The Importance of Connectivism in Architectural Design Learning: Developing Creative Thinking

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The Importance of Connectivism in Architectural Design Learning: Developing Creative Thinking

Verónica Paola Rossado Espinoza

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Faculty of Architecture and Urbanism Ricardo Palma University, Peru e-mail: paola.rossado@gmail.com

Abstract:

The creative thinking is an ability that should be learned and devel- oped by teaching and practice. When these activities are elaborated into social circle and interact with different perspectives, it is possible to improve the ideas and build the best solution. Sometimes, inspiration appears when the problem is shared and discussed with colleagues and friends. The best design solutions come by sharing information and feedback through collaborative and multidisciplinary work. When the learning process is produced in community, teachers have a way to improve the creativity of architecture students. However, they need to use suit- able teaching methods to develop knowledge by collaborative learning. At the same time, construct an innovative design according to the generation of information.

The aim of this paper is to explain how communications and interactions among the students influence in creative thinking and learning from the field of architec- ture.

Keywords: connectivism, design learning, creative teaching, ICT DOI: 10.3311/CAADence.1670

INTRODUCTION

Connectivism is a learning theory for the digital age; it is promoted by Stephen Downes and George Siemens. According to this theory, learning occurs by connections and networks, specialized nets or information sources. Students could create new knowledge by sharing information and construct- ing their own learning. “The connections that enable us to learn more are more important than our current state of knowing” [1].

In the first place, the architectural design process begins as a challenge towards creativity, when looking for new ideas and solutions for a specific requirement. According to Fonseca [2]: “The challenge for accessibility, good education and collec- tive work benefits the development of innovative

solutions”.

Many important questions are raised about the educational theory through technology and communications. How does ICT impact in architecture teaching at present? How does one create a teaching method by using the theory of connectivism in architectural design?

Nowadays, we are living in the technology and knowledge society, as a result of the digital revo- lution. In Weller and Anderson´s definition: [3]

“The changes made possible by the combination of digital content and global networking have profound implications for all aspects of higher education.”

This paper discusses the idea that a collaborative methodology based in the connectivism theory improves creativity in architecture students.

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CREATIVITy AND CONNECTIVISM THEORy

The term connectivism is stated by George Sie- mens and Stephen Downes [4]:

Connectivism is a learning theory that explains how internet technologies have created new op- portunities for people to learn and share information across the World Wide Web and among themselves. These technologies include Web browsers, email, wikis, online discussion forums, social networks, YouTube, and any other tool which enables the users to learn and share information with other people.

This definition places the emphasis on people´s capacity to interact, share and think together, for the purpose of getting a better solution. For instance, the architectural learning based on connectivism, should include research, fact questioning, and the pursuit of creativity and innovation.

Creativity has been defined by different authors;

some believe that creativity is born with a person, as a personality type. On the other hand, it can be developed by practice, through which it is possible to become motivated and improved.

There are several theories about creativity as to why some people are more creative than others, and the ways that they can develop it as a skill.

According to Segal:

Creativity has also been attributed to the environment in which the creative process occurs… the characteristics of the day-to-day interactions among people, the attitudes they maintain, and the availability of resources including time, people and money. [5]

Reddy finds that “Creativity is too complex in na- ture. It is difficult to understand the meaning in one single definition”. “Creativity had been used synonymously with terms like imagination, spon- taneity, productivity, originality, divergent thinking, invasiveness, intuition, exploration and gift- edness” [6]

Connectivism theory proposes a learning process as an associated network within a social and cultural context. In 2005, Siemens and Downes started this theory for the digital age. This theory has its origin in Vygotsky´s idea where the cognitive development happens in the “zone of proximal development” (ZPD): level of knowledge at-

tained depending on social interaction, behavior and context. This skill that can be developed with adult collaboration or peers, more than it can be achieved by oneself. When it comes to collaboration, Chaiklin explained:

The term should not be understood as a joint, coordinated effort to move forward, in which the more expert partner is always providing support at the moments when maturing functions are in- adequate. [7]

In Europe and North America collaborative work has been used naturally by students within social networks in education for many years, however, in several Latin American countries its use is still being evaluated. Oblinger [8] described communi- ties and social networks:

The Net Gen exhibits a tendency to work in teams or with peers and will move seamlessly between phys- ical and virtual interactions. It is not uncommon to find students working together and still sending IMs - even though they are a few feet away.

For students to work collaboratively, it is a natu- ral characteristic. According to research by Mu- gahed, Sharizan and Mi Yusuf about collaborative learning theory: [9]: “Both researchers and students have a chance to experiment on a computer supported collaborative learning and use social media network platform”.

CONNECTIVISM IN ARCHITECTURAL DESIGN LEARNING

Architecture students are considered creative people, and at the same time, they demand a dynamic and innovative teaching method. When the students receive special motivation during the class, they could develop it into different skills.

To start with, most architectural and construc- tion professionals must work together, the design project should be the result of teamwork among several specialists. Inside this process, they produce an analysis, exchange ideas, evaluate op- tions, and discuss. The purpose of developing critical thinking, sharing and evaluating ideas, can be particularly useful if they work in a team.

Connectivism is the new form for student´s learning of architecture in the digital generation, marked by collaboration and sharing. The social

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Section B3 - Media supported teaching | CAADence in Architecture <Back to command> |129 connective context promotes new learning activi-

ties for reflection, for developing critical thinking, integration, self-evaluation, learning objectives and share experiences.

METHODOLOGy

This research has been applied to architecture students of the digital representation course. With the active use of connectivism in design learning, the instructor could support the development of cognitive skills in the attitudinal, procedural and conceptual aspects.

In order to demonstrate the importance of connectivism in architectural design learning, the author used this method in an experimental group of students, and established the differences among other similar group (control group) without apply- ing the method.

This learning methodology was designed based on the principles of connectivism according to Siemens: [10]

• Learning and knowledge rest in diversity of opinions.

• Learning is a process of connecting specialized nodes or information sources.

• Learning may reside in non-human appliances.

• Capacity to know better is more critical than what is currently known.

• Reinforcing and maintaining connections are needed to facilitate continual learning.

• Ability to see connections among fields, ideas, and concepts is a core skill.

• Accurate, up-to-date knowledge is the intent of all connectivist learning activities.

• Decision - making is a learning process. Choos- ing what to learn and the meaning of incoming information is seen through the lens of a shift- ing reality. While there is a right answer now, it may be wrong tomorrow due to alterations in the information climate affecting the decision.

First, a learning environment should be organized for networking in the experimental group, following these guidelines: [11]

• Facilitate the sharing of knowledge and distribution over networks.

• Search for information according to discovery patterns.

• Establish friendly relations through the influence of network diversity and the strength of its ties.

• Support in adapting users to learning styles through multiple connections.

• Facilitate the activities transfer of knowledge by nets.

• Evaluate the assimilation of knowledge according to learning levels.

The professor should create a friendly classroom environment and encourage learning. He must improve empathy among students and the teacher by supporting and continuing monitoring.

In the experimental group the following activities have been made in three stages:

1° Analyzing, researching and investigation:

• Present the topic of a specific project. For instance, the single - family home design. It must be related to the students’ level and explained in terms of design problems.

• Stimulate the use of design concepts to apply prior learning.

• Propose a special time for the students exchange ideas, reflect and build knowledge. This activity is suggested at the beginning of class.

• Research on the internet about similar issues and share images and web pages.

2° Brainstorming and competition

• At first, ask students to produce the most possible number of design alternatives, to discuss and analyze if it is suitable or search other ways to solve the problem.

• Secondly, form small workgroups in the classroom, to encourage competition among them.

• Invite groups on a private place of social network or educational platform to encourage comments about the course.

• Motivate students to talk on the social network and place the progress and suggest improve- ments.

• Make a digital forum and place a question on a topic of interest, related to group work.

• Present all contributions and experiences hand- ed in by the students in classroom, exchanging and evaluating the suggestions among them.

• The group members provide ideas and possibil- ities to analyze together. None of them should receive criticisms or jokes, all of them must be considered.

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3° Evaluating and staking

• The professor should constantly assess the design process.

• After the evaluation, students must stake the projects and try to find the best solutions.

• At a certain point, each student must confront his/her ideas with other students, defending and reviewing his/her position.

• Monitor the development of the design stages constantly in order to assess previous knowledge.

• The teacher should provide the workgroup with educational materials to be used for self-learning according to the results of evaluations.

• During the development of the creative process, implement a self-assessment, by promot- ing pair work among students so that they will share their opinions and analyze the partner´s work.

CONCLUSIONS

The experimental analysis proved the hypothesis that collaborative work encourages creativity in architectural design learning. In quantitative terms, the scores in the experimental group were higher than those in the control group. Qualita- tively, as a result of observations and surveys of students, it can be said that connectivism promotes social and communication skills, builds a friendly learning environment, emphasizing collaboration and the sharing of information.

A by-product of the research made by the author found that the experimental group developed better designs than those of the control group. For instance, students created unconventional forms, new ways of space distribution, volumes and materials. Usually, at this level, most students per- form very basic work when it comes to shape and design. Here students demonstrated better atti- tude for academic work, teamwork, self-learning, self-confidence, motivation, friendship and an at- titude of responsibility.

Concerning the professor, empathy was evident.

Respect in a friendly manner, an atmosphere of trust and great communication were present among teachers and students. Technology pro- vides an instrument for helping students when it

is necessary.

Methodology brings guidelines to improve the teaching - learning oriented development of creativity in architectural design. Connectivism integration as a learning strategy, improves teaching empathy, social relations and cooperative work.

In conclusion, the present investigation proves that the application of connectivism theory in architecture students contributes to the development of creative thinking.

RECOMMENDATIONS

Several institutions have taken actions to implement connective learning in their programs. This requires leadership and commitment to teaching.

The activities in this paper should show it is possible to change a classroom environment with such learning.

Throughout the years, young professors had to learn to incorporate these changes to improve learning, but this method is not accepted by all teachers. Many professors limit themselves to make theoretical presentations in the classroom and evaluate the learning level, regardless of whether students are learning or not. If the students need support in class content, they resort to help from friends or search on the internet.

It must be emphasized that the ability to make connections that facilitate learning depends on the teacher´s skill. The types of practice and design exercises, will depend on the students’ level in the career of architecture. The teacher must make constant monitoring and periodical evaluations to adjust contents in work group and share learning materials.

The teacher must be a communicator and gener- ate work activities where students may have the opportunity to discuss and share information.

Students should build cognitive skills while allow- ing the teacher instructions for the development of the project.

The author hopes that this document may serve for further research and contribute to improve the learning of creative architecture with the support of technology and connectivism.

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ACKNOWLEDGEMENTS

It is appropriate to thank Ricardo Palma Univer- sity for the support in the development of this research and students of the Faculty of Architecture and Urbanism who made the realization of this work possible.

REFERENCES

[1] Siemens, G. Connectivism: A Learning Theory for the Digital Age. 2004. Retrieved by: http://www.

elearnspace.org/Articles/connectivism.htm [2] Fonseca, D. Redondo, E. Handbook of Research

on Applied E-Learning in Engineering and Archi- tecture Education. USA. IGI Global. 2015. p. 55 [3] Weller, M. and Anderson, M. European Journal of

Open, Distance and Learning. EURODL. Retrieved by: http://www.eurodl.org/?p=archives&year=201 3&halfyear=1&article=559

[4] Siemens, G. Connectivist Learning Theory – Sie- mens. 2011. Retrieved by: http://p2pfoundation.

net/Connectivist_Learning_Theory_-_Siemens [5] Segal, M. Creativity and Personality Type. Tools

for understanding and inspiring. The many voices of creativity. Telos Publications. California. USA.

2001. p. 12

[6] Reddy, M. Creativity in Education. Sarup & Sons.

New Delhi. India. 2005. p. 1, 2

[7] Kozulin, A., Gindis, B., Ageyew, V., Miller S.

“Vygotsky´s Educational theory in Cultural Con- text”. The Zone of Proximal Development in Vygotsky´s Analysis of Learning and Instruction.

By Chaiklin, S. Cambridge University press. USA.

2003. p. 54.

[8] Oblinger, D., & Oblinger, J. Is it age or IT: First steps towards understanding the Net Genera- tion. In D. Oblinger & J. Oblinger (Eds.) Educating the Net Generation. Washington, DC: Educause.

2005. Retrieved by: www.educause.edu/educa- tingthenetgen/

[9] Mugahed, W. Sharizan, M and Mi Yusuf, L. “Ef- fect of Engagement and Collaborative Learning on Satisfaction through the use of Social Media on Malaysian Higher Education” Research of Applied Sciences, Engineering and Technol- ogy. Maxwell Scientific Organization. Malaysia.

2015. Retrieved by: https://www.researchgate.

net/publication/281676330_Effect_of_engage- ment_and_collaborative_learning_on_satisfac- tion_through_the_use_of_social_media_on_Ma- laysian_higher_education p. 1134.

[10] Siemens, S. “Connectivism: A Learning Theory for the Digital Age” Retrieved by: http://www.itdl.

org/Journal/Jan_05/article01.htm

[11] Moral M., Cernea A., Villalustre L. “Connectivist learning Objects and Learning Styles”. University of Oviedo, Spain. Vol. 9, 2013. Retrieved by: http://

www.ijello.org/Volume9/IJELLOv9p105-124Mor- al0830.pdf

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CAADence in Architecture <Back to command> |1 CAADence in Architecture

Back to command International workshop and conference 16-17 June 2016 Budapest University of Technology and Economics www.caadence.bme.hu

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The aim of these workshops and conference is to help transfer and spread newly appearing design technologies, educational methods and digital modelling supported by information technology in architecture. By organizing a workshop with a conference, we would like to close the distance between practice and theory.

Architects who keep up with the new designs demanded by the building industry will remain at the forefront of the design process in our information-technology based world. Being familiar with the tools available for simulations and early phase models will enable architects to lead the process.

We can get “back to command”.

The other message of our slogan is <Back to command>.

In the expanding world of IT applications there is a need for the ready change of preliminary models by using parameters and scripts. These approaches retrieve the feeling of command-oriented systems, DOWKRXJKZLWKPXFKJUHDWHUH΍HFWLYHQHVV

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CAADence in Architecture

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Proceedings of the International Conference on Computer Aided Architectural Design

16-17 June 2016 Budapest, Hungary Faculty of Architecture Budapest University of Technology and Economics

Edited by

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Theme

CAADence in Architecture

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The aim of these workshops and conference is to help transfer and spread newly ap- pearing design technologies, educational methods and digital modelling supported by information technology in architecture. By organizing a workshop with a conference, we would like to close the distance between practice and theory.

Architects who keep up with the new design demanded by the building industry will remain at the forefront of the design process in our IT-based world. Being familiar with the tools available for simulations and early phase models will enable architects to lead the process. We can get “back to command”.

Our slogan “Back to Command” contains another message. In the expanding world of IT applications, one must be able to change preliminary models readily by using dif- ferent parameters and scripts. These approaches bring back the feeling of command- oriented systems, although with much greater effectiveness.

Why CAADence in architecture?

“The cadence is perhaps one of the most unusual elements of classical music, an indis- pensable addition to an orchestra-accompanied concerto that, though ubiquitous, can take a wide variety of forms. By definition, a cadence is a solo that precedes a closing formula, in which the soloist plays a series of personally selected or invented musical phrases, interspersed with previously played themes – in short, a free ground for vir- tuosic improvisation.”

Nowadays sophisticated CAAD (Computer Aided Architectural Design) applications might operate in the hand of architects like instruments in the hand of musicians. We have used the word association cadence/caadence as a sort of word play to make this event even more memorable.

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Chair of the Organizing Committee

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Acknowledgement

We would like to express our sincere thanks to all of the authors, reviewers, session chairs, and plenary speakers. We also wish say thank you to the workshop organizers, who brought practice to theory closer together.

This conference was supported by our sponsors: GRAPHISOFT, AUTODESK, and STUDIO IN-EX. Additionally, the Faculty of Architecture at Budapest University of Tech- nology and Economics provided support through its “Future Fund” (Jövő Alap), helping to bring internationally recognized speakers to this conference.

Members of our local organizing team have supported this event with their special con- tribution – namely, their hard work in preparing and managing this conference.

Local conference staff

Ádám Tamás Kovács, Bodó Bánáti, Imre Batta, Bálint Csabay, Benedek Gászpor, Alexandra Göőz, Péter Kaknics, András Zsolt Kovács, Erzsébet Kőnigné Tóth, Bence Krajnyák, Levente Lajtos, Pál Ledneczki, Mark Searle, Béla Marsal, Albert Máté, Boldizsár Medvey, Johanna Pék, Gábor Rátonyi, László Strommer, Zsanett Takács, Péter Zsigmond

Mihály Szoboszlai

Chair of the Organizing Committee

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Workshop tutors

Algorithmic Design through BIM Erik Havadi

Laura Baróthy

Working with BIM Analyses Balázs Molnár Máté Csócsics Zsolt Oláh

OPEN BIM

Ákos Rechtorisz Tamás Erős

GDL in Daily Work

Gergely Fehér

Dominika Bobály

Gergely Hári

James Badcock

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Abdelmohsen, Sherif - Egypt Achten, Henri - Czech Republic

Agkathidis, Asterios - United Kingdom Asanowicz, Aleksander - Poland Bhatt, Anand - India

Braumann, Johannes - Austria Celani, Gabriela - Brazil Cerovsek, Tomo - Slovenia Chaszar, Andre - Netherlands Chronis, Angelos - Spain Dokonal, Wolfgang - Austria Estévez, Alberto T. - Spain Fricker, Pia - Switzerland Herr, Christiane M. - China Hoffmann, Miklós - Hungary Juhász, Imre - Hungary Jutraz, Anja - Slovenia

Kieferle, Joachim B. - Germany Klinc, Robert - Slovenia

Koch, Volker - Germany Kolarevic, Branko - Canada König, Reinhard - Switzerland

Krakhofer, Stefan - Hong Kong van Leeuwen, Jos - Netherlands Lomker, Thorsten - United Arab Emirates Lorenz, Wolfgang - Austria

Loveridge, Russell - Switzerland Mark, Earl - United States Molnár, Emil - Hungary

Mueller, Volker - United States Németh, László - Hungary Nourian, Pirouz - Netherlands Oxman, Rivka - Israel

Parlac, Vera - Canada

Quintus, Alex - United Arab Emirates Searle, Mark - Hungary

Szoboszlai, Mihály - Hungary Tuncer, Bige - Singapore Verbeke, Johan - Belgium

Vermillion, Joshua - United States Watanabe, Shun - Japan

Wojtowicz, Jerzy - Poland Wurzer, Gabriel - Austria Yamu, Claudia - Netherlands

List of Reviewers

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14 Keynote speakers

15 Keynote

15 Backcasting and a New Way of Command in Computational Design Reinhard Koenig, Gerhard Schmitt

27 Half Cadence: Towards Integrative Design Branko Kolarevic

33 Call from the industry leaders

33 Kajima’s BIM Theory & Methods Kazumi Yajima

41 Section A1 - Shape grammar

41 Minka, Machiya, and Gassho-Zukuri

Procedural Generation of Japanese Traditional Houses

Shun Watanabe

49 3D Shape Grammar of Polyhedral Spires László Strommer

55 Section A2 - Smart cities

55 Enhancing Housing Flexibility Through Collaboration Sabine Ritter De Paris, Carlos Nuno Lacerda Lopes

61 Connecting Online-Configurators (Including 3D Representations) with CAD-Systems

Small Scale Solutions for SMEs in the Design-Product and Building Sector

Matthias Kulcke

67 BIM to GIS and GIS to BIM

Szabolcs Kari, László Lellei, Attila Gyulai, András Sik, Miklós Márton Riedel

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73 Section A3 - Modeling with scripting

73 Parametric Details of Membrane Constructions Bálint Péter Füzes, Dezső Hegyi

79 De-Script-ion: Individuality / Uniformity Helen Lam Wai-yin, Vito Bertin

87 Section B1 - BIM

87 Forecasting Time between Problems of Building Components by Using BIM

Michio Matsubayashi, Shun Watanabe

93 Integration of Facility Management System and Building Information Modeling

Lei Xu

99 BIM as a Transformer of Processes Ingolf Sundfør, Harald Selvær

105 Section B2 - Smooth transition

105 Changing Tangent and Curvature Data of B-splines via Knot Manipulation Szilvia B.-S. Béla, Márta Szilvási-Nagy

111 A General Theory for Finding the Lightest Manmade Structures Using Voronoi and Delaunay

Mohammed Mustafa Ezzat

119 Section B3 - Media supported teaching

119 Developing New Computational Methodologies for Data Integrated Design for Landscape Architecture

Pia Fricker

127 The Importance of Connectivism in Architectural Design Learning:

Developing Creative Thinking Verónica Paola Rossado Espinoza 133 Ambient PET(b)ar

Kateřina Nováková

141 Geometric Modelling and Reconstruction of Surfaces

Lidija Pletenac

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149 Section C1 - Collaborative design + Simulation

149 Horizontal Load Resistance of Ruined Walls Case Study of a Hungarian

Castle with the Aid of Laser Scanning Technology

Tamás Ther, István Sajtos

155 2D-Hygrothermal Simulation of Historical Solid Walls Michela Pascucci, Elena Lucchi

163 Responsive Interaction in Dynamic Envelopes with Mesh Tessellation Sambit Datta, Smolik Andrei, Tengwen Chang

169 Identification of Required Processes and Data for Facilitating the Assessment of Resources Management Efficiency During Buildings Life Cycle

Moamen M. Seddik, Rabee M. Reffat, Shawkat L. Elkady

177 Section C2 - Generative Design -1

177 Stereotomic Models In Architecture A Generative Design Method to

Integrate Spatial and Structural Parameters Through the Application of Subtractive Operations

Juan José Castellón González, Pierluigi D’Acunto

185 Visual Structuring for Generative Design Search Spaces Günsu Merin Abbas, İpek Gürsel Dino

195 Section D2 - Generative Design - 2

195 Solar Envelope Optimization Method for Complex Urban Environments Francesco De Luca

203 Time-based Matter: Suggesting New Formal Variables for Space Design Delia Dumitrescu

213 Performance-oriented Design Assisted by a Parametric Toolkit - Case study

Bálint Botzheim, Kitti Gidófalvy, Patricia Emy Kikunaga, András Szollár, András Reith

221 Classification of Parametric Design Techniques

Types of Surface Patterns

Réka Sárközi, Péter Iványi, Attila Béla Széll

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227 Section D1 - Visualization and communication

227 Issues of Control and Command in Digital Design and Architectural Computation

Andre Chaszar

235 Integrating Point Clouds to Support Architectural Visualization and Communication

Dóra Surina, Gábor Bödő, Konsztantinosz Hadzijanisz, Réka Lovas, Beatrix Szabó, Barnabás Vári, András Fehér

243 Towards the Measurement of Perceived Architectural Qualities Benjamin Heinrich, Gabriel Wurzer

249 Complexity across scales in the work of Le Corbusier

Using box-counting as a method for analysing facades

Wolfgang E. Lorenz

256 Author’s index

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REINHARD KöNIG

Reinhard König studied architecture and urban planning. He completed his PhD thesis in 2009 at the University of Karlsruhe . Dr. König has worked as a research assistant and appointed Interim Professor of the Chair for Computer Science in Architecture at Bauhaus-University Weimar. He heads research projects on the complexity of urban systems and societies, the understanding of cities by means of agent based models and cellular automata as well as the development of evolutionary design methods. From 2013 Reinhard König works at the Chair of Information Architecture, ETH Zurich. In 2014 Dr. König was guest professor at the Technical University Munich . His current research interests are applicability of multi-criteria optimisation techniques for design problems and the development of computational analysis methods for spatial configu- rations. Results from these research activities are transferred into planning software of the company DecodingSpaces . From 2015 Dr. König heads the Junior-Professorship for Computational Architecture at Bauhaus-University Weimar, and acts as Co-PI at the Future Cities Lab in Singapore, where he focus on Cognitive Design Computing.

Main research project: Planning Synthesis & Computational Planning Group see also the project description: Computational Planning Synthesis and his external research web site: Computational Planning Science

BRANKO KOLAREVIC

Branko Kolarevic is a Professor of Architecture at the University of Calgary Faculty of Environmental Design, where he also holds the Chair in Integrated Design and co- directs the Laboratory for Integrative Design (LID). He has taught architecture at sev- eral universities in North America and Asia and has lectured worldwide on the use of digital technologies in design and production. He has authored, edited or co-edited sev- eral books, including “ Building Dynamics: Exploring Architecture of Change ” (with Vera Parlac), “Manufacturing Material Effects” (with Kevin Klinger), “Performative Archi- tecture” (with Ali Malkawi) and “Architecture in the Digital Age.” He is a past president of the Association for Computer Aided Design in Architecture (ACADIA), past president of the Canadian Architectural Certification Board (CACB), and was recently elected fu- ture president of the Association of Collegiate Schools of Architecture (ACSA). He is a recipient of the ACADIA Award for Innovative Research in 2007 and ACADIA Society Award of Excellence in 2015. He holds doctoral and master’s degrees in design from Harvard University and a diploma engineer in architecture degree from the University of Belgrade .

Keynote speakers

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Author’s index

Abbas, Günsu Merin ...185

Balla-S. Béla, Szilvia ...105

Bertin, Vito ...79

Botzheim, Bálint ... 213

Bödő, Gábor ...235

Castellon Gonzalez, Juan José ...177

Chang, Tengwen ...163

Chaszar, Andre ...227

D’Acunto, Pierluigi ...177

Datta, Sambit ...163

De Luca, Francesco ...195

De Paris, Sabine ...55

Dino, Ipek Gürsel ...185

Dumitrescu, Delia...203

Elkady, Shawkat L. ... 169

Ezzat, Mohammed ... 111

Fehér, András ...235

Fricker, Pia ... 119

Füzes, Bálint Péter ...73

Gidófalvy, Kitti... 213

Gyulai, Attila ...67

Hadzijanisz, Konsztantinosz ...235

Hegyi, Dezső ...73

Heinrich, Benjamin ...243

Iványi, Péter ...221

Kari, Szabolcs ...67

Kikunaga, Patricia Emy ... 213

Koenig, Reinhard ...15

Kolarevic, Branko ...27

Kulcke, Matthias ... 61

Lam, Wai Yin ...79

Lellei, László ...67

Lorenz, Wolfgang E. ...249

Lovas, Réka ...235

Lucchi, Elena ...155

Matsubayashi, Michio ...87

Nováková, Kateřina ...133

Nuno Lacerda Lopes, Carlos ...55

Pascucci, Michela ...155

Pletenac, Lidija ... 141

Reffat M., Rabee ... 169

Reith, András ... 213

Riedel, Miklós Márton ...67

Rossado Espinoza, Verónica Paola ...127

Sajtos, István ... 149

Sárközi, Réka ...221

Schmitt, Gerhard ...15

Seddik, Moamen M. ... 169

Selvær, Harald ...99

Sik, András ...67

Smolik, Andrei ...163

Strommer, László ...49

Sundfør, Ingolf ...99

Surina, Dóra ...235

Szabó, Beatrix ...235

Széll, Attila Béla ...221

Szilvási-Nagy, Márta ...105

Szollár, András ... 213

Ther, Tamás ... 149

Vári, Barnabás ...235

Watanabe, Shun ... 41, 87 Wurzer, Gabriel ...243

Xu, Lei ...93

Yajima, Kazumi ...33

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CAADence in Architecture Back to command International workshop and conference 16-17 June 2016 Budapest University of Technology and Economics www.caadence.bme.hu

CAADence in Archit ecture - Budapest 2016

The aim of these workshops and conference is to help transfer and spread newly appearing design technologies, educational methods and digital modelling supported by information technology in architecture. By organizing a workshop with a conference, we would like to close the distance between practice and theory.

Architects who keep up with the new designs demanded by the building industry will remain at the forefront of the design process in our information-technology based world. Being familiar with the tools available for simulations and early phase models will enable architects to lead the process.

We can get “back to command”.

The other message of our slogan is <Back to command>.

In the expanding world of IT applications there is a need for the ready change of preliminary models by using parameters and scripts. These approaches retrieve the feeling of command-oriented systems, DOWKRXJKZLWKPXFKJUHDWHUH΍HFWLYHQHVV

Why CAADence in architecture?

"The cadence is perhaps one of the most unusual elements of classical music, an indispensable addition to an orchestra-accompanied concerto that, though ubiquitous, can take a wide variety of forms. By GHȴQLWLRQDFDGHQFHLVDVRORWKDWSUHFHGHVDFORVLQJIRUPXODLQZKLFKWKHVRORLVWSOD\VDVHULHVRI personally selected or invented musical phrases, interspersed with previously played themes – in short, a free ground for virtuosic improvisation."

Back to command

ISBN 978-963-313-225-8

Edited by Mihály Szoboszlai

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The Importance of Connectivism in Architectural Design Learning: Developing Creative Thinking