CONTINUE THE LAST ARTICLE 3
The digital age has radically reconfigured the relationship between conception and production,
creating a direct digital link between what can be conceived and what can be built through “file-tofactory”
processes of computer numerically controlled (CNC) fabrication.
It was the complexity of “blobby” forms that drew architects, out of sheer necessity, back into
being closely involved with the production of buildings. In the process, they discovered they have
the digital information that could be used in fabrication and construction to directly drive the
computer-controlled machinery, making the time-consuming production of drawings unnecessary.
The introduction of digital fabrication also enabled architects to produce scale models of their
designs using processes and techniques identical to those used in the industry. Thus, a valuable
feedback mechanism between conception and production was established.
This newfound ability to generate construction information directly from design information is what
defines the most profound aspect of contemporary architecture. The close relationship that once
existed between architecture and construction (what was once the very nature of architectural
practice) could potentially reemerge as an unintended but fortunate outcome of the new digital
processes of production. The digital generation of information to manufacture and construct
buildings can render the present inefficient hierarchies of intermediation unnecessary. As
constructability becomes a direct function of computability, the question is what new instruments
of practice are needed to take advantage of the opportunities opened up by the digital modes of
production.
04 – Digital Visualization
Julio Bermudez
Digital Visualization addresses representational challenges from within and without Architecture.
‘Disciplinary’
information associated with the production of buildings. 3D modeling, rendering, animation and
VR as well as the power of digital media to permit the seamless integration of various data types
are unleashing completely new ways to display architecture. As digital power continues to
increase and get cheaper, portability and wi-fi networks take root, and visualization work
becomes even more main stream, we can expect growing changes in the way the design process
is conducted, buildings are presented and documented, and the public and 3
from professional services. This demands a more conscious research/pedagogies aimed at
developing new representation conventions.
Digital Visualization is used to explore, understand and communicate architecturalrd party’s demands ‘Interdisciplinary’
ranging from artificial environments (e.g., video game worlds, cinematographic stage sets, web
and other cyber environments) to abstract data representation constructs (i.e., information
architecture), This type of work has already generated quite a number of new jobs, educational
programs and research projects in many industries, schools and universities. Whether or not this
type of knowledge implies a different type of architect (e.g., information architect) is subject to
debate. What is beyond argument is the fact that the need for this kind of expertise will only grow
in the coming years. Therefore, it is imperative that architecture programs pay serious teaching
and research attention to the areas of digital visualization.
Digital Visualization is a rapidly expanding area of expertise with competency 05 – Digital Projects: Defining Digital Architecture
Kevin R. Klinger
Architecture is presently engaged in an impatient search for solutions to critical questions about
the nature and the identity of the discipline, and digital technology is a key agent for prevailing
innovations in architecture. Although, this is really nothing new, as new technology
been
clearer definition of principles and skills necessary to maintain a rigor in emerging digital projects
has alwaysa catalyst for new ideas in architecture. A positive digital future in architecture requires a 5
of 8 What is digital architecture?
as information reconfigures into digital visualizations, and projects evolve further as digital
fabrications. However, using digital technology doesn’t necessarily constitute creating digital
architecture. Ideas are still scrutinized by the author(s). Thus, a responsibility for a
dimension
equally with the critical as well as the technological skill base of the authors. Just as there is a
difference between building and architecture, there is also a distinct difference between digitally
generated projects and digital architecture.
Architectural ideas have found new forms of digital representations,criticalstill falls upon the author(s). Any new categorizations of architecture must connect digital principles+rigor
algorithm for that surface? …A clear and critical definition of
materialize in the wake of these new tool driven terminologies. I submit that digital architecture
projects still come to life through the lens of a familiar architectural process—as a critical problem
solving activity that results in projects represented with a rigor and depth of idea and intention,
albeit with a highly sophisticated digital tool skill set. Without new principles, many projects
remain impenetrable and thus intimidating, or merely “interesting.” Without a rigor and critical
dimension, the projects will remain only exercises in software.
: Does the tool path limit the density of the ripple? Did I choose a suitablenew principles has yet to digital skills:
Digital architecture requires proficiency with a specific foundation set of digital skills such as:
solid modeling, video editing, motion graphics, rendering, animation, parametrics, drafting,
communications, layout, printing, presentation, database operations, web interface, CAM-based
fabrication, performance analysis: lighting, structures, systems, etc.
projects will not sacrifice the development of this skill set at the expense of a critical problemsolving
dimension. Thus, we must carefully consider the guidelines for what truly constitutes a
digital “architecture” project.2D composition, vector graphics, image manipulation, 3D modeling: surface modeling,However, innovative digital 03 – Digital Production/Fabrication
Branko Kolarevic
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01: Digital Pedagogy :: C - Digital Curriculums: Effective Integration of Digital Courses
Nancy Yen-wen Cheng
An Approach to Digital Design Teaching
Students need to use digital techniques throughout the curriculum to understand how computing
can support architecture's diverse endeavors and thinking modes. In particular, students must be
able to explore and communicate design ideas fluidly using digital and traditional media suitable
to specific queries.
Schools should provide exposure to a palette of current and emerging techniques and foster
development of a personalized set of media skills. Along with basic design and drawing, most
beginners need a guided introduction to digital media. As in language learning, basic skills need
to be immediately applied to problems of increasing complexity. Technical concepts will be most
easily absorbed when they are introduced in support of design tasks on a need to know basis,
with help available on demand. Baseline competency in 2D and 3D expression should be
confirmed by portfolio screening, with remedial support available. Once fluency is reached,
designers are empowered to experiment with media that supports their goals.
To reach fruition, a digital design sensibility must pervade the school culture. Faculty, staff and
students need access to internal knowledge sharing as well as external educational opportunities.
Students need to understand conceptual frameworks and strategies for approaching new
technology, so faculty with broad knowledge are needed as well as instructors experienced in
specific software applications. Peer tutors and small student-teacher rations can make training
exercises work for individuals of differing abilities. A positive learning community is crucial to
making computers effective in architectural education.
02 - Digital Tools
Ganapathy Mahalingam
In the early stages of their engagement of computer technology, architects approached the
technology as an assistive technology that would enhance the practice of architecture. The scope
of the engagement was captured in the phrase ‘computer-aided architectural design.’ In the four
decades since, the role of computer technology in architecture has gained a marked significance.
The scope has now been extended for architects to contemplate ‘totally computer-mediated
architectural design.’
The key in the development of digital tools to enhance the practice of architecture has been the
facility with which the various tasks involved in the practice of architecture have been
represented, enabled or enhanced using computer technology. The digital representation of
architectural entities and the digital manipulation of those entities have provided alternate means
to produce architecture. Drawing, modeling, performance simulation, design collaboration,
construction management and building fabrication are now routinely performed using computerbased
technology. This success has revealed the untapped potential of the computational
representation of architecture.
Advances in computing based on the study of natural processes such as neural processing,
genetic evolution and emergence now suggest that the elusive nature of creative architectural
thought can be articulated enough to be applied in a technologically-mediated environment.
Digital tools may finally reveal what other architectural tools have hitherto concealed – the
architectonics of architecture. Therein lays promise. The future of digital tools rests on the extent
to which architects can accept that exemplary architectural designs can be created in a computermediated
environment and that digital thinking is indeed architectural thinking.CONTINUE THE LAST ARTICLE
01: Digital Pedagogy :: A- Digital Foundations: Building a Base for Digital Futures
George Proctor
Has “the digital” been absorbed by the discipline or has “the digital” absorbed the discipline?
Depending on your perspective, Architecture either continues to disintegrate or has reformed
around a new definition of “the master builder”. Digital technology has opened a variety of new
career opportunities for the graduates of a digitally advanced architectural education. Some
depictions of this trend have the discipline of architecture continuing to fragment into specialties.
However, software has established platforms from which the activity surrounding a design project
can be directed, managed, and built. But, does the capacity of software to re-center what is
required to make a built environment mean that the design and making of such will fall to the
historic notion of “master builder” or “the architect”?
Much of what applies to the general education of an architect can also be said for the digital
portion of architectural curricula. Some students come to the university with digital media skills,
some are autodidactic, a large number are waiting to be taught and some either struggle to
absorb digital skills or probably do not fit a life in architecture. In the midst of this new landscape,
sketching and drawing freehand has become more important and necessary. Ironically, less time
is provided to build these “old” skills because more time goes to learning a variety of digital skills.
Synthesizing digital media training and tool use into an already demanding professional
curriculum along with the financial demands of upgrading and absorbing changes in this
technology is, overwhelming for students, faculty, pedagogy, and the institution. NAAB
requirements may need to be reorganized to accommodate this paradigm shift.
01: Digital Pedagogy :: B- Connected Courses: Methods of Network Communications
Thomas Seebohm
A recent computer survey sent by the NJIT School of Architecture to thirty-one, mostly American
design schools, including twenty-nine architecture schools, indicated that all but one had
networked design studios. This is clear evidence that digital methods are becoming routine in
architecture schools. In addition, the Internet and web have resulted in new methods of working.
Since the first virtual distance studios, where students collaborated over the internet with students
in other physically remote studios, in 1994 by Wojtowicz and colleagues, such studios have to
relied on web-based databases to store shared design information. This has led to some very
sophisticated connected studios where students exchange and develop each other's designs. A
model for this kind of exchange, and perhaps the most advanced web-based infrastructure for
studio teaching, is the Arc-Line project at ETH in Zurich, part of a university-wide web
infrastructure project called “ETH World.” Here, up to 170 first year architecture students have a
collaborative environment allowing project submission, viewing and reviewing of design projects,
and access to design resources.
Digital design requires digital presentations of which distributed design reviews are an extension.
Here, a physically remote critic, connected to the same display over the Internet by some
collaborative software (such as Microsoft Windows Messenger and NetMeeting) participates in
the critique over the web. In architectural practice, the office of Norman Foster (Foster and
Partners) has pioneered the use of “extranets” (a restricted portion of the internet) to enable
collaboration with consultants and distant branch offices.
Clearly, a major issue that all architecture schools face is the provision of an adequate computing
infrastructure. Clearly, schools must provide networking and output devices such as printers,
plotters and projectors and training on their use. Opinions are divided, however, on the provision
of computers. Some schools recommend or even require that students provide their own
computers and software.DIGITAL TECHNOLOGY & ARCHITECTURE - White Paper
Julio Bermudez & Kevin Klinger (editors)
Submitted to the NAAB by ACADIA
*© 2003 ACADIA
00: Introduction
We, in ACADIA (the Association for Computer Aided Design in Architecture) believe that the
consideration of digital technology in architecture is necessary and unavoidable, given its ubiquity
and widespread effects on architectural practice, teaching and research. Hence, we respectfully
submit this white paper to the NAAB Validation Conference in the hope that by sharing our
insights, NAAB authorities will gain valued information to enlighten their discussions aimed at
improving accreditation standards.
Healthy disciplines remain tolerant of a state of flux by constantly questioning the
inclusion/exclusion, import/export, and collaboration/isolation to/from new ideas, new techniques,
new disciplines, and new technology. At the perimeter of this nebulous exchange, an innovative
digital discourse
discipline of architecture.
important distinctions from one another. Thus, we contend that the digital discourse is
augmented by further specificity such as:
Fabrication, Digital Visualization, Digital Projects, Digital Design, Digital Representation, Digital
Thinking, and Digital Practice
writings, all stress the immediacy of acting with strong and proactive consideration of digital
technology. We urge NAAB to color the rhetoric of its discussions with the immediate issues of
digital technology and its impact on architecture. We hope that this white paper will serve as a
useful guide for that discussion.
is emerging that offers some unexpected new conduits to an attentiveTopic nodes within this discourse are evolving with a particular set ofDigital Pedagogy, Digital Tools, Digital Production/. While many points of view are represented with these positionThis white paper is organized into 9 brief position writings. Each section covers a different aspect
of digital technology and the present state-of-the-art issues as seen by leading experts. A brief
biography has been included at the end of this report.WAIT US IN THE NEXT ARCTICLE .
SOURCE:::: www.acadia.org/ACADIA_whitepaper.pdf
WHAT IS THE "Digital architecture"
Digital architecture uses computer modeling, programming, simulation and imaging to create both virtual forms and physical structures. The terminology has also been used to refer to other aspects of architecture that feature digital technologies. The emergent field is not clearly delineated to this point, and the terminology is also used to apply to digital skins that can be streamed images and have their appearance altered. A headquarters building design for Boston television and radio station WGBH by Polshek Partnership has been discussed as an example of digital architecture and includes a digital skin.
Architecture created digitally might not involve the use of actual materials (brick, stone, glass, steel, wood).[2] It relies on "sets of numbers stored in electromagnetic format" used to create representations and simulations that correspond to material performance and to map out built artifacts.[2] Digital architecture does not just represent "ideated space" it also creates places for human interaction that do not resemble physical architectural spaces.[2] Examples of these places in the "Internet Universe" and cyberspace include websites, multi-user dungeons, MOOs, and web chatrooms
Digital architecture allows complex calculations that delimit architects and allow a diverse range of complex forms to be created with great ease using computer algorithms.[3] The new genre of "scripted, iterative, and indexical architecture" produces a proliferation of formal outcomes, leaving the designer the role of selection and increasing the possibilities in architectural design.[3] This has "re-initiated a debate regarding curvilinearity, expressionism and role of technology in society" leading to new forms of non-standard architecture by architects such as Zaha Hadid and UN Studio.[3] A conference held in London in 2009 named "Digital Architecture London" introduced the latest development in digital design practice.
The Far Eastern International Digital Design Award (The Feidad Award) has been in existence since 2000 and honours "innovative design created with the aid of digital media." In 2005 a jury with members including a representative from Quantum Film, Greg Lynn from Greg Lynn FORM, Jacob van Rijs of MVRDV, Gerhard Schmitt, Birger Sevaldson (Ocean North), chose among submissions "exploring digital concepts such as computing, information, electronic media, hyper-, virtual-, and cyberspace in order to help define and discuss future space and architecture in the digital age.
SOURCE::::: http://en.wikipedia.org/wiki/Digital_architecture
Architecture created digitally might not involve the use of actual materials (brick, stone, glass, steel, wood).[2] It relies on "sets of numbers stored in electromagnetic format" used to create representations and simulations that correspond to material performance and to map out built artifacts.[2] Digital architecture does not just represent "ideated space" it also creates places for human interaction that do not resemble physical architectural spaces.[2] Examples of these places in the "Internet Universe" and cyberspace include websites, multi-user dungeons, MOOs, and web chatrooms
Digital architecture allows complex calculations that delimit architects and allow a diverse range of complex forms to be created with great ease using computer algorithms.[3] The new genre of "scripted, iterative, and indexical architecture" produces a proliferation of formal outcomes, leaving the designer the role of selection and increasing the possibilities in architectural design.[3] This has "re-initiated a debate regarding curvilinearity, expressionism and role of technology in society" leading to new forms of non-standard architecture by architects such as Zaha Hadid and UN Studio.[3] A conference held in London in 2009 named "Digital Architecture London" introduced the latest development in digital design practice.
The Far Eastern International Digital Design Award (The Feidad Award) has been in existence since 2000 and honours "innovative design created with the aid of digital media." In 2005 a jury with members including a representative from Quantum Film, Greg Lynn from Greg Lynn FORM, Jacob van Rijs of MVRDV, Gerhard Schmitt, Birger Sevaldson (Ocean North), chose among submissions "exploring digital concepts such as computing, information, electronic media, hyper-, virtual-, and cyberspace in order to help define and discuss future space and architecture in the digital age.
SOURCE::::: http://en.wikipedia.org/wiki/Digital_architecture
