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 388

_id 5580
id 5580
authors Gero, John S.
year 1995
title Computers and Creative Design
source Sixth International Conference on Computer-Aided Architectural Design Futures [ISBN 9971-62-423-0] Singapore, 24-26 September 1995, pp. 11-19
summary This paper introduces notions of creativity and creative design as a form of computational exploration. Exploration is used as a means of defining spaces which are then searched. It is shown that schemas provide an opportunity to describe exploration. Emergence as a process which modifies schemas is described, as a ìcreative processî. Visual emergence is elaborated and other forms of emergence are described. The role of emergence in creative design is presented.
keywords Creative Design, Design Theory, Emergence
series CAAD Futures
email john@arch.usyd.edu.au
last changed 2003/08/23 14:45

_id df4b
authors Angulo Mendivil, Antonieta Humbelina
year 1995
title On the Conceptual Feasibility of a CAAD-CAAI Integrated Decision Support System: A Computer Aided Environment for Technical Decision Making in Architecture
source Delft University of Technology
summary This document addresses two questions: What are the ultimate means of design support we can offer to the architect, and how can we devise them? We are not the first ones to address these questions, neither the first ones to point our finger in the direction of Decision Support Systems for such purposes. Nevertheless, we may be among those scholars that understanding 'Decision Support" in terms of "Learning Support", are willing to explore the implications that such an understanding assumes for the concept of Decision Support Systems. Our exploration in such regards has shown us that knowledge application and knowledge acquisition cycles describe a continuum, and that such cycles, encapsulated in our "Practice Based Learning" and "Continuing Professional Development" dynamics are present in both our instructional and professional environments. From such a perspective, our scope regarding feasible Decision Support Systems is not restricted to the use of CAAD instrumental resources, but expanded into a context of CAAD-CAAI integration. Throughout this document we conceive a system that blends CAAD and CAAI resources looking forward to the creation of a Support Environment that seeks to motivate a reflective attitude during design, in such a way, upgrade our capability for acquiring as well as applying knowledge in design. In instrumental terms, this document explains how mainstream CAAD developments in the field of "Intelligent Front End Technology" and CAAI developments in the field of "Knowledge-based Curricular Networks" can complement each other in the establishment of a Decision Support System of trans-environmental relevancy. As an application framework for the concept and instrumental base described above, this document presents an image of the kind of decision-making model that it will intend to support, the kind of task support model it will look forward to implement, and the kind of general instrumental layout it will require. On the basis of such an instrumental layout, the system that is hereby outlined can be regarded as a "CAAD-CAAI Integrated", "Intelligent", and "User-Oriented" Interface System.
series thesis:PhD
email angulo@archone.tamu.edu
last changed 2003/02/12 21:37

_id f8f0
authors Bakhtari, Shirin and Oertel, Wolfgang
year 1995
title DOM: An Active Assistance System for Architectural and Engineering Design
source Sixth International Conference on Computer-Aided Architectural Design Futures [ISBN 9971-62-423-0] Singapore, 24-26 September 1995, pp. 153-162
summary This article delineates an active design assistance system for conceptual design, called DOM which is the abbreviation for Domain Ontology Modelling. The intention of our work is to endorse the role of modelling a common and shared platform of design knowledge as well as to address the crucial task of representing design decisions and engineering judgements in order to evaluate design layouts and to support layout construction from scratch.The prerequisites and assumptions for an appropriate role of an active design assistance system are explained. The presented paper contains both a conceptual and a technical exploration of the DOM system.
keywords Design Ontology, Decision Making, Analysis, Synthesis
series CAAD Futures
last changed 2003/11/21 14:16

_id sigradi2008_049
id sigradi2008_049
authors Benamy, Turkienicz ; Beck Mateus, Mayer Rosirene
year 2008
title Computing And Manipulation In Design - A Pedagogical Experience Using Symmetry
source SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary The concept of symmetry has been usually restricted to bilateral symmetry, though in an extended sense it refers to any isometric transformation that maintains a certain shape invariant. Groups of operations such as translation, rotation, reflection and combinations of these originate patterns classified by modern mathematics as point groups, friezes and wallpapers (March and Steadman, 1974). This extended notion represents a tool for the recognition and reproduction of patterns, a primal aspect of the perception, comprehension and description of everything that we see. Another aspect of this process is the perception of shapes, primary and emergent. Primary shapes are the ones explicitly represented and emergent shapes are the ones implicit in the others (Gero and Yan, 1994). Some groups of shapes known as Semantic Shapes are especially meaningful in architecture, expressing visual features so as symmetry, rhythm, movement and balance. The extended understanding of the concept of symmetry might improve the development of cognitive abilities concerning the creation, recognition and meaning of forms and shapes, aspects of visual reasoning involved in the design process. This paper discusses the development of a pedagogical experience concerned with the application of the concept of symmetry in the creative generation of forms using computational tools and manipulation. The experience has been carried out since 1995 with 3rd year architectural design students. For the exploration of compositions based on symmetry operations with computational support we followed a method developed by Celani (2003) comprising the automatic generation and update of symmetry patterns using AutoCAD. The exercises with computational support were combined with other different exercises in each semester. The first approach combined the creation of two-dimensional patterns to their application and to their modeling into three-dimensions. The second approach combined the work with computational support with work with physical models and mirrors and the analysis of the created patterns. And the third approach combined the computational tasks with work with two-dimensional physical shapes and mirrors. The student’s work was analyzed under aspects such as Discretion/ Continuity –the creation of isolated groups of shapes or continuous overlapped patterns; Generation of Meta-Shapes –the emergence of new shapes from the geometrical relation between the generative shape and the structure of the symmetrical arrangement; Modes of Representation –the visual aspects of the generative shape such as color and shading; Visual Reasoning –the derivation of 3D compositions from 2D patterns by their progressive analysis and recognition; Conscious Interaction –the simultaneous creation and analysis of symmetry compositions, whether with computational support or with physical shapes and mirrors. The combined work with computational support and with physical models and mirrors enhanced the students understanding on the extended concept of symmetry. The conscious creation and analysis of the patterns also stimulated the student’s understanding over the different semantic possibilities involved in the exploration of forms and shapes in two or three dimensions. The method allowed the development of both syntactic and semantic aspects of visual reasoning, enhancing the students’ visual repertoire. This constitutes an important strategy in the building of the cognitive abilities used in the architectural design process.
keywords Symmetry, Cognition, Computing, Visual reasoning, Design teaching
series SIGRADI
email mateusbeck@pop.com.br
last changed 2016/03/10 08:47

_id 8955
authors Donath, Dirk and Regenbrecht, Holger
year 1995
title VRAD (Virtual Reality Aided Design) in the Early Phases of the Architectural Design Process
source Sixth International Conference on Computer-Aided Architectural Design Futures [ISBN 9971-62-423-0] Singapore, 24-26 September 1995, pp. 313-322
summary With this paper we are introducing a system which supports the early phases of the architectural design process. The system consists of two main components: the software solution ìvoxDesign" and the physical environment "platform". Our aims are: to formulate, develop, and evaluate an architectural design system through the use of VR (virtual reality)-space. The exploration and development of design intentions is supplemented by a new method of three dimensional sketching.
keywords Virtual Reality, Architectural Design, Human Computer Interfaces, Design Techniques
series CAAD Futures
email donath@archit.uni-weimar.de
last changed 2003/05/16 18:58

_id ca47
authors Lee, Shu Wan
year 1996
title A Cognitive Approach to Architectural Style Several Characteristics of Design Thinking in Architecture
source CAADRIA ‘96 [Proceedings of The First Conference on Computer Aided Architectural Design Research in Asia / ISBN 9627-75-703-9] Hong Kong (Hong Kong) 25-27 April 1996, pp. 223-226
summary Designing is a complicated human behaviour and method, and is often treated as a mysterious "black box” operation in human mind. In the early period as for theory-studying of design thinking, the way of thinking that the researchers took were mostly descriptive discussions. Therefore, they lacked direct and empirical evidence although those studies provided significant exploration of design thinking (Wang, 1995). In recent years as for the study of cognitive science, they have tried to make design "glass box”. That is to try to make the thinking processes embedded in designers publicized. That is also to externalize the design procedure which provided the design studies another theoretical basis of more accurate and deeply researched procedure (Jones, 1992). Hence the studying of design thinking has become more important and the method of designing has also progressed a lot. For example, the classification of the nature of design problem such as ill-defined and well-defined (Newell, Shaw, and Simon, 1967), and different theoretical procedure modes for different disciplines, such as viewing architectural models as conjecture-analysis models and viewing engineering models as analysis-synthesis (Cross, 1991).
series CAADRIA
last changed 1999/01/31 14:14

_id cd81
authors Petrovic, Ivan K.
year 1995
title A FRAMEWORK FOR COOPERATIVE ACTIVITIES OF COMPUTER DESIGN AGENTS
source Computing in Design - Enabling, Capturing and Sharing Ideas [ACADIA Conference Proceedings / ISBN 1-880250-04-7] University of Washington (Seattle, Washington / USA) October 19-22, 1995, pp. 171-186
summary The paper presents a progress report on a project investigating the possible application of a framework for cooperative-activities of computer design agents in the conceptual phase of architectural design. A process leading to definition of the expected performances of design agents is desribed, and some possible applications illustrated. The framework includes not only the objective, but also, the "subjective" agents. It is expected that the framework would offer an insight into the intricacies of CAAD in an educational environment, and provide the exploration paths and an efficient production of alternative solutions in an office.
series ACADIA
type normal paper
email aivan@EUnet.yu
last changed 2006/03/14 20:17

_id cea2
authors Roe, Sharon L.
year 1995
title Investigations into the Production of Form
source Computing in Design - Enabling, Capturing and Sharing Ideas [ACADIA Conference Proceedings / ISBN 1-880250-04-7] University of Washington (Seattle, Washington / USA) October 19-22, 1995, pp. 371-382
summary Computers have exploded into the world of the architect, yet architects have only begun to explore the role of computers in the creative process or the effects of particular applications on design projects. Likewise, educators are seeking methods for investigating the computer as a tool which may or may not effect the thing produced. Is it a tool for representation (copying), or a key player in the generation of ideas—a tool for the production of form? This paper describes the theoretical foundations and results of a series of exercises developed for beginning design students. In three investigations students consider: Algorithms (the fundamental logic of a computer application) using Building blocks (reductive entities that act as the origins of form) by Collaging and making assemblies (techniques for experimentation and exploration). The purpose of these exercises (called ABC exercises) is to explore the relationship between the computer as a tool and the production of form and type in architecture.
series ACADIA
last changed 1999/03/29 15:40

_id avocaad_2001_16
id avocaad_2001_16
authors Yu-Ying Chang, Yu-Tung Liu, Chien-Hui Wong
year 2001
title Some Phenomena of Spatial Characteristics of Cyberspace
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 "Space," which has long been an important concept in architecture (Bloomer & Moore, 1977; Mitchell, 1995, 1999), has attracted interest of researchers from various academic disciplines in recent years (Agnew, 1993; Benko & Strohmayer, 1996; Chang, 1999; Foucault, 1982; Gould, 1998). Researchers from disciplines such as anthropology, geography, sociology, philosophy, and linguistics regard it as the basis of the discussion of various theories in social sciences and humanities (Chen, 1999). On the other hand, since the invention of Internet, Internet users have been experiencing a new and magic "world." According to the definitions in traditional architecture theories, "space" is generated whenever people define a finite void by some physical elements (Zevi, 1985). However, although Internet is a virtual, immense, invisible and intangible world, navigating in it, we can still sense the very presence of ourselves and others in a wonderland. This sense could be testified by our naming of Internet as Cyberspace -- an exotic kind of space. Therefore, as people nowadays rely more and more on the Internet in their daily life, and as more and more architectural scholars and designers begin to invest their efforts in the design of virtual places online (e.g., Maher, 1999; Li & Maher, 2000), we cannot help but ask whether there are indeed sensible spaces in Internet. And if yes, these spaces exist in terms of what forms and created by what ways?To join the current interdisciplinary discussion on the issue of space, and to obtain new definition as well as insightful understanding of "space", this study explores the spatial phenomena in Internet. We hope that our findings would ultimately be also useful for contemporary architectural designers and scholars in their designs in the real world.As a preliminary exploration, the main objective of this study is to discover the elements involved in the creation/construction of Internet spaces and to examine the relationship between human participants and Internet spaces. In addition, this study also attempts to investigate whether participants from different academic disciplines define or experience Internet spaces in different ways, and to find what spatial elements of Internet they emphasize the most.In order to achieve a more comprehensive understanding of the spatial phenomena in Internet and to overcome the subjectivity of the members of the research team, the research design of this study was divided into two stages. At the first stage, we conducted literature review to study existing theories of space (which are based on observations and investigations of the physical world). At the second stage of this study, we recruited 8 Internet regular users to approach this topic from different point of views, and to see whether people with different academic training would define and experience Internet spaces differently.The results of this study reveal that the relationship between human participants and Internet spaces is different from that between human participants and physical spaces. In the physical world, physical elements of space must be established first; it then begins to be regarded as a place after interaction between/among human participants or interaction between human participants and the physical environment. In contrast, in Internet, a sense of place is first created through human interactions (or activities), Internet participants then begin to sense the existence of a space. Therefore, it seems that, among the many spatial elements of Internet we found, "interaction/reciprocity" Ñ either between/among human participants or between human participants and the computer interface Ð seems to be the most crucial element.In addition, another interesting result of this study is that verbal (linguistic) elements could provoke a sense of space in a degree higher than 2D visual representation and no less than 3D visual simulations. Nevertheless, verbal and 3D visual elements seem to work in different ways in terms of cognitive behaviors: Verbal elements provoke visual imagery and other sensory perceptions by "imagining" and then excite personal experiences of space; visual elements, on the other hand, provoke and excite visual experiences of space directly by "mapping".Finally, it was found that participants with different academic training did experience and define space differently. For example, when experiencing and analyzing Internet spaces, architecture designers, the creators of the physical world, emphasize the design of circulation and orientation, while participants with linguistics training focus more on subtle language usage. Visual designers tend to analyze the graphical elements of virtual spaces based on traditional painting theories; industrial designers, on the other hand, tend to treat these spaces as industrial products, emphasizing concept of user-center and the control of the computer interface.The findings of this study seem to add new information to our understanding of virtual space. It would be interesting for future studies to investigate how this information influences architectural designers in their real-world practices in this digital age. In addition, to obtain a fuller picture of Internet space, further research is needed to study the same issue by examining more Internet participants who have no formal linguistics and graphical training.
series AVOCAAD
email aleppo@cc.nctu.edu.tw
last changed 2005/09/09 08:48

_id caadria2007_659
id caadria2007_659
authors Chen, Zi-Ru
year 2007
title The Combination of Design Media and Design Creativity _ Conventional and Digital Media
source CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
summary Creativity is always interested in many fields, in particular, creativity and design creativity have many interpretations (Boden, 1991; Gero and Maher, 1992, 1993; Kim, 1990; Sternberg, 1988; Weisberg, 1986). In early conceptual design process, designers used large number of sketches and drawings (Purcell and Gero, 1998). The sketch can inspire the designer to increase the creativity of the designer’s creations(Schenk, 1991; Goldschmidt, 1994; Suwa and Tversky, 1997). The freehand sketches by conventional media have been believed to play important roles in processes of the creative design thinking(Goldschmidt, 1991; Schon and Wiggins, 1992; Goel, 1995; Suwa et al., 2000; Verstijnen et al., 1998; Elsas van and Vergeest, 1998). Recently, there are many researches on inspiration of the design creativity by digital media(Liu, 2001; Sasada, 1999). The digital media have been used to apply the creative activities and that caused the occurrenssce of unexpected discovery in early design processes(Gero and Maher, 1993; Mitchell, 1993; Schmitt, 1994; Gero, 1996, 2000; Coyne and Subrahmanian, 1993; Boden, 1998; Huang, 2001; Chen, 2001; Manolya et al. 1998; Verstijinen et al., 1998; Lynn, 2001). In addition, there are many applications by combination of conventional and digital media in the sketches conceptual process. However, previous works only discussed that the individual media were related to the design creativity. The cognitive research about the application of conceptual sketches design by integrating both conventional and digital media simultaneously is absent.
series CAADRIA
email Ru.zero@gmail.com
last changed 2008/06/16 08:48

_id 95bf
authors Culverhouse, P.F.
year 1995
title Constraining designers and their CAD tools
source Design Studies 16 (1) (1995) pp. 81-101
summary Electronics product designs can fail for technological reasons and also for human reasons. Both computer-aided design (CAD) tools and formal methods have attempted to limit the risk of product failure by logical assessment of the design and its technology. However, to improve design effectiveness and efficiency the contribution of people to a design's risk of failure must also be assessed and controlled. A method is presented of controlling and limiting human design through the application of a four-path model of design previously developed by the author. The model categorizes designs as repeat design, variant design, innovative design or strategic design. Each has its own set of pre-existent constraints that limit the capacity for unwanted innovation to the product at the outset of each development programme. This provides a mechanism by which designer creativity may be controlled. The manner in which designers are constrained may also be applied to the control of CAD tools commonly employed in the design process.
series journal paper
last changed 2003/05/15 19:45

_id ead7
authors Gero, J.S. and Schnier, T.
year 1995
title Evolving representations of design cases and their use in creative design
source J.S. Gero, M.L. Maher and F. Sudweeks (eds), Preprints Computational Models of Creative Design , Key Centre of Design Computing, University of Sydney, pp. 343-368
summary In case-based design, the adaptation of a design case to new design requirements plays an important role. If it is sufficient to adapt a predefined set of design parameters, the task is easily automated. If, however, more far-reaching, creative changes are required, current systems provide only limited success. This paper describes an approach to creative design adaptation based on the notion of creativity as 'goal oriented shift of focus of a search process'. An evolving representation is used to restructure the search space so that designs similar to the example case lie in the focus of the search. This focus is than used as a starting point to generate new designs.
series other
email john@arch.usyd.edu.au
last changed 2003/04/06 13:22

_id 8d21
authors Kokosalakis, Jen and Moorhouse, Jon
year 1995
title A Documentation Methodology for Multimedia Recording of Architects Computer Aided Architectural Designing
source Multimedia and Architectural Disciplines [Proceedings of the 13th European Conference on Education in Computer Aided Architectural Design in Europe / ISBN 0-9523687-1-4] Palermo (Italy) 16-18 November 1995, pp. 203-216
summary The focus of this paper is on teaching design through Computer Aided Architectural Design. Our present activity is to prepare Multimedia interviews showing how architects are designing using CAAD. We have for some time had relative success with students learning to design using the CAAD system extensively and creatively for their studio projects. This has led us to consider how best to teach in a way which encourages this creativity to extend and flourish. As with learning, broadly, and specifically with developing design ability, it is important to direct students to relevant established precedents of recent and classic examples of respected architects' approaches to similar design activities, in a body of historical and theoretical background. This tradition in teaching provides rich, invaluable learning material in design approaches and solutions. It appears that most material attempting to fill this role for CAADesign is in the form of written material, finished designs, or animations. Possibly the only way Computer Aided Architectural Designing activity can be understood fully is by documenting it in its own original media, (excepting direct first hand live observation). We are therefore preparing Multimedia records of interviews with architects and their real time computer activity, to build up a rich base of reference material supporting and expanding learning to design through CAAD.

series eCAADe
more http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_27.htm
last changed 2000/12/02 12:47

_id 0752
authors Kulinski, Jaroslaw
year 1995
title An Inspiring Method of Teaching CAAD Programs
source Multimedia and Architectural Disciplines [Proceedings of the 13th European Conference on Education in Computer Aided Architectural Design in Europe / ISBN 0-9523687-1-4] Palermo (Italy) 16-18 November 1995, pp. 267-272
summary This paper tries to describe the actual situation concerning computer use in architectural practice. It tries to trace the roots of the present situation as well as to find a possible alternative. The paper depicts the most common problems arising while getting started the concept work in computer environment. It tries to show how to find the links between human imagination and its expression by means of CAAD software. It outlines a proposal of teaching CAAD programs in the way which would stimulate the user´s creativity in the electronic environment.
series eCAADe
more http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_32.htm
last changed 2000/12/02 12:49

_id f4d7
authors Madrazo, L.
year 1995
title The Concept of Type in Architecture: An Inquiry into the Nature of Architectural Form
source Swiss Federal Institute of Technology, ETH Zurich
summary The purpose of this dissertation is to investigate the meaning of the concept of Type in the field of architectural theory. Even though the use of the term type by architectural theorists is a relatively recent phenomenon, which can be traced back to Quatremère de Quincy in the early nineteenth century, the idea of Type, as opposed to the explicit use of this term by theorists, has pervaded much of architectural theory ever since Vitruvius. In fact, many theorists have been concerned with issues which convey a notion of Type, like the origins of architectural form, the systematization of architectural knowledge and the understanding of the process of creativity. A basic premise of this work is that to understand the true significance of the idea of Type in architecture, it is necessary to overcome certain traditional views that have associated Type with the work of specific authors at a given time like, for example, Quatremère de Quincy and Semper in the nineteenth century, or Rossi in the twentieth. Only a comprehensive study of the most relevant ideas formulated in the field of architectural theory -beginning with Vitruvius and finishing with contemporary design methodologists- can reveal the essential meaning, or meanings, of Type. This work attempts to provide such a comprehensive study. To derive the fundamental meanings of the concept of Type from the body of the architectural tradition, it has been necessary to proceed, simultaneously, along two different lines: one diachronic, the other synchronic. From a diachronic point of view, the aim has been to trace the evolution of the theories of Type from one author to another, for example from Laugier to Quatremère de Quincy. From a synchronic point of view, the goal has been to disclose the common ideas that lie behind theories formulated at different times, for instance, between Vitruvius' theory of the origins of architectural form and the artistic theory developed after the advent of Gestalt psychology. In recent times, the term type has been used by architectural writers as synonymous with typology. Unfortunately, establishing this identity between type and typology has served to undermine some of the essential meanings conveyed by Type. In the overall context of the architectural tradition, the idea of Type has much deeper implications than those that are confined to the classification and study of building forms. Type embraces transcendental issues of aesthetic, epistemological and metaphysical character; issues that have to do with the most generic problem of Form. Certainly, the essential meaning of Type is intimately related with the more transcendental problem of Form. To explore the relation between the idea of Type and the historical evolution of architectural form, has also been the purpose of this research. As this work attempts to show, the variety of meanings that Type has adopted through history are inseparably connected to the evolution undergone by architectural form. For that reason, this work, although primarily a study of the concept of Type, it is, at the same time, an investigation on the nature of architectural form.
series thesis:PhD
email madrazo@salleURL.edu
last changed 2003/05/10 03:42

_id 750a
authors Oxman, Rivka
year 1995
title Design Case Bases: Graphic Knowledge Bases for the Design Workspace
source Sixth International Conference on Computer-Aided Architectural Design Futures [ISBN 9971-62-423-0] Singapore, 24-26 September 1995, pp. 555-565
summary Cases in the domain of architecture and engineering are commonly stored and presented as graphical representations in the form of drawings. The way creative designers fit and adapt graphical representations through drawing and re-drawing is still one of the least understood phenomena in design. Modeling stich processes appears to be a key to graphic knowledge base integration in CAAD environments. The paper reports on a new approach to modeling design adaptation in a graphical environment. This approach is based upon a theory of creativity, the Representation - Re-representation Hypothesis which is here employed in the formalization of design adaptation. A 'multi-layer re-representational model' which assists in the adaptation of design drawings is developed and presented. The model is based on the transformation of chunks of knowledge in design cases into explicit re-representational structures which can support creative design in a graphic environment. This model is utilized in our current work in development of a prototype graphical case-based CAAD system.
keywords Adaptation, Case-based CAAD, Case-based Design, Creativity, Graphical Case-Bases, Representation, Re-Representation.
series CAAD Futures
email arrro01@techunix.technion.ac.il
last changed 2003/05/16 18:58

_id 99a3
authors Schaaf, Joerg W. and Voss, Angi
year 1995
title Retrieval of Similar Layouts in FABEL using AspecT
source Sixth International Conference on Computer-Aided Architectural Design Futures [ISBN 9971-62-423-0] Singapore, 24-26 September 1995, pp. 617-626
summary In the FABEL project several approaches have been developed and published for retrieving similar cases in the domain of architectural design. In this paper we want to focus on a short description and foremost on integration of these approaches. We will introduce the most important approaches. As a first step towards integration, we suggest decomposing them into their main parts: representation of cases, similarity function and retrieval component. Using the first two parts each approach in a new search algorithm operating on a generic data structure, we built a shell called AspecT for an easy integration. We are positive that one can never have fully considered all aspects of a design. Therefore, we describe an open framework to define new aspects and to apply them depending on the context. Unfortunately, openness brings some difficulties along with it. One can not predict the importance of an aspect, until the situation assessment of the query is completed. In other words, it is impossible to define a static distribution of aspect weights that fits for all purposes. As a consequence, one can not predefine a static structure on the case base to speed tip retrieval processes. Dealing with this problem, we developed and published a special search algorithm that passes through a multidimensional case base, finding the best fitting cases within a short amount of time. This algorithm does not need any predefined structure on the case base except aspect specific relations between cases. Creativity of inventing new aspects of cases should not be hindered but one can ask whether or not a certain aspect are worth being regarded in searching for useful cases. The shell AspecT offers a tool to evaluate aspects. At first, formal criteria influence the initial weights of aspects but later on, the contribution of an aspect to find user accepted cases, determines the survival fitness of an aspect. The rule for living or dying is simple. Seldom used aspects disappear, whereas others become stronger. A short description regarding this work is given in last part.
keywords Case-Based Reasoning, Retrieval, Integration of Similarity Concepts, Architectural Design
series CAAD Futures
last changed 1999/08/03 15:16

_id ff69
authors Seok, Lee Han, Sik, Park-Chung and Kim, Dae-Gwon
year 1995
title A Knowledge-Based CAAD system with Qualitative Spatial Reasoning Capability
source Sixth International Conference on Computer-Aided Architectural Design Futures [ISBN 9971-62-423-0] Singapore, 24-26 September 1995, pp. 359-368
summary Design and creativity go hand in hand. The ability to be creative in design can be enhanced when humans and computers, which both work as information processing systems cooperate in a complementary, integrated manner. Computational systems should play the most essential role in enhancing creativity within human-machine design systems in the future. In this context, we present the concept and architecture of a new integrated CAAD System, AutoNEO, that will support the achievement of creative results. We will focus on the qualitative spatial reasoning capability of AutoNEO, and provide an example of layout design as a case of qualitative spatial reasoning.
keywords Knowledge-Based CAAD System, Qualitative Spatial Reasoning, Design Creativity
series CAAD Futures
last changed 1999/08/03 15:16

_id aa38
authors Tan, M., Gan, J., Indorf, P., Man, D., Teh, R., Datta, S., Serra, L. and Loo, J.
year 1995
title Multivalent Architectural Case Information for Creative Reasoning
source Sixth International Conference on Computer-Aided Architectural Design Futures [ISBN 9971-62-423-0] Singapore, 24-26 September 1995, pp. 543-554
summary The theoretical underpinnings, practical and technical implementation of a multimedia database to support creative designing is presented through a prototype system which would go on-line in the near future. At the heart of the system is the notion that architectural knowledge is multivalent ñ requiring the means for recombination in new and different ways to support design thinking. The system also attempts to deal with the practical issues of case building, 3D modelling, interface design and technical clarity.
keywords Creativity, Multimedia, Case-Based Reasoning, Computer-Aided Architectural Design, Architectural Database, Visual Database, Virtual Reality.
series CAAD Futures
email miltontan@mac.com
last changed 2003/05/16 18:58

_id cf2011_p024
id cf2011_p024
authors Tidafi, Temy; Charbonneau Nathalie, Khalili-Araghi Salman
year 2011
title Backtracking Decisions within a Design Process: a Way of Enhancing the Designer's Thought Process and Creativity
source Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 573-587.
summary This paper proposes a way computer sciences could contribute to stimulate the designer’s reflexive thought. We explore the possibility of making use of backtracking devices in order to formalize the designer’s thought process. Design, as a process of creating an object, cannot be represented by means of a linear timeline. Accordingly, the backtracking processes we are discussing here are not based on a linear model but rather on a non-linear structure. Beyond the notion of undoing and redoing commands within CAD packages, the backtracking process is seen as a way to explore and record several alternate options. The branches of the non-linear model can be seen as pathways made of sequential decisions. The designer creates and explores these pathways while making tentative moves towards an architectural solution. Within the design process, backtracking enables the designer to establish and act on a network of interrelated decisions. This notion is fundamental. It is quite obvious that information, in order to be meaningful, must occupy a specific place within an informational network. A data, separated from its context, is devoid of interest. By the same token, a decision takes on significance solely in combination with other decisions. In this paper, we examine what kinds of decisions are involved within a design process, how they are connected, and what could be the best ways to formalize the relationships. Our goal is to experiment ways that could enable the designer and his/her collaborators to get a clearer mental picture of the network of decisions aforementioned. The non-linear model can be seen as a graph structure. The user moves wherever he/she wants through the branches of the structure to establish the network of decisions or to get reacquainted with a previous design process. As a matter of fact, it can act in both ways: to reassess or to confirm a decision. On the one hand, the designer can go back to previous states, reconsider past choices, and eventually modify them. On the other hand, he/she can move forward and revisit a given sequence of decisions, so as to recapture the essence of a previous design process. It goes without saying that knowledge regarding the design process is constructed by the designer from his/her own experiences. Since the designer’s perception evolves as time goes by, the network of decisions constitutes a model that is continuously questioned and restructured. The designer does not elaborate solely an architectural object, but also an evolving model formalizing the way he/she achieved his/her aim. As Le Moigne (1995) pointed out, the model itself produces knowledge; afterwards, the designer can examine it so as to get a clearer mental picture of his/her own cognitive processes. Furthermore, it can be used by his/her collaborators in order to understand which thread of ideas led the designer to a given visual result, and eventually resume or reorient the design process. In addition to reflecting on the ideological implications inherent to this questioning, we take into account the feasibility of such a research project. From a more technical point of view, in this paper we will describe how we plane to take up the challenge of elaborating a digital environment enabling backtracking processes within graph structures. Furthermore, we will explain how we plane to test the first trial version of the new environment with potential users so as to observe how they respond to it. These experiments will be conducted in order to verify to what extend the methods we are proposing are able to i) enhance the designer’s creativity and ii) increase our understanding of designer’s thought process.
keywords backtracking, design process, digital environments, problem space, network of decisions, graph structure.
series CAAD Futures
email temy.tidafi@umontreal.ca
last changed 2012/02/11 18:21

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