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	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	ecaade2012_154
id	ecaade2012_154
authors	Ferreira, M. Piedade; Cabral de Mello, Duarte; Duarte, José Pinto
year	2012
title	Embodied Emotions: A Phenomenological Approach to Computation to Explore Empathy Through Architecture
doi	https://doi.org/10.52842/conf.ecaade.2012.2.599
source	Achten, Henri; Pavlicek, Jiri; Hulin, Jaroslav; Matejovska, Dana (eds.), Digital Physicality - Proceedings of the 30th eCAADe Conference - Volume 2 / ISBN 978-9-4912070-3-7, Czech Technical University in Prague, Faculty of Architecture (Czech Republic) 12-14 September 2012, pp. 599-604
summary	In this paper we present a PhD research that aims to develop a design methodology that, using computational tools can generate livable spaces that allow the design of user centered architecture. We propose that a “corporeal architecture” might be able to work in a prophylactic or therapeutic way that can face some adversities generated by the contemporary impact of technology in the human body. We are using motion as the basis the tool to simulate the body’s motion as a spatial generator. We hope to understand how an embodied space, generated by motions that refl ect emotions, can create a sense of attunement with its dwellers. We also wish to achieve the holistic stimuli of the human body in a naturally immersive environment, with the induction of the body’s motions in space by the physical properties of the architecture.
wos	WOS:000330320600064
keywords	Corporeal Architecture; phenomenology; computation (shape grammars); user-centred design; empathy
series	eCAADe
email
last changed	2022/06/07 07:51

_id	ecaade2012_147
id	ecaade2012_147
authors	Huang, Yinghsiu; Hsieh, Kai-Wei; Chen, Huan-Nian
year	2012
title	The Emotional Design by Combining Interactive Technologies and Imaginations
doi	https://doi.org/10.52842/conf.ecaade.2012.2.361
source	Achten, Henri; Pavlicek, Jiri; Hulin, Jaroslav; Matejovska, Dana (eds.), Digital Physicality - Proceedings of the 30th eCAADe Conference - Volume 2 / ISBN 978-9-4912070-3-7, Czech Technical University in Prague, Faculty of Architecture (Czech Republic) 12-14 September 2012, pp. 361-368
summary	In product design domain, designers have to deal with not only the interface between human and hardware, but also the emotions while using products. However, imagination is an important ability in all design stages. How designers could combine interactive devices and emotions with their imaginations is the main problem of this research. At the end of this paper, the result will demonstrate an interactive and emotional design by combining some sensors to receive the usage from people, and some reactions to express products’ emotions. By wiring photosensitive resistor, pressure sensor, red LED, speakers, and programing in ARDUINO, this study assembled an emotional alarm, which can express his angry emotions by different levels of noise, lighting, and shocking. In this study, we conducted a workshop not only for combining interactive sensors into products, but also for expressing emotions in viewpoints from products. During this workshop, students have to trigger their imaginations for conceiving emotional products, which they have never seen and thought of.
wos	WOS:000330320600037
keywords	Imagination; product design; emotional; interactive design; ARDUINO
series	eCAADe
email
last changed	2022/06/07 07:50

_id	acadia12_269
id	acadia12_269
authors	Lally, Sean
year	2012
title	Architecture of an Active Context
doi	https://doi.org/10.52842/conf.acadia.2012.269
source	ACADIA 12: Synthetic Digital Ecologies [Proceedings of the 32nd Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-1-62407-267-3] San Francisco 18-21 October, 2012), pp. 269-276
summary	As we stand with our feet on earth’s outermost surface we build an architecture today that is much like it was several thousand years earlier, in an attempt to extend that outer shell with one of our own making. Artificial masses are built from a refinement of this existing geologic layer into materials of stone, steel, concrete, and glass that assemble to produce new pockets of space through the buildings they create. However, the sixth century BC writer Thales of Miletus put a different perspective on this: he insisted that we live, in reality, not on the summit of a solid earth but at the bottom of an ocean of air (Holmyard 1931). And so, as architecture continues to build up the outermost layer of earth’s surface through a mimicking, embellishing, and enhancing of the materials which it comes from, it raises the question of why we have not brought a similar relationship to the materialities at the bottom of this “ocean” of air to create the spaces we call architecture. If you were looking to level a complaint with the architectural profession, stating that it has not been ambitious enough in scope would not be one. Architects have never shied away from the opportunity to design everything from the building’s shell to the teaspoon used to stir your sugar in its matching cup. But it would seem that the profession has developed a rather large blind spot in terms of what it sees as a malleable material with which to engage. Architects have made assumptions as to what is beyond our scope of action, refraining from engaging a range of material variables due to a belief that the task would be too great or simply beyond our physical control. So even though we are enveloped by them continuously, both on the exterior as well as the interior of our buildings, it must be assumed that the particles, waves, and frequencies of energy that move around us are thought by architects to be too faint and shaky to unload upon them any heavy obligations, that they are too unwieldy for us to control to create the physical boundaries of separation, security, and movement required of architecture. This has resulted in a cultivated set of blinders that essentially defines architecture as a set of mediation devices (surfaces, walls, and inert masses) for tempering the environmental context it is situated in from the individuals and activities within. The spaces we inhabit are defined by their ability to decide what gets in and what stays out (sunlight, precipitation, winds). We place our organizational demands and aesthetic opinions on the surfaces that mediate these variables rather than seeing them as available for manipulation as a building material on their own. The intention here is to recalibrate the materialities that make up that environmental context to build architecture. The starting point is a rather naive question: can we design the energy systems that course in and around us daily as an architectural material so as to take on the needs of activities, securities, and lifestyles associated with architecture? Can the variables that we would normally mediate against instead be heightened and amplified so as to become the architecture itself? That which many would incorrectly dismiss as simply “air” today—thought to be homogeneous, scale-less, and vacant due in part to the limits of our human sensory system to perceive more fully otherwise—might tomorrow be further articulated, populated, and layered so as to become a materiality that will build spatial boundaries, define activities of individuals and movement, and act as architectural space. Our environmental context consists of a diverse range of materials (particles and waves of energy, spectrum of light, sound waves, and chemical particles) that can be manipulated and formed to meet our needs. The opportunity before us today is to embrace the needs of organizational structures and aesthetics by designing the active context that surrounds us through the material energies that define it.
keywords	Material energies
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:52

_id	ecaade2012_303
id	ecaade2012_303
authors	Cheng, Nancy Yen-wen
year	2012
title	Shading With Folded Surfaces: Designing With Material, Visual and Digital Considerations
doi	https://doi.org/10.52842/conf.ecaade.2012.2.613
source	Achten, Henri; Pavlicek, Jiri; Hulin, Jaroslav; Matejovska, Dana (eds.), Digital Physicality - Proceedings of the 30th eCAADe Conference - Volume 2 / ISBN 978-9-4912070-3-7, Czech Technical University in Prague, Faculty of Architecture (Czech Republic) 12-14 September 2012, pp. 613-620
summary	This paper analyses a hybrid design approach; how physical and digital processes can inform each other in a multivalent design cycle. It describes the design of origami-inspired window shades, part of the Shaping Light project that explores how adjustable surface structures can modulate light levels and heat gain in response to the changing seasons. The screen uses sloped surfaces to diffuse light and create apertures that close when the screen is stretched and open when the screen is folded. The project complements digital methods for pattern proportioning and kinetic simulation with manual manipulation to generate 3D folding motifs and refi ne assemblies. Physical prototypes can shape digital refi nement by revealing visual and structural characteristics of materials, along with joint and production considerations. Physical models for simulating sunny and cloudy daylighting conditions provide a direct connection between spatial confi guration and visual effects. The paper concludes with guidelines for material-based digital-analog creation.
wos	WOS:000330320600066
keywords	Architectural design process; digital fabrication; shading devices; origami
series	eCAADe
email
last changed	2022/06/07 07:55

_id	ecaade2012_318
id	ecaade2012_318
authors	Fioravanti, Antonio ; Loffreda, Gianluigi ; Simeone, Davide ; Trento, Armando
year	2012
title	“Divide et Impera” to dramatically and consciously simplify design: The mental/instance path - How reasoning among spaces, components and goals
doi	https://doi.org/10.52842/conf.ecaade.2012.1.269
source	Achten, Henri; Pavlicek, Jiri; Hulin, Jaroslav; Matejovska, Dana (eds.), Digital Physicality - Proceedings of the 30th eCAADe Conference - Volume 1 / ISBN 978-9-4912070-2-0, Czech Technical University in Prague, Faculty of Architecture (Czech Republic) 12-14 September 2012, pp. 269-278
summary	In our times, in a complex and universal village where problems are intertwined and pervasive beyond our imagination, we need new approaches to deal with them – appropriately. In a previous work we highlighted the importance to reason ontologies: a ‘world’ f.i. a building – as a mental image – is not a Linnaeus’s classifi cation (structured set of entities) but a system (goals oriented set of classes) able to reasoning upon selectively chosen entities belonging to different Realms (ontology universes) (Fioravanti et al., 2011a). The general aim of our research– to be an effective aid to design – is to simulate wo/man as designer and user of designed spaces, hence how mental skill can be computably included in new tools able to tackle these problems. This paper is focused on the fi rst role: how actor-designers approach design problems and how the inference mechanism can help them and affect the design process. A ‘Building Object’ - the dual system of Spaces and Technology elements – is inferred in several ways according to different goals and the inference mechanism can, simulating human mental shortcuts, optimize thinking.
wos	WOS:000330322400027
keywords	Design process; design operational theory; thinking optimization; inferential mechanisms; human-machine collaboration
series	eCAADe
email
last changed	2022/06/07 07:50

_id	caadria2012_108
id	caadria2012_108
authors	Gerber, David and Shih-Hsin (Eve) Lin
year	2012
title	Designing-in performance through parameterisation, automation, and evolutionary algorithms: ‘H.D.S. BEAGLE 1.0’
doi	https://doi.org/10.52842/conf.caadria.2012.141
source	Proceedings of the 17th International Conference on Computer Aided Architectural Design Research in Asia / Chennai 25-28 April 2012, pp. 141–150
summary	Design is both a goal oriented and decision making activity. It is ill-defined by nature as designing includes weighing and understanding trade-offs amongst soft and hard objectives or in other words vague or imprecise and computationally definable criteria and goals. In this regard designers in most contemporary practices face a crisis of sorts. How do we achieve performance or sustainability under these large degrees of uncertainty or with limited design cycle times? Fundamentally design collaborations, teams of domain experts, are not typically given enough time to design-explore, generate design alternatives in order to find or evolve solution quality through expansive design search spaces. Given these limitations of time and the ever more complex criteria for ‘designing-in’ performance our research approach provides a computational strategy to expand the solution space as well as pre-sort and qualify candidate designs. The research presents a novel methodology and technology framework and an initial implementation that was developed to enhance the human activity of design exploration, domain integration, and further evolve design process for performance goals. The research does so through generating and optimising a highly correlated solution space in conjunction with a near simultaneous evaluation of design alternative fitness.
keywords	Parametric design; multi-disciplinary design optimisation (MDO); evolutionary algorithms; performative design process
series	CAADRIA
email
last changed	2022/06/07 07:51

_id	acadia12_419
id	acadia12_419
authors	Hsiao, Chih-Pin ; Davis, Nicholas M. ; Do, Ellen Yi-Luen
year	2012
title	Dancing on the Desktop
doi	https://doi.org/10.52842/conf.acadia.2012.419
source	ACADIA 12: Synthetic Digital Ecologies [Proceedings of the 32nd Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-1-62407-267-3] San Francisco 18-21 October, 2012), pp. 419-428
summary	Dancing on the Desktop is a gesture-based modeling system. In this prototype, two interactive display screens are projected on the top of a desk and the wall behind it to show the plan and perspective views of an architectural model, respectively. A depth camera detects gestural interactions between these two displays to create an immersive gestural interaction space to manipulate the model. Additionally, visual images and text are projected on the user’s hands to provide different types of feedback about gestural interactions. We argue that Dancing on the Desktop helps users develop an embodied understanding of the spatial and volumetric properties of virtual objects. In this paper, we will review related gestural prototypes and examine their shortcomings. Then, we will introduce distributed cognition and describe how it helped our system address the shortcomings of typical gestural prototypes. Next, we will describe the implementation details and explain each type of gestural interaction in detail. Finally, we will discuss our preliminary tests and conclusions.
keywords	Design Cognition , Architectural Modeling , Gestural Inputs , Immersive Environment , Augmented Reality
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:51

_id	acadia12_15
id	acadia12_15
authors	Johnson, Jason Kelly; Cabrinha, Mark; Steinfeld, Kyle
year	2012
title	Synthetic Digital Ecologies
doi	https://doi.org/10.52842/conf.acadia.2012.015
source	ACADIA 12: Synthetic Digital Ecologies [Proceedings of the 32nd Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-1-62407-267-3] San Francisco 18-21 October, 2012), pp. 15-17
summary	Why use the terms synthetic and ecology in the context of a conference dedicated to the field of digital architecture, computation and fabrication? How do we begin to unpack the synthetic union of diverse elements, processes, collaborators, and code underlying any single contemporary design or research project? What could our field gain by interrogating these diverse ecologies? What are the relationships and interactions between our design processes, including our various tools and techniques, and the multiple environments with which we routinely work, collaborate and make? It is these questions and more that we hope to address at this year’s “Synthetic Digital Ecologies” conference. A quick scan of the papers and projects that will be presented at ACADIA reveals an extraordinary ecology of experimental research that emerged by working between messy labs, studios, workshops, hacker spaces and the like. In many ways today’s so-called “digital architects” do not feel compelled to distinguish between what is digitally designed and what is not. They are leading the way through a promiscuous and synthetic mixing of skill sets, of pens and paper, hardware and software, electronics and g-code. In a single research project these designers might collaborate with a computer scientist, a robotics expert and a glass blower, and in many cases they might even attempt to do all of these things themselves. It was with this in mind that we put forth an international call inviting, “… architects, fabricators, engineers, media artists, technologists, software developers, hackers and others in related fields of inquiry …” to submit papers and projects for this year’s conference. This year the proceedings have been organized into twelve synthetic categories based around the potential for diverse research topics to inform new and unexpected conversations. Instead of organizing peer-reviewed papers and projects through their formal characteristics, we were interested in forming new synthetic categories by curating unexpected juxtapositions. This ecology of ideas and research was meant to provoke and inspire new ways of thinking, making, building and collaborating.
series	ACADIA
type	introduction
email
last changed	2022/06/07 07:52

_id	acadia12_000
id	acadia12_000
authors	Johnson, Jason; Cabrina, Mark and Steinfeld, Kyle (eds.)
year	2012
title	ACADIA 12: Synthetic Digital Ecologies
doi	https://doi.org/10.52842/conf.acadia.2012
source	ACADIA 12: Synthetic Digital Ecologies [Proceedings of the 32nd Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-1-62407-267-3] San Francisco 18-21 October, 2012), 588p.
summary	Why use the terms synthetic and ecology in the context of a conference dedicated to the field of digital architecture, computation and fabrication? How do we begin to unpack the synthetic union of diverse elements, processes, collaborators, and code underlying any single contemporary design or research project? What could our field gain by interrogating these diverse ecologies? What are the relationships and interactions between our design processes, including our various tools and techniques, and the multiple environments with which we routinely work, collaborate and make? It is these questions and more that we hope to address at this year’s “Synthetic Digital Ecologies” conference. A quick scan of the papers and projects that will be presented at ACADIA reveals an extraordinary ecology of experimental research that emerged by working between messy labs, studios, workshops, hacker spaces and the like. In many ways today’s so-called “digital architects” do not feel compelled to distinguish between what is digitally designed and what is not. They are leading the way through a promiscuous and synthetic mixing of skill sets, of pens and paper, hardware and software, electronics and g-code. In a single research project these designers might collaborate with a computer scientist, a robotics expert and a glass blower, and in many cases they might even attempt to do all of these things themselves. It was with this in mind that we put forth an international call inviting, “... architects, fabricators, engineers, media artists, technologists, software developers, hackers and others in related fields of inquiry ...” to submit papers and projects for this year’s conference. This year the proceedings have been organized into twelve synthetic categories based around the potential for diverse research topics to inform new and unexpected conversations. Instead of organizing peer-reviewed papers and projects through their formal characteristics, we were interested in forming new synthetic categories by curating unexpected juxtapositions. This ecology of ideas and research was meant to provoke and inspire new ways of thinking, making, building and collaborating.
series	ACADIA
email
last changed	2022/06/07 07:49

_id	ecaade2012_83
id	ecaade2012_83
authors	Jones, Paulo; Eloy, Sara; Ricardo, Rui; Dias, Miguel Sales
year	2012
title	Architectural Rehabilitation and Conservation Processes Informed by Augmented Reality
doi	https://doi.org/10.52842/conf.ecaade.2012.2.411
source	Achten, Henri; Pavlicek, Jiri; Hulin, Jaroslav; Matejovska, Dana (eds.), Digital Physicality - Proceedings of the 30th eCAADe Conference - Volume 2 / ISBN 978-9-4912070-3-7, Czech Technical University in Prague, Faculty of Architecture (Czech Republic) 12-14 September 2012, pp. 411-418
summary	The goal of the presented research is to explore human-machine interaction and to study how Augmented Reality (AR) may be a potential tool to inform Architectural Rehabilitation and Conservation processes. Nowadays obtaining data to inform both marchitecture projects and real estate investments is a very bureaucratic process. City councils technicians suffers from the same diffi culties when are in fi eldwork to do inspections and lack a complete sort of information. This proposal considers that the use of mobile technologies as smart phones and tablets can empower these technicians to obtain building related data. The specifi c goal of the study aims to develop a data model and an interface that can be made available to professionals which allows an efficiently reply to the user’s needs as the system enables the gathering of updated information considering a particular building.
wos	WOS:000330320600043
keywords	Augmented reality; interface; architecture; rehabilitation; data
series	eCAADe
email
last changed	2022/06/07 07:52

_id	ascaad2012_002
id	ascaad2012_002
authors	Maher, Mary Lou
year	2012
title	Designing CAAD for Creativity
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. 7-9
summary	Can we design CAAD to enhance creativity? CAAD is often considered a tool that assists architects in design by managing documentation and facilitating visualization. While there has been anecdotal concern that CAAD inhibits creativity, there is empirical evidence that CAAD can enhance creativity. The challenge is to develop principles for designing CAAD for creativity based on theoretical and empirical research on recognizing and enhancing individual and distributed creative cognition. This presentation describes three concepts that can lead to principles for designing CAAD to enhance human creativity: recognition, perception, and diversity. // 1. Recognition: A framework for recognizing and evaluating creative design, shown in Figure 1, is developed based on research in psychology and design science that includes novelty, value, and surprise. This framework provides a basis for comparing and evaluating the impact of CAAD on creativity. 2. Perception: Perception affects cognition and therefore interaction design is a critical component of designing CAAD for creativity. The results of an empirical study, shown in Figure 2, using a protocol analysis find that changing perception to include tangible user interfaces has a positive effect on creative cognition. These results lead to design principles for increasing perceptual modalities in future CAAD systems. 3. Diversity: A theoretical framework for social and collective intelligence in design show how an increase in cognitive diversity leads to an increase in innovation. Using this framework we can develop design processes that combine the benefits of individual, team, and crowdsourced design ideas, as shown in Figure 3.
series	ASCAAD
type	keynote paper
email
more	http://www.ascaad.org/conference/2012/papers/ascaad2012_002.pdf
last changed	2012/05/15 20:46

_id	caadria2012_058
id	caadria2012_058
authors	Matthews, Linda and Gavin Perin
year	2012
title	Materialising the pixel: A productive synergy
doi	https://doi.org/10.52842/conf.caadria.2012.475
source	Proceedings of the 17th International Conference on Computer Aided Architectural Design Research in Asia / Chennai 25-28 April 2012, pp. 475–484
summary	The composite photoreceptive field of the human eye receives photons emitted from a source and converts this energy into image information within the brain. The internal mechanisms of the contemporary camera imaging technologies represent yet another in a long history of attempts to technically replicate this procedure. The critical difference between the capacity of the human eye to receive quanta events or photons and that of a camera transmitting to a digital display device, rests in how much of the original signal can be recovered. This paper aims to show how the ‘information deficit’ associated with this technological conversion can be enhanced by the deliberate exploitation and re-arrangement of the camera’s image sensor mechanism. The paper will discuss how the mapping of pixel grid geometries and colour filter array patterns at the vastly increased scale of building façades, imparts a materiality to urban form that modifies the visibility and performance of the corresponding virtual screen image. The exploration of the material adaptation of pixel geometries leads to a new technique that extends the working gamut of pixel-based RGB colour space and both establishes an index to develop material performance criteria and modifies the limitations of traditional viewing technologies.
keywords	Pixels; sensor; CCTV; imaging; array; façades
series	CAADRIA
email
last changed	2022/06/07 07:58

_id	acadia12_333
id	acadia12_333
authors	Poulsen, Esben Skouboe ; Andersen, Hans Jørgen
year	2012
title	Reactive Light Design in the ""Laboratory of the Street"" Esben Skouboe Poulsen, Hans Jørgen Andersen"
doi	https://doi.org/10.52842/conf.acadia.2012.333
source	ACADIA 12: Synthetic Digital Ecologies [Proceedings of the 32nd Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-1-62407-267-3] San Francisco 18-21 October, 2012), pp. 333-342
summary	This paper presents and discusses results related to a full-scale responsive urban lighting experiment and introduces a light design methodology inspired by reactive control strategies in robot systems. The experiment investigates how human motion intensities can be used as input to light design in a reactive system. Using video from 3 thermal cameras and computer vision analysis; people’s flow patterns were monitored and send as input into a reactive light system. Using physical as well as digital models 4 different light scenarios is designed and tested in full-scale. Results show that people on the square did not engage in the changing illumination and often they did not realized that the light changed according to their presence. However from the edge of the square people observed the light patterns “painted” on the city square, as such people became actors on the urban stage, often without knowing. Furthermore did the experiment showcase power savings up to 90% depending on the response strategy.
keywords	Responsive environments , Architectural Lighting , Interaction , Realtime response , Computer vision
series	ACADIA
type	normal paper
email
last changed	2022/06/07 08:00

_id	sigradi2012_100
id	sigradi2012_100
authors	Rivas, Dayana T. Pirela
year	2012
title	Perspectiva rizomática en la complejidad digital de la arquitectura [Rhizomatic Complexity Perspective on Digital Architecture]
source	SIGraDi 2012 [Proceedings of the 16th Iberoamerican Congress of Digital Graphics] Brasil - Fortaleza 13-16 November 2012, pp. 52-55
summary	The development of this text focuses on conceptualizing a design strategy reflective of recognition of the new multidimensional projection systems offered by digital technology compared to the multiplicity and complexity of actions in the architectural design process, based on the philosophical concept Rhizome Deleuze and Guattari. Coloniality of digital technology in architecture allows introducing another way to think about it, is another attitude, being responsible source and a new way to create, think and design, so it is pertinent to reflect how to approach the design process.
keywords	rhizome; multiplicity; complexity; digital technology; architectural design
series	SIGRADI
email
last changed	2016/03/10 09:58

_id	sigradi2020_549
id	sigradi2020_549
authors	Rodríguez-Velásquez, Maribel
year	2020
title	Socio-technical interactions in the relationship between social movements and internet: a review of the state of the art and the theoretical framework
source	SIGraDi 2020 [Proceedings of the 24th Conference of the Iberoamerican Society of Digital Graphics - ISSN: 2318-6968] Online Conference 18 - 20 November 2020, pp. 549-554
summary	The paper recognizes the relationship between social movements and internet how new practices of resistance through technological appropriation (Castells, 2012). This social interaction mediated by technology, understood as socio-technical interaction, establish new dynamics between human-technology-human and other heterogeneous actants (Latour, 2008), such as power and counter-power institutions that also connect to the socio-technical network. Therefore, the studies about digital interaction of the instrumental line are expanded, towards an understanding of socio-technical interactions, from the dynamics of design/use interconnected with cultural, political and economic contexts (Scolari, 2004, 2019), because the technology must satisfy social needs.
keywords	Socio-technical interaction, Social movements, Internet, Human-Computer Interaction, Socio- technical network
series	SIGraDi
email
last changed	2021/07/16 11:52

_id	ecaade2012_109
id	ecaade2012_109
authors	Simeone, Davide ; Kalay, Yehuda E.
year	2012
title	An Event-Based Model to simulate human behaviour in built environments
doi	https://doi.org/10.52842/conf.ecaade.2012.1.525
source	Achten, Henri; Pavlicek, Jiri; Hulin, Jaroslav; Matejovska, Dana (eds.), Digital Physicality - Proceedings of the 30th eCAADe Conference - Volume 1 / ISBN 978-9-4912070-2-0, Czech Technical University in Prague, Faculty of Architecture (Czech Republic) 12-14 September 2012, pp. 525-532
summary	During a design process, few methods allow designers to evaluate if and how the future building will match and affect its intended use and its intended users. Computer simulation techniques have focused on prediction of human behavior in built environments in order to overcome this lack; nevertheless, their applications are limited to representation of specifi c behavioral aspects while a reliable representation of building response to actual use is still missing. Based on current developments in the video game industry, the research described here aims to establish a new approach to simulating human behavior in buildings, centered on a clear definition of use scenarios as specific structures of active entities called Events. They provide information about occurrences happening during the use process in terms of Actors involved, Activities performed and Space where the event takes place. Equipped with AI engines, events control and coordinate the actors’ behavior during the simulation, representing their interaction, cooperation and collaboration.
wos	WOS:000330322400054
keywords	Building use simulation; event-based model; human-built environment interaction
series	eCAADe
email
last changed	2022/06/07 07:56

_id	ecaade2012_280
id	ecaade2012_280
authors	Baerlecken, Daniel; Reitz, Judith; Duncan, David
year	2012
title	Junk: Reuse of Waste Materials
doi	https://doi.org/10.52842/conf.ecaade.2012.2.143
source	Achten, Henri; Pavlicek, Jiri; Hulin, Jaroslav; Matejovska, Dana (eds.), Digital Physicality - Proceedings of the 30th eCAADe Conference - Volume 2 / ISBN 978-9-4912070-3-7, Czech Technical University in Prague, Faculty of Architecture (Czech Republic) 12-14 September 2012, pp. 143-150
summary	The paper presents a series of design build studio that investigate the role of waste as building material. The series develops proposals for constructions that use CAAD and CAM tools in combination with traditional fabrication tools to design and build an installation out of waste materials. The fi rst construction uses waste to create two installations that questions human consumption, The second project is a future project, that intends the use of waste as an actual building material. Recycling is in the process of becoming an integral part of sustainable architecture. However, there are very few digital design projects that use re-used or recycled materials in combination with their architectural and aesthetic qualities and potentials. The potential of such an investigation is explored within these design build studios. What is junk? What is a building material? What are the aesthetics of junk?
wos	WOS:000330320600014
keywords	Education in CAAD; digital fabrication and construction; practice-based and interdisciplinary CAAD; parametric modeling
series	eCAADe
email
last changed	2022/06/07 07:54

_id	ecaade2012_002
id	ecaade2012_002
authors	Achten, Henri; Pavlicek, Jiri; Hulin, Jaroslav; Matejdan, Dana (eds.)
year	2012
title	Physical Digitality
doi	https://doi.org/10.52842/conf.ecaade.2012.2
source	Proceedings of the 30th International Conference on Education and research in Computer Aided Architectural Design in Europe - Volume 2 [ISBN 978-9-4912070-3-7], Czech Technical University in Prague, Faculty of Architecture (Czech Republic) 12-14 September 2012, 714 p.
summary	Physical Digitality is the second volume of the conference proceedings of the 30th eCAADe conference, held from 12-14 september 2012 in Prague at the Faculty of Architecture of Czech Technical University in Prague. The companion volume is called Digital Physicality. Together, both volumes contain 154 papers that were submitted to this conference. Digitality is the condition of living in a world where ubiquitous information and communication technology is embedded in the physical world. Although it is possible to point out what is “digital” and what is “real,” the distinction has become pointless, and it has no more explanatory power for our environment, buildings, and behaviour. Material objects are invested with communication possibilities, teams are communicating even when not together, and buildings can sense and respond to the environment, each other, and to inhabitants. Digital is no longer an add-on, extra, or separate software. Reality is partly digital and partly physical. The implication of this condition is not clear however, and it is necessary to investigate its potential. New strategies are necessary that acknowledge the synergetic qualities of the physical and the digital. This is not limited to our designs but it also infl uences the process, methods, and what or how we teach. The subdivision of papers in these volumes follow the distinction made in the conference theme. The papers in Physical Digitality have their orientation mainly in the physical realm, and reach towards the digital part. It has to be granted that this distinction is rather crude, because working from two extremes (digital versus physical) tends to ignore the arguably most interesting middle ground.
keywords	Digital physicality; physical digitality
series	eCAADe
email
last changed	2022/06/07 07:49

_id	acadia12_391
id	acadia12_391
authors	Ajlouni, Rima
year	2012
title	The Forbidden Symmetries
doi	https://doi.org/10.52842/conf.acadia.2012.391
source	ACADIA 12: Synthetic Digital Ecologies [Proceedings of the 32nd Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-1-62407-267-3] San Francisco 18-21 October, 2012), pp. 391-400
summary	The emergence of quasi-periodic tiling theories in mathematics and material science is revealing a new class of symmetry, which had never been accessible before. Because of their astounding visual and structural properties, quasi-periodic symmetries can be ideally suited for many applications in art and architecture; providing a rich source of ideas for articulating form, pattern, surface and structure. However, since their discovery, the unique long-range order of quasi-periodic symmetries, is still posing a perplexing puzzle. As rule-based systems, the ability to algorithmically generate these complicated symmetries can be instrumental in understanding and manipulating their geometry. Recently, the discovery of quasi-periodic patterns in ancient Islamic architecture is providing a unique example of how ancient mathematics can inform our understanding of some basic theories in modern science. The recent investigation into these complex and chaotic formations is providing evidence to show that ancient designers, by using the most primitive tools (a compass and a straightedge) were able to resolve the complicated long-range principles of ten-fold quasi-periodic formations. Derived from these ancient principles, this paper presents a computational model for describing the long-range order of octagon-based quasi-periodic formations. The objective of the study is to design an algorithm for constructing large patches of octagon-based quasi-crystalline formations. The proposed algorithm is proven to be successful in producing an infinite and defect-free covering of the two-dimensional plane.
keywords	computational model , quasi-crystalline , symmetries , algorithms , complex geometry
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:54

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