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	ecaade2008_101
id	ecaade2008_101
authors	Jabi, Wassim; Hall, Theodore; Passerini, Katia; Borcea, Cristian; Jones, Quentin
year	2008
title	Exporting the Studio Model of Learning
doi	https://doi.org/10.52842/conf.ecaade.2008.509
source	Architecture in Computro [26th eCAADe Conference Proceedings / ISBN 978-0-9541183-7-2] Antwerpen (Belgium) 17-20 September 2008, pp. 509-516
summary	We have conducted a series of interdisciplinary studios that partner students in the School of Architecture with peers in the College of Computing Sciences, with two principal goals: to foster creativity in the development of information technology, and conversely, to support creativity through information technology. Our studio project focuses on ubiquitous social computing as a topic of interest to both communities that requires their collaboration to realize a physical implementation. There are administrative as well as cultural hurdles in conducting such a studio. To assess the impact of the pedagogical approach, we employed qualitative observations as well as quantitative survey data. Best results depend on achieving a degree of parity in studio experience across disciplines.
keywords	interdisciplinary design studio, ubiquitous social computing, computer supported collaborative work, human computer interaction
series	eCAADe
email
last changed	2022/06/07 07:52

_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	cdc2008_377
id	cdc2008_377
authors	Conrad, Erik
year	2008
title	Rethinking the Space of Intelligent Environments
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 377-382
summary	Technologies are not mere exterior aids but interior changes of consciousness that shape the way the world is experienced. As we enter the age of ubiquitous computing, where computers are worn, carried or embedded into the environment, we must be careful that the ideology the technology embodies is not blindly incorporated into the environment as well. As disciplines, engineering and computer science make implicit assumptions about the world that conflict with traditional modes of cultural production. Space is commonly understood to be the void left behind when no objects are present. Unfortunately, once we see space in this way, we are unable to understand the role it plays in our everyday experience. In this paper, I argue that with the realization of the vision of ubiquitous computing, the fields of computer science and engineering reify the dominance of abstract space in real space. A new approach to the design of computing systems is necessary to reembody space. The social nature of the interface allows us to situate it within Henrí Lefebvre’s notions of space, providing new tools for thinking about how computing practice engages space as well as opening avenues to rematerialize the environment through embodied interaction.
email
last changed	2009/01/07 08:05

_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	acadia08_438
id	acadia08_438
authors	Hall, Theodore W.; Wassim Jabi; Katia Passerini; Cristian Borcea; Quentin Jones
year	2008
title	An Interactive Poster System to Solicit Casual Design Feedback
doi	https://doi.org/10.52842/conf.acadia.2008.438
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, 438-447
summary	As part of a government funded grant in ubiquitous social computing, we have developed and deployed an interactive poster kiosk that invites casual feedback on student design work or other items of interest among peers in the School of Architecture. The system runs on a standard PC with a large LCD display and a touch-sensitive overlay. Posters reside in the system as web-page URIs. Passersby provide feedback on poster content by “finger painting” on the touch screen. The system e-mails the feedback to the poster provider. We have deployed the system in the Architecture Library for a period of three weeks. During that time, interaction with the kiosk passed through three general phases—unfamiliarity, novelty, and familiarity—with the peak interaction occurring during the middle phase. This paper describes the development and deployment of the system, the quantity and quality of the feedback it attracted, and concludes with recommendations for repeating and improving the exercise.
keywords	Computation; Education; Feedback; Interactive; Social
series	ACADIA
last changed	2022/06/07 07:50

_id	ddss2008-20
id	ddss2008-20
authors	Holanda, Frederico de; Valério Medeiros and Ana Paula Barros
year	2008
title	Integration through city space-formUsing space syntax, traffic modelling and geoprocessing tools forevaluating new urban developments
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	New boroughs are continuously being built in Brasilia, Brazil’s Capital City. The paper deals with the performance of such boroughs concerning sociospatial segregation. A comparison is made between two proposals for a new borough to the West of the North Wing of the Pilot Plan, which was originally designed by Lucio Costa. The first proposal was made by a wellknown architectural studio in Brasilia and is beginning to be implemented. The second proposal is an exercise made by undergraduate students from the School of Architecture of the University of Brasilia, under the supervision of one the authors of the paper. The two proposals present very different performances. In the first case, the borough is set apart from the immediate urban surroundings; there is no direct connection between inner roads and the main arteries that surround the site. In the second case, the students have proposed a scheme that connects the interior areas of the borough to the vicinity; we hardly know where the new borough begins vis-à-vis the neighbouring areas. We argue that there are serious traffic implications in the first case, as well as sociological implications. We deal with traffic modelling, space syntax techniques and geoprocessing tools to prove so. Furthermore, we will show how the building types are as well socially inadequate, for they will imply homogeneous social layers among the inhabitants – namely exclusively high-middle class living in the new area.
keywords	Space syntax, traffic modelling, urban expansion, urban design
series	DDSS
last changed	2008/09/01 17:06

_id	caadria2008_11_session2a_093
id	caadria2008_11_session2a_093
authors	Lee, Juhyun and Hyunsoo Lee
year	2008
title	A Sensor based context-aware inference algorithm for ubiquitous residential environments
doi	https://doi.org/10.52842/conf.caadria.2008.093
source	CAADRIA 2008 [Proceedings of the 13th International Conference on Computer Aided Architectural Design Research in Asia] Chiang Mai (Thailand) 9-12 April 2008, pp. 93-102
summary	As the development of a computer and the internet have changed social and economic activities related with the human life style. According to these changes, ubiquitous residential environments have been discussed. This paper presents ways of interpreting the situation in association with human interaction with residential environments. This paper deals with various operations of architectural components based on a sensor based context awareness. The methods adopted in this paper for suitable services corresponding to residents’ requirements are Pattern Driven Inference(PDI), Rule Driven Inference(RDI) and Case Driven Inference(CDI). In summary, this paper describes processes how services are provided. And Context based residential management is main research issue.
keywords	Context-Aware: Algorithm; Ubiquitous Residential Environments; Ubiquitous Computing; Case-based Reasoning
series	CAADRIA
email
last changed	2022/06/07 07:52

_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	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	caadria2008_62_session6a_510
id	caadria2008_62_session6a_510
authors	Diniz, Nancy
year	2008
title	Body tailored space: Configuring Space through Embodiment
doi	https://doi.org/10.52842/conf.caadria.2008.510
source	CAADRIA 2008 [Proceedings of the 13th International Conference on Computer Aided Architectural Design Research in Asia] Chiang Mai (Thailand) 9-12 April 2008, pp. 510-517
summary	With this project I propose that embodiment can be more emphasized and better supported in space-design frameworks. This paper presents background on several theories of embodiment since the beginning of the twentieth century to recent developments of the concept in tangible and social computing and anticipate that this reveals pathways for designing new embodiment framework systems for architecture. I suggest that architecture and interactive computing can share a common theoretical foundation in embodied interaction. The main thesis is for designers to use the body as an interface to understand how the interaction between a person and his/her surroundings arises and how our embodiment reveals other rich spatial qualities during the conception phase of design. This paper proposes a conceptual framework for embodied interaction based on the creation of real-time systems in order to instigate a framework for interactive processes that can help designers understand architecture phenomena and the performance of space. I present a design experiment on embodied performance space entitled “Body Tailored Space” where the boundaries of the human body are metaphorically extended into surrounding membranes.
keywords	Embodiment; embodied interaction; interactive architecture; phenomenology; second order cybernetics
series	CAADRIA
email
last changed	2022/06/07 07:55

_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	acadia08_182
id	acadia08_182
authors	Gibson, Michael; Kevin R. Klinger; Joshua Vermillion
year	2008
title	Constructing Information: Towards a Feedback Ecology in Digital Design and Fabrication
doi	https://doi.org/10.52842/conf.acadia.2008.182
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, 182-191
summary	As strategies evolve using digital means to navigate design in architecture, critical process-based approaches are essential to the discourse. The often complex integration of design, analysis, and fabrication through digital technologies is wholly reliant upon a process-basis necessitating the use of a design feedback loop, which reinforces critical decision-making and challenges the notions of how we produce, visualize, and analyze information in the service of production and assembly. Central to this process-based approach is the effective and innovative integration of information and the interrogation of material based explorations in the making of architecture. This fabrication ‘ecology’ forces designers to engage complexity and accept the unpredictability of emergent systems. It also exposes the process of working to critique and refine feedback loops in light of complex tools, methods, materials, site, and performance considerations. In total, strategies for engaging this ‘ecology’ are essential to accentuate our present understanding of environmental design and theory in relation to digital processes for design and fabrication. ¶ This paper recounts a design/fabrication seminar entitled “Constructing Information” in which architecture students examined an environmental design problem by way of the design feedback loop, where their efforts in applying digital design and fabrication methods were driven explicitly by material and site realities and where their work was executed, installed, and critically explored in situ. These projections raise important questions about how information, complexity, and context overlay and merge, and underscore the critical potential of visual, spatial, and material effects as part of a fabrication-oriented design process.
keywords	Digital Fabrication; Ecology; Environment; Feedback; Performance
series	ACADIA
last changed	2022/06/07 07:51

_id	ecaade2015_265
id	ecaade2015_265
authors	Hosey, Shannon; Beorkrem, Christopher, Damiano, Ashley, Lopez, Rafael and McCall, Marlena
year	2015
title	Digital Design for Disassembly
doi	https://doi.org/10.52842/conf.ecaade.2015.2.371
source	Martens, B, Wurzer, G, Grasl T, Lorenz, WE and Schaffranek, R (eds.), Real Time - Proceedings of the 33rd eCAADe Conference - Volume 2, Vienna University of Technology, Vienna, Austria, 16-18 September 2015, pp. 371-382
summary	The construction and building sector is now widely known to be one of the biggest energy consumers, carbon emitters, and creators of waste. Some architectural agendas for sustainability focus on energy efficiency of buildings that minimize their energy intake during their lifetime - through the use of more efficient mechanical systems or more insulative wall systems. One issue with these sustainability models is that they often ignore the hierarchy of energy within architectural design. The focus on the efficiency is but one aspect or system of the building assembly, when compared to the effectiveness of the whole, which often leads to ad-hoc ecology and results in the all too familiar “law of unintended consequences” (Merton, 1936). As soon as adhesive is used to connect two materials, a piece of trash is created. If designers treat material as energy, and want to use energy responsibly, they can prolong the lifetime of building material by designing for disassembly. By changing the nature of the physical relationship between materials, buildings can be reconfigured and repurposed all the while keeping materials out of a landfill. The use of smart joinery to create building assemblies which can be disassembled, has a milieu of new possibilities created through the use of digital manufacturing equipment. These tools afford designers and manufacturers the ability to create individual joints of a variety of types, which perform as well or better than conventional systems. The concept of design for disassembly is a recognizable goal of industrial design and manufacturing, but for Architecture it remains a novel approach. A classic example is Kieran Timberlake's Loblolly House, which employed material assemblies “that are detailed for on-site assembly as well as future disassembly and redeployment” (Flat, Inc, 2008). The use of nearly ubiquitous digital manufacturing tools helps designers create highly functional, precise and effective methods of connection which afford a building to be taken apart and reused or reassembled into alternative configurations or for alternative uses. This paper will survey alternative energy strategies made available through joinery using digital manufacturing and design methods, and will evaluate these strategies in their ability to create diassemblable materials which therefore use less energy - or minimize the entropy of energy over the life-cycle of the material.
wos	WOS:000372316000043
series	eCAADe
email
more	https://mh-engage.ltcc.tuwien.ac.at/engage/ui/watch.html?id=4075520a-6fe7-11e5-bcc8-f7d564ea25ed
last changed	2022/06/07 07:50

_id	acadia08_174
id	acadia08_174
authors	Jaskiewicz, Tomasz
year	2008
title	‘iPortals’ as a Case Study Pre-Prototype of an Evolving Network of Interactive Spatial Components
doi	https://doi.org/10.52842/conf.acadia.2008.174
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, 174-181
summary	The art and craft of design and creation of buildings is undergoing a radical paradigm shift. This shift is being driven by diverse novel cross-disciplinary technical possibilities, as well as by ongoing cultural transformations. They all, directly or indirectly, originate from omnipresent advancements in information technologies. Instant and ubiquitous availability of information and immediate access to computing power pervasively penetrating our lives is profoundly transforming our culture. This phenomenon has enormous implications for architecture in a multitude of ways1. ¶ Firstly, the speed of changes that occur in modern-day culture and society makes it inconvenient or even entirely impossible to design buildings with fixed and permanent functionalities. As lifestyle patterns, production methods and environmental conditions, to name a few factors only, may now dramatically change from one day to another, architecture has to become flexible. It has to allow dynamic, active, or even pro-active adaptation and customization of spaces on many levels of its functionality2. ¶ Secondly, these profound cultural changes are not only of technical relevance. In its process-driven character, information technology strongly mandates the already widely recognized ontology of becoming, proclaimed by the prominent minds of contemporary philosophy and science. This process-oriented worldview, supported by latest technological possibilities3, has caused a radical change in the common sense of the manner in which architecture has to be understood and dealt with4. As an effect, it requires an in-depth reconsideration of the nature of processes of both creation and participation in spatial environments.
keywords	Environment; Interactive; Open Systems; Prototype; Skin
series	ACADIA
last changed	2022/06/07 07:52

_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_175
id	sigradi2008_175
authors	Knight, Terry; Larry Sass, Kenfield Griffith, Ayodh Vasant Kamath
year	2008
title	Visual-Physical Grammars
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	This paper introduces new visual-physical design grammars for the design and manufacture of building assembly systems that provide visually rich, culturally resonant design variations for housing. The building systems are intended to be tailored for particular cultures and communities by incorporating vernacular, decorative design into the assembly design. Two complementary areas of computational design research are brought together in this work: shape grammars and digital fabrication. The visual or graphic aspects of the research are explored through shape grammars. The physical design and manufacturing aspects are explored through advanced digital design and fabrication technologies and, in particular, build on recent work on mono-material assemblies with interlocking components that can be fabricated with CNC machines and assembled easily by hand on-site (Sass, 2007). This paper describes the initial, proof-of-concept stage of this work: the development of an automated, visual-physical grammar for an assembly system based on a vernacular language of Greek meander designs. A shape grammar for the two-dimensional Greek meander language (Knight, 1986) was translated into a three-dimensional assembly system. The components of the system are uniquely designed, concrete “meander bricks” (Figure 1). The components have integrated alignment features so that they can be easily fitted and locked together manually without binding materials. Components interlock horizontally to form courses, and courses interlock vertically in different ways to produce a visual variety of meander walls. The assembly components were prototyped at desktop scale with a layered manufacturing machine to test their appearance after assembly and their potential for design variations (Figure 2). Components were then evaluated as full-scale concrete objects for satisfaction of physical constraints related to concrete forming and component strength. The automated grammar (computer program) for this system generates assembly design variations with complete CAD/CAM data for fabrication of components formed from layered, CNC cut molds. Using the grammar, a full-scale mockup of a corner wall section was constructed to assess the structural, material, and aesthetic feasibility of the system, as well as ease of assembly. The results of this study demonstrate clearly the potentials for embedding visual properties in structural systems. They provide the foundations for further work on assembly systems for complete houses and other small-scale structures, and grammars to generate them. In the long-term, this research will lead to new solutions for economical, easily manufactured housing which is especially critical in developing countries and for post-disaster environments. These new housing solutions will not only provide shelter but will also support important cultural values through the integration of familiar visual design features. The use of inexpensive, portable digital design and fabrication technologies will allow local communities to be active, cooperative participants in the design and construction of their homes. Beyond the specific context of housing, visual-physical grammars have the potential to positively impact design and manufacture of designed artifacts at many scales, and in many domains, particularly for artifacts where visual aesthetics need to be considered jointly with physical or material requirements and design customization or variation is important.
keywords	Shape grammar, digital fabrication, building assembly, mass customization, housing
series	SIGRADI
email
last changed	2016/03/10 09:54

_id	sigradi2008_099
id	sigradi2008_099
authors	Kotsopoulos, Sotirios; Lawrence Sass
year	2008
title	Teaching Architectural Design through Computer Modeling, Rendering and Digital Fabrication
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	The paper examines the process of introducing the rudiments of architectural design and computation through computer modeling, rendering and digital fabrication. The scope of the paper is educational. The context of the paper is the teaching of an introductory course to Design Computing. Computational concepts from the digital modeling, rendering and fabrication techniques developed for the course, as well as the students’ response, are discussed in the paper.
keywords	Design education, digital representation, production
series	SIGRADI
email
last changed	2016/03/10 09:54

_id	caadria2008_75_session7b_622
id	caadria2008_75_session7b_622
authors	Lam, Selina
year	2008
title	Enhancing Realism in Exploring in Virtual Environments
doi	https://doi.org/10.52842/conf.caadria.2008.662
source	CAADRIA 2008 [Proceedings of the 13th International Conference on Computer Aided Architectural Design Research in Asia] Chiang Mai (Thailand) 9-12 April 2008, pp. 662-628
summary	A virtual environment is a place which requires context, content and actors to promote realism in the exploration process. With the advancement in technologies and computing power, the context of virtual environments could be sculpted in finely. Referencing movie and video games, it would not be difficult to draft the content. The only component being overlooked is the actor. In this paper, I will address the mechanism and challenges in the implementation of autonomous agents as actors in virtual environment so as to promote social sense and enliven the environment, hence enhancing realism in the exploration.
keywords	Virtual environment: autonomous agents; place; place-making
series	CAADRIA
email
last changed	2022/06/07 07:52

_id	caadria2012_046
id	caadria2012_046
authors	Lertsithichai, Surapong
year	2012
title	Building Thailand's tallest Ganesh: CAD/CAM integration in conventional metal fabrication
doi	https://doi.org/10.52842/conf.caadria.2012.337
source	Proceedings of the 17th International Conference on Computer Aided Architectural Design Research in Asia / Chennai 25-28 April 2012, pp. 337–346
summary	Ganesh (Ganesa or Ganesha) is a Hindi god well known for his distinguishable elephant head and widely revered as the god of success or remover of obstacles. Patrons in Thailand have worshipped Ganesh and respected him by means of erecting statues of Ganesh in various poses and sizes throughout the country. In late 2008, the people of Chacheongsao, a province located East of Bangkok, decided to create Thailand’s tallest standing Ganesh statue made with bronze reaching heights up to 39 meters and situated on the Bangpakong river bank overseeing the city and its people. The author and design team was approached by representatives from Chacheongsao and commissioned to advise the process from conception to construction. The challenge started with seeking appropriate computer-aided design and manufacturing technologies and innovative processes to guide the design team throughout the production. The 0.60-meter bronze cast sculpture of the Ganesh was scanned using a 3D optical scanner to generate a solid model of the statue. A surface model was then extracted from the 3D model to firstly determine the most efficient structural support within the statue and secondly to generate surface strips for the foundry to create actual bronze casts. The construction of the project began early 2009 and the statue has since been erected from its base to currently its head. During construction, the author and design team has encountered several problems translating pixels to parts. Several errors have occurred during the mould and cast production process as well as construction errors on site causing mismatches of the structure and surface, misalignments, and protruding structural supports and joints. The lessons learned from this project is documented and analysed with hopes to create a more effective process for future projects with similar requirements.
keywords	CAD/CAM; 3D scanner; CNC milling; metal fabrication
series	CAADRIA
email
last changed	2022/06/07 07:52

_id	cdc2008_243
id	cdc2008_243
authors	Loukissas, Yanni
year	2008
title	Keepers of the Geometry: Architects in a Culture of Simulation
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 243-244
summary	“Why do we have to change? We’ve been building buildings for years without CATIA?” Roger Norfleet, a practicing architect in his thirties poses this question to Tim Quix, a generation older and an expert in CATIA, a computer-aided design tool developed by Dassault Systemes in the early 1980’s for use by aerospace engineers. It is 2005 and CATIA has just come into use at Paul Morris Associates, the thirty-person architecture firm where Norfleet works; he is struggling with what it will mean for him, for his firm, for his profession. Computer-aided design is about creativity, but also about jurisdiction, about who controls the design process. In Architecture: The Story of Practice, Architectural theorist Dana Cuff writes that each generation of architects is educated to understand what constitutes a creative act and who in the system of their profession is empowered to use it and at what time. Creativity is socially constructed and Norfleet is coming of age as an architect in a time of technological but also social transition. He must come to terms with the increasingly complex computeraided design tools that have changed both creativity and the rules by which it can operate. In today’s practices, architects use computer-aided design software to produce threedimensional geometric models. Sometimes they use off-the-shelf commercial software like CATIA, sometimes they customize this software through plug-ins and macros, sometimes they work with software that they have themselves programmed. And yet, conforming to Larson’s ideas that they claim the higher ground by identifying with art and not with science, contemporary architects do not often use the term “simulation.” Rather, they have held onto traditional terms such as “modeling” to describe the buzz of new activity with digital technology. But whether or not they use the term, simulation is creating new architectural identities and transforming relationships among a range of design collaborators: masters and apprentices, students and teachers, technical experts and virtuoso programmers. These days, constructing an identity as an architect requires that one define oneself in relation to simulation. Case studies, primarily from two architectural firms, illustrate the transformation of traditional relationships, in particular that of master and apprentice, and the emergence of new roles, including a new professional identity, “keeper of the geometry,” defined by the fusion of person and machine. Like any profession, architecture may be seen as a system in flux. However, with their new roles and relationships, architects are learning that the fight for professional jurisdiction is increasingly for jurisdiction over simulation. Computer-aided design is changing professional patterns of production in architecture, the very way in which professionals compete with each other by making new claims to knowledge. Even today, employees at Paul Morris squabble about the role that simulation software should play in the office. Among other things, they fight about the role it should play in promotion and firm hierarchy. They bicker about the selection of new simulation software, knowing that choosing software implies greater power for those who are expert in it. Architects and their collaborators are in a continual struggle to define the creative roles that can bring them professional acceptance and greater control over design. New technologies for computer-aided design do not change this reality, they become players in it.
email
last changed	2009/01/07 08:05

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