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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	bba7
authors	Alexander, Christopher W.
year	1964
title	Notes on the Synthesis of Form
source	Harvard Graduate School of Design
summary	Every design problem begins with an effort to achieve fitness between two entities: the form in question and its context. The form is the solution to the problem; the context defines the problem. We want to put the context and the form into effortless contact or frictionless coexistence, i.e., we want to find a good fit. For a good fit to occur in practice, one vital condition must be satisfied. It must have time to happen. In slow-changing, traditional, unselfconscious cultures, a form is adjusted soon after each slight misfit occurs. If there was good fit at some stage in the past, no matter how removed, it will have persisted, because there is an active stability at work. Tradition and taboo dampen and control the rate of change in an unselfconscious culture's designs. It is important to understand that the individual person in an unselfconscious culture needs no creative strength. He does not need to be able to improve the form, only to make some sort of change when he notices a failure. The changes may not always be for the better; but it is not necessary that they should be, since the operation of the process allows only the improvements to persist. Unselfconscious design is a process of slow adaptation and error reduction. In the unselfconscious process there is no possibility of misconstruing the situation. Nobody makes a picture of the context, so the picture cannot be wrong. But the modern, selfconscious designer works entirely from a picture in his mind - a conceptualization of the forces at work and their interrelationships - and this picture is almost always wrong. To achieve in a few hours at the drawing board what once took centuries of adaptation and development, to invent a form suddenly which clearly fits its context - the extent of invention necessary is beyond the individual designer. A designer who sets out to achieve an adaptive good fit in a single leap is not unlike the child who shakes his glass-topped puzzle fretfully, expecting at one shake to arrange the bits inside correctly. The designer's attempt is hardly as random as the child's is; but the difficulties are the same. His chances of success are small because the number of factors which must fall simultaneously into place is so enormous. The process of design, even when it has become selfconscious, remains a process of error-reduction. No complex system will succeed in adapting in a reasonable amount of time or effort unless the adaptation can proceed component by component, each component relatively independent of the others. The search for the right components, and the right way to build the form up from these components, is the greatest challenge faced by the modern, selfconscious designer. The culmination of the modern designer's task is to make every unit of design both a component and a system. As a component it will fit into the hierarchy of larger components that are above it; as a system it will specify the hierarchy of smaller components of which it itself is made.
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	sigradi2005_463
id	sigradi2005_463
authors	Costa Cabral, Cláudia Piantá
year	2005
title	Computer City, 1994
source	SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 1, pp. 463-467
summary	This paper is about an emblematic design of the sixties, Dennis Crompton’s Computer City, published in 1964 by Archigram Magazine. Besides other enterprises of its time, Archigram promoted a critical view over institutionalised post-war modernism for not being able to recognize the emergence of new social realities, identified with the new technologies of automation and information, the restructuring of capitalist fordism and the shift from a predominantly industrial culture to an electronic culture. This paper sustains that more than a direct translation of unquestionable technical necessities; it was a conscious attempt of producing a sort of representation of technology. Crompton’s design clearly demonstrates the actual change in the character of technology, when it is no longer primarily identified with artefacts and objects, as the machine, and seems to be progressively identified with abstract and ubiquitous systems and processes of control, as automation and information systems. [Full paper in Portuguese]
series	SIGRADI
email
last changed	2016/03/10 09:49

_id	ecaade2023_138
id	ecaade2023_138
authors	Crolla, Kristof and Wong, Nichol
year	2023
title	Catenary Wooden Roof Structures: Precedent knowledge for future algorithmic design and construction optimisation
doi	https://doi.org/10.52842/conf.ecaade.2023.1.611
source	Dokonal, W, Hirschberg, U and Wurzer, G (eds.), Digital Design Reconsidered - Proceedings of the 41st Conference on Education and Research in Computer Aided Architectural Design in Europe (eCAADe 2023) - Volume 1, Graz, 20-22 September 2023, pp. 611–620
summary	The timber industry is expanding, including construction wood product applications such as glue-laminated wood products (R. Sikkema et al., 2023). To boost further utilisation of engineered wood products in architecture, further development and optimisation of related tectonic systems is required. Integration of digital design technologies in this endeavour presents opportunities for a more performative and spatially diverse architecture production, even in construction contexts typified by limited means and/or resources. This paper reports on historic precedent case study research that informs an ongoing larger study focussing on novel algorithmic methods for the design and production of lightweight, large-span, catenary glulam roof structures. Given their structural operation in full tension, catenary-based roof structures substantially reduce material needs when compared with those relying on straight beams (Wong and Crolla, 2019). Yet, the manufacture of their non-standard geometries typically requires costly bespoke hardware setups, having resulted in recent projects trending away from the more spatially engaging geometric experiments of the second half of the 20th century. The study hypothesis that the evolutionary design optimisation of this tectonic system has the potential to re-open and expand its practically available design solution space. This paper covers the review of a range of built projects employing catenary glulam roof system, starting from seminal historic precedents like the Festival Hall for the Swiss National Exhibition EXPO 1964 (A. Lozeron, Swiss, 1964) and the Wilkhahn Pavilions (Frei Otto, Germany, 1987), to contemporary examples, including the Grandview Heights Aquatic Centre (HCMA Architecture + Design, Canada, 2016). It analysis their structural concept, geometric and spatial complexity, fabrication and assembly protocols, applied construction detailing solutions, and more, with as aim to identify methods, tools, techniques, and construction details that can be taken forward in future research aimed at minimising construction complexity. Findings from this precedent study form the basis for the evolutionary-algorithmic design and construction method development that is part of the larger study. By expanding the tectonic system’s practically applicable architecture design solution space and facilitating architects’ access to a low-tech producible, spatially versatile, lightweight, eco-friendly, wooden roof structure typology, this study contributes to environmentally sustainable building.
keywords	Precedent Studies, Light-weight architecture, Timber shell, Catenary, Algorithmic Optimisation, Glue-laminated timber
series	eCAADe
email
last changed	2023/12/10 10:49

_id	cde3
authors	De Sausmarez, M.
year	1964
title	Basic Design: the Dynamics of Visual Form
source	New York: Van Nostrand Reinhold
summary	The fundamentals of 2/D design are the underpinnings of all image making. The dynamic and interaction of mark, line, shape, value and color determine the quality and meaning of all images; be they carefully planned or wildly spontaneous. Maurice de Sausmarez in the introduction to his book Basic Design: The dynamics of visual form characterizes Basic Design as "... an attitude of mind, not a method...A form of inquiry, not a new art form....emphatically not an end in itself but a means of making the individual more acutely aware of the expressive resources at his/her command; a fostering of an inquisitiveness...". We will be directing our inquiries through 6 explorations that will be undertaken over the course of the semester. In all of this work the process will be as important as the finished product and will provide the key to what design is about. In addition you will be learning the rudiments of computer imaging by completing the "Against the Clock" tutorial for Adobe Illustrator. We will also look briefly at "Streamline" and "Photoshop" to enable you to work with scans. Familiarity with digital imaging processes is a powerful tool and valuable life skill. You will always have the option of using the computer to do your projects. The design explorations are set up to build on each other, the further along we go in the semester the more I will expect you to use what you have learned.
series	other
last changed	2003/04/23 15:14

_id	20ff
id	20ff
authors	Derix, Christian
year	2004
title	Building a Synthetic Cognizer
source	Design Computation Cognition conference 2004, MIT
summary	Understanding ‘space’ as a structured and dynamic system can provide us with insight into the central concept in the architectural discourse that so far has proven to withstand theoretical framing (McLuhan 1964). The basis for this theoretical assumption is that space is not a void left by solid matter but instead an emergent quality of action and interaction between individuals and groups with a physical environment (Hillier 1996). In this way it can be described as a parallel distributed system, a self-organising entity. Extrapolating from Luhmann’s theory of social systems (Luhmann 1984), a spatial system is autonomous from its progenitors, people, but remains intangible to a human observer due to its abstract nature and therefore has to be analysed by computed entities, synthetic cognisers, with the capacity to perceive. This poster shows an attempt to use another complex system, a distributed connected algorithm based on Kohonen’s self-organising feature maps – SOM (Kohonen 1997), as a “perceptual aid” for creating geometric mappings of these spatial systems that will shed light on our understanding of space by not representing space through our usual mechanics but by constructing artificial spatial cognisers with abilities to make spatial representations of their own. This allows us to be shown novel representations that can help us to see new differences and similarities in spatial configurations.
keywords	architectural design, neural networks, cognition, representation
series	other
type	poster
email
more	http://www.springer.com/computer/ai/book/978-1-4020-2392-7
last changed	2012/09/17 21:13

_id	ijac202119301
id	ijac202119301
authors	Doyle, Shelby Elizabeth; Senske, Nick S.
year	2021
title	SOM’s Computer Group: Narratives of women in early architectural computing
source	International Journal of Architectural Computing 2021, Vol. 19 - no. 3, 213–225
summary	Cultural narratives of digital technology in architecture rely heavily upon stories of unique, almost always male, genius and often deny the collective intellectual labor of technology’s construction. These narratives are perpetuated by a historical record which does not fully address the contributions of women to the history of digital technology. Because this history is not well-documented, there is an opportunity to represent these events in a manner which is more inclusive and equitable. Toward that end, this article focuses on narratives from the SOM Computing Group (1964–1990), as a means of correcting the historical record and addressing gender equity in the profession. The interviews collected here highlight several women who helped to integrate technologies into architecture through professional experimentation and cross-disciplinary collaboration. While it is not a comprehensive history, this work represents the beginning of an agenda to produce a history of technology in architecture which better reflects the contributions of women to the digital designs of today.
keywords	History of architectural computing, gender equality, SOM Computer Group, women in architecture
series	journal
email
last changed	2024/04/17 14:29

_id	ecaade2020_478
id	ecaade2020_478
authors	Han, Yoon J. and Kotnik, Toni
year	2020
title	A Tomographic computation of Spatial Dynamics
doi	https://doi.org/10.52842/conf.ecaade.2020.2.089
source	Werner, L and Koering, D (eds.), Anthropologic: Architecture and Fabrication in the cognitive age - Proceedings of the 38th eCAADe Conference - Volume 2, TU Berlin, Berlin, Germany, 16-18 September 2020, pp. 89-94
summary	Waning of vigorous discourses about the idea of space as essence in architectural design concurred with the emergence of digital architecture. The notion of space was replaced with the underlying notion of form facilitating optimization of performances and form-generation in digital design ever since. Within the context of digital architecture, the current research investigates a formal method to reintroduce spatial aspects, based on dynamics of architectural space in relation to form, into digital design processes. Accordingly, a computational framework is devised employing the idea of space as dynamic field conditions, in order to capture dynamic interrelation of architectural space with architectural form. That is, spatial dynamics are regarded as data embedded in architectural space, that can imply operational aspects of spatial experiences and / or stimulate corporeal engagements with experiential space, as concepts as action potentials and affordances do (Rasmussen 1964). As a result, the research aims to contribute to the body of knowledge that endeavour to systematize architectural sensibilities that are implicit in design processes by externalization utilizing computation.
keywords	spatial dynamics; dynamic field conditions; dynamic displacement
series	eCAADe
email
last changed	2022/06/07 07:50

_id	sigradi2016_816
id	sigradi2016_816
authors	Klinger, Kevin R.
year	2016
title	Praiseworthy Competition ? ^ ? Past: Design-through-Production: from Analysis to Formulation
source	SIGraDi 2016 [Proceedings of the 20th Conference of the Iberoamerican Society of Digital Graphics - ISBN: 978-956-7051-86-1] Argentina, Buenos Aires 9 - 11 November 2016, pp.433-440
summary	Parameters within a highly collaborative design-through-production process range from a very broad set of influences. To address the conundrum of selecting operational logics, we begin searching for form genesis with an examination and reproduction of the past in order to both restore and formulate a contemporary response to an existing ceiling within an iconic space, designed in 1964 by Alexander Girard in the atmosphere of significant architectural design influences radiating from Columbus, Indiana. Methods learned from analysis of original production are used, and synthesized as guiding principles in the design-through-production process of contemporary work.
keywords	Design-through-production; Digital fabrication, Columbus, Indiana, Design principles
series	SIGRADI
email
last changed	2021/03/28 19:58

_id	sigradi2015_11.165
id	sigradi2015_11.165
authors	Ligler, Heather; Economou, Thanos
year	2015
title	Lost in Translation: Towards an Automated Description of John Portman’s Domestic Architecture
source	SIGRADI 2015 [Proceedings of the 19th Conference of the Iberoamerican Society of Digital Graphics - vol. 2 - ISBN: 978-85-8039-133-6] Florianópolis, SC, Brasil 23-27 November 2015, pp. 657-661.
summary	The prevalent mode of shape grammar output is a two-dimensional drawing grammar. For architectural applications, these two- dimensional shape rules can hold a variety of interpretations in three-dimensional space. This work translates an existing grammar from a manual two-dimensional drawing grammar to an automated three-dimensional building grammar to explore the challenges and opportunities that this translation suggests in the larger context of shape computation. The case study considered here is a grammar interpreting John Portman’s architectural language as defined by the house Portman identifies as emblematic of his design principles, his 1964 personal residence Entelechy I.
keywords	Shape Grammars, Shape Grammar Implementations, Formal Composition, Generative Systems
series	SIGRADI
email
last changed	2016/03/10 09:54

_id	ecaade2017_105
id	ecaade2017_105
authors	Miodragovic Vella, Irina and Kotnik, Toni
year	2017
title	Stereotomy, an Early Example of a Material System
doi	https://doi.org/10.52842/conf.ecaade.2017.2.251
source	Fioravanti, A, Cursi, S, Elahmar, S, Gargaro, S, Loffreda, G, Novembri, G, Trento, A (eds.), ShoCK! - Sharing Computational Knowledge! - Proceedings of the 35th eCAADe Conference - Volume 2, Sapienza University of Rome, Rome, Italy, 20-22 September 2017, pp. 251-258
summary	Stereotomy originated as a technique that accumulated theoretical and practical knowledge on stone material properties and construction. At its peak in the nineteenth century, by pushing the structure and construction limits, it gained the ability of using "the weight of the stone against itself by making it hover in space through the very weight that should make it fall down" (Perrault 1964, cited Etelin, 2012). The modern architectural tectonics, based on structural comprehension in architecture, found no value in stereotomy beyond its early, Gothic period. Similarly, digital architectural theory recognized in Gothic the early examples of a material systems. This paper reassesses stereotomy at its fundamental levels, as a material system based on generative processes that assimilate structure and construction through parameterization. In this way, a theoretical framework is established that exposes stereotomy's intrinsic potentials: the continuity of historic and contemporary examples, overlaps between current research endeavours, and its genuine relevance for contemporary digital architecture.
keywords	stereotomy, material system, Abeille vault, parametric design
series	eCAADe
email
last changed	2022/06/07 07:58

_id	ga9927
id	ga9927
authors	Neagu, Mariana
year	1999
title	On Linguistic Aspects from a Cross-cultural Perspective
source	International Conference on Generative Art
summary	The goal of this paper is to discuss the issue of culture and its relationship to language and cognition by dealing with a number of lexical concepts, grammatical concepts and cultural scripts. Taking a moderate view, I reconcile universalism and ethnocentrism and argue that the study of culture-specific aspects of language has both a theoretical and practical importance. The role of universal semantic primes is obvious in culture-specific words such as the Japanese amae (a peculiarly Japanese emotion) which, though unique and untranslatable, can be accurately and intelligibly defined in terms of semantic primes (Wierzbicka, 1996). The view that meanings cannot be fully transferred from one language to another is supported by the difference in meaning manifested in the different range of use of the word happy (a common, everyday word in modern English) and joyful (a more literally and stylistically marked term.). A cross-linguistic analysis of the concept ‘happy’in English, Romanian, German, French, Italian, points to the so-called ‘traditional Anglo-Saxon distate for extreme emotions’. As far as aspects of grammar connected with culture are concerned, I compare expressive grammatical devices like intensifiers in English, Romanian and Italian. The question the paper addresses is whether constructions like syntactic reduplication(e.g. bella bella) and the absolute superlative (e.g. bellissimo) are indeed linked with what has been called ‘the theatrical quality’ of Italian life (Barzini, 1964) or not. Relative to Romanian, I assume that the idea of intensity of a state or action is conveyed, in certain registers, by terms and expressions pertaining to basic element source domains such as fire (e.g. frumoasa foc ‘fire-beautiful’) and earth (e.g. frumusetea pamantului ‘beauty of the earth’) and also by syntactic reduplication (e.g. frumoasa-frumoaselor ’beauty of the beauties’). Finally, I approach aspects of pragmatics which are culturally determined in the sense that they express cultural norms, values, ideals, attitudes. For instance, preferences are expressed directly in English while in Japanese this manner is contrary to the ideal of enryo ’restraint, reserve’.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	sigradi2014_341
id	sigradi2014_341
authors	Paysse Alvarez, Marcelo
year	2014
title	ArchiGram/ArchiNet. De la fugacidad móvil a la movilidad fugaz (1964-2014) [ArchiGram/ArchiNet. From mobile transience to fleeting mobility (1964-2014)]
source	SiGraDi 2014 [Proceedings of the 18th Conference of the Iberoamerican Society of Digital Graphics - ISBN: 978-9974-99-655-7] Uruguay - Montevideo 12 - 14 November 2014, pp. 418-421
summary	In the early 60s, the British group Archigram created and promoted a new understanding of architecture and land, incorporating with its innovative vision, the scientific paradigms and technological advances of the second half of the twentieth century. The result of these explorations resulted in the emergence of theoretical and concrete proposals with technology as the main protagonist in the physical resulting, through a poiesis which postulated mobile transience as an active paradigm. Fifty years later, today, this situation has similarities and differences with the time it was given, and deserves a special consideration in this topic.
series	SIGRADI
email
last changed	2016/03/10 09:57

_id	sigradi2007_af89
id	sigradi2007_af89
authors	Rodrigues, Gelly; Gabriela Celani
year	2007
title	Cognitive modeling of the creative process in architecture by means of the object-oriented programming technique [Modelagem cognitiva do processo criativo em arquitetura por meio da técnica de programação orientada a objetos]
source	SIGraDi 2007 - [Proceedings of the 11th Iberoamerican Congress of Digital Graphics] México D.F. - México 23-25 October 2007, pp. 275-279
summary	The aim of this research was to investigate the relationship between the object-oriented paradigm and the design process in architecture. The work was inspired by Mitchell´s (1990) comparison between architectural types and classes of objects. An analogy was set between the development of classes and the structuring of design problems based on architectural typologies. The method was then compared to Alexander´s (1964) in terms of levels of abstraction. Two classes were implemented, illustrating the application of the object-oriented paradigm in architectural design. The method developed is expected to help architects develop a new understanding of the design process.
keywords	Design process; design method; object-oriented programming
series	SIGRADI
email
last changed	2016/03/10 09:59

_id	shkineva02_paper_eaea2007
id	shkineva02_paper_eaea2007
authors	Shkineva, Natalija
year	2008
title	Computer Graphics as a Method of a Self-Deception
source	Proceedings of the 8th European Architectural Endoscopy Association Conference
summary	Perspective as a method of 3D imaging on a flat sheet, with only two dimensions, which appeared in the Renaissance, offered brilliant methods of third dimension imaging, which are widely used in the present as well.
series	EAEA
email
more	http://info.tuwien.ac.at/eaea
last changed	2008/04/29 20:46

_id	ecaade03_449_44_ireland
id	ecaade03_449_44_ireland
authors	Ireland, Tim and Derix, Christian
year	2003
title	An analysis of the Poly-dimensionality of living - An experiment in the application of 3-dimensional self-organising maps to evolve form
doi	https://doi.org/10.52842/conf.ecaade.2003.449
source	Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6] Graz (Austria) 17-20 September 2003, pp. 449-456
summary	The architect and sculptor Fredrick Kiesler opposed the linear mechanics of modernity. As so efficiently defined in Margarette Shutte Lihotsky’s Frankfurt kitchen, his work expressed the ‘act of body motion’, in the view that people inhabit buildings in a dynamic and vicissitudinous way. Representative of a world essentially understood to be deterministic and ordered, the Frankfurt Kitchen encapsulated the dweller in a standardised, industrial environment. Opposed to the scientific ordering of task management, Kiesler argued that the linearly devised two-dimensional methodology of architectural design is out of context with the dynamic of living and developed his ideas in the endless house; a form in which its inhabitants could live in a poly-dimensional way. This work focuses on the development of a design process, which may reflect the character and sinuous properties of an individual’s pattern of living. The study will develop a process, investigating the application of self-organising maps as a tool for the definition of space, towards a result which is emergent. The parameters that define an individual’s pattern of living, will be instigated in an array of three-dimensional self-organising activity maps, towards the development of form.""
keywords	‘self-organising maps’, pattern, forming, emergent, dwelling
series	eCAADe
email
more	http://www.uel.ac.uk/ceca.uel.ac.uk
last changed	2022/06/07 07:50

_id	ecaade2024_242
id	ecaade2024_242
authors	Koh, Immanuel; Saw, Man Lin
year	2024
title	Architectural Dramaturgy: A total and endless theatre with multimodal artificial intelligence
doi	https://doi.org/10.52842/conf.ecaade.2024.1.559
source	Kontovourkis, O, Phocas, MC and Wurzer, G (eds.), Data-Driven Intelligence - Proceedings of the 42nd Conference on Education and Research in Computer Aided Architectural Design in Europe (eCAADe 2024), Nicosia, 11-13 September 2024, Volume 1, pp. 559–564
summary	Close to a century ago, Walter Gropius proposed the highly influential but unrealised project ‘Total Theatre’ (1927). The project captured Gropius’ adapted formulation of ‘Gesamtkunstwerk’(‘total work of art’) as ‘Total Design’ within the Bauhaus, and more specifically, in relation to ‘The Theatre of the Bauhaus’ (1924). The ‘Total Theatre’ was Gropius’ attempt to dynamically reconfigure the previously static relationship between actors and audience into one that is participatory and filmic in spatial layout. Around the same time in history, shortly after designing the set for Eugene O’Neill’s ‘The Emperor Jones’ in 1924, Frederick Kiesler began to conceptualise his ‘Endless Theatre’ (1926). In the former, Kiesler created a constructivist stage space with moving walls/floors/ceilings animating in-sync with the play’s narrative and producing cinematographic effects similar to those found in films. For both Gropius and Kiesler, the theatre is a fertile ground for incorporating the latest technologies to prototype a ‘totally’ multimodal and ‘endlessly’ generative form of architecture. Against the backdrop of such past intellectual efforts in architecture, and that of today’s rapidly foregrounding of Large Language Models (LLMs) and Large Multimodal Models (LMMs) in artificial intelligence (AI) within the architecture discipline, the paper posits that it is timely to revisit this conceptual cross-fertilisation of theatre and architecture – architectural dramaturgy. In doing so, the research aims to extend Gropius’s and Kiesler’s concept of the ‘total’ and the ‘endless’ respectively through the lens of the ‘computational’. The first experiment uses different datasets from existing established theatre creators to train and prompt-engineer relevant AI models, namely a text-to-text model for playwright Arthur Miller, a text-to-image model for director Ivo van Hove, and a text-to-audio model for composer Stephen Sondheim. In improving the coherence of the results, the second experiment replaces unimodality with multimodality leveraging a single source of video data (the poignant “To be or not to be” soliloquy from Shakespeare’s Hamlet) to formulate a human-in-the-loop interpretative framework by utilising a combination of text-image-to-image model and text-image-to-video model, and further postprocessed with image inpainting model and image-to-3D model. With the deliberate bracketing of site, programmes and other specificities typical of an architecture project, the research demonstrates how concepts borrowed from theatre when layered with multimodal AI could extend the discipline’s longstanding conception of a total and endless architecture.
keywords	Theatre, Deep Learning, Large Multimodal Models, Kiesler, Gropius
series	eCAADe
email
last changed	2024/11/17 22:05

_id	ascaad2006_paper11
id	ascaad2006_paper11
authors	Stanton, Michael
year	2006
title	Redemptive Technologies II: the sequel (A Decade Later)
source	Computing in Architecture / Re-Thinking the Discourse: The Second International Conference of the Arab Society for Computer Aided Architectural Design (ASCAAD 2006), 25-27 April 2006, Sharjah, United Arab Emirates
summary	Nearly ten years ago I published an article in the Dutch journal ARCHIS called "Redemptive Technologies." It derived from comments I made during a conference held in New Orleans in 1994. At that point the machine aesthetic associated with the "new technologies" generated by the computer had not established a precise formal vocabulary but were generating great excitement among the architectural avant-garde. It addressed the limits of the imagery and data produced by this machine and the simple but very political problem of cost and obsolescence. Now the millennium is well past and the somewhat apostolic fervor that accompanied the interaction of a very expensive consumer device with architecture has cooled. Discussion has generally moved from the titillating possibilities opened up by the device, many of which have so far not come to pass, to the sorts of hard and software available. An architectural language closely associated with the imagistic potential of new programs, biomorphism, has now come and gone on the runways of architectural taste. And yet, in recent articles rejecting the direct political effect of architectural work, the potential of new programs and virtual environments are proposed as alternative directions that our perpetually troubled profession may pursue. This paper will assess the last decade regarding the critical climate that surrounds cyber/technology. In the economic context of architectural education in which computers are still a central issue, the political issues that evolve will form a backdrop to any discussion. Furthermore, the problem of the "new" language of biomorphism will be reiterated as an architectural grammar with a 100-year history - from Catalan Modernismo and Art Nouveau, through Hermann Finsterlin and Eric Mendelsohn's projects of the 1920s, to Giovanni Michelucci and Italian work of the post-war, to Frederick Kiesler's Endless House of the late '50s, continuing through moments of Deconstructivism and Architectural Association salients, etc. These forms continue to be semantically simplistic and hard to make. Really the difference is the neo-avant-garde imagery and rhetoric involved in their continuing resurrection. Computer images, but also the ubiquitous machine itself, are omnipresent and often their value is assumed without question or proposed as a remedy for issues they cannot possibly address. This paper will underline the problem of the computer, of screens and the insistent imagistic formulas encourage by their use, and the ennui that is beginning to pervade the discipline after initial uncritical enthusiasm for this very powerful and expensive medium. But it will also propose other very valuable directions, those relating to reassessing the processes rather than the images that architecture engages, that this now aging "new" technology can much more resolutely and successfully address.
series	ASCAAD
email
last changed	2007/04/08 19:47

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

_id	acadia14projects_197
id	acadia14projects_197
authors	Vrana, Andrew; Meppelink, Joe; Nicholson, Ben
year	2014
title	New Harmony Grotto
doi	https://doi.org/10.52842/conf.acadia.2014.197
source	ACADIA 14: Design Agency [Projects of the 34th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 9789126724478]Los Angeles 23-25 October, 2014), pp. 197-200
summary	A reinterpretation of Frederick Kiesler's Grotto for Meditation
keywords	Craft in a Digital Age
series	ACADIA
type	Practice Projects
email
last changed	2022/06/07 07:58

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