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Luna Moth: Supporting Creativity in the Cloud
Pedro Alfaiate Instituto Superior Técnico / Luna Moth INESC-ID Inês Caetano Instituto Superior Técnico / INESC-ID Supporting Creativity in the Cloud António Leitão Instituto Superior Técnico / INESC-ID 1 ABSTRACT Algorithmic design allows architects to design using a programming-based approach. Current algo- 1 Migration from desktop application rithmic design environments are based on existing computer-aided design applications or building to the cloud. information modeling applications, such as AutoCAD, Rhinoceros 3D, or Revit, which, due to their complexity, fail to give architects the immediate feedback they need to explore algorithmic design. In addition, they do not address the current trend of moving applications to the cloud to improve their availability. To address these problems, we propose a software architecture for an algorithmic design inte- grated development environment (IDE), based on web technologies, that is more interactive than competing algorithmic design IDEs. Besides providing an intuitive editing interface which facilitates programming tasks for architects, its performance can be an order of magnitude faster than current aalgorithmic design IDEs, thus supporting real-time feedback with more complex algorithmic design programs. Moreover, our solution also allows architects to export the generated model to their preferred computer-aided design applications. This results in an algorithmic design environment that is accessible from any computer, while offering an interactive editing environment that inte- grates into the architect’s workflow. 72 INTRODUCTION programming languages that also support traceability between Throughout the years, computers have been gaining more ground the program and the model: when the user selects a component in the field of architecture. In the beginning, they were only used in the program, the corresponding 3D model components are for creating technical drawings using computer-aided design highlighted. -
On El Lissitzky's Representations of Space
Online Journal of Art and Design volume 3, issue 3, 2015 Scissors versus T-square: on El Lissitzky’s Representations of Space Acalya Allmer Dokuz Eylül University, Turkey [email protected] ABSTRACT The first exhibition of Russian art since the Revolution was held in Berlin at the Van Diemen Gallery in the spring of 1922. In Camilla Gray’s terms it was ‘the most important and the only comprehensive exhibition of Russian abstract art to be seen in the West’ (Gray, 1962:315). The exhibition was organized and arranged by Russian architect El Lissitzky who acted as a link between the Russian avant-garde and that of the west. He played a seminal role especially in Germany, where he had lived before the war and where he was a constant visitor between 1922 and 1928. The diversity of El Lissitzky’s talents in many fields of art including graphic design, painting, and photography made him known as ‘travelling salesman for the avant-garde.’ However, what makes the theoretical and visual works of Lissitzky discontinuous and divergent is that they include apparently contradictory domains. Through his short life by shifting different modes of representations - perspective, axonometry, photomontage - Lissitzky sometimes presented us a number of problems in his irrational way of using the techniques. This article concentrates on his contradictory arguments on representation of space especially between 1920 and 1924, by re-reading his theoretical texts published in the avant-garde magazines of the period and looking through his well-preserved visual works. Keywords: El Lissitzky, representation, space, axonometry, photography, avant-garde 1. -
Architecture Program Report for 2012 NAAB Visit for Continuing Accreditation
Harvard Graduate School of Design Department of Architecture Architecture Program Report for 2012 NAAB Visit for Continuing Accreditation Master of Architecture Undergraduate degree outside of Architecture + 105 graduate credit hours Related pre-professional degree + 75 graduate credit hours Year of the Previous Visit: 2006 Current Term of Accreditation: At the July 2006 meeting of the National Architectural Accrediting Board (NAAB), the board reviewed the Visiting Team Report for the Harvard University Department of Architecture. As a result, the professional architecture program: Master of Architecture was formally granted a six-year term of accreditation. The accreditation term is effective January 1, 2006. The program is scheduled for its next accreditation visit in 2012. Submitted to: The National Architectural Accrediting Board Date: 14 September 2011 Harvard Graduate School of Design Architecture Program Report September 2011 Program Administrator: Jen Swartout Phone: 617.496.1234 Email: [email protected] Chief administrator for the academic unit in which the program is located (e.g., dean or department chair): Preston Scott Cohen, Chair, Department of Architecture Phone: 617.496.5826 Email: [email protected] Chief Academic Officer of the Institution: Mohsen Mostafavi, Dean Phone: 617.495.4364 Email: [email protected] President of the Institution: Drew Faust Phone: 617.495.1502 Email: [email protected] Individual submitting the Architecture Program Report: Mark Mulligan, Director, Master in Architecture Degree Program Adjunct Associate Professor of Architecture Phone: 617.496.4412 Email: [email protected] Name of individual to whom questions should be directed: Jen Swartout, Program Coordinator Phone: 617.496.1234 Email: [email protected] 2 Harvard Graduate School of Design Architecture Program Report September 2011 Table of Contents Section Page Part One. -
The Agency of Mapping: Speculation, Critique and Invention
IO The Agency of Mapping: Speculation, Critique and Invention JAMES CORNER Mapping is a fantastic cultural project, creating and building the world as much as measuring and describing it. Long affiliated with the planning and design of cities, landscapes and buildings, mapping is particularly instrumental in the construing and constructing of lived space. In this active sense, the function of mapping is less to mirror reality than to engender the re-shaping of the worlds in which people live. While there are countless examples of authoritarian, simplistic, erroneous and coer cive acts of mapping, with reductive effects upon both individuals and environments, I focus in this essay upon more optimistic revisions of mapping practices. 1 These revisions situate mapping as a collective enabling enterprise, a project that both reveals and realizes hidden poten tial. Hence, in describing the 'agency' of mapping, I do not mean to invoke agendas of imperialist technocracy and control but rather to sug gest ways in which mapping acts may emancipate potentials, enrich expe riences aJd diversify worlds. We have been adequately cautioned about mapping as a means of projecting power-knowledge, but what about mapping as a productive and liberating instrument, a world-enriching agent, especially in the design and planning arts? As a creative practice, mapping precipitates its most productive effects through a finding that is also a founding; its agency lies in neither repro duction nor imposition but rather in uncovering realities previously unseen or unimagined, even across seemingly exhausted grounds. Thus, mapping unfolds potential; it re-makes territory over and over again, each time with new and diverse consequences. -
Maps and Meanings: Urban Cartography and Urban Design
Maps and Meanings: Urban Cartography and Urban Design Julie Nichols A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy The University of Adelaide School of Architecture, Landscape Architecture and Urban Design Centre for Asian and Middle Eastern Architecture (CAMEA) Adelaide, 20 December 2012 1 CONTENTS CONTENTS.............................................................................................................................. 2 ABSTRACT .............................................................................................................................. 4 ACKNOWLEDGEMENT ....................................................................................................... 6 LIST OF FIGURES ................................................................................................................. 7 INTRODUCTION: AIMS AND METHOD ........................................................................ 11 Aims and Definitions ............................................................................................ 12 Research Parameters: Space and Time ................................................................. 17 Method .................................................................................................................. 21 Limitations and Contributions .............................................................................. 26 Thesis Layout ....................................................................................................... 28 -
189 09 Aju 03 Bryon 8/1/10 07:25 Página 31
189_09 aju 03 Bryon 8/1/10 07:25 Página 31 Measuring the qualities of Choisy’s oblique and axonometric projections Hilary Bryon Auguste Choisy is renowned for his «axonometric» representations, particularly those illustrating his Histoire de l’architecture (1899). Yet, «axonometric» is a misnomer if uniformly applied to describe Choisy’s pictorial parallel projections. The nomenclature of parallel projection is often ambiguous and confusing. Yet, the actual history of parallel projection reveals a drawing system delineated by oblique and axonometric projections which relate to inherent spatial differences. By clarifying the intrinsic demarcations between these two forms of parallel pro- jection, one can discern that Choisy not only used the two spatial classes of pictor- ial parallel projection, the oblique and the orthographic axonometric, but in fact manipulated their inherent differences to communicate his theory of architecture. Parallel projection is a form of pictorial representation in which the projectors are parallel. Unlike perspective projection, in which the projectors meet at a fixed point in space, parallel projectors are said to meet at infinity. Oblique and axonometric projections are differentiated by the directions of their parallel pro- jectors. Oblique projection is delineated by projectors oblique to the plane of pro- jection, whereas the orthographic axonometric projection is defined by projectors perpendicular to the plane of projection. Axonometric projection is differentiated relative to its angles of rotation to the picture plane. When all three axes are ro- tated so that each is equally inclined to the plane of projection, the axonometric projection is isometric; all three axes are foreshortened and scaled equally. -
Design for Additive Manufacturing: Tool Review and a Case Study
applied sciences Article Design for Additive Manufacturing: Tool Review and a Case Study Daniel Moreno Nieto 1,* and Daniel Moreno Sánchez 2 1 Departamento de Ingeniería Mecánica y Diseño Industrial, Escuela Superior de Ingeniería, Universidad de Cádiz, Puerto Real, 11510 Cádiz, Spain 2 Departamento de Ciencia de los Materiales e Ingeniería Metalúrgica y Química Inorgánica, Facultad de Ciencias, IMEYMAT, Campus Río San Pedro, Universidad de Cádiz, PuertoReal, 11510 Cádiz, Spain; [email protected] * Correspondence: [email protected]; Tel.: +34-676923332 Abstract: This paper aims to collect in a structured manner different computer-aided engineering (CAE) tools especially developed for additive manufacturing (AM) that maximize the capabilities of this technology regarding product development. The flexibility of the AM process allows the manu- facture of highly complex shapes that are not possible to produce by any other existing technology. This fact enables the use of some existing design tools like topology optimization that has already existed for decades and is used in limited cases, together with other novel developments like lattice design tools. These two technologies or design approaches demand a highly flexible manufacturing system to be applied and could not be used before, due to the conventional industrial process limita- tions. In this paper, these technologies will be described and combined together with other generic or specific design tools, introducing the study case of an additive manufactured mechanical design of a bicycle stem. Citation: Moreno Nieto, D.; Moreno Keywords: additive manufacturing; industrial design; fused deposition modeling; parametric design; Sánchez, D. Design for Additive industrial design; CAD computer aided design; topology optimization; lattice design Manufacturing: Tool Review and a Case Study. -
Computational Terrain Modeling with Distance Functions for Large Scale Landscape Design
222 Full Paper Computational Terrain Modeling with Distance Functions for Large Scale Landscape Design Ilmar Hurkxkens1, Mathias Bernhard2 1ETH Zurich, Chair of Landscape Architecture, Zurich/Switzerland · [email protected] 2ETH Zurich, Digital Building Technologies, Zurich/Switzerland Abstract: The act of reshaping terrain to meet cultural, infrastructural and ecological demands becomes an increasingly important practice with upcoming challenges like sea level rise, landslides, floods and drought. While recent hardware innovation in 3D sensing and autonomous construction machinery has opened up the digital recording and digital fabrication of large-scale topographies (HURKXKENS 2017), 3D modeling of digital terrain is still a complex and time-consuming task. The found geometry of the ground, largely irregular in shape and material constitution, poses serious problems and limitations for an efficient digital workflow today. Based on digital elevation data, this paper demonstrates a powerful computational landform editing tool using 2D distance functions. Keywords: Computational terrain modeling, procedural design, signed distance functions, large scale landscape design, digital fabrication 1 Introduction Most designer-oriented software packages use boundary representations (BReps) in NURBS or mesh surfaces to provide a 3D visual interface to the designer. Using BReps in large scale land- scape design have proven very tedious and difficult to work with. Often a combination of the two is used to create clean-cut topography in NURBS which is embedded in a mesh for the project surroundings (WALLISS & RAHMANN 2016). The digital equivalent of terrain modeling is best described as Boolean operations that tend to be problematic on large NURBS or meshes, quickly reaching the limits of the conventional software packages from Autodesk, Nemetschek or McNeel (MCNEEL 2000). -
Andrew Jennings, MAD-Crit
Andrew Jennings Selected Essays at UIC 2014-2017 Contents Arch 531: Architectural History and Theory I with Robert Somol 1. An Essay on Michael Maltzan (2014) 7. Projective History: excerpt from a take-home exam (2014) Arch 520: Designing Criticism with Sam Jacob 11. Koralewsky’s Lock (2014) 15. Mrs. Buttersworth (2014) 19. Metropolitan Correctional Center (2014) Arch 532: Architectural History and Theory II with Penelope Dean 25. Eliot Noyes and the Punch Card Aesthetic (2014) 31. Robie, Ford, and the Total Work of Art (2014) Arch 585: Architectural Visions of the City with Alexander Eisenschmidt 37. Speed and Interior (2015) Arch 586: Architectural Theory and History IV with Zehra Ahmed 43. Who Flies Where, When and How (2016) Arch 520: Living Labor and Generic Architecture with Francesco Marullo 53. Hobohemia and the Tower City of the Sanctuary (2016) Arch 566: Idiosyncratic Architecture with Paul Andersen 65. An Idiosyncratic Manifesto (2016-2017) Art 520: Artists Who Write Objects with Patrick Durgin 72. Statement on Making Statements (2017) 81. Shades of meaning in Institutional Critique and Meta-Art (2017) Arch 520: Mind is a State of Landscape with Fosco Lucarelli 97. Pools of Condensation (co-authored with Jimmy Carter) (2017) Arch 589: MAD-Crit Seminar with Bob Somol, Alexander Eisenschmidt, Julia Capomaggi, and Francesco Marullo 105. Review: Facing Value (2017) 111. Push/Pull Practice (2017) Preface This preface is mostly for anyone who may come across this booklet outside the context of the University of Illinois at Chicago School of Architecture (UIC SoA) required annual portfolio submission and find it strange that essays about syrup, airports, prisons, being lost at sea, and a handful of houses would appear all in one place. -
Axonometry New Practical Graphical Methods for Determining System Parameters
PSYCHOLOGY AND EDUCATION (2021) 58(2): 5710-5718 ISSN: 00333077 Axonometry New Practical Graphical Methods For Determining System Parameters Malikov Kozim Gafurovich Senior Lecturer, Department of Engineering Graphics and Teaching Methods, Tashkent State Pedagogical University named after Nizami Abstract Some practical graphical method of determining the coefficients of variation and angles between them, which are the main parameters of the axonometric system, first describes the development of a model for generating axonometric projections and using it to determine the basic parameters of axonometry graphically. Key words: Axonometry, isometry, projection, transformation, parallel, plane, perpendicular, horizontal, bisector plane. Article Received: 18 October 2020, Revised: 3 November 2020, Accepted: 24 December 2020 Introduction. shortened, the angular values between them do not The practical graphical method of determining the change, and the triangle of traces is an equilateral coefficients of variation of the axes of the triangle, as noted above, described in the Q plane axonometric system and the angles between them in their true magnitude. has not been raised as a problem until now [1]. Therefore, all elements of isometry, i.e. Because the results obtained were graphic works axonometric axes, are reduced to a theoretically performed manually, they were approximately 0.5- determined coefficient of variation of 81.6496 mm 1 mm accurate. Therefore, graphical methods were and the angular values between them are described of great importance -
Papers for the International Journal of Architectural Computing
Processing Architecture António Leitão, Inês Caetano and Hugo Correia INESC-ID/Instituto Superior Técnico, Universidade de Lisboa, Portugal Av. Rovisco Pais, 1 1049-001 Lisboa, Portugal [email protected] Abstract Programming promotes creative freedom but might require considerable effort to learn. The Processing language was created to simplify this learning process. Due to its graphical capabilities, the language has become very popular among the electronic arts and design communities. Unfortunately, this popularity could not be extended to the architecture community, which relies on traditional heavyweight CAD and BIM applications that cannot be programmed using Processing. As a result, it becomes difficult for architects to take advantage of Processing. To solve this problem, we propose an implementation of Processing that runs in the context of the most used CAD tools in architecture. Our implementation allows Processing to generate 2D or 3D models that are directly usable for architectural work. To this end, we also propose extensions to the language, including three-dimensional modelling primitives that dramatically simplify the effort needed for developing large and complex architectural models with Processing. 1. INTRODUCTION Programming was originally considered a very specialist activity and not part of a design education [1]. Nowadays, many designers are aware of its potential and want to take advantage of it for many different purposes, including automating repetitive tasks, form finding and optimization [2]. Unfortunately, learning a programming language and the associated programming techniques is far from a trivial task and, thus, requires carefully designed languages and programming environments. In this paper, we focus on one of these languages: Processing. -
Laiad Summer Program for International Students
Los Angeles Institute of Architecture & Design LAIAD SUMMER PROGRAM FOR INTERNATIONAL STUDENTS MAKING ORDER VISIBLE CONTACT Adress Tel. Email LAIAD US: + 1 213 251 4500 Email: [email protected] 3580 Wilshire BLVD, Suite 1180, Los Angeles, CA 90010 Los Angeles Institute of Architecture & Design LAIAD SUMMER PROGRAM FOR INTERNATIONAL STUDENTS MAKING ORDER VISIBLE CONTACT Adress Tel. Email LAIAD US: + 1 213 251 4500 Email: [email protected] 3580 Wilshire BLVD, Suite 1180, Los Angeles, CA 90010 LAIAD SUMMER PROGRAM FOR INTERNATIONAL STUDENTS LAIAD SUMMER PROGRAM INTERNATIONAL SUMMER PROGRAM Open Enrollment for LAIAD 2018 01 International Summer Program starts now. A portfolio is the most LAIAD’s faculty has served in significant factor for a prestigious architecture schools successful application to an as faculty members and participate architecture school in the United in the admissions process. LAIAD’s States. A good portfolio can help faculty has a full understanding applicants get admitted to the of the admission criteria of best architecture schools without architecture schools and have perfect GPA, GRE, and TOEFL scores. rich teaching experience and an excellent track record in helping At LAIAD, the process of making a students apply for masters in quality portfolio is a statement architecture design. of design excellence, not just a graphic exercise. In our view, In recent years, graduates of a portfolio is only as good as the LAIAD 1 year (USA) Graduate the work it contains. Founded Preparation Program for Master in by William M. Taylor FAIA in Architecture Program applications 2001, the Los Angeles Institute have a 100% chance of being of Architectural Design (LAIAD) accepted at an M-arch 1 program, is acknowledged as a leading often at prestigious institutions design institute for Master of such as Harvard, Yale, MIT, the Architecture degree preparation University of Pennsylvania, programs.