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 142

_id sigradi2007_af19
id sigradi2007_af19
authors López de Anda, María Magdalena
year 2007
title Aesthetics and spatial representation in the Ragnarok On Line [La estética y la representación espacial en el Ragnarok On Line]
source SIGraDi 2007 - [Proceedings of the 11th Iberoamerican Congress of Digital Graphics] México D.F. - México 23-25 October 2007, pp. 397-403
summary Videogames known as “persistan worlds” have become an important object of study because of the increasing and large number of users, and the time they spent playing and interacting with them. This document presents a fragment (space and aesthetic) of the research on the discourse construction process in the Ragnarok On Line game. This work is the result of a documentary quest, analysis and ethnography work.
series SIGRADI
last changed 2016/03/10 08:55

_id 59ff
id 59ff
authors MacPherson, Deborah L.
year 2004
source Proceedings of the Fourth International Conference of Mathematics & Design, Special Edition of the Journal of Mathematics & Design, Volume 4, No.1, pp. 271-281.
summary People used to illustrate our ideas by hand and now we use machines. But we still can’t search through all the world’s drawings and ideas by proportion, aesthetic, and a list of measurements and space requirements. Suppose there was a new way to communicate with our machines that would allow design and other subtle relationships to be measured, compared and perceived using the design intent and viewers interpretations themselves as descriptions? In the future, using a system like this will eventually create so many designs, interpretations, patterns and spaces to choose from the questions become: how would design be perceived within these virtual spaces; and how might our aesthetics change due to this new dialogue with machines?
series other
type normal paper
last changed 2005/04/07 13:41

_id acadia10_81
id acadia10_81
authors Marcos, Carlos L.
year 2010
title Complexity, Digital Consciousness and Open Form: A New Design Paradigm
source ACADIA 10: LIFE in:formation, On Responsive Information and Variations in Architecture [Proceedings of the 30th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-1-4507-3471-4] New York 21-24 October, 2010), pp. 81-87
summary Complexity as a result of improved design capabilities through the use of computer tools was introduced in the architectural debate since these became irreplaceable. On the other hand, not every designer is genuinely aware of the logical implications that the use of these tools may entail. Used as a simple emulation of enhanced traditional design tools—drawings and models, they do not alter the process of design significantly. However, the potential of such tools beyond their instrumentality introduces designers into the realm of digital consciousness. This paper analyzes complexity as an inherent quality of computer aided architectural design in relation to four different digitally conscious design strategies. First, the increase of complexity involved in digital architectural designs because of their potentiality to manage enormous amounts of differentiated information. Second, the complexity inherent to an open form such as parametric or generative designs may be defined. Third, the use of the computer as a smart partner involved in the design process —i.e., form finding strategies— rather than as a simple efficient machine able to repeat our abilities faster and more effectively in certain roles of the design process. Finally, it analyzes the possibility of generating parameterized typologies as a result of the openness of form, as well as the increased complexity that randomness may introduce in algorithmic design. The paper concludes with reflections on complexity vs. simplexity considering the fact that the simplicity characteristic of Modernism aesthetics and constructive values collide with the baroque formal complexity achieved in generative design.
keywords Digital consciousness, complexity, added information, open form, form finding, randomness
series ACADIA
type normal paper
last changed 2010/11/10 06:27

_id acadia15_110
id acadia15_110
authors Marcu, Mara; Tang, Ming
year 2015
title Data Mapping and Ornament in Digital Craft
source ACADIA 2105: Computational Ecologies: Design in the Anthropocene [Proceedings of the 35th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-692-53726-8] Cincinnati 19-25 October, 2015), pp. 110-120
summary With an ever-increasing index of digital artifacts, we have begun to exhaust variation as an adaptive technique. The problem with incremental modulation (here understood as sequential and slowly progressing change of a set of parameters within a field condition) is that in essence it leads to morphologically equivalent and, hence, repetitive patterns of habitation. While the role of variation proved key in pushing forward an essential body of research testing and optimizing principles of mass customization, its residual effects become critically disconcerting. This paper presents an investigation of tectonic mutations for the generation of form, seen through data simulation experiments and machining artifacts. Through several projects we investigate the effects of ornament created as a result of the new relationship between generative modeling, simulation, and fabrication in the digital age. Subject to (de)generative mutation techniques, ornament can be under-stood as a result of overlaid data, whether the data is performance related or not, in both massing and surface conditions. This new working methodology will mitigate between the incertitude regarding time, history and memory, and by reinventing their relation it will reassess ornament’s agency within the digital culture. Design methods are extended by exploring, collecting, analyzing, and representing data through various materialization processes. Design is therefore reconsidered as being injected with the concepts of data driven design and dependent on the inter-play between performance and aesthetics. In this way, we consider the footprint - or the subsequent impact - of the human onto the nonhuman using artificial intelligence as a medium. These intentionally or accidentally engraved layers of information begin to describe potential trajectories of novel survival modes in the Anthropocene.
keywords Data mapping, ornament, generative modeling, simulation, CNC fabrication, degenerative mutation
series ACADIA
type normal paper
last changed 2016/08/05 11:37

_id acadia14_167
id acadia14_167
authors Marcus, Adam
year 2014
title Centennial Chromagraph: Data Spatialization and Computational Craft
source ACADIA 14: Design Agency [Proceedings of the 34th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 9781926724478]Los Angeles 23-25 October, 2014), pp. 167-176
summary This paper describes the design, fabrication, and assembly process of Centennial Chromagraph, a large-scale installation recently constructed for the centennial anniversary of the University of Minnesota School of Architecture. The project is an exercise in data spatialization: using computational design tools to generate formal and spatial constructions with large quantities of information.
keywords Category: Generative Design / Big Data; Keywords: data spatialization, big data, computational design, digital fabrication, digital craft, information aesthetics
series ACADIA
type Normal Paper
last changed 2014/09/29 05:51

_id 44cc
authors Martens, Bob (ed.)
year 1996
title Full-scale Modeling in the Age of Virtual Reality
source Proceedings of the 6th European Full-scale Modeling Association Conference / ISBN 3-85437-132-2 / Vienna (Austria) 4-6 September 1996, 140 p.
summary In times characterized by the growing "architectural criticism"; to the same extent as by the helplessness of the anonymous user the communication process between contractors, planner and users gains in importance. If communication is successful will not only depend on the quality of the project but also on the means of conveyance, e.g. visualizing or model representation. Can planning evaluation be effectively supported by virtual reality (VR)?

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.

keywords VR, Virtual Reality, Simulation in Full-scale, Model Simulation, Real Environments
series other
last changed 2003/08/25 08:12

_id acadia14projects_46
id acadia14projects_46
authors Marus, Adam
year 2014
title Centennial Chromagraph
source ACADIA 14: Design Agency [Projects of the 34th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 9789126724478]Los Angeles 23-25 October, 2014), pp. 43-46
summary Centennial Chromagraph is a life-size representation of the history of the University of Minnesota School of Architecture. The project employs techniques gleaned from contemporary approaches to “Big Data” to visualize the School’s history while also producing abstract material effects of light and color.
keywords data spatialization, big data, computational design, digital fabrication, digital craft, information aesthetics
series ACADIA
type Research Projects
last changed 2014/09/29 05:57

_id acadia07_138
id acadia07_138
authors Mathew, Anijo Punnen
year 2007
title Beyond Technology: Efficiency, Aesthetics, and Embodied Experience
source Expanding Bodies: Art • Cities• Environment [Proceedings of the 27th Annual Conference of the Association for Computer Aided Design in Architecture / ISBN 978-0-9780978-6-8] Halifax (Nova Scotia) 1-7 October 2007, 138-145
summary The spaces we live in are increasingly entwined in a complex weave of architecture and technology. With the evolution of intelligent devices that work in the background, design of place will eventually be a seamless integration of not just efficient but also experiential and virtual technologies. This signals a paradigm shift because “smart” architecture affords users a new interaction with architecture. In spite of such promises, we have seen interactive architecture ideas and “smart” environments only within laboratory walls or in the form of simplistic implementations. Perhaps the reason is simple. Rachael McCann asks if the integration of technology within the context of an increasingly information-driven modern era has abandoned the body in favor of the mind (McCann 2006). If we acknowledge that “smart” computing has the opportunity to transcend an efficient backbone to generator of experiences, perhaps we, as designers, must reconsider our position and strategy in this modern world. This paper is designed as a critical essay—one which evaluates interactive architecture and “smart” environments within the context of today’s socio-cultural climate. The paper hopes to open a discussion about the role of computing as architecture and the role of the architect in the design of such architecture.
series ACADIA
last changed 2007/10/02 06:11

_id acadia06_278
id acadia06_278
authors Mathew, Anijo
year 2006
title Aesthetic Interaction A Model for Re-thinking the Design of Place
source Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 278-291
summary We live in a landscape of digital information and communication. Digital technology finds pervasive application in many aspects of modern habitable spaces— environmental control systems, internet based systems for information exchange, cellular systems for instant communication, and the list goes on. In fact, recent Intel studies show that every day we encounter at least 150 different computing devices in our living environments. As computing initiatives evolve intelligent devices that work in the background of our day to day living, several questions arise about how we interact with these devices. The design of “smart” places will eventually involve the seamless integration of both the physical and virtual. Such interventions will lead to a transformation in the way we design. Architects will increasingly find themselves using the computer in design as opposed to design. Over the last few years our lab has been working on several projects, from the level of a room to the level of urban design, that use embedded interactivity and computing as part of the design. This paper describes three such projects, completed at different times, which deal with different problems and the overall impact of computing on the way the designs were developed. The description and evaluation of these projects will be used to develop a theory for the use of pragmatist aesthetics for “information interchange” within architectural design. In short, the paper will explore the evolution of Computer “Aided” Design from a model for designing architecture to a model for designing computing within architecture through aesthetic interaction.
series ACADIA
last changed 2006/09/22 06:22

_id 781d
id 781d
authors Mayer, Rosirene; Turkienicz, Benamy
year 2005
title Generative Process of Oskar Niemeyer‘s Style
source 2005 Aesthetics and Architectural Composition. Proceedings of the Dresden International Symposium of Architecture 2004 (to appear in "pro Literatur Verlag", D-82291 Mammendorf ISBN: 3-86611-022-7 / Editors: Ralf Weber/Matthias Albrecht Amann/ TU Dresden
summary The aim of this study is to outline the structure of a possible grammar of Oscar Niemeyer’s architectural language, focusing on the so-called “free forms.” The idea is to assess the extent to which it is possible to shed some light on the discussion of architectural freedom as used by many authors when describing the work of the Brazilian architect. The investigation associates geometric relations present in Niemeyer’s buildings to the Shape Grammar model as proposed by Stiny & Gips (1975). The model made possible the depiction of consistencies in vocabulary, rules and operations deployed by Niemeyer. This eventually led to the description of an original architectural language present in Niemeyer’s buildings.
keywords Shape Grammars, Oskar Niemeyer, Generative process
series other
type symposium
last changed 2006/10/01 06:39

_id ga0017
id ga0017
authors McLean, A., Ward, A. and Cox, G.
year 2000
title The aesthetics of generative code
source International Conference on Generative Art
summary Aesthetics, in general usage, lays an emphasis on subjective sense perception associated with the broad field of art and human creativity. This paper suggests that it might be useful to revisit the troubled relationship between art and aesthetics for the purpose of discussing the value of generative code. It is now generally accepted that sense perception alone is simply not enough unless contextualised within the world of ideas. Similarly, the world of multimedia is all too easily conflated with a multi-sensory experience (of combining still and moving image, sound, interaction and so on). Thus the limits of traditional aesthetics is emphasised in the problem of defining which of the senses the highest of the arts adheres to -according to Kant and Hegel - the ‘arts of speech’. Poetry throws such crude classificatory distinctions into question as it is both read and heard; or written and spoken/performed. Hegel suggests a way out of this paradox by employing dialectical thinking; as we do not hear speech by simply listening to it. He suggests that we need to represent speech to ourselves in written form in order to grasp what it essentially is. Thus poetry can neither be reduced to audible signs (the time of the ear) nor visible signs (the space of the eye) but is composed of language itself. This suggests that written and spoken forms work together to form a language that we appreciate as poetry. But does code work in the same way? By analogy, generative code has poetic qualities too, as it does not operate in a single moment in time and space but as a series of consecutive ‘actions’ that are repeatable, the outcome of which might be imagined in different contexts. Code is a notation of an internal structure that the computer is executing, expressing ideas, logic, and decisions that operate as an extension of the author's intentions. The written form is merely a computer-readable notation of logic, and is a representation of this process. Yet the written code isn't what the computer really executes, since there are many levels of interpreting and compiling and linking taking place. Code is only really understandable with the context of its overall structure – this is what makes it a language (be it source code or machine code, or even raw bytes). It may be hard to understand someone else’s code but the computer is, after all, multi-lingual. In this sense, understanding someone else's code is very much like listening to poetry in a foreign language - the appreciation goes beyond a mere understanding of the syntax or form of the language used, and as such translation is infamously problematic. Code itself is clearly not poetry as such, but retains some of its rhythm and metrical form. Code is intricately crafted, and expressed in multitudinous and idiosyncratic ways. Like poetry, the aesthetic value of code lies in its execution, not simply its written form. To appreciate it fully we need to ‘see’ the code to fully grasp what it is we are experiencing and to build an understanding of the code’s actions. To separate the code and the resultant actions would simply limit the aesthetic experience, and ultimately the study of these forms - as a form of criticism (what might be better called ‘poetics’).
series other
last changed 2003/08/07 15:25

_id ecaade2018_366
id ecaade2018_366
authors Miltiadis, Constantinos
year 2018
title Virtual Reality, Videogames, Architecture and Education - From utopian drawings to inconstructible navigable environments
source Kepczynska-Walczak, A, Bialkowski, S (eds.), Computing for a better tomorrow - Proceedings of the 36th eCAADe Conference - Volume 2, Lodz University of Technology, Lodz, Poland, 19-21 September 2018, pp. 805-814
summary The paper suggests virtual reality (VR) as an architectural medium on the continuum of visionary architectural drawings of the past centuries. It argues that architecture and contemporary videogames engage with and share very similar concerns and aesthetic sensibilities. The potential of VR to develop designs and spatial configurations impossible to construct in physical reality but perfectly perceivable by our sensory apparatus, uncovers a latent domain of spatial aesthetics that architects can experiment with, develop and harness. The latter half of the paper discusses an experimental master studio module developed at the Institute of Architecture and Media of TU Graz, in which architecture students were called to develop interactive spatiotemporal environments in the VR videogame medium.
keywords virtual reality; game design; education; spatial intelligence; videogames; game studies
series eCAADe
last changed 2018/08/22 13:38

_id ddssar9623
id ddssar9623
authors Mitossi, V. and Koutamanis, A.
year 1996
title Parametric design of stairs
source Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Spa, Belgium), August 18-21, 1996
summary Stairs represent one of the oldest and most intricate design problems in architecture. Aesthetics, pedestrian circulation, construction and safety combine to create a complex network of factors. Despite the essentially parametric nature of stairs, designers have been eager to adopt and apply simplistic standardization schemes, often unrelated to safety issues. Moreover, while there are several computerized systems for the automated design of stairs, there has been little if any interest in the computer-based analysis of stair designs. The objective of our research has been to develop a transparent and flexible computer system for the design and analysis of stairs. The system employs constraint propagation networks for the calculation of stair dimensions in generation and for the correlation of floor levels to stairs and their dimensions in analysis. Computerization also allows us to re-examine and refine the norms underlying stair design. We propose that our understanding of stair design can be improved by the analysis of proprioceptive sizes in ascent and descent. Simulation of these sizes with virtual robots combines accurate measurement with visual evaluation. This combination facilitates the effortless and direct integration of advanced technologies and new methods in architectural design.
series DDSS
last changed 2003/08/07 14:36

_id 1e1a
authors Moeck, Martin
year 2001
title On top-down architectural lighting design. Constraint-based generation of light sources
source Proceedings of the Ninth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-7023-6] Eindhoven, 8-11 July 2001, pp. 331-348
summary One key problem of architectural lighting design is to specify goals that relate to aesthetics. Since visibility is an important criterion for many visual tasks and objects, heuristics from industrial lighting and visual inspection can be used to describe the appearance of objects relevant to architectural lighting design, and to derive corresponding light sources. This has the potential to bring computation time in the range of near-interactive rates. A combination of two constraining inputs, which are the specification of desired material appearance and the selection of highlights and shadows can be successfully used in determining light sources.
keywords Top-Down Design, Constraint Satisfaction Optimisation, Lighting Design, Visual Performance Criteria
series CAAD Futures
last changed 2006/11/07 06:22

_id sigradi2018_1237
id sigradi2018_1237
authors Nestler, Gerald
year 2018
title Aesthetics of Resolution. A postdisciplinary approach to countering the technocapitalist black box
source SIGraDi 2018 [Proceedings of the 22nd Conference of the Iberoamerican Society of Digital Graphics - ISSN: 2318-6968] Brazil, São Carlos 7 - 9 November 2018, pp. 1187-1197
summary Visibility and knowledge are based on access to information. We usually consider this as either a question of collecting new or examining existing data. However, the term -black box society? (Pasquale) points to a situation in which data are deliberately concealed, enabling complex processes of technocapitalist exploitation. Manufacturing information asymmetry and noise have become effective tools to gain competitive advantage across all levels of life. This text argues that adverse technopolitical schemes can be addressed with an aesthetics of resolution and with the figure of the renegade, an expert who makes the black box speak from inside.
keywords Aesthetics; Black box automation; Big data; Finance; Information asymmetry; Resolution; Renegade
series SIGraDi
last changed 2019/05/20 09:11

_id ijac201412101
id ijac201412101
authors Neves, Isabel Clara Neves; João Rocha, José Pinto Duarte
year 2014
title Computational Design Research in Architecture: The Legacy of the Hochschule für Gestaltung, Ulm
source International Journal of Architectural Computing vol. 12 - no. 1, 1-26
summary The use of computational processes in architecture is a widespread practice which draws on a set of theories of computer science developed in the 60s and 70s. With the advent of computers, many of these methodologies were developed in research centres in the USA and the UK. Focussing on this period, this paper investigates the importance of the German Hochschule fur Gestaltung, Ulm (HfG) design school in the early stages of computation in design and architecture. Even though there were no computers in the school, it may be argued that its innovative pedagogy and distinguished faculty members launched analogical computational design methods that can be seen as the basis for further computational approaches in architecture. The paper draws on archive material, as well as at an original interview with Tomas Maldonado, to propose that the remarkable work pursued by Tomas Maldonado (the educational project), Max Bense (information aesthetics) and Horst Rittel (scientific methods) was fundamental in establishing HfG Ulm as the forerunner of computation in architecture.
series journal
last changed 2019/05/24 07:55

_id caadria2013_009
id caadria2013_009
authors Neves, Isabel Clara; João Rocha  and José Pinto Duarte
year 2013
title The Legacy of the Hochschule Für Gestaltung of Ulm for Computational Design Research in Architecture
source Open Systems: Proceedings of the 18th International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA 2013) / Singapore 15-18 May 2013, pp. 293-302
summary Nowadays the use of computational design processes in architecture is a common practice which is currently recovering a set of theories connected to computer science that were developed in the 60’s and 70’s. Such pioneering explorations were marked by an interest in employing scientific principles and methodologies many developed in Research Centres located in the US and the UK. Looking into this period, this paper investigates the relevance of the German design school of the Hochschule für Gestaltung (HfG) Ulm to the birth of computation in architecture. Even thought there were no computers in the school. It is argued that the innovative pedagogies and some distinct professors have launched clear foundations that can be understood as being at the basis of further computational approaches in architecture. By describing and relating the singular work by Tomas Maldonado (educational project), Max Bense (information aesthetics) and Horst Rittel (scientific methods), this paper describes the emergence of analogical ways of computational design thinking. This analysis ultimately wishes to contribute for inscribing the HfG Ulm at the cultural and technological mapping of computation in architecture. 
wos WOS:000351496100029
keywords HfG - Hochschule für Gestaltung Ulm, Design methods, Scientific methodology, Information aesthetics, Computational design, Architecture 
series CAADRIA
last changed 2016/05/16 09:08

_id e721
authors Nitsche, Michael and Roudavski, Stanislav
year 2002
title Building Cuthbert Hall Virtual College as a Dramatically Engaging Environment
source PDC 02 - Proceedings of Participatory Design conference, T. Binder, J. Gregory, I. Wagner (eds.), Malmö. Sweden, 23-25 June 2002 [ISBN 0-9667818-2-1]
summary This paper outlines the interdisciplinary nature, collaborative work patterns and role of aesthetics in the Cuthbert Hall Virtual College research project at the Cambridge University Moving Image Studio (CUMIS) and the Centre for Applied Research in Education Technology (CARET). The project identifies key properties of dramatically engaging real-time three-dimensional virtual environments (RT 3D VE) and how the holistic experiential phenomenon of place is organised and mediated through spatial narrative patterns. Interdisciplinary by nature, the project requires a collaborative approach between science, engineering, media and architecture, and the results are revealing for all these areas. The Cuthbert Hall project invites discussion of the importance in the creation and use of RT 3D VE's - under single and multi-user conditions - of articulate aesthetics (the quality of architectural, visual and audio design; the production and incorporation of dramatic properties) and of the conditions required for collaborative, communicative use of the environment. The full theoretical and technical discussions as well as the evaluation results are outside the scope of this submission.
keywords Real-time virtual environment, Computer Game, Place, Mediation, Expressive space
series other
last changed 2003/02/09 15:03

_id 11cb
id 11cb
authors Oguzhan Özcan
year 2004
source Proceedings of the Fourth International Conference of Mathematics & Design, Special Edition of the Journal of Mathematics & Design, Volume 4, No.1, pp. 199-203.
summary Many people believe that mathematical thought is an essential element of creativity. The origin of this idea in art dates back to Plato. Asserting that aesthetics is based on logical and mathematical rules, Plato had noticed that geometrical forms were “forms of beauty” in his late years. Unlike his contemporaries, he had stressed that the use of geometrical forms such as lines, circles, planes, cubes in a composition would aid to form an aesthetics. The rational forms of Plato and the rules of geometry have formed the basis of antique Greek art, sculpture and architecture and have influenced art and design throughout history in varying degrees. This emphasis on geometry has continued in modern design, reflected prominently by Kandinsky’s geometric classifications .

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.

series other
type normal paper
last changed 2005/04/07 13:36

_id f4da
authors Oritsland, Trond Are and Buur, Jacob
year 2000
title Taking the Best from a Company History -- Designing with Interaction Styles New Directions for Design
source Proceedings of DIS'00: Designing Interactive Systems: Processes, Practices, Methods, & Techniques 2000 pp. 27-38
summary In architecture and industrial design, the concept of style plays a major role in education as a way of explaining the historical inheritance and comparing alternative design expressions. In this article we claim that interaction design can benefit greatly from an understanding of the concept of style. It can provide designers with strong visions and a sense of direction in designing new interfaces. In particular we focus on Solid User Interface design, i.e. products with small displays and a limited number of keys, because of the tight coupling between interaction and industrial design. The authors share the concern that interaction designers in enthusiasm with new technologies fail to preserve the qualities of use from products with outdated technologies. This paper attempts to formulate an aesthetics of interaction design and reports on experiments with introducing interaction style thinking in a user centred design practice in industry.
keywords Computing Milieux-Management; Systems Analysis and Design; Information Systems; Interaction Styles; Interaction Design; Solid User Interface
series other
last changed 2002/07/07 14:01

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