Proceedings of the 9th Arab Society for Computer Aided Architectural Design (ASCAAD) international conference 2021 (ASCAAD 2021): architecture in the age of disruptive technologies: transformation and challenges.

The ASCAAD 2021 conference theme is Architecture in the age of disruptive technologies: transformation and challenges. The theme addresses the gradual shift in computational design from prototypical morphogenetic-centered associations in the architectural discourse. This imminent shift of focus is increasingly stirring a debate in the architectural community and is provoking a much needed critical questioning of the role of computation in architecture as a sole embodiment and enactment of technical dimensions, into one that rather deliberately pursues and embraces the humanities as an ultimate aspiration

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo

Technology, Science, and Culture: A Global Vision

The aim of the Workshop: Technology, Science, and Culture - A Global Vision is to create a discussion forum on research related to the fields of Water Science, Food Science, Intelligent Systems, Molecular Biomedicine, and Creation and Theories of Culture. The workshop is intended to discuss research on current problems, relevant methodologies, and future research streams and to create an environment for the exchange of ideas and collaboration among participants

Comparative analysis on the cognition of designer's identity through digital presentation drawings

Cataloged from PDF version of article.In parallel to the developments in computer technology and the broad use of computers in the design domain, computer media presentations are widely used today in architecture. Architectural presentation drawings are means of externalization the internal world, thoughts and identity of architects. However, the issue of the cognition of designer’s identity in computer media presentations is rarely addressed in the researches as compared to studies on traditional media presentations. On the contrary, computers are mainly regarded as reflecting their own identity rather than providing designers potentials to express themselves and to achieve differences and variations. In this study, a comparative analysis of the cognition of designer’s identity in architectural presentation drawings is carried out. The analysis provided enough evidence that similar to architectural presentation drawings of traditional media, computer media presentations hold potentials for the reflection of designer’s identityAkalın, GencoM.S