magazines/ books/ paper




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Contemporary challenges require inclusively integrated approaches to designing. Constrained by established modes of practice, such integration is impossible without a radical commitment to openness. In response to this need, CAADRIA 2013 invites contributions that engage with open systems in all aspects of architectural and urban design: open with respect to the scale of the design objectives and the context, from a building component within a building system to a neighbourhood or city within its urban and rural context; open with respect to the domains being considered, from planning to sustainable performance of a building or city; open with respect to the collaboration of disciplines and participants, from ad-hoc brainstorming to a rigorous process of consultation and feedback; open with respect to design methods and techniques, from physical modelling to digital prototyping; open with respect to design models and representations being adopted, from a parametric exploration to an ontological delineation considering Building Information Modelling, Built Environment Modelling or City Information Modelling; open with respect to the tools and applications being adopted, despite interoperability issues, from modelling to simulation and assessment; open with respect to the learning approach being adopted, from informal interaction and sharing to formal design education; open with respect to the open source approach being adopted in research and development, in order to gather community involvement and use.

By focusing on the theme of Open Systems, CAADRIA 2013 aims to explore all these aspects and more, and raise awareness to the need of overstepping disciplinary boundaries and reaching creative communities at all levels of expertise, by pooling resources, knowledge and practices, and integrating them through the adoption of open systems.


Think global, build social! is the title of this issue. It’s also the title of an exhibition curated by Andres Lepik for the Deutsche Architekturmuseum and the Architekturzentrum Wien (for which this issue serves as a catalog). But Think global, build social! is something else as well: a program for a new architecture that promotes emerging practical and professional perspectives. Under this banner, the issue and exhibition bring together projects from the world over—projects that  call to mind the debates surrounding the Heimatschutzarchitektur of the 1910s (a movement that sought to protect local building traditions on the eve of modernism) or the Critical Regionalism of the 1970s. In contrast to their conservative iterations in the last century, however, concepts like homeland, landscape, and region can no longer be marshaled in the culture wars against the inexorable progress of modernization. The very frontiers of civilization and culture have been redrawn along a new axis—that of the global and the local. With any luck, this realignment will resolve the Western schism between civilization and culture and advance new forms of cultural production as well. …



DETAIL MAGAZINE 3/2013 – Hamelet Creche

Angesichts fehlender Kita-Plätze und steigender Nachfrage nach Ganztagsbetreuung ist das Thema Bauen für Kinder aktuell wie selten zuvor. Zudem erfordern innova­tive pädagogische Konzepte für Kindergärten und Grundschulen auch neue räumliche Lösungen, und das bei zumeist knappen kommunalen Budgets.

Einladend, anregend, räumlich vielfältig und sorgfältig detailliert sollten die Gebäude gestaltet sein, Lernbereiche und Rückzugsorte ebenso anbieten wie Räume zum Spielen. Mit ausgewählten Projekten stellt DETAIL Konzept 3/2013 aktuelle Konzepte und Grundris­stypologien vor. Krippen, Kitas, Grundschulen, auch in kombinierten Formen, zeigen die Bandbreite der Bauaufgabe – von kleinen Einrichtungen, eingebettet in großzügige Frei­räume, wie ein Kindergarten in Berlin und eine Grundschule in Bad Blumau bis hin zur ­innerstädtischen HafenCity Schule in Hamburg.




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The Christ the Redeemer, whose photos make up the graphic design of the summary of this edition, is one of the best known symbols of Rio de Janeiro. This is a statue hundred feet high, located atop one of the highest hills in the city, and consists of an artistic representation of Jesus Christ. Although receiving many visitors daily, the vast majority of the millions of people who easily would identify it, across Brazil and in various parts of the world will never see it up close. They only know it through photos and movies, but they can recognize it in representations, as diverse as they are.

The images presented in the opening of this issue of V!RUS are representations of abstractions derived from that representation which the statue is. They portray objects and drawings designed from the knowledge that their creators believe they have of the monument in Rio. And these objects, in turn, illustrate what Flusser considered representations that operate less like windows to understand the object represented, and more like veils that conceal it, to become themselves representable objects.

This process of seeking to understand reality from its representation is the focal point of the articles that we are pleased to publish in this issue. Their authors have varied backgrounds and references, live in different countries, in different cultural contexts, and discourse in their writings about the way they represent ideas, processes, aspects of the physical world, among others. They employ in their research, graphic media, sound, either digital or not, as the cinematographic language, the theatrical, the musical, the artistic, the architectural at levels of coverage ranging from the scale of the body to the of the territory of a country. Their texts and their way of writing them are, ultimately, themselves representations of their ideas, which V!RUS 8 is pleased to offer for reading and thinking of its readers.

They are altogether eighteen articles, nine of them submitted and nine guests, including two articles by Nomads.usp researchers. The special guest of the issue is the multimedia artist and researcher Giselle Beiguelman who, in her article “Diagrammatic maps as critical devices for hyperlocalizability” discusses the ideas of location and relocation as from positions relative to representations of the world.



From “bricks and mortar” to “nuts and bolts”, and on to “codes and pixels”, the scope of architectural design technology, research and education is characterised by continuous expansion. On this journey of enrichment, digitally enabled thinkers help to rethink and to recast the building blocks, perceptive lenses, expressive features and analytical frames of architectural design in particular and of how humans perceive and make choices in general. Acknowledging that the possibilities of current digital processes and tools are far from exhausted, this conference seeks new thoughts, fresh approaches and a surge forward: What comes next?

Digital tools for seeing the new and for choosing what is best are deployed no longer just in the design studio and on the construction site. They mediate performances and experiences of the spaces and constraints of not only the creatively expressible and of the physically inhabitable, but increasingly also of the socially desirable. The organizers of this conference set out to investigate the future role of computer-aided architectural design (CAAD) research in this context.



“Digital Physicality | Physical Digitality”

Digitality is the condition of living in a world where ubiquitous information and communication technology is embedded in the physical world. Although it is possible to point out what is “digital” and what is “real,” the distinction has become pointless, and it has no more explanatory power for our environment, buildings, and behaviour. Material objects are invested with communication possibilities, teams are communicating even when not together, and buildings can sense and respond to the environment, each other, and to inhabitants. Digital is no longer an add-on, extra, or separate software. Reality is partly digital and partly physical. The implication of this condition is not clear however, and we need to investigate its potential. We have to search for new strategies that acknowledge the synergetic qualities of the physical and the digital. This is not limited to artifacts or what we design, but it also influences the process, methods, and what or how we teach. For the conference therefore, we are looking for contributions that explore this synergy. Authors are encouraged to submit their work on the conference theme.




The potential of digital media for architecture

New planning software and fabrication technologies offer new design options

Today a computer is nearly as much a part of a household as a refrigerator. With its rapid development in recent decades, computer technology has changed the daily life of every individual far more than even utopian thinkers would ever have dared dream. It is thus not surprising that architecture – starting with the drafting stage and continuing through to fabrication – is also subject to ever more digital influences. The spectrum ranges from classic computer programs for drafting and presentation using media-supported drafting processes to computer-controlled fabrication processes, not to mention industrialised bricklaying “robots”. From surveying to planning to fabrication, architecture is created today using a tightly coordinated digital process chain.

What influence do digital drafting and fabrication methods have on current architecture? 
To what extent do the new tools change architecture and its development process? 
What is the potential of digital media for architecture? 
What options for use and application are available to every office? 
What advantages do electronic work procedures offer?

DETAIL Practice Digital Processes provides answers to these and many other questions relating to the digital drafting and construction process.

▪   Media-supported drafting processes

▪   Computer-aided fabrication processes

▪   New options in model building

▪   Exemplary digital process chains

Moritz Hauschild, Rüdiger Karzel




Digital Girih, A Digital Interpretation Of Islamic Architecture

Gernot Riether, Daniel Baerlecken

The relation between texture, pattern and massing is a fundamental question in architecture. Classical architecture, as Leon Battista Alberti states in De Re Aedificatoria, Book VI, Chapter 2, is developed through massing and structure first; texture is added afterwards to give the bold massing and structure beauty [I]. This hierarchy has of course been challenged throughout architecture history. This paper will provide a different thinking of the relationship of massing and texture in Islamic Architecture from a digital point of view. An analysis of Islamic patterns challenged this relationship in Islamic architecture. Digital design and fabrication methods for a series of studies and an installation were used to respond to the findings of the analysis.



This book publishes the peer-reviewed proceeding of the third Design Modeling Symposium Berlin . The conference constitutes a platform for dialogue on experimental practice and research within the field of computationally informed architectural design. More than 60 leading experts the computational processes within the field of computationally informed architectural design to develop a broader and less exotic building practice that bears more subtle but powerful traces of the complex tool set and approaches we have developed and studied over recent years. The outcome are new strategies for a reasonable and innovative implementation of digital potential in truly innovative and radical design guided by both responsibility towards processes and the consequences they initiate.



Introduction by Kazuyo Sejima

The 2010 Architecture Biennale should be a reflection on architecture.
The twenty-first century has just started. Many radical changes are taking place.
In such a rapid-changing context, can architecture clarify new values and a new lifestyle for the present? Hopefully, this show will be a chance to experience the manifold possibilities of architecture, as well as to account for its plurality of approaches, each one of them being a different way of living.Nowadays, it feels as if we are living in a post ideological society.
We are more connected than ever, our culture, as well as our economy, has become global. Because of this, people’s consciousness and lifestyles change, theoretically and substantially. Sometimes relationships get shaped through indirect communication. Still, we believe that architecture plays a significant role in this: it has the power to open up new perspectives.
We imagine ideas that can have far reaching effects. These dreams come from many sources and may represent a new independent freedom that is essentially inherent to contemporary culture.In the end, we would be happy if, thanks to this exhibition, we could feel where our society might be going, what dreams the future might hold for us.There will be an independent space for each participant, in order to make them show their understanding of the theme and their personal response to it. Individuals will be showing their position towards the interaction of new social and natural environments; all of which means that each person is his or her own curator. This way the atmosphere of the exhibition itself will be achieved through multiple points of view rather than a single orientation.The selection criterion has led to architects, artists and engineers who, in return to this call, propose a way to investigate relationships among people. Each dynamic relationship has its roots in actual, physical space. Matthias Schuler of Transsolar, for instance, in collaboration with Tetsuo Kondo, has proposed a real scale cloud. It is an installation that forces people into a new reading of space simply because its edges are ephemeral. Other projects do not necessarily display an overt original style, whereas some others are clearly at the very edge of technology. R&Sie(n) are presenting an installation that represents human life cycles through projected lights, which speaks about how we ultimately perceive space. Further on, we have invited many architects to study their own work in films that will be shown in an attempt to examine how people make space what it is by living in it. In this exhibition Architecture can be shown as a generator of new forms of understanding.The idea is to help people relate to architecture, to help architecture relate to people, and to help people relate to themselves.Visitors can have different reactions towards each installation. The Central Pavilion and the Arsenale are treated similarly, both opened up to natural light although the work is deeply varied, making it possible for everyone to make their unique route through displays freely. By experiencing architecture from different angles, people will be able to start creating their own personal “set of encounters”.////////////////////////////////////////////////////////////////////////////////////////////////////////////////////CAADRIA 2009 TAIWAN

Digital designing takes place through processes of interaction between human designers and computers. As such, its location is the in- between, a shared realm of conversation where capabilities of both man and machine are amplified. CAADRIA 2009 addresses this conversation in terms of three perspectives that drive both research and practice in the computer- aided architectural design field: Digital design as integrating, intuitive and intelligent. CAADRIA 2009 aims to provide a forum in which ideas pertaining to these notions can be explored, discussed and developed. 1. Integrative digital design: With the diverse and fast speed of the global economy in the 21st century, the barrier between different disciplines is being overcome digitally. The integration of multiple disciplines is crucial for facing the next wave of global challenges. 2. Intuitive digital design: With advanced computational technology, how humans will cooperate with machines after the computing era will surely become the next challenge for all computational design-related researchers. Intuitive interaction or computing design is the second theme addressed in CAADRIA 2009. 3. Intelligent digital design: With artificial intelligence, design intelligence is the third theme we would like to address this year. We wish to challenge global researchers to provide a smart and responsive environment for improving our lives and stimulating our economy in innovative ways.


The Symposium sees itself as an international interdisciplinary platform of designers, developers and scientists of the disciplines architecture, design and engineering. In all three areas the fundamental technological principals of designing, planning and building have changed radically. CAD (Computer Aided Design) and CAM (Com-puter Aided Manufacturing) are nowadays an integral part in concept and planning processes. FEM (Finite Element Method) helps in analysing and optimising more and more complex structures. It is now possible to simulate and explore complex coherences between material, structure and climate. New materials open up the development of more effective constructions, new spatial and material experiences. The Design Modelling Symposium would like to encourage discussion about the tar-get course of this development by exchanging the experiences in appliance of such new technologies. Rather than the prospects of modelling complex geometries and structures, the main focus lies in new concepts and design strategies emerging from the application of new technologies. Another emphasis is the discussion of the role of analogue and digital models in the design and planning process as well as questions regarding realisation of complex geometries and construction systems.

During the last twenty years, we’ve been surprised by the emergence of a new architecture, of rare formal expressiveness and instigating use of materials that, moving far away from the typical standardization set under the industrial paradigm, employs differentiated components individually adjusted to its varied angles.

As Rivka Oxman (2006) puts it, they are incremental adjustments that when summoned upon the discontinuity, differentiation and diversity, form an architecture of great complexity, one that corresponds to a digital era architecture.

According to William J. Mitchell, in a keynote lecture given at Viena CAADfutures Congress, in 2005, an architecture that, differently from what occured in the past, when buildings were the materialization of drawings, architecture today is the materialization of digital information, as buildings are designed and documented through CAD systems, simulated by digitally controlled machines and built up in site with the help of digital instruments.

For Branko Kolarevic (2003), this fact is related to the transfer of the contemporary production means keen to the aerospace, naval and automobile industries to the architectural realm, with methodologies based on digital technologies, precluding paper and in a continuous flux between design and construction.

Thus we are faced with a new Architecture attainable exclusively by the intense use of digital technologies throughout its production phases.

This condition has been extended into urban, industrial and communication design and arts in general, indicating that a thoroughly understanding of contemporary production entails a permanent debate about the fast paced evolution of digital technologies when applied to our field of knowledge .

This debate shall engage not only specialists and researchers, but the whole architecture and design comumnities, in an attempt to broaden the understanding of the central issues of the digital era and to gather feedback from the professional practice.

The upcoming SIGraDi Congress at Universidade Presbiteriana Mackenzie, in São Paulo 2009, will be a great opportunity to check out the state of the art of worldwide developments in digital architecture, urban design, industrial design and arts, as well as an unique chance to take an inner glance at one of the largest global cities in the world.