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 81 to 100 of 626

_id c232
authors Trinder, Michael
year 1999
title The Computer's Role in Sketch Design: A Transparent Sketching Medium
source Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 227-244
summary Starting from an analysis of the current unsuitability of computers for sketching, three key requirements are identified, in particular the notion that re-drawing or over-drawing are more important than editing and tweaking. These requirements are encapsulated in the broad concept of Transparency, understood both literally and metaphorically. Two experiments in implementing aspects of Transparency are described. One subverts the Macintosh window manager to provide windows with variable transparency, so that tracing between applications becomes a practical possibility. The other implements a graphical interface that requires no on-screen palettes or sliders to control it, allowing uninterrupted concentration on the design in hand. User tests show that the tool can be learnt quickly, is engaging to use, and most importantly, has character.
keywords Sketching, Sketch Design, User-Interface, Transparency, Immersion, Computer Aided Design
series CAAD Futures
last changed 2006/11/07 06:22

_id ga9903
id ga9903
authors Ward, Adrian and Cox, Geoff
year 1999
title How I Drew One of My Pictures: * or, The Authorship of Generative Art
source International Conference on Generative Art
summary The concept of value is traditionally bestowed on a work of art when it is seen to be unique and irreproducible, thereby granting it authenticity. Think of a famous painting: only the original canvas commands genuinely high prices. Digital artwork is not valued in the same way. It can be copied infinitely and there is therefore a corresponding crisis of value. It has been argued that under these conditions of the dematerialised artwork, it is process that becomes valued. In this way, the process of creation and creativity is valued in place of authenticity, undermining conventional notions of authorship. It is possible to correlate many of these creative processes into instructions. However, to give precise instructions on the construction of a creative work is a complex, authentic and intricate process equivalent to conventional creative work (and is therefore not simply a question of 'the death of the author'). This paper argues that to create ‘generative’ systems is a rigorous and intricate procedure. Moreover, the output from generative systems should not be valued simply as an endless, infinite series of resources but as a system. To have a machine write poetry for ten years would not generate creative music, but the process of getting the machine to do so would certainly register an advanced form of creativity. When a programmer develops a generative system, they are engaged in a creative act. Programming is no less an artform than painting is a technical process. By analogy, the mathematical value pi can be approximated as 3.14159265, but a more thorough and accurate version can be stored as the formula used to calculate it. In the same way, it is more complete to express creativity formulated as code, which can then be executed to produce the results we desire. Rather like using Leibnitz's set of symbols to represent a mathematical formula, artists can now choose to represent creativity as computer programs (Harold Cohen’s Aaron, a computer program that creates drawings is a case in point). By programming computers to undertake creative instructions, this paper will argue that more accurate and expansive traces of creativity are being developed that suitably merge artistic subjectivity with technical form. It is no longer necessary or even desirable to be able to render art as a final tangible medium, but instead it is more important to program computers to be creative by proxy. [The paper refers to Autoshop software, available from http://autoshop.signwave.co.uk]
series other
email adrian@signwave.co.uk, geoffcox@excite.com
more http://www.generativeart.com/
last changed 2003/08/07 15:25

_id avocaad_2001_17
id avocaad_2001_17
authors Ying-Hsiu Huang, Yu-Tung Liu, Cheng-Yuan Lin, Yi-Ting Cheng, Yu-Chen Chiu
year 2001
title The comparison of animation, virtual reality, and scenario scripting in design process
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 Design media is a fundamental tool, which can incubate concrete ideas from ambiguous concepts. Evolved from freehand sketches, physical models to computerized drafting, modeling (Dave, 2000), animations (Woo, et al., 1999), and virtual reality (Chiu, 1999; Klercker, 1999; Emdanat, 1999), different media are used to communicate to designers or users with different conceptual levels¡@during the design process. Extensively employed in design process, physical models help designers in managing forms and spaces more precisely and more freely (Millon, 1994; Liu, 1996).Computerized drafting, models, animations, and VR have gradually replaced conventional media, freehand sketches and physical models. Diversely used in the design process, computerized media allow designers to handle more divergent levels of space than conventional media do. The rapid emergence of computers in design process has ushered in efforts to the visual impact of this media, particularly (Rahman, 1992). He also emphasized the use of computerized media: modeling and animations. Moreover, based on Rahman's study, Bai and Liu (1998) applied a new design media¡Xvirtual reality, to the design process. In doing so, they proposed an evaluation process to examine the visual impact of this new media in the design process. That same investigation pointed towards the facilitative role of the computerized media in enhancing topical comprehension, concept realization, and development of ideas.Computer technology fosters the growth of emerging media. A new computerized media, scenario scripting (Sasada, 2000; Jozen, 2000), markedly enhances computer animations and, in doing so, positively impacts design processes. For the three latest media, i.e., computerized animation, virtual reality, and scenario scripting, the following question arises: What role does visual impact play in different design phases of these media. Moreover, what is the origin of such an impact? Furthermore, what are the similarities and variances of computing techniques, principles of interaction, and practical applications among these computerized media?This study investigates the similarities and variances among computing techniques, interacting principles, and their applications in the above three media. Different computerized media in the design process are also adopted to explore related phenomenon by using these three media in two projects. First, a renewal planning project of the old district of Hsinchu City is inspected, in which animations and scenario scripting are used. Second, the renewal project is compared with a progressive design project for the Hsinchu Digital Museum, as designed by Peter Eisenman. Finally, similarity and variance among these computerized media are discussed.This study also examines the visual impact of these three computerized media in the design process. In computerized animation, although other designers can realize the spatial concept in design, users cannot fully comprehend the concept. On the other hand, other media such as virtual reality and scenario scripting enable users to more directly comprehend what the designer's presentation.Future studies should more closely examine how these three media impact the design process. This study not only provides further insight into the fundamental characteristics of the three computerized media discussed herein, but also enables designers to adopt different media in the design stages. Both designers and users can more fully understand design-related concepts.
series AVOCAAD
email yinghsiu@iaaa.nctu.edu.tw
last changed 2005/09/09 08:48

_id 4d95
authors Alvarado, Rodrigo Garcia and Maver, Tom
year 1999
title Virtual Reality in Architectural Education: Defining Possibilities
source ACADIA Quarterly, vol. 18, no. 4, pp. 7-9
summary Introduction: virtual reality in architecture Virtual Reality (VR) is an emergent computer technology for full 3D-simulations, which has a natural application in the architectural work, due that activity involves the complete definition of buildings prior to its construction. Although the profession has a long tradition and expertise in the use of 2D-plans for the design of buildings, the increasing complexity of projects and social participation requires better media of representation. However, the technological promise of Virtual Reality involves many sophisticated software and hardware developments. It is based on techniques of 3D-modelling currently incorporated in the majority of drawing software used in architecture, and also there are several tools for rendering, animation and panoramic views, which provide visual realism. But other capabilities like interactivity and sense of immersion are still complex, expensive and under research. These require stereoscopic helmets, 3D pointers and trackers with complicated configurations and uncomfortable use. Most advanced installations of Virtual-Reality like CAVEs involve much hardware, building space and restrictions for users. Nevertheless, diverse developers are working in Virtual-Reality user-friendly techniques and there are many initial experiences of architectural walk-throughs showing advantages in the communication and development of designs. Then we may expect an increasing use of Virtual Reality in architecture.
series ACADIA
email rgarcia@ubiobio.cl
last changed 2003/11/21 14:15

_id 93a8
authors Anders, P.
year 1999
title Envisioning Cyberspace: Designing 3D Electronic Spaces
source McGraw-Hill, NY
summary Free of the constraints of physical form and limited only by imagination, new environments spring to life daily in a fantastic realm called cyberspace. The creators of this new virtual world may be programmers, designers, architects, even children. In this invigorating exploration of the juncture between cyberspace and the physical world, architect Peter Anders brings together leading-edge cyberspace art and architecture ... inspiring new techniques and technologies ... unexpected unions of reality and virtuality ... and visions of challenges and opportunities as yet unexplored. More than an invitation to tour fantastic realms and examine powerful tools, this book is a hard-eyed look at cyberspace's impact on physical, cultural, and social reality, and the human-centered principles of its design. This is a book that will set designers and architects thinkingNand a work of importance to anyone fascinated with the fast-closing space between the real and the virtual.
series other
email ptr@mindspace.net
last changed 2003/04/23 13:14

_id 2c4a
authors Aroztegui, Carmen
year 1999
title The Architect's Use of the Internet - Study of the Architectural Presentation Possibilities
source III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 363-368
summary The Internet media is opening new horizons in communication and representation in architecture. However, its use today is superficial, limited, and without creativity. This study will explore theories, methods and examples of how the virtual space of the Internet can be used in its full potential. That means to present ways of observing, understanding, interacting, and communicating the space without precedents in architecture. The existent presentations made by architects in the Internet are in general poor and static. Through the comparative analysis of two presentations of the same architectural space in the Internet and the use of state of the art technology in the Internet, this study will show innovations that will make the exploration of the architectural space more attractive, dynamic and interactive. The main issues will be on one hand, the improvement in the communication of the design through the use of the Internet, and on the other hand, the rise of the standards in the quality of the architectural presentations. This work will project possible implications of the Internet in architecture.
series SIGRADI
email arozteguic@arch.utah.edu
last changed 2016/03/10 08:47

_id 89bb
authors Ataman, Osman and Richey, Thomas
year 1999
title ArchiDATA: A Hypermedia Tool for Architecture
source III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 496-500
summary Design is a cooperative activity at several levels. At one level, clients, architects, financiers, and construction engineers and contractors, all play important roles in creating the design for the building. At another level, the design team may contain architects, interior and landscape designers, lighting experts, heating, ventilation, and air-conditioning experts, etc. At a third level, individual architects cooperate with computer-based design tools in creating portions of a complex design. This paper describes an ongoing project called ArchiDATA, in which we are developing a computational Case-Based Design Aid (CBDA) for architectural design. This project, which is collaboration between cognitive scientists and architectural researchers, builds on an artificial intelligence paradigm called case-based reasoning and work in post-occupancy evaluation and other case study research in architecture.
series SIGRADI
email ataman@arch.utah.edu
last changed 2016/03/10 08:47

_id 8171
authors Ataman, Osman
year 1999
title Facilitating Conceptual Change: Computers, Cognitive Processes and Architecture
source III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 275-279
summary Computers have gained universal acceptance as tools that designers use. However, computers are often not used to advance the design process but just to make drawings. Many architectural schools still focus on a production orientation which puts the highest value on information management, precise representations and drafting enhancements. Mostly, computer education is limited with button pushing and training manuals. It is the contention of the author that students in Design Studio courses can benefit greatly from computer based educational pedagogy designed to provide them with experiences they currently do not possess. In particular, little time in the computer courses (outside lectures) is spent applying concepts and features of digital tools in design studio environment. In architecture, computers cannot be simply defined as a presentation and production tools. As a cognitive tool, computers provide designers with intelligible and effective representational tools of thought and communication, changes the syntactic structure of design. Consequently, the conceptual structure of computers impacts the conceptual structure of the design project, fosters the analytical processes and facilitates conceptual changes. This paper describes the use of computers in a first year architectural design studio. It attempts to address the importance of developing a design process that is redefined by the use of computing, integrating concept and perception. Furthermore, it describes the theoretical foundations and the underlying cognitive processes that contribute designers' conceptual development.
series SIGRADI
email ataman@arch.utah.edu
last changed 2016/03/10 08:47

_id 21c8
authors Bargiela, Beatriz and Bausset, Raúl Abad
year 1999
title Sistemas multimediales aplicados a la arquitectura y su conocimiento (Multimedia Systems Applied to Architecture and its Knowledge Base)
source III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 186-191
summary This text makes a careful description of a great part of the components of the vocabulary of architecture and their syntax. It's structured in two parts, one textual and the other graphic. Due to the acknowledged contribution of the author on the subject of description of vocabulary of the elements of architecture and the research and development works that are entered upon in the master in computer graphics in the informatic field, it was proposed the development of an interactive system that allowed by means of links to connect the different parts of text and their respective graphics. Having as a basis the idiomatic equivalent term in Spanish and English, carried out in another research work, it was considered the possibility to link the text in these two languages besides the original one, french. That's why we've decided to propose the navigation through numeric text and images. This navigation has been already inferred from the reading of the text as intended from the author's that was why our task has been the interpretation of this intention and its translation in an informatic system. The product presented in this work is limited to having designed a methodology and showing its performance with some terms and images, able to make evident the sketch of our idea. The work is made out of the description of the following phases: 1.) Design of its interface; 2.) Compilation and classification of images compilation and classification of text; 3.) Coordination of textual and graphic elements; 4.) Programming of events in the interactive system.
series SIGRADI
email gidcad@ub.edu.ar
last changed 2016/03/10 08:47

_id 7436
authors Barría Chateau, H., Muñoz Viveros, C. and Cerda Brintrup, G.
year 1999
title Virtual Tour Through Modern Architecture in Conception
source III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 475-477
summary This paper describes the development of a project that was selected and sponsoured by the Regional Competition FONDART 1998 (Funds for the Development of Arts of the Regional Secretary of Education) that follows the aim of cultural diffusion. Towards the middle of the 30s, the city of Concepción developed an architecture distinctly colonial, neoclassical and eclectic. An earthquake in 1939 abruptly interrupted this scene, destroying the enterity of its most important buildings. The reconstruction of the city followed the manifestoes of Modern Architecture, consolidating the urban importance of buildings such us the Law Courts, the Railway Station and the Regional Government, that emerged as the new architectural and cultural heritage of the city. The project consisted on the modeling of eleven buildings of the modern architectural heritage, and on the generation of 42 virtual tours through the buildings that were finally edited on a 16' video. This video allows the spectator to make a virtual tour through the original modern heritage of the city, nowadays demolished, altered, and sometimes, even forgotten. This project pretends to widen the ways of comprehension of our cultural identity by using computer modelling and animation as a tool for the conservation of the architectural heritage; and creating a record that can be used as a reference and as an instrument of cultural difussion.
series SIGRADI
email mtrebilc@zeus.dci.ubiobio.cl
last changed 2016/03/10 08:47

_id ecc5
authors Bassanino, May Nahab
year 1999
title The perception of computer generated architectural images
source Liverpool University
summary The broad aim of the research is to examine the role of computer generated architectural images on the way different people perceive architecture, and within this field of interest I have established a list of specific tasks to define the specific points of interest to examine. The following list of the main research objectives served as a guide in designing the experimental tests undertaken as part of this research: (*) Study the effect of both representation techniques and the used media on perceiving architecture. (*) Establish the differences (if there are any) of perception between different groups of people; principally architects and non-architects, but also subsets of each of these two groups. (*) To suggest the appropriate technique for presenting architecture for a particular group in a particular stage in the design process. (*) To investigate the influence of CAAD in architectural education on the students’ perception for architectural images.
series thesis:PhD
last changed 2003/11/21 14:16

_id 328d
authors Bassanino, May Nahab and Brown, Andre
year 1999
title Computer Generated Architectural Images: A Comparative Study
source Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 552-556
summary This work is part of a long term research programme (Brown and Horton, 1992; Brown and Nahab, 1996; Bassanino, 1999) in which tests and studies have been carried out on various groups of people to investigate their reaction to, and interpretation of different forms of architectural representation. In the work described here a range of architectural schemes were presented using particular representational techniques and media. An experiment was then undertaken on two different groups; architects and lay people. They were presented with a number of schemes displayed using the various techniques and media. The responses are summarised and some comments are made on the effect of computers on perceiving architecture and on communicating architectural ideas arising from an analysis of the responses.
keywords Subject, Image Type, Presentation Technique, Medium, SD Scales, Factors
series eCAADe
email andygbp@liv.ac.uk
last changed 2003/11/21 14:16

_id 7da7
authors Benedetti, Cristina and Salvioni, Giulio
year 1999
title The Use of Renewable Resource in Architecture: New Teaching Methodologies
source Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 751-756
summary The program is organized into four parts. Each is very much connected, both logically and methodologically, so that the unit as a whole consists of a content and method of access that are not divided up. This method is not in a chronological order that simply goes in one direction, rather it allows the user to "refer back", in real time and in different directions. For the simple purpose of explanation, the sections of the program are listed as follows: (-) "Basic information" concerns the basics of bioclimatic and timber architecture. Without this knowledge, the other two sections would be difficult to understand; (-) "Actual buildings throughout the world"; give examples of architectural quality; they concretize the basics of bioclimatic and timber architecture; (-) "Students' Masters Theses", that follow on from the basic information and the learning experience "in the field", and guided by the lecturer, have a critical approach to actual buildings throughout the world. (-) A multimedia data-sheet organized to ensure a clear and straightforward presentation of information about the construction products. It relies on a tab-based navigation interface that gives users access to eight different stacked windows.
keywords Architecture, Multimedia, Timber, Bioclimatic, Classification
series eCAADe
email benedetti@axrma.uniroma1.it
last changed 2003/11/21 14:16

_id bfc2
authors Bessone, Miriam and Mantovani, Graciela
year 1999
title Integración del Medio Digital a la Enseñanza del Diseño Arquitectónico. Huellas de un Taller Experimental (Integration of Digital Media in the Teaching of Architectural Design. Tracks of an Experimental Studio)
source III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 289-294
summary This paper presents the searching of new building modes for the knowledge of design in curriculum workshops at Facultad de Arquitectura, Diseno y Urbanismo of the Universidad Nacional del Litoral the proposed “research action” program articulates longitudinally in the three cycles of the career, understanding architecture as metaknowledge within a new paradigm of subjectivity, complexity and multidimensionality. In other words, it is recognized a new scenery tending to modify didactic relations. This experimental field looks for conscientious equilibrium between “written culture/audiovisual culture”, and “analog instruments/digital media”. We focus our interest on the “machine interacting with and for men”, looking for harmonious synthesis through a new way of thinking, to allow “real progress”. For turning this idea into action, we organized an alternative and plural team-work in architecture. We called it “experimental workshop”. In this first level the students worked. On a preliminary plan of a “kindergarden”. They developed a divergent process through the 3D simulations (using the software 3DS MAX v2), scale models and sensible sketches. For conclusions, the paper addresses the characteristics of the pedagogic model used and the results achieved.
series SIGRADI
email mbessone@fadu.unl.edu.ar
last changed 2016/03/10 08:47

_id 6ae4
authors Borde, A., Miyamoto, J., Barki, J., and Conde, M.
year 1999
title New Trends In Graphic Representation
source III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 501-506
summary In terms of graphic representation, architectural & urban study drawings present some fuzziness related to the multiplicity of scales, to the representation of the urban dynamic and to the means of communicating the contents of these studies for different publics, clearly divided among lay and specialists. Since the 16th century there have been certain stimulating propositions to this theme that have had an enormous, often unacknowleged, impact on the perception and construction of the built environment. Recent experiences in Rio, due to the series of urban projects that are being accomplished, is showing that some architecture offices are adopting new graphic trends in drawings conceived for preliminary studies, diagnoses and inventories. Due to the new possibilities offered by graphic computing they are developing, with diferent softwares, a sort of "patchwork” or "collage” and "sampling” technique for morphological analysis and representantion of places and buildings. This use of graphic computing, as an alternative to the usual realistic depictions that attempts to deal with prosaic simulations of an everyday experience, results in a different type of graphic expression that transcend literalism and appealls to the imagination of the general viewer. It is important to highlight that the analysis of these graphic solutions that attempts to turn visible design problems, could result in the development of new graphic tools that will help the creative design process.
keywords Graphic Representation, Architecture, Urbanism
series SIGRADI
email aborde@rio.com.br, jamesm@rio.com.br, zbki@openlink.com.br
last changed 2016/03/10 08:47

_id 7921
authors Carp, John
year 1999
title Discovering Theory
source AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 347-348
summary This abstract describes a course in design theory and methods for students in architecture. It deals with the principles of Morphogenetic Design, in a didactical setting. The course is special in the way that theory and methods are not being taught formally, but discovered by the students themselves. The mechanism for acquiring this knowledge is by means of a series of exercises the students have to carry out. Each exercise is put before the students with a minimum of explanation. The purpose of the exercise is explained afterwards, making maximal use of group discussions on the results of the exercise. The discussion is being focused on comparing the similarities and differences in the variants the students have produced. The aim of the discussion is firstly to discover the structural properties of these variants (the theory) and secondly to discover the most appropriate way of establishing these structural properties (the methods). The variants have come on the table by means of the group effort. The habitual reluctance of architects, when required to produce variants, is thus being overcome. Morphogenetic themes like creation, evaluation and selection are being dealt with in a natural way.
series AVOCAAD
last changed 2005/09/09 08:48

_id 2c1d
authors Castañé, D., Tessier, C., Álvarez, J. and Deho, C.
year 1999
title Patterns for Volumetric Recognition - Guidelines for the Creation of 3D-Models
source III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 171-175
summary This piece proposes new strategies and pedagogic methodologies applied to the recognition and study of the subjacent measurements of the architectural projects to be created. This proposal is the product of pedagogic experience, which stems from this instructional team of the department of tri-dimensional models of electronic models. This program constitutes an elective track for the architectural major at the college of architecture, design, and urbanism of the University of Buenos Aires and housed at the CAO center. One of the requirements that the students must complete, after doing research and analytical experimentation through the knowledge that they acquired through this course, is to practice the attained skills through exercises proposed by the department in this case, the student would be required to virtually rebuild a paradigmatic architectonic piece of several sample architects. Usually at this point, students experience some difficulties when they analyze the existing documents on the plants, views, picture, details, texts, etc., That they have obtained from magazines, books, and other sources. Afterwards, when they digitally begin to generate basic measurements of the architectural work to be modeled, they realize that there are great limitations in the comprehension of the tri-dimensional understanding of the work. This issue has brought us to investigate and develop proposals of volumetric understanding of patterns through examples of work already analyzed and digitalized tri-dimensionally in the department. Through a careful study of the existent documentation for that particular work, it is evaluated which would be the paths and basis to adopt through utilizing alternative technologies to arrive at a clear reconstruction of the projected architectural work, the study gets completed by implementing the proposal at the internet site http://www.datarq.fadu.uba.ar/catedra/dorcas
series SIGRADI
email dorcas@fadu.uba.ar
last changed 2016/03/10 08:48

_id ga9913
id ga9913
authors Ceccato, Cristiano and Liauw, Laurence
year 1999
title Parametric Urbanism: Explorations in Generative Urban Design
source International Conference on Generative Art
summary This paper is the result of several years of research by the Authors into the new field of generative design, as applied to urbanism. Its purpose is to formulate a concept of parametric urbanism and data-driven urban design, and how it departs from existing concepts of urban analysis and resulting design methods. This paper first gives a definition and description of the notion of generative urban design, and its relevance to current the practice of architecture and global political, sociological and economic developments. The difference between dogmatic forms of urban design and new parametric research methods is explained, and the Authors argue the fundamental relevance of using examples of post-colonial large-scale projects. In support of this, the Authors explore the widening field of research into parametric and data-driven architecture and urban design and the history of rule-based and evolutionary design methodologies. The paper illustrates examples of successful research in the field of parametric and rule-based urban design, by the Authors as well as colleagues within the field. It surveys the Authors’ work done at the Architectural Association School of Architecture, at the Hong Kong Polytechnic University School of Design, as well as in practice and research-oriented consultancy. The projects illustrated support the thesis of parametric urbanism by showing its power and versatility when applied to very large-scale projects, in particular within the People’s Republic of China.
series other
email sdchris@polyu.edu.hk
more http://www.generativeart.com/
last changed 2003/08/07 15:25

_id da88
authors Chang, Teng-Wen
year 1999
title Geometric typed feature structures : toward design space exploration
source University of Adelaide, School of Architecture
summary Demonstrates the significance and usefulness of representation in geometry by generating various floor design layouts for a typical Australian house, a single fronted cottage and the building enclosures
keywords Domestic Australia Designs and Plans; Mathematics; Combinatorial Designs and Configurations
series thesis:PhD
email tengwen@arch.nctu.edu.tw
last changed 2003/02/12 21:37

_id ad51
authors Chastain, Th., Kalay, Y.E. and Peri, Ch.
year 1999
title Square Peg in a Round Hole or Horseless Carriage? Reflections on the Use of Computing in Architecture
source Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 4-15
summary We start with two paradigms that have been used to describe the relationship of computation methods and tools to the production of architecture. The first is that of forcing a square peg into a round hole — implying that the use of a tool is mis-directed, or at least poorly fits the processes that have traditionally been part of an architectural design practice. In doing so, the design practice suffers from the use of new technology. The other paradigm describes a state of transformation in relation-ship to new technology as a horseless carriage in which the process is described in obsolete and ‘backward’ terms. The impli-cation is that there is a lack of appreciation for the emerging potentials of technology to change our relationship with the task. The paper demonstrates these two paradigms through the invention of drawings in the 14th century, which helped to define the profession of Architecture. It then goes on to argue that modern computational tools follow the same paradigms, and like draw-ings, stand to bring profound changes to the profession of architecture as we know it.
series ACADIA
email kalay@socrates.berkeley.edu
last changed 1999/12/02 07:48

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