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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The principal item of a full-scale lab preferably features a court-like facility where the 1:1
simulations are performed. Such lab facilities can be found at various architecture
education centers throughout Europe. In the early eighties the European Full-scale
Modeling Association (abrev. EFA, full-scale standing for 1:1 or simulation in full-scale)
was founded acting as the patron of a conference every two years. In line with the
conference title "Full-scale Modeling in the Age of Virtual Reality" the participants were
particularly concerned with the relationship of physical 1:1 simulations and VR. The
assumption that those creating architecture provide of a higher degree of affinity to
physical than to virtual models and prototypes was subject of vivid discussions.
Furthermore, the participants devoted some time to issues such as the integration of
model-like ideas and built reality thus uncovering any such synergy-effects. Thus some
major considerations had to be given to the question of how the architectís model-like
ideas and built reality would correspond, also dealing with user-suitability as such: what
the building artist might be thrilled with might not turn out to be the residentsí and usersí
everyday delight. Aspects of this nature were considered at the îArchitectural
Psychology Meeting” together with specialists on environment and aesthetics. As
individual space perception as well as its evaluation differ amongst various architects,
and these being from various countries furnishing cultural differences, lively discussions
were bound to arise.
Mathematics and especially geometry have found increasing application in the computer-based design environment of our day. The computer has become the central tool in the modern design environment, replacing the brush, the paints, the pens and pencils of the artist. However, if the artist does not master the internal working of this new tool thoroughly, he can neither develop nor express his creativity. If the designer merely learns how to use a computer-based tool, he risks producing designs that appear to be created by a computer. From this perspective, many design schools have included computer courses, which teach not only the use of application programs but also programming to modify and create computer-based tools.
In the current academic educational structure, different techniques are used to show the interrelationship of design and programming to students. One of the best examples in this area is an application program that attempts to teach the programming logic to design students in a simple way. One of the earliest examples of such programs is the Topdown Programming Shell developed by Mitchell, Liggett and Tan in 1988 . The Topdown system is an educational CAD tool for architectural applications, where students program in Pascal to create architectural objects. Different examples of such educational programs have appeared since then. A recent fine example of these is the book and program called “Design by Number” by John Maeda . In that book, students are led to learn programming by coding in a simple programming language to create various graphical primitives.
However, visual programming is based largely on geometry and one cannot master the use of computer-based tools without a through understanding of the mathematical principles involved. Therefore, in a model for design education, computer-based application and creativity classes should be supported by "mathematics for design" courses. The definition of such a course and its application in the multimedia design program is the subject of this article.
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