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 16 of 16

_id ascaad2014_033
id ascaad2014_033
authors Al-Mousa , Sukainah Adnan
year 2014
title Temporary Architecture: An urban mirage
source Digital Crafting [7th International Conference Proceedings of the Arab Society for Computer Aided Architectural Design (ASCAAD 2014 / ISBN 978-603-90142-5-6], Jeddah (Kingdom of Saudi Arabia), 31 March - 3 April 2014, pp. 405-413
summary One of the emerging multidisciplinary contemporary art practices is interactive installation art, which is concerned with constructing a temporary artistic environment that is digital, responsive and engaging. It is usually displayed within existing architectural context whether indoor in a gallery space or outdoor in a public space. Recent examples of such art projects show that interactivity and illusion are effectively present and highly influential in the perception and memory of the place. A digital display on a building façade can remain attached to the history of the site in the spectator’s memory even after the display is removed. An interactive space that involves body response and emotional sensory interaction can determine the narrative perceived from the experience. These trends seemingly bring together the physical context and the digital space to contain the spectator. The two mediums are merged to provide a new genre of space, hence a new mode of perception where the art space mediates people’s movement and overlay the context with new meanings. Multiple backgrounds are involved in the creative process of interactive installation art, all of which involve examining various concepts through artistic engagement with temporary spaces. Here, particularly because of interactivity and immerseveness, the spectator becomes part of the performance (the subject); with his moving and reacting he activates the narrative and probably gives it its shape. This paper aims to explore the potentials of the digital spatial display to enhance or weaken our sense of belonging to the surrounding environments while creating an illusionary space within the real physical one. It also aims to discuss how this influence would affect the memory of the mixed experience; the installation being digital, temporary and illusive and the space being physical, permanent and real. What happens to the “spectator” when contained by the digital-interactive and the physical medium(s)?. In order to unfold the mentioned questions, the study uses theories of perception and performance reflected on live case studies of recent art projects where the researcher becomes a member of the audience and an observer at the same time in order to trace the journey inside this new medium. In an era where time is being more difficult to grasp and identities of visual culture is becoming more difficult to define, temporary responsive environments can provide some openings where space becomes durational, yet, influential, and where people’s movements become more meaningful in the visual terrain.
series ASCAAD
email s.almousa@sheffield.ac.uk
last changed 2016/02/15 12:09

_id acadia12_149
id acadia12_149
authors Besler, Erin
year 2012
title Low Fidelity
source ACADIA 12: Synthetic Digital Ecologies [Proceedings of the 32nd Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-1-62407-267-3] San Francisco 18-21 October, 2012), pp. 149-153
summary Low Fidelity engages in the translational discrepancies that occur through mediums of architectural representation, not as instances of dilemma but as opportunities to subdue tautology and augment the seductive latency of representation(1). Where some might contend the discrepant as unlawful, the methodology that this thesis argues for engages the digital and machinic, and explores the translational discrepancies that challenge and interrupt our interface with matters of materialization and excite material propensities. The discrepant becomes a dynamic catalyst through the engagement of tools and techniques that subvert the homogeneity of digital design. Low Fidelity engages the sphere of translation by reevaluating the role of architectural representation as generator and generated its originations and its limitations. In an attempt to negotiate the digital and physical, this thesis situates itself within the feedback loop between the mediums of translation through ideas their formal logics, material propensities and back again.
keywords Robotic Fabrication , Digital Machinic , Material Propensity , Technological Fidelity , Generative Representation , Translation through Mediums
series ACADIA
type panel paper
email erinbesler@gmail.com
last changed 2013/01/09 10:06

_id sigradi2016_792
id sigradi2016_792
authors Bono, James De; Moleta, Tane
year 2016
title Sentimentality and the Digital Expanse
source SIGraDi 2016 [Proceedings of the 20th Conference of the Iberoamerican Society of Digital Graphics - ISBN: 978-956-7051-86-1] Argentina, Buenos Aires 9 - 11 November 2016, pp.668-676
summary This paper explores the use of atmosphere within a digital space to evoke complex emotional response from virtual inhabitants of the space. Within architectural representation a shift to architectural visualisations in digital mediums have lost the prominence of the sensual communication of atmosphere and emotion in the abstract component of space. Sentimentality and the Digital Expanse constructs a methodology to reintroduce this sensuality into digital space, that draws from knowledge of both the unfamiliar atmosphere and the technical Presence to allow an iterative articulation of objective atmospheric design within digital space.
keywords Complex emotional impact; Atmospheric design; Digital space; Architectural representation; Virtual presence
series SIGraDi
email debonjame@myvuw.ac.nz
last changed 2017/06/21 12:21

_id acadia06_411
id acadia06_411
authors Campbell, Cameron
year 2006
title Digital Design Pedagogy Setting the Foundation for Digital Design in the Architecture Curriculum
source Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 411-417
summary In this paper I will present the work of developing a digital media foundation course that addresses this need to give design students a digital design foundation that crosses over many design disciplines and navigates the inter-relationships of various software packages. These considerations do not preclude students from engaging in the analog-digital debate. Instead, the students become informed participants in understanding the differences, benefits, and liabilities of the mediums. Furthermore, by addressing digital technology at an early stage, the digital divide in architectural education is reduced, and more students have the opportunity to fold digital technology into their foundations of methodologies.
series ACADIA
email cameronc@iastate.edu
last changed 2006/09/22 06:22

_id cf2011_p051
id cf2011_p051
authors Cote, Pierre; Mohamed-Ahmed Ashraf, Tremblay Sebastien
year 2011
title A Quantitative Method to Compare the Impact of Design Mediums on the Architectural Ideation Process.
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. 539-556.
summary If we compare the architectural design process to a black box system, we can assume that we now know quite well both inputs and outputs of the system. Indeed, everything about the early project either feasibility studies, programming, context integration, site analysis (urban, rural or natural), as well as the integration of participants in a collaborative process can all be considered to initiate and sustain the architectural design and ideation process. Similarly, outputs from that process are also, and to some extent, well known and identifiable. We are referring here, among others, to the project representations or even to the concrete building construction and its post-evaluation. But what about the black box itself that produces the ideation. This is the question that attempts to answer the research. Currently, very few research works linger to identify how the human brain accomplishes those tasks; how to identify the cognitive functions that are playing this role; to what extent they operate and complement each other, and among other things, whether there possibly a chain of causality between these functions. Therefore, this study proposes to define a model that reflects the activity of the black box based on the cognitive activity of the human brain. From an extensive literature review, two cognitive functions have been identified and are investigated to account for some of the complex cognitive activity that occurs during a design process, namely the mental workload and mental imagery. These two variables are measured quantitatively in the context of real design task. Essentially, the mental load is measured using a Bakan's test and the mental imagery with eyes tracking. The statistical software G-Power was used to identify the necessary subject number to obtain for significant variance and correlation result analysis. Thus, in the context of an exploratory research, to ensure effective sample of 0.25 and a statistical power of 0.80, 32 participants are needed. All these participants are students from 3rd, 4th or 5th grade in architecture. They are also very familiar with the architectural design process and the design mediums used, i.e., analog model, freehand drawing and CAD software, SketchUp. In three experimental sessions, participants were asked to design three different projects, namely, a bus shelter, a recycling station and a public toilet. These projects were selected and defined for their complexity similarity, taking into account the available time of 22 minutes, using all three mediums of design, and this in a randomly manner to avoid the order effect. To analyze the two cognitive functions (mental load and mental imagery), two instruments are used. Mental imagery is measured using eye movement tracking with monitoring and quantitative analysis of scan paths and the resulting number and duration of participant eye fixations (Johansson et al, 2005). The mental workload is measured using the performance of a modality hearing secondary task inspired by Bakan'sworks (Bakan et al.; 1963). Each of these three experimental sessions, lasting 90 minutes, was composed of two phases: 1. After calibrating the glasses for eye movement, the subject had to exercise freely for 3 minutes while wearing the glasses and headphones (Bakan task) to get use to the wearing hardware. Then, after reading the guidelines and criteria for the design project (± 5 minutes), he had 22 minutes to execute the design task on a drawing table allowing an upright posture. Once the task is completed, the subject had to take the NASA TLX Test, on the assessment of mental load (± 5 minutes) and a written post-experimental questionnaire on his impressions of the experiment (± 10 minutes). 2. After a break of 5-10 minutes, the participant answered a psychometric test, which is different for each session. These tests (± 20 minutes) are administered in the same order to each participant. Thus, in the first experimental session, the subject had to take the psychometric test from Ekstrom et al. (1978), on spatial performance (Factor-Referenced Cognitive Tests Kit). During the second session, the cognitive style is evaluated using Oltman's test (1971). Finally, in the third and final session, participant creativity is evaluated using Delis-Kaplan test (D-KEFS), Delis et al. (2001). Thus, this study will present the first results of quantitative measures to establish and validate the proposed model. Furthermore, the paper will also discuss the relevance of the proposed approach, considering that currently teaching of ideation in ours schools of architecture in North America is essentially done in a holistic manner through the architectural project.
keywords design, ideation process, mental workload, mental imagery, quantitative mesure
series CAAD Futures
email pierre.cote@arc.ulaval.ca
last changed 2012/02/11 18:21

_id ecaade2008_198
id ecaade2008_198
authors Crotch, Joanna; Mantho, Robert
year 2008
title Media, Technology and Teaching
source Architecture in Computro [26th eCAADe Conference Proceedings / ISBN 978-0-9541183-7-2] Antwerpen (Belgium) 17-20 September 2008, pp. 293-300
summary With the growing reliance on technology and other visual media to explore architectural ideas, has architectural pedagogy realigned itself with the evolving possibilities of the new technological age? With the above in mind, we designed a program to explore and test this question. The programs encouraged experimentation and speculation. Technology was seen to be central to the program. The starting point was the selection of an activity. Each stage of the process required the student to firstly, carefully observe, then to create an image utilizing different ‘medium’ to realize their observations. The chosen mediums were cubism, movie making and digital imaging. Conventional plans and sections were required to be made of each final outcome, of each stage. As part of and in response to each progressive stage, a space to house an element of the activity was designed. The concluding part required the design of a small urban building to accommodate the activity selected.
keywords Pedagogy, Architecture, Technology, Spatialization, Exploration
series eCAADe
email j.crotch@gsa.ac.uk, r.mantho@gsa.ac.uk
last changed 2008/09/09 13:55

_id cc4f
authors Donath, Dirk
year 1996
title University CAAD-Education for Architectural Students - A Report on the Realisation of a User-oriented Computer Education at the Bauhaus University Weimar
source Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 143-154
summary Practically no other field of human creativity is evolving as fast and innovatively as the development and integration of the computer into every possible area imaginable. The computer has today become a natural tool in the fields of architecture and space-planning. The changing form of professional practice due to the increasing application of computerassisted work techniques results in the need, currently being addressed in the education of future architects and town planners, to bring these new mediums into the realm between architecture - art - and building - science.
series eCAADe
email caad@architektur.uni-weimar.de
more http://www.uni-weimar.de/architektur/InfAR/
last changed 1998/08/23 08:29

_id a293
authors Fargas, Josep
year 1993
title Design Mediums and Other Phenomena of First Generation CAD Practice
source Education and Practice: The Critical Interface [ACADIA Conference Proceedings / ISBN 1-880250-02-0] Texas (Texas / USA) 1993, pp. 99-105
summary In the majority of architecture firms which use CAD tools, computer technology has been retrofitted to an existing traditional practice, with mixed results. I will addresses some of the more interesting phenomena which occur in first generation CAD practices of this type, taking as a case study one well- established firm in Barcelona which, after more than thirty years of a successful practice, has adopted computer technology to such an extent that it is now very difficult to find even an ink pen in their offices.

Less than three years after the introduction of its first computer workstation, the Barcelona office is fully computerized, from carrying out even basic design directly with computer technology, to developing inhouse software and maintaining an internet node via modem. This rapid adoption of the technology, although a relatively smooth one, was not free from strange side-effects. Because of the continuing involvement of a large part of the existing staff, the transition to computer aided design required the appearance of hybrid methodologies which are neither the traditional ones, nor what one might expect to find in the newly established CAD practice.

series ACADIA
email fargas@dtec.es
last changed 2003/05/14 19:58

_id 2995
authors Gabriel, Gerard Cesar and Maher, Mary Lou
year 1999
title Coding and Modelling Communication in Architectural Collaborative Design
source Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 152-166
summary Although there has been some research done on collaborative face-to-face (FTF) and video-conferencing sessions involving architects, little is know about the effects these different mediums have on collaborative design in general and collaborative communication and design representation in particular. In this paper we argue that successful computer-mediated collaborative design (CMCD) does not necessarily mean emulating close proximity environments. In order to investigate this view, we carried out experiments examining the effect and significance of different communication channels in collaborative sessions between architects. The experiments were conducted in different environments and classified into three categories. The first category is FTF. The second computer mediated collaborative design sessions with full communication channels CMCD-a. The third category was conducted also through computer mediated collaborative design sessions but with limited communication channels CMCD-b. A custom coding scheme is developed using data, external and theoretically derived coding categories as a base. Examples of how the proposed coding scheme works are given from all three categories of experiments. The coding scheme provides the basis for modeling and understanding communication in collaborative design.
series ACADIA
email gerard@arch.usyd.edu.au
last changed 1999/12/02 07:48

_id caadria2018_162
id caadria2018_162
authors Hawton, Dominic, Cooper-Wooley, Ben, Odolphi, Jorke, Doherty, Ben, Fabbri, Alessandra, Gardner, Nicole and Haeusler, M. Hank
year 2018
title Shared Immersive Environments for Parametric Model Manipulation - Evaluating a Workflow for Parametric Model Manipulation from Within Immersive Virtual Environments
source T. Fukuda, W. Huang, P. Janssen, K. Crolla, S. Alhadidi (eds.), Learning, Adapting and Prototyping - Proceedings of the 23rd CAADRIA Conference - Volume 1, Tsinghua University, Beijing, China, 17-19 May 2018, pp. 483-492
summary Virtual reality (VR) and augmented reality (AR) provide designers with new visual mediums through which to communicate their designs. There is great potential for these mediums to positively augment current visual communication methods by improving remote collaboration. Enabling designers to interact with familiar computational tools through external virtual interfaces would allow them to both calibrate design parameters and visualise parametric outcomes from within the same immersive virtual environment. The current research outlines a workflow for parametric manipulation and mesh replication between immersive applications developed in the Unity game engine and McNeel's Grasshopper plugin. This paper serves as a foundation for future research into integrating design tools with external VR and AR applications in an effort of enhancing remote collaborative designs.
keywords Augmented Reality; Virtual Reality; Parametric Design; Procedural; Grasshopper
series CAADRIA
email m.haeusler@unsw.edu.au
last changed 2018/05/17 07:08

_id 2006_014
id 2006_014
authors Iordanova, Ivanka; Lorna Heaton and Manon Guité
year 2006
title Architectural Design Spaces and Interpersonal Communication-Changes in Design Vocabulary and Language Expression
source Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 14-21
summary This paper addresses communication during the design process and the mutations it may undergo depending on the medium of design. Three experimental observations were held with students in the context of architectural digital design studios. Each of them was performed when the students were working on a design problem, in groups of two or three, with different design mediums: cardboard mock-up or modeling software with one or two mice used for interaction with the computer. The methodology used for analysing the recorded video and graphical data is based on previous research work in the domains of collaborative communication as well as in the domain of design. It combines purely qualitative interpretation with graphical linkographic analysis. A software prototype was developed in order to allow for an interactive category assignment, exploration and interaction. Gesture, verbal language and design space are studied in order to determine their dependence on the medium and the eventual impact this might have either on the design process or on the object being designed.
keywords Design communication; education; gesture
series eCAADe
email ivanka.iordanova@umontreal.ca
last changed 2006/08/16 16:54

_id 02a1
authors Mirabelli, P., Fortuzzi, A., Petric, J. and Maver, Th.
year 1994
title Archive of European Architecture : A Proposal for Collaborative Action
source The Virtual Studio [Proceedings of the 12th European Conference on Education in Computer Aided Architectural Design / ISBN 0-9523687-0-6] Glasgow (Scotland) 7-10 September 1994, pp. 29-35
summary Advances in information technology - particularly in multi media - offer a major challenge to the European Schools of Architecture. This paper proposes a collaborative venture in the compilation of an Interactive Multi-Media Archive of great european Architecture (IMAGE:A). It envisages an agreed specification and common mediums for access to and development of the archive. Discussion of this important initiative will, hopefully, feature throughout the Conference.
series eCAADe
email fortuzzi@arch.uniroma3.it
last changed 2003/05/16 19:27

_id acadia11_64
id acadia11_64
authors Rosa, Joseph
year 2011
title Breeding Architecture with Design
source ACADIA 11: Integration through Computation [Proceedings of the 31st Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA)] [ISBN 978-1-6136-4595-6] Banff (Alberta) 13-16 October, 2011, pp. 64-67
summary The aesthetic lexicon of architecture and design has expanded substantially in the past decade. New technologies have resulted in methodologies and ideologies that now produce a more fluid dialogue between these discrete mediums, creating hyper-linked relationships that generate new aesthetic and social models for the design arts.
series ACADIA
type keynote paper
email joerosa@umma.umich.edu
last changed 2011/10/06 04:05

_id sigradi2006_c093b
id sigradi2006_c093b
authors Sánchez Cavazos, María Estela
year 2006
title El Aprendizaje del Diseño Arquitectónico en el mundo digital [Architectural design learning in a digital world]
source SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 210-214
summary The background of this paper goes back to the yer 2000 when its autor realizad an investigation in the architecture workshops. In that same year she finished her master's thesis about the design process and continued with investigations observing the influence of the computer use in the process. The main goal of the paper is to determine if the digital mediums take an important role between the connection of knowledges, actitudes and habilites for the architectonic design. The methodology used for the data collection was trough participant observations, interviews and cuasiexperiments. The paper shows how the student takes elements from the knowledges, actitudes and habilities, and connects them to realize constructions of new schemes of knowledge in the architectonic design process; the use of old and new tools to design and how it influences the outcome is observed.
series SIGRADI
email mesanche@correo.uaa.mx
last changed 2016/03/10 09:01

_id ecaade2009_194
id ecaade2009_194
authors Tong, Togan; Aydin, Erdal Devrim; Pusat, S. Emre
year 2009
title Animation vs. Simulation
source Computation: The New Realm of Architectural Design [27th eCAADe Conference Proceedings / ISBN 978-0-9541183-8-9] Istanbul (Turkey) 16-19 September 2009, pp. 803-808
summary In his book “Cinema as an Art”, Rudolf Arnheim states that cinema (art) cannot achieve to realize the mechanical reproduction of the real (nature) because of technical limitations but also states that these limitations are compulsory for the production of art. According to Arnheim, these limitations cause artists to interpret the real (nature) and to materialize impressive expressions. Architecture presents its productions to its viewers (customers) using some kind of media, before materializing them in the physical world. The most common ones nowadays are technical drawings (perspectives), models, photographs and computer aided models and animations. The architect makes impressive expressions based on the technical limitations of the medium he/she uses. With the computer technology, simulation gives possibilities to the architect for presenting and experiencing his/her art very close to reality. Simulation is the best way to reproduce the reality mechanically, when it is compared to other mediums. In this study, simulation’s potential as an architectural presentation technique is examined through Arnheim’s vision and Rembrandt’s painting “Staalmeesters”.
wos WOS:000334282200098
keywords Simulation, animation, architectural presentation, interactivity
series eCAADe
email ttong@yildiz.edu.tr, eaydin@yildiz.edu.tr, sepusat@yildiz.edu.tr
last changed 2016/05/16 09:08

_id eaea2005_165
id eaea2005_165
authors Walz, Manfred and Dennis Köhler
year 2006
title Perceiving, Orientating and Moving in Urban Spaces during Night-time
source Motion, E-Motion and Urban Space [Proceedings of the 7th European Architectural Endoscopy Association Conference / ISBN-10: 3-00-019070-8 - ISBN-13: 978-3-00-019070-4], pp. 165-177
summary Light is one of our essences of living and at the same time it is one of the mediums to perceive our environment, to orientate and to move even in unknown spaces. Above all other senses our guiding sense is the sense of seeing - during daytime. But how do we orientate and move when daylight has gone and when street lights and shop-windows light urban spaces instead of the sun? In that case the position and the cone of light determines how far the space ahead is visible to us. Does the sense of seeing intensify its guiding function for moving or wil one of the other senses step foreward when the range of sight becomes smaller?
series EAEA
email denniskoehler@revierlust.de
more http://info.tuwien.ac.at/eaea
last changed 2008/04/29 18:46

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