10.52842/conf.caadria.2009.173
source	Proceedings of the 14th International Conference on Computer Aided Architectural Design Research in Asia / Yunlin (Taiwan) 22-25 April 2009, pp. 173-182
summary	My proposal is an investigation into the perceptual boundaries between human and architectural expression. It asks how architecture can creatively adopt human expression by using the emotions ‘displayed’ on the ‘surface face’ as a generator for displaying a surface on a voxel façade to achieve a cross-connecting perceptual change with modulations through emotion (Massumi, 2006). Through voxel facades the public with their expressed emotions will be included in the decision process of defining space, by expressing our innermost feelings through an architectural medium. Thus emotions of the individual have a platform and can be conveyed indirectly to the public, and in turn open up discussions about the state of the community through the state of the façade. An alliance of media and place in an urban context can be achieved and created, with the participation of its inhabitants, along with a new perception of how media and architecture can together shape and inform spatial relations for a feedback loop between private mood and public image.
keywords	Voxel façade; simulation; human-environment interaction; dynamic space
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	2006_014
id	2006_014
authors	Iordanova, Ivanka; Lorna Heaton and Manon Guité
year	2006
title	Architectural Design Spaces and Interpersonal Communication-Changes in Design Vocabulary and Language Expression
doi	https://doi.org/10.52842/conf.ecaade.2006.014
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 14-21
summary	This paper addresses communication during the design process and the mutations it may undergo depending on the medium of design. Three experimental observations were held with students in the context of architectural digital design studios. Each of them was performed when the students were working on a design problem, in groups of two or three, with different design mediums: cardboard mock-up or modeling software with one or two mice used for interaction with the computer. The methodology used for analysing the recorded video and graphical data is based on previous research work in the domains of collaborative communication as well as in the domain of design. It combines purely qualitative interpretation with graphical linkographic analysis. A software prototype was developed in order to allow for an interactive category assignment, exploration and interaction. Gesture, verbal language and design space are studied in order to determine their dependence on the medium and the eventual impact this might have either on the design process or on the object being designed.
keywords	Design communication; education; gesture
series	eCAADe
email
last changed	2022/06/07 07:50

_id	2006_372
id	2006_372
authors	Martens, Bob; Earl Mark and Nancy Yen-wen Cheng
year	2006
title	Thresholds between Analog and Digital Representations
doi	https://doi.org/10.52842/conf.ecaade.2006.372
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 372-383
summary	The emergence of digital alongside analog design media has created an interest in how the two intersect and differ. A traditional paper drawing can possess qualities of originality, authorship, and continuity of expression that may be lacking in a digitally produced drawing. Audio aficionados hold onto their collection of vinyl records based upon qualities of sound that they perceive. A manually created drawing by a grand master will be valued typically over a digital drawing in which a copy is of equal quality to the original. This paper explores distinctions between analog and digital media, explaining the creative opportunities and critical issues that emerge with the hybrid combinations that have become commonplace within the design studio. Three instructors from separate schools of design survey in-practice uses, and offer a common perspective on a topic that has created uncertainty over the place and use of design media.
keywords	Digital Design Media; Analog; Threshold of Perception; Design Process
series	eCAADe
email
last changed	2022/06/07 07:59

_id	caadria2006_269
id	caadria2006_269
authors	MATTHIAS HAASE, ALEX AMATO
year	2006
title	ND MODELLING FOR SUSTAINABLE ENVELOPES: The sustainable dimensions of envelope design
doi	https://doi.org/10.52842/conf.caadria.2006.x.e6l
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 269-276
summary	Sustainable development issues are currently the driving forces in many building projects. The building envelope is critical for the architectural expression as well as large parts of the environmental performance. This study tries to investigate the advantages of multidimensional computer aided modeling and simulation for a sustainable facade design approach. A first step towards nD modeling for sustainable design is to establish a list of parameter which are used as design criteria: Environmental performance, thermal visual and acoustic comfort. Computer simulation and analysis of different building elements can help to determine the performance according to a set of design parameter. Environmental impacts due to energy consumption are an important parameter but it is believed that comfort criteria need also to be accounted for.
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	caadria2006_629
id	caadria2006_629
authors	MICHAEL A. AMBROSE
year	2006
title	VERTICALITY AND HORIZONTALITY. FROM THE PANTHEON TO THE PLAYSTATION, SPATIAL EXPERIENCE AND THE HUMAN BODY IN ARCHITECTURE
doi	https://doi.org/10.52842/conf.caadria.2006.x.w3q
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 629-631
summary	This research seeks to question the assumed relationship between perspectival projection and architecture as means of investigation, representation and ultimately re-presentation of architectural idea and spatial experience. Spatial experience is primarily a product of corporeal sensation. The human body, as the site of experience reveals a conceptual contradiction between our innate senses and learned perceptions (Gibson, 1966). Verticality and horizontality are abstract conceptual and perceptual constructs used simultaneously in human sensory systems to locate one in space and time. The spatial experience as generated from, and translated by, the human body through visual sensory perception is the focus of the work that looks at first, second and third person spatial experience in architecture and architectural representation. As society continues on the path of further cybernetic extension of the body’s sense-image, the context and spatial/visual literacy of the ‘learned’ sense of space-time will continue to evolve, transform and alter as cultures stretch to engage both edges of the physical and virtual worlds. Vitruvius articulated the human experience (and the subsequent expression of architecture) as inherently a vertical one.
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	caadria2006_557
id	caadria2006_557
authors	PREECHA MANESSATID, PETER J SZALAPAJ
year	2006
title	THE DEVELOPMENT OF AN INTEGRATED ENVIRONMENTAL BUILDING DESIGN TOOL
doi	https://doi.org/10.52842/conf.caadria.2006.x.n7f
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 557-559
summary	Environmental design implementations are generally applied within limited and specialised areas of environmental design making them difficult to use intuitively by designers (Maneesatid and Szalapaj, 2003). Building simulations have mostly focused on accurate parameters and physical properties of building elements. Such tools typically require numerous numerical data which is often only accurately known in the detail design stages. Conventional environmental building design systems (EBS) have typically required highly experienced users who are familiar with extensive qualitative input and output requirements. A successful architectural design solution that is both energy efficient and environmentally friendly, cannot be obtained simply by additively combining a set of discrete specialist analyses. A move towards better architectural design with environmental considerations can be achieved by allowing designers themselves to express relationships between salient environmental parameters that can subsequently be analysed in integrated ways. This presentation is concerned with the issues involved in developing a quick and intuitive interface for expression of relationships between environmental parameters.
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	sigradi2006_c177b
id	sigradi2006_c177b
authors	Rossado Espinoza, Veronica Paola
year	2006
title	Enseñanza de Dibujo Arquitectonico con Medios Digitales: La Expresion Arquitectonica Actual [Architectural drawing with digital media: The actual architectural expression]
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 200-204
summary	The Faculty of Architecture and Urbanism of the Ricardo Palma University incorporated more than 15 years ago the obligatory course of Drawing by Computer. Since then, and in view of the technological advances and the exigencies of the market, the lectures have been modified from those that traditionally used manual means. There are many lectures that use digital means in the Faculty, the present investigation tries to show to the objectives and methodology used in these lectures. The Faculty has the area of Communications; this area includes three courses for the education of Computer Drawing, 2D, 3D and virtual presentations. We have for example, inside the area of communications, the different modifications that have suffered the drawing courses, in the technology area, the courses of Environmental Technology, and in the area of workshops, the appearance of a virtual workshop that is carried out entirely with the employment of the digital technology.
series	SIGRADI
email
last changed	2016/03/10 09:59

_id	2006_216
id	2006_216
authors	Schnabel, Marc Aurel
year	2006
title	Architectural Parametric Designing
doi	https://doi.org/10.52842/conf.ecaade.2006.216
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 216-221
summary	This paper describes a unique coupling of an architectural urban design studio with an in-depth digital media course in order to explore new ways of architectural expression, form finding and communication. It reports on the variables, goals and outcomes of this design studio as well as its integration of digital parametric design that allowed the participants to create innovative urban design language, based on parametric descriptions. The paper portrays the educational approach; the way parametric computer design tools have been introduced, as well as the process and outcomes of the studio. It discusses implications on design education as well as understanding and communicating of complex design tasks that are responsive to a variety of parameters.
keywords	Urban design studio; parametric modelling; design exploration
series	eCAADe
email
last changed	2022/06/07 07:57

_id	acadia06_536
id	acadia06_536
authors	Sprecher, A., Ahrens, C., Neuman, E.
year	2006
title	The Hylomorphic Project
doi	https://doi.org/10.52842/conf.acadia.2006.536
source	Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 536-537
summary	The Hylomorphic Project is a complex canopy structure, genetically evolved as a vital entity that reacts to changing data streams while configuring the architectural form. For the Hylomorphic Project, Open Source Architecture (OSA) together with structural engineer Prof. Kristina Shea and Marina Gourtovaia of Cambridge University (UK) developed genetic algorithms. Performs in eifForm software, an experimental computer-aided design system for structural synthesis, the algorithm is based in computational environments as a methodology for form finding and material expression that goes beyond the formal articulation of the computational procedure. This procedure simulates a topological condition of natural form evolution that can be consolidated according to innumerable trajectories. Seeking dynamic, flexible and continuous evolution procedures, the software provides the required conditions for this type of the design as it consists of a computational core, which is written in C, a fast low-level compiled language. The modules providing interactive access to the core and the graphical user interface (GUI), a high-level scripting language written in Python, allow for easy customization of the software according to a design task in hand.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	2006_552
id	2006_552
authors	Tellios, Anastasios
year	2006
title	‘High Code’ architecture - A diagram of de-materialization and reinstallation of architecture
doi	https://doi.org/10.52842/conf.ecaade.2006.552
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 552-555
summary	Architectural representations do not merely realize the transmission of intervened information between the architect and his audience. Through the growing importance of representation and the use of digital means of expression, which is obviously met in contemporary architectural discourse, one can safely suggest that in certain cases the information is created rather than treated or consumed through the procedure of digital representation. The issue raised is of far greater range than just the replacement of traditional means of representation. One can already trace definite signs of a new communicative entity, profoundly based upon the use of digital means, alongside the classic body of architecture. This new essence is the result of architectural representation, in its autonomous interpretation, when it creates the meaning and the information that initially was assigned only to transmit. All these special conditions are more effectively reflected into a new concept, this of ‘high code architecture’. ‘High code architecture’ implies and presupposes the existence of an additional inner mechanism that creates it. The procedure of emancipation of the architectural representations is rather incomplete without the validity of an associating mechanism between the representation itself and the represented object. This phenomenon can be studied through a diagram of de-materialization and reinstallation of architecture. This diagram is materialized in three distinctive stages: 1. The architectural object is de-materialized through various representations and procurations via digital, figurative and print media to finally become an image. 2. The images, as representatives and/or substitutes of an architectural object, re-materialize and form a kind of architecture that is of ‘abstracted perception’ and free of theoretic and ideological weights. 3. An array of morphological types, ‘iconic pictures’ is created, that form the base of the so called ‘high code architecture’.
keywords	Representation; Image; Iconic
series	eCAADe
email
last changed	2022/06/07 07:58

_id	caadria2006_007
id	caadria2006_007
authors	TOYO ITO
year	2006
title	CHANGE THE GEOMETRY TO CHANGE THE ARCHITECTURE
doi	https://doi.org/10.52842/conf.caadria.2006.x.e8f
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 7-18
summary	Over these last hundred years since the beginning of the twentieth century, the world's population has increased from 1.6 billion to 6 billion. At the same time, people have concentrated in urban areas in ever greater numbers. As a result, society has suddenly been obliged to construct quantities of buildings rapidly and economically. In responding to this challenge, the demand has been for architecture independent of any special regional or environmental character, simple homogeneous spaces that could be factory-produced. Modernist architecture gave theoretical bases to societal demands as well as a normalized aesthetic mean. Under the ideological banner of Mies van der Rohe's dictum "Less is more," the Modernists drew up beautiful continuous spaces on a uniform grid. While Le Corbusier's assertion that "The house is a machine for living in" found concrete expression in an idealized architecture of pure geometric forms--circles, cubes, cylinders.
series	CAADRIA
last changed	2022/06/07 07:49

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