CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
supported by the sibling associations ACADIA, CAADRIA, eCAADe, SIGraDi, ASCAAD and CAAD futures

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Hits 1 to 20 of 258

_id 4004
authors Lawson, Bryan
year 1990
title How designers think: the design process demystified
source University Press, Cambridge
summary How Designers Think is based on Bryan Lawson's many observations of designers at work, interviews with designers and their clients and collaborators. This extended work is the culmination of twenty-five years' research and shows the author's belief that we all can learn to design better. The creative mind continues to have power to surprise and this book aims to nurture and extend this creativity. This book is not intended as an authoritative description of how designers should think but to provide helpful advice on how to develop an understanding of design. 'How Designers Think' will be of great interest, not only to designers seeking a greater insight into their own thought processes, but also to students of design in general from undergraduate level upward.
series other
email b.lawson@sheffield.ac.uk
last changed 2003/04/23 13:14

_id f586
authors Gabriel, G. and Maher, M.L.
year 2000
title Analysis of design communication with and without computer mediation
source Proceedings of Co-designing 2000, pp. 329-337
summary With recent developments in CAD and communication technologies, the way we visualise and communicate design representations is changing. A matter of great interest to architects, practitioners and researchers alike, is how computer technology might affect the way they think and work. The concern is not about the notion of 'support' alone, but about ensuring that computers do not disrupt the design process and collaborative activity already going on (Bannon and Schmidt, 1991). Designing new collaborative tools will then have to be guided by a better understanding of how collaborative work is accomplished and by understanding what resources the collaborators use and what hindrances they encounter in their work (Finholt et al., 1990). Designing, as a more abstract notion, is different than having a business meeting using video conferencing. In design it is more important to 'see' what is being discussed rather than 'watch' the other person(s) involved in the discussion. In other words the data being conveyed might be of more importance than the method with which it is communicated (See Kvan, 1994). Similarly, we believe that by using text instead of audio as a medium for verbal communication, verbal representations can then be recorded alongside graphical representations for later retrieval and use. In this paper we present the results of a study on collaborative design in three different environments: face-to-face (FTF), computer-mediated using video conferencing (CMCD-a), and computer-mediated using "talk by typing" (CMCD-b). The underlying aim is to establish a clearer notion of the collaborative needs of architects using computer-mediation. In turn this has the potential in assisting developers when designing new collaborative tools and in assisting designers when selecting an environment for a collaborative session.
series other
last changed 2003/04/23 13:50

_id aea2
authors Laurel, B. (ed.)
year 1990
title The Art of Human-Computer Interface Design
source New York: Addison-Wesley.
summary Human-computer interface design is a new discipline. So new in fact, that Alan Kay of Apple Computer quipped that people "are not sure whether they should order it by the yard or the ton"! Irrespective of the measure, interface design is gradually emerging as a much-needed and timely approach to reducing the awkwardness and inconveniences of human-computer interaction. "Increased cognitive load", "bewildered and tired users" - these are the byproducts of the "plethora of options and the interface conventions" faced by computer users. Originally, computers were "designed by engineers, for engineers". Little or no attention was, or needed to be, paid to the interface. However, the pervasive use of the personal computer and the increasing number and variety of applications and programs has given rise to a need to focus on the "cognitive locus of human-computer interaction" i.e. the interface. What is the interface? Laurel defines the interface as a "contact surface" that "reflects the physical properties of the interactors, the functions to be performed, and the balance of power and control." (p.xiii) Incorporated into her definition are the "cognitive and emotional aspects of the user's experience". In a very basic sense, the interface is "the place where contact between two entities occurs." (p.xii) Doorknobs, steering wheels, spacesuits-these are all interfaces. The greater the difference between the two entities, the greater the need for a well-designed interface. In this case, the two very different entities are computers and humans. Human-conputer interface design looks at how we can lessen the effects of these differences. This means, for Laurel, empowering users by providing them with ease of use. "How can we think about it so that the interfaces we design will empower users?" "What does the user want to do?" These are the questions Laurel believes must be asked by designers. These are the questions addressed directly and indirectly by the approximately 50 contributors to The Art of Human-Computer Interface Design. In spite of the large number of contributors to the book and the wide range of fields with which they are associated, there is a broad consensus on how interfaces can be designed for empowerment and ease of use. User testing, user contexts, user tasks, user needs, user control: these terms appear throughout the book and suggest ways in which design might focus less on the technology and more on the user. With this perspective in mind, contributor D. Norman argues that computer interfaces should be designed so that the user interacts more with the task and less with the machine. Such interfaces "blend with the task", and "make tools invisible" so that "the technology is subervient to that goal". Sellen and Nicol insist on the need for interfaces that are 'simple', 'self-explanatory', 'adaptive' and 'supportive'. Contributors Vertelney and Grudin are interested in interfaces that support the contexts in which many users work. They consider ways in which group-oriented tasks and collaborative efforts can be supported and aided by the particular design of the interface. Mountford equates ease of use with understating the interface: "The art and science of interface design depends largely on making the transaction with the computer as transparent as possible in order to minimize the burden on the user".(p.248) Mountford also believes in "making computers more powerful extensions of our natural capabilities and goals" by offering the user a "richer sensory environment". One way this can be achieved according to Saloman is through creative use of colour. Saloman notes that colour can not only impart information but that it can be a useful mnemonic device to create associations. A richer sensory environment can also be achieved through use of sound, natural speech recognition, graphics, gesture input devices, animation, video, optical media and through what Blake refers to as "hybrid systems". These systems include additional interface features to control components such as optical disks, videotape, speech digitizers and a range of devices that support "whole user tasks". Rich sensory environments are often characteristic of game interfaces which rely heavily on sound and graphics. Crawford believes we have a lot to learn from the design of games and that they incorporate "sound concepts of user interface design". He argues that "games operate in a more demanding user-interface universe than other applications" since they must be both "fun" and "functional".
series other
last changed 2003/04/23 13:14

_id caadria2006_047
id caadria2006_047
authors SHAI YESHAYAHU, A.; B. MARIA VERA
year 2006
title CUT, COPY, PASTE SOCIETY
source CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 47-52
summary You and I were not born in the 1990’s thus our experience about the true modalities of circulation and communication that have substantially transformed the methods that form and inform us today, are not really “pure”. Why? Because we know how slow time was before the communication boom of this last decade and because some of us still believe that we must read to be inform and thus, visit a bookstore, library or friends house and get peeks inside a subject of matter. So experiencing life as we bypass the book _ that’s a story of a brand new era! Taking note of the enormous changes this era brings, is fundamental to our current pedagogic undertakings. We seek data about the differences that lie in the way individuals, which never knew a world before or between analogue and digital zones, process information. It signals a dramatic shift in cognitive realms that is deeply imbedded in our emerging socio-economic spheres. So, you say “hypothesizing that economic, technologic, and cultural fluxes fabricate new means to learn and think, is not a fresh idea”_ True. But, it led us to ask one fundamental question _What are the upcoming learning habits employed by the “post digital” society? We noted that the post digital generation is an avid cut, copy, paste society that is able to extract information from infinite resources and mix, remix in diversified modes, through time and in real-time. We think these abilities are strengths, which will permit students to multitask yet they strongly differ from the academic agendas that are concerned with meditative processes and qualitative interdisciplinary task. As aspiring academics interested in the reconfiguration of current pedagogic formats we seek a creative intervention for future design generations, one that can benefit both the upheavals of the cultural world and the integrity of the academic setting where a pedagogy that links extended fields of knowledge with shifting cognitive habits can emerge. In this arena where cognition plays an important role, our goals are challenging and difficult, especially in the beginning years when the foundations set forward leaves lasting impressions. Thus, letting go of familiar grounds and tuning to continual alterations of the immediate surroundings enables us to seek means that facilitate important readings for our current learning/teaching processes. Demystifying changes and embracing differences as design potentials for new interventions are basic programmatic elements that permit us to incorporate a rigorous research agenda in the design exercises. Our presentation will project the current state of our teaching modality and provide examples of current studio work. It will demonstrate how everyday rituals, journeys and research observations, are documented by a society that heralds a new academic setting.
series CAADRIA
email shaiy@siu.edu
last changed 2007/07/23 05:08

_id avocaad_2001_09
id avocaad_2001_09
authors Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year 2001
title Digital Architecture in CAD studio and Internet-based competition
source AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series AVOCAAD
email aleppo@cc.nctu.edu.tw
last changed 2005/09/09 08:48

_id 6b3c
authors Cheng, Nancy Yen-wen
year 1990
title Tradition and Innovation: Mixing digital and manual methods in designing a Cambodian Community Center
source Harvard Graduate School of Design, USA
summary This thesis examines how an architectural problem with specific social and site constraints can be addressed by a formal solution. In the process of exploring formal possibilities, computer imaging techniques were used to complement traditional models and drawings. Because the methods reveal different aspects of the project, they elicit different perceptions.

The project yielded insights into the use of representational techniques in design. Changing media keeps the designer alert to alternate ways of understanding. Successive manifestations can keep the identity of the design shifting: useful for exploring variants, but antithetical to resolution. In presentation, traditional representations can make the work more legible. If traditional and digital media are shown together, they must be arranged to complement rather than compete with each other.

series thesis:MSc
email nywc@darkwing.uoregon.edu
last changed 2003/05/29 04:01

_id avocaad_2001_02
id avocaad_2001_02
authors Cheng-Yuan Lin, Yu-Tung Liu
year 2001
title A digital Procedure of Building Construction: A practical project
source AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series AVOCAAD
email aleppo@cc.nctu.edu.tw
last changed 2005/09/09 08:48

_id e5e2
authors Coyne, R.D., Rosenman, M.A. and Radford, A.D. (et.al.)
year 1990
title Knowledge Based Design Systems
source 576 p. : ill Reading, Mass.: Addison-Wesley, 1990. includes bibliographies and index.
summary This book describes the bases, approaches, techniques, and implementations of knowledge-based design systems, and advocates and develops new directions in design systems generally. A formal model of design coupled with the notion of prototypes provides a coherent framework for all that follows and is a platform on which a comprehension of knowledge-based design rests. The book is divided into three parts. Part I, Design, examines and describes design and design processes, providing the context for the remainder of the book. Part II, Representation and Reasoning, explores the kinds of knowledge involved in design and the tools and techniques available for representing and controlling this knowledge. It examines the attributes of design that must be described and the ways in which knowledge-based methods are capable of describing and controlling them. Part III, Knowledge-Based Design, presents in detail the fundamentals of the interpretation of design, including the role of expert systems in interpreting existing designs, before describing how to produce designs within a knowledge-based environment. This part includes a detailed examination of design processes from the perspective of how to control these processes. Within each of these processes, the place and role of knowledge is presented and examples of knowledge-based design systems given. Finally, the authors examine central areas of human design and demonstrate what current knowledge-based design systems are capable of doing now and in the future
keywords knowledge base, design process, representation, CAD, AI, prototypes, expert systems
series CADline
email Richard.Coyne@ed.ac.uk
last changed 2003/05/17 08:13

_id c2ed
authors De Vries, Mark and Wagter, Harry
year 1990
title A CAAD Model for Use in Early Design Phases
source The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 215-228
summary In this paper we present a model for handling design information in the early design phases. This model can be used for representing both vague and exact defined information. The first part describes the difficulties involved in using CAD in the architectural design process and the characteristics of that process. Then we give a description of the design information and its representation during the design process. Next an overview of the architectural design process describes how design information is added and manipulated during the design process in order to achieve an effective result. Finally, we include a brief description of a simple prototype program to illustrate how this theory acts in practice.
series CAAD Futures
email Harry.Wagter@brighthouse.nl
last changed 2003/05/16 18:58

_id acadia06_426
id acadia06_426
authors Garber, R., Robertson, N.
year 2006
title The Pleated Cape: From the Mass-Standardization of Levittown to Mass Customization Today
source Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 426-439
summary In the 1950’s, the Levitts put mass-production and the reverse assembly line into use in the building of thousands of single-family houses. However, the lack of variation that made their construction process so successful ultimately produced a mundane suburban landscape of sameness. While there were many attempts to differentiate these Levitt Cape Cods, none matched the ingenuity of their original construction process. The notion of mass-customization has been heavily theorized since the 1990’s, first appearing in the field of management and ultimately finding its way into the field of architecture. Greg Lynn used mass-customization in his design for the Embryological House in which thousands of unique houses could be generated using biological rules of differentiation (Lynn 1999). Other industries have embraced the premise that computer-numerically-controlled technologies allow for the production of variation, though it has not been thoroughly studied in architecture. While digital fabrication has been integral in the realization of several high-profile projects, the notion of large-scale mass-customization in the spec-housing market has yet to become a reality. Through the execution of an addition to a Cape Cod-style house, we examine the intersection between prefabricated standardized panels and digital fabrication to produce a mass-customized approach to housing design. Through illustrations and a detailed description of our design process, we will show how digital fabrication technologies allow for customization of mass produced products.
series ACADIA
email richard@emergence.net
last changed 2006/09/22 06:22

_id 01ba
authors Hyde, Richard and Boon Lay, Ong
year 1990
title Design Problems and Evaluative Strategies Using CAAD
source February, 1990. 16 p. : col. ill. includes bibliography
summary The way architects design comes into sharp focus when developing strategies for evaluating buildings. Architectural design is a highly subjective activity on the one hand but on the other it is also highly objective. The paper examines the use of CAAD systems for objective evaluation while also recognizing that this kind of evaluation has to be related to the subjective aspects of the design. In order to examine this, further research has been carried out into the use of CAAD systems to evaluate sunshading characteristics in a building design problem. The approach utilized the Integraph AMOD software to generate three dimensional models of the design proposal which were then tested using the Integraph Model View software which has a sunshading facility. The utility of this approach was tested first against criteria of how accurate the computer was in giving meaningful feedback to the designer. Secondly, how productive this approach was in the design process as compared to traditional techniques using instruments such as the heliodon. Finally, a discussion of the developments of the approach is given
keywords design, CAD, evaluation, computer graphics, applications
series CADline
last changed 2003/06/02 08:24

_id 4c3d
authors Johnson, Robert
year 1990
title The Economics of Building : A Practical Guide for the Design Professional
source xvii, 209 p. : ill. New York: John Wiley & Sons, 1990. includes bibliography
summary This book is both an introduction to economic principles and theories as they relate to building design decisions, and a practical reference guide on how to use economic principles when making decisions. It unites a variety of specialized topics relating to building economics, such as cost estimating, life-cycle costing, cost indexes, capital budgeting, decision analysis, and real estate feasibility analysis, developing them within the framework of an integrated approach to making building design and management decisions. This integrated approach is developed by adapting basic approaches of decision theory to economic evaluation. This book attempts to achieve a sensible balance between the need to simplify relatively complex economic and decision theory principles and practices without sacrificing the intellectual content of the material
keywords economics, practice, education, construction, architecture, theory, building process, evaluation, prediction, management, decision making
series CADline
last changed 1999/02/12 14:08

_id 6259
authors Kalay, Yehuda E. and Majkowski, Bruce R.
year 1990
title CAD Technology Transfer: A Case Study
source From Research to Practice [ACADIA Conference Proceedings] Big Sky (Montana - USA) 4-6 October 1990, pp. 133-143
summary Transferring innovative university-based research results to the industry or practice that will ultimately use them is an arduous, time-consuming effort. One way to effect this technology transfer is to develop a demonstrable prototype product and then find or form a corporation that can expand the prototype into a full product and market it to the profession. Another way, which can shorten the transfer process, is to "sell" the idea, rather than the product, to a corporation that has the vision, the resources and the technical competency to support its development, with the intent to eventually market it. In this paper, we describe a case study of this latter approach, based on our seven year experience of researching, developing and transferring innovative architectural CAD technology. We describe the birth, growth, and maturity of Worldview, a computer-aided design and modeling system for use by architects. The project was initiated in 1983, and went through five software versions, numerous grants and grant extensions, two granting corporations, and extensive field testing. The software has developed into a mature system, with sufficient functionality appropriate for commercial distribution. The paper describes not only the factual chronology of the project, but also highlights the advantages and drawbacks of market-oriented university research. We conclude with suggestions as to how the process may be improved, and how problems and obstacles can be minimized.
series ACADIA
email kalay@socrates.berkeley.edu
last changed 2003/05/16 17:23

_id 26cb
authors Kalay, Yehuda E. and Steinfeld, Edward
year 1990
title The Impact of Computer-Aided Design on Representation in Architecture
source 1990. 24 p. : ill. includes bibliography
summary Representation can be defined as a process of abstraction and communication. Through some symbolic language, characteristics of a real or hypothetical object or experience are conveyed by one person to another. During the process of design there are two basic uses of representation: internal and external. Internal representation is used by the designer to create and transform the design in process. It is a conversation with oneself. External representations are used to communicate the evolving design to others, including others in the design team, so that it can be evaluated and criticized. Computers are used today in architecture primarily as a tool to carry on the practice of architecture as it has evolved during the recent past. The new technology has heretofore been adapted to conform to our habitual forms of representation. This paper explores how computer technology can support new methods of representation in architecture. Issues discussed include the form and content of internal computer-aided representations, loss of information due to abstraction, communication between internal and external representations, and the form and process of external representation
keywords CAD, architecture, representation
series CADline
email kalay@socrates.berkeley.edu
last changed 2003/06/02 08:24

_id 06e1
authors Keul, Alexander
year 1996
title LOST IN SPACE? ARCHITECTURAL PSYCHOLOGY - PAST, PRESENT, FUTURE
source Full-Scale Modeling in the Age of Virtual Reality [6th EFA-Conference Proceedings]
summary A methodological review by Kaminski (1995) summed up five perspectives in environmental psychology - patterns of spatial distribution, everyday “jigsaw puzzles”, functional everyday action systems, sociocultural change and evolution of competence. Architectural psychology (named so at the Strathclyde conference 1969; Canter, 1973) as psychology of built environments is one leg of environmental psychology, the second one being psychology of environmental protection. Architectural psychology has come of age and passed its 25th birthday. Thus, a triangulation of its position, especially in Central Europe, seems interesting and necessary. A recent survey mainly on university projects in German-speaking countries (Kruse & Trimpin, 1995) found a marked decrease of studies in psychology of built environments. 1994, 25% of all projects were reported in this category, which in 1975 had made up 40% (Kruse, 1975). Guenther, in an unpublished survey of BDP (association of professional German psychologists) members, encountered only a handful active in architectural psychology - mostly part-time, not full-time. 1996, Austria has two full-time university specialists. The discrepancy between the general interest displayed by planners and a still low institutionalization is noticeable.

How is the research situation? Using several standard research data banks, the author collected articles and book(chapter)s on architectural psychology in German- and English-language countries from 1990 to 1996. Studies on main architecture-psychology interface problems such as user needs, housing quality evaluations, participatory planning and spatial simulation / virtual reality did not outline an “old, settled” discipline, but rather the sketchy, random surface of a field “always starting anew”. E.g., discussions at the 1995 EAEA-Conference showed that several architectural simulation studies since 1973 caused no major impact on planner's opinions (Keul&Martens, 1996). “Re-inventions of the wheel” are caused by a lack of meetings (except this one!) and of interdisciplinary infrastructure in German-language countries (contrary to Sweden or the United States). Social pressures building up on architecture nowadays by inter-European competition, budget cuts and citizen activities for informed consent in most urban projects are a new challenge for planners to cooperate efficiently with social scientists. At Salzburg, the author currently manages the Corporate Design-process for the Chamber of Architecture, Division for Upper Austria and Salzburg. A “working group for architectural psychology” (Keul-Martens-Maderthaner) has been active since 1994.

keywords Model Simulation, Real Environments
series EAEA
type normal paper
email alexander.keul@sbg.ac.at
more http://info.tuwien.ac.at/efa/
last changed 2005/09/09 08:43

_id e91f
authors Mitchell, W.J., Liggett, R.S. and Tan, M.
year 1990
title Top-Down Knowledge-Based Design
source The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 137-148
summary Traditional computer drafting systems and three- dimensional geometric modeling systems work in bottom-up fashion. They provide a range of graphic primitives, such as vectors, arcs, and splines, together with operators for inserting, deleting, combining, and transforming instances of these. Thus they are conceptually very similar to word processors, with the difference that they operate on two- dimensional or three-dimensional patterns of graphic primitives rather than one-dimensional strings of characters. This sort of system is effective for input and editing of drawings or models that represent existing designs, but provides little more help than a pencil when you want to construct from scratch a drawing of some complex object such as a human figure, an automobile, or a classical column: you must depend on your own knowledge of what the pieces are and how to shape them and put them together. If you already know how to draw something then a computer drafting system will help you to do so efficiently, but if you do not know how to begin, or how to develop and refine the drawing, then the efficiency that you gain is of little practical consequence. And accelerated performance, flashier color graphics, or futuristic three-dimensional modes of interaction will not help with this problem at all. By contrast, experienced expert graphic artists and designers usually work in top-down fashion-beginning with a very schematic sketch of the whole object, then refining this, in step-by-step fashion, till the requisite level of precision and completeness is reached. For example, a figure drawing might begin as a "stick figure" schema showing lengths and angles of limbs, then be developed to show the general blocking of masses, and finally be resolved down to the finest details of contour and surface. Similarly, an architectural drawing might begin as a parti showing just a skeleton of construction lines, then be developed into a single-line floor plan, then a plan showing accurate wall thicknesses and openings, and finally a fully developed and detailed drawing.
series CAAD Futures
email wjm@MIT.EDU
last changed 2003/05/16 18:58

_id 4e31
authors Norman, Richard B.
year 1990
title Electronic Color : The Art of Color Applied to Graphic Computing
source xiv, 186 p. : ill. (some col.) New York: Van Nostrand Reinhold, 1990. includes bibliography
summary This book offers artists an introduction to a new technology for the communication of visual ideas, and it offers scientists an introduction to principles of art that have existed forever, but made simpler to communicate because of the new technology. The 9 chapters of the book cover such topics as: The language of color (tools and teaching, the elements of design, how color speaks, electronic color as teacher); A theory of contrasts (the Bauhaus, the seven contrasts of Johannes Itten, design applications); Color models (the need for order, traditional concepts of color organization, computer color selection, inventing a color space); Electronics as a source of color (color images, the color monitor, additive and subtractive color, the automation of graphics, reproduction of the computer image); The dynamics of color (dynamics in painting, impressionism, the Albers color descriptions, color dynamics today, dynamic architectural images); Illusions of space and form (transparency, perception of space, definition of form); Color psychology (the meaning of color, the colors, color transposition, applied psychology); Color in the design process (the discovery of site, the design of buildings, the color of cities); The representation of form (automation of the construction process, intuition in drawing, intuition in design, form and color)
keywords computer graphics, color, education
series CADline
last changed 2003/06/02 11:58

_id ddss9483
id ddss9483
authors Shyi, Gary C.-W. and Huang, Tina S.-T.
year 1994
title Constructing Three-Dimensional Mental Models from Two-Dimensional Displays
source Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary In the present study we adopted the tasks and the experimental procedures used in a recent series of study by Cooper (1990, 1991) for the purpose of examining how we utilized two-dimensional information in a line-drawing of visual objects to construct the corresponding three-dimensional mental structure represented by the 2-D displays. We expected that the stimulus materials we used avoided some of the problems that Cooper's stimuli had, and with that we examined the effect of complexity on the process of constructing 3-D models from 2-D displays. Such a manipulation helps to elucidate the difficulties of solving problems that require spatial abilities. We also investigated whether or not providing information representing an object viewed from different standpoints would affect the construction of the object's 3-D model. Some researchers have argued that 3-D models, once constructed, should be viewer-independent or viewpoint-invariant, while others have suggested that 3-D models are affected by the viewpoint of observation. Data pertinent to this issue are presented and discussed.
series DDSS
last changed 2003/08/07 14:36

_id 06fc
authors Vanier, Dana J.
year 1990
title Hypertext: A Computer Tool to Assist Building Design
source The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 283-300
summary This paper shows how hypertext, an electronic information transfer medium, can assist accessing the large volumes of architectural and engineering technical information needed in decision-making phase of building design. A technical paper on architectural details serves as a model for demonstrating the capabilities of hypertext. This example consists mostly of graphics and illustrates how the hypertext medium could act as an information source for designers in the construction industry. The objectives of the paper are to illustrate the potential of hypertext to create, disseminate, and access technical information, and to identify an electronic format for construction industry technical publications. The paper identifies the capabilities of the medium, some advantages and disadvantages of hypertext, and the potential of the medium for construction information transfer. The author suggests that hypertext systems can assist technical information transfer in the construction industry.
series CAAD Futures
email Dana.Vanier@nrc-cnrc.gc.ca
last changed 2003/05/16 18:58

_id 075b
authors Wade, John W. and De Dios, Bettina
year 1990
title Typification and Evaluation in Design
source February, 1990. [18] p. : ill. includes bibliography
summary A number of writers have characterized the design process as an interaction between broad categories of design knowledge and their application in unique situations. The notion of 'type' summarizes this interaction. A typological view of design suggests that a designer keys knowledge from specific design situations to generic versions of those situations; it suggests that a designer invokes those generic situations in order to deal with current specific situations. If this view of design is correct, then a number of interesting subsidiary processes occur. The most important of these is in the classic interplay between classification and evaluation. In a strong sense, when a designer has built up a type, every member of that type has been declared a 'good' member of that type. If members of that type are later invoked as exemplars, they have been preevaluated by being classed with that group. This suggests that the notion of type extends beyond simple descriptions of objects that are members of the type to requirements that those objects were able to satisfy, and to conditions within which those satisfactions obtained. The authors examine different possible expressions of a type in (1) generic objects; (2) prototypical objects; (3) exemplar objects; and (4) symbols for object types. It has been examined how design appears to use different levels of specificity. These issues are of interest to the authors because they are engaged in the structuring of a computer- based design support system that will use a wide variety of information bearing components that are generic in character. They are imbedded within a typologically structured system. The overall library system and the typology that it will use is described briefly
keywords design process, prototypes, classification
series CADline
last changed 2003/06/02 11:58

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