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	ecaadesigradi2019_102
id	ecaadesigradi2019_102
authors	Passsaro, Andres Martin, Henriques, Gonçalo Castro, Sans?o, Adriana and Tebaldi, Isadora
year	2019
title	Tornado Pavilion - Simplexity, almost nothing, but human expanded abilities
doi	https://doi.org/10.52842/conf.ecaade.2019.1.305
source	Sousa, JP, Xavier, JP and Castro Henriques, G (eds.), Architecture in the Age of the 4th Industrial Revolution - Proceedings of the 37th eCAADe and 23rd SIGraDi Conference - Volume 1, University of Porto, Porto, Portugal, 11-13 September 2019, pp. 305-314
summary	In the context of the fourth industrial revolution, not all regions have the same access to technology for project development. These technological limitations do not necessarily result in worst projects and, on the contrary, can stimulate creativity and human intervention to overcome these shortcomings. We report here the design of a small pavilion with scarce budget and an ambitious goal to qualify a space through tactical urbanism. We develop the project in a multidisciplinary partnership between academy and industry, designing, manufacturing and assembling Tornado Pavilion, a complex structure using combined HIGH-LOW technologies, combining visual programming with analog manufacture and assembly. The design strategy uses SIMPLEXITY with ruled surfaces strategy to achieve a complex geometry. Due to the lack of automated mechanical cutting or assembly, we used human expanded abilities for the construction; instead of a swarm of robots, we had a motivated and synchronized swarm of students. The pavilion became a reference for local population that adopted it. This process thus shows that less or almost nothing (Sola-Morales 1995), need not to be boring (Venturi 1966) but less can be much more (Kolarevic 2017).
keywords	Simplexity; CAD-CAM; Ruled Surfaces; expanded abilities; pavilion
series	eCAADeSIGraDi
email
last changed	2022/06/07 07:59

_id	ecaade2022_247
id	ecaade2022_247
authors	Güntepe, Rahma
year	2022
title	Building with Expanded Cork - A novel monolithic building structure
doi	https://doi.org/10.52842/conf.ecaade.2022.1.029
source	Pak, B, Wurzer, G and Stouffs, R (eds.), Co-creating the Future: Inclusion in and through Design - Proceedings of the 40th Conference on Education and Research in Computer Aided Architectural Design in Europe (eCAADe 2022) - Volume 1, Ghent, 13-16 September 2022, pp. 29–36
summary	This research presents the development of a construction system for a solid expanded cork building envelope. The inspiration for this research is the “Cork House” built in 2019 by Matthew Barnett Howland and Oliver Wilton, who developed a Cork Construction Kit for a monolithic dry-jointed cork structure. The goal of this research is to analyze and develop different varieties of construction methods for a dry-joined cork building by combining and applying traditional masonry techniques. The objective is to generate a material-based design for cork construction elements trough prototyping and using a selection of digital tools such as 3D modeling and 3D printing. Expanded cork is a 100% plant-based material which, if applied correctly, has the capacity to be used as a load bearing, insulating and protective structure all at once. It has almost no environmental impact and is completely compostable. To maintain the material's compostable property, this construction system has to be developed without any kind of binders or mortar. Additionally, this more reduced and simplified form of construction will not only make it possible to build without any specific expertise, but at the same time ensure resources to be reused or composted at the end of building life.
keywords	Expanded Cork, Cork, Material-Based Design, Masonry, Stereotomy, 3D Modeling, 3D Printing, Sustainable Material, Dry-Joint Construction
series	eCAADe
email
last changed	2024/04/22 07:10

_id	ecaadesigradi2019_114
id	ecaadesigradi2019_114
authors	Lee, Gyueun and Lee, Ji-hyun
year	2019
title	Sustainable Design Framework for the Anthropocene - Preliminary research of integrating the urban data with building information
doi	https://doi.org/10.52842/conf.ecaade.2019.2.561
source	Sousa, JP, Xavier, JP and Castro Henriques, G (eds.), Architecture in the Age of the 4th Industrial Revolution - Proceedings of the 37th eCAADe and 23rd SIGraDi Conference - Volume 2, University of Porto, Porto, Portugal, 11-13 September 2019, pp. 561-568
summary	In terms of the efficiency and informatization in the architecture and construction industry, the Fourth Industrial Revolution presents positive aspects of technological development, but we need to discuss the expanded concept, the Anthropocene. The era of the human-made environment having a powerful influence on the global system is called Anthropocene. Since the 1950s, many indicators representing human activity and earth system have shown the 'Great acceleration'. Currently, lots of urban data including building information, construction waste, and GHG emission ratio is indicating how much the urban area was contaminated with artifacts. So, the integrated planning and design approach are needed for sustainable design with data integration. This paper examines the GIS, LCA and BIM tools focusing on building information and environmental load. With the literature review, the computational system for sustainable design is demonstrated to integrate into one holistic framework for the Anthropocene. There were some limitations that data was simplified during the statistical processing, and the framework has limitations that must be demonstrated by actual data in the future. However, this could be an early approach to integrating geospatial and environmental analysis with the design framework. And it can be applied to another urban area for sustainable urban models for the Anthropocene
keywords	Anthropocene; Sustainable Design Framework; Urban Data Analysis; GIS; LCA; BIM
series	eCAADeSIGraDi
email
last changed	2022/06/07 07:51

_id	4805
authors	Bentley, P.
year	1999
title	Evolutionary Design by Computers Morgan Kaufmann
source	San Francisco, CA
summary	Computers can only do what we tell them to do. They are our blind, unconscious digital slaves, bound to us by the unbreakable chains of our programs. These programs instruct computers what to do, when to do it, and how it should be done. But what happens when we loosen these chains? What happens when we tell a computer to use a process that we do not fully understand, in order to achieve something we do not fully understand? What happens when we tell a computer to evolve designs? As this book will show, what happens is that the computer gains almost human-like qualities of autonomy, innovative flair, and even creativity. These 'skills'which evolution so mysteriously endows upon our computers open up a whole new way of using computers in design. Today our former 'glorified typewriters' or 'overcomplicated drawing boards' can do everything from generating new ideas and concepts in design, to improving the performance of designs well beyond the abilities of even the most skilled human designer. Evolving designs on computers now enables us to employ computers in every stage of the design process. This is no longer computer aided design - this is becoming computer design. The pages of this book testify to the ability of today's evolutionary computer techniques in design. Flick through them and you will see designs of satellite booms, load cells, flywheels, computer networks, artistic images, sculptures, virtual creatures, house and hospital architectural plans, bridges, cranes, analogue circuits and even coffee tables. Out of all of the designs in the world, the collection you see in this book have a unique history: they were all evolved by computer, not designed by humans.
series	other
last changed	2003/04/23 15:14

_id	ga0008
id	ga0008
authors	Koutamanis, Alexander
year	2000
title	Redirecting design generation in architecture
source	International Conference on Generative Art
summary	Design generation has been the traditional culmination of computational design theory in architecture. Motivated either by programmatic and functional complexity (as in space allocation) or by the elegance and power of representational analyses (shape grammars, rectangular arrangements), research has produced generative systems capable of producing new designs that satisfied certain conditions or of reproducing exhaustively entire classes (such as all possible Palladian villas), comprising known and plausible new designs. Most generative systems aimed at a complete spatial design (detailing being an unpopular subject), with minimal if any intervention by the human user / designer. The reason for doing so was either to give a demonstration of the elegance, power and completeness of a system or simply that the replacement of the designer with the computer was the fundamental purpose of the system. In other words, the problem was deemed either already resolved by the generative system or too complex for the human designer. The ongoing democratization of the computer stimulates reconsideration of the principles underlying existing design generation in architecture. While the domain analysis upon which most systems are based is insightful and interesting, jumping to a generative conclusion was almost always based on a very sketchy understanding of human creativity and of the computer's role in designing and creativity. Our current perception of such matters suggests a different approach, based on the augmentation of intuitive creative capabilities with computational extensions. The paper proposes that architectural generative design systems can be redirected towards design exploration, including the development of alternatives and variations. Human designers are known to follow inconsistent strategies when confronted with conflicts in their designs. These strategies are not made more consistent by the emerging forms of design analysis. The use of analytical means such as simulation, couple to the necessity of considering a rapidly growing number of aspects, means that the designer is confronted with huge amounts of information that have to be processed and integrated in the design. Generative design exploration that can combine the analysis results in directed and responsive redesigning seems an effective method for the early stages of the design process, as well as for partial (local) problems in later stages. The transformation of generative systems into feedback support and background assistance for the human designer presupposes re-orientation of design generation with respect to the issues of local intelligence and autonomy. Design generation has made extensive use of local intelligence but has always kept it subservient to global schemes that tended to be holistic, rigid or deterministic. The acceptance of local conditions as largely independent structures (local coordinating devices) affords a more flexible attitude that permits not only the emergence of internal conflicts but also the resolution of such conflicts in a transparent manner. The resulting autonomy of local coordinating devices can be expanded to practically all aspects and abstraction levels. The ability to have intelligent behaviour built in components of the design representation, as well as in the spatial and building elements they signify, means that we can create the new, sharper tools required by the complexity resulting from the interpretation of the built environment as a dynamic configuration of co-operating yet autonomous parts that have to be considered independently and in conjunction with each other. P.S. The content of the paper will be illustrated by a couple of computer programs that demonstrate the princples of local intelligence and autonomy in redesigning. It is possible that these programs could be presented as independent interactive exhibits but it all depends upon the time we can make free for the development of self-sufficient, self-running demonstrations until December.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ga0026
id	ga0026
authors	Ransen, Owen F.
year	2000
title	Possible Futures in Computer Art Generation
source	International Conference on Generative Art
summary	Years of trying to create an "Image Idea Generator" program have convinced me that the perfect solution would be to have an artificial artistic person, a design slave. This paper describes how I came to that conclusion, realistic alternatives, and briefly, how it could possibly happen. 1. The history of Repligator and Gliftic 1.1 Repligator In 1996 I had the idea of creating an “image idea generator”. I wanted something which would create images out of nothing, but guided by the user. The biggest conceptual problem I had was “out of nothing”. What does that mean? So I put aside that problem and forced the user to give the program a starting image. This program eventually turned into Repligator, commercially described as an “easy to use graphical effects program”, but actually, to my mind, an Image Idea Generator. The first release came out in October 1997. In December 1998 I described Repligator V4 [1] and how I thought it could be developed away from simply being an effects program. In July 1999 Repligator V4 won the Shareware Industry Awards Foundation prize for "Best Graphics Program of 1999". Prize winners are never told why they won, but I am sure that it was because of two things: 1) Easy of use 2) Ease of experimentation "Ease of experimentation" means that Repligator does in fact come up with new graphics ideas. Once you have input your original image you can generate new versions of that image simply by pushing a single key. Repligator is currently at version 6, but, apart from adding many new effects and a few new features, is basically the same program as version 4. Following on from the ideas in [1] I started to develop Gliftic, which is closer to my original thoughts of an image idea generator which "starts from nothing". The Gliftic model of images was that they are composed of three components: 1. Layout or form, for example the outline of a mandala is a form. 2. Color scheme, for example colors selected from autumn leaves from an oak tree. 3. Interpretation, for example Van Gogh would paint a mandala with oak tree colors in a different way to Andy Warhol. There is a Van Gogh interpretation and an Andy Warhol interpretation. Further I wanted to be able to genetically breed images, for example crossing two layouts to produce a child layout. And the same with interpretations and color schemes. If I could achieve this then the program would be very powerful. 1.2 Getting to Gliftic Programming has an amazing way of crystalising ideas. If you want to put an idea into practice via a computer program you really have to understand the idea not only globally, but just as importantly, in detail. You have to make hard design decisions, there can be no vagueness, and so implementing what I had decribed above turned out to be a considerable challenge. I soon found out that the hardest thing to do would be the breeding of forms. What are the "genes" of a form? What are the genes of a circle, say, and how do they compare to the genes of the outline of the UK? I wanted the genotype representation (inside the computer program's data) to be directly linked to the phenotype representation (on the computer screen). This seemed to be the best way of making sure that bred-forms would bare some visual relationship to their parents. I also wanted symmetry to be preserved. For example if two symmetrical objects were bred then their children should be symmetrical. I decided to represent shapes as simply closed polygonal shapes, and the "genes" of these shapes were simply the list of points defining the polygon. Thus a circle would have to be represented by a regular polygon of, say, 100 sides. The outline of the UK could easily be represented as a list of points every 10 Kilometers along the coast line. Now for the important question: what do you get when you cross a circle with the outline of the UK? I tried various ways of combining the "genes" (i.e. coordinates) of the shapes, but none of them really ended up producing interesting shapes. And of the methods I used, many of them, applied over several "generations" simply resulted in amorphous blobs, with no distinct family characteristics. Or rather maybe I should say that no single method of breeding shapes gave decent results for all types of images. Figure 1 shows an example of breeding a mandala with 6 regular polygons: Figure 1 Mandala bred with array of regular polygons I did not try out all my ideas, and maybe in the future I will return to the problem, but it was clear to me that it is a non-trivial problem. And if the breeding of shapes is a non-trivial problem, then what about the breeding of interpretations? I abandoned the genetic (breeding) model of generating designs but retained the idea of the three components (form, color scheme, interpretation). 1.3 Gliftic today Gliftic Version 1.0 was released in May 2000. It allows the user to change a form, a color scheme and an interpretation. The user can experiment with combining different components together and can thus home in on an personally pleasing image. Just as in Repligator, pushing the F7 key make the program choose all the options. Unlike Repligator however the user can also easily experiment with the form (only) by pushing F4, the color scheme (only) by pushing F5 and the interpretation (only) by pushing F6. Figures 2, 3 and 4 show some example images created by Gliftic. Figure 2 Mandala interpreted with arabesques Figure 3 Trellis interpreted with "graphic ivy" Figure 4 Regular dots interpreted as "sparks" 1.4 Forms in Gliftic V1 Forms are simply collections of graphics primitives (points, lines, ellipses and polygons). The program generates these collections according to the user's instructions. Currently the forms are: Mandala, Regular Polygon, Random Dots, Random Sticks, Random Shapes, Grid Of Polygons, Trellis, Flying Leap, Sticks And Waves, Spoked Wheel, Biological Growth, Chequer Squares, Regular Dots, Single Line, Paisley, Random Circles, Chevrons. 1.5 Color Schemes in Gliftic V1 When combining a form with an interpretation (described later) the program needs to know what colors it can use. The range of colors is called a color scheme. Gliftic has three color scheme types: 1. Random colors: Colors for the various parts of the image are chosen purely at random. 2. Hue Saturation Value (HSV) colors: The user can choose the main hue (e.g. red or yellow), the saturation (purity) of the color scheme and the value (brightness/darkness) . The user also has to choose how much variation is allowed in the color scheme. A wide variation allows the various colors of the final image to depart a long way from the HSV settings. A smaller variation results in the final image using almost a single color. 3. Colors chosen from an image: The user can choose an image (for example a JPG file of a famous painting, or a digital photograph he took while on holiday in Greece) and Gliftic will select colors from that image. Only colors from the selected image will appear in the output image. 1.6 Interpretations in Gliftic V1 Interpretation in Gliftic is best decribed with a few examples. A pure geometric line could be interpreted as: 1) the branch of a tree 2) a long thin arabesque 3) a sequence of disks 4) a chain, 5) a row of diamonds. An pure geometric ellipse could be interpreted as 1) a lake, 2) a planet, 3) an eye. Gliftic V1 has the following interpretations: Standard, Circles, Flying Leap, Graphic Ivy, Diamond Bar, Sparkz, Ess Disk, Ribbons, George Haite, Arabesque, ZigZag. 1.7 Applications of Gliftic Currently Gliftic is mostly used for creating WEB graphics, often backgrounds as it has an option to enable "tiling" of the generated images. There is also a possibility that it will be used in the custom textile business sometime within the next year or two. The real application of Gliftic is that of generating new graphics ideas, and I suspect that, like Repligator, many users will only understand this later. 2. The future of Gliftic, 3 possibilties Completing Gliftic V1 gave me the experience to understand what problems and opportunities there will be in future development of the program. Here I divide my many ideas into three oversimplified possibilities, and the real result may be a mix of two or all three of them. 2.1 Continue the current development "linearly" Gliftic could grow simply by the addition of more forms and interpretations. In fact I am sure that initially it will grow like this. However this limits the possibilities to what is inside the program itself. These limits can be mitigated by allowing the user to add forms (as vector files). The user can already add color schemes (as images). The biggest problem with leaving the program in its current state is that there is no easy way to add interpretations. 2.2 Allow the artist to program Gliftic It would be interesting to add a language to Gliftic which allows the user to program his own form generators and interpreters. In this way Gliftic becomes a "platform" for the development of dynamic graphics styles by the artist. The advantage of not having to deal with the complexities of Windows programming could attract the more adventurous artists and designers. The choice of programming language of course needs to take into account the fact that the "programmer" is probably not be an expert computer scientist. I have seen how LISP (an not exactly easy artificial intelligence language) has become very popular among non programming users of AutoCAD. If, to complete a job which you do manually and repeatedly, you can write a LISP macro of only 5 lines, then you may be tempted to learn enough LISP to write those 5 lines. Imagine also the ability to publish (and/or sell) "style generators". An artist could develop a particular interpretation function, it creates images of a given character which others find appealing. The interpretation (which runs inside Gliftic as a routine) could be offered to interior designers (for example) to unify carpets, wallpaper, furniture coverings for single projects. As Adrian Ward [3] says on his WEB site: "Programming is no less an artform than painting is a technical process." Learning a computer language to create a single image is overkill and impractical. Learning a computer language to create your own artistic style which generates an infinite series of images in that style may well be attractive. 2.3 Add an artificial conciousness to Gliftic This is a wild science fiction idea which comes into my head regularly. Gliftic manages to surprise the users with the images it makes, but, currently, is limited by what gets programmed into it or by pure chance. How about adding a real artifical conciousness to the program? Creating an intelligent artificial designer? According to Igor Aleksander [1] conciousness is required for programs (computers) to really become usefully intelligent. Aleksander thinks that "the line has been drawn under the philosophical discussion of conciousness, and the way is open to sound scientific investigation". Without going into the details, and with great over-simplification, there are roughly two sorts of artificial intelligence: 1) Programmed intelligence, where, to all intents and purposes, the programmer is the "intelligence". The program may perform well (but often, in practice, doesn't) and any learning which is done is simply statistical and pre-programmed. There is no way that this type of program could become concious. 2) Neural network intelligence, where the programs are based roughly on a simple model of the brain, and the network learns how to do specific tasks. It is this sort of program which, according to Aleksander, could, in the future, become concious, and thus usefully intelligent. What could the advantages of an artificial artist be? 1) There would be no need for programming. Presumbably the human artist would dialog with the artificial artist, directing its development. 2) The artificial artist could be used as an apprentice, doing the "drudge" work of art, which needs intelligence, but is, anyway, monotonous for the human artist. 3) The human artist imagines "concepts", the artificial artist makes them concrete. 4) An concious artificial artist may come up with ideas of its own. Is this science fiction? Arthur C. Clarke's 1st Law: "If a famous scientist says that something can be done, then he is in all probability correct. If a famous scientist says that something cannot be done, then he is in all probability wrong". Arthur C Clarke's 2nd Law: "Only by trying to go beyond the current limits can you find out what the real limits are." One of Bertrand Russell's 10 commandments: "Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric" 3. References 1. "From Ramon Llull to Image Idea Generation". Ransen, Owen. Proceedings of the 1998 Milan First International Conference on Generative Art. 2. "How To Build A Mind" Aleksander, Igor. Wiedenfeld and Nicolson, 1999 3. "How I Drew One of My Pictures: or, The Authorship of Generative Art" by Adrian Ward and Geof Cox. Proceedings of the 1999 Milan 2nd International Conference on Generative Art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	acadia19_630
id	acadia19_630
authors	Ahlquist, Sean
year	2019
title	Expanding the Systematic Agencyof a Material System
doi	https://doi.org/10.52842/conf.acadia.2019.630
source	ACADIA 19:UBIQUITY AND AUTONOMY [Proceedings of the 39th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-59179-7] (The University of Texas at Austin School of Architecture, Austin, Texas 21-26 October, 2019) pp. 630-641
summary	Computational design and fabrication have reached an accomplished level of ubiquity and proficiency in the field of architecture, in both academia and practice. Materiality driving structure, responsiveness, and spatial organization can be seen to evolve, in kind, with the capabilities to fabricate deeper material hierarchies. Such maturity of a procedural material-driven approach spurs a need to shift from the dictations of how to explorations of why material efficiencies, bespoke aesthetics, and performativity are critical to a particular architecture, requiring an examination of linkages between approach, techniques, and process. The material system defines a branch of architectural research utilizing bespoke computational techniques to generate performative material capacities that are inextricably linked to both internal and external forces and energies. This paper examines such a self-referential view to define an expanded ecological approach that integrates new modes of design agency and shift the material system from closed-loop relationship with site to open-ended reciprocation with human behavior. The critical need for this capacity is shown in applications of novel textile hybrid material systems—as sensorially-responsive environments for children with the neurological autism spectrum disorder—in ongoing research titled Social Sensory Architectures. Through engaging fabrication across all material scales, manners of elastic responsivity are shown, through a series of feasibility studies, to exhibit a capacity for children to become design agents in exploring the beneficial interrelationship of sensorimotor agency and social behavior. The paper intends to contribute a theoretical approach by which novel structural capacities of a material system can support a larger ecology of social and behavioral agency.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:54

_id	caadria2020_090
id	caadria2020_090
authors	Crolla, Kristof and Goepel, Garvin
year	2020
title	Designing with Uncertainty - Objectile vibrancy in the TOROO bamboo pavilion
doi	https://doi.org/10.52842/conf.caadria.2020.2.507
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 2, Chulalongkorn University, Bangkok, Thailand, 5-6 August 2020, pp. 507-516
summary	This paper challenges digital preoccupations with precision and control and questions the status of tolerance, allowance and error in post-digital, human-centred architectural production. It uses the participatory action research design-and-build project TOROO, a light-weight bending-active bamboo shell structure, built in Hsinchu, Taiwan, in June 2019, as a demonstrator project to discuss how protean digital design diagrams, named 'vibrant objectiles,' are capable of productively absorbing serendipity throughout project crystallisation processes, increasing designer agency in challenging construction contexts with high degrees of unpredictability. The demonstrator project is then used to discuss future research directions that were exposed by the project. Finally, the applicability of working with 'vibrant objectiles' is discussed beyond its local project use. Common characteristics and requirements are extracted, highlighting project setup preconditions for which the scope covered by the architect needs to be both broadened and relaxed to allow for feedback from design implementation phases.
keywords	Post-digital; Bamboo; Bending-active shell structures; Uncertainty; Objectile
series	CAADRIA
email
last changed	2022/06/07 07:56

_id	ecaadesigradi2019_296
id	ecaadesigradi2019_296
authors	Dounas, Theodoros, Lombardi, Davide and Jabi, Wassim
year	2019
title	Towards Blockchains for architectural design - Consensus mechanisms for collaboration in BIM
doi	https://doi.org/10.52842/conf.ecaade.2019.1.267
source	Sousa, JP, Xavier, JP and Castro Henriques, G (eds.), Architecture in the Age of the 4th Industrial Revolution - Proceedings of the 37th eCAADe and 23rd SIGraDi Conference - Volume 1, University of Porto, Porto, Portugal, 11-13 September 2019, pp. 267-274
summary	We present a Blockchain collaboration mechanism on optimisation problems between distributed participants who work with building information modelling tools. The blockchain mechanism is capable of executing smart contracts, acting as a reward mechanism of independent designers attempting to collaborate or compete on optimising a design performance problem. Earlier work has described the potential integration through different levels of Computer Aided Design and Blockchain. We present an expanded version of that integration and we showcase how a team can collaboratively and competitively work, using BIM tools, through the blockchain. The original contribution of the paper is the use of the design optimisation performance as a consensus mechanism for block writing in blockchains. To accomplish that we introduce mechanisms for BIM to Blockchain Integration but also describe a special category of blockchains for architectural design and the built environment. The paper concludes with an analysis of the relationship between trust and values as encapsulated in the blockchain and how these could affect the design collaboration.
keywords	Blockchain; BIM; agent; collaboration; competition
series	eCAADeSIGraDi
email
last changed	2022/06/07 07:55

_id	acadia19_674
id	acadia19_674
authors	Farahi, Benhaz
year	2019
title	IRIDESCENCE: Bio-Inspired Emotive Matter
doi	https://doi.org/10.52842/conf.acadia.2019.674
source	ACADIA 19:UBIQUITY AND AUTONOMY [Proceedings of the 39th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-59179-7] (The University of Texas at Austin School of Architecture, Austin, Texas 21-26 October, 2019) pp.674-683
summary	The Hummingbird is an amazing creature. The male Anna’s Hummingbird changes color from dark green to iridescence pink in his spectacular courtship. Can we exploit this phenomenon to produce color and shape changing material systems for the future of design? This paper describes the design process behind the interactive installation, Iridescence, through the logic of two interconnected themes, ‘morphology’ and ‘behavior’. Inspired by the gorget of the Anna’s hummingbird, this 3D printed collar is equipped with a facial tracking camera and an array of 200 rotating quills. The custom-made actuators flip their colors and start to make patterns, in response to the movement of onlookers and their facial expressions. The paper addresses how wearables can become a vehicle for self-expression, capable of influencing social interaction and enhancing one’s sensory experience of the world. Through the lens of this project, the paper proposes ‘bio-inspired emotive matter’ as an interdisciplinary design approach at the intersection of Affective Computing, Artificial Intelligence and Ethology, which can be applied in many design fields. The paper argues that bio-inspired material systems should be used not just for formal or performative reasons, but also as an interface for human emotions to address psycho-social issues.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:55

_id	acadia19_448
id	acadia19_448
authors	Hahm, Soomeen
year	2019
title	Augmented Craftsmanship
doi	https://doi.org/10.52842/conf.acadia.2019.448
source	ACADIA 19:UBIQUITY AND AUTONOMY [Proceedings of the 39th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-59179-7] (The University of Texas at Austin School of Architecture, Austin, Texas 21-26 October, 2019) pp. 448-457
summary	Over the past decade, we have witnessed rapid advancements on both practical and theoretical levels in regard to automated construction as a consequence of increasing sophistication of digital fabrication technologies such as robotics, 3D printing, etc. However, digital fabrication technology is often very limited when it comes to dealing with delicate and complex crafting processes. Although digital fabrication processes have become widely accessible and utilized across industries in recent times, there are still a number of fabrication techniques—which heavily rely on human labour—due to the complex nature of procedures and delicacy of materials. With this in mind, we need to ask ourselves if full automation is truly an ultimate goal, or if we need to (re)consider the role of humans in the architectural construction chain, as automation becomes more prevalent. We propose rethinking the role which human, machine, and computer have in construction— occupying the territory between purely automated, exclusively robotically-driven fabrication and highly crafted processes requiring human labour. This is to propose an alternative to reducing construction to fully automated assembly of simplified/discretized building parts, by appreciating physical properties of materials and nature of crafting processes. The research proposes a design-to-construction workflow pursued and enabled by augmented humans using AR devices. As a result, proposed workflows are tested on three prototypical inhabitable structure, aiming to be applicable to other projects in the near future, and to bridge the gap between purely automated construction processes on one hand, and craft-based, material-driven but labour-intensive processes on the other.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:51

_id	acadia23_v2_340
id	acadia23_v2_340
authors	Huang, Lee-Su; Spaw, Gregory
year	2023
title	Augmented Reality Assisted Robotic: Tube Bending
source	ACADIA 2023: Habits of the Anthropocene: Scarcity and Abundance in a Post-Material Economy [Volume 2: Proceedings of the 43rd Annual Conference for the Association for Computer Aided Design in Architecture (ACADIA) ISBN 979-8-9891764-0-3]. Denver. 26-28 October 2023. edited by A. Crawford, N. Diniz, R. Beckett, J. Vanucchi, M. Swackhamer 340-349.
summary	The intent of this research is to study potential improvements and optimizations in the context of robotic fabrication paired with Augmented Reality (AR), leveraging the technology in the fabrication of the individual part, as well as guiding the larger assembly process. AR applications within the Architecture, Engineering, and Construction (AEC) industry have seen constant research and development as designers, fabricators, and contractors seek methods to reduce errors, minimize waste, and optimize efficiency to lower costs (Chi, Kang, and Wang 2013). Recent advancements have made the technology very accessible and feasible for use in the field, as demonstrated by seminal projects such as the Steampunk Pavilion in Tallinn, Estonia (Jahn, Newnham, and Berg 2022). These types of projects typically improve manual craft processes. They often provide projective guidelines, and make possible complex geometries that would otherwise be painstakingly slow to complete and require decades of artisanal experience (Jahn et al. 2019). Building upon a previously developed robotic tube bending workflow, our research implements a custom AR interface to streamline the bending process for multiple, large, complex parts with many bends, providing a pre-visualization of the expected fabrication process for safety and part-verification purposes. We demonstrate the utility of this AR overlay in the part fabrication setting and in an inadvertent, human-robot, collaborative process when parts push the fabrication method past its limits. The AR technology is also used to facilitate the assembly process of a spatial installation exploring a unique aesthetic with subtle bends, loops, knots, bundles, and weaves utilizing a rigid tube material.
series	ACADIA
type	paper
email
last changed	2024/12/20 09:12

_id	acadia20_142p
id	acadia20_142p
authors	Kilian, Axel
year	2020
title	The Flexing Room
source	ACADIA 2020: Distributed Proximities / Volume II: Projects [Proceedings of the 40th Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-95253-6]. Online and Global. 24-30 October 2020. edited by M. Yablonina, A. Marcus, S. Doyle, M. del Campo, V. Ago, B. Slocum. 142-147
summary	Robotics has been largely confined to the object category with fewer examples at the scale of buildings. Robotic buildings present unique challenges in communicating intent to the enclosed user. Precedent work in architectural robotics explored the performative dimension, the playful and interactive qualities, and the cognitive challenges of AI systems interacting with people in architecture. The Flexing Room robotic skeleton was installed at MIT at its full designed height for the first time and tested for two weeks in the summer of 2019. The approximately 13-foot-tall structure is comprised of 36 pneumatic actuators and an active bend fiberglass structure. The full height allowed for a wide range of postures the structure could take. Acoustic monitoring through Piezo pickup mics was added that allowed for basic rhythmic responses of the structure to people tapping or otherwise triggering the vibration sensors. Data streams were collected synchronously from Kinect skeleton tracking, piezo pickup mics, camera streams, and posture data. The emphasis in this test period was first to establish reliable hardware operations at full scale and second to record correlated data streams of the sensors installed in the structure together with the actuation triggers and the human poses of the inhabitant. The full-scale installation of hardware was successful and proved the feasibility of the structural and actuation approach previously tested on a one-level setup. The range of postures was increased and more transparent for the occupant. The perception of the structure as space was also improved as the system reached regular ceiling height and formed a clearer architectural scale enclosure. The ambition of communicating through architectural postures has not been achieved yet, but promising directions emerged from the test and data collection
series	ACADIA
type	project
email
last changed	2021/10/26 08:03

_id	acadia19_298
id	acadia19_298
authors	Leach, Neil
year	2019
title	Do Robots Dream of Digital Sleep?
doi	https://doi.org/10.52842/conf.acadia.2019.298
source	ACADIA 19:UBIQUITY AND AUTONOMY [Proceedings of the 39th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-59179-7] (The University of Texas at Austin School of Architecture, Austin, Texas 21-26 October, 2019) pp. 298-309
summary	AI is playing an increasingly important role in everyday life. But can AI actually design? This paper takes its point of departure from Philip K Dick’s novel, Do Androids Dream of Electric Sheep? and refers to Google’s DeepDream software, and other AI techniques such as GANs, Progressive GANs, CANs and StyleGAN, that can generate increasingly convincing images, a process often described as ‘dreaming’. It notes that although generative AI does not possess consciousness, and therefore cannot literally dream, it can still be a powerful design tool that becomes a prosthetic extension to the human imagination. Although the use of GANs and other deep learning AI tools is still in its infancy, we are at the dawn of an exciting – but also potentially terrifying – new era for architectural design. Most importantly, the paper concludes, the development of AI is also helping us to understand human intelligence and 'creativity'.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:52

_id	acadia20_136p
id	acadia20_136p
authors	López Lobato, Déborah; Charbel, Hadin
year	2020
title	Foll(i)cle
source	ACADIA 2020: Distributed Proximities / Volume II: Projects [Proceedings of the 40th Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-95253-6]. Online and Global. 24-30 October 2020. edited by M. Yablonina, A. Marcus, S. Doyle, M. del Campo, V. Ago, B. Slocum. 136-141
summary	In the early months of 2019, air pollution in Bangkok reached a record high, bringing national and international attention to the air quality in the South East Asian cosmopolitan. Although applications such as real-time pollution maps provide an environmental reading from the exterior, such information reveals the ‘here and now,’ where its record is inevitably lost through the ‘refreshing’ process of the live update and does not take increment and accumulation as factors to consider. The project was conceived around understanding the human body as precisely that medium that resists classification as either an interior or exterior environment that inherently performs as an impressionable record of its surroundings. Can a city’s toxicity be read through its living constituents? Can the living bodies that dwell, navigate, breathe, and process habitable environments be accessed? Can architecture retain a degree of independence while also performing as a beacon for the collective? Along this line of questioning, it was found that human hair can be transformed from a material that is effortlessly and continuously grown, cut, stylized, and discarded, and instead be intercepted and used in the production of public information gathering. Foll(i)cle is a collective being made of discarded human hair. Performing as a parliament for collectivity embedded with a protocol; the hairy pavilion invites the public in and presents them with a device at the center that hosts all the necessary equipment and information for anonymously and voluntarily providing hair samples for heavy metal analysis, the data of which is used in making a publically accessible toxi-cartography. Although humans are the primary subject for this study, the results suggest that extending the methodology to non-humans could prove useful in reading urban toxicity through various life forms.
series	ACADIA
type	project
email
last changed	2021/10/26 08:03

_id	acadia19_654
id	acadia19_654
authors	Maierhofer, Mathias; Soana, Valentina; Yablonina, Maria; Erazo, Seiichi Suzuki; Körner, Axel; Knippers, Jan; Menges, Achim
year	2019
title	Self-Choreographing Network
doi	https://doi.org/10.52842/conf.acadia.2019.654
source	ACADIA 19:UBIQUITY AND AUTONOMY [Proceedings of the 39th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-59179-7] (The University of Texas at Austin School of Architecture, Austin, Texas 21-26 October, 2019) pp. 654-663
summary	The aim of this research is to challenge the prevalent separation between (digital) design and (physical) operation processes of adaptive and interactive architectural systems. The linearity of these processes implies predetermined material or kinetic behaviors, limiting performances to those that are predictable and safe. This is particularly restricting with regard to compliant or flexible material systems, which exhibit significant kinetic and thus adaptive potential, but behave in ways that are difficult to fully predict in advance. In this paper we present a hybrid approach: a real-time, interactive design and operation process that enables the (material) system to be self-aware, fully utilizing and exploring its kinetic design space for adaptive purposes. The proposed approach is based on the interaction of compliant materials with embedded robotic agents, at the interface between digital and physical. This is demonstrated in the form of a room-scale spatial architectural robot, comprising networks of linear elastic components augmented with robotic joints capable of sensing and two axis actuation. The system features both a physical instance and a corresponding digital twin that continuously augments physical performances based on simulation feedback informed by sensor data from the robotic joints. With this setup, spatial adaptation and reconfiguration can be designed in real-time, based on an openended and cyber-physical negotiation between numerical, robotic, material, and human behaviors, in the context of a physically deployed structure and its occupants.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:59

_id	ecaadesigradi2019_287
id	ecaadesigradi2019_287
authors	Martin Iglesias, Rodrigo, Guzzardo, Paul and Cardon, Gustavo
year	2019
title	The Digital Street Lab in a Box - A tool-kit for surviving in the contemporary public space
doi	https://doi.org/10.52842/conf.ecaade.2019.1.711
source	Sousa, JP, Xavier, JP and Castro Henriques, G (eds.), Architecture in the Age of the 4th Industrial Revolution - Proceedings of the 37th eCAADe and 23rd SIGraDi Conference - Volume 1, University of Porto, Porto, Portugal, 11-13 September 2019, pp. 711-718
summary	This paper describes two workshops raising awareness of the complexity of the interactions between digital and non-digital space, networks, devices, and systems. The exercises are included in broader research that deals with the human condition in the contemporary and future cities, focusing on the relationship between public space and weaponized data as a threat but also as an opportunity to act. A new way to understand and operate the street must be developed, with new epistemic assemblages, which allow us to avoid dystopian or technocratic visions in order to think collectively in our future human habitat. We offer here a toolkit, a series of strategies, to cope with the overwhelming complexity and act. The research is still open and the present paper shows the most recent experiences of a twenty-year journey.
series	eCAADeSIGraDi
email
last changed	2022/06/07 07:59

_id	ecaadesigradi2019_541
id	ecaadesigradi2019_541
authors	Mesa, Olga, Mhatre, Saurabh, Singh, Malika and Aukes, Dan
year	2019
title	CREASE - Synchronized Gait Through Folded Geometry.
doi	https://doi.org/10.52842/conf.ecaade.2019.3.197
source	Sousa, JP, Xavier, JP and Castro Henriques, G (eds.), Architecture in the Age of the 4th Industrial Revolution - Proceedings of the 37th eCAADe and 23rd SIGraDi Conference - Volume 3, University of Porto, Porto, Portugal, 11-13 September 2019, pp. 197-206
summary	Robotics have expanded exponentially in the last decade. Within the vast examples of ambulatory robots, traditional legged robots necessitate engineering expertise and the use of specialized fabrication technologies. Micro electromechanical (MEM) robots are useful for a wide range of applications yet in most cases, difficult to fabricate and excessively intricate. Advances in pop-up laminate construction have generated a model shift in the development of robot morphologies due to their ease of fabrication and scalability from the millimeter to centimeter scale. This research continues to investigate the link between kinematics and pop-up origami structures in robotics. The objective was to design a robot that exhibited efficient and controlled locomotion minimizing number of motors. "Crease", an origami robot that emerges from a two-dimensional sheet into its three-dimensional configuration was developed. By amplifying a simple rotational motion through the geometry of folds in the robot, a complex gait was achieved with minimal motorized actuation. Variations in gait, control, and steering were studied through physical and computational models. Untethered Creases that sense their environment and steer accordingly were developed. This research contributes not only to the field of robotics but also to design where efficiency, adjustability and ease of fabrication are critical.
keywords	Digital Fabrication and Robotics, Smart Geometry, Origami Robotics, Laminate Construction.
series	eCAADeSIGraDi
email
last changed	2022/06/07 07:58

_id	caadria2021_445
id	caadria2021_445
authors	Noel, Vernelle A. A., Nikookar, Niloofar, Pye, Jamieson, Tran, Phuong 'Karen' and Laudeman, Sara
year	2021
title	The Infinite Line Active Bending Pavilion: Culture,Craft and Computation
doi	https://doi.org/10.52842/conf.caadria.2021.1.351
source	A. Globa, J. van Ameijde, A. Fingrut, N. Kim, T.T.S. Lo (eds.), PROJECTIONS - Proceedings of the 26th CAADRIA Conference - Volume 1, The Chinese University of Hong Kong and Online, Hong Kong, 29 March - 1 April 2021, pp. 351-360
summary	Active bending projects today employ highly specialized, complex computer software and machines for design, simulation, and materialization. At times, these projects lack a sensitivity to cultures limited in high-tech infrastructures but rich in low-tech knowledges. Situated Computations is an approach to computational design that grounds it in the social world by acknowledging historical, cultural, and material contexts of design and making, as well as the social and political structures that drive them. In this article, we ask, how can a Situated Computations approach to contemporary active bending broaden the design space and uplift low-tech cultural practices? To answer this question, we design and build "The Infinite Line"- an active bending pavilion that draws on the history, material practices, and knowledges in design in the Trinidad Carnival - for the 2019 International Association for Shell and Spatial Structures (IASS) exhibition in Barcelona, Spain. We conclude that Situated Computations provide an opportunity to integrate local knowledges, histories, design practices, and material behaviors as drivers in active bending approaches, so that structure, material practices, and cultural settings are considered concurrently.
keywords	Situated Computations; craft; wire-bending; active bending structures; Trinidad Carnival; dancing sculptures
series	CAADRIA
email
last changed	2022/06/07 07:58

_id	cf2019_045
id	cf2019_045
authors	Rahmani, Ayad and Mona Ghandi
year	2019
title	Morphogenesis: Masonry, Social Justice, and Evolutionary Thinking
source	Ji-Hyun Lee (Eds.) "Hello, Culture!" [18th International Conference, CAAD Futures 2019, Proceedings / ISBN 978-89-89453-05-5] Daejeon, Korea, pp. 389-398
summary	This paper is the product of work generated in an undergraduate design studio, looking at masonry as a way to tackle the question of culture and the environment. Might masonry be so assembled as to address changes in human and non-human dynamics? The material has been largely used as a veneer to turn an otherwise colorless building into a spectacle of artistic and economic worth. Might we be able to change that, and see in it the capacity for adaptation, accommodating shifts in climate but also taste and seasonal function? To answer these questions, the studio relied, among other methods, on computational design, digital tools whose virtue lies precisely in their capacity to recognize and respond to change. Pedagogically, this meant a different approach to design, a nonlinear back and forth between the physical and the digital, including the use of body installation as an examination of the site.
keywords	Computational Design, Algorithmic and Parametric Design, Material Computation, Masonry, Environment and Culture, Social Design, Adaptive Thinking
series	CAAD Futures
email
last changed	2019/07/29 14:15

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