PurposeHighly sophisticated digital technologies have distanced architects and designers from intimate and immediate hand-drawing practices. Meanwhile the changes they rapidly bring come with undetected changes in cultural and social norms regarding the built environment. The growing dependence on computers calls for a more holistic, socially inclusive and place-responsive design practice. This paper aims to shed light on what we are losing in the design process as we rapidly transition to communicate architecture using digital media. The authors contemplate the paradigms in which the human body and physical objects still play an important role in today's design environment.Design/methodology/approachThe paper looks at current trends in developing and establishing “computer imaging” within architectural education, and the architectural profession through parametric design and the area of sustainability. In order to reveal novel and hybrid ways of architectural image-making, it also looks into art forms that already experiment with bodily practices in design by taking an artisanal animation project as a case study.FindingsThe renewed longing for craft, haptic environments, tactile experiences and hand-crafted artifacts and artworks that engage the senses can be exemplified with the success of the documentary Last Dance on the Main, an animated film on the endangered layers of human presence in one of Montreal's downtown neighborhoods. The open possibilities for creative hybridizations between the handmade and the digital in architecture practice and education are exposed.Originality/valueThe influence of film on the perception and consequent design of cities is well documented. There is little literature, however, on how the materiality and process of artisanal film animation can provide alternative, if not additional, insights on how to communicate various aspects of the built environment, particularly those rooted in the human body. Furthermore, handmade film explores a broader understanding of sustainability, which includes considerations for social and cultural contexts.
The architectural façade has been a site of intensive experimentation and innovation throughout the 20th century, something that continues to this day, resulting in a vast range of architectural imagery, often incohesive in the post-modern reality. This research explores contemporary façade types and classifies the character of exterior building surfaces. In this paper, we aim to explore how the façade has been designed and has affected its surroundings. How and why has the façade evolved in the ways that it has? Is it the material innovation, structural novelty, the new design techniques or new aesthetics? We adopt a method of analytical induction to extract the most prevalent façade themes from relevant contemporary literature, characterize their meanings and categorize them in order to better explain the many sides of the façade. We set out to define the principles of façade design to then develop a general categorization, which can be applied to most building façades in recent history.
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