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	a7c3
authors	Bly, S.A.
year	1988
title	A use of drawing surfaces in different collaborative settings
source	Conference on Computer-Supported Cooperative Work (CSCW '88), (pp. 250-256), Portland, OR: ACM Press
summary	Two-person design sessions were studied in three different settings: face-to-face, geographically separated with an audio/video link, and a telephone-only connection. In all settings, the designers' uses of a drawing surface were noted. Many similar drawing surface activities occurred in all design settings even though the settings did not each allow for the same sharing and interaction with the drawing surfaces. Observations suggest that the process of creating drawings may be as important to the design process as the drawings themselves. These preliminary results raise issues for further study, particularly with respect to computer support for collaborative drawing surface use.
series	other
last changed	2003/11/21 15:16

_id	696c
authors	Beheshti, M. and Monroy, M.
year	1988
title	Requirements for Developing an Information System for Architecture
source	CAAD futures ‘87 [Conference Proceedings / ISBN 0-444-42916-6] Eindhoven (The Netherlands), 20-22 May 1987, pp. 149-170
summary	This paper discusses possibilities of developing new tools for architectural design. It argues that architects should meet the challenge of information technology and computer-based design techniques. One such attempt has been the first phase of the development of an architectural design information system (ADIS), also an architectural design decision support system. The system should benefit from the developments of the artificial intelligence to enable the architect to have access to information required to carry out design work. In other words: the system functions as a huge on-line electronic library of architecture, containing up-to-date architectural design information, literature, documents, etc. At the same time, the system offers necessary design aids such as computer programs for design process, drawing programs, evaluation programs, cost calculation programs, etc. The system also provides data communication between the architect and members of the design coalition team. This is found to be of vital importance in the architectural design process, because it can enable the architect to fit in changes, brought about in the project by different parties. Furthermore, they will be able, to oversee promptly the consequences of changes or decisions in a comprehensive manner. The system will offer advantages over the more commonly applied microcomputer based CAAD and IGDM (integrated graphics database management) systems, or even larger systems available to an architect. Computer programs as well as hardware change rapidly and become obsolete. Therefore, unrelenting investment pressure to up-date both software and hardware exists. The financial burden of this is heavy, in particular for smaller architectural practices (for instance an architect working for himself or herself and usually with few or no permanent staff). ADIS, as an on-line architectural design aid, is constantly up-dated by its own organisation. This task will be co-ordinated by the ADIS data- base administrator (DBA). The processing possibilities of the system are faster, therefore more complex processing tasks can be handled. Complicated large graphic data files, can be easily retrieved and manipulated by ADIS, a large system. In addition, the cost of an on-line system will be much less than any other system. The system is based on one model of the architectural design process, but will eventually contain a variety of design models, as it develops. The development of the system will be an evolutionary process, making use of its users' feed-back system. ADIS is seen as a step towards full automation of architectural design practices. Apart from being an architectural design support system, ADIS will assist the architect in his/her administrative and organisational activities.
series	CAAD Futures
last changed	2003/11/21 15:16

_id	98bd
authors	Pea, R.
year	1993
title	Practices of Distributed Intelligence and Designs for Education
source	Distributed Cognitions, edited by G. Salomon. New York, NY: CambridgeUniversity Press
summary	v Knowledge is commonly socially constructed, through collaborative efforts... v Intelligence may also be distributed for use in designed artifacts as diverse as physical tools, representations such as diagrams, and computer-user interfaces to complex tasks. v Leont'ev 1978 for activity theory that argues forcibly for the centrality of people-in-action, activity systems, as units of analysis for deepening our understanding of thinking. v Intelligence is distributed: the resources that shape and enable activity are distributed across people, environments, and situations. v Intelligence is accomplished rather than possessed. v Affordance refers to the perceived and actual properties of a thing, primarily those functional properties that determine how the thing could possibly be used. v Norman 1988 on design and psychology - the psychology of everyday things" v We deploy effort-saving strategies in recognition of their cognitive economy and diminished opportunity for error. v The affordances of artifacts may be more or less difficult to convey to novice users of these artifacts in the activities to which they contribute distributed intelligence. v Starts with Norman's seven stages of action Ø Forming a goal; an intention § Task desire - clear goal and intention - an action and a means § Mapping desire - unable to map goal back to action § Circumstantial desire - no specific goal or intention - opportunistic approach to potential new goal § Habitual desire - familiar course of action - rapidly cycle all seven stages of action v Differentiates inscriptional systems from representational or symbol systems because inscriptional systems are completely external, while representational or symbol systems have been used in cognitive science as mental constructs. v The situated properties of everyday cognition are highly inventive in exploiting features of the physical and social situation as resources for performing a task, thereby avoiding the need for mental symbol manipulations unless they are required by that task. v Explicit recognition of the intelligence represented and representable in design, specifically in designed artifacts that play important roles in human activities. v Once intelligence is designed into the affordances properties of artifacts, it both guides and constrains the likely contributions of that artifact to distributed intelligence in activity. v Culturally valued designs for distributed intelligence will change over time, especially as new technology becomes associated with a task domain. v If we treat distributed intelligence in action as the scientific unit of analysis for research and theory on learning and reasoning... Ø What is distributed? Ø What constraints govern the dynamics of such distributions in different time scales? Ø Through what reconfigurations of distributed intelligence might the performance of an activity system improve over time? v Intelligence is manifest in activity and distributed in nature. v Intelligent activities ...in the real world... are often collaborative, depend on resources beyond an individual's long-term memory, and require the use of information-handling tools... v Wartofsky 1979 - the artifact is to cultural evolution what the gene is to biological evolution - the vehicle of information across generations. v Systems of activity - involving persons, environment, tools - become the locus of developmental investigation. v Disagrees with Salomon et al.'s entity-oriented approach - a language of containers holding things. v Human cognition aspires to efficiency in distributing intelligence - across individuals, environment, external symbolic representations, tools, and artifacts - as a means of coping with the complexity of activities we often cal "mental." "
series	other
last changed	2003/04/23 15:14

_id	avocaad_2001_09
id	avocaad_2001_09
authors	Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year	2001
title	Digital Architecture in CAD studio and Internet-based competition
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	Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	eb5f
authors	Al-Sallal, Khaled A. and Degelman, Larry 0.
year	1994
title	A Hypermedia Model for Supporting Energy Design in Buildings
doi	https://doi.org/10.52842/conf.acadia.1994.039
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 39-49
summary	Several studies have discussed the limitations of the available CAAD tools and have proposed solutions [Brown and Novitski 1987, Brown 1990, Degelman and Kim 1988, Schuman et al 1988]. The lack of integration between the different tasks that these programs address and the design process is a major problem. Schuman et al [1988] argued that in architectural design many issues must be considered simultaneously before the synthesis of a final product can take place. Studies by Brown and Novitski [1987] and Brown [1990] discussed the difficulties involved with integrating technical considerations in the creative architectural process. One aspect of the problem is the neglect of technical factors during the initial phase of the design that, as the authors argued, results from changing the work environment and the laborious nature of the design process. Many of the current programs require the user to input a great deal of numerical values that are needed for the energy analysis. Although there are some programs that attempt to assist the user by setting default values, these programs distract the user with their extensive arrays of data. The appropriate design tool is the one that helps the user to easily view the principal components of the building design and specify their behaviors and interactions. Data abstraction and information parsimony are the key concepts in developing a successful design tool. Three different approaches for developing an appropriate CAAD tool were found in the literature. Although there are several similarities among them, each is unique in solving certain aspects of the problem. Brown and Novitski [1987] emphasize the learning factor of the tool as well as its highly graphical user interface. Degelman and Kim [1988] emphasize knowledge acquisition and the provision of simulation modules. The Windows and Daylighting Group of Lawrence Berkeley Laboratory (LBL) emphasizes the dynamic structuring of information, the intelligent linking of data, the integrity of the different issues of design and the design process, and the extensive use of images [Schuman et al 19881, these attributes incidentally define the word hypermedia. The LBL model, which uses hypermedia, seems to be the more promising direction for this type of research. However, there is still a need to establish a new model that integrates all aspects of the problem. The areas in which the present research departs from the LBL model can be listed as follows: it acknowledges the necessity of regarding the user as the center of the CAAD tool design, it develops a model that is based on one of the high level theories of human-computer interaction, and it develops a prototype tool that conforms to the model.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	a19d
authors	Brown, G.Z. and Novitski, Barbara-Jo
year	1988
title	A Macintosh Design Studio
doi	https://doi.org/10.52842/conf.acadia.1988.151
source	Computing in Design Education [ACADIA Conference Proceedings] Ann Arbor (Michigan / USA) 28-30 October 1988, pp. 151-162
summary	During the past year at the University of Oregon, we have conducted an experimental design studio in which each student had an Apple Macintosh SE microcomputer on his or her studio desk. Each term we experimented with a variety of software, furniture arrangements, and pedagogical approaches to integrating computers in design teaching. Like most others who have conducted such experiments, we encountered problems in trying to use hardware and software which is fundamentally inappropriate for the intuitive, graphic, and creative processes characteristic of preliminary design. However, we solved many of these problems and have produced useful techniques that may form the beginnings of a new approach to the use of computers in architecture schools. Our results fall in three major categories: 1) pedagogical discoveries about learning to design with a computer, which is greater than the sum of learning to design and learning about computers; 2) design exercises based on the Macintosh environment, exploiting the unique graphic qualities of the machine while simultaneously developing the ideas and drawing skills needed in the preliminary stages of design; 3) descriptions of the studio environment, including hardware, software, workstation layouts, security solutions, and other practical information that might be useful to others who are contemplating a similar project.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	4743
authors	Dvorak, Robert W.
year	1988
title	Designing in the CAD Studio
doi	https://doi.org/10.52842/conf.acadia.1988.123
source	Computing in Design Education [ACADIA Conference Proceedings] Ann Arbor (Michigan / USA) 28-30 October 1988, pp. 123-134
summary	The "CAD Studio" is one of many design options that fourth year students may select in the College of Architecture. In this electronic environment, the students analyze and present their designs totally on the computer. The vehicle used is a fifteen week architectural problem called the "Calor Redesign Project". The "Calor" problem requires the move of a famous residence to a hot arid climate. The residence must then be redesigned in the original architect's style so the building becomes as energy efficient as possible in its new arid environment. The students are required to use as design criteria a new building program, the design philosophy of the original architect, and appropriate passive energy techniques that will reduce the thermal stress on the building. The building's energy response is measured by using an envelope energy analysis program called "Calor". Much of the learning comes from imposing a new set of restraints on a famous piece of architecture and asking the student to redesign it. The students not only need to learn and use a different design philosophy, but also develop new skills to communicate their ideas on the computer. Both Macintosh and IBM computers are used with software ranging from Microsoft Works, Superpaint, AutoCAD, MegaCAD, Dr Halo, to Calor.
series	ACADIA
last changed	2022/06/07 07:55

_id	0833
authors	Gero, John S.
year	1988
title	Expert systems in Engineering Design : the Concept of Prototypes and their Application
source	Symposium on Knowledge Based Systems in Civil Engineering. 1988. pp. 37-45
summary	CADLINE has abstract only. This paper addresses the question of what sort of schemata do experts in engineering design use to allow the commencement and continuation of a design. It is suggested that a conceptual schema labelled prototype can be used to capture this expertise. Prototypes are generalizations at different levels of design experience and provide the bases of an approach to designing with computers. They structure design experience to make it applicable in similar situations. The paper elaborates the concept and briefly describes an application
keywords	structures, engineering, expert systems, prototypes, design, knowledge
series	CADline
email
last changed	2003/06/02 13:58

_id	7e15
authors	Kvan, Thomas
year	1997
title	Chips, chunks and sauces
source	International Journal of Design Computing, 1, 1997 (Editorial)
summary	I am sure there is an art in balancing the chunks to use with your chips. Then there is the sauce that envelops them both. I like my chips chunky and not too saucy. Not that I am obsessed with food but I don't think you can consider design computing without chunks. It's the sauce I'm not sure about.The chunks of which I write are not of course those in your salsa picante but those postulated by Chase and Simon (1973) reflecting on good chess players; the chunks of knowledge with which an expert tackles a problem in their domain of expertise. The more knowledge an expert has of complex and large configurations of typical problem situations (configurations of chess pieces), the greater range of solutions the expert can bring a wider to a particular problem. Those with more chunks have more options and arrive at better solutions. In other words, good designs come from having plenty of big chunks available. There has been a wealth of research in the field of computer-supported collaborative work in the contexts of writing, office management, software design and policy bodies. It is typically divided between systems which support decision making (GDSS: group decision support systems) and those which facilitate joint work (CSCW: computer-based systems for co-operative work) (see Dennis et al. (1988) for a discussion of the distinctions and their likely convergence). Most implementations in the world of design have been on CSCW systems, few have looked at trying to make a group design decision support system (GDDSS?). Most of the work in CSCD has been grounded in the heritage of situated cognition - the assumption that collaborative design is an act that is intrinsically grounded in the context within which it is carried out, that is, the sauce in which we find ourselves swimming daily. By sauce, therefore, I am referring to anything that is not knowledge in the domain of expertise, such as modes of interaction, gestures, social behaviours.
series	journal paper
email
last changed	2003/05/15 10:29

_id	e8bb
authors	Lehto, M.
year	1988
title	Optical Discs - Their Application in Mass Data Storage
source	CAAD futures ‘87 [Conference Proceedings / ISBN 0-444-42916-6] Eindhoven (The Netherlands), 20-22 May 1987, pp. 189-198
summary	Much of the building designer's time is taken up correlating the various sources of information so as to incorporate it in the design within a limited time span. The building information service should be able to provide him or her by the up-to-date information in a user friendly format. Optical disc technology makes it possible to combine different forms of building data into images which can be mass stored and randomly accessed on a single disc, with the minimal response time by personal computer or CAD- workstation. In this paper the use of various forms of optical disc technology in construction industry and the prototype video disc produced by VTT are described.
keywords	Construction, Optical Discs, Interactive Video Disc, Mass Storage
series	CAAD Futures
last changed	1999/04/03 17:58

_id	8fb2
id	8fb2
authors	McCall, Raymond, Bennett, Patrick and Johnson, Erik
year	1994
title	An Overview of the PHIDIAS II HyperCAD System
doi	https://doi.org/10.52842/conf.acadia.1994.063
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 63-74
summary	The PHIDIAS II HyperCAD system combines the functionality of CAD graphics, hypermedia, database management and knowledge-based computation in a single, highly integrated design environment. The CAD functionality includes both 3-D and 2-D vector graphics. The hypermedia includes support for text, raster images, video and sound. The database management enables persistent storage and interlinking of large collections of text, images, video, sound and vector graphics, i.e., thousands of vector graphic objects and drawings in a single database. Retrieval is provided both through use of "associative indexing" based on hyperlinks and through use of an advanced query language. The knowledge- based computation includes both inference and knowledgebased critiquing. A highly unusual feature of PHIDIAS II is that it implements all of its functions using only hypermedia mechanisms. Complex vector graphic drawings and objects are represented as composite hypermedia nodes. Inference and critiquing are implemented through use of what are known as virtual structures [Halasz 1988], including virtual links and virtual nodes. These nodes and links are dynamic (computed) rather than static (constant). They are defined as expressions in the same language used for queries and are computed at display time. The implementation of different kinds of functions using a common set of mechanisms makes it easy to use them in combination, thus further augmenting the system's functionality. PHIDIAS supports design by informing architects as they develop a solution's form. The idea is thus not to make the design process faster or cheaper but rather to improve the quality of the things designed. We believe that architects can create better buildings for their users if they have better information. This includes information about buildings of given types, user populations, historical and modern precedents, local site and climate conditions, the urban and natural context and its historical development, as well as local, state and federal regulations.
series	ACADIA
last changed	2022/06/07 07:59

_id	8403
authors	Mitchell, William J., Liggett, Robin S. and Tan, Milton
year	1988
title	The Topdown System and its use in Teaching - An Exploration of Structured, Knowledge-Based Design
doi	https://doi.org/10.52842/conf.acadia.1988.251
source	Computing in Design Education [ACADIA Conference Proceedings] Ann Arbor (Michigan / USA) 28-30 October 1988, pp. 251-262
summary	The Topdown System is a shell for use in developing simple (but we believe non-trivial) knowledge-based CAD systems. It provides a data structure, graphics capabilities, a sophisticated user interface, and programming tools for rapid construction of knowledge bases. Implementation is for Macintosh, Macintosh II, IBM PC/AT, PS12, and Sun workstations. The basic idea is that of top-down design - beginning with a very abstract representation, and elaborating that, in step-by-step fashion, into a complete and detailed representation. The basic operations are real-time parametric variation of designs (using the mouse and slide bar) and substitution of objects. Essentially, then, a knowledge-base in Topdown implements a kind of parametric shape grammar. The main applications of Topdown are in introductory teaching of CAD, and (since it provides a very quick and easy way for a user to develop detailed geometric models) to provide a uniform front-end for a variety of different applications. The shell, and some example knowledge-bases, are publicly available. This paper discusses the principles of the Topdown Shell, the implementation of knowledge bases within it, and a variety of practical design applications.
series	ACADIA
email
last changed	2022/06/07 07:58

_id	0350
authors	Norman, Richard B.
year	1988
title	The Role of Color in Architectural Pedagogy Computation as a Creative Tool
doi	https://doi.org/10.52842/conf.acadia.1988.217
source	Computing in Design Education [ACADIA Conference Proceedings] Ann Arbor (Michigan / USA) 28-30 October 1988, pp. 217-223
summary	From among the possible ways of introducing graphic computing in the design studio, it is customary to develop an argument from point, to line, to shape and finally to colon The logic of this process is undeniable as technology and perhaps as history, but it should be questioned as pedagogy. A designer, tuned to the visual focus of the studio and searching for creative self-expression is not overly stimulated by drawing lines, at first laboriously, in imitation of what he can do by hand. Using color is among the more difficult of traditional studio chores -- it is not difficult on a computer. The manipulation of color can be a simple task if one is given reasonable software and a good graphic computer. Once introduced to students, the techniques for coloring elements on a computer find acceptance as a design tool. Methods can be quickly found for modifying the perception of space and form through the use of colon Modern architecture is rooted in the study of color as a generator of form. This idea permeated the teachings of its founders. Yet modernist concern for color has over time evolved into a pedagogy of space and form at the exclusion of color, so much so that the modern movement today stands accused by its detractors as being formed in many shades of grey. Modern architecture is not grey! This paper will illustrate how, using the modern graphic computer, color may be introduced to the studio and discovered as an element of design and as the substance of architectural form giving.
series	ACADIA
email
last changed	2022/06/07 07:58

_id	11cb
id	11cb
authors	Oguzhan Özcan
year	2004
title	MATHEMATICS AND DESIGN EDUCATION
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
email
last changed	2005/04/07 15:36

_id	eaea2005_151
id	eaea2005_151
authors	Ohno, Ruyzo
year	2006
title	Seat preference in public squares and distribution of the surrounding people: An examination of the validity of using visual simulation
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. 151-163
summary	Public squares are shared by people who use them for various purposes. When people choose seats in a square, they unconsciously evaluate not only the physical characteristics of the space but also the distribution of others already present (Hall, 1966; Sommer, 1969; Whyte, 1988). Knowing the hidden rules of this behaviour will be important in designing squares that remain comfortable even in crowded situations. Most past studies of seat choice preference have reported on statistical tendencies derived from observations of subject behavior in actually existing sites (i.e., Abe, 1997; Imai, 1999; Kawamoto, 2003). However, they provide no clear theoretical model for explaining the basic mechanisms regulating such behaviour. The present study conducts a series of experiments in both real and virtual settings in order to extract quantitative relationships between subjects’ seat preferences and the presence of nearby strangers and to clarify what factors influence their seat choices.
series	EAEA
type	normal paper
email
more	http://info.tuwien.ac.at/eaea
last changed	2008/04/29 20:46

_id	8e77
authors	Rubinger, Morton
year	1988
title	Drawing Lessons from Word Processing
doi	https://doi.org/10.52842/conf.acadia.1988.235
source	Computing in Design Education [ACADIA Conference Proceedings] Ann Arbor (Michigan / USA) 28-30 October 1988, pp. 235-245
summary	Word processing is universally successful as a computer application whereas computer-aided design is not. What can we learn from word processing? It tells us that, to be successful, an entry-level CAD system should be basic and focus mainly on drawing and manipulation of drawings rather than on sophisticated operations and automation, it should be simple, easy to use and moderate in cost. In architectural education, it should be used in the early stages of design to enhance design quality and design learning. To do this, we need to understand the characteristics of this new drawing and design medium. Software needs to be thoroughly learned in advance of studio use, and computer-based studio projects should take a computational view of design to enhance the effective use of computers in learning to design.
series	ACADIA
last changed	2022/06/07 07:56

_id	e9e7
authors	Schoen, D.
year	1988
title	Designing: Rules, types and worlds
source	Design Studies, Volume 9, Number 3, 1988, pp. 24-38
summary	Protocols of seven practised designers, all undertaking a common design exercise, have been analysed for patterns of reasoning and use of design rules. Patterns of reasoning were found to be shared among designers and not significantly different from reasoning in everyday life. Rules were largely implicit, overlapping, diverse, variously applied, contextually dependent, subject to exceptions and to critical modification. It is argued that rules are derived from underlying types - functional building types, references, spatial gestalts and experiential archetypes - that serve as `holding environments' for design knowledge.
series	journal paper
last changed	2003/04/23 15:14

_id	e05e
authors	Schon, Donald A. and Wigging, Glenn
year	1988
title	Kinds of Seeing and Their Functions in Designing
source	November, 1988. 31 p. : ill
summary	Architectural designing is described as a kind of experimentation that consists in reflective 'conversation' with the materials of a design situation. A designer sees, moves and sees again. Working in some visual medium -- drawing, in the article examples -- the designer sees what is 'there' in some representation of a site, draws in relation to it, and sees what has been drawn, thereby informing further designing. In all this 'seeing' the designer not only visually registers information but also constructs its meaning -- identifies patterns and gives them meaningsÔ h) 000*°° ÔŒ beyond themselves. Words like 'recognize,' 'detect,' 'discover' and 'appreciate' denote variants of seeing, as do such terms as 'seeing that,' 'seeing as' and 'seeing in.' The purpose here is to explore the kinds of seeing involved in designing and to describe their various functions. At local and global levels, and in many different ways, designing is an interaction of making and seeing, doing and discovering. On the basis of a few minuscule examples, the authors suggest some of the ways in which this sort of interaction works. Some conditions that enable it to work are described. And some of its consequences for design education and for the development of computer environments useful to designers are drawn
keywords	design methods, education, architecture, cognition, perception, design process, semantics, protocol analysis
series	CADline
last changed	2003/06/02 13:58

_id	7812
authors	Straber, W. and Seidel, H.-P. (eds.)
year	1989
title	Theory and Practice of Geometric Modeling
source	Springer-Verlag
summary	This book originates from the lectures given at the international conference "Theory and Practice of Geometric Modeling", Blaubeuren, FRG, October 3-7, 1988, that brought together leading experts from universities, system developers, and system users, to discuss new concepts and future trends in geometric modeling. The book covers a variety of topics on an advanced level and is organized as follows. Part A contains new algorithms and techniques for modeling objects that are bounded by free form surfaces. Part B focuses on surface/surface intersections, new types of blending surfaces and speed ups for ray tracing. Part C contains some new geometric tools. Part D discusses different representation schemes in solid modeling, conversions between these different schemes, and some applications. Part E covers some issues of product modeling, automatic tolerancing, high level specification of solid models (constraints, features) and the need for better user interfaces.
series	other
last changed	2003/04/23 15:14

_id	a81e
authors	Van Andel, Joost
year	1988
title	Expert Systems in Environmental Psychology
source	JAPS10 conference. 1988. includes bibliography
summary	The knowledge gathered through research in environmental psychology is not optimally used by designers and other people working in applied settings such as politicians and civil servants. In this paper a number of causes and possible improvements of this situation are discussed. Two aspects are highlighted in particular: the structure and the presentation of information. A recent development to present knowledge from environmental psychology is the use of computerized information systems or expert systems. Limitations and possibilities of expert systems in general and for environmental psychology in particular are discussed. The issue is illustrated with parts of an expert system on the design of children's play environments using the pattern language as a structure to present information efficiently and attractively to designers
keywords	expert systems, design process, psychology, patterns, languages
series	CADline
last changed	1999/02/12 15:09

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