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	ecaade2018_397
id	ecaade2018_397
authors	Stellingwerff, Martijn, Gordijn, Johannetta, Ouwerkerk, Udo and Kiela, Peter
year	2018
title	Improving the Online Design Education Experience
doi	https://doi.org/10.52842/conf.ecaade.2018.1.401
source	Kepczynska-Walczak, A, Bialkowski, S (eds.), Computing for a better tomorrow - Proceedings of the 36th eCAADe Conference - Volume 1, Lodz University of Technology, Lodz, Poland, 19-21 September 2018, pp. 401-408
summary	Design education usually takes place in a studio setting, in which visual and spatial artefacts are produced, shared, improved, presented and commented. This specific setting comes with qualitative properties that allow for situated learning with object-oriented focus and interaction, combined with a rich collegial context in which ideas can flourish and certain values and ethics are cherished. Using our education platform for online learning, we noticed the lack of support for typical creative and social design studio aspects, while factual classroom education was well supported. This paper describes how we attempt to translate the qualities of the studio education setting into an online environment for design education. Our approach is not to build a Virtual Design Studio (VDS) from the bottom up, but instead, to build on top of our universities' online education platform of choice. The paper commences with a short description of design education in a studio setting. Then a number of basic principles of design studio education is applied to the development of two Massive Open Online Courses (MOOCs). In the last section we discuss the different setups and compare the online aspects with on campus design studio education.
keywords	Online design education; MOOC; Creative Learning Environment
series	eCAADe
email
last changed	2022/06/07 07:56

_id	5b1e
authors	Stellingwerff, Martijn
year	2001
title	The concept of Carrying in Collaborative Virtual Environments
source	Stellingwerff, Martijn and Verbeke, Johan (Eds.), ACCOLADE - Architecture, Collaboration, Design. Delft University Press (DUP Science) / ISBN 90-407-2216-1 / The Netherlands, pp. 195-208 [Book ordering info: m.c.stellingwerff@bk.tudelft.nl]
summary	Collaborative Architectural Design can take place within a virtual environment with a team of remote but virtually present people. However, in most virtual environments, the ability to perform actions is still limited to the availability of some interactive objects and a set of tools for the specific purposes of the system. As the interface of most systems is designed for unshared use, the graphic feedback signals are limited to local information about the state of objects and tools. If multiuser interaction is added to such Virtual Environments, many new possibilities and problems emerge. Users of shared applications should not only be informed about the state of local objects, tools and their own actions, they should also be made aware of what the other users undertake. Aspects, which are in daily life so obvious, should be restudied thoroughly for the application within Virtual Environments for Collaborative Design. Much research has to be undertaken in order to make such virtual places as intuitively interactive as ordinary shared working places. The 'concept of carrying', which is proposed and explained in this paper, is expected to become a useful metaphoric mechanism for solving several issues related to Spatial User Interfaces (SUI's) and Collaborative Virtual Environments (CVE's). The visual feedback from 'carrying-events' should provide more mutual understanding about ongoing processes in shared applications and it should add a more 'natural' interface for processes concerning people, tools and content in virtual and digitally augmented environments. At the start of this paper some basic human action patterns for tasks on a 2Ddesktop are compared to tasks in a 3D-environment. These action patterns are checked for their implementation in Windows Icons Menus and Pointer (WIMP) interfaces and Virtual Reality systems. Carrying is focused upon as an important interactive event in Virtual Environments. Three carrying actions related to Collaborative Architectural Design are explained by means of prototypes in Virtual Reality Modeling Language (VRML). Finally the usefulness of a general carrying concept as part of a new Visual Language is considered. The research at hand is in its first exploring phases and draws from a running PhD research about SUI's for Context Related Architectural Design and from recent experiences in CVE's.
series	other
email
last changed	2001/09/14 21:30

_id	160eaea2001
id	160eaea2001
authors	Stellingwerff, Martijn
year	2002
title	Architects’ Visual Literacy
source	Environmental Simulation - New Impulses in Planning Processes [Proceedings of the 5th European Architectural Endoscopy Association Conference / ISBN 3-922602-85-1]
summary	This paper presents a partial summary of my PhD research with the working title: “View preferences and effects - a study of visual language for architectural design within a represented urban context”. In contrast to much VR-research that focuses on techniques for the public presentation of a completed design or an existing urban site, this research focuses on the use of 3D-city-models during the architectural design process. The models serve as a source of visual information that can be used to bring the design in a good relation with the yet existing built environment. In the research, I investigated the possibilities to make a VRML - city-model adaptable in its representation, in order to adhere to both the factual and the imaginative needs of a designing architect. The paper consecutively presents the problem, the conceptual change and development of research questions, the methodology and a brief overview of the research findings.
series	EAEA
email
more	http://info.tuwien.ac.at/eaea
last changed	2005/09/09 10:43

_id	c51a
authors	Stelzer, Alfredo Andía
year	2001
title	TALLERES POR INTERNET: EVALUACION DE LA EXPERIENCIA COLABORATIVA DEL "INTERNET STUDIOS CONSORTIUM" (Studios Via Internet: Evaluation of the Collaborative Experience of "Internet Studios Consortium")
source	SIGraDi biobio2001 - [Proceedings of the 5th Iberoamerican Congress of Digital Graphics / ISBN 956-7813-12-4] Concepcion (Chile) 21-23 november 2001, pp. 110-112
summary	This paper explores the pedagogical use of Internet in design-studio teaching in architectural education. The findings are based on a three-year experience working in semester long projects in which large numbers of participants (from 35 to 300 students) from Miami, Santiago, Valparaiso, Buenos Aires, Rosario, Maracaibo, Caracas and Guayaquil collaborated using the Internet in various format. The majority of the collaboration has been accomplished by using low-bandwidth Internet communication such as Web publishing, Chat, Web3D, RealPlayer, IP videoconferencing, CAD software, and other technologies such as ISDN broadcasting. New grants, obtained from Global Crossing, Cisco, and Lucent Technologies, from the Ampath project at FIU, Miami, is supporting a new series of experimentation with high-bandwidth technologies on the Internet2 Abilene Network.
series	SIGRADI
email
last changed	2016/03/10 10:01

_id	275e
authors	Stenros, Anne
year	1993
title	Orientation, Identification, Representation - Space and Perception in Architecture
source	Endoscopy as a Tool in Architecture [Proceedings of the 1st European Architectural Endoscopy Association Conference / ISBN 951-722-069-3] Tampere (Finland), 25-28 August 1993, pp. 75-88
summary	Perception is essential to being in the world — through perception we are in the world. Perception is our way to understand reality and to acquire knowledge of it and be in interaction with the environment. Experiencing architecture is based on perception: the spatial orientation, identification and representation which together make possible our environmental experience. Architecture is not only seeing, but also experiencing. Environmental endoscopy makes it possible to study the environmental orientation, the spatial elements of the environment, but the identification and the representation which are included essentially in the overall perception of the environment presuppose the actual experience of the environment. This presentation discusses all these three levels of the spatial experience. In architecture, space can be discussed in many different ways: we can talk about, for example, architectural space that includes inside and outside space; we can discuss urban space that includes the physical structure of the whole built environment or we can talk about what has been called existential space, that includes the relationship between man and his physical environment. In this presentation space is considered in its wide, experience based meaning: space as the environment of perception, the interaction between man and space, or as a kind of cognitive space theory. Most essential in this discussion is the experience of place, the feeling of place, and its origins, since place is the most unique experience of space, it is man’s deepest experience of the environment.
keywords	Architectural Endoscopy
series	EAEA
more	http://info.tuwien.ac.at/eaea/
last changed	2005/09/09 10:43

_id	2c7b
authors	Stenvert, Ronald
year	1993
title	The Vector-drawing as a Means to Unravel Architectural Communication in the Past
doi	https://doi.org/10.52842/conf.ecaade.1993.x.q9a
source	[eCAADe Conference Proceedings] Eindhoven (The Netherlands) 11-13 November 1993
summary	Unlike in painting, in architecture one single person never controls the whole process between conception and realization of a building. Ideas of what the building will eventually look like, have to be conveyed from patron to the actual builders, by way of drawings. Generally the architect is the key-figure in this process of communication of visual ideas. Nowadays many architects design their new buildings by using computers and Computer-Aided (Architectural) Design programs like AutoCad and VersaCAD. Just like traditional drawings, all these computer drawings are in fact vector-drawings; a collection of geometrical primitives like lines, circle segments etc. identified by the coordinates of their end points. Vector-based computer programs can not only be used to design the future, but also as a means to unravel the architectural communication in the past. However, using the computer as an analyzing tool for a better comprehension of the past is not as simple as it seems. Historical data from the past are governed by unique features of date and place. The complexity of the past combined with the straightforwardness of the computer requires a pragmatic and basic approach in which the computer acts as a catalytic agent, enabling the scholar to arrive manually at his own - computer-assisted - conclusions. From this it turns out that only a limited number of projects of a morphological kind are suited to contribute to new knowledge, acquired by the close-reading of the information gained by way of meaningful abstraction. An important problem in this respect is how to obtain the right kind of architectural information. All four major elements of the building process - architect, design, drawing and realization - have their own different and gradually shifting interpretations in the past. This goes especially for the run-of-the-mill architecture which makes up the larger part of the historical urban environment. Starting with the architect, one has to realize that only a very limited part of mainstream architecture was designed by architects. In almost all other cases the role of the patron and the actual builder exceeds that of the architect, even to the extent that they designed buildings themselves. The position of design and drawing as means of communication also changed in the past. Until the middle of the nineteenth century drawings were not the chief means of communication between architects and builders, who got the gist of the design from a model, or, encountering problems, simply asked the architect or supervisor. From the nineteenth century onwards the use of drawings became more common, but almost never represented the building entirely "as built". In 1991 I published my Ph.D. thesis: Constructing the past: computerassisted architectural-historical research: the application of image-processing using the computer and Computer-Aided Design for the study of the urban environment, illustrated by the use of treatises in seventeenth-century architecture (Utrecht 1991). Here, a reconstruction of this historical communication process will be presented on the basis of a project studying the use of the Classical orders as prescribed in various architectural treatises, compared to the use of the orders in a specific group of still existing buildings in The Netherlands dating from the late sixteenth and entire seventeenth century. Comparisons were made by using vector-drawings. Both the illustrations in the the treatises and actual buildings were "translated" into computer-drawings and then analyzed.
series	eCAADe
last changed	2022/06/07 07:50

_id	acadia22_24
id	acadia22_24
authors	Stephan, Nicolas; Lemarié, Marine; Moisi, Alexandra; Rutzinger, Stefan; Schinegger, Kristina
year	2022
title	Approaching Architectonic Interfaces
source	ACADIA 2022: Hybrids and Haecceities [Proceedings of the 42nd Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 979-8-9860805-8-1]. University of Pennsylvania Stuart Weitzman School of Design. 27-29 October 2022. edited by M. Akbarzadeh, D. Aviv, H. Jamelle, and R. Stuart-Smith. 24-33.
summary	The paper describes the notion of the “architectonic interface” and its design implementations and concludes with a corresponding design methodology. It summarizes key moments in interdisciplinary discourse in physics, ergonomics, philosophy, and cultural theory extended into the field of architecture, and further as related to a prototypical definition of an architectonic interface. This field-related definition guides the design process and informs it with four aspects: surface, relation, territorial space, and embodied interaction. These four aspects describe the associations between the elements of the interface, both animate and inanimate entities. To put to the test the architectonic interface, a robotic installation was developed as part of an architecture museum exhibition, which demonstrates the interface’s ability to create a space of interaction between users, robots, objects, and movements in both the physical and the virtual reality. This effectively generates a territory of dependencies between these actors through the medium of the architectural object as a data carrier emblematic of the architectonic interface.
series	ACADIA
type	paper
email
last changed	2024/02/06 14:00

_id	caadria2023_319
id	caadria2023_319
authors	Sterman, Yoav, Asor, Shahar, Gur, Yuval and Tarazi, Ezri
year	2023
title	BridgeSlicer: A Creative Slicer for 3D Printing Perforated Shells
doi	https://doi.org/10.52842/conf.caadria.2023.2.551
source	Immanuel Koh, Dagmar Reinhardt, Mohammed Makki, Mona Khakhar, Nic Bao (eds.), HUMAN-CENTRIC - Proceedings of the 28th CAADRIA Conference, Ahmedabad, 18-24 March 2023, pp. 551–560
summary	BridgeSlicer is a design tool and a workflow for FDM (Fused Depositing Modelling) 3D printing to create perforated shells using bridging. Bridging is a known 3D printing technique in which the printed material is extruded and pulled in mid-air between raised geometries. Our design tool allows users to use bridging to creatively incorporate perforation patterns into 3D models by modifying the toolpath rather than the geometry of the 3D file. Users may control the hole pattern parameters like hole size, shape, density, direction, and flow. Our workflow enhances the functionality of 3D-printed objects by improving the strength-to-weight ratio and by introducing transparency, breathability, and flexibility. Additionally, it allows the printing of thin hair-line features and structures with many holes, that are challenging to print using the standard workflow. BridgeSlicer is demonstrated with a series of 3D printed samples and large-scale functional applications such as a chair seat and lampshades.
keywords	3D printing, G-code manipulation, personal fabrication, creative slicing, vase mode, perforation pattern, digital craft
series	CAADRIA
email
last changed	2023/06/15 23:14

_id	ascaad2014_010
id	ascaad2014_010
authors	Stevens, James and Ralph Nelson
year	2014
title	Digital Vernacular: Practicing architectural making
source	Digital Crafting [7th International Conference Proceedings of the Arab Society for Computer Aided Architectural Design (ASCAAD 2014 / ISBN 978-603-90142-5-6], Jeddah (Kingdom of Saudi Arabia), 31 March - 3 April 2014, pp. 137-147
summary	Prior to the Industrial Age, most architecture was created by the master craftsman or within the vernacular trades where “design” and “making” were aligned. The Industrial Age, and most recently the Information Age, shifted the role of the architect away from that of the “master craftsman” to the professional “knowledge worker.” As a result, a divide between design and making in the practice of architecture occurred. This shift impacted an essential part of the architect’s process by degrading the symbiotic relationship between mind and hand and limiting the immediate design consequences that only making can provide. But recent technological developments have changed the economic model of design and making in architectural practice and re-established this lost connection. Most importantly, it has provided new opportunities for craft, design, and architectural practice to align. The purpose of this paper is to examine these new opportunities and define what constitutes the digital vernacular. The paper will seek to define the digital vernacular by evaluating each of the following variables: materials, knowledge, and tools. Using normative practice as a control, the paper will conduct a comparative analysis of these variables by examining economic viability (cost-to-wage ratios), logistical feasibility (training & facilities), and skillset availability within the domain of architecture (insourced versus outsourced). Using this data, and resulting guidelines, the paper will demonstrate the successes and failures of a practice using the digital vernacular as its primary project delivery methodology. The focus of this research is not to build an inventory of equipment and methods; rather it is to develop a higher understanding of what constitutes vernacular practice within the digital age. Exploring the digital vernacular is not intended to seek new form-making, but to improve and inform understanding of traditional vernacular methods and to enable a new generation of master craftsmen. This clarity is imperative as to ensure the quality of design and making with emerging technologies and help to prevent high-volume, low-quality results.
series	ASCAAD
email
last changed	2016/02/15 13:09

_id	ddss9490
id	ddss9490
authors	Stevens, Rene
year	1994
title	Measuring Occupancy Performance Of Real Estate With The Ren-method
source	Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary	To support the analysis and marketing of real estate, a normative systems called the Real Estate Norm has been developed in The Netherlands. This paper discusses the background of the system and its application. Moreover, the findings of a research project "Irrational and rational selection criteria for offices" will be presented. Finally, new developments such as guarantee during the occupation of the property for the agreed performance specifications will be outlined.
series	DDSS
last changed	2003/08/07 16:36

_id	sigradi2009_1195
id	sigradi2009_1195
authors	Stewart, Tonya; Kevin Sweet
year	2009
title	Advanced Praxis: Synthesizing Digital and Craft in Design
source	SIGraDi 2009 - Proceedings of the 13th Congress of the Iberoamerican Society of Digital Graphics, Sao Paulo, Brazil, November 16-18, 2009
summary	Digital fabrication practices have allowed for a level of exactitude and precision unattainable by the designer’s hand. While the design community has benefited tremendously from developments in technology, certain qualities reflective of craft have been lost as a result of the overwhelming dependency on computer-based processes. In order to reinvigorate a sense of craft and personal expression into design, modalities of education must evolve to incorporate these characteristics with contemporary digital techniques. By combining craft, digital tools and collaborative efforts a new breed of designer will emerge – one that finds a personal voice in a globalized world. This paper outlines these issues as they were explored in an experimental design studio that focused on the integration of craft with digital fabrication methods that included both students of graphic design and architecture.
keywords	digital fabrication; cross-disciplinary; design pedagogy
series	SIGRADI
email
last changed	2016/03/10 10:01

_id	eaea2015_t2_paper15
id	eaea2015_t2_paper15
authors	Stieglitz, Orit
year	2015
title	Can preservation Bring Back the Genius Loci? Creating a Jewish Place in a Town with no Jews
source	ENVISIONING ARCHITECTURE: IMAGE, PERCEPTION AND COMMUNICATION OF HERITAGE [ISBN 978-83-7283-681-6],Lodz University of Technology, 23-26 September 2015, pp.268-279
summary	The paper discusses the restoration and preservation of a Jewish Heritage site in a small town in Slovakia. The Jewish Suburbia of Bardejov, a spiritual complex with tremendous historical, architectural and urbanistic values has been neglected and misused since the disappearance of the town’s Jewish community during WWII. The question that the paper addresses is whether architectural preservation can bring back the historic cultural meaning and reinstate the spirit of place, the genius loci, without the people who occupied it - those who previously used the space and created its role and significance.
keywords	Jewish heritage; historic preservation; Holocaust Memorial; UNESCO World Heritage; genius loci
series	EAEA
email
last changed	2016/04/22 11:52

_id	caadria2022_435
id	caadria2022_435
authors	Stieler, David, Schwinn, Tobias and Menges, Achim
year	2022
title	Additive Formwork in Precast Construction - Agent-based Methods for Fabrication-aware Modularization of Concrete Building Elements
doi	https://doi.org/10.52842/conf.caadria.2022.2.081
source	Jeroen van Ameijde, Nicole Gardner, Kyung Hoon Hyun, Dan Luo, Urvi Sheth (eds.), POST-CARBON - Proceedings of the 27th CAADRIA Conference, Sydney, 9-15 April 2022, pp. 81-90
summary	This paper presents the geometric foundations for an agent-based modeling (ABM) approach to modularize concrete building elements for prefabrication via additive formwork. The method presented extends the functionality of existing planning tools for concrete prefabrication to addresses the manufacturing characteristics of additive formwork production using fused deposition modeling (FDM), and negotiates these with the structural requirements of its underlying building geometry. First, a method to classify building components according to fabrication methods using a probabilistic feature-based Naive Bayes classifier is presented. This classification allows to automatically assign the most suitable production method to every individual building element within a given building model. Following this class0864108000ification, elements identified for the production using additive formwork are modularized in an automated, agent-based process. The modularization process utilizing a voxel-representation of the initial building element geometry is described in detail. An agent-based method to simulate multiple modularization variants is presented and the integration of feedback from iterative negotiation processes between fabrication expenditures and structural behaviour outlined. The approach presented fosters material-saving construction and production processes in planning and therefore directly addresses crucial issues of the agenda for global Sustainable Development Goals (SDGs).
keywords	agent-based modeling, modularization, prefabrication, ABM, volumetric modeling, additive formwork, SDG 9, SDG 12
series	CAADRIA
email
last changed	2022/07/22 07:34

_id	001a
authors	Stiny, George
year	1990
title	What Designers Do That Computers Should
source	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 17-30
summary	Designers do many things that computers don't. Some of these are bad habits that the stringencies of computation will correct. But others are basic to design, and cannot be ignored if computation is to serve creation and invention. Two of these provide the correlative themes of this paper. Both are concerned with description, and its variability and multiplicity in design.
series	CAAD Futures
email
last changed	2003/05/16 20:58

_id	ecaade2009_keynote1
id	ecaade2009_keynote1
authors	Stiny, George
year	2009
title	When is Generative Design Design?
doi	https://doi.org/10.52842/conf.ecaade.2009.x.f3p
source	Computation: The New Realm of Architectural Design [27th eCAADe Conference] Istanbul (Turkey) 16-19 September 2009
summary	The question in my title is neatly put in a counterfactual: HOW WOULD CALCULATING BE DIFFERENT IF TURING WERE AN ARTIST OR DESIGNER AND NOT A LOGICIAN? A generative process – in design or wherever calculating is tried – uses recursive rules. But RECURSION alone isnʼt design. EMBEDDING is needed, as well. This entails a switch from blindly following rules to seeing what happens. Then calculating in Turingʼs way by counting is a special case of calculating in an artistʼs or designerʼs way by seeing. And creativity as recursion – in logic, linguistics, and computer science – extends to art and design. Generative design is design if thereʼs embedding, that is to say, anytime thereʼs seeing. Usually, seeing is outside a generative process, when it stops and you look at the results. What recursive rules imply may not be what you see. But embedding works with recursion, so that rules let you see as you go on inside a generative process. Seeing starts anew – without stopping – every time a rule is tried. Recursion and embedding together make generative design design. This is summarized in a formula: GENERATIVE DESIGN + EMBEDDING = DESIGN // The equivalence is a useful heuristic for new research in calculating, and for art and design.
series	eCAADe
type	keynote paper
last changed	2022/06/07 07:50

_id	sigradi2003_102
id	sigradi2003_102
authors	Stipech, Alfredo and Mantaras, Guillermo
year	2003
title	Taller de Medios Digitales y Nuevas Tecnologías en Artes Visuales (Studio of Digital Media and New Technologies in the Visual Arts)
source	SIGraDi 2003 - [Proceedings of the 7th Iberoamerican Congress of Digital Graphics] Rosario Argentina 5-7 november 2003
summary	This paper introduces the pedagogic experience of a course in the Visual Arts Bachelor Degree Program offered by the Facultad de Arquitectura Diseño y Urbanismo at the Universidad Nacional del Litoral, in Santa Fe, Argentina. The class was taught using a combination of Present and Semi-Present attendance through the Multimedia Center of Distance Education (CEMED), and with the support of the Multimedia and Didactic Device Laboratory for the Education (LIDEM), belonging to the said university and school. The workshop dealt with the integration of Digital Media into the Artistic-Creative and Teaching-Learning processes, Despite the lack of electronic equipment of last generation and in the necessary quantity, we achieved interesting and successful results that are relevant to this congress' topics.
keywords	Art, Workshop, Media, Digital, Analog
series	SIGRADI
email
last changed	2016/03/10 10:01

_id	caadria2003_b3-1
id	caadria2003_b3-1
authors	Stipech, Alfredo and Morahan, Thomas
year	2003
title	Digital Media Its Incorporation into the Education of Architects and Graphic Designers
doi	https://doi.org/10.52842/conf.caadria.2003.397
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. 397-410
summary	Here we introduce a pedagogic experience in the Universidad Nacional del Litoral, Santa Fe, Argentina. It has begun about ten years ago, with the first intents of incorporating the computer into the design and teaching process , until current days with the setting of a Class for Introduction to Digital Media (IMD), as an obligatory subject in the first course of careers such as Architecture and Urbanism (AU) and Graphic Design of Visual Communication (DGCV). The introduction of "Computing Science" in this university resembled the process of other Universities (Pentill‰ Hannu, 2001), Today we can see that this was not adjusted to the necessities of these professions neither in the educational process nor in the professional production. In our case we will address particular experiences that enabled us to evolve in a pedagogic model towards the concept of Digital Media (DM) that we currently practice.
series	CAADRIA
email
last changed	2022/06/07 07:56

_id	c34a
authors	Stipech, Alfredo
year	2000
title	Carrera de Posgrado en Proyectación Análogo-Digital (Graduate Studies in Analogue-Digital Design)
source	SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 339-343
summary	The paper contains the description of the Graduate Studies in Analog-Digital Project, which we consider the first one in this matter, and also a synthesis of the conclusions arrived at in the pedagogic aspects and in the professional praxis. The integration of the Analog and Digital Means originates in the evaluation of the changes underwent both by the University and the Architect’s offices in the last ten years in Argentina. It is a faithful reflection of the deep cultural and social transformations that modified the way of Perceiving, Designing and Thinking both Architecture and traditional urban space. Furthermore, the projectual incumbency is enlarged with the appearance of the Digital Space as a topic. The proposal is to theoretically experience and analyze of the project, integrating the Digital Means (virtual-immaterial) with the Analog Means (manual-materials) in the process of ideation and formalization, as a reality of daily use in the production of Architecture.
series	SIGRADI
email
last changed	2016/03/10 10:01

_id	sigradi2007_af42
id	sigradi2007_af42
authors	Stipech, Alfredo; Georgina Bredanini; Guillermo Mántaras; Mauro Chiarella
year	2007
title	Santa Fe Virtual City - Alternative Representations [Santa Fe ciudad virtual, representaciones alternativas]
source	SIGraDi 2007 - [Proceedings of the 11th Iberoamerican Congress of Digital Graphics] México D.F. - México 23-25 October 2007, pp. 43-47
summary	Cities are invaded by a variety of synthetic representations, as they can be explorer or virtually visited by the omnipresent Google Earth, as well as interactive maps, digital reconstructions, photographed ours or panoramas, RT cameras, etc. Furthermore, they can be hosted at websites complemented by multimedia, which allow, with little time and effort, have a preview that conditions us before the in situ experience of the real places. Besides the general use that can be made of these powerful media, we consider the potential influence that they cause in the disciplines that are involved with the urban space.
keywords	Urban modeling; simulation; immersion; representation
series	SIGRADI
email
last changed	2016/03/10 10:01

_id	ijac20042306
id	ijac20042306
authors	Stipech, Alfredo; Mantaras, Guillermo
year	2004
title	The Digital Media and New Technologies in Visual Arts Studio
source	International Journal of Architectural Computing vol. 2 - no. 3, 389-401
summary	This studio dealt with the integration of Digital Media in both the Artistic-Creative and Teaching-Learning processes. The studio combines satellite and present classes during two months of intensive work, with an additional year of work via internet. We obtained successful results as measured by higher levels of knowledge acquisition and the development of perceptual skills. Those results were achieved despite noteworthy limitations in quantity and quality of electronic equipment available. This experience may be particularly important to people working in developing countries and/or in the area between visual arts and architecture.
series	journal
more	http://www.multi-science.co.uk/ijac.htm
last changed	2007/03/04 07:08

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