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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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Reformat results as: short short into frame detailed detailed into frame

_id	536e
authors	Bouman, Ole
year	1997
title	RealSpace in QuickTimes: architecture and digitization
source	Rotterdam: Nai Publishers
summary	Time and space, drastically compressed by the computer, have become interchangeable. Time is compressed in that once everything has been reduced to 'bits' of information, it becomes simultaneously accessible. Space is compressed in that once everything has been reduced to 'bits' of information, it can be conveyed from A to B with the speed of light. As a result of digitization, everything is in the here and now. Before very long, the whole world will be on disk. Salvation is but a modem away. The digitization process is often seen in terms of (information) technology. That is to say, one hears a lot of talk about the digital media, about computer hardware, about the modem, mobile phone, dictaphone, remote control, buzzer, data glove and the cable or satellite links in between. Besides, our heads are spinning from the progress made in the field of software, in which multimedia applications, with their integration of text, image and sound, especially attract our attention. But digitization is not just a question of technology, it also involves a cultural reorganization. The question is not just what the cultural implications of digitization will be, but also why our culture should give rise to digitization in the first place. Culture is not simply a function of technology; the reverse is surely also true. Anyone who thinks about cultural implications, is interested in the effects of the computer. And indeed, those effects are overwhelming, providing enough material for endless speculation. The digital paradigm will entail a new image of humankind and a further dilution of the notion of social perfectibility; it will create new notions of time and space, a new concept of cause and effect and of hierarchy, a different sort of public sphere, a new view of matter, and so on. In the process it will indubitably alter our environment. Offices, shopping centres, dockyards, schools, hospitals, prisons, cultural institutions, even the private domain of the home: all the familiar design types will be up for review. Fascinated, we watch how the new wave accelerates the process of social change. The most popular sport nowadays is 'surfing' - because everyone is keen to display their grasp of dirty realism. But there is another way of looking at it: under what sort of circumstances is the process of digitization actually taking place? What conditions do we provide that enable technology to exert the influence it does? This is a perspective that leaves room for individual and collective responsibility. Technology is not some inevitable process sweeping history along in a dynamics of its own. Rather, it is the result of choices we ourselves make and these choices can be debated in a way that is rarely done at present: digitization thanks to or in spite of human culture, that is the question. In addition to the distinction between culture as the cause or the effect of digitization, there are a number of other distinctions that are accentuated by the computer. The best known and most widely reported is the generation gap. It is certainly stretching things a bit to write off everybody over the age of 35, as sometimes happens, but there is no getting around the fact that for a large group of people digitization simply does not exist. Anyone who has been in the bit business for a few years can't help noticing that mum and dad are living in a different place altogether. (But they, at least, still have a sense of place!) In addition to this, it is gradually becoming clear that the age-old distinction between market and individual interests are still relevant in the digital era. On the one hand, the advance of cybernetics is determined by the laws of the marketplace which this capital-intensive industry must satisfy. Increased efficiency, labour productivity and cost-effectiveness play a leading role. The consumer market is chiefly interested in what is 'marketable': info- and edutainment. On the other hand, an increasing number of people are not prepared to wait for what the market has to offer them. They set to work on their own, appropriate networks and software programs, create their own domains in cyberspace, domains that are free from the principle whereby the computer simply reproduces the old world, only faster and better. Here it is possible to create a different world, one that has never existed before. One, in which the Other finds a place. The computer works out a new paradigm for these creative spirits. In all these distinctions, architecture plays a key role. Owing to its many-sidedness, it excludes nothing and no one in advance. It is faced with the prospect of historic changes yet it has also created the preconditions for a digital culture. It is geared to the future, but has had plenty of experience with eternity. Owing to its status as the most expensive of arts, it is bound hand and foot to the laws of the marketplace. Yet it retains its capacity to provide scope for creativity and innovation, a margin of action that is free from standardization and regulation. The aim of RealSpace in QuickTimes is to show that the discipline of designing buildings, cities and landscapes is not only a exemplary illustration of the digital era but that it also provides scope for both collective and individual activity. It is not just architecture's charter that has been changed by the computer, but also its mandate. RealSpace in QuickTimes consists of an exhibition and an essay.
series	other
email
last changed	2003/04/23 15:14

_id	460e
authors	Dannettel, Mark E
year	1997
title	Interactive Multimedia Design: Operational Structures and Intuitive Environments for CD-ROM
doi	https://doi.org/10.52842/conf.caadria.1997.415
source	CAADRIA ‘97 [Proceedings of the Second Conference on Computer Aided Architectural Design Research in Asia / ISBN 957-575-057-8] Taiwan 17-19 April 1997, pp. 415-427
summary	This paper presents practical design concepts for the production of CD-ROMs or on-line media projects which are intended for scholastic and professional use. It is based on the experience and knowledge which has been gained while developing a multimedia package here at the Department of Architecture at CUHK. The package deals exclusively with the technical issue of vertical transportation in buildings, and is intended to be used as a design tool in professional offices, as well as in classroom settings. The required research and production for the development of the structures, formats, and interfaces of this project, along with the consequential evaluation and revision of this work, has led to a greater understanding of appropriate applications for interactive interactive multimedia designs. Specially, the paper addresses the fundamental issues of ‘user-format’, and a distinction is made between applications which operate as ‘tools’ and those which operate as ‘resources’. Descriptions are provided for both types of operational formats, and suggestions are made as to how one might decided which format would be appropriate for a specific project. Briefly, resource produces imply that a user actively pursues information in a relatively static environment, while tool procedures imply that a user works jointly with the software to process information and arrive at a unique output. This distinction between the two formats is mostly grounded in the design of the structure and user-interface, and thus the point is made that the material content of the application does not necessarily imply a mandatory use of either format. In light of this observation that an application’s format relies on the appropriateness of operational procedures, rather than on its material content, further discussions of the implications of such procedures (using a ‘resource’ vs. using a ‘tool’) are provided.
series	CAADRIA
email
last changed	2022/06/07 07:55

_id	6a37
authors	Fowler, Thomas and Muller, Brook
year	2002
title	Physical and Digital Media Strategies For Exploring ‘Imagined’ Realities of Space, Skin and Light
doi	https://doi.org/10.52842/conf.acadia.2002.013
source	Thresholds - Design, Research, Education and Practice, in the Space Between the Physical and the Virtual [Proceedings of the 2002 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-11-X] Pomona (California) 24-27 October 2002, pp. 13-23
summary	This paper will discuss an unconventional methodology for using physical and digital media strategies ina tightly structured framework for the integration of Environmental Control Systems (ECS) principles intoa third year design studio. An interchangeable use of digital media and physical material enabledarchitectural explorations of rich tactile and luminous engagement.The principles that provide the foundation for integrative strategies between a design studio and buildingtechnology course spring from the Bauhaus tradition where a systematic approach to craftsmanship andvisual perception is emphasized. Focusing particularly on color, light, texture and materials, Josef Albersexplored the assemblage of found objects, transforming these materials into unexpected dynamiccompositions. Moholy-Nagy developed a technique called the photogram or camera-less photograph torecord the temporal movements of light. Wassily Kandinsky developed a method of analytical drawingthat breaks a still life composition into diagrammatic forces to express tension and geometry. Theseschematic diagrams provide a method for students to examine and analyze the implications of elementplacements in space (Bermudez, Neiman 1997). Gyorgy Kepes's Language of Vision provides a primerfor learning basic design principles. Kepes argued that the perception of a visual image needs aprocess of organization. According to Kepes, the experience of an image is "a creative act ofintegration". All of these principles provide the framework for the studio investigation.The quarter started with a series of intense short workshops that used an interchangeable use of digitaland physical media to focus on ECS topics such as day lighting, electric lighting, and skin vocabulary tolead students to consider these components as part of their form-making inspiration.In integrating ECS components with the design studio, an nine-step methodology was established toprovide students with a compelling and tangible framework for design:Examples of student work will be presented for the two times this course was offered (2001/02) to showhow exercises were linked to allow for a clear design progression.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	acadia18_226
id	acadia18_226
authors	Glynn, Ruairi; Abramovic, Vasilija; Overvelde, Johannes T. B.
year	2018
title	Edge of Chaos. Towards intelligent architecture through distributed control systems based on Cellular Automata.
doi	https://doi.org/10.52842/conf.acadia.2018.226
source	ACADIA // 2018: Recalibration. On imprecisionand infidelity. [Proceedings of the 38th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-692-17729-7] Mexico City, Mexico 18-20 October, 2018, pp. 226-231
summary	From the “Edge of Chaos”, a mathematical space discovered by computer scientist Christopher Langton (1997), compelling behaviors originate that exhibit both degrees of organization and instability creating a continuous dance between order and chaos. This paper presents a project intended to make this complex theory tangible through an interactive installation based on metamaterial research which demonstrates emergent behavior using Cellular Automata (CA) techniques, illustrated through sound, light and motion. We present a multi-sensory narrative approach that encourages playful exploration and contemplation on perhaps the biggest questions of how life could emerge from the disorder of the universe. We argue a way of creating intelligent architecture, not through classical Artificial Intelligence (AI), but rather through Artificial Life (ALife), embracing the aesthetic emergent possibilities that can spontaneously arise from this approach. In order to make these ideas of emergent life more tangible we present this paper in four integrated parts, namely: narrative, material, hardware and computation. The Edge of Chaos installation is an explicit realization of creating emergent systems and translating them into an architectural design. Our results demonstrate the effectiveness of a custom CA for maximizing aesthetic impact while minimizing the live time of architectural kinetic elements.
keywords	work in progress, complexity, responsive architecture, distributed computing, emergence, installation, interactive architecture, cellular automata
series	ACADIA
type	paper
email
last changed	2022/06/07 07:51

_id	diss_marsh
id	diss_marsh
authors	Marsh, A.J.
year	1997
title	Performance Analysis and Conceptual Design
source	School of Architecture and Fine Arts, University of Western Australia
summary	A significant amount of the research referred to by Manning has been directed into the development of computer software for building simulation and performance analysis. A wide range of computational tools are now available and see relatively widespread use in both research and commercial applications. The focus of development in this area has long been on the accurate simulation of fundamental physical processes, such as the mechanisms of heat flow though materials, turbulent air movement and the inter-reflection of light. The adequate description of boundary conditions for such calculations usually requires a very detailed mathematical model. This has tended to produce tools with a very engineering-oriented and solution-based approach. Whilst becoming increasingly popular amongst building services engineers, there has been a relatively slow response to this technology amongst architects. There are some areas of the world, particularly the UK and Germany, where the use of such tools on larger projects is routine. However, this is almost exclusively during the latter stages of a project and usually for purposes of plant sizing or final design validation. The original conceptual work, building form and the selection of materials being the result of an aesthetic and intuitive process, sometimes based solely on precedent. There is no argument that an experienced designer is capable of producing an excellent design in this way. However, not all building designers are experienced, and even fewer have a complete understanding of the fundamental physical processes involved in building performance. These processes can be complex and often highly inter-related, often even counter-intuitive. It is the central argument of this thesis that the needs of the building designer are quite different from the needs of the building services engineer, and that existing building design and performance analysis tools poorly serve these needs. It will be argued that the extensive quantitative input requirement in such tools acts to produce a psychological separation between the act of design and the act of analysis. At the conceptual stage, building geometry is fluid and subject to constant change, with solid quantitative information relatively scarce. Having to measure off surface areas or search out the emissivity of a particular material forces the designer to think mathematically at a time when they are thinking intuitively. It is, however, at this intuitive stage that the greatest potential exists for performance efficiencies and environmental economies. The right orientation and fenestration choice can halve the airconditioning requirement. Incorporating passive solar elements and natural ventilation pathways can eliminate it altogether. The building form can even be designed to provide shading using its own fabric, without any need for additional structure or applied shading. It is significantly more difficult and costly to retrofit these features at a later stage in a project’s development. If the role of the design tool is to serve the design process, then a new approach is required to accommodate the conceptual phase. This thesis presents a number of ideas on what that approach may be, accompanied by some example software that demonstrates their implementation.
series	thesis:PhD
more	http://www.squ1.com/site.html
last changed	2003/11/28 07:33

_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	caadria2003_c2-1
id	caadria2003_c2-1
authors	Chevrier, C., Bur, D. and Perrin, J. P.
year	2003
title	Architecture as a Reference for the Development of A Cad Lighting Tool
doi	https://doi.org/10.52842/conf.caadria.2003.281
source	CAADRIA 2003 [Proceedings of the 8th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 974-9584-13-9] Bangkok Thailand 18-20 October 2003, pp. 281-294
summary	As light is increasingly perceived as a factor of quality of urban life, it is not surprising that cultural heritage buildings and even civil engineering works are being more and more often illuminated at night. The designers of the projects are revealing a nocturnal vision of the buildings which is often a reflection of the architecture: rhythm, pattern, evenness, symmetry, composition, axes, and so on. The idea of developing a "lighting-modeller" is based upon this assertion. Thus, if we express the needs in terms of functionalities, we can conclude that the hierarchical structure of the architectural edifice can fit in with a "lighting-structure". As a result, concepts like hierarchy, linking, grouping, networking, linearity-polarity, are the basis of the objects and functions that are effective for the great majority of buildings and projects. This "lighting-modeller" can then lead beyond its simulation capabilities to become a design conception tool: hypothesis and variants are quickly realized and tested, and technical data (illumination data, visual comfort) can be obtained as well.
series	CAADRIA
email
last changed	2022/06/07 07:55

_id	acadia07_016
id	acadia07_016
authors	Druckrey, Tim
year	2007
title	Five Excursions
doi	https://doi.org/10.52842/conf.acadia.2007.016
source	Expanding Bodies: Art • Cities• Environment [Proceedings of the 27th Annual Conference of the Association for Computer Aided Design in Architecture / ISBN 978-0-9780978-6-8] Halifax (Nova Scotia) 1-7 October 2007, 16-24
summary	In the history of mechanical contrivances, it is difficult to know how many of the automata of antiquity were constructed only in legend or by actual scientific artifice. Icarus’s wings melt in the light of historical inquiry, as they were reputed to do in the myth; but was the flying automaton, attributed to a Chinese scientist of c. 380 BC actually in the air for three days, as related? (The same story is told of Archytas of Tarentum.) The mix of fact and fiction is a subject of critical importance for the history of science and technology; for our purposes, the aspirations of semi-mythical inventors can be as revealing as their actual embodiment.
series	ACADIA
last changed	2022/06/07 07:55

_id	041203_jung-j-h
id	041203_jung-j-h
authors	Jung, Jae Hwan
year	2004
title	Algorithmic Forest - A Study to Generate ‘Light-Revealing’ Structure by Algorithm
source	ETH postgraduate studies final thesis, Zurich
summary	The research to be presented will demonstrate the potential benefitsofalgorithmsbyusing them to design and generate a structure, specificallyalight-revealingstructure. Light is one of the many considerations in architecture, it reveals the building, its place, form, space, and meaning. Light reveals architecture and, in the best instances, architecture also reveals light. Moreover, light and structure are intertwined. Louis I. Kahn said, “Structure is the maker of light. When you decide on the structure, you are deciding on light.“ Particularly, this presentation will focus on a structure, which creates variable lighting effects similar to those created by natural light shining through trees in a forest.
series	thesis:MSc
last changed	2005/09/09 12:58

_id	acadia17_366
id	acadia17_366
authors	Lin, Yuming; Huang, Weixin
year	2017
title	Behavior Analysis and Individual Labeling Using Data from Wi-Fi IPS
doi	https://doi.org/10.52842/conf.acadia.2017.366
source	ACADIA 2017: DISCIPLINES & DISRUPTION [Proceedings of the 37th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-692-96506-1] Cambridge, MA 2-4 November, 2017), pp. 366- 373
summary	It is fairly important for architects and urban designers to understand how different people interact with the environment. However, traditional investigation methods for studying environmental behavior are quite limited in their coverage of samples and regions, which are not sufficient to delve into the behavioral differences of people. Only recently, the development of indoor positioning systems (IPS) and data-mining techniques has made it possible to collect full-time, full-coverage data for behavioral difference research and individualized identification. In our research, the Wi-Fi IPS system is chosen among the various IPS systems as the data source due to its extensive applicability and acceptable cost. In this paper, we analyzed a 60-day anonymized dataset from a ski resort, collected by a Wi-Fi IPS system with 110 Wi-Fi access points. Combining this with mobile phone data and questionnaires, we revealed some interesting characteristics of tourists from different origins through spatial-temporal behavioral data, and further conducted individual labeling through supervised learning. Through this case study, temporal-spatial behavioral data from an IPS system exhibited great potential in revealing individual characteristics besides exploring group differences, shedding light on the prospect of architectural space personalization.
keywords	design methods; information processing; data mining; big data
series	ACADIA
email
last changed	2022/06/07 07:59

_id	75a8
authors	Achten, Henri H.
year	1997
title	Generic representations : an approach for modelling procedural and declarative knowledge of building types in architectural design
source	Eindhoven University of Technology
summary	The building type is a knowledge structure that is recognised as an important element in the architectural design process. For an architect, the type provides information about norms, layout, appearance, etc. of the kind of building that is being designed. Questions that seem unresolved about (computational) approaches to building types are the relationship between the many kinds of instances that are generally recognised as belonging to a particular building type, the way a type can deal with varying briefs (or with mixed use), and how a type can accommodate different sites. Approaches that aim to model building types as data structures of interrelated variables (so-called ‘prototypes’) face problems clarifying these questions. The research work at hand proposes to investigate the role of knowledge associated with building types in the design process.Knowledge of the building type must be represented during the design process. Therefore, it is necessary to find a representation which supports design decisions, supports the changes and transformations of the design during the design process, encompasses knowledge of the design task, and which relates to the way architects design. It is proposed in the research work that graphic representations can be used as a medium to encode knowledge of the building type. This is possible if they consistently encode the things they represent; if their knowledge content can be derived, and if they are versatile enough to support a design process of a building belonging to a type.A graphic representation consists of graphic entities such as vertices, lines, planes, shapes, symbols, etc. Establishing a graphic representation implies making design decisions with respect to these entities. Therefore it is necessary to identify the elements of the graphic representation that play a role in decision making. An approach based on the concept of ‘graphic units’ is developed. A graphic unit is a particular set of graphic entities that has some constant meaning. Examples are: zone, circulation scheme, axial system, and contour. Each graphic unit implies a particular kind of design decision (e.g. functional areas, system of circulation, spatial organisation, and layout of the building). By differentiating between appearance and meaning, it is possible to define the graphic unit relatively shape-independent.If a number of graphic representations have the same graphic units, they deal with the same kind of design decisions. Graphic representations that have such a specifically defined knowledge content are called ‘generic representations.’ An analysis of over 220 graphic representations in the literature on architecture results in 24 graphic units and 50 generic representations. For each generic representation the design decisions are identified. These decisions are informed by the nature of the design task at hand. If the design task is a building belonging to a building type, then knowledge of the building type is required. In a single generic representation knowledge of norms, rules, and principles associated with the building type are used. Therefore, a single generic representation encodes declarative knowledge of the building type. A sequence of generic representations encodes a series of design decisions which are informed by the design task. If the design task is a building type, then procedural knowledge of the building type is used.By means of the graphic unit and generic representation, it is possible to identify a number of relations that determine sequences of generic representations. These relations are: additional graphic units, themes of generic representations, and successive graphic units. Additional graphic units defines subsequent generic representations by adding a new graphic unit. Themes of generic representations defines groups of generic representations that deal with the same kind of design decisions. Successive graphic units defines preconditions for subsequent or previous generic representations. On the basis of themes it is possible to define six general sequences of generic representations. On the basis of additional and successive graphic units it is possible to define sequences of generic representations in themes. On the basis of these sequences, one particular sequence of 23 generic representations is defined.The particular sequence of generic representations structures the decision process of a building type. In order to test this assertion, the particular sequence is applied to the office building type. For each generic representation, it is possible to establish a graphic representation that follows the definition of the graphic units and to apply the required statements from the office building knowledge base. The application results in a sequence of graphic representations that particularises an office building design.Implementation of seven generic representations in a computer aided design system demonstrates the use of generic representations for design support. The set is large enough to provide additional weight to the conclusion that generic representations map declarative and procedural knowledge of the building type.
series	thesis:PhD
email
more	http://alexandria.tue.nl/extra2/9703788.pdf
last changed	2003/11/21 15:15

_id	0e8f
authors	Alavalkama, I. and Siitonen, P.
year	1997
title	Developing a new endoscopy laboratory with digital tools.
source	Architectural and Urban Simulation Techniques in Research and Education [Proceedings of the 3rd European Architectural Endoscopy Association Conference / ISBN 90-407-1669-2]
summary	Tampere School of Architecture had to leave its old down-town building and move to the TU Tampere university campus in Hervanta, 10 km away. In this process, the 20 years old endoscopic system "The Urban Simulator" was one of the victims. Old mechanical parts and especially the original home-built microcomputer system were too old to compete with modern computer-aided methods. A new endoscopical system is now under construction, using all of the 20-year experience, new technical components and computers for camera control and picture processing. Real-material modelling is used together with computer-aided planning and visualization methods taking the best from both sides.
keywords	Architectural Endoscopy, Endoscopy, Simulation, Visualisation, Visualization, Real Environments
series	EAEA
email
more	http://www.bk.tudelft.nl/media/eaea/eaea97.html
last changed	2005/09/09 10:43

_id	acadia23_v1_136
id	acadia23_v1_136
authors	Alima, Natalia
year	2023
title	InterspeciesForms
source	ACADIA 2023: Habits of the Anthropocene: Scarcity and Abundance in a Post-Material Economy [Volume 1: Projects Catalog of the 43rd Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 979-8-9860805-8-1]. Denver. 26-28 October 2023. edited by A. Crawford, N. Diniz, R. Beckett, J. Vanucchi, M. Swackhamer 136-143.
summary	The hybridization of architectural, biological and robotic agencies Situated in the field of architectural biodesign, InterspeciesForms explores a closer relationship between the fungus Pleurotus ostreatus and the designer in the creation of form. The intention of hybridizing mycelia’s agency of growth with architectural design intention is to generate novel, non-indexical crossbred designed outcomes that evolve preconceived notions of architectural form. Mycelium are threadlike fibrous root systems made up of hyphae, that form the vegetative part of a fungus (Jones 2020). Known as the hackers of the wood wide web (Simard 1997) mycelia form complex symbiotic relationships with other species that inhabit our earth. Michael Lim states “Fungi redefine resourcefulness, collaboration, resilience and symbiosis” (Lim 2022, p. 14). When wandering around the forest to connect with other species or searching for food, fungi form elaborate and entangled networks by spreading their hyphal tips. Shown in Figure 1, this living labyrinth results in the aesthetic formation of an intricate web. Due to the organisms ability to determine the most effective direction of growth, communicate with its surrounding ecosystem, and connect with other species, fungi are indeed an intelligent species with a unique aesthetic that must not be ignored. In drawing on these concepts, I refer to the organism’s ability to search for, tangle, and digest its surroundings as ‘mycelia agency of growth’. It is this specific behavioral characteristic that is the focus of this research, with which I, as the architect, set out to co-create and hybridize with.
series	ACADIA
type	project
email
last changed	2024/04/17 13:58

_id	acadia03_022
id	acadia03_022
authors	Anders, Peter
year	2003
title	Towards Comprehensive Space: A context for the programming/design of cybrids
doi	https://doi.org/10.52842/conf.acadia.2003.161
source	Connecting >> Crossroads of Digital Discourse [Proceedings of the 2003 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-12-8] Indianapolis (Indiana) 24-27 October 2003, pp. 161-171
summary	Cybrids have been presented as mixed realities: spatial, architectural compositions comprised of physical and cyberspaces (Anders 1997). In order to create a rigorous approach to the design of architectural cybrids, this paper offers a model for programming their spaces. Other than accepting cyberspaces as part of architecture’s domain, this approach is not radical. Indeed, many parts of program development resemble those of conventional practice. However, the proposition that cyberspaces should be integrated with material structures requires that their relationship be developed from the outset of a project. Hence, this paper provides a method for their integration from the project’s earliest stages, the establishment of its program. This study for an actual project, the Planetary Collegium, describes a distributed campus comprising buildings and cyberspaces in various locales across the globe. The programming for these cybrids merges them within a comprehensive space consisting not only of the physical and cyberspaces, but also in the cognitive spaces of its designers and users.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	a93b
authors	Anders, Peter
year	1997
title	Cybrids: Integrating Cognitive and Physical Space in Architecture
doi	https://doi.org/10.52842/conf.acadia.1997.017
source	Design and Representation [ACADIA ‘97 Conference Proceedings / ISBN 1-880250-06-3] Cincinatti, Ohio (USA) 3-5 October 1997, pp. 17-34
summary	People regularly use non-physical, cognitive spaces to navigate and think. These spaces are important to architects in the design and planning of physical buildings. Cognitive spaces inform design - often underlying principles of architectural composition. They include zones of privacy, territory and the space of memory and visual thought. They let us to map our environment, model or plan projects, even imagine places like Heaven or Hell. Cyberspace is an electronic extension of this cognitive space. Designers of virtual environments already know the power these spaces have on the imagination. Computers are no longer just tools for projecting buildings. They change the very substance of design. Cyberspace is itself a subject for design. With computers architects can design space both for physical and non-physical media. A conscious integration of cognitive and physical space in architecture can affect construction and maintenance costs, and the impact on natural and urban environments. This paper is about the convergence of physical and electronic space and its potential effects on architecture. The first part of the paper will define cognitive space and its relationship to cyberspace. The second part will relate cyberspace to the production of architecture. Finally, a recent project done at the University of Michigan Graduate School of Architecture will illustrate the integration of physical and cyberspaces.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	0c91
authors	Asanowicz, Aleksander
year	1997
title	Computer - Tool vs. Medium
doi	https://doi.org/10.52842/conf.ecaade.1997.x.b2e
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
summary	We have arrived an important juncture in the history of computing in our profession: This history is long enough to reveal clear trends in the use of computing, but not long to institutionalize them. As computers peremate every area of architecture - from design and construction documents to project administration and site supervision - can “virtual practice” be far behind? In the old days, there were basically two ways of architects working. Under stress. Or under lots more stress. Over time, someone forwarded the radical motion that the job could be easier, you could actually get more work done. Architects still have been looking for ways to produce more work in less time. They need a more productive work environment. The ideal environment would integrate man and machine (computer) in total harmony. As more and more architects and firms invest more and more time, money, and effort into particular ways of using computers, these practices will become resistant to change. Now is the time to decide if computing is developing the way we think it should. Enabled and vastly accelerated by technology, and driven by imperatives for cost efficiency, flexibility, and responsiveness, work in the design sector is changing in every respect. It is stands to reason that architects must change too - on every level - not only by expanding the scope of their design concerns, but by altering design process. Very often we can read, that the recent new technologies, the availability of computers and software, imply that use of CAAD software in design office is growing enormously and computers really have changed the production of contract documents in architectural offices.
keywords	Computers, CAAD, Cyberreal, Design, Interactive, Medium, Sketches, Tools, Virtual Reality
series	eCAADe
email
more	http://info.tuwien.ac.at/ecaade/proc/asan/asanowic.htm
last changed	2022/06/07 07:50

_id	8ec9
authors	Asanowicz, Alexander
year	1997
title	Incompatible Pencil - Chance for Changing in Design Process
source	AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 93-101
summary	The existing Caad systems limit designers creativity by constraining them to work with prototypes provided by the system's knowledge base. Most think of computers as drafting machines and consider CAAD models as merely proposals for future buildings. But this kind of thinking (computers as simple drafting machines) seems to be a way without future. New media demands new process and new process demands new media. We have to give some thougt to impact of CAAD on the design process and in which part of it CAAD can add new value. In this paper there will be considered two ways of using of computers. First - creation of architectural form in an architect's mind and projects visualisation with using renderings, animation and virtual reality. In the second part - computer techniques are investigated as a medium of creation. Unlike a conventional drawing the design object within computer has a life of its own. In computer space design and the final product are one. Computer creates environments for new kind of design activities. In fact, many dimensions of meaning in cyberspace have led to a cyberreal architecture that is sure to have dramatic consequences for the profession.
series	AVOCAAD
last changed	2005/09/09 10:48

_id	eb53
authors	Asanowicz, K. and Bartnicka, M.
year	1997
title	Computer analysis of visual perception - endoscopy without endoscope
source	Architectural and Urban Simulation Techniques in Research and Education [Proceedings of the 3rd European Architectural Endoscopy Association Conference / ISBN 90-407-1669-2]
summary	This paper presents a method of using computer animation techniques in order to solve problems of visual pollution of city environment. It is our observation that human-inducted degradation of city environmental results from well - intentioned but inappropriate preservation actions by uninformed designers and local administration. Very often, a local municipality administration permits to build bad-fitting surroundings houses. It is usually connected with lack of visual information's about housing areas of a city, its features and characteristics. The CAMUS system (Computer Aided Management of Urban Structure) is being created at the Faculty of Architecture of Bialystok Technical University. One of its integral parts is VIA - Visual Impact of Architecture. The basic element of this system is a geometrical model of the housing areas of Bialystok. This model can be enhanced using rendering packages as they create the basis to check our perception of a given area. An inspiration of this approach was the digital endoscopy presented by J. Breen and M. Stellingwerff at the 2nd EAEA Conferences in Vienna. We are presenting the possibilities of using simple computer programs for analysis of spatial model. This contribution presents those factors of computer presentation which can demonstrate that computers achieve such effects as endoscope and often their use be much more efficient and effective.
keywords	Architectural Endoscopy, Endoscopy, Simulation, Visualisation, Visualization, Real Environments
series	EAEA
email
more	http://www.bk.tudelft.nl/media/eaea/eaea97.html
last changed	2005/09/09 10:43

_id	dfaf
authors	Ataman, Osman
year	2000
title	Some Experimental Results in the Assessment of Architectural Media
doi	https://doi.org/10.52842/conf.acadia.2000.163
source	Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 163-171
summary	The relationship between the media and architectural design can be an important factor and can influence the design outcome. However, the nature, direction and magnitude of this relationship are unknown. Consequently, there have been many speculative claims about this relationship and almost none of them are supported with empirical research studies. In order to investigate these claims and to provide a testable framework for their potential contributions to architectural education, this study aims to explore the effects of media on architectural design. During 1995-1997, a total of 90 students enrolling in First Year Design Studio and Introduction to Computing classes at Georgia Tech participated in the study. A set of quantitative measures was developed to assess the differences between the two media and the effects on the architectural design. The results suggested that media influenced certain aspects of students’ designs. It is concluded that there is a strong relationship between the media and architectural design. The type of media not only changes some quantifiable design parameters but also affects the quality of design.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	sigradi2006_e131c
id	sigradi2006_e131c
authors	Ataman, Osman
year	2006
title	Toward New Wall Systems: Lighter, Stronger, Versatile
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 248-253
summary	Recent developments in digital technologies and smart materials have created new opportunities and are suggesting significant changes in the way we design and build architecture. Traditionally, however, there has always been a gap between the new technologies and their applications into other areas. Even though, most technological innovations hold the promise to transform the building industry and the architecture within, and although, there have been some limited attempts in this area recently; to date architecture has failed to utilize the vast amount of accumulated technological knowledge and innovations to significantly transform the industry. Consequently, the applications of new technologies to architecture remain remote and inadequate. One of the main reasons of this problem is economical. Architecture is still seen and operated as a sub-service to the Construction industry and it does not seem to be feasible to apply recent innovations in Building Technology area. Another reason lies at the heart of architectural education. Architectural education does not follow technological innovations (Watson 1997), and that “design and technology issues are trivialized by their segregation from one another” (Fernandez 2004). The final reason is practicality and this one is partially related to the previous reasons. The history of architecture is full of visions for revolutionizing building technology, ideas that failed to achieve commercial practicality. Although, there have been some adaptations in this area recently, the improvements in architecture reflect only incremental progress, not the significant discoveries needed to transform the industry. However, architectural innovations and movements have often been generated by the advances of building materials, such as the impact of steel in the last and reinforced concrete in this century. There have been some scattered attempts of the creation of new materials and systems but currently they are mainly used for limited remote applications and mostly for aesthetic purposes. We believe a new architectural material class is needed which will merge digital and material technologies, embedded in architectural spaces and play a significant role in the way we use and experience architecture. As a principle element of architecture, technology has allowed for the wall to become an increasingly dynamic component of the built environment. The traditional connotations and objectives related to the wall are being redefined: static becomes fluid, opaque becomes transparent, barrier becomes filter and boundary becomes borderless. Combining smart materials, intelligent systems, engineering, and art can create a component that does not just support and define but significantly enhances the architectural space. This paper presents an ongoing research project about the development of new class of architectural wall system by incorporating distributed sensors and macroelectronics directly into the building environment. This type of composite, which is a representative example of an even broader class of smart architectural material, has the potential to change the design and function of an architectural structure or living environment. As of today, this kind of composite does not exist. Once completed, this will be the first technology on its own. We believe this study will lay the fundamental groundwork for a new paradigm in surface engineering that may be of considerable significance in architecture, building and construction industry, and materials science.
keywords	Digital; Material; Wall; Electronics
series	SIGRADI
email
last changed	2016/03/10 09:47

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