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

_id	cdc2008_229
id	cdc2008_229
authors	Asut, Serdar
year	2008
title	Rethinking the Creative Architectural Design in the Digital Culture
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 229-234
summary	This paper tries to examine the effects of emerging digital tools in architectural design. Digital tools are not only practical instruments used for drawing, but they also affect design thinking. As the ones that are used in architectural design are mostly commercial, one can say that design thinking, the identity of the design and the creativity of the designer are defined by the companies which develop these tools. Therefore architects have to be able to manipulate these tools and personalize them in order to free their design thinking and creativity. This paper addresses the open source development in order to redefine creativity in architecture of digital culture.
keywords	Design Tools, Digital Culture, CAD Software, Open Source
email
last changed	2009/01/07 08:05

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

_id	cdc2008_359
id	cdc2008_359
authors	Burke, Anthony
year	2008
title	Reframing “intelligence” in computational design environments
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 359-366
summary	This paper seeks to establish a set of principals that form an understanding of intelligent systems related to design and architecture, through a review of intelligence as it has been understood over the last 60 years since Alan Turing first asked the question “can machines think?”1 From this review, principals of intelligence can be identified within the neurophysiological and artificial intelligence (AI) communities that provide a foundation for understanding intelligence in computational architecture and design systems. Through critiquing these principals, it is possible to re-frame a productive general theory of intelligent systems that can be applied to specific design processes, while simultaneously distinguishing the goals of design oriented intelligent systems from those goals of general Artificial Intelligence research.
email
last changed	2009/01/07 08:05

_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	cdc2008_065
id	cdc2008_065
authors	Celento, David and Del Harrow
year	2008
title	CeramiSKIN: Biophilic Topological Potentials for Microscopic and Macroscopic Data in Ceramic Cladding
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 65-76
summary	CeramiSKIN is an inter-disciplinary investigation examining recursive patterns found in organic matter. Through the use of digital capture and translation techniques, these biophilic systems may serve as topological generators for structural and ornamental consequences well-suited to mass-customizable ceramic cladding systems for architecture. Digital information is acquired through laser scanning and confocal electron microscopy, then deformed using particle physics engines and parametric transformations to create a range of effects promulgated through digital fabrication techniques. This inquiry is primarily concerned with two questions: Is it possible that natural systems may be digitally captured and translated into biophilic structural forms and/or ornamental effects that may foster beneficial responses in humans? / Since natural orders eschew rigid manifold geometries in favor of compound plastic shapes, is it possible to fabricate mass-customized, large-scale biophilic ceramic cladding from organic digital data?
keywords	Ceramic cladding systems, biophilia in architecture, digital design, digital fabrication, masscustomization
email
last changed	2009/01/07 08:05

_id	732b
id	732b
authors	Dimitris Papanikolaou
year	2008
title	From Representation of States to Description of Processes
source	Proceedings of 1st International Conference: Critical Digital, Cambridge, MA: Harvard University, 2008: 311-318
summary	Introduction of digital technologies in architecture has generated a great amount of hesitation and criticism about the role of design and its relation to the artifact. This confusion seems to stem from the dual nature of design as representation of the form and as a description of its production process. Today architects urge to adopt digital tools to explore complex forms often without understanding the complexity of the underlying production techniques. As a consequence, architects have been accused of making designs that they do not know how to build. Why is this happening today? It seems that while technology has progressed, the design strategy has remained the same. This paper will deal with the following question: What matters in design? The paper will reveal fundamental problems, attempt to answer this question, and suggest new directions for design strategies today. The conclusion of this paper is that digital design should also aim to describe process of production rather than solely represent form.
keywords	Description, Artifact, Digital, Process, Assembly, Value Chain
series	other
type	normal paper
email
last changed	2008/06/16 21:08

_id	cdc2008_111
id	cdc2008_111
authors	Dounas, Theodore
year	2008
title	Algebras, Geometries and Algorithms, Or How Architecture fought the Law and the Law Won
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 111-114
summary	An Architect is required to deal quite often with a restrictive piece of Building Code during his/her practice, especially in traditional and hence protected environments. The paper examines the algorithmic nature of such a Building Code and in particular the President's Decree governing the design and architecture of traditional housing in the Old Town, “Ano Poli”, in Thessaloniki Greece. The nature of the constraints and descriptions the Decree contains is algorithmic, which means that the descriptions of the constraints is procedural with a specific start and a specific finish for a house design. The problem with such descriptions in a Law is that, although an architect can develop his/her own interpretations of the traditional language of the area, or even be able to trace his/her designs using shape grammars derived from traditional buildings preserved until today, the final result cannot be approved for a building permit since it does not comply with the Presidential Decree. We suggest that the nature of such legislation should be algebraic in nature and not algorithmic, since algebras allow an amount of freedom in development of architectural language while also permitting the restriction of scale, height and so on. This coupling of architectural design freedom and effective restriction on metrics of new buildings contained in algebraic systems can be shown to be much more effective than the established algorithmic system. The Decree's content comprises of regulations concerning the volume, form and use of new buildings in the protected and conserved built environment of “Ano Poli” in Thessaloniki.
last changed	2009/01/07 08:05

_id	cdc2008_035
id	cdc2008_035
authors	Fiamma, Paolo
year	2008
title	D.I.G.I.T.A.L. Defining Internal Goals In The Architectural Landscape
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 35-40
summary	The digital factor is a challenge to regain the meaning of Design on Architecture, in addition to evaluating its possible extension and transformations. Digital could be an answer for the actual needs of architectural design: Architecture should be digital because digital is profit. Digital could help to understand architectural design as ""verified conception"" through the concept of computational modelling: Architecture should be digital because digital goes in line and not against design tradition. Digital could enhance the didactic dimension, really important for students: Architecture should be digital because is actual. Digital offers cognitive and ontological value for the design and new skills for the designer: Architecture should be digital because digital is a catalyst of new and creativity. Digital reshapes constructed architecture introducing new aesthetic paradigms: Architecture should be digital because digital is the mental landscape as reference point for the actual theoretical phase of Architecture … There are several answers to the question: “Why Architecture should be digital?”, but without rigor and critical dimension cannot be any digital benefit in architectural landscape, and the main risk could be that the “representation” prevails over ""the fact"".
email
last changed	2009/01/07 08:05

_id	cdc2008_105
id	cdc2008_105
authors	Friedrich, Christian
year	2008
title	Information-matter hybrids: Prototypes engaging immediacy as architectural quality
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 105-110
summary	‘Immediate Architecture’ is an exploratory investigation into possibilities of immediate interactive and constructive interaction with the built environment supported by digital technologies. Aim is to realize interactive reconfigurable architectural objects that support their informational and material reconfiguration in real-time. The outcome is intended to become a synergetic amalgam of interactive architecture, parametric design environment, automated component fabrication and assembly. To this end, computational and material strategies are developed to approach the condition of immediate architecture and applied in real-world prototypes. A series of developed techniques are presented, ranging from realtime volumetric modeling, behavioral programming and meta-application protocol to streaming fabrication and dynamic components for interactive architecture.
email
last changed	2009/01/07 08:05

_id	cdc2008_007
id	cdc2008_007
authors	Giddings, Bob and Margaret Horne
year	2008
title	The Changing Patterns of Architectural Design Education in the UK
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 7-16
summary	Digital technologies have been introduced to students of architecture for over two decades and at present it could be argued that students are producing some of the highest quality designs, and some of the most interesting forms ever to come from University Schools. The value of computer aided design (CAD) is also being demonstrated in architectural practice, with high profile, large budget, bespoke and iconic buildings designed by internationally renowned architects. This paper reviews the changing patterns of architectural design education and considers the contribution digital technologies could make to buildings with more commonplace uses. The study offers a perspective on different kinds of buildings and considers the influence that emerging technologies are having on building form. It outlines digital technologies, alongside students’ application for architectural design and considers the role they could play in the future, in developing a shared architectural language. It is suggested that some of the biggest opportunities for future research will be in the design of external spaces, often a neglected part of architectural design education.
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last changed	2009/01/07 08:05

_id	cdc2008_099
id	cdc2008_099
authors	Harrison, David and Michael Donn
year	2008
title	Using Project Information Clouds to Preserve Design Stories within the Digital Architecture Workplace
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 99-104
summary	During the development of an architectural design a series of design stories form. These stories chronicle the collective decision making process of the diverse project team. Current digital design processes often fail to record these design stories because of the emphasis placed on the concise and accurate generation of the virtual model. This focus on an allencompassing digital model is detrimental to design stories because it limits participation, consolidates information flow and risks editorialisation of design discussion. Project Information Clouds are proposed as a digital space for design team participants to link, categorise and repurpose existing digital information into comprehensible design stories in support of the digital building model. Instead of a discrete tool, the Project Information Cloud is a set of principles derived from a proven distributed information network, the World Wide Web. The seven guiding principles of the Project Information Cloud are simplicity, modular design, decentralisation, ubiquity, information awareness, evolutionary semantics and context sensitivity. These principles when applied to the development of existing and new digital design tools are intended to improve information exchange and participation within the distributed project team.
email
last changed	2009/01/07 08:05

_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.
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last changed	2009/01/07 08:05

_id	cdc2008_049
id	cdc2008_049
authors	Jaskiewicz, Tomasz
year	2008
title	Dynamic Design Matter[s]: Practical considerations for interactive architecture
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 49-56
summary	This paper explores the concept of interactive architecture. The first section begins by formulating a daring vision of a radically new kind of architecture. In the second chapter this vision is further elaborated upon, by proposing a generic approach towards practically accomplishing the originally formulated theoretical concept. Opportunities and threats that emerge from this vision and approach are discussed in the third section and eventually, in section four and five, the proposed approach is brought to practical applications and illustrated with a number of experimental building component examples that all together include all necessary features to create a complete large scale architectural object. All projects and explorations have been conducted as part of the Hyperbody group’s research at the Delft University of Technology and have been inspired by group’s director, prof. Kas Oosterhuis.
email
last changed	2009/01/07 08:05

_id	cdc2008_181
id	cdc2008_181
authors	Kaijima, Sawako and Panagiotis Michalatos
year	2008
title	Simplexity, the programming craft and architecture production
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 181-194
summary	In resent years, digital design tools have become prevalent in the design community and their capabilities to manipulate geometry have grown into a trend among architects to generate complex forms. Working as computational design consultant in an engineering firm, between architecture and engineering we often come across the problems generated by a superficial use of digital tools in both disciplines and the incapacity of the current system to cope with their byproducts. Here we will discuss the problems we see with the current system and the opportunities opened by digital design tools. Two guiding concepts are simplexity [the desire to fine tune and build a system that yields a solution to a specific design problem by collapsing its inherent complexity] and defamiliarization [a side effect of having to represent things as numbers]. They can both affect the designer as an individual who chooses to engage with digital media as well as the production system in which he/she is embedded since he/she will have to find new channels of communication with other parties. To demonstrate our strategy and the obstacles faced we will examine our involvement in the development of a computational design solution for a small house designed by Future Systems architects.
email
last changed	2009/01/07 08:05

_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	cdc2008_245
id	cdc2008_245
authors	Kim, Simon and Mariana Ibanez
year	2008
title	Tempus Fugit: Transitions and Performance in Activated Architecture
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 245-251
summary	Meaning in architecture has isotropic instances of realization, one that can unfold during the design process and one that can be layered onto the artifact of the building; its components and forms constitute a communication flow that emerges from an abstract form of description to its physicality. The internal cognition of this condition situates the subject as the third element, one that identifies the meaning from the extant building to its proxy meaning. In this manner, narrative and aesthetics perform the actualizations (the spatial and physical sequences) so that the occupant may understand its implications.1 Architecture is thus a one-directional flow of information (the building is an inert object from which meaning is derived, its physicality is static). Even in process-driven design, the synthesis of the many and the ordered, is evident in the materiality of the architectural manifestation; the building, although presented as a result of process cannot be separated from the reading of the generative operations. 2 Rather than continue in this manner of constructing meaning from an extensive coding (joining a concept to an object) or the instantiation (producing one from a larger field of possibilities) from a version, we suggest a dialectic that is bi-directional, or even multinodal, that is, continually self-renewing in meaning and material configuration with the active participation of the occupant. This representation is one that is time-based.
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last changed	2009/01/07 08:05

_id	cdc2008_149
id	cdc2008_149
authors	Kolarevic, Branko
year	2008
title	Post-Digital Architecture: Towards Integrative Design
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 149-156
summary	In this paper, an alternative vision of integrated design is proposed that is more open, fluid, pliable, and opportunistic in its search of collaborative alliances and agendas. This alternative approach is referred to as integrative design, in which methods, processes, and techniques are discovered, appropriated, adapted, and altered from “elsewhere,” and often “digitally” pursued. The designers who engage design as a broadly integrative endeavor fluidly navigate across different disciplinary territories, and deploy algorithmic thinking, biomimicry, computation, digital fabrication, material exploration, and/or performance analyses to discover and create a process, technique, or a product that is qualitatively new.
last changed	2009/01/07 08:05

_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.
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last changed	2009/01/07 08:05

_id	cdc2008_085
id	cdc2008_085
authors	Morad, Sherif
year	2008
title	Building Information Modeling and Architectural Practice: On the Verge of a New Culture
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 85-90
summary	The introduction of machine-readable tools for architectural design, which do not just focus on mere geometry or presentation, but on the richness of information embedded computationally in the design, has impacted the way architects approach and manipulate their designs. With the rapid acceleration in building information modeling (BIM) as a process which fosters machine-readable applications, architects and other participants in the design and construction industry are using BIM tools in full collaboration. As a trend which is already invading architectural practice, BIM is gradually transforming the culture of the profession in many ways. This culture is developing new properties for its participants, knowledge construction mechanisms, resources, and production machineries. This paper puts forward the assumption that BIM has caused a state of transformation in the epistemic culture of architectural practice. It appears that practice in the architecture, engineering and construction (AEC) industry is still in this phase of transformation; on the edge of developing a new culture. The paper attempts to address properties of such an emerging culture, and the new role architects are faced with to overcome its challenges.
email
last changed	2009/01/07 08:05

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