Cumincad : CUMINCAD Papers : Search Results

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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_id	2a4f
authors	Jordani, David A.
year	1985
title	The Management of CADD Systems in the AEC Office
source	1985. [17] p
summary	A well known A/E firm purchased a CAAD system two years ago. They report great success and satisfaction. Their staff is enthused and more importantly so are their clients. Other firms watched them, and after six months one of their competitors purchased the identical CADD system. But that's where the similarities end. At the second firm, the system is under-utilized, management and staff appear to regret their decision and there has been little impact on the firm's work, its profitability and its clients. Identical systems installed in very similar firms with totally different results. What's the difference? MANAGEMENT...Even with the brief history of CADD in the AEC office we can see that the success or failure of CADD system implementation is more likely traced to the effectiveness of management than accuracy of system selection. The information conveyed in this paper is directed at new and experienced planners and managers of turnkey CADD systems in AEC or facilities management environments. With a focus on real solutions to real problems, it addresses some of the critical issues that will help you successfully plan and implements your own CADD system
keywords	practice, management, architecture, CAD, integration, systems
series	CADline
last changed	2003/06/02 13:58

_id	244d
authors	Monedero, J., Casaus, A. and Coll, J.
year	1992
title	From Barcelona. Chronicle and Provisional Evaluation of a New Course on Architectural Solid Modelling by Computerized Means
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 351-362
doi	https://doi.org/10.52842/conf.ecaade.1992.351
summary	The first step made at the ETSAB in the computer field goes back to 1965, when professors Margarit and Buxade acquired an IBM computer, an electromechanical machine which used perforated cards and which was used to produce an innovative method of structural calculation. This method was incorporated in the academic courses and, at that time, this repeated question "should students learn programming?" was readily answered: the exercises required some knowledge of Fortran and every student needed this knowledge to do the exercises. This method, well known in Europe at that time, also provided a service for professional practice and marked the beginning of what is now the CC (Centro de Calculo) of our school. In 1980 the School bought a PDP1134, a computer which had 256 Kb of RAM, two disks of 5 Mb and one of lO Mb, and a multiplexor of 8 lines. Some time later the general politics of the UPC changed their course and this was related to the purchase of a VAX which is still the base of the CC and carries most of the administrative burden of the school. 1985 has probably been the first year in which we can talk of a general policy of the school directed towards computers. A report has been made that year, which includes an inquest adressed to the six Departments of the School (Graphic Expression, Projects, Structures, Construction, Composition and Urbanism) and that contains interesting data. According to the report, there were four departments which used computers in their current courses, while the two others (Projects and Composition) did not use them at all. The main user was the Department of Structures while the incidence of the remaining three was rather sporadic. The kind of problems detected in this report are very typical: lack of resources for hardware and software and for maintenance of the few computers that the school had at that moment; a demand (posed by the students) greatly exceeding the supply (computers and teachers). The main problem appeared to be the lack of computer graphic devices and proper software.
series	eCAADe
email
last changed	2022/06/07 07:58

_id	ddss9408
id	ddss9408
authors	Bax, Thijs and Trum, Henk
year	1994
title	A Taxonomy of Architecture: Core of a Theory of Design
source	Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary	The authors developed a taxonomy of concepts in architectural design. It was accepted by the Advisory Committee for education in the field of architecture, a committee advising the European Commission and Member States, as a reference for their task to harmonize architectural education in Europe. The taxonomy is based on Domain theory, a theory developed by the authors, based on General Systems Theory and the notion of structure according to French Structuralism, takes a participatory viewpoint for the integration of knowledge and interests by parties in the architectural design process. The paper discusses recent developments of the taxonomy, firstly as a result of a confrontation with similar endeavours to structure the field of architectural design, secondly as a result of applications of education and architectural design practice, and thirdly as a result of theapplication of some views derived from the philosophical work from Charles Benjamin Peirce. Developments concern the structural form of the taxonomy comprising basic concepts and levelbound scale concepts, and the specification of the content of the fields which these concepts represent. The confrontation with similar endeavours concerns mainly the work of an ARCUK workingparty, chaired by Tom Marcus, based on the European Directive from 1985. The application concerns experiences with a taxonomy-based enquiry in order to represent the profile of educational programmes of schools and faculties of architecture in Europe in qualitative and quantitative terms. This enquiry was carried out in order to achieve a basis for comparison and judgement, and a basis for future guidelines including quantitative aspects. Views of Peirce, more specifically his views on triarchy as a way of ordering and structuring processes of thinking,provide keys for a re-definition of concepts as building stones of the taxonomy in terms of the form-function-process-triad, which strengthens the coherence of the taxonomy, allowing for a more regular representation in the form of a hierarchical ordered matrix.
series	DDSS
last changed	2003/08/07 16:36

_id	a6f1
authors	Bridges, A.H.
year	1986
title	Any Progress in Systematic Design?
source	Computer-Aided Architectural Design Futures [CAAD Futures Conference Proceedings / ISBN 0-408-05300-3] Delft (The Netherlands), 18-19 September 1985, pp. 5-15
summary	In order to discuss this question it is necessary to reflect awhile on design methods in general. The usual categorization discusses 'generations' of design methods, but Levy (1981) proposes an alternative approach. He identifies five paradigm shifts during the course of the twentieth century which have influenced design methods debate. The first paradigm shift was achieved by 1920, when concern with industrial arts could be seen to have replaced concern with craftsmanship. The second shift, occurring in the early 1930s, resulted in the conception of a design profession. The third happened in the 1950s, when the design methods debate emerged; the fourth took place around 1970 and saw the establishment of 'design research'. Now, in the 1980s, we are going through the fifth paradigm shift, associated with the adoption of a holistic approach to design theory and with the emergence of the concept of design ideology. A major point in Levy's paper was the observation that most of these paradigm shifts were associated with radical social reforms or political upheavals. For instance, we may associate concern about public participation with the 1970s shift and the possible use (or misuse) of knowledge, information and power with the 1980s shift. What has emerged, however, from the work of colleagues engaged since the 1970s in attempting to underpin the practice of design with a coherent body of design theory is increasing evidence of the fundamental nature of a person's engagement with the design activity. This includes evidence of the existence of two distinctive modes of thought, one of which can be described as cognitive modelling and the other which can be described as rational thinking. Cognitive modelling is imagining, seeing in the mind's eye. Rational thinking is linguistic thinking, engaging in a form of internal debate. Cognitive modelling is externalized through action, and through the construction of external representations, especially drawings. Rational thinking is externalized through verbal language and, more formally, through mathematical and scientific notations. Cognitive modelling is analogic, presentational, holistic, integrative and based upon pattern recognition and pattern manipulation. Rational thinking is digital, sequential, analytical, explicatory and based upon categorization and logical inference. There is some relationship between the evidence for two distinctive modes of thought and the evidence of specialization in cerebral hemispheres (Cross, 1984). Design methods have tended to focus upon the rational aspects of design and have, therefore, neglected the cognitive aspects. By recognizing that there are peculiar 'designerly' ways of thinking combining both types of thought process used to perceive, construct and comprehend design representations mentally and then transform them into an external manifestation current work in design theory is promising at last to have some relevance to design practice.
series	CAAD Futures
email
last changed	2003/11/21 15:16

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
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	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	ascaad2006_paper20
id	ascaad2006_paper20
authors	Chougui, Ali
year	2006
title	The Digital Design Process: reflections on architectural design positions on complexity and CAAD
source	Computing in Architecture / Re-Thinking the Discourse: The Second International Conference of the Arab Society for Computer Aided Architectural Design (ASCAAD 2006), 25-27 April 2006, Sharjah, United Arab Emirates
summary	These instructions are intended to guide contributors to the Second Architecture is presently engaged in an impatient search for solutions to critical questions about the nature and the identity of the discipline, and digital technology is a key agent for prevailing innovations in architectural design. The problem of complexity underlies all design problems. With the advent of CAD however, Architect’s ability to truly represent complexity has increased considerably. Another source that provides information about dealing with complexity is architectural theory. As Rowe (1987) states, architectural theory constitutes “a corpus of principles that are agreed upon and therefore worthy of emulation”. Architectural theory often is a mixed reflection on the nature of architectural design, design processes, made in descriptive and prescriptive terms (see Kruft 1985). Complexity is obviously not a new issue in architectural theory. Since it is an inherent characteristic of design problems, it has been dealt with in many different ways throughout history. Contemporary architects incorporate the computer in their design process. They produce architecture that is generated by the use of particle systems, simulation software, animation software, but also the more standard modelling tools. The architects reflect on the impact of the computer in their theories, and display changes in style by using information modelling techniques that have become versatile enough to encompass the complexity of information in the architectural design process. In this way, architectural style and theory can provide directions to further develop CAD. Most notable is the acceptance of complexity as a given fact, not as a phenomenon to oppose in systems of organization, but as a structuring principle to begin with. No matter what information modelling paradigm is used, complex and huge amounts of information need to be processed by designers. A key aspect in the combination of CAD, complexity, and architectural design is the role of the design representation. The way the design is presented and perceived during the design process is instrumental to understanding the design task. More architects are trying to reformulate this working of the representation. The intention of this paper is to present and discuss the current state of the art in architectural design positions on complexity and CAAD, and to reflect in particular on the role of digital design representations in this discussion. We also try to investigate how complexity can be dealt with, by looking at architects, in particular their styles and theories. The way architects use digital media and graphic representations can be informative how units of information can be formed and used in the design process. A case study is a concrete architect’s design processes such as Peter Eisenman Rem Koolhaas, van Berkel, Lynn, and Franke gehry, who embrace complexity and make it a focus point in their design, Rather than viewing it as problematic issue, by using computer as an indispensable instrument in their approaches.
series	ASCAAD
email
last changed	2007/04/08 19:47

_id	sigradi2013_41
id	sigradi2013_41
authors	Luhan, Gregory A.; Robert Gregory
year	2013
title	Across Disciplines: Triggering Frame Awareness in Design Education
source	SIGraDi 2013 [Proceedings of the 17th Conference of the Iberoamerican Society of Digital Graphics - ISBN: 978-956-7051-86-1] Chile - Valparaíso 20 - 22 November 2013, pp. 619 - 623
summary	Tacit knowledge is paradoxical: something we know yet don't know we know, knowledge we sense but can't articulate. In Polanyi’s definition of tacit knowledge, “we know more than we can say" (1966/2009; Scott, 1985; Gelwick, 1977). It's important to see that tacit knowledge is part of a sequence; mental structures, in awareness when first learned, eventually become tacit, operating thenceforth as unquestioned assumptions. These tacit structures pose a problem for professional education in disciplines that encourage creativity. This paper examines the design and re-design of an interdisciplinary course intended to help make these tacit structures visible, to trigger frame awareness.
keywords	Tacit knowledge; Design thinking; Sustainability; Systems thinking; Frame reflection
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	e115
authors	Pipes, Alan (Ed.)
year	1986
title	Computer-Aided Architectural Design Futures [Conference Proceedings]
source	International Conference on Computer-Aided Architectural Design / ISBN 0-408-05300-3] Delft (The Netherlands), 18-19 September 1985, 245 p.
summary	Computer-Aided Architectural Design Futures was conceived late one evening in the bar of the Metropole Hotel in Brighton, UK. Those present - veterans of a hundred and one CAD conferences - were bemoaning the degree to which big business was taking over the conference scene: exhibiting was replacing conferring, selling was replacing thinking, products were replacing ideas. Wouldn't it be nice, we agreed, to get back to an 'academic' conference which would take stock of current developments in CAAD and attempt to anticipate the direction of future developments and their impact on architectural practice, on the building industry and on the quality of the built environment? Four major themes are explored in CAAD Futures: (1) Systematic design; (2) Drawing and visualization; (3) Artificial intelligence and knowledge engineering; (4) Implications for practice. // Stimulus papers on these four themes were circulated prior to the Conference, and the conference papers themselves elaborated the issues raised in the stimulus papers in such a way as to encourage discussion. The resulting book, we believe, will be a major reference text for students, researchers and practitioners.
series	CAAD Futures
last changed	1999/04/03 17:58

_id	82ab
authors	Wrona, Stefan K.
year	1986
title	The Profits of CAAD Can Be Increased by an Integrated Participatory Design Approach
source	Computer-Aided Architectural Design Futures [CAAD Futures Conference Proceedings / ISBN 0-408-05300-3] Delft (The Netherlands), 18-19 September 1985, pp. 53-57
summary	Computer-aided Architectural Design is understood in Poland as comprising all computer applications in an architectural design office. In Polish architectural practice (with a few exceptions) it is still under theoretical consideration and in an experimental phase. Therefore if we are talking about the future of CAAD in Poland we are thinking about a much more long-term future than for Western countries. However, if new economic and organizational changes initiated in Poland in the early 1980s continue, future problems and solutions in CAAD will, for us, become similar to those in Western countries.
series	CAAD Futures
email
last changed	2003/05/16 20:58

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