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	cdc2008_129
id	cdc2008_129
authors	Breen, Jack and Julian Breen
year	2008
title	The Medium Is the Matter: Critical Observations and Strategic Perspectives at Half-time
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 129-136
summary	This paper critically re-views the professional impact and functionality of the pervasive digital ‘matter’ we have come to believe we can no longer do without. On the basis of a playful exploration of the first ‘half-century’ of our digital age, an attempt is made to draw new perspectives for the next ’level’ of our digital culture in a broader (multi)media perspective and more specifically: the domains of Architecture. To stimulate an open-minded ‘second-half’ debate, the paper puts forward some potentially promising (and hopefully provocative) conceptions and strategies for imaginative interface applications and game-based architectural study initiatives. Furthermore, the paper proposes the establishment of a new cultural platform for the exchange of Critical Digital hypotheses and the evolvement of visionary design concepts through creative digital innovation, with the (inter)active involvement of older and younger team-players…
email
last changed	2009/01/07 08:05

_id	ecaade2008_008
id	ecaade2008_008
authors	Cypriano, Débora Z.; Celani, Gabriela
year	2008
title	Sloping Façade Buildings in Brazilian Modern Architecture
source	Architecture in Computro [26th eCAADe Conference Proceedings / ISBN 978-0-9541183-7-2] Antwerpen (Belgium) 17-20 September 2008, pp. 61-68
doi	https://doi.org/10.52842/conf.ecaade.2008.061
summary	Sloping façade buildings have been present throughout XXth century architecture, for different programs and in different countries. One of the first architects to use sloping façades was probably Frank Lloyd Wright, two early examples being Taliesin West (1937) and the Annie Pfeiffer Chapel at Florida Southern College (1938-41). In Brazilian Modern architecture sloping façades soon became a recurrent solution, the earlier examples being produced by architects Oscar Niemeyer, João V. Artigas and Affonso E. Reidy, possibly influenced by FLW, as suggested by Irigoyen (2002). The present research proposes that these buildings may have influenced other architects in Brazil and abroad. In order to confirm this hypothesis, a design process was modelled and a shape grammar was developed to describe a small corpus of buildings designed by these three architects in the 1940´s and 1950´s.
keywords	Sloping façade buildings, shape grammar, Brazilian modern architecture
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	sigradi2008_089
id	sigradi2008_089
authors	Godoi,Giovana; Gabriela Celani
year	2008
title	A study about facades from historical brazilian town using shape grammar
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	Shape grammars have been used in architecture for analysis and synthesis - in the first case, mainly for the characterization of styles and in the later for the generation of novel compositions. The present research proposes the use of shape grammars for establishing guidelines for the requalification of historical areas that have lost their original characteristics due to improper renovations. The use of shape grammars proposed here starts with the definition of a set of rules for characterizing the original style of an area. Based on these rules, the main characteristics of the area are confirmed, such as siting, proportions between walls and openings in the façades, overall dimensions constraints, and so on. Next, the rules of the grammar are transformed, to allow the use of contemporary building materials, as well as the incorporation of contemporary living styles in the new design. Rules must take into account two cases: original buildings that have been inadequately transformed, and buildings that have been completely torn down and will replace been completely replaced by new constructions. Both cases need to be harmonious with the remaining original buildings, however without simply copying the existing style. In both cases, rules have been used to establish the guidelines for the renovations, which resulted in modern urban environments that resemble the original historical sites in terms of spatial relations and proportions. They also create an appropriate environment for the observations of the preserved original buildings, which would otherwise look like aliens in a completely transformed neighborhood. The latter case is very common in most Brazilian cities, especially in the case of São Paulo, where houses from the late 1800´s and early 1900´s are flanked by high rise apartment buildings. In order to develop and test the proposed method, a study will be carried out in a small Brazilian town called Monte Alegre do Sul. The town was chosen because its original urban morphology, developed in the XIXth century, is still relatively well preserved, although part of the original façades have been transformed. The objective of the research is to develop a shape grammar to set guidelines for the re-adaptation of the already renovated façades and reconstruction of other ones in Monte Alegre do Sul.
keywords	Shape grammar, generative design systems
series	SIGRADI
email
last changed	2016/03/10 09:52

_id	acadia08_158
id	acadia08_158
authors	Hight, Christopher; Natalia Beard; Michael Robinson
year	2008
title	Hydrauli_City: Urban Design, Infrastructure, Ecology
source	Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 158-165
doi	https://doi.org/10.52842/conf.acadia.2008.158
summary	The Hydrauli_city project was commissioned by the Harris County Flood Control District, Brays Bayou Partnership and the Rice School of Architecture to research the transformation of one of the 21 main Bayous in Houston. The project seems perfectly aligned with the theme of the issue because it examines the relationship between infrastructure, risk and urban design, and does so by attempting to leverage diverse time scales and scales of intervention into the maintenance of this infrastructure, rethinking the legacy of its top-down 20th century planning logics. Moreover, it raises key questions about new agencies and sites that may be available to architects that seek to engage the political ecologies of the contemporary metropolis. Through research on the hydraulic urbanism of Houston and through three speculative design proposals, Hydrauli_city presents research about transforming Brays Bayou. The project attempts to provide a figure for and foster the new forms of collectives and networks required to transform the urban condition of Houston without resorting to unrealistic top-down planning infrastructures. We located several scales and time-frames of operations, from micro-scaled interventions derived from ongoing maintenance of the bayous to larger scale transformations now possible due to the programs to reduce the risk of flooding in the bayou’s watershed. Hydrauli_city maps the confluences of interests and agencies invested in Brays Bayou at this crucial moment in its history, and offers proposals of bold new civic spaces for the Green Century. The project will be disseminated via an interactive website and a series of public presentations to raise awareness and spark conversation. Flood risk management is a hybrid phenomenon, at once the object of scientific knowledge, engineering practice, and political and economic forces, positioning the architect in a prime-position to intervene.
keywords	Infrastructure; Mapping; Morphogenesis; System; Urbanism
series	ACADIA
last changed	2022/06/07 07:50

_id	cdc2008_003
id	cdc2008_003
authors	Kalay, Yehuda E.
year	2008
title	The Impact of Information Technology on Architectural Education in the 21st Century
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 3-6
summary	Architecture is a technology-intensive discipline. It uses technology—both in the process of designing and in its products—to achieve certain functional, cultural, social, economic, and other goals. In turn, technology transforms the discipline. The importance of technology to the discipline and to the practice of architecture has been demonstrated again and again throughout history. In the 21st century, the advent of computer-aided design, computerassisted collaboration, construction automation, “intelligent” buildings, and “virtual” places, promise to have as much of an impact on architectural design processes and products as earlier technological advances have had. Like most other early adoptions of a technology, the first uses of computing in the service of architecture mimicked older methods: electronic drafting, modeling, and rendering. But this rather timid introduction is changing rapidly: new design and evaluation tools allow architects to imagine new building forms, more responsive (and environmentally more responsible) buildings, even radically new types of environments that blend physical with virtual space. Communication and collaboration tools allow architects, engineers, contractors, clients, and others to work much more closely than was possible before, resulting in more complex, more innovative, and more effective designs. Understanding and shaping this transformation are the basis of architectural education in the 21st century.
email
last changed	2009/01/07 08:05

_id	sigradi2008_180
id	sigradi2008_180
authors	Vincent, Charles
year	2008
title	Gulliver in the land of Generative Design
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	The current trend in architectural design towards architectural computing has been treated both from a philosophical standing point and as an operational systems’ problem, in a quest for explications which could at last break ground for a more broad development and adoption of design tools. As Kostas Terzidis (2007) puts it, the intuitiveness that architects have put on so high a pedestal seems to be the central issue to be dealt with by both views. There seems to be no apparent shortcut toward the reconciliation between traditional practice and new media and most certainly it is not only a problem of interface design, but one of design method clarification and reinterpretation of those methods into computing systems. Furthermore, there’s no doubt left as to whether computing systems can generate such new patterns as to impact our own understanding of architecture. But even if computer algorithms can make possible the exploration of abstract alternatives to an abstract initial idea, as in Mathematica and Processing, the issue of relating abstract and geometric representations of human centered architecture lays in the hands of architects, programmers or, better yet, architect-programmers. What seems now to be the relevant change is that architectural design might escape from the traditional sequence embedded in the need – program – design iterations – solution timeline, substituted by a web of interactions among differing experimental paths, in which even the identification of needs is to be informed by computing. It is interesting to note that the computational approach to architectural design has been praised for the formal fluidity of bubbles and Bezier shapes it entails and for the overcoming of functionalist and serialization typical of modern architecture. That approach betrays a high degree of canonic fascination with the tools of the trade and very little connection to the day to day chores of building design. On the other hand, shall our new tools and toys open up new ways of thinking and designing our built landscape? What educational issues surface if we are to foster wider use of the existing technologies and simultaneously address the need to overtake mass construction? Is mass customization the answer for the dead end modern architecture has led us to? Can we let go the humanist approach begun in Renascence and culminated in Modernism or shall we review that approach in view of algorithmic architecture? Let us step back in time to 1726 when Swift’s ‘Travels into Several Remote Nations of the World by Lemuel Gulliver’ was first published. In Swift’s fierce critic of what seemed to him the most outrageous ideas, he conceived a strange machine devised to automatically write books and poetry, in much the same generative fashion that now, three centuries later, we begin to cherish. “Every one knew how laborious the usual method is of attaining to arts and sciences; whereas by his contrivance, the most ignorant person at a reasonable charge, and with a little bodily labour, may write books in philosophy, poetry, politicks, law, mathematics and theology, without the least assistance from genius or study. He then led me to the frame, about the sides whereof all his pupils stood in ranks. It was twenty foot square, placed in the middle of the room. The superficies was composed of several bits of wood, about the bigness of a dye, but some larger than others. They were all linked together by slender wires. These bits of wood were covered on every square with paper pasted on them; and, on these papers were written all the words of their language in their several moods, tenses, and declensions, but without any order. The professor then desired me to observe, for he was going to set his engine at work. The pupils at his command took each of them hold of an iron handle, whereof there were forty fixed round the edges of the frame; and giving them a sudden turn, the whole disposition of words was entirely changed. He then commanded six and thirty of the lads to read the several lines softly as they appeared upon the frame; and where they found three or four words together that might make part of a sentence, they dictated to the four remaining boys who were scribes. This work was repeated three or four times, and at every turn the engine was so contrived, that the words shifted into new places, as the square bits of wood moved upside down.” (Jonathan Swift, Gulliver’s Travels, A Voyage to Balnibarbi) What astonishing forecast did Swift show in that narrative that, in spite of the underlying incredulity and irony, still clarifies our surprise when faced to what might seem to some of us just an abandonment of all that architects and designers have cherished: creativeness and inventiveness. Yet, we could argue that such a radical shift in paradigm occurred once when master builders left the construction ground and took seat at drafting boards. The whole body of design and construction knowledge was split into what now seem to us just specialties undertaken by more and more isolated professionals. That shift entailed new forms of representation and prediction which now each and all architects take for granted. Also, Cartesian space representation turned out to be the main instrument for professional practice, even if one can argue that it is not more than the unfolding of stone carving techniques that master builders and guilds were so fond of. Enter computing and all its unfolding, i.e. DNA coding, fractal geometry, generative computing, nonlinear dynamics, pattern generation and cellular automata, as a whole new chapter in science, and compare that to conical perspective, descriptive and analytical geometry and calculus, and an image begins to form, delineating a separation between architect and digital designer. In previous works, we have tried approaching the issues regarding architects education in a more consensual way. But it seems now that the whole curricular corpus might be changed as well. The very foundations upon which we prepare future professionals shall change, not only in College, but in High School as well. In this paper, we delve further into the disconnect between current curricula and digital design practices and suggest new disciplinary grounds for a new architectural education.
keywords	Educational paradigm; Design teaching; Design methods;
series	SIGRADI
email
last changed	2016/03/10 10:02

_id	acadia08_390
id	acadia08_390
authors	Vrana, Andrew; Joe Meppelink; Ben Nicholson
year	2008
title	New Harmony Grotto
source	Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 390-399
doi	https://doi.org/10.52842/conf.acadia.2008.390
summary	With the expanding wave of contemporary architecture inspired and informed by biomorphic design and biomimetic processes, the re-evaluation of work of Frederick Kiesler has become immanent. Throughout the mid 20th century he became increasingly interested in the relationship of natural form and structure to architectural space and organization. The Grotto for Meditation proposed in 1963 for New Harmony, Indiana commissioned by Mrs. Jane Blaffer-Owen was the culmination of his life’s work. Though the project was not realized, it embodies all of the influences of his time from surrealism to biology and cybernetic theory. Through our university and the Blaffer Foundation, we engaged in formal research and tectonic resolution of the project employing digital modeling and fabrication technologies at our College and in Houston where Mrs. Owen lives when she is not in New Harmony. We based this project on the full catalog of archival material made available to us with support from the Blaffer and Kielser Foundations. Our exploration also was influenced by discussions with Mrs. Blaffer-Owen who is still very interested in realizing this profoundly interesting and enigmatic project. Our university has opened the door to the opportunity that our reinterpreted Grotto become a permanent fixture on the campus next to a wetland landscape that it is currently under construction. Our research into Kiesler has engaged his esoteric concepts of “co-realism” and “continuous tension” as well as his early use of recursive geometry and biomorphic form in design. From reverse engineering and digital fabrication via 3D scanning to generative structural articulation, we are experimenting with a structural/spatial system that closely aligns with Kiesler’s originally proposed tile patterning dilated into a minimal structure. Our prototypes and the final version will be fabricated by one of the largest commercially for-hire water jet cutter in country and assembled on the site.
keywords	Biomorphic; Digital Fabrication; Prototype; Structure
series	ACADIA
last changed	2022/06/07 07:58

_id	sigradi2008_080
id	sigradi2008_080
authors	Andrés, Roberto
year	2008
title	Hybrid Art > Synthesized Architecture
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	This paper investigates possible intersections between some contemporary artistic modalities and architectural practice. At first, it describes and discusses different uses of art in architectural history. Through the analyzes of Le Corbusier’s artistic and architectural practices, it observes the limits of looking at art as only ‘inspiration’ for architectural form and points to the necessity of surpassing this formal approach. More than bringing pictorial ‘inspiration’, art, as a experimental field, can change our architectural procedures and approaches - a much richer and powerful addition to the development of architecture. It discusses then, the confluence of architecture, information and communication technologies. Very commonly present in our contemporary life, not only on the making of architecture – computer drawings and modeling of extravagant buildings – nor in ‘automated rooms’ of the millionaire’s houses. Televisions, telephones and computers leave the walls of our houses “with as many holes as a Swiss cheese”, as Flusser has pointed. The architecture has historically manipulated the way people interact, but this interaction now has been greatly changed by new technologies. Since is inevitable to think the contemporary world without them, it is extreme urgent that architects start dealing with this whole universe in a creative way. Important changes in architecture occur after professionals start to research and experiment with different artistic medias, not limiting their visions to painting and sculpture. The main hypothesis of this paper is that the experiments with new media art can bring the field of architecture closer to information and communication technologies. This confluence can only take form when architects rise questions about technology based interaction and automation during their creative process, embodying these concepts into the architecture repertoire. An educational experience was conducted in 2007 at UFMG Architecture School, in Brazil, with the intention of this activity was to allow students to research creatively with both information technology and architecture. The students’ goal was to create site-specific interventions on the school building, using physical and digital devices. Finally, the paper contextualizes this experience with the discussion above exposed. Concluding with an exposition of the potentialities of some contemporary art modalities (specially the hybrid ones) in qualifying architectural practices.
keywords	Architecture; Information and Communication Technologies; Digital Art; Site Specific Art; Architectural Learning.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	ecaade2008_153
id	ecaade2008_153
authors	Andrés, Roberto
year	2008
title	Hybrid Art > Synthesized Architecture
source	Architecture in Computro [26th eCAADe Conference Proceedings / ISBN 978-0-9541183-7-2] Antwerpen (Belgium) 17-20 September 2008, pp. 267-274
doi	https://doi.org/10.52842/conf.ecaade.2008.267
summary	This paper investigates possible intersections between some contemporary artistic modalities and architectural practice. It observes the limits of looking at art as only ‘inspiration’ for architectural form and points to the necessity of surpassing this formal approach. It discusses then, the confluence of architecture, information and communication technologies. The architecture has historically mediated the way people interact, but this interaction now has been greatly changed by new technologies. Then, it analyses the hypothesis that the experiments with new media art can bring the field of architecture closer to information and communication technologies. An educational experience is presented, aiming to verify some points discussed on the text. Concluding with an exposition of the potentialities of some hybrid art modalities in qualifying architectural practices.
keywords	Architecture, Information and Communication Technologies, Digital Art, Site Specific Art, Architectural Learning
series	eCAADe
email
last changed	2022/06/07 07:54

_id	ddss2008-25
id	ddss2008-25
authors	Antoni, Jean-Philippe; P. Frankhauser, C. Tannier, S. Youssoufi
year	2008
title	Simulating and assessing prospective scenariosA comparative approach in urban planning
source	H.J.P. Timmermans, B. de Vries (eds.) 2008, Design & Decision Support Systems in Architecture and Urban Planning, ISBN 978-90-6814-173-3, University of Technology Eindhoven, published on CD
summary	The first part of the paper is centred on the phenomena of urban growth, in order to set the rules for a sustainable scenario of urban development. Then we enter the core of the paper that is the comparison of models. For each of the three compared models, we describe its main theoretical characteristics, the chosen parameters, and the obtained results. In section 6, heterogeneity of the produced results is discussed, and we highlight the points of interest and the lacks of the three models. Here we show that results we obtained feed debates about urban growth management. Finally, concluding remarks at the end of the paper address the general topic of the evaluation of the quality of simulation results.
keywords	Urban sprawl, sustainable development, fractals, cellular automata, spatial interaction models
series	DDSS
last changed	2008/09/01 17:06

_id	sigradi2008_049
id	sigradi2008_049
authors	Benamy, Turkienicz ; Beck Mateus, Mayer Rosirene
year	2008
title	Computing And Manipulation In Design - A Pedagogical Experience Using Symmetry
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	The concept of symmetry has been usually restricted to bilateral symmetry, though in an extended sense it refers to any isometric transformation that maintains a certain shape invariant. Groups of operations such as translation, rotation, reflection and combinations of these originate patterns classified by modern mathematics as point groups, friezes and wallpapers (March and Steadman, 1974). This extended notion represents a tool for the recognition and reproduction of patterns, a primal aspect of the perception, comprehension and description of everything that we see. Another aspect of this process is the perception of shapes, primary and emergent. Primary shapes are the ones explicitly represented and emergent shapes are the ones implicit in the others (Gero and Yan, 1994). Some groups of shapes known as Semantic Shapes are especially meaningful in architecture, expressing visual features so as symmetry, rhythm, movement and balance. The extended understanding of the concept of symmetry might improve the development of cognitive abilities concerning the creation, recognition and meaning of forms and shapes, aspects of visual reasoning involved in the design process. This paper discusses the development of a pedagogical experience concerned with the application of the concept of symmetry in the creative generation of forms using computational tools and manipulation. The experience has been carried out since 1995 with 3rd year architectural design students. For the exploration of compositions based on symmetry operations with computational support we followed a method developed by Celani (2003) comprising the automatic generation and update of symmetry patterns using AutoCAD. The exercises with computational support were combined with other different exercises in each semester. The first approach combined the creation of two-dimensional patterns to their application and to their modeling into three-dimensions. The second approach combined the work with computational support with work with physical models and mirrors and the analysis of the created patterns. And the third approach combined the computational tasks with work with two-dimensional physical shapes and mirrors. The student’s work was analyzed under aspects such as Discretion/ Continuity –the creation of isolated groups of shapes or continuous overlapped patterns; Generation of Meta-Shapes –the emergence of new shapes from the geometrical relation between the generative shape and the structure of the symmetrical arrangement; Modes of Representation –the visual aspects of the generative shape such as color and shading; Visual Reasoning –the derivation of 3D compositions from 2D patterns by their progressive analysis and recognition; Conscious Interaction –the simultaneous creation and analysis of symmetry compositions, whether with computational support or with physical shapes and mirrors. The combined work with computational support and with physical models and mirrors enhanced the students understanding on the extended concept of symmetry. The conscious creation and analysis of the patterns also stimulated the student’s understanding over the different semantic possibilities involved in the exploration of forms and shapes in two or three dimensions. The method allowed the development of both syntactic and semantic aspects of visual reasoning, enhancing the students’ visual repertoire. This constitutes an important strategy in the building of the cognitive abilities used in the architectural design process.
keywords	Symmetry, Cognition, Computing, Visual reasoning, Design teaching
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	sigradi2008_077
id	sigradi2008_077
authors	Briones, Carolina
year	2008
title	A collaborative project experience in an architectural framework, working with Open Source applications and physical computing [Diseño de Plataformas Digitales e Interactivas: una experiencia educativa trabajando colaborativamente con aplicaciones de Código Abierto y Computación Física]
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	Nowadays, thanks to the telecommunication revolution and therefore the massive spread of Internet, we have seen the come up of international architectural offices with branches located in different continent, working in a collaborative fashion, surpassing physical and time frontiers. At the same time, the multidisciplinary work between designers, architects, engineers, programmers and even biologist, between others, have been taking place in the new network society. All transformations also supported by the arising of FOSS (Free Open Source Software) and the virtual communities behind them, which allow the creation of non-traditional or specific software, the association between disciplines, and also, the formation of meeting scenarios for a mixture of individuals coming up with multiple motivation to coexist in collaborative environment. Furthermore, it is possible to argue that Open Source applications are also the reflection of a social movement, based on the open creation and exchange of information and knowledge. Do the appeared of FOSS compel us to re-think our working and teaching methods? Do they allow new modes of organizing and collaborating inside our architectural practices?. This paper would like to address these questions, by presenting the results of the “Experience Design” course, which by implementing teaching methods based on Open Source principles and cutting-edge tools, seeks to approach students to these new “way of do”, knowledge and methodologies, and overall, focus them on the science behind the computer. This paper describes the “Experience Design” course, in which architectural graduate students of Universidad Diego Portales (Chile), put for first time their hands on the creation of interactive interfaces. By acquiring basic knowledge of programming and physical computing, students built in a collaborative way a responsive physical installation. The course use as applications “Processing” and “Arduino”. The first one is an Open Source programming language and environment for users who want to program images, animation, and interactions. It has a visual context and serve as a software sketchbook and professional production tool. Processing is a project initiated by Ben Fry and Casey Reas, at the MIT Media Lab (www.processing.org). The second is an Open Source electronics prototyping platform based on flexible, easy-to-use hardware and software. Arduino has a microcontroller (programmed with Processing language) which can sense the environment by receiving input from a variety of sensors and can affect its surroundings by controlling lights, motors, and other actuators (www.arduino.cc). Both environments shared a growing community of people working in related projects and extending useful assistance for beginners. In this paper it is presented the current state of the pilot course and some of the initials results collected during the process. Students and teacher’s debates and evaluations of the experience have been exposed. Together with a critical evaluation in relation to the accomplishment of the effort of place together different disciplines in one collaborative project akin, architecture, design, programming and electronic. Finally, futures modifications of the course are discussed, together with consideration to take in account at the moment of bring Open Source and programming culture into the student curriculum.
keywords	Physical computing, teaching framework, Open Source, Interactive Installation
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	acadia08_118
id	acadia08_118
authors	Cabrinha, Mark
year	2008
title	Gridshell Tectonics: Material Values Digital Parameters
source	Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 118-125
doi	https://doi.org/10.52842/conf.acadia.2008.118
summary	This paper begins with a simple proposition: rather than mimicking the geometric structures found in nature, perhaps the most effective modes of sustainable fabrication can be found through understanding the nature of materials themselves. Material becomes a design parameter through the constraints of fabrication tools, limitations of material size, and most importantly the productive capacity of material resistance—a given material’s capacity and tendencies to take shape, rather than cutting shape out of material. ¶ Gridshell structures provide an intriguing case study to pursue this proposition. Not only is there clear precedent in the form-finding experiments of Frei Otto and the Institute for Lightweight Structures, but also the very NURBS based tools of current design practices developed from the ability of wood to bend. Taking the bent wood spline quite literally, gridshells provide a means that is at once formally expressive, structurally optimized, materially efficient, and quite simply a delight to experience. The larger motivation of this work anticipates a parametric system linking the intrinsic material values of the gridshell tectonic with extrinsic criteria such as programmatic needs and environmental response. ¶ Through an applied case study of gridshells, the play between form and material is tested out through the author’s own experimentation with gridshells and the pedagogical results of two gridshell studios. The goal of this research is to establish a give-and-take relationship between top-down formal emphasis and a bottom-up material influence.
keywords	Digital Fabrication; Form-Finding; Material; Pedagogy; Structure
series	ACADIA
last changed	2022/06/07 07:54

_id	acadia08_292
id	acadia08_292
authors	Celento, David; Del Harrow
year	2008
title	ceramiSKIN: Digital Possibilities for Ceramic Cladding Systems
source	Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 292-299
doi	https://doi.org/10.52842/conf.acadia.2008.292
summary	CeramiSKIN is an inter-disciplinary investigation by an architect and a ceramics artist examining new possibilities for ceramic cladding using digital design and digital fabrication techniques. Research shown is part of an ongoing collaborative residency at The European Ceramics Work Centre. ¶ Ceramics are durable, sustainable, and capable of easily assuming detailed shapes with double curvature making ceramics seemingly ideal for digitally inspired “plastic” architecture. The primary reason for the decline in complex ceramic cladding is that manual mold-making is time-consuming—which is at odds with today’s high labor costs and compressed construction timeframes. We assert that digital advances in the area of mold-making will assist in removing some of the barriers for the use of complex ceramic cladding in architecture. ; The primary goals of ceramiSKIN as they relate to digitally assisted production are: greater variety and complexity, reduced cost and time, a higher degree of accuracy, and an attempt to facilitate a wider range of digital design possibilities through the use of a ceramics in architectural cladding systems. ¶ The following paper begins with an overview discussing double curvature and biophilia in architecture and their relationship to ceramics. This is followed by detailed commentary on three different experiments prior to a concluding summary.
keywords	Biomorphic; Collaboration; Complex Geometry; Digital Fabrication; Skin
series	ACADIA
last changed	2022/06/07 07:55

_id	acadia08_340
id	acadia08_340
authors	Chalmers, Chris
year	2008
title	Chemical Signaling as a Model for Digital Process in Architecture
source	Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 340-345
doi	https://doi.org/10.52842/conf.acadia.2008.340
summary	The role of the architect is quite literally one of assembly: synthesizing the various parts of a project into a cohesive whole. It is a difficult job, often requiring the architect to weave many seemingly contradictory concerns into a solution that benefits them all. It is not surprising then, that the many elegant and effective systems found in nature should be inspiring to the architect. Emerging fields like biomimicry and systems dynamics model the patterns of interaction between organisms and their environments in terms of dynamic part to part and part to whole relationships. ¶ Observations of real relationships between organisms and their environments, as they exist in nature, reveal complex feedback loops working across multiple scales. These feedback loops operate by the simultaneous action of two observed phenomena. The first is the classic phenotypic relationship seen when organisms of the same genetic makeup instantiate differently based upon differences in their environment. This is the relationship that was originally proposed by Charles Darwin in his theory of natural selection of 1859. Darwin’s model is unidirectional: the organism adapts to its environment, but not the other way around. It operates at the local scale as individual parts react to the conditions of the whole. (Canguilhem, 1952). ¶ The second phenomenon, which sees its effect at the global scale, is the individual’s role as consumer and producer in the flows of energy and material that surround it. It is the subtle and incremental influence of the organism upon its environment, the results of which are often invisible until they reach a catastrophic threshold, at which point all organisms in the system feel global changes. ; The research presented in this paper addresses the dialectic between organism and environment as each responds reciprocally to the others’ changing state. Such feedback loops act in a non-linear fashion, across nested scales in biological systems. They can be modeled to act that way in a digital design process as well. This research is an exploration into one such model and its application to architecture: the simple communication between organisms as they affect and are affected by their environments through the use of signal chemicals.
keywords	Biology; Cellular Automata; Feedback; Material; Scripting
series	ACADIA
last changed	2022/06/07 07:55

_id	acadia08_126
id	acadia08_126
authors	Cook+Fox Architects
year	2008
title	The Generation of a Smart Cloud
source	Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 126-133
doi	https://doi.org/10.52842/conf.acadia.2008.126
summary	This paper presents the process by which Cook+Fox Architects responded to a design challenge that was part metaphorical and part practical. The project involved providing an environmental response to the natural world existing almost 800 feet above the ground, on the second-highest occupiable floor of New York City’s second-tallest building. Environmentally-responsive features at the Bank of America Tower at One Bryant Park are expected to make it the first LEED-Platinum high-rise in the world. The fiftieth floor was conceived as a headquarters for the fashion designer Elie Tahari, the south facing portion of the floorplate was to house a highly adaptable showroom that needed to be adaptable to complement and enhance each season’s particular aesthetics. Additionally, the ceiling in the showroom space needed to allow for optimized height in an environment where structural, mechanical, electrical and sprinkler systems were all designed to be concealed. A combination of numerous computer-aided design scripts took into account various input variables and finally led to the generation of a Smart Cloud.
keywords	Analysis; Behavior; Generative; Optimization; Performance
series	ACADIA
last changed	2022/06/07 07:56

_id	sigradi2008_012
id	sigradi2008_012
authors	Dokonal, Wolfgang
year	2008
title	What is the state of digital architectural design?
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	What is the state of digital architectural design? The ubiquity of the computer in architecture can be seen in the many computer based presentations from famous architectural practices. BIM (Building Information Modelling) is the key word and we can see implementations in very ambitious projects all over the world. Glossy magazines show the results of this kind of architecture and predict that this is the future of our profession. But when we go out into the “small world” (in Europe) and talk with architects in small firms, there is a very different reality – at least at the moment. Although they all agree that the computer is crucial for their work, it is a love/hate relationship for many them. Most still use the computer purely as a drafting device and AutoCAD is still the dominant tool. Although many of them agree with the statement that you can use the computer for design, only a minority really use the computer as a design tool in the early design stages. To find out more about the reality of the use of computers in design in “small town Europe” we have been undertaking two different kinds of research over the past 4 years. The first one is an educational experiment using first year’s students to find out about the different qualities of designing with and without the computer. The results have been presented at previous conferences and, since we are doing a last run of these experiments this year, we will update and finalise our findings in this paper. To make it comparable to previous years, we use largely the same settings using the same type of student (first year) and the same project/site. We will also be comparing the results for students designing ‘freestyle’ ie in the way that they want against the previous years controlled groups. The second strand of research we have followed is a survey amongst practitioners and some of the above statements came out of this survey. We did this survey using a web questionnaire and focused on a particular region of Europe. Although the numbers of participants for this survey were quite satisfying we are re-running the survey in a different region and country to see whether there are significant differences. The results of our research and our experience as teachers and architects leads us to the main question of how we can give recommendations on how to teach design the new generation of architects. In many aspects most of the teaching that is done in our faculties is still strictly divided into teaching design and teaching computer skills. The crucial question for architectural education are the implications of the ubiquity of the computer will have especially in the field of design. We will try to give some suggestions for these effects this could have on our teaching. In the long run, this is the only way to avoid some of the pitfalls and bring the benefits of computers in design to our small architectural firms. The paper will present a summary of the results of our research and try to propose an answer to the question: “What is the state of digital design in small town Europe?”
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	ecaade2008_049
id	ecaade2008_049
authors	Dokonal, Wolfgang
year	2008
title	Creating and Using 3D City Models
source	Architecture in Computro [26th eCAADe Conference Proceedings / ISBN 978-0-9541183-7-2] Antwerpen (Belgium) 17-20 September 2008, pp. 223-230
doi	https://doi.org/10.52842/conf.ecaade.2008.223
summary	City modelling is a topic which has been on the agenda for a long time. Today crucial questions concerning the creation of a city model are resolved. The vision of the automatic generation of the 3D geometry of a city out of high resolution digital aerial images is a reality now. These new developments decreased the cost for creating and maintaining a 3D city model of a complete city significantly. This paper wants to outline the ‘history’ of 3D city models and show recent developments in this field. An overview about current applications and uses in this field in Austria and the implementation into daily work is shown with examples (Graz and Vienna city models). Additionally the new developments like Street View in Google Earth or Bird’s Eye in Virtual earth are discussed in relation to their 3D ‘relatives’.
keywords	3Dcity Models, GIS, Google Earth, Virtual Earth
series	eCAADe
email
last changed	2022/06/07 07:55

_id	esaulov02_paper_eaea2007
id	esaulov02_paper_eaea2007
authors	Esaulov, G.V.
year	2008
title	Videomodeling in Architecture. Introduction into Concerned Problems
source	Proceedings of the 8th European Architectural Endoscopy Association Conference
summary	Since the very 1st year Russian Academy of Architecture and building sciences that was established in 1992 by the Presidents’ decree as the higher scientific and creative organization in the country has always paid much attention to supporting and developing fundamental investigations in architecture, town-planning, building sciences, professional education and creative practice. Study of the birth process of the architectural idea and searching for tools assisting the architect’s creative activity and opportunities for adequate transfer of architectural image to potential consumer – relate to the number of problems which constantly bother the architectural community. Before turning to the conference, let us set certain conditions that have a significant impact on the development of architectural and construction activity in modern Russia.
series	EAEA
more	http://info.tuwien.ac.at/eaea
last changed	2008/04/29 20:46

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