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	cf2011_p035
id	cf2011_p035
authors	Langenhan, Christoph; Weber Markus, Petzold Frank, Liwicki Marcus, Dengel Andreas
year	2011
title	Sketch-based Methods for Researching Building Layouts through the Semantic Fingerprint of Architecture
source	Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 85-102.
summary	The paper focuses on the early stages of the design process where the architect needs assistance in finding reference projects and describes different aspects of a concept for retrieving previous design solutions with similar layout characteristics. Such references are typically used to see how others have solved a similar architectural problem or simply for inspiration. Current electronic search methods use textual information rather than graphical information. The configuration of space and the relations between rooms are hard to represent using keywords, in fact transforming these spatial configurations into verbally expressed typologies tends to result in unclear and often imprecise descriptions of architecture. Nowadays, modern IT-technologies lead to fundamental changes during the process of designing buildings. Digital representations of architecture require suitable approaches to the storage, indexing and management of information as well as adequate retrieval methods. Traditionally planning information is represented in the form of floor plans, elevations, sections and textual descriptions. State of the art digital representations include renderings, computer aided design (CAD) and semantic information like Building Information Modelling (BIM) including 2D and 3D file formats such as Industry Foundation Classes (IFC) (IAI, 2010). In the paper, we examine the development of IT-technologies in the area of case-based reasoning (Richter et al., 2007) to provide a sketch-based submission and retrieval system for publishing and researching building layouts including their manipulation and subsequent use. The user interface focuses on specifying space and their relations by drawing them. This query style supports the spatial thinking approach that architects use, who often have a visual representation in mind without being able to provide an accurate description of the spatial configuration. The semantic fingerprint proposed by (Langenhan, 2008) is a description and query language for creating an index of floor plans to store meta-data about architecture, which can be used as signature for retrieving reference projects. The functional spaces, such as living room or kitchen and the relation among on another, are used to create a fingerprint. Furthermore, we propose a visual sketch-based interface (Weber et al., 2010) based on the Touch&Write paradigm (Liwicki et al., 2010) for the submission and the retrieval phase. During the submission process the architect is sketching the space-boundaries, space relations and functional coherence's. Using state of the art document analysis techniques, the architects are supported offering an automatic detection of room boundaries and their physical relations. During the retrieval the application will interpret the sketches of the architect and find reference projects based on a similarity based search utilizing the semantic fingerprint. By recommending reference projects, architects will be able to reuse collective experience which match the current requirements. The way of performing a search using a sketch as a query is a new way of thinking and working. The retrieval of 3D models based on a sketched shape are already realized in several domains. We already propose a step further, using the semantics of a spatial configuration. Observing the design process of buildings reveals that the initial design phase serves as the foundation for the quality of the later outcome. The sketch-based approach to access valuable information using the semantic fingerprint enables the user to digitally capture knowledge about architecture, to recover and reuse it in common-sense. Furthermore, automatically analysed fingerprints can put forward both commonly used as well as best practice projects. It will be possible to rate architecture according to the fingerprint of a building.
keywords	new media, case-based reasoning, ontology, semantic building design, sketch-based, knowledge management
series	CAAD Futures
email
last changed	2012/02/11 19:21

_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

_id	46d4
id	46d4
authors	Fischer, Thomas
year	2008
title	Designing (tools (for designing (tools for ...))))
source	RMIT University, Melbourne
summary	Outcomes of innovative designing are frequently described as enabling us in achieving more desirable futures. How can we design and innovate so as to enable future processes of design and innovation? To investigate this question, this thesis probes the conditions, possibilities and limitations of toolmaking for novelty and knowledge generation, or in other words, it examines designing for designing. The focus of this thesis is on the development of digital design tools that support the reconciliation of conflicting criteria centred on architectural geometry. Of particular interest are the roles of methodological approaches and of biological analogies as guides in toolmaking for design, as well as the possibility of generalising design tools beyond the contexts from which they originate. The presented investigation consists of an applied toolmaking study and a subsequent reflective analysis using second- order cybernetics as a theoretical framework. Observations made during the toolmaking study suggest that biological analogies can, in informal ways, inspire designing, including the designing of design tools. Design tools seem to enable the generation of novelty and knowledge beyond the contexts in and for which they are developed only if their users apply them in ways unanticipated by the toolmaker. Abstract The reflective analysis offers theoretical explanations for these observations based on aspects of second-order cybernetics. These aspects include the modelling of designing as a conversation, different relationships between observers (such as designers) and systems (such as designers engaged in their projects), the distinction between coded and uncoded knowledge, as well as processes underlying the production and the restriction of meaning. Initially aimed at the development of generally applicable, prescriptive digital tools for designing, the presented work results in a personal descriptive model of novelty and knowledge generation in science and design. This shift indicates a perspective change from a positivist to a relativist outlook on designing, which was accomplished over the course of the study. Investigating theory and practice of designing and of science, this study establishes an epistemological model of designing that accommodates and extends a number of theoretical concepts others have previously proposed. According to this model, both design and science generate and encode new knowledge through conversational processes, in which open-minded perception appears to be of greater innovative power than efforts to exercise control. The presented work substantiates and exemplifies radical constructivist theory of knowledge and novelty production, establishes correspondences between systems theory and design research theory and implies that mainstream scientific theories and practices are insufficient to account for and to guide innovation.
keywords	Digital design tools, geometry rationalisation, second-order cybernetics, knowledge generation
series	thesis:PhD
type	normal paper
email
more	http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080424.160537/index.html
last changed	2008/05/10 08:31

_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	cf2011_p108
id	cf2011_p108
authors	Iordanova, Ivanka; Forgues Daniel, Chiocchio François
year	2011
title	Creation of an Evolutive Conceptual Know-how Framework for Integrative Building Design
source	Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 435-450.
summary	Low productivity of the building sector today is attributed to the fragmentation of tasks, disciplines and responsibilities, as well as to the resistance to adopt integrative work processes and digital means. The increased complexity of architectural projects and the aroused social consciousness for sustainable environment calls for integrative design collaboration. Thus, there is need for a Conceptual Framework combining work processes, technological means and policy aspects. According to the literature, integrative multidisciplinary design is a strategy resulting in high performance buildings nurturing sustainable way of living (Reed et al. 2009, Krygiel & Nies 2008). Responding to the increased technological complexity of our built environment, as well as to the objective of meeting multiple criteria of quality, both necessitating multidisciplinary collaboration during design, Building Information Modeling (BIM) is seen as a powerful means for fostering quality, augmenting productivity and decreasing loss in construction. Based on recent research, we can propose that a sustainable building can be designed through an integrative design process (IDP) which is best supported by BIM. However, our ongoing research program and consultations with advanced practitioners underscore a number of limitations. For example, a large portion of the interviewed professionals and construction stakeholders do not necessarily see a link between sustainable building, integrative design process and BIM, while in our opinion, their joint use augments the power of each of these approaches taken separately. Thus, there is an urgent necessity for the definition of an IDP-BIM framework, which could guide the building industry to sustainable results and better productivity. This paper defines such a framework, whose theoretical background lays on studies in social learning (activity theory and situated action theories). These theories suggest that learning and knowledge generation occurs mainly within a social process defined as an activity. This corresponds to the context in which the IDP-BIM framework will be used, its final objective being the transformation of building design practices. The proposed IDP-BIM framework is based on previous research and developments. Thus, firstly, IDP process was well formalized in the Roadmap for the Integrated Design Process‚ (Reed et al.) which is widely used as a guideline for collaborative integrative design by innovating practices in USA and Canada. Secondly, the National Building Information Modeling Standard (NBIMS) of the USA is putting an enormous effort in creating a BIM standard, Succar (2008) recently proposed a conceptual framework for BIM, but BIM ontology is still under development (Gursel et al 2009). Thirdly, an iterative design process bound to gating reviews (inspired from software development processes) was found to be successful in the context of multidisciplinary design studios (reported in our previous papers). The feedback from this study allowed for modifications and adjustments included in the present proposal. The gating process assures the good quality of the project and its compliance to the client's requirements. The challenge of this research is to map the above mentioned approaches, processes and technologies into the design process, thus creating an integrated framework supporting and nurturing sustainable design. The IDP-BIM framework can be represented by a multidimensional matrix linked to a semantic network knowledge database: - the axes of the matrix being the project timeline, the design process actors and building stakeholders (architect, engineers, client, contractor, environmental biologist, etc.), or different aspects of building performance (environmental, functional, social, interior environment quality, cost, etc.); and - the knowledge database providing multiple layers of semantic support in terms of process, domain knowledge, technology and workflow at a given moment of the project and for a given actor or building aspect. The IDP-BIM framework is created as an evolutive digital environment for know-how and will have an established protocol for regular updates. The paper will firstly present the state of the art in IDP and BIM. Secondly, it will expose the methodology used for the definition of the Framework, followed by a description of its structure, contents and digital implementation. Then, some scenarios for the use of the Framework will be shown as validation.
keywords	integrated design process, BIM, multidisciplinary design, conceptual framework
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	sigradi2008_081
id	sigradi2008_081
authors	Kirschner, Ursula
year	2008
title	Study of digital morphing tools during the design process - Application of freeware software and of tools in commercial products as well as their integration in AutoCAD
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	This research work examines methods of experimental designing with CAAD in a CAD laboratory with architecture students as the testing persons. Thereby the main focus is on the early phase of finding forms, in which different techniques with digital media are tried out in the didactic architectural design lessons. In these work have been traced the influences of the media employed on the design processes and combined the approaches of current CAAD research with aspects from classic design theory. For mathematical rules of proportion, atmospheric influence factors and analogy concepts in architecture, I have developed design methods which have been applied and verified in several series of seminars. (Kirschner, U.: 2000, Thesis, a CAAD supported architectural design teaching, Hamburg, school of arts). Previous experimental exercises showed that morphological sequences of modeling are effective sources for playful designing processes. In the current work these approaches are enhanced and supplemented by different morphological architectural concepts for creating shapes. For this purpose 2D based software like Morphit, Winmorph and other freeware were used. Whereas in the further development of this design technique we used 3D freeware morphing programs like zhu3D or Blender. The resulting morphological shapes were imported in CAD and refined. Ideally the morphing tool is integrated in the modeling environment of the standard software AutoCAD. A digital city model is the starting basis of the design process to guarantee the reference to the reality. The applied design didactic is predicated on the theories of Bernhard Hoesli. The act of designing viewed as „waiting for a good idea“ is, according to him, unteachable; students should, in contrast, learn to judge the „the force of an idea“. On the subject of morphology a form-generating method in the pre-design phase has been tested. Starting from urban-planning lines on an area map, two simple geometric initial images were produced which were merged by means of morphing software. Selected images from this film sequence were extruded with CAAD to produce solid models as sectional drawings. The high motivation of the students and the quality of the design results produced with these simple morphing techniques were the reason for the integration of the artistic and scientific software into the creative shape modeling process with the computer. The students learned in addition to the „bottom up “and „ top down” new design methods. In the presentation the properties and benefits of the morphing tools are presented in tables and are analyzed with regard to the architectural shape generating in an urban context. A catalogue of criteria with the following topics was developed: user friendliness, the ability of integrating the tools or as the case may be the import of data into a CAD environment, the artistic aspects in terms of the flexibility of shape generating as well as the evaluation of the aesthetic consideration of shapes.
keywords	Architectural design, freeware morphing software, AutoCAD
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	caadria2008_74_session7a_609
id	caadria2008_74_session7a_609
authors	Koba, Norio; Koji Koizumi, Tatsuya Kishimoto
year	2008
title	Impression Analyses of Building Form and Streetscape in Nihonbashi-Chuo Street Using Virtual Reality: Streetscape Analysis which aims at creating unique streetscape using virtual reality
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. 609-617
doi	https://doi.org/10.52842/conf.caadria.2008.609
summary	Recently in Japan, streetscapes have been changing by repeated deregulations and redevelopments. In this paper, the desirable building forms and facades in Nihonbashi is examined through experiments using the VR system. Firstly the changes of impression in three streetscapes whose buildings forms and height are different are investigated. Secondly, the difference in impression of facades in the cases they are seen in streetscapes or seen individually is examined. Thirdly analysing the correlation of physical components and unique facades, the relation between attractiveness of streetscape and building forms and facades is clarified. From these results, way of design to create lively, emotional and unique streetscape in Nihonbashi is suggested.
keywords	super high-rise building, fa ade, redevelopment, streetscapes, Nihonbashi, Virtual Reality system
series	CAADRIA
email
last changed	2022/06/07 07:51

_id	sigradi2008_103
id	sigradi2008_103
authors	Baltazar, Ana Paula; Maria Lucia Malard, Silke Kapp, Pedro Schultz
year	2008
title	From physical models to immersive collaborative environments: testing the best way for homeless people to visualise and negotiate spaces
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	This paper describes an experiment to investigate the best way for lay people to use representation to visualise and negotiate space. It was motivated by our observations in workshops for digital inclusion in the context of a housing project for a homeless association. Computers were used to make it easier for the community to understand and change the spaces in real time. The first workshops proved that our approach was efficient as an exercise but not certainly effective concerning the understanding of spatial qualities. So we have designed an experiment to compare the usability of different media in participatory design processes. For that we have adapted the ‘Usability’ methodology, which is fully described in the paper. We started with three main questions. The first concerned the effectiveness of different media to represent spatial quality; the second concerned the best way for novices to approach space, whether by refurbishing a pre-existing space or by starting from the scratch; and the third concerned the effectiveness of negotiation by means of discourse and by means of or action. We also had two main hypothesis: one coming from research on digital environments and stereo visualisation, indicating that the more people feel immersed in the represented environment the more they are able to correlate it with physical space; and the other coming from our own observations in the participatory design workshops, in which the collective decision-making was manipulated by those people with more advanced communication skills who use their ability in an authoritative way regardless of the relevance of what they have to say. This paper describes the whole experiment, which was an exercise of spatial negotiation in 5 versions. In the first version we provided fixed digital views of a room in plan and axonometry; for another two versions we provided a physical model of the room in 1:10 scale, with some pieces of the existing furniture in different scales. This was done to check if people were just playing with a puzzle or actually grasping the correspondence between representation and the object or the space represented. One version proposes refurbishment and the other starts from the scratch. And the last two versions repeated the same task made with the physical model, but this time using a 3D interactive digital model. People were required not only to organise the furniture in the space but also to build a full scale cardboard structure and organise the real furniture reproducing their proposed model. Their comments on the spaces they had built confronted with what they had imaged when working with the model has enabled us to compare the different models, as also the different ways of negotiating spaces. This paper describes this experiment in detail concluding that 3D digital interactive models are far more effective than physical models and 2D drawings; when negotiation happens by means of action it provides more creative results than when the discoursive practice prevails; people are more creative when they start something from scratch, though they spend more time. The results of this experiment led us to formulate a new hypothesis leading to the development of an immersive collaborative environment using stereoscopy.
keywords	Visualisation, negotiation, immersive environment, digital interfaces, homeless people
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	cdc2008_137
id	cdc2008_137
authors	Cardoso, Daniel
year	2008
title	Certain assumptions in Digital Design Culture: Design and the Automated Utopia
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 137-148
summary	Much of the research efforts in computational design for Architecture today aim to automate or bypass the production of construction documents as a means of freeing designers from the sticky and inconvenient contingencies of physical matter. This approach has yielded promising questions and applications, but is based on two related assumptions that often go unnoticed and that I wish to confront: 1. Designers are more creative if the simulations they rely on engage only with the superficial aspects of the objects they design (rather than with their structural and material-specific behaviors) and 2. The symbolic 3-D environments available in current design software are the ideal media for design because of their free nature as modeling spaces. These two assumptions are discussed both as cultural traits and in their relation to digital design technologies. The work presented is a step towards the far-sighted goal of answering the question: how can computation enable new kinds of dialogue between designer, design media and construction in a design process? In concrete, this paper proposes a critical framework for discussing contemporary digital design practices as a continuity –rather than as a rupture- of a long-standing tradition in architecture of separating design and construction.
email
last changed	2009/01/07 08:05

_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	cdc2008_301
id	cdc2008_301
authors	Herron, Jock
year	2008
title	Shaping the Global City: The Digital Culture of Markets, Norbert Wiener and the Musings of Archigram
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 301-308
summary	The contemporary “built environment” as conceived by designers – be it actual or virtual; be it architecture, landscape, industrial products or, more purely, art – is increasingly generated using powerful computational tools that are shaping the culture of the design professions, so much so that the phrase “digital culture” aptly applies. Designers are rightly inclined to believe that the emerging contemporary landscape – especially in thriving global cities like New York, London and Tokyo – has recently been and will continue to be shaped in important ways by digital design. That will surely be the case. However, design does not exist in a material vacuum. Someone pays for it. This essay argues that the primary shaper of global cities today is another “digital culture”, one defined by the confluence of professions and institutions that constitute our global financial markets. The essay explores the common origins of these two cultures – design and finance; the prescient insights of Archigram into the cybernetic future of cities; the spatial implications of nomadic “digitized” capital and the hazards of desensitizing – in many ways, dematerializing – the professional practices of design and finance. The purpose of the essay is not to establish primacy of one over the other. Especially in the case of urban design, they are interdependent. The purpose is to explore the connection.
email
last changed	2009/01/07 08:05

_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
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
doi	https://doi.org/10.52842/conf.acadia.2008.174
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_023
id	cdc2008_023
authors	Karandinou, Anastasia; Leonidas Koutsoumpos and Richard Coyne
year	2008
title	Hybrid Studio Matters: Ethnomethodological Documentary of a Tutorial
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 23-34
summary	This paper looks into the electronically augmented, or ‘hybrid’ contemporary environment, through the spatial and temporal thresholds or ‘seams’ that it encompasses. Electronically augmented environments have been studied increasingly within the past few years. The question of how architects respond to the new spatial conditions, how they interpret and design space, is a major emerging issue. Within these broad questions, we conducted an ethnomethodological analysis of a particular environment-example: the architectural design studio, through the documentation and analysis of an episode in an architectural tutorial. The analysis of this case-study is based upon the seams, the thresholds or ruptures that occur between different media. We argue that the shift or transition from one medium to another can be smooth and un-noticed, whereas, in other instances, it shifts completely the centre of attention, the flow of the tutorial or the perception of the means (and other elements) engaged. The transitions, occurring within the recorded tutorial, are studied in relation to the notions of engagement, immediacy and continuity. We consider that these three notions bring forth the complexities, conflicts and richness (of the hybrid environment) that the tutorial recording reveals.
email
last changed	2009/01/07 08:05

_id	caadria2020_242
id	caadria2020_242
authors	Martin Iglesias, Rodrigo, Voto, Cristina and Agra, RocÃo
year	2020
title	Design in the Age of Dissident Cyborgs - Xenofuturism as caring-curing practices
source	D. Holzer, W. Nakapan, A. Globa, I. Koh (eds.), RE: Anthropocene, Design in the Age of Humans - Proceedings of the 25th CAADRIA Conference - Volume 2, Chulalongkorn University, Bangkok, Thailand, 5-6 August 2020, pp. 233-240
doi	https://doi.org/10.52842/conf.caadria.2020.2.233
summary	This paper synthesizes several years of research in the field of the theory of architecture and design, and its subsequent undergraduate and graduate teaching. Specifically, it is a work that reflects on how architecture and design should face the three most important paradigmatic phenomena of our present and near future. Paradigms as things we think with, rather than as things we think about (Agamben, 2008), or in other words, it matters what ideas we use to think of other ideas (Strathern, 1992). These phenomena refer to environmental, technological and anthropological aspects, and the strategies to cope with them, involving alternate design thinking and practice in which futurabilities and futurizations depart from the displacement generated by post-utopian visions based on dissidence and subalternity.
keywords	Chthulucene; Cyborg Design; Dissident Futures; Futurization; Xenofuturism
series	CAADRIA
email
last changed	2022/06/07 07:59

_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	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	ijac20086404
id	ijac20086404
authors	Hudson, Roly
year	2008
title	Knowledge Acquisition in Parametric Model Development
source	International Journal of Architectural Computing vol. 6 - no. 4, 435-451
summary	This paper addresses the development of parametric models in contemporary architectural practice. A parametric model can be regarded as a representation of a solution space and in order to structure this, a description of the problem is required. Architectural design tasks are typically ill structured, the goals may not be defined and the means unknown. Moving from an incomplete problem description to a functional parametric model is a difficult task. This paper aims to demonstrate that through a combination of knowledge acquisition and capture a parametric model can develop from an incomplete problem description. This demonstration draws on existing strands of design theory which are then used to outline a theoretical framework. This framework is then used to examine a case study of a live project and practical examples of the described theory in action are given. The practical observations are the result of a case study involving the author as a participant and observer working with HOK Sport to develop a cladding geometry solution for Lansdowne Road Stadium in Dublin.
series	journal
last changed	2009/03/03 07:48

_id	caadria2008_27_session3b_221
id	caadria2008_27_session3b_221
authors	Al-Haddad, Tristan
year	2008
title	Parametric modulations in Masonry
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. 221-228
doi	https://doi.org/10.52842/conf.caadria.2008.221
summary	The focus of the research presented in this paper asks how a designer can create a flexible system of physical making which can accommodate multiple programmatic functions within a smooth whole, rather than creating an a priori singular formal object. This adaptable system of construction works through the development of an intelligent CAD model that can be mapped to a flexible manufacturing mechanism, i.e. a reconfigurable mold. This system of manufacturing can be used to cast totally unique solid modules without creating a unique mold for each part by manipulating the topological structure of the system. This approach takes the notion of mass-customization beyond the expensive and unsustainable one-offs that the design world has seen recently, and into a new paradigm of a sustainable, economically viable world of mass-customizable form and space.
keywords	Parametrics, Variability, Reconfigurability, UHPC, Topology, Molding, Casting
series	CAADRIA
email
last changed	2022/06/07 07:54

_id	caadria2008_38_session4a_309
id	caadria2008_38_session4a_309
authors	Gero, John S; Nick Kelly
year	2008
title	How can CAAD tools be more useful at the early stages of designing?: Towards Situated Agents That Interpret
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. 309-316
doi	https://doi.org/10.52842/conf.caadria.2008.309
summary	This paper describes how designers can be supported in the early stages of designing through more flexible representations. It presents situated agency as a means to address this problem. Interpretation is a necessary process to give meaning to data before creating a representation. A framework for situated interpretation agents is outlined, with a focus on push-pull and the process of situation. An example for creating a CAAD representation from a raster image is used to illustrate this framework. This research lays a foundation for further work on situated interpretation agents.
keywords	CAAD; interpretation; situated agents; design; representation
series	CAADRIA
email
last changed	2022/06/07 07:51

_id	caadria2008_20_session3a_168
id	caadria2008_20_session3a_168
authors	Lan, Ju-Hung
year	2008
title	Smart Space for Office Daily Life: A Situated Life Pattern Approach
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. 168-173
doi	https://doi.org/10.52842/conf.caadria.2008.168
summary	Researches in smart space design have been focused on using ubiquitous computing technologies to provide the visions of future lives in physical spaces. However, most researches have less concern for the logical usability in creating smart spaces for the occupants. The study is interested in designing a smart space which is occupant-centric and situated-life-oriented based on ubiquitous computing technologies. A spatial system prototype with smart door, smart wall, and smart table is developed from a situated life pattern approach to support typical office life events. The design problems of integrating ubiquitous computing devices with physical spatial components are explored and discussed.
keywords	Smart space, ubiquitous computing, situated life pattern
series	CAADRIA
email
last changed	2022/06/07 07:52

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