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	ga9809
id	ga9809
authors	Kälviäinen, Mirja
year	1998
title	The ideological basis of generative expression in design
source	International Conference on Generative Art
summary	This paper will discuss issues concerning the design ideology supporting the use and development of generative design. This design ideology is based on the unique qualities of craft production and on the forms or ideas from nature or the natural characteristics of materials. The main ideology presented here is the ideology of the 1980´s art craft production in Finland. It is connected with the general Finnish design ideology and with the design ideology of other western countries. The ideology for these professions is based on the common background of design principles stated in 19th century England. The early principles developed through the Arts and Crafts tradition which had a great impact on design thinking in Europe and in the United States. The strong continuity of this design ideology from 19th century England to the present computerized age can be detected. The application of these design principles through different eras shows the difference in the interpretations and in the permission of natural decorative forms. The ideology of the 1980ïs art craft in Finland supports the ideas and fulfilment of generative design in many ways. The reasons often given as the basis for making generative design with computers are in very many respects the same as the ideology for art craft. In Finland there is a strong connection between art craft and design ideology. The characteristics of craft have often been seen as the basis for industrial design skills. The main themes in the ideology of the 1980´s art craft in Finland can be compared to the ideas of generative design. The main issues in which the generative approach reflects a distinctive ideological thinking are: Way of Life: The work is the communication of the maker´s inner ideas. The concrete relationship with the environment, personality, uniqueness, communication, visionary qualities, development and growth of the maker are important. The experiments serve as a media for learning. Taste and Aesthetic Education: The real love affair is created by the non living object with the help of memories and thought. At their best objects create the basis in their stability and communication for durable human relationships. People have warm relationships especially with handmade products in which they can detect unique qualities and the feeling that the product has been made solely for them. Counter-culture: The aim of the work is to produce alternatives for technoburocracy and mechanical production and to bring subjective and unique experiences into the customerïs monotonious life. This ideology rejects the usual standardized mass production of our times. Mythical character: There is a metamorphosis in the birth of the product. In many ways the design process is about birth and growth. The creative process is a development story of the maker. The complexity of communication is the expression of the moments that have been lived. If you can sense the process of making in the product it makes it more real and nearer to life. Each piece of wood has its own beauty. Before you can work with it you must find the deep soul of its quality. The distinctive traits of the material, technique and the object are an essential part of the metamorphosis which brings the product into life. The form is not only for formïs sake but for other purposes, too. You cannot find loose forms in nature. Products have their beginnings in the material and are a part of the nature. This art craft ideology that supports the ideas of generative design can be applied either to the hand made crafts production or to the production exploiting new technology. The unique characteristics of craft and the expression of the material based development are a way to broaden the expression and forms of industrial products. However, for a crafts person it is not meaningful to fill the world with objects. In generative, computer based production this is possible. But maybe the production of unique pieces is still slower and makes the industrial production in that sense more ecological. People will be more attached to personal and unique objects, and thus the life cycle of the objects produced will be longer.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	acadia16_440
id	acadia16_440
authors	Clifford, Brandon
year	2016
title	The McKnelly Megalith: A Method of Organic Modeling Feedback
source	ACADIA // 2016: POSTHUMAN FRONTIERS: Data, Designers, and Cognitive Machines [Proceedings of the 36th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-692-77095-5] Ann Arbor 27-29 October, 2016, pp. 440-449
doi	https://doi.org/10.52842/conf.acadia.2016.440
summary	Megalithic civilizations held tremendous knowledge surrounding the deceivingly simple task of moving heavy objects. Much of this knowledge has been lost to us from the past. This paper mines, extracts, and experiments with this knowledge to test what applications and resonance it holds with contemporary digital practice. As an experiment, a sixteen-foot tall megalith is designed, computed, and constructed to walk horizontally and stand vertically with little effort. Testing this prototype raises many questions about the relationship between form and physics. In addition, it projects practical application of such reciprocity between architectural desires and the computation of an object’s center of mass. This research contributes to ongoing efforts around the integration of physics-based solvers into the design process. It goes beyond the assumption of statics as a solution in order to ask questions about what potentials mass can contribute to the assembly and erecting of architectures to come. It engages a megalithic way of thinking which requires an intimate relationship between designer and center of mass. In doing so, it questions conventional disciplinary notions of stasis and efficiency.
keywords	rapid prototyping, design simulation, fabrication, computation, megalith
series	ACADIA
type	normal paper
email
more	admin
last changed	2022/06/07 07:56

_id	cf2011_p127
id	cf2011_p127
authors	Benros, Deborah; Granadeiro Vasco, Duarte Jose, Knight Terry
year	2011
title	Integrated Design and Building System for the Provision of Customized Housing: the Case of Post-Earthquake Haiti
source	Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 247-264.
summary	The paper proposes integrated design and building systems for the provision of sustainable customized housing. It advances previous work by applying a methodology to generate these systems from vernacular precedents. The methodology is based on the use of shape grammars to derive and encode a contemporary system from the precedents. The combined set of rules can be applied to generate housing solutions tailored to specific user and site contexts. The provision of housing to shelter the population affected by the 2010 Haiti earthquake illustrates the application of the methodology. A computer implementation is currently under development in C# using the BIM platform provided by Revit. The world experiences a sharp increase in population and a strong urbanization process. These phenomena call for the development of effective means to solve the resulting housing deficit. The response of the informal sector to the problem, which relies mainly on handcrafted processes, has resulted in an increase of urban slums in many of the big cities, which lack sanitary and spatial conditions. The formal sector has produced monotonous environments based on the idea of mass production that one size fits all, which fails to meet individual and cultural needs. We propose an alternative approach in which mass customization is used to produce planed environments that possess qualities found in historical settlements. Mass customization, a new paradigm emerging due to the technological developments of the last decades, combines the economy of scale of mass production and the aesthetics and functional qualities of customization. Mass customization of housing is defined as the provision of houses that respond to the context in which they are built. The conceptual model for the mass customization of housing used departs from the idea of a housing type, which is the combined result of three systems (Habraken, 1988) -- spatial, building system, and stylistic -- and it includes a design system, a production system, and a computer system (Duarte, 2001). In previous work, this conceptual model was tested by developing a computer system for existing design and building systems (Benr__s and Duarte, 2009). The current work advances it by developing new and original design, building, and computer systems for a particular context. The urgent need to build fast in the aftermath of catastrophes quite often overrides any cultural concerns. As a result, the shelters provided in such circumstances are indistinct and impersonal. However, taking individual and cultural aspects into account might lead to a better identification of the population with their new environment, thereby minimizing the rupture caused in their lives. As the methodology to develop new housing systems is based on the idea of architectural precedents, choosing existing vernacular housing as a precedent permits the incorporation of cultural aspects and facilitates an identification of people with the new housing. In the Haiti case study, we chose as a precedent a housetype called ‚Äúgingerbread houses‚Äù, which includes a wide range of houses from wealthy to very humble ones. Although the proposed design system was inspired by these houses, it was decided to adopt a contemporary take. The methodology to devise the new type was based on two ideas: precedents and transformations in design. In architecture, the use of precedents provides designers with typical solutions for particular problems and it constitutes a departing point for a new design. In our case, the precedent is an existing housetype. It has been shown (Duarte, 2001) that a particular housetype can be encoded by a shape grammar (Stiny, 1980) forming a design system. Studies in shape grammars have shown that the evolution of one style into another can be described as the transformation of one shape grammar into another (Knight, 1994). The used methodology departs takes off from these ideas and it comprises the following steps (Duarte, 2008): (1) Selection of precedents, (2) Derivation of an archetype; (3) Listing of rules; (4) Derivation of designs; (5) Cataloguing of solutions; (6) Derivation of tailored solution.
keywords	Mass customization, Housing, Building system, Sustainable construction, Life cycle energy consumption, Shape grammar
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	6f57
authors	Searle, John R.
year	1980
title	Minds, Brains, and Programs
source	The Behavioral and Brain Sciences. Cambridge University Press., 1980. vol. 3: pp. 417-457. includes bibliography
summary	This article can be viewed as an attempt to explore the consequences of two propositions: (1) Intentionallity in human beings (and animals) is a product of causal features of the brain. The author assumes this is an empirical fact about the actual causal relations between mental processes and brains. It says simply that certain brain processes are sufficient for intentionallity. (2) Instantiating a computer program is never by itself a sufficient condition of intentionallity. The main argument of this paper is directed at establishing this claim. The form of the argument is to show how a human agent could instantiate the program and still not have the relevant intentionallity. These two propositions have the following consequences: (3) The explanation of how the brain produces intentionallity cannot be that it does it by instantiating a computer program. This is a strict logical consequence of 1 and 2. (4) Any mechanism capable of producing intentionallity must have causal powers equal to those of the brain. This is meant to be a trivial consequence of 1. (5) Any attempt literally to create intentionallity artificially (strong AI) could not succeed just by designing programs but would have to duplicate the causal powers of the human brain. This follows from 2 and 4. 'Could a machine think?' On the argument advanced here only a machine could think, and only very special kinds of machines, namely brains and machines withÔ h) 000*°° ÔŒ internal causal powers equivalent to those of brains
keywords	And that is why strong AI has little to tell us about thinking, since
series	CADline
last changed	2003/06/02 10:24

_id	ddss9860
id	ddss9860
authors	Vakalo, E-G. and Fahmy, A.
year	1998
title	A Theoretical Framework for the Analysis and Derivation of Orthogonal Building Plans and Sections
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	Architects are generally perceived as “Formgivers with an extraordinary gift” (Ackerman, 1980:12). Implicit in this statement is the belief that the operations that architects employ to compose their designs are the product of a creative faculty that is beyond the reach of rational discourse, and thereby cannot be subjected to logical investigation. This view is detrimental to the advancement of knowledge about architectural composition and adversely affects both practice and education in architecture. More specifically, it prevents the architectural community from acquiring of a more refined conception about how architects derive their designs. In contrast to this view, this study demonstrates that architectural form-making is amenable to logical analysis. In specific, this is to be done through a theoretical and computational framework that describe and explain the tasks involved in the making of orthogonal building plans and sections. In addition to illustrating the susceptibility of architectural form-making to logical analysis, the frameworks proposed in this study overcome the limitations of previously established theories thatdeal with architectural form-making. These can be divided into two categories: normative and positive theories.Normative theories include architectural treatises and manifestos. A major limitation of normativetheories is that they have limited explanatory power. Their concern is with promoting a specific aesthetic ideology and prescribing rules that can be used to derive compositions that conform to it. Therefore, they cannot be used to explain form-making in general. Positive frameworks, such asshape grammar, rely on rules to describe derivation and analysis processes. Nevertheless, they do not provide a comprehensive description of the tasks involved in architectural form-making. This causes the relation between the rules and compositional tasks to be ambiguous. It also affects adversely the ability of these frameworks to provide architects with a complete understanding of the role of compositional rules in derivation or analysis processes.
series	DDSS
type	normal paper
last changed	2010/05/16 09:11

_id	acadia13_281
id	acadia13_281
authors	Ahlquist, Sean; Menges, Achim
year	2013
title	Frameworks for Computational Design of Textile Micro-Architectures and Material Behavior in Forming Complex Force-Active Structures
source	ACADIA 13: Adaptive Architecture [Proceedings of the 33rd Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-1-926724-22-5] Cambridge 24-26 October, 2013), pp. 281-292
doi	https://doi.org/10.52842/conf.acadia.2013.281
summary	Material behavior can be defined as the confluence of associative rules, contextual pressures and constraints of materialization. In more general terms, it can be parameterized as topologies, forces and materiality. Forming behavior means resolving the intricate matrix of deterministic and indeterministic factors that comprise and interrelate each subset of these material- nherent conditions. This requires a concise design framework which accumulates the confluent behavior through successive and cyclical exchange of multiple design modes, rather than through a single design environment or set of prescribed procedures. This paper unfolds a sequencing of individual methods as part of a larger design framework, described through the development of a series of complex hybrid- structure material morphologies. The “hybrid” nature reflects the integration of multiple force-active structural concepts within a single continuous material system, devising both self-organized yet highly articulated spatial conditions. This leads primarily to the development of what is termed a “textile hybrid” system: an equilibrium state of tensile surfaces and bending-active meshes. The research described in this paper looks to expose the structure of the textile as an indeterministic design parameter, where its architecture can be manipulated as means for exploring and differentiating behavior. This is done through experimentation with weft-knitting technologies, in which the variability of individual knit logics is instrumentalized for simultaneously articulating and structuring form. Such relationships are shown through an installation constructed at the ggggallery in Copenhagen, Denmark.
keywords	Material Behavior, Spring-based Simulation, CNC Knitting, Form- and Bending-Active, Textile Hybrid Structures.
series	ACADIA
type	Normal Paper
email
last changed	2022/06/07 07:54

_id	caadria2020_306
id	caadria2020_306
authors	Akizuki, Yuta, Bernhard, Mathias, Kakooee, Reza, Kladeftira, Marirena and Dillenburger, Benjamin
year	2020
title	Generative Modelling with Design Constraints - Reinforcement Learning for Object Generation
source	D. Holzer, W. Nakapan, A. Globa, I. Koh (eds.), RE: Anthropocene, Design in the Age of Humans - Proceedings of the 25th CAADRIA Conference - Volume 1, Chulalongkorn University, Bangkok, Thailand, 5-6 August 2020, pp. 445-454
doi	https://doi.org/10.52842/conf.caadria.2020.1.445
summary	Generative design has been explored to produce unprecedented geometries, nevertheless design constraints are, in most cases, second-graded in the computational process. In this paper, reinforcement learning is deployed in order to explore the potential of generative design satisfying design objectives. The aim is to overcome the three issues identified in the state of the art: topological inconsistency, less variations in style and unpredictability in design. The goal of this paper is to develop a machine learning framework, which works as an intellectual design interpreter capable of codifying an input geometry to form a new geometry. Experiments demonstrate that the proposed method can generate a family of tables of unique aesthetics, satisfying topological consistency under given constraints.
keywords	generative design; computational design; data-driven design; reinforcement learning; machine learning
series	CAADRIA
email
last changed	2022/06/07 07:54

_id	ijac201715402
id	ijac201715402
authors	Alaçam, Sema; Orkan Zeynel Güzelci, Ethem Gürer and Saadet Zeynep Bac?noglu
year	2017
title	Reconnoitring computational potentials of the vault-like forms: Thinking aloud on muqarnas tectonics
source	International Journal of Architectural Computing vol. 15 - no. 4, 285-303
summary	This study sheds light on a holistic understanding of muqarnas with its historical, philosophical and conceptual backgrounds on one hand and formal, structural and algorithmic principles on the other hand. The vault-like Islamic architectural element, muqarnas, is generally considered to be a non-structural decorative element. Various compositional approaches have been proposed to reveal the inner logic of these complex geometric elements. Each of these approaches uses different techniques such as measuring, unit-based decoding or three-dimensional interpretation of two-dimensional patterns. However, the reflections of the inner logic onto different contexts, such as the usage of different initial geometries, materials or performative concerns, were neglected. In this study, we offer a new schema to approach the performative aspects of muqarnas tectonics. This schema contains new sets of elements, properties and relations deriving partly from previous approaches and partly from the technique of folding. Thus, this study first reviews the previous approaches to analyse the geometric and constructional principles of muqarnas. Second, it explains the proposed scheme through a series of algorithmic form-finding experiments. In these experiments, we question whether ‘fold’, as one of the performative techniques of making three-dimensional forms, contributes to the analysis of muqarnas in both a conceptual and computational sense. We argue that encoding vault-like systems via geometric and algorithmic relations based on the logic of the ‘fold’ provides informative and intuitive feedback for form-finding, specifically in the earlier phases of design. While focusing on the performative potential of a specific fold operation, we introduced the concept of bifurcation to describe the generative characteristics of folding technique and the way of subdividing the form with respect to redistribution of the forces. Thus, in this decoding process, the bifurcated fold explains not only to demystify the formal logic of muqarnas but also to generate new forms without losing contextual conditions.
keywords	Muqarnas, vault, layering, folding, force flow, bifurcation
series	journal
email
last changed	2019/08/07 14:03

_id	sigradi2008_080
id	sigradi2008_080
authors	Andrés, Roberto
year	2008
title	Hybrid Art > Synthesized Architecture
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	This paper investigates possible intersections between some contemporary artistic modalities and architectural practice. At first, it describes and discusses different uses of art in architectural history. Through the analyzes of Le Corbusier’s artistic and architectural practices, it observes the limits of looking at art as only ‘inspiration’ for architectural form and points to the necessity of surpassing this formal approach. More than bringing pictorial ‘inspiration’, art, as a experimental field, can change our architectural procedures and approaches - a much richer and powerful addition to the development of architecture. It discusses then, the confluence of architecture, information and communication technologies. Very commonly present in our contemporary life, not only on the making of architecture – computer drawings and modeling of extravagant buildings – nor in ‘automated rooms’ of the millionaire’s houses. Televisions, telephones and computers leave the walls of our houses “with as many holes as a Swiss cheese”, as Flusser has pointed. The architecture has historically manipulated the way people interact, but this interaction now has been greatly changed by new technologies. Since is inevitable to think the contemporary world without them, it is extreme urgent that architects start dealing with this whole universe in a creative way. Important changes in architecture occur after professionals start to research and experiment with different artistic medias, not limiting their visions to painting and sculpture. The main hypothesis of this paper is that the experiments with new media art can bring the field of architecture closer to information and communication technologies. This confluence can only take form when architects rise questions about technology based interaction and automation during their creative process, embodying these concepts into the architecture repertoire. An educational experience was conducted in 2007 at UFMG Architecture School, in Brazil, with the intention of this activity was to allow students to research creatively with both information technology and architecture. The students’ goal was to create site-specific interventions on the school building, using physical and digital devices. Finally, the paper contextualizes this experience with the discussion above exposed. Concluding with an exposition of the potentialities of some contemporary art modalities (specially the hybrid ones) in qualifying architectural practices.
keywords	Architecture; Information and Communication Technologies; Digital Art; Site Specific Art; Architectural Learning.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	sigradi2005_000
id	sigradi2005_000
authors	Angulo, Antonieta and Vásquez de Velasco, Guillermo (eds.)
year	2005
title	SiGradi2005: Vision and Visualization
source	Proceedings of the 9th Iberoamerican Congress of Digital Graphics Graphics / ISBN 978-1-59975-306-5] Lima (Perú) 21-23 november 2005, 826 p.
summary	Paradoxically, one of the most difficult but enjoyable things we do is to imagine. To open the eyes of our mind and see what no one else can see. We see images of things that are yet to be and through the same skill we devise ways in which to make them happen. We design the future in the form of environments, graphics, products, films, and a growing range of new media. Our ability to develop a vision and to visualize it is a gift that we are called to cultivate and put to good use. We have been privileged with a great responsibility. In the process of developing a vision and communicating that vision to others, we “visualize”. Visualization can be a very private experience in which we are alone with mental images that help us shape our vision. In other instances visualization can be a component of mass communication. Visualization can be a means or can be an end. It can be a small architectural sketch on a paper napkin or a mega-graphic covering a high-rise building, an airplane or a ship. In every case, the relationship between vision and visualization is a mutually supportive articulation of what our eyes and our minds can see. Our vision of the role of computers in the art and science of visualization is in constant development. Computer visualization can support an intimate dialog between a designer and his/her vision. It can translate and communicate that vision to a larger audience and in the hands of a new-media artist it can actually constitute his/her vision. The 9th Annual Conference of SIGraDI (Ibero American Society for Computer Graphics) will explore our collective vision on the future of digital visualization and digital media in Environmental Design, Product Design, Graphic Design, Cinematography, New Media, and Art. Authors are invited to share their research work with a focus on how it contributes to shape a collective understanding of the past, awareness of the present, and vision of the future in our multiple disciplines.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	63a7
id	63a7
authors	Ataman, Osman and Lonnman, Bruce
year	1996
title	Introduction to Concept and Form in Architecture: An Experimental Design Studio Using the Digital Media
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 3-9
doi	https://doi.org/10.52842/conf.acadia.1996.003
summary	This paper describes the use of digital media in a first year undergraduate architectural design studio. It attempts to address the importance of developing a design process that is redefined by the use of computing, integrating concept and perception. Furthermore, it describes the theoretical foundations and quasi-experiments of a series of exercises developed for beginning design students.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	acadia20_66
id	acadia20_66
authors	Aviv, Dorit; Wang, Zherui; Meggers, Forrest; Ida, Aletheia
year	2020
title	Surface Generation of Radiatively-Cooled Building Skin for Desert Climate
source	ACADIA 2020: Distributed Proximities / Volume I: Technical Papers [Proceedings of the 40th Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-95213-0]. Online and Global. 24-30 October 2020. edited by B. Slocum, V. Ago, S. Doyle, A. Marcus, M. Yablonina, and M. del Campo. 66-73.
doi	https://doi.org/10.52842/conf.acadia.2020.1.066
summary	A radiatively cooled translucent building skin is developed for desert climates, constructed out of pockets of high heat-capacity liquids. The liquids are contained by a wavelength-selective membrane enclosure, which is transmissive in the infrared range of electromagnetic radiation but reflective in the shortwave range, and therefore prevents overheating from solar radiation and at the same time allows for passive cooling through exposure of its thermal mass to the desert sky. To assess the relationship between the form and performance of this envelope design, we develop a feedback loop between computational simulations, analytical models, and physical tests. We conduct a series of simulations and bench-scale experiments to determine the thermal behavior of the proposed skin and its cooling potential. Several materials are considered for their thermal storage capacity. Hydrogel cast into membrane enclosures is tested in real climate conditions. Slurry phase change materials (PCM) are also considered for their additional heat storage capacity. Challenges of membrane welding patterns and nonuniform expansion of the membrane due to the weight of the enclosed liquid are examined in both digital simulations and physical experiments. A workflow is proposed between the radiation analysis based on climate data, the formfinding simulations of the elastic membrane under the liquid weight, and the thermal storage capacity of the overall skin.
series	ACADIA
type	paper
email
last changed	2023/10/22 12:06

_id	f73b
authors	Brady, Darlene A.
year	2000
title	Percept vs. Precept: Digital Media & the Creative Process
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 261-264
doi	https://doi.org/10.52842/conf.ecaade.2000.261
summary	The design of architecture, as well as all of the arts, is a creative act concerned with the expression of ideas through culturally significant and relevant form. In order for the creative act to transcend the authority or dictates of precedents or trends, it must be informed and guided by a process and not a product; one which reveals, but does not dictate, expressive, functional form. The initial impact of digital media on architectural design has been the ability to render the look of a final project or to create shapes that reflect the facility of the tool. Digital media also enables the composition and structure of space and form to be discovered simultaneously and relationally with the phenomena of color and kinetics, to generate and visualize an idea as form, and to represent form as experience. This requires interweaving computing with a creative process in which percept, rather than precept, is the driving force of the investigation. This paper explores the role of ideation, tectonic color and kinetics as an intentional design strategy and formgiver for architecture. The role of the computer is to enable the designer to generate meaningful architecture beyond precepts of image and style. Design as a making in the mind uses our rational and imaginative faculties. Complete freedom is not a necessity for inventiveness. Research on creativity indicates that "constraining options and focusing thought in a specific, rigorous and discerning direction" play an important role. The key is a balance of structured and discursive inquiry that encourages a speculative, free association of ideas. Tim Berners-Lee, one of the creators of the World Wide Web, likened creativity to a weblike process that is nonlinear but also not random; which when placed in an environment rich with information will float ideas so the mind "can jiggle them into an insight." Geoffrey Vickers in his essay, "Rationality and Intuition" described this symbiotic relationship as "...two functions which in practice are never wholly separated but which are, nonetheless, logically distinct as two reciprocating phases in a recurrent process of mental activity." The rational is formative and intuition is generative; both are essential to creativity.
keywords	Percept, Creativity, Ideation, Tectonic Color, Kinetics
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:54

_id	caadria2020_012
id	caadria2020_012
authors	Chatzi, Anna-Maria and Wesseler, Lisa-Marie
year	2020
title	OGOS+ - A Tool to Visualize Densification potential
source	D. Holzer, W. Nakapan, A. Globa, I. Koh (eds.), RE: Anthropocene, Design in the Age of Humans - Proceedings of the 25th CAADRIA Conference - Volume 1, Chulalongkorn University, Bangkok, Thailand, 5-6 August 2020, pp. 773-782
doi	https://doi.org/10.52842/conf.caadria.2020.1.773
summary	OGOS+ is a GIS data-based tool, which would offer urban planners, architects, and researchers visualisations of potential building mass in the form of 3D models. It compares the height of existing buildings to the maximum permitted height by German zoning law and calculates the potential building mass. To ensure minimum building footprints it only calculates the densification potential on top of existing buildings. It summarises information of the building potential for future utilisation. The goal is an increase of urban density achieved with micro interventions.
keywords	Urban densification; City Information Modeling and GIS; Big Data and Analytics in Architecture
series	CAADRIA
email
last changed	2022/06/07 07:55

_id	ecaade2007_136
id	ecaade2007_136
authors	Dohmen, Philipp; Rüdenauer, Kai
year	2007
title	Digital Chains in Modern Architecture
source	Predicting the Future [25th eCAADe Conference Proceedings / ISBN 978-0-9541183-6-5] Frankfurt am Main (Germany) 26-29 September 2007, pp. 801-804
doi	https://doi.org/10.52842/conf.ecaade.2007.801
summary	The “digital chain” is a continuous digital organization process, from the draft right into the manufacturing. Now one of these chains is applied on a mountain shelter. The individual steps are programmed and connected by universal interfaces. The computer is used not as passive digital drawing board, but as self-dependent tool that exerts influence on. Rules, dependence and aims, are formulated by the architect the computer can optimize due to its computing power. The role of the architect shifts thereby from the form designer to the role of a process designer. The aesthetics of the results is exciting and unusually, organically and self-evident - it is however always the result of given parameters. One topic is the complexity. The constructional modeling of the computers is a substantial support and easement. With programming techniques and parameterized construction, a high degree of individualizing becomes possible. A further point is efficiency. Construction with individual units, which former on was just realizable with high time and cost, become economically in this manner today. Furthermore computer-controlled machines work with precision and a detailing, which would be by workmanship neither temporally nor technically obtainable.
keywords	Digital chain, mass customization, one of a kind production
series	eCAADe
email
last changed	2022/06/07 07:55

_id	caadria2017_040
id	caadria2017_040
authors	Haslop, Blaire, Schnabel, Marc Aurel and Aydin, Serdar
year	2017
title	Glitch Space - Experiments on Digital Decay to Remap the Anatomy of Glitch in 3D
source	P. Janssen, P. Loh, A. Raonic, M. A. Schnabel (eds.), Protocols, Flows, and Glitches - Proceedings of the 22nd CAADRIA Conference, Xi'an Jiaotong-Liverpool University, Suzhou, China, 5-8 April 2017, pp. 591-600
doi	https://doi.org/10.52842/conf.caadria.2017.591
summary	This research informs of a series of experimental design practices for the understanding computational glitches in architecture which appears to be equivalently a 'given' as well as an 'informed'. 'Glitch-space' is introduced to navigate the discussion through a spatial interpretation of digital decay. Currently glitches are only explored as forms of 2D art. We however, look to reconnect the underlying data to its digital architectural spatial form. Our methodology a systematic iterative process of transformational change to explore design emergence on the base of computational glitches. A numerical data driven process is explored using decayed files which are turned into 3D formal expressions. In this context, stereoscopic techniques are experimented, helping understand further how glitch can be performed within a 3D virtual environment. Ultimately we explore digital architectural form existing solely in the digital realm that confidently expresses glitch in both its design process and aesthetic outcome. Thus, our research intends to bring a level of authenticity with the notion of 'glitch-space' by discussing 3D interpretations of glitch in an architectural form.
keywords	Digital Decay; Glitch; Digital Design Methods; Glitch-space; Data Interpretation
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	ascaad2021_114
id	ascaad2021_114
authors	Houda, Maryam
year	2021
title	Materiality: Linking a Digital Material Framework with the Anthropological Hand
source	Abdelmohsen, S, El-Khouly, T, Mallasi, Z and Bennadji, A (eds.), Architecture in the Age of Disruptive Technologies: Transformations and Challenges [9th ASCAAD Conference Proceedings ISBN 978-1-907349-20-1] Cairo (Egypt) [Virtual Conference] 2-4 March 2021, pp. 568-580
summary	While computers and digital technology have evolved over the years and are changing the way we design and construct, some have criticized the way in which human tactility and intuition with material has diminished at the cost of increasing productivity and efficiency. Although the digital culture that architecture is engaged with today has brought about complex forms that could not have been possible by hand, there is a rising question of the place of craft and a hand-brain coordination in design, and the notion of learning through making. This paper explores the benefits and limitations of digital design tools in light of physically exploring building materials and gaining tactile intuition. While digital tools investigate structural optimisation methods using a parametric design workflow, physical experiments deal with understanding the transitional state of mud and its dynamic properties. This research is interested in how information is learnt from materiality during the physical act of making and what tactile experimentation can offer that the digital space cannot. Three key areas are explored: geometry and parametric variation, material properties and morphogenic behavior, as well as structural optimization methods using density grids. Force-matter relations are investigated through exploring material parameters through digital and physical form-finding processes as a way of exploring the notion of re-introducing the hand and craft in the design process which may bring about novel ways of thinking and doing.
series	ASCAAD
email
last changed	2021/08/09 13:13

_id	caadria2017_109
id	caadria2017_109
authors	Imanishi, Naoki, Hinoki, Shinichiro, Muraoka, Mizuki, Tateyama, Ran, Abe, U-ichi, Kensuke, Hotta and Ikeda, Yasushi
year	2017
title	Bamboo Concrete Shells - An Adaptable Construction Method Using Onsite Materials in a Remote Location
source	P. Janssen, P. Loh, A. Raonic, M. A. Schnabel (eds.), Protocols, Flows, and Glitches - Proceedings of the 22nd CAADRIA Conference, Xi'an Jiaotong-Liverpool University, Suzhou, China, 5-8 April 2017, pp. 445-455
doi	https://doi.org/10.52842/conf.caadria.2017.445
summary	This paper proposes an on site construction support system using digital techniques to solve the issue of logistical inconvenience on remote islands, where industrialized construction methods are absent. Transporting heavy machinery is costly and difficult in isolated rural areas. In addition, introducing materials from outside creates a heavy ecological footprint when building. Locally produced construction materials resolve many of these issues. To test the potential of building within these constraints a case study site on an isolated island of Japan, named Kuchinoerabu, was chosen. A concrete shell structure was created using locally sourced bamboo as reinforcement. Through the study, several technical issues are revealed. Significantly, there is broad variation in the material properties of bamboo, and reducing errors when using unskilled labor is difficult. The system nominally manages the following functions: 1) Synchronizing data between CAD and the materialized form; 2) Checking errors between the target form and the one that was actually produced; 3) Inputting material characteristics on site. 4) Making a structural analysis, and reflecting its execution during construction. These functions minimize the margin of error, and aid an unskilled labor force to work more accurately.
keywords	Bamboo; natural material; digital construction
series	CAADRIA
email
last changed	2022/06/07 07:50

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

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

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