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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	2bb6
authors	Van Bakergem, Dave
year	1990
title	Image Collections in the Design Studio
source	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 261-271
summary	No matter what the medium, architects are constantly using images in all aspects of design thinking. Whether it is the perception of the environment, an image in the mind's eye, an abstract drawing or a photographic record, designers use images to conceive of, and manipulate their design ideas. Managing these image collections occurs at a variety of levels in the creative process and is dependent on the type of image that is called upon for reference. The most basic example would be the image collection residing in the mind's memory which is a result of the designer’s world experiences and the relative impressiveness of each experience. Clearly, personal memory plays a significant role in the use of imagery in design, but it is unreliable and can be abstracted in uncontrollable ways. The sketchbook and later photographic collections of the grand tour were the beginnings of efforts to manage and utilize image collections as an aid to drawing and thinking about design. Now the capacity to use electronic means of creating, altering, storing, and retrieving images will enable designers to effectively use large image collections in ways that have not been possible before. This paper describes current work at the School of Architecture at Washington University in a graduate design studio. The students use a powerful 3D modeling CAD system (HOKDraw) to design and present their studio projects. In addition, we are experimenting with an image storage and retrieval system which is directly linked to the CAD model through a relational database (INGRES). Access to the database and images is instantly available through the command language and graphic display. The CAD model in effect becomes a 3D menu to an extensive image database stored on an optical memory disc recorder. Several collections are available to the studio members: the library's slide collection which relates to the studio project, specific photographs and drawings of the project site, and personal image collections stored by individuals for their own reference. The commonly accessible images are basically background material and images collected by the students to document the site, urban context and building typology. The personal images collections are any images (drawings, photographs, published images, CAD images) created or collected by the students for purposes of informing their design thinking. This work relates to the use of precedents and typology in architecture as a point of departure as well as in development of design ideas.
series	CAAD Futures
last changed	1999/04/03 17:58

_id	0f73
authors	Ervin, Stephen M.
year	1990
title	Designing with Diagrams: A Role for Computing in Design Education and Exploration
source	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 107-122
summary	Environmental designers, design educators and design students using computers are a constituency with a set of requirements for database structure and flexibility, for knowledge representation and inference mechanisms, and for both graphical and non-graphical operations, that are now articulatable and to-date largely unmet. This is especially so in the area called 'preliminary' or 'schematic' design, where our requirements are related to, but different from, those of our colleagues in mechanical and electrical engineering, whose needs have dominated the notable developments in this area. One manifestation of these needs is in the peculiar form of graphics called diagrams , and the ways in which environmental designers (architects, landscape architects., urban designers) use them. Our diagrams are both similar to and different from structural, circuit, or logical diagrams in important ways. These similarities and differences yield basic insights into designing and design knowledge, and provide guidance for some necessary steps in the development of the next generation of CAD systems. Diagrams as a form of knowledge representation have received little scrutiny in the literature of graphic representation and computer graphics. In the following sections I present an overview of the theoretical basis for distinguishing and using diagrams; examine some of the computational requirements for a system of computer-aided diagramming; describe a prototype implementation called CBD (Constraint Based Diagrammer) and illustrate one example of its use; and speculate on the implications and potential applications of these ideas in computer-aided design education.
series	CAAD Futures
last changed	1999/04/03 17:58

_id	avocaad_2001_20
id	avocaad_2001_20
authors	Shen-Kai Tang
year	2001
title	Toward a procedure of computer simulation in the restoration of historical architecture
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 the field of architectural design, “visualization¨ generally refers to some media, communicating and representing the idea of designers, such as ordinary drafts, maps, perspectives, photos and physical models, etc. (Rahman, 1992; Susan, 2000). The main reason why we adopt visualization is that it enables us to understand clearly and to control complicated procedures (Gombrich, 1990). Secondly, the way we get design knowledge is more from the published visualized images and less from personal experiences (Evans, 1989). Thus the importance of the representation of visualization is manifested.Due to the developments of computer technology in recent years, various computer aided design system are invented and used in a great amount, such as image processing, computer graphic, computer modeling/rendering, animation, multimedia, virtual reality and collaboration, etc. (Lawson, 1995; Liu, 1996). The conventional media are greatly replaced by computer media, and the visualization is further brought into the computerized stage. The procedure of visual impact analysis and assessment (VIAA), addressed by Rahman (1992), is renewed and amended for the intervention of computer (Liu, 2000). Based on the procedures above, a great amount of applied researches are proceeded. Therefore it is evident that the computer visualization is helpful to the discussion and evaluation during the design process (Hall, 1988, 1990, 1992, 1995, 1996, 1997, 1998; Liu, 1997; Sasada, 1986, 1988, 1990, 1993, 1997, 1998). In addition to the process of architectural design, the computer visualization is also applied to the subject of construction, which is repeatedly amended and corrected by the images of computer simulation (Liu, 2000). Potier (2000) probes into the contextual research and restoration of historical architecture by the technology of computer simulation before the practical restoration is constructed. In this way he established a communicative mode among archeologists, architects via computer media.In the research of restoration and preservation of historical architecture in Taiwan, many scholars have been devoted into the studies of historical contextual criticism (Shi, 1988, 1990, 1991, 1992, 1995; Fu, 1995, 1997; Chiu, 2000). Clues that accompany the historical contextual criticism (such as oral information, writings, photographs, pictures, etc.) help to explore the construction and the procedure of restoration (Hung, 1995), and serve as an aid to the studies of the usage and durability of the materials in the restoration of historical architecture (Dasser, 1990; Wang, 1998). Many clues are lost, because historical architecture is often age-old (Hung, 1995). Under the circumstance, restoration of historical architecture can only be proceeded by restricted pictures, written data and oral information (Shi, 1989). Therefore, computer simulation is employed by scholars to simulate the condition of historical architecture with restricted information after restoration (Potier, 2000). Yet this is only the early stage of computer-aid restoration. The focus of the paper aims at exploring that whether visual simulation of computer can help to investigate the practice of restoration and the estimation and evaluation after restoration.By exploring the restoration of historical architecture (taking the Gigi Train Station destroyed by the earthquake in last September as the operating example), this study aims to establish a complete work on computer visualization, including the concept of restoration, the practice of restoration, and the estimation and evaluation of restoration.This research is to simulate the process of restoration by computer simulation based on visualized media (restricted pictures, restricted written data and restricted oral information) and the specialized experience of historical architects (Potier, 2000). During the process of practicing, communicates with craftsmen repeatedly with some simulated alternatives, and makes the result as the foundation of evaluating and adjusting the simulating process and outcome. In this way we address a suitable and complete process of computer visualization for historical architecture.The significance of this paper is that we are able to control every detail more exactly, and then prevent possible problems during the process of restoration of historical architecture.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	ef95
authors	Fregier, Marius
year	1989
title	Do You Need Weapons to Keep out of "Artichaud Melanie" - Or How to Teach Prolog Programming to CAD System Design Students
doi	https://doi.org/10.52842/conf.ecaade.1989.x.u3g
source	CAAD: Education - Research and Practice [eCAADe Conference Proceedings / ISBN 87-982875-2-4] Aarhus (Denmark) 21-23 September 1989, pp. 8.1.1-8.1.9
summary	A course aimed on the use of prolog for studying, prototyping and developing CAD systems is presented. This course is based on a practical training. Its objectives, topics, teaching method and applications are briefly introduced . Exercises focussed on interests and.capabilities of CAD designers are presented. These exercises follow a progression which integrate Step by step, different aspects of the application fields. At list these exercises lead to a single application concerned with intelligent graphics.
keywords	Education in CAD System Construction, Graphical Extensions to Prolog, Experts Systems, Graphical Interactive Capture of Data, Intelligent Graphic
series	eCAADe
last changed	2022/06/07 07:50

_id	e91f
authors	Mitchell, W.J., Liggett, R.S. and Tan, M.
year	1990
title	Top-Down Knowledge-Based Design
source	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 137-148
summary	Traditional computer drafting systems and three- dimensional geometric modeling systems work in bottom-up fashion. They provide a range of graphic primitives, such as vectors, arcs, and splines, together with operators for inserting, deleting, combining, and transforming instances of these. Thus they are conceptually very similar to word processors, with the difference that they operate on two- dimensional or three-dimensional patterns of graphic primitives rather than one-dimensional strings of characters. This sort of system is effective for input and editing of drawings or models that represent existing designs, but provides little more help than a pencil when you want to construct from scratch a drawing of some complex object such as a human figure, an automobile, or a classical column: you must depend on your own knowledge of what the pieces are and how to shape them and put them together. If you already know how to draw something then a computer drafting system will help you to do so efficiently, but if you do not know how to begin, or how to develop and refine the drawing, then the efficiency that you gain is of little practical consequence. And accelerated performance, flashier color graphics, or futuristic three-dimensional modes of interaction will not help with this problem at all. By contrast, experienced expert graphic artists and designers usually work in top-down fashion-beginning with a very schematic sketch of the whole object, then refining this, in step-by-step fashion, till the requisite level of precision and completeness is reached. For example, a figure drawing might begin as a "stick figure" schema showing lengths and angles of limbs, then be developed to show the general blocking of masses, and finally be resolved down to the finest details of contour and surface. Similarly, an architectural drawing might begin as a parti showing just a skeleton of construction lines, then be developed into a single-line floor plan, then a plan showing accurate wall thicknesses and openings, and finally a fully developed and detailed drawing.
series	CAAD Futures
email
last changed	2003/05/16 20:58

_id	e8fe
authors	Nagakura, Takehiko
year	1990
title	Shape Recognition and Transformation: A Script-Based Approach
source	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 149-170
summary	Design evolves. Architects deploy considerable knowledge to develop their designs from one stage to the next. Drawings play a major role in describing the 11 state" of design at each stage; however, they do not explicitly reveal the knowledge used to achieve the design, for the knowledge is concealed in the "process" between these stages rather than in the drawings themselves. This process involves parametric and schematic transformations as well as perception of unanticipated possibilities emerging from the drawings in progress. To make an impact on design, CAD must address these issues of design knowledge, but so far its focus has been instead on drawings as relatively static collections of graphic primitives. This paper introduces the concepts of shapes and shape transformation as fundamental aspects of design knowledge. It is implemented on a computer program in the form of a prototype shape-scripting language. In summary, this language works as a shell to encode a set of shape categories and their transformations, and it enables progressive shape recognition and shape transformation in line drawings. An appropriate set of these encoded transformations may represent a body of syntactic knowledge about an architectural style. This opens up the exciting possibility of a computational implementation of a shape grammar.
series	CAAD Futures
last changed	1999/04/03 17:58

_id	450c
authors	Akin, Ömer
year	1990
title	Computational Design Instruction: Toward a Pedagogy
source	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 302-316
summary	The computer offers enormous potential both in and out of the classroom that is realized only in limited ways through the applications available to us today. In the early days of the computer it was generally argued that it would replace the architect. When this idea became obsolete, the prevailing opinion of proponents and opponents alike shifted to the notion of the computer as merely adding to present design capabilities. This idea is so ingrained in our thinking that we still speak of "aiding" design with computers. It is clear to those who grasp the real potential of this still new technology - as in the case of many other major technological innovations - that it continues to change the way we design, rather than to merely augment or replace human designers. In the classroom the computer has the potential to radically change three fundamental ingredients: student, instruction, and instructor. It is obvious that changes of this kind spell out a commensurate change in design pedagogy. If the computer is going to be more than a passive instrument in the design studio, then design pedagogy will have to be changed, fundamentally. While the practice of computing in the studio continues to be a significant I aspect of architectural education, articulation of viable pedagogy for use in the design studio is truly rare. In this paper the question of pedagogy in the CAD studio will be considered first. Then one particular design studio taught during Fall 1988 at Carnegie Mellon University will be presented. Finally, we shall return to issues of change in the student, instruction, and instructor, as highlighted by this particular experience.
series	CAAD Futures
email
last changed	2003/11/21 15:15

_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	2bcc
authors	Mark, Earl
year	1989
title	A Contrast in Pedagogy: The M.l.T. Versus Harvard Approach to Computer Aided Design
doi	https://doi.org/10.52842/conf.ecaade.1989.x.d8b
source	CAAD: Education - Research and Practice [eCAADe Conference Proceedings / ISBN 87-982875-2-4] Aarhus (Denmark) 21-23 September 1989, pp. 5.1.1-5.1.9
summary	This is a period of relative detente among academics in the field of computers and architecture, advocating the use of computers in a design studio is today received more politely than, as in the past, when it was received like a declaration of war. Among some research groups at M.I.T. and Harvard to first engage In this field, the approaches were so dissimilar to one another that they could be considered as constituting separate schools of thought. Over time, however, a number of paths have led to a similar direction, if not agreement among principal investigators. The lack of sharply competing ideologies today may be a little less exciting: however, the enormous growth of the academic discipline seems now to allow for a fruitful exchange of ideas between positions that no longer seem mutually exclusive. Two views are important, among others, at M.I.T. and Harvard. The classic M.I.T. view looks upon the AI Lab as a microcosm for examining how architects think. Underlying this view is the position of 'lets examine the way architects think about design and build tools which can reflect that process'. Another point of view, as expressed at Harvard, is speculative on what architects seem to do in design practice and education, rather than speculative on the nature of thinking per se. Both views seem ultimately to be concerned with representing architectural design knowledge within computers. And in the rob of computers as a design medium. This paper examines how the M.I.T. view and the Harvard view have superficially been associated with separate research directions. As these contrasting points of view incorporate many common themes. The author finds that it may be possible to take an eclectic position in teaching computer aided design.
keywords	Constraints, Shape Grammars, Representational World, Emergent Form. Design Thinking, Design Habit
series	eCAADe
email
more	http://palladio.arch.Virginia.EDU/~arch-con/exhibit/
last changed	2022/06/07 07:50

_id	b4c4
authors	Carrara, G., Fioravanti, A. and Novembri, G.
year	2000
title	A framework for an Architectural Collaborative Design
doi	https://doi.org/10.52842/conf.ecaade.2000.057
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 57-60
summary	The building industry involves a larger number of disciplines, operators and professionals than other industrial processes. Its peculiarity is that the products (building objects) have a number of parts (building elements) that does not differ much from the number of classes into which building objects can be conceptually subdivided. Another important characteristic is that the building industry produces unique products (de Vries and van Zutphen, 1992). This is not an isolated situation but indeed one that is spreading also in other industrial fields. For example, production niches have proved successful in the automotive and computer industries (Carrara, Fioravanti, & Novembri, 1989). Building design is a complex multi-disciplinary process, which demands a high degree of co-ordination and co-operation among separate teams, each having its own specific knowledge and its own set of specific design tools. Establishing an environment for design tool integration is a prerequisite for network-based distributed work. It was attempted to solve the problem of efficient, user-friendly, and fast information exchange among operators by treating it simply as an exchange of data. But the failure of IGES, CGM, PHIGS confirms that data have different meanings and importance in different contexts. The STandard for Exchange of Product data, ISO 10303 Part 106 BCCM, relating to AEC field (Wix, 1997), seems to be too complex to be applied to professional studios. Moreover its structure is too deep and the conceptual classifications based on it do not allow multi-inheritance (Ekholm, 1996). From now on we shall adopt the BCCM semantic that defines the actor as "a functional participant in building construction"; and we shall define designer as "every member of the class formed by designers" (architects, engineers, town-planners, construction managers, etc.).
keywords	Architectural Design Process, Collaborative Design, Knowledge Engineering, Dynamic Object Oriented Programming
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:55

_id	801b
authors	Cocchioni, Cristina and Mecca, Saverio
year	1989
title	Utilization of Rules for Modular Coordination in Relational Models to Be Employed In CAAD
doi	https://doi.org/10.52842/conf.ecaade.1989.x.p3f
source	CAAD: Education - Research and Practice [eCAADe Conference Proceedings / ISBN 87-982875-2-4] Aarhus (Denmark) 21-23 September 1989, pp. 7.5.1-7.5.11
summary	The paper deals with the structure of experimental software to be used for the interactive relational database and a graphic package. Proposed is the development that considers the main implications of a modular space grid for the project´s development already from the stage of preliminary wire-frame design.
series	eCAADe
last changed	2022/06/07 07:50

_id	e365
authors	Danahy, John
year	1989
title	Intuition & Computer Visualization in an Urban Design Studio
doi	https://doi.org/10.52842/conf.ecaade.1989.x.i5v
source	CAAD: Education - Research and Practice [eCAADe Conference Proceedings / ISBN 87-982875-2-4] Aarhus (Denmark) 21-23 September 1989, pp. 4.2.1-4.2.6
summary	This paper will present prototypical software being used in the teaching of urban design to students and for use by professionals in the early stages of a project. The system is intended to support a heuristic approach to design. That is, it supports a process of refining ideas and understandings through a process of trial and error. The support or aid to design comes in the form of a didactic real-time programme. Its power lies in its ability to provide instantaneous response to operations on the data that can allow one to develop three-dimensional spatial ideas in an intuitively driven manner. This condition appears to occur for both novice and expert computer operators. The presentation will present our experience to-date in using conventional computer graphic tools to represent design ideas and contrast it with a video demonstration of ow prototypical dynamic urban design modelling software for the Silicon Graphics IRIS computers.
keywords	Intuition, Visualization, Urban Design, Modelling, Real-Time
series	eCAADe
email
last changed	2022/06/07 07:50

_id	25de
authors	Ervamaa, Pekka
year	1993
title	Integrated Visualization
source	Endoscopy as a Tool in Architecture [Proceedings of the 1st European Architectural Endoscopy Association Conference / ISBN 951-722-069-3] Tampere (Finland), 25-28 August 1993, pp. 157-160
summary	The Video and Multimedia studio at VTT, Technical Research Centre of Finland, started with endoscopy photography of scale models. Video recordings has been made since 1985 and computer graphic since 1989. New visualization methods and techniques has been taken into use as a part of research projects, but mainly we have been working with clients commissions only. Theoretical background for the visualizations is strong. Research professor Hilkka Lehtonen has published several papers concerning the theory of visualization in urban planning. This studio is the only professional level video unit at Technical Research Centre, which is a large polytechnic research unit. We produce video tapes for many other research units. All kind of integrated methods of visualization are useful in these video productions, too.
keywords	Architectural Endoscopy
series	EAEA
email
more	http://info.tuwien.ac.at/eaea/
last changed	2005/09/09 10:43

_id	a076
authors	Hyde, R.
year	1989
title	Design procedures in architectural design: applications in CAAD
source	Design Studies, Vol. 10, No. 4, pp. 239-245
summary	Normally, CAAD systems are used at the production end of the design process. Yet there is great potential, particularly with the graphics facility offered by these systems, to use them at the beginning or formative part of the design process. One problem with this direction lies in the procedures for using these systems. This paper compares traditional procedures for using graphic information with computer-aided procedures and discusses the relative merits of the approaches for the designer.
series	journal paper
last changed	2003/04/23 15:14

_id	49a8
authors	McCall, R., Fischer, G. and Morch, A.
year	1990
title	Supporting Reflection-in-Action in the Janus Design Environment
source	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 247-259
summary	We have developed a computer-based design aid called Janus, which is based on a model of computer-supported design that we think has significance for the future of architectural education. Janus utilizes a knowledge-based approach to link a graphic construction system to hypertext. This allows the computer to make useful comments on the solutions that students construct in a CAD-like environment. These comments contain information intended to make students think more carefully about what they are doing while they are doing it. In other words, Janus promotes what Donald Schon has called "reflection-inaction" (Schon, 1983). The Janus design environment is named for the Roman god with a pair of faces looking in opposite directions. In our case the faces correspond to complementary design activities we call construction and argumentation. Construction is the activity of graphically creating the form of the solution e.g., a building. Traditionally this has been done with tracing paper, pencils, and pens. Argumentation is the activity of reasoning about the problem and its solution. This includes such things as considering what to do next, what alternative courses of action are available, and which course of action to choose. Argumentation is mostly verbal but partly graphical.
series	CAAD Futures
last changed	1999/04/03 17:58

_id	435a
authors	Mitchell, William J.
year	1990
title	Afterword: The Design Studio of The Future
source	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 479-494
summary	Things began to change in the mid-1940s, though architects hardly noticed. Scientists and engineers started to speculate that the new electronic technologies which had emerged in the wartime years would profoundly change the character of intellectual work. Vannevar Bush (1945) imagined a device called the Memex, which would function as a personal information server. By the 1950s computers were becoming a commercial reality, and in 1956 Fortune magazine published a remarkably prescient depiction of a machine that we can now recognize as a computer-aided design workstation complete with graphic input devices and a multi-window display showing different views of a three-dimensional object. These wonderful machines were never built, much less put to any practical use, but they established a powerful idea.
series	CAAD Futures
email
last changed	2003/05/16 20:58

_id	effd
authors	Morozumi, M., Nakamura, H. and Kijima, Y.
year	1990
title	A Primitive-Instancing Interactive 3-D Modeling System for Spatial Design Studies
source	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 457-468
summary	The authors have developed a basic, interactive, primitive-instancing 3-D modeling system (CAADF), which is based on a high-speed 3-D color graphic workstation, and have tested its potential ability to support spatial design studies in an architectural design studio. After- a review of work performed by a student with the system, this paper concludes that this system provides an attractive environment for spatial design studies which conventional CAD systems have not achieved. The interactive process of 3-D modeling in perspective or isometric view images and the dynamic viewing utility are the most successful features of the system. In contrast to those advantages, the resolution of color graphic display is a limitation of the system. The authors conclude that if sufficiently many appropriate 3-D geometric primitives are supported by a CAD system, a primitive instancing method can significantly reduce the work entailed in object modeling.
series	CAAD Futures
email
last changed	2003/05/16 20:58

_id	55f1
authors	Norman, Richard B. and Lowrey, Robert C.
year	1989
title	Ground Sculpture on CADD: Forming and Coloring the Landform in a Graphic Data Base
doi	https://doi.org/10.52842/conf.acadia.1989.049
source	New Ideas and Directions for the 1990’s [ACADIA Conference Proceedings] Gainsville (Florida - USA) 27-29 October 1989, pp. 49-59
summary	A graphic data base of our campus is being developed to record physical inventory and to provide a three- dimensional development tool for the University. The campus has many changes in elevation. Computer terrain modeling is planned to provide traditional contour information as well as to furnish a base for perspective views of the campus. Selecting an appropriate geometry to record the landform, and determining criteria for coloration of the ground surface is critical to the success of the project. Methods of modeling a three-dimensional surface are discussed; color principles which articulate landform are explored. A methodology is illustrated which achieves a flexible model of the campus landform.
series	ACADIA
email
last changed	2022/06/07 07:58

_id	c1e2
authors	Norman, Richard B.
year	1990
title	Color Contrast and CAAD: The Seven Color Contrasts of Johannes Itten
source	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 469-478
summary	Computer-aided architectural design is design with color - the monitor of a CAAD system is a display of color, a place where images are produced by color manipulation. The success of these images can be judged by the ability of the colors selected to communicate graphic ideas and to convey graphic information. Color as a visual phenomena intrigued the impressionist painters at the end of the nineteenth century; it was the focus of much attention at the Bauhaus in Weimar Germany. When Johannes Itten was appointed as a Master of Form at the Bauhaus in 1919, he developed "an aesthetic color theory originating in the experience and intuition of a painter". In his definitive work, Itten postulates seven ways to communicate visual information with color. "Each is unique in character and artistic value, in visual, expressive and symbolic effect, and together they constitute the fundamental resource of color design". These seven contrasts provide a lexicon of the methods by which computer images convey graphic information. The colors which form a computer image can be simply manipulated to illustrate these contrasts; today's computers make color manipulation a very simple matter. This paper is composed of short essays about each of these contrasts and how they can guide the selection of appropriate colors to convey visual intent on a picture tube. Considered together the contrasts of Itten provide a fundamental resource for electronic graphic communication.
series	CAAD Futures
email
last changed	2003/05/16 20:58

_id	2a8b
authors	Purcell, Patrick and Applebaum Dan
year	1990
title	Light Table: An Interface To Visual Information Systems
source	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 229-238
summary	A primary aim of the Light Table project was to see if a combination of the optical laser disc, local area networks, and interactive videographic workstation technology could bring a major visual collection, (such as the Rotch Visual Collections of the Massachusetts Institute of Technology), to a campuswide population of undergraduate users. VIS (Visual Information System) is the name being given to the new genre of information technology. Much research and development effort is currently being applied to areas where the image has a special significance, for example in architecture and planning, in graphic and fine arts, in biology, in medicine, and in photography. One particular advance in the technology of VIS has been the facility to access visual information across a distributed computer system via LAN (Local Area Networks) and video delivery systems, (such as campus TV cable). This advance allows users to retrieve images from both local and remote sources, dispatching the image search through the LAN, and receiving the images back at their workstation via dedicated channels on the campus TV cable. Light Table is the title of a system that acts as a computer-based interactive videographic interface to a variety of visual information systems described in the body of this paper. It takes its name from the traditional, back- lit, translucent light table that lecturers use to assemble and view collections of slides for talks and seminars. The component of Light Table which is being reported in greatest detail here, a software outcome called Galatea, is a versatile and robust system capable of controlling video devices in a networked environment.
series	CAAD Futures
last changed	1999/04/03 17:58

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