![]() In the late nineteenth and early twentieth centuries, the catenary curve, as an example of two-dimensional geometry, became an important form-finding tool, allowing the simultaneous design and calculation of complex vault-like forms (Kilian 2004 Rippmann et al. The form-finding concept can be traced back to the seventeenth century, when Robert Hooke investigated the mathematical properties of the catenary. The teaching experiment presented in this study addresses and combines two themes in its overall learning objective: form-finding as a modeling strategy, and performative analysis as a design evaluation concern. In addition, the pedagogic models and approaches are examined to set up the teaching method. In this section, the background to form-finding is explained with the intention of supporting the development of the student assignment. Based on this work, Sect. 5 discusses the relationship between human and computer factors, the methodological relation between design conception and analysis tasks, and the pedagogic results of such experience. Then, Sect. 4 presents the students’ work by detailing the development of the works, and reflections. After this introduction, Sect. 2 presents the theoretical background, which is followed by an explanation of the general framework of the teaching experience in Sect. 3. This paper is structured in five sections. The authors used qualitative methods to critically evaluate the actor's intervention levels at each stage using a two-point scale (low–high). To investigate the roles of these actors, the experienced form-finding process in the teaching experiment was segmented into stages. In describing the exploration of a computational form-finding process, this paper examines the role of the designer (human) and of the digital technology (computer) in such a design process. In this context, the present paper seeks to describe and analyze a teaching experience in which students were introduced to computational form-finding processes as one of the first computing experiences of their curriculum, as computers are not normally used in the design studios at the Faculty of Architecture of the University of Porto (FAUP) during the first two years of the Integrated Master in Architecture program (MIArq). As a result, the mathematical structure and logic implied in form-finding approaches have benefited from computation, sparking renewed interest in architecture in recent years. ![]() By connecting design generation with performative simulation, computers have made the form-finding exploration of geometric and material solutions possible in ways that would have been difficult before. ![]() Form-finding is one traditional analog processes that has opened up new possibilities in the digital realm. By enabling integrated design, analysis, and fabrication processes, digital technologies have created new conditions for the development of architectural projects and reconfiguring the human–computer relationship (Shea et al.
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