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<p>Introduction ix<br /><i>Sébastien BOURBONNAIS</i></p> <p><b>Chapter 1. Evolution of Architectural Software 1</b><br /><i>Sébastien BOURBONNAIS</i></p> <p>1.1. Introduction 1</p> <p>1.1.1. Difficulty of classification 3</p> <p>1.2. Human-computer interaction 6</p> <p>1.3. Technological imaginations and consciousness 10</p> <p>1.3.1. First meetings around the computer 11</p> <p>1.3.2. "Software", the constitution of a notion 14</p> <p>1.4. The pioneers 20</p> <p>1.4.1. The CAD (Computer-Aided Design) project 21</p> <p>1.4.2. Communicating with the machine, via drawing 24</p> <p>1.4.3. Representing the information 26</p> <p>1.4.4. The computer: an entity in its own right 29</p> <p>1.5. The complex problem of design 33</p> <p>1.5.1. Generating drawings 35</p> <p>1.5.2. Improving accurate algorithms 39</p> <p>1.5.3. Integrating building descriptions 43</p> <p>1.5.4. Increasing the objects of the design 45</p> <p>1.6. When industry takes over the software market 46</p> <p>1.6.1. Drawing programs 48</p> <p>1.6.2. Representation of spatiality 51</p> <p>1.7. User interface improvements 54</p> <p>1.7.1. The questioning of drawing 55</p> <p>1.7.2. Design with a 3D model 58</p> <p>1.7.3. Moving images 61</p> <p>1.8. Architects explore differently 64</p> <p>1.8.1. The craze for variation 66</p> <p>1.8.2. Tool-users and tool-makers 67</p> <p>1.8.3. The connection with the construction (CAD-CAM) 69</p> <p>1.9. A new bifurcation 71</p> <p>1.9.1. The end of unique software 72</p> <p>1.9.2. "More user-friendly" 74</p> <p>1.9.3. Restoring the simplicity of use 75</p> <p>1.9.4. Manipulating parameters 78</p> <p>1.9.5. BIM qualified practices. 79</p> <p>1.10. Conclusion 81</p> <p>1.11. References 82</p> <p><b>Chapter 2. Emergence of Pre-digital Algorithmic Design 91</b><br /><i>Denis DERYCKE</i></p> <p>2.1. Introduction 91</p> <p>2.2. Structuralism, generic process and specific object 92</p> <p>2.3. Architecture as an autonomous formal language 98</p> <p>2.4. The index sign, connection element of the virtual model to the current instance 104</p> <p>2.5. Axonometry, diagram and algorithmic process 106</p> <p>2.6. From the theoretical to the intuitive, from the East Coast to the West Coast 111</p> <p>2.7. Multiple instances: projects and conceptual artifacts 113</p> <p>2.8. Actual instances and virtual systems 120</p> <p>2.9. Conclusion 130</p> <p>2.10. References 132</p> <p><b>Chapter 3. Mapping the Affinities Between the Non-Standard and the Fold 135</b><br /><i>Florence PLIHON</i></p> <p>3.1. Introduction 135</p> <p>3.2. Contextual landscapes: the theoretical bias of architecture (1990-2000) 137</p> <p>3.2.1. Bernard Cache, Greg Lynn, UN Studio, "intercessors" of the Fold 137</p> <p>3.2.2. Terre Meuble and Folding, two key publications 140</p> <p>3.2.3. To constitute avant-garde 144</p> <p>3.3. Contextual landscapes: technological biases (1990-2000) 146</p> <p>3.3.1. The technological choices of Greg Lynn and Peter Eisenman 146</p> <p>3.3.2. Bernard Cache’s technological choices 149</p> <p>3.3.3. From pencil to computer mouse 151</p> <p>3.3.4. Architects who became digital specialists 153</p> <p>3.3.5. Standardization in question 154</p> <p>3.3.6. Fascination for the curve 156</p> <p>3.3.7. Back and forth between theory and practice 158</p> <p>3.4. Mapping of theoretical transfers 159</p> <p>3.4.1. Deleuze and architecture 159</p> <p>3.4.2. The Fold across the Atlantic 161</p> <p>3.4.3. An operational fold 162</p> <p>3.4.4. Deterritorializing the Fold: at what cost? 163</p> <p>3.5. Strategies: productive effects of the Deleuzian Fold on architecture 166</p> <p>3.5.1. Objective and modulation 166</p> <p>3.5.2. The blob, a theoretical and geometrical curiosity 168</p> <p>3.5.3. Towards a surface architecture? 171</p> <p>3.5.4. Morphogenesis and accidents 172</p> <p>3.6. Conclusion: towards a technological determinism? 174</p> <p>3.7. References 176</p> <p><b>Chapter 4. Hijacking the Tool: Towards a Transformation of the Architectural Representation 181</b><br /><i>Samuel BERNIER-LAVIGNE</i></p> <p>4.1. The detour 181</p> <p>4.1.1. From tool to instrument 182</p> <p>4.1.2. The question of representation in the digital age 184</p> <p>4.2. Hijacking the software 187</p> <p>4.3. Hijacking the machine 198</p> <p>4.4. Conclusion 207</p> <p>4.5. References 207</p> <p><b>Chapter 5. The Designer in the Informational Shift 211</b><br /><i>Aurélie DE BOISSIEU</i></p> <p>5.1. Introduction 211</p> <p>5.2. Leaving the notation regime: introducing emerging practices 212</p> <p>5.2.1. Data in the computational turn 212</p> <p>5.2.2. The information regime in practice with BIM 213</p> <p>5.2.3. Computational design. 216</p> <p>5.2.4. Towards a definition of "data-driven design" 219</p> <p>5.3. Evolution of possibilities and design postures in the informational shift 221</p> <p>5.3.1. Possibility space in relation to the data, some examples 221</p> <p>5.3.2. "Evidence-based" and "performance-based" postures 225</p> <p>5.3.3. Issues of integrated multi-objective performance 226</p> <p>5.4. Risk and data requirements 229</p> <p>5.4.1. Biases and limitations of the datasets 229</p> <p>5.4.2. The contributions and constraints of BIM to produce and maintain data collaboratively 230</p> <p>5.5. Data management opportunities for new approaches to projects 232</p> <p>5.5.1. BIM and the rise of data-supported collaboration 232</p> <p>5.5.2. The risks of data silos and the challenges of interoperability 234</p> <p>5.6. Conclusion 235</p> <p>5.7. References 236</p> <p>List of Authors 241</p> <p>Index 243</p>

<p><b>Sébastien Bourbonnais</b> is an assistant professor at the School of Architecture of Laval University, Canada. He has taught at several Écoles Nationales Supérieures d'Architecture (National Architectural Colleges) in France, is a research consultant at Asynth and a research associate at EVCAU.</p>

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