Hasil untuk "Architectural drawing and design"

Hoon-Suk Kim, Minje Jang, Wonjun Yoon et al.

We introduce a co-designed approach for human portrait relighting that combines a physics-guided architecture with a pretraining framework. Drawing on the Cook-Torrance reflectance model, we have meticulously configured the architecture design to precisely simulate light-surface interactions. Furthermore, to overcome the limitation of scarce high-quality lightstage data, we have developed a self-supervised pretraining strategy. This novel combination of accurate physical modeling and expanded training dataset establishes a new benchmark in relighting realism.

Marco Paolucci

<p>The State Archives of L’Aquila preserve within little-explored fonds projects, plans and programmes concerning mountain contexts of high naturalistic value, traces of which can be found in archive drawings, from which emerge the ambitions of a bygone, albeit close, time. Signif¬icant among many of these unrealised plans is the 1964 Gran Sasso d’Italia Tourist and Sports Enhancement Plan, a mountain that hosts the highest peak in the Apennines. As early as 1934, its tourist vocation was determined with the con¬struction of the first cableway in central-southern Italy on its southern side, rising up the valley of L’Aquila and culminating in a hotel at 2130 metres above sea level. However, it was not until the 1960s that the site was the subject of extensive tourism planning based on a project by architect Luigi Orestano, which spread over the 26 km of carriageable road connecting the cable car sta¬tions, providing accommodations up to 10.000 people, numerous sports facilities and the con¬struction of 35 ski lifts. Very few works were completed, some of which are now in a state of disrepair. The archive drawings reveal a territorial surreality that would have radically changed the way of living and inhabiting the territory. The wealth of content and graphic designs, identified and filed, has given rise to a database in which ‘digital objects’, endowed with attributes and geolocated, return a heritage that is often unrealised1, but essential for understanding territorial developments and the social dynamics of places. Of this ‘heritage’, the present study focuses exclu¬sively on unrealised works.</p><p>DOI: https://doi.org/10.20365/disegnarecon.34.2025.8</p>

Sara Lenzi, Sara Lenzi, Juan Sádaba et al.

Climate change demands innovative and holistic approaches to urban design that address both the tangible and intangible challenges posed by a rapidly evolving environment. This article explores the necessity of a transdisciplinary approach to climate adaptation in urban spaces, emphasizing the integration of architecture, social innovation, more-than-human design, and multisensory analysis. We examine the current approaches and controversies of architectural and urban solutions to climate adaptation. Drawing on the state-of-the-art from key fields, we discuss the potential of Nature-based Solutions, co-creation practices, and multimodal design to create adaptive urban spaces that address the physical, emotional, and social needs of human and more-than-human inhabitants. The article reviews emerging frameworks and case studies, including climate shelters, biodiversity-inclusive design, and the integration of soundscapes and smellscapes, to demonstrate the importance of considering diverse perspectives and stakeholders. By synthesizing these findings, we propose an integrated design framework for climate adaptation that moves beyond traditional architectural approaches by overlapping intangible layers of social awareness, ecological diversity, and cultural sensitivity.

Weixin Huang, Hao Zheng

With the development of information technology, the ideas of programming and mass calculation were introduced into the design field, resulting in the growth of computer-aided design. With the idea of designing by data, we began to manipulate data directly, and interpret data through design works. Machine Learning as a decision making tool has been widely used in many fields. It can be used to analyze large amounts of data and predict future changes. Generative Adversarial Network (GAN) is a model framework in machine learning. It’s specially designed to learn and generate output data with similar or identical characteristics. Pix2pixHD is a modified version of GAN that learns image data in pairs and generates new images based on the input. The author applied pix2pixHD in recognizing and generating architectural drawings, marking rooms with different colors and then generating apartment plans through two convolutional neural networks. Next, in order to understand how these networks work, the author analyzed their framework, and provided an explanation of the three working principles of the networks, convolution layer, residual network layer and deconvolution layer. Lastly, in order to visualize the networks in architectural drawings, the author derived data from different layer and different training epochs, and visualized the findings as gray scale images. It was found that the features of the architectural plan drawings have been gradually learned and stored as parameters in the networks. As the networks get deeper and the training epoch increases, the features in the graph become more concise and clearer. This phenomenon may be inspiring in understanding the designing behavior of humans.

Han Tu, Yichao Shi, Meng Xu

Giovanni Castaldo

Sabat A. Abdulhameed, Tarik A. Rashid

This paper proposes a novel metaheuristic Child Drawing Development Optimization (CDDO) algorithm inspired by the child's learning behavior and cognitive development using the golden ratio to optimize the beauty behind their art. The golden ratio was first introduced by the famous mathematician Fibonacci. The ratio of two consecutive numbers in the Fibonacci sequence is similar, and it is called the golden ratio, which is prevalent in nature, art, architecture, and design. CDDO uses golden ratio and mimics cognitive learning and child's drawing development stages starting from the scribbling stage to the advanced pattern-based stage. Hand pressure width, length and golden ratio of the child's drawing are tuned to attain better results. This helps children with evolving, improving their intelligence and collectively achieving shared goals. CDDO shows superior performance in finding the global optimum solution for the optimization problems tested by 19 benchmark functions. Its results are evaluated against more than one state-of-art algorithms such as PSO, DE, WOA, GSA, and FEP. The performance of the CDDO is assessed, and the test result shows that CDDO is relatively competitive through scoring 2.8 ranks. This displays that the CDDO is outstandingly robust in exploring a new solution. Also, it reveals the competency of the algorithm to evade local minima as it covers promising regions extensively within the design space and exploits the best solution.

I. Karadağ

PurposeAccurate documentation of damaged or destroyed historical buildings to protect cultural heritage has been on the agenda of architecture for many years. In that sense, this study uses machine learning (ML) to predict missing/damaged parts of historical buildings within the scope of early ottoman tombs.Design/methodology/approachThis study uses conditional generative adversarial networks (cGANs), a subset of ML to predict missing/damaged parts of historical buildings within the scope of early Ottoman tombs. This paper discusses that using GAN as a ML framework is an efficient method for estimating missing/damaged parts of historical buildings. The study uses the plan drawings of nearly 200 historical buildings, which were prepared one by one as a data set for the ML process.FindingsThe study contributes to the field by (1) generating a mixed methodological framework, (2) validating the effectiveness of the proposed framework in the restitution of historical buildings and (3) assessing the contextual dependency of the generated data. The paper provides insights into how ML can be used in the conservation of architectural heritage. It suggests that using a comprehensive data set in the process can be highly effective in getting successful results. The findings of the research will be a reference for new studies on the conservation of cultural heritage with ML and will make a significant contribution to the literature.Research limitations/implicationsA reliable outcome has been obtained concerning the interpretation of documented data and the generation of missing data at the macro level. The framework is remarkably effective when it comes to the identification and re-generation of missing architectural components like walls, domes, windows, doors, etc. on a macro level without details. On the other hand, the proposed methodological framework is not ready for advanced steps of restitution since every case of architectural heritage is very detailed and unique. Therefore, the proposed framework for re-generation of missing components of heritage buildings is limited by the basic geometrical form which means the architectural details of the mentioned components including ornaments, materials, identification of construction layers, etc. are not covered.Originality/valueThe generic literature as to ML models used in architecture mostly constitutes design exploration and floor plan/urban layout generation. More specific studies in the conservation of architectural heritage by using ML mostly focus on architectural component recognition over 3D point cloud data (1) or superficial damage detection of heritage buildings (2). However, we propose a mixed methodological framework for the interpretation of documented architectural data and the regeneration of missing parts of historical buildings. In addition, the methodology and the results of this paper constitute a guide for further research on ML and consequently contribute to architects in the early phases of restitution.

Victor Okhoya, Marcelo Bernal, A. Economou et al.

Generative design is emerging as an important approach for design exploration and design analysis in architectural practice. At the interior design scale, although many approaches exist, they do not meet many requirements for implementing generative design in practice. These requirements include the need for end-user accessible tools and skills, rapid execution, the use of standard inputs and outputs, and being scalable and reusable. In this paper, we describe a hybrid process that uses both space allocation and shape grammar algorithms to solve workplace and space planning interior design problems. Space allocation algorithms partition spaces according to program requirements while shape grammar automates the placement of inventory and the production of high-resolution drawings. We evaluate using three real world example projects how this hybrid approach meets the identified requirements of generative space planning in architectural practice.

Gizem Hediye Eren, Füsun Curaoğlu

One of the primary deficiencies in children with autism is the ability of symbolic thinking. For overcoming difficulties in understanding abstract concepts, recognizing the similarities and differences between objects, comprehending the whole and its parts, completing the missing pieces in a pattern, are the first skills necessary to be taught. In our present day, tablet computers are among the important accessible technologies in education and training. The study aims to focus on the supporting qualities and design criteria of tangible user interfaces (TUI) for practising matching skills, one of the basic skills that children with autism should acquire. Popularizing tablet computers in various teaching activities of children with autism is important in researches. As a methodology, a literature review was conducted to synthesize and summarize the results of studies on this subject. Regarding this, an evaluation of the supportive qualities of using devices with tangible interfaces and their components in teaching matching skills, one of the basic skills that children with autism should acquire in the preschool period, is presented in regard to user experience. First, the contribution of technological tools in teaching various skills to children with autism was evaluated. The qualities of the devices with TUI, the tablet computers in the context of accessible technology and the accompanying tangible widgets that would contribute teaching matching skills to children with autism were examined and the design criteria of these products have been revealed.

Wilma A. Bainbridge

When we draw, we are depicting a rich mental representation reflecting a memory, percept, schema, imagination, or feeling. In spite of the abundance of data created by drawings, drawings are rarely used as an output measure in the field of psychology, due to concerns about their large variance and their difficulty of quantification. However, recent work leveraging pen-tracking, computer vision, and online crowd-sourcing has revealed new ways to capture and objectively quantify drawings, to answer a wide range of questions across fields of psychology. Here, I present a tutorial on modern methods for drawing experiments, ranging from how to quantify pen-and-paper type studies, up to how to administer a fully closed-loop online experiment. I go through the concrete steps of designing a drawing experiment, recording drawings, and objectively quantifying them through online crowd-sourcing and computer vision methods. Included with this tutorial are code examples at different levels of complexity and tutorials designed to teach basic lessons about web architecture and be useful regardless of skill level. I also discuss key methodological points of consideration, and provide a series of potential jumping points for drawing studies across fields in psychology. I hope this tutorial will arm more researchers with the skills to capture these naturalistic snapshots of a mental image.

Simge Bardak Denerel, G. Anil

Interior architecture education has displayed much variability from the past to the present day. Additionally, computer-aided drawing systems have become an irreplaceable part of interior architecture education, as in all other design disciplines. The contribution of computers in education to the design process has created a process of, Hand drawing – Design – Design in computer environment – Product – Prototype. Currently, traditional drawing methods are used much less. Computer-aided drawing programs in universities display differences in terms of models and content. Additionally, the year and semester in which these lessons are taught are different in every university. In this context, this study deals with computer-aided drawing lessons in a total of 63 programs in 31 interior architecture departments and 32 interior architecture and environmental design departments in Turkey and the Turkish Republic of Northern Cyprus linked to the Council of Higher Education (YÖK) currently. This research was completed with the screening model. Data collection started in October 2020 and was completed at the end of 15 days. Screening was performed to learn which programs are taught in the programs in interior architecture and interior architecture and environmental design departments in different faculties. The software features of these programs were analyzed. The results of the study revealed the similarities of the different programs to each other.

Emanuele Coccia

The contemporary debate on ecology is largely influenced by the theses of the French anthropologist Philippe Descola, who in his masterpiece published in 2005 “Par-delà nature et culture” describes how different cultures relate to what the West calls nature1. Nature, in this framework, is itself a cultural element differently accessible according to the way it is thought and described. This is a very important contribution and not only for European anthropology. However, one of the theses of this book is particularly problematic: the one that leads Descola to recognize in Western culture a “naturalist” attitude, that is, objectifying the rest of non-human living beings. In the West, “nature” would be unified and defined by its very absence of soul or spirit, whereas other cultures recognize a form of subjectivity in everything that lives and for this very reason are forced to think in “nature” a “cultural” plurality that the West does not perceive. The problematic aspect of this thesis is the idea that animism, the attitude that recognizes the existence of a mind or self-consciousness even outside of humanity or a small number of animals, would be impossible or a minority in Western cultures. To this hypothesis, the one that Western culture devoid of any animist sensibility, was actually already opposed a few years before the publication of Descola’s masterpiece another great European anthropologist, Alfred Gell. At the end of the last century, Gell published a masterpiece entitled “Art and Agency. An Anthropological Theory”2, in which he described the cultural forms through which, even in Western culture, becomes possible to attribute agency to artifacts and objects and then practice a form of structural animism for our societies, even if irreflective and unconscious. First of all, there is a very common form of domestic and everyday animism, thanks to which we attribute personality to things: this is the case of children and their relationship with dolls and soft toys, but also of adults, every time they are surprised to talk to a car or a computer. It is, however, an ironic and metastable attitude: in this kind of behavior, often the dominant attitude is that of as if, of play, of fiction, which means that the human subject who, for example, talks to objects or places himself in front of them as if he were in front of another subject, can regularly enter and leave this kind of posture. The attribution of subjectivity is not an act that obliges us to some consequence and has no temporal continuity.  Yet there is another form of animism, deeper and more deeply rooted, in which the recognition of the subjective character of objects is neither ironic nor unstable: this is art. In Western society there is a sphere in which we are all unconsciously but invariably animists: we actually call art that cultural space in which we relate to objects as if they were subjects. It is enough to think of what happens in a museum: a museum, after all, is a warehouse full of old objects for which we have a sort of special veneration. Every day, in the “western” world, millions of people enter these enormous storerooms and come across more or less finished portions of linen cloth covered with layers of pigment, or structures of steel, marble, wood: yet, instead of seeing only geometric shapes of extended matter (as the cultural attitude that Descola calls naturalism would presuppose) they see the presence of a subject or a soul, they read opinions, or a vision of the world of someone who existed hundreds or thousands of years before. When we deal with an artistic artifact (but we could also say when we are in front of a book or a written page), we accept the idea that it contains a psychological, emotional, mental intensity that is present regardless of the non-anatomical nature of the material in which it insists. That is to say, in front of artistic objects we are all animists.  We don’t even need to go into museums to be one. We are animist even before we open our front door. The British anthropologist who founded material anthropology, Daniel Miller, published a very nice book a few years ago about the way we accumulate things at home, called “The Comfort of Things”3. He looked at some thirty apartments on one street in London and described the different ways people use objects to furnish their homes. Miller considers that this form of choices is a kind of small personal cosmology: deciding what to keep at home and what to throw away is not just an aesthetic or economic decision, it is a cosmological decision, because it involves trying to reconstruct the world differently. And vice versa, everything in the house seems to exude the personality of those who live there: things take on the same status as their subjects. From this point of view, houses are vernacular spaces of animism: places where matter is always imbued with soul and subjectivity. Home is that space in which we are used to relating to everything objective as if it were the presence of something subjective4. Once again, we are animists, without needing to be conscious of it. Art, design and architecture are, in this sense, immense archives and repositories of collective animism that educate us to see subjects where anyone else sees only objects; they accustom us to confer agentivity on any portion of matter, to relate to the world as if it were populated by souls different from our own. In the gaze of these three forms of knowledge, matter is endowed with a spiritual life that is the same as that which allows us to be conscious, sentient and self-reflective. This is why the ecological problem must be transformed into an aesthetic problem. A great Australian eco-feminist who lived in the last century, Val Plumwood, had identified the main reason for the ecological crisis with the absence of animism or “panpsychism” in Western culture: it is because we are unable to recognize the subjectivity of plants, animals and bacteria that we are guilty of genocide on a planetary scale5. The solution, according to Plumvood, would be to disperse the creativity and agentivity, that theology has attributed only to God and his copy – the human species – to all the inhabitants of the earth, allowing to consider evolution itself as «the proof of the existence of a mind present in nature, of the intelligence that implies the elaboration and differentiation of species». It would therefore be a matter of extending to nature the supplementary animism with which art, architecture and design require ourselves to relate to our own artifacts. Yet the analysis of these unconscious forms of animism or “european” panpsychism does not end here. In fact, in these cases we are dealing with positions that allow us to relate socially to matter as if it were endowed with agentivity and subjectivity, without constructing a real ontology. But there are other examples, more radical, in which, even if unconsciously, a form of ontological animism has been achieved. Bruno Latour had suggested some years ago that even science is an immense reservoir of unconscious animism. Applying to scientific laboratories the method that ethnography of the last century applied to non-European societies without writing, Latour realized that science, precisely where it keeps repeating that there is an ontological divide between subjects and objects, never stops transgressing this division. Scientists cannot help but relate to machines and matter as if they were subjects: they attribute to them the ability to act but also the ability to speak. We do the same every time we think that the thermometer “tells us” our temperature. Thus, Pasteur’s great revolution was more political than purely ontological: it was more a question of recognizing the political agentiveness of microbes than of discovering their mere existence. Science does not cease to ontologically constitute its objects into subjects, even if it claims exactly the opposite. More generally, if European modernity affirms a fundamental metaphysical division (a constitution in Latour’s words) between subjects and objects, it does not cease to confuse the two categories and make objects live in the manner of subjects. In some way we have always been animists6. That is, we should stop linking the animist attitude to a specific culture or era: it is a universal attitude that is proper to any living being.  Latour’s insight is however important for another reason. If science always does the opposite of what it says, that is, if, while claiming to relate to what it studies as objects, it actually treats them as if they were subjects, then we must read any scientific paper as if it were a huge exercise in ethnography of the non-human. Whether it be botany or zoology, virology or electronics, computer science or physics, everything we have grouped under the somewhat claudicant rubric of natural science is nothing but an investigation of the behavior of subjects who do not share our form. Often, exactly like the anthropologists of the last century, we have pretended to derive universal rules from their behavior; yet beyond the conclusions, we should grasp in this literature only an exercise of falsetto in which ethnography does its best not to appear as such, but a sort of ventriloquism of the non-human by interposed person.  And it is through this point of observation that the world becomes animated: there is no need to penetrate further into the matter of this world, there is no need to add discoveries to what we know, there is no need, above all, to deny inanely a culture in order to invoke in a simplistic way the conversion to another culture. It is enough to observe differently the knowledge that surrounds us and grasp in them their own reality: the knowledge that surrounds us will also become deposits of animism that will allow us to recognize the presence of subjects where we used to see only objects.

Maria Velaora, Richard van Roy, F. Guéna

ARtect is an Augmented Reality application developed with Unity 3D, which envisions an educational interactive and immersive tool for architects, designers, researchers, and artists. This digital instrument renders the competency to visualize custom-made 3D models and 2D graphics in interior and exterior environments. The user-friendly interface offers an accurate insight before the materialization of any architectural project, enabling evaluation of the design proposal. This practice could be integrated into learning architectural design process, saving resources of printed drawings, and 3D carton models during several stages of spatial conception.

Caterina Palestini

<p style="margin: 0cm 0cm 8pt;"><span style="font-family: Calibri; font-size: medium;">Francesco Camillo Giorgino in art MILLO was born in Mesagne in the province of Brindisi, in 2007 he graduated in architecture in Pescara, the city where he lives and which he considers foster. Street artist of international fame, he has created murals scattered in suburbs of Italian and continental cities, his works are distinguished by the constant presence of an anonymous and infinitely replicable urban context. The colorless habitat in which he inserts the pure and giant characters represent a satire of the contemporary way of life, the lack of urban planning choices that have failed to solve the problems related to public spaces, services, sociality, present in all the cities of the world. With the architect’s critical eye he observes the spaces defined by the blind walls on which to intervene in order to launch messages, to stimulate attention and promote urban redevelopment initiatives. The interview concluded in the emergency moment of the pandemic. It was conducted in telematic way and offered the cue to interface and talk about possible alternative ways for street art, which the artist immediately implemented to create a charity work for the hospital of Pescara by drawing live on social networks. </span></p><p style="margin: 0cm 0cm 8pt;"><span style="font-family: Calibri; font-size: medium;">The answers of Millo, artist of great sensitivity, help us to understand his artistic and social choices, his drawn messages that, as he likes to emphasize, leave ample space for the free interpretation of the viewers.</span></p><p><span style="font-family: Calibri; font-size: medium;">DOI: </span><a href="https://doi.org/10.20365/disegnarecon.24.2020.i5">https://doi.org/10.20365/disegnarecon.24.2020.i5</a></p><p style="margin: 0cm 0cm 8pt;"><span style="font-family: Calibri; font-size: medium;"><br /></span></p>

Paolo Di Nardo

Ricominciare un percorso, una nuova narrazione architettonica senza posare sul tavolo dell’ideazione invarianti progettuali di immagine e di ripetizione di un linguaggio già sperimentato è la caratteristica più evidente dello Studio 63.

Ümit Arpacıoğlu, Ahmet Selçuk Topal

Akıllı malzemeler alanı yirminci yüzyılda büyük bir gelişim yaşamıştır, yirmi birinci yüzyılın başlamasıyla beraber gelişme hızını daha da artırmıştır. Bu, mimarinin kendisinin gelişimine giden yolu açmıştır, tasarımcıların ve inşaat profesyonellerinin düşünme biçimini yeniden şekillendirmiştir. Akıllı malzeme kullanımının mimarlık uygulamalarında gittikçe daha fazla gelişmesi ve entegre olması, sadece bir uygulama olarak değil, tasarım sürecinin ilk aşamalarında da dikkate alınmasının gerekli olduğu açıklığa kavuşmaktadır. Araştırma, akıllı malzeme sistemlerinin mimarlık alanındaki özelliklerini ve avantajlarını araştırmayı, daha iyi uyarlanabilir özelliklere sahip mimari yaratmanın yolunu araştırmayı ve nihayetinde yapısal, iklimsel ve mimari performanslara kafa yoran kullanıcılar için en uygun ortamı sağlayarak ‘‘adapte edilebilirlik durumuna” ulaşmayı amaçlamaktadır. Mimarlık alanındaki araştırmacılar olarak, akıllı malzeme sistem teknolojilerini daha iyi anlayarak, mimari geliştirilebilir ve yenilik dönemine ulaşabilir.

Maria Teresa Lucarelli

Daniele Calisi, Alessio Vittori

<p>Today it is possible to find virtual reconstructions of many types, and technological tools help a lot in these prefigurations. However, it is difficult to find research and studies done on an urban scale of entire utopian city projects that are connected to a particular historical period of the avantgardes at the beginning of the 20th century. The research presented here fits into this context and concerns the critical analysis and virtual reconstruction of Hugh Ferriss’s City of Tomorrow. Multiple factors come into play in virtual reconstructions. We often limit ourselves to some aspects, ignoring others. However, the right workflow requires that all aspects are analyzed and that the choices made are consistent and justifiable. In the case of the virtual reconstruction of Ferriss’s City of Tomorrow, each developed decision has been weighted, combining graphic information with documentary information. It was a complex research because the initial choices did not always lead to a consistent outcome. So a continuous back-and-forth process was necessary so that the result was the optimal solution, although not the only one, but rational and analytical. The work presented is a unicum that currently has no other comparable examples. It links a reasonable and philological virtual reconstruction to render images of great graphic and emotional impact, in order not to lose the original intent of Ferriss himself.</p><p>DOI: <a href="https://doi.org/10.20365/disegnarecon.23.2019.15" rel="noopener" target="_blank">https://doi.org/10.20365/disegnarecon.23.2019.15</a></p>

Deni Ruggeri

The Landscape Education for Democracy project emerged at a particular time in society. Sustainable development is being redefined in terms of its ability to be socially just and transformative, and the project partners wanted to ensure that design and planning education addressed this demand by integrating discussions of democracy, social justice, participation, co-creation, and strategic thinking into the educational experience of young professional and future leaders in the profession. As any Participant Action Research project, the goals and ambitions were clearly stated from the beginning, as was a framework for assessing progress toward the first co-created course for and about landscape democracy.