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Intelligent tools for large-scale 3D printing: a scoping review
Get PDFIn recent decades, building methods such as 3D printing have been increasingly
researched for the design and fabrication of various architectural elements. Artificial
Intelligence is another rapidly developing technology whose potential in the building
industry is continuously being explored. This paper’s objective lies in mapping out the
field of existing Artificial Intelligence tools for large-scale 3D printing, searching for
possible applications throughout the different development stages including the prefabrication
phase with structural design, optimization, behavior simulations, and
predictions, as well as the production phase through the real-time monitoring of the
process. In this study, different types of Artificial Intelligence (such as machine learning,
deep learning, and computer vision), have been identified regarding their role in 3D
printing to assess its potentials, limitations, and the present research gaps. Finally,
potential research directions and emerging topics are presented. The study's findings
increase the understanding of Artificial Intelligence techniques and applications in the 3D
printing process and can aid in choosing and implementing the most promising ones in
further research
User-perception of living heritage in contemporary city: Social, contextual and historical responsibility
Get PDFResearch within this paper examines the concept of visual responsibility of the contemporary city towards cultural heritage. The legacy of the 20th century, seen as living heritage, is specifically highlighted as problematic concerning the frequent failure to recognize architecture from this period as a member of cultural heritage. These built structures require complex conservation methodologies in order to adapt to contemporary building standards in pursuance of inclusion in the daily life of the city. Subject importance is recognized through the intensive interdisciplinary discussion about different methodologies of XX century heritage conservation, which results in new global initiatives, documents and movements. Contemporary initiatives predominantly focus on the restoration of technical and technological aspects of the objects, while less attention falls on the life of heritage in the everyday context, as well as the observer's contact with these spaces. Considering that the recognizability of the heritage from this period has already been marked as problematic in scientific circles, this paper examines the potential for the instrumentalization of perception of the built structure in user’s everyday contact with its surroundings. If the users perceive the environment as architecturally, environmentally or historically significant, they identify with the analyzed space, which represents the first step in its potential preservation and conservation. The hypothesis within this paper is that the perception of heritage in the immediate environment, defined through the intensity and quality of the user's perception, has a significant role in understanding the way heritage lives in the modern city. In this way, special importance is given to the sociological, contextual and architectural determinants of space. Research result is the definition of methodology for the visual valorization of heritage in city context, as well as the impact of potential future interventions on its perceptual quality, defined in this paper as visual responsibility. The methodology will be set through a case study of New Belgrade, seen as a representative of modernist architecture of the 20th century that still lives in the contemporary context of the Serbia’s capital
The role of privatization in the creation of public space privatization and commercialization of public space as a method of regeneration: discussion of effects on the example of „Belgrade waterfront“
Get PDFПредмет рада представља анализа утицаја приватизације на креирање јавног простора, узимајући у обзир све чешће укључивање приватних партнера у процес њиховог развоја, на примеру подручја десне обале реке Саве, зоне пројекта - Београда на води. Анализа је започета хипотезом да приватизација јавног простора потенцијално утиче на јавност процеса реализације, али и на јавност самог простора, тако што мења његов социјални аспект коришћења и утиче на опадање степена доступности и јавности, што је основни критеријум за категорисање простора као јавног. На примеру Београда на води испитују се последице и утицаји приватизације и комерцијализације јавних простора на квалитет живота грађана, отвара се питање заједништва, слободе и права на простор. У контексту доминантног савременог економског, друштвеног и културног наратива у којем се приватизација сматра синонимом ефикасности и рационалности, циљ истраживања је дискусија ефеката на функцију и дизајн јавних простора.The subject of the paper is the analysis of the impact of privatization on the creation of public space, taking into account the increasingly frequent involvement of private partners in the process of their development. The „Belgrade Waterfront“ is the area of the research. The analysis began with the hypothesis that the privatization of public space potentially impacts the quality of the information given to the public. Therefore, it could also affect the public aspect of the space itself. That being said, the social aspect is changed and there is a decline in the degree of accessibility and publicness, which is the basic criteria for categorizing the space as public. In the example of „Belgrade Waterfront”, the consequences and impacts of privatization and commercialization of public spaces on the quality of life of citizens are being examined. The community, freedom, and right to public space are also being questioned. In the context of the dominant contemporary economic, social, and cultural narrative in which privatization is considered synonymous with efficiency and rationality, the research aims to discuss its effects on the function and design of public spaces
Residential Building in Sanja Živanović Street In Belgrade [45th Salon of Architecture, 2023]
Get PDFObjekat se nalazi u rezidencijalnoj zoni Senjaka, na proporcijski vrlo zahtevnoj parceli sa terenom u nagibu od pristupne saobraćajnice.
Formiran je kao troetažni monolitni gabarit sačinjen od tri međusobno povezana kubusa. Akcenat je osim na jednoobraznoj materijalizaciji - eternit ploče, dat na ulaznoj i dvorišnoj partiji jer je formiranje otvora po bočnim-podužnim fasadama vrlo ograničavajuće zadatim urbanističkim uslovima.
Odatle je proistekla i distribucija sadržaja unutar objekta. Na pristupnom nivou je organizovana dnevna zona sa odvojenim objektom garaže prema ulici i terasom ka unutrašnjem dvorištu, dok je na spratu smeštajni kapacitet porodice.
U suterenskom delu koji je po bočnoj strani denivelacijom partera u potpunosti-celom visinom otvoren ka spoljnoj sredini je organizovan prostor za rekreaciju - teretanu i golf trenažer, kućni bioskop sa pomoćnim sadržajima.
U zoni relativno malog dvorišta je pozicioniran otvoreni bazen sa plažom i uređenom zelenom površinom.The building is located on the residential area of Senjak, on a proportionately very demanding plot with a sloped terrain from the access road.
It was formed as a three-level monolithic gauge made of three interconnected cubes. In addition to the uniform materialization - eternit panels, the emphasis is on the entrance and courtyard, because the formation of openings along the side-long facades is very limiting given the urban conditions.
This is where the distribution of content within the facility came from. On the access level, a living area is organized with a separate garage building facing the street and a terrace facing the inner courtyard, while the family's accommodation capacity is on the first floor.
In the basement part, which is completely open to the outside environment on the side due to unevenness of the ground floor, there is an organized space for recreation - a gym and a golf trainer, a home cinema with auxiliary contents.
An outdoor swimming pool with a beach and landscaped green area is positioned in the area of the relatively small yard.Project team: Vanja Enbulajev, Miloš Obradović, Andela Radovanović, Kristina Savković, Jovana Vidaković, Jovana Ćorković / Photography: Relja Ivani
The Role of Architectural Drawing in the Design Process at the Beginning of the XXI Century
Get PDFИстраживање полази од претпоставке да у ери дигиталног преокрета архитектонски
цртеж у процесу архитектонског пројектовања постаје свестрано, вишеслојно и
хибридно средство које поред улоге преносиоца информација, има и све значајније место
у истраживању концепатa архитектонског простора. У процесу обликовања
архитектонског простора, улога архитектонског цртежа је један од кључних елемената
стваралачког процеса архитекте. У савременом контексту архитектонске делатности
подстакнутим развојем информационих технологија, који консеквентно интерпретира
аналитичке процедуре развијане током двадесетог века – структурализам и
постструктурализам, употреба дигиталних алата у процесу пројектовања доводи до
преиспитивања креативне, односно ментално-моторичке спреге између мисаоних
процеса и материјалних експресија које производи рука архитекте.
Истраживање проблематизује позицију цртежа између два становишта - цртежа као
крајњег циља истраживања и цртежа као истраживачког алата. Фокус истраживања
усмерен је на препознавање истраживачког потенцијала цртежа у процесу
архитектонског пројектовања и идентификацију његових различитих појавних облика.
Истраживачко питање које се поставља односи се на улоге и начине на који цртеж,
дефинисан кроз призму структуралистичке и постструктуралистичке интерпретативне
перспективе, оснажује процес архитектонског пројектовања у савременом
архитектонском контексту.
Један од кључних доприноса истраживања представља дефинисање критичког апарата
за анализу цртежа као специфичне методологије идентификације истраживачког
потенцијала у процесу пројектовања. Применом конкретног апарата и успостављених
методолошких корака у едукацијском процесу и конкурсној пракси, које су препознате
као области архитектонске струке у којима је истраживачка улога цртежа највидљивија,
идентификовани су специфични истраживачки модели цртежа који обликују процес
пројектовања у двадесет и првом веку. Ови модели, именовани трансформацијско-наративни, репрезентативно-транскриптивни и спекулативно-симулациони модел,
представљају хибридне облике цртежа који настају као последица развоја и примене
дигиталних алата у архитектури, као одговор на критичко сагледавање и
проблематизацију глобалних друштвено-културолошких феномена и као одраз тежње
ка позиционирању архитектуре као истраживачке делатности.The main thesis of the research states that, in the age of the digital turn, the architectural
drawing as part of the design process is becoming a versatile, multi-layered and hybrid tool
which, in addition to its primary role of distributing information, has an increasingly important
position in exploring architectural design concepts. The architect's approach to the application
of the drawing in the process of architectural design is one of the key elements of their creative
process. In the contemporary context shaped by the development of information
technologies, the discipline of architecture is consequently reinterpreting and collaborating
with analytical strategies developed during the twentieth century – structuralism and post-structuralism, whilst the use of digital tools in architecture results in re-examining the creative
relationship between thought processes that take place in the architect’s mind and the material
expressions produced by the architect’s hand.
The research discusses the position of the drawing between two standpoints – the first
presuming the drawing as a final result of the research process and the second understanding
the drawing as a research tool. This dissertation focuses on discovering the research potential
of the drawing as part of the design process and its various manifestations. The question that
arises is related to the roles and manners in which the architectural drawing, perceived through
the lens of structuralist and post-structuralist theoretical perspectives, shapes and encourages
the contemporary design process.
One of the key contributions of this dissertation is the research methodology based on
establishing a critical apparatus as a tool for analysing architectural drawings, with the aim
of identifying their research potential within the design process. The research subject for
developing this critical apparatus is the field of architectural education and architectural
competition practice, which are recognized as areas of the architectural profession most legible
for recognizing the research potential ofthe drawing. The application ofthe proposed analytical
methodology results in discovering specific research models of the drawing that have shaped
the design process during the twenty-first century: transformative-narrative, representational-transcriptive, and speculative-simulative model. These models, as hybrid forms of the
architectural drawing, emerge as a result of the application of digital tools in architecture in
response to the critical perception and problematization of global socio-cultural phenomena.
Furthermore, they aspire to advance the discipline of architecture within the scope of research
professions
Montage Driven Research Strategies: The Consolidation of Generative, Systematic and Analytical
Get PDFThe relationship between design and research is a lively debate in our discipline. Ever since the first issue of the Journal of Architectural Education (JAE) from 1947, this complex but extremely significant relationship has been increasingly questioned. This debate is also hardly unique to architecture, as Groat and Wang underline: “Some of the very same discursive positions are found in many other creative or professional fields, including the visual arts, product design, business and consultancy, planning, landscape architecture, and urban design, among others.” However, even after a broad array of studies undertaken by various scholars, researchers and practitioners, we are repeatedly trying to explain and properly understand this intricate relation. I take the stand that architectural design and research are mutually complementary, hence there is no architectural research without design, and there is no architectural design without research. Nevertheless, this does not mean that every process of architectural design is a priori research, to the same degree as not every research within the architectural discipline can be considered as architectural design. The two activities are not equivalent, they are fundamentally distinct, but they embody many complementary and overlapping qualities. I believe this exciting relationship is a focal point of contemporary architectural research, and in a wider perspective, it will substantially affect the path in which our discipline is developing.
At the CA²RE / CA²RE+ DELFT: RECOMMENDATION conference, I presented a part of my research titled Composing Images: Architectural Montage as Design-Driven Research Tool. As the title suggests, this research project aims to thoroughly investigate the capacities of architectural montage in the design-driven research framework. The reason for this research derives from the fact that in architectural history and historiography, architectural montage has been mostly perceived as a purely representational technique, neglecting its other enormous potentials. However, with the development of the design-driven research framework, which focuses on the research strategies that are based on design procedures, montage potentially gained another, extremely important role. Therefore, the main hypothesis of the research is that architectural montage is not merely a representational technique, it is rather a research tool that is able to produce new meanings and new knowledge within the architectural discipline.
As a starting point of the research project, an artistic design-driven research experiment was conducted through seven interdisciplinary phases. All seven phases of this experiment, which all together form a research methodology, included design procedures that were done by hand. Moreover, the whole design-driven research process was uncertain, non-linear, highly intuitive and empirical in nature. It consisted of very distinct operations, from collecting different types of images and constructing the digital atlas of the research, to selecting and hand-colouring images with a brush and watercolours. However, the core element of this process was architectural montage. As montage was present in various forms in all seven phases of the research, it emerged as a comprehensive layer of the whole experiment. Montage was not only employed as a main compositional and logical principle in design procedures, rather the combination and juxtaposition of elements was also used to deliver answers in the same way as any classical analytical method would. Therefore, architectural montage was applied as both design and research technique in the creative process.
The implementation of design into research strategies brings architects back to the familiar territory. We are given a chance to use skills and abilities that we have finely developed through our architectural education and training. Design-driven research teaches us how to value design thinking and design methodology as research and represents the combination of intuition and science, as Kieran underlines: “Research brings science to our art [. . .]. To move the art of architecture forward, however, we need to supplement intuition with science.” As architectural montage is mainly a design technique, meaning it aims to “change existing situations into preferred ones,” this research showed how highly intuitive generative processes can consolidate with both analytical and systematic ones within the research undertaken in the architectural discipline
Urban Greenery as a Tool to Enhance Social Integration? A Case Study of Alstetten-Albisrieden, Zurich
Get PDFUrban greenery can help mitigate adverse effects caused by urbanisation. It benefits thermal comfort and individual well-being remarkably. Nevertheless, its benefit to social well-being needs to be further explored. This study investigated green spaces and their potential for boosting community integration in Altstetten–Albisrieden, Zürich. Three green-space types, public, community and private, were categorised by ownership and accessibility and were used to portray green-space structure. The study first analysed public green spaces’ connectivity and significance at the district scale. Four significant green space clusters and their 400-m service areas were selected as subsite cases for further discussion concerning their social potentials at the neighbourhood scale. Data on green space structure and space use activities were extracted from the open-source data of Zürich and were collected through onsite observation. The study concluded that practical public green spaces might be the combination of location and size in the urban fabric. The attributes of green spaces, such as size, boundary, and equipped facilities, could be decisive in influencing the activities in green areas significantly for enhancing community integration
‘Moonlight is a mere reflection of sun beams’, Nikola Dobrović as a timeless visionary of the future
Get PDFKомплексан опус Николе Добровића, манифестован на више простор- них нивоа и тематских обухвата, често је био предмет историографских и архитектонско-ур- банистичких студија и анализа. Усмерене на поједине елементе интелектуалних сфера које су дефинисале Добровићево стваралаштво, оне су отварале и нова поља сагледавања њего- вог теоретског и практичног рада, друштвене ангажованости и иновативности. Преносећи своје знање и вредносне оквире генерацијама студената архитектуре (1947–1967), Добровић је директно и индиректно утицао и на формирање будућих професионалаца чије ће стручно и академско деловање креирати слике и доживљаје савремених простора егзистенције, како код нас, тако и ван граница локалног културолошког и природног контекста. Међутим, управо је висок степен сложености Добровићевог рада утицао да његове прогресивне идеје и бескомпромисни модернистички ставови често буду несхваћени или скрајнути, чак и у послератном периоду његове професионалне свеприсутности која је мо- гла да резултује новом сликом Београда. Mеђутим, 21. век је многе од тема којима се До- бровић бавио вратио на историјску сцену и у архитектонско-урбанистичку праксу. Управо зато, овај текст ће покушати да прикаже трајање одређених концепата који постају изнова актуелни, како на нашим просторима, тако и у глобалним оквирима.The complex opus of Nikola Dobrović, manifested on several spatial levels and thematic rang- es, has often been the focus of historiographic and architectural-urban studies and analyses. Being focused on the specific elements of the intellectual spheres tackled by Dobrović’s professional ac- tivities, they provided new insights into his theoretical and practical work, public engagement and innovativeness. Passing along his knowledge and values to the generations of architectural students (1947–1967), Dobrović directly and indirectly influenced his future colleagues, whose professional and academic endeavours later created the images and experiences of the contemporary spaces of existence, both on the national and international level, beyond the limits of the local cultural and natural contexts. Unfortunately, the high level of complexity embedded in the work of Dobrović, had a severe impact on the perception of his progressive and uncompromising modernist ideas. They were fre- quently misunderstood or ignored, even during his post-war professional omnipresence which could have resulted in a totally new and different image of Belgrade. However, the 21st century has relaunched a number of these themes onto the historical stage and into the architectural and planning practice. Therefore, this paper tends to enlighten the durability of certain concepts, al- ready considered and elaborated by Dobrović, which recently became up-to-date, both locally and globally
International competition on Slavija - Manjež [STRAND, 2023]
No full textFreeing up space. Increase in space comfort. Affirmation of corner positions – towards the park, Slavija and Cvetni trg square. Maintaining good relations with the environment – hotel, theater and bank. Realizing capacity by rationalizing volumes. Uniform orientation. Opening the vista. Avoid confortation of parallel planes. The circular form is the least conflicting. Ventilation. Not fencing, but appreciation of the acquired context by engaging in a spatial image. Following the representative character of the design. Opening the stretch from Slavija square to Belgrade. Integrating an existing home into a new complex. Cover the block with a shift, in order to create a comfortable space for the inhabitants
4. Otvoreni i javni nacionalni likovni konkurs za umetničku grafiku malog formata pod nazivom „MALA GRAFIKA – Novi Sad" - Nakovanj [2023] [pohvala]
No full textGrafika je nastala kao vizuelni eksperimenat kojim se istražuju potencijali prostornosti pokreta i njegova arhitekturalna priroda. Proces je zasnovan na multiplikaciji i sjedinjavanju sekventnih geometrijskih oblika u celovitu sliku prostorne forme, gde se intenzitetom ahromatskog kontrasta dodatno naglašava oblikovna dinamičnost. Rad je nagrađen Pohvalom u okviru tradicionalne izložbe Mala grafika - Novi Sad 2023, koja je održana u Centralnoj galeriji Šok Zadruge