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	235d
authors	Catalano, Fernando
year	1990
title	The Computerized Design Firm
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. 317-332
summary	This paper is not just about the future of computerized design practice. It is about what to do today in contemplation of tomorrow-the issues of computercentered practice and the courses of action open to us can be discerned by the careful observer. The realities of computerized design practice are different from the issues on which design education still fixes its attention. To educators, the present paper recommends further clinical research on computerized design firms and suggests that case studies on the matter be developed and utilized as teaching material. Research conducted by the author of this paper indicates that a new form of design firm is emerging-the computerized design firm-totally supported and augmented by the new information technology. The present paper proceeds by introducing an abridged case study of an actual totally electronic, computerized design practice. Then, the paper concentrates on modelling the computerized design firm as an intelligent system, indicating non-trivial changes in its structure and strategy brought about by the introduction of the new information technology into its operations - among other considerations, different strategies and diverse conceptions of management and workgroup roles are highlighted. In particular, this paper points out that these structural and strategic changes reflect back on the technology of information with pressures to redirect present emphasis on the individual designer, working alone in an isolated workstation, to a more realistic conception of the designer as a member of an electronic workgroup. Finally, the paper underlines that this non-trivial conception demands that new hardware and software be developed to meet the needs of the electronic workgroup - which raises issues of human-machine interface. Further, it raises the key issues of how to represent and expose knowledge to users in intelligent information - sharing systems, designed to include not only good user interfaces for supporting problem-solving activities of individuals, but also good organizational interfaces for supporting the problem-solving activities of groups. The paper closes by charting promising directions for further research and with a few remarks about the computerized design firm's (near) future.
series	CAAD Futures
last changed	1999/04/03 17:58

_id	e1c9
authors	Danahy, John and Wright, Robert
year	1989
title	Computing and Design in the Canadian Schools of Architecture and Landscape Architecture: A Proposed Research Agenda for Integrated CAD & GIS in the 1990's
doi	https://doi.org/10.52842/conf.acadia.1989.227
source	New Ideas and Directions for the 1990’s [ACADIA Conference Proceedings] Gainsville (Florida - USA) 27-29 October 1989, pp. 227-244
summary	Conventional computer systems currently used by architecture and landscape architecture are not addressing complex decision making, system interface, dynamic manipulation and real time visualization of data. This paper identifies a strategy by which Canadian Schools could form a supportive network, incorporate and expand their research development. Within this larger framework schools would have better tools, a larger research base and access to funding as a group. The following discussion is an idea of what we at the Canadian Schools need to do differently over the next five years in our research and teaching in order to make a unique contribution to our fields.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	a2b7
authors	Jalali, Yousef and Moore, Anne
year	1989
title	Design Development & 3-D Applications
source	Architectural and Engineering Systems
summary	September, 1989. vol. 5: pp. 29;32. In design, 3-D modeling is a pleasant but non-essential amenity. In building architecture, it is vital. CAD frees architects to do what they do best: to think about design and how to perfect it. 3-D models delight the client and expedite construction. Some implementation in the author's office is discussed
keywords	practice, drafting, systems, modeling, CAD, architecture
series	CADline
last changed	2003/06/02 13:58

_id	8e13
authors	Jenkinson, L., Brown, A.G.P. and Horton, F.
year	1989
title	Architectural Design and Drawing
doi	https://doi.org/10.52842/conf.ecaade.1989.x.r9h
source	CAAD: Education - Research and Practice [eCAADe Conference Proceedings / ISBN 87-982875-2-4] Aarhus (Denmark) 21-23 September 1989, pp. 6.5.1-6.5.17
summary	This paper focuses on the function of drawing in architectural design. It does so by taking an in- depth look at the drawing material produced for the design of the chapel at Ronchamp. Within architectural design there is more than one type of drawing. The objective therefore is to determine what exactly these different types of drawing are and furthermore what their function is for the architect. For we believe that questioning, at this basic level, the function of drawing within the design process provides the basis from which it is possible to go on to question the function of computer-based drawing within the design process, and consequently it's function in CAAD.
keywords	Drawing, Design Process, Le Corbusier, Ronchamp, CAAD
series	eCAADe
email
last changed	2022/06/07 07:50

_id	88d7
authors	Kulcke, Richard
year	1995
title	CAAD in the Architectural Education of the Fachhochschulen in Germany
source	CAD Space [Proceedings of the III International Conference Computer in Architectural Design] Bialystock 27-29 April 1995, pp. 7-13
summary	Like the most teachers of Computer Aided Architectural Design at the Fachhochschulen I am an architect not a computer specialist. I studied architecture in the sixties at the universities of Stuttgart and Berlin, In 1973 I became a lecturer at the Fachhochschule Nordostniedersachsen. My subjects are building economics, urban planning and computer aided architectural design (CAAD). My report wants to show what is going on at the Fachhochschulen. This report is based on the paper presented at the eCAADe conference 1989 in Aarhus, Denmark
series	plCAD
last changed	2000/01/24 10:08

_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	c903
authors	Mark, Earl
year	1990
title	Case Studies in Moviemaking and Computer-Aided 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. 393-412
summary	A movie which is developed from site location video, sync sound, and computer graphics animation can provide a highly convincing simulation of reality. A movie that conveys a sense of the space, materials and juxtaposition of objects of a proposed architectural design provides a special kind of realism, where the representation may be of a proposed building that exists only within the mind of an architect. For an experienced architect, however, the movie may not provide a good surrogate experience for what it feels like to actually be within the architectural space. In these case studies, a few projects that combine moviemaking and computer-aided design technologies are examined. These projects were completed using a combination of resources at the MIT School of Architecture and Planning and the Harvard Graduate School of Design. The integrated use of these media is presented as conceptualized with the Electronic Design Studio, a research project that has been supported over the past five years by Project Athena at MIT. The impact of movies and computer-aided design on the perception of architectural space is also reported- based on a pilot study of twenty architectural students.
series	CAAD Futures
email
last changed	2003/05/16 20:58

_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	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	ebb2
authors	Proctor, George
year	2000
title	Reflections on the VDS, Pedagogy, Methods
doi	https://doi.org/10.52842/conf.acadia.2000.015.2
source	ACADIA Quarterly, vol. 19, no. 1, pp. 15-16
summary	After having conducted a Digital Media based design studio at Cal Poly for six years, we have developed a body of experience I feel is worth sharing. When the idea of conducting a studio with the exclusive use of digital tools was implemented at our college, it was still somewhat novel, and only 2 short years after the first VDS- Virtual Design Studio (UBC, UHK et.al.-1993). When we began, most of what we explored required a suspension of disbelief on the part of both the students and faculty reviewers of studio work. In a few short years the notions we examined have become ubiquitous in academic architectural discourse and are expanding into common use in practice. (For background, the digital media component of our curriculum owes much to my time at Harvard GSD [MAUD 1989-91] and the texts of: McCullough/Mitchell 1990, 1994; McCullough 1998; Mitchell 1990,1992,1996; Tufte 1990; Turkel 1995; and Wojtowicz 1993; and others.)
series	ACADIA
email
last changed	2022/06/07 08:00

_id	6dc2
authors	Rahman, Shama
year	1989
title	The Realities of Introducing IT/CAD in Architectural and Interior Design Education: A Case Study at the Polytechnic of North London
doi	https://doi.org/10.52842/conf.ecaade.1989.x.j5h
source	CAAD: Education - Research and Practice [eCAADe Conference Proceedings / ISBN 87-982875-2-4] Aarhus (Denmark) 21-23 September 1989, pp. 4.1.1.-4.1.9
summary	This paper is an attempt to illustrate the realities of introducing Information Technology at a school of Architecture and Interior Design. The department, under the auspicies of the Polytechnic of North London, comprises of 520 full/part time students working towards various professional and postgraduate degrees and diplomas in Architecture and Interior Design. For the last 18 months, the department has undertaken a rapid IT/CAD implementation programme. This has involved developing a strategy, formulating resource needs and implementing teaching. The strategy is based on the concept of application of IT as a tool for design and a medium for representation, management, use and exchange of design information. A course outline has been developed suggesting what could be taught and who could be taught what, how, when and for how long. At the same time, different types of teaching methods are being experimented upon. On the basis of these factors, attempts are being made to meet resource needs for software, hardware, teaching and technical support. Various issues and problems have been brought to light e.g. overcoming cost of hardware and software, lack of teaching and technical support, finding time slots in overloaded curriculums, changing existing attitudes towards IT,etc. We have approached these problems in various ways. We liaise closely with architects' offices, and try to use student skills and expertise within the polytechnic. We try to overcome time-slot problems by joint teaching and assessment with other subjects and try to integrate IT/CAD with studio-based design projects by locating computlng facilities inside studios. This paper is a story of how we have set for ourselves a path to follow. This path is by no means rigid and will continuously change with new experiences and the demands of a volatile industry. We have only just begun.
series	eCAADe
last changed	2022/06/07 07:50

_id	1c3b
authors	Rubinger, Morton
year	1989
title	Will CAD Survive Designers?
doi	https://doi.org/10.52842/conf.acadia.1989.159
source	New Ideas and Directions for the 1990’s [ACADIA Conference Proceedings] Gainsville (Florida - USA) 27-29 October 1989, pp. 159-173
summary	Discussion about the future of CAD often focuses on hardware and software. But that is the wrong emphasis. Future directions for CAD should be considered from the point of view of what is of value to architectural design. This paper is mainly concerned with the needs of architectural design education. For CAD to develop effectively, design education must first address some existing problems which threaten the future of CAD. These problems result mainly from conflicts between traditional design values and needs of using computers. For computers to aid design, software designers need a clearer picture of what design is. But there is no single acceptable meaning of design. Instead several different yet coherent meanings with historical roots are suggested. Each of these directions have different implications for the development of CAD.
series	ACADIA
last changed	2022/06/07 07:56

_id	a949
authors	Stiny, George
year	1989
title	What is a Design?
doi	https://doi.org/10.52842/conf.acadia.1989.137
source	New Ideas and Directions for the 1990’s [ACADIA Conference Proceedings] Gainsville (Florida - USA) 27-29 October 1989, pp. 137-146
summary	Designs belong to relations.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	8a0c
authors	Tan, Milton
year	1990
title	Saying What It Is by What It Is Like - Describing Shapes Using Line Relationships
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. 201-213
summary	Shapes - taken as well-defined collections of lines - are fundamental building blocks in architectural drawings. From doodles to shop drawings, shapes are used to denote ideas and represent elements of design, many of which ultimately translate into actual objects. But because designs evolve, the shapes representing a design are seldom static - instead, they are perpetually open to transformations. And since transformations involve relationships, conventional methods of describing shapes as sets of discrete endpoints may not provide an appropriate foundation for schematic design. This paper begins with a review of the perception of shapes and its significance in design. In particular, it argues that juxtapositions and inter-relationships of shapes are important seedbeds for creative development of designs. It is clear that conventional representation of shapes as sets of discrete lines does not cope with these -emergent" subshapes; the most basic of which arise out of intersecting and colinear lines. Attempts to redress this by using ‘reduction rules’ based on traditional point-and-line data structures are encumbered by computational problems of precision and shape specification. Basically, this means that some ‘close’ cases of sub-shapes may escape detection and their specifications are difficult to use in substitution operations. The paper presents the findings of a computer project - Emergence II - which explored a 'relational' description of shapes based on the concept of construction lines. It builds on the notion that architectural shapes are constructed in a graphic context and that, at a basic compositional level, the context can be set by construction lines. Accordingly, the interface enables the delineation of line segments with reference to pre-established construction lines. This results in a simple data structure where the knowledge of shapes is centralized in a lookup table of all its construction lines rather than dispersed in the specifications of line segments. Taking this approach, the prototype software shows the ease and efficiency of applying ‘reduction rules’ for intersection and colinear conditions, and for finding emergent sub-shapes by simply tracking the construction lines delimiting the ends of line segments.
series	CAAD Futures
email
last changed	2003/05/16 20:58

_id	1b88
authors	Tang, John C.
year	1989
title	Listing, Drawing and Gesturing in Design: A Study of the Use of Shared Workspaces by Design Teams
source	Stanford University
summary	This dissertation is a descriptive study of the shared workspace activity of small groups working on conceptual design tasks. Shared workspace activity refers to the listing, drawing, and gesturing activity that occurs in the work environment of a group. This research is premised on the need to understand what participants actually do in an activity in order to guide the development of technology (especially advanced computer tools) to support this activity. The thesis presents: (1) a methodology for observing and analyzing collaborative design activity; (2) a detailed description and analysis of key aspects of shared workspace activity; (3) a set of specific recommendations for the design of tools to support shared workspace activity. The methodology of interaction analysis was applied to study the activity of small groups (3-4 people) working on short (approximately 1$1/over2$ hours) conceptual design tasks. The group's work was organized around either a whiteboard or large paper sheets on a conference table. Eight design sessions were videotaped and analyzed. The analysis included integrating a variety of perspectives on the data, including that of the participants themselves. The analysis focused on how teams use their shared workspace. A framework for analyzing workspace activity was proposed. This framework provides a structure for categorizing workspace activity according to two dimensions: actions and functions. The actions describe the process of producing the activity: listing, drawing or gesturing. The functions indicate the purpose effectively accomplished by the activity: storing information, expressing ideas, or mediating interaction. Using the framework to analyze workspace activity led to specific observations about shared workspace activity: (1) gestures, and their relationship to the workspace, convey important information; (2) the overhead involved in the process of recording information can be problematic; (3) the process of creating artifacts conveys significant information that is useful in understanding their meaning; (4) workspace actions and functions fluently intermix; (5) the nature of access to the workspace (orientation, simultaneous access, and proximity) structures how the workspace is used. These observations led to specific recommendations for the development of technology to support shared workspace activity.
series	thesis:PhD
email
last changed	2003/02/12 22:37

_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	0e93
authors	Af Klercker, Jonas
year	1989
title	Interactive Animation on the Macintosh II
doi	https://doi.org/10.52842/conf.ecaade.1989.x.a0t
source	CAAD: Education - Research and Practice [eCAADe Conference Proceedings / ISBN 87-982875-2-4] Aarhus (Denmark) 21-23 September 1989, pp. 9.5.1-9.5.6
summary	The efficiency of images in communication between humans has so far been used almost exclusively by TV and other mass medias. The costs have been too great to encourage the use of images in the financially restricted everyday practice of architecture. With a range of application programs for the Apple Macintosh II the vision has come close to reality. It is now possible to create guided walks with the chance to choose different routes and views in a model of buildings and surroundings in 256 colour graphics. The makers of these programs may not have foreseen this use for their products and that is why it takes quite a lot of effort to make all the necessary images. With some supplementary routines however, this will be made much easier. Animation can also be used to visualize different processes inside a building. We have been studying the working environment in mechanical industry. The goal of this project is to make communication possible between the workers at all levels of an organization in planning changes and has so far been very successful. The use of this technique is only limited by our imagination and funding. Some examples to be tested in the near future are "Escape at a fire", "Animation of a Dairy", "Traffic situations in a parking lot-, "CAD-working place" and others. One of the difficulties in interactive planning with users has been to come close enough to their reality. With animated images it is possible to visualize what is going to happen and what it is going to look like in a more understandable way. In education this must be a challenging possibility. Changes and processes are some of the most difficult subjects to describe and explain! The software used is a handful of individual programs which, thanks to the graphics standards of the Macintosh, can exchange data with each other.
series	eCAADe
email
more	http://www.caad.lth.se/
last changed	2022/06/07 07:50

_id	2e50
authors	Ozersay, Fevzi and Szalapaj, Peter
year	1999
title	Theorising a Sustainable Computer Aided Architectural Education Model
doi	https://doi.org/10.52842/conf.ecaade.1999.186
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 186-195
summary	The dogmatic structure of architectural education has meant that the production and application of new educational theories, leading to educational models that use computer technology as their central medium of education, is still a relatively under-explored area. Partial models cannot deliver the expected bigger steps, but only bits and pieces. Curricula developments, at many schools of architecture, have been carried out within the closed circuit manner of architectural education, through expanding the traditional curricula and integrating computers into them. There is still no agreed curriculum in schools of architecture, which defines, at least conceptually, the use of computers within it. Do we really know what we are doing? In the words of Aart Bijl; 'If I want to know what I am doing, I need a separate description of my doing it, a theory' [Bijl, 1989]. The word 'sustainability' is defined as understanding the past and responding to the present with concern for the future. Applying this definition to architectural education, this paper aims to outline the necessity and the principles for the construction of a theory of a sustainable computer aided architectural education model, which could lead to an architectural education that is lasting.
keywords	Architectural Education, Educational Theories, Computers, Sustainable Models
series	eCAADe
email
last changed	2022/06/07 08:00

_id	001a
authors	Stiny, George
year	1990
title	What Designers Do That Computers Should
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. 17-30
summary	Designers do many things that computers don't. Some of these are bad habits that the stringencies of computation will correct. But others are basic to design, and cannot be ignored if computation is to serve creation and invention. Two of these provide the correlative themes of this paper. Both are concerned with description, and its variability and multiplicity in design.
series	CAAD Futures
email
last changed	2003/05/16 20:58

_id	b565
authors	Yessios, Chris I. (Ed.)
year	1989
title	New Ideas and Directions for the 1990’s [Conference Proceedings]
doi	https://doi.org/10.52842/conf.acadia.1989
source	ACADIA Conference Proceedings / Gainsville (Florida - USA) 27-29 October 1989, 262 p.
summary	About a year ago, a comment of mine to Bob Johnson that recent Acadia Conferences appeared to be bypassing some of the real issues of CAAD and that the attendants seemed to be missing the opportunity to debate and to argue, landed me a request to be the Technical Chair for this Acadia 89. In spite of an expected heavy load this past year, I could not refuse. I certainly did not realize at the time what it would take to put the technical program of this Conference together: two "calls" for papers, many- many phone calls and the gracious acceptance of three invited speakers and twelve panelists. In response to a recommendation by Pamela Bancroft, last year's Technical Chair, the first call for papers had a deadline which was by about a month earlier than it has been in recent years. This must have found our membership unprepared and generated only thirteen submissions. A second call was issued with the end of July as a deadline. It generated another eleven submissions. Out of that total of twenty-four papers, ten were selected and are presented in this Conference. The selection process was based strictly on averaging the grades given by each of the three referees who blindly reviewed each paper. The names of the reviewers have been listed earlier in this volume and I wish to take this opportunity to wholeheartedly thank them. In most cases the reviewers offered extensive comments which were returned to the authors and helped them improve their papers. Many of the papers have actually been rewritten in response to the reviewers' comments and what are included in these Proceedings are substantially improved versions of the papers originally submitted. This is the way it is supposed to be, but could not be done without the excellent response by the authors. I"hey deserve our sincere thanks. It must be noted that the reviewers were not always in agreement, which should tell us something about the diverse orientations of our members. In the case of at least three papers, one reviewer gave a 0 or 1 (very low) when another gave a 9 or 10 (very high). In these cases the third reviewer gave the deciding grade. In no case was there a need for me to break a tie. Under normal circumstances, these "controversial" papers should have gone out for another cycle of reviews. Time did not permit to do so. However, I feel confident that the papers which have been selected deserve to be heard. It may be worth speculating why it took two calls to generate only 24 submissions when last year we had 42. There are a number of factors which must have had an effect. First of all, the early deadline. Secondly, the theme of this year's Conference was more focussed than it has been in the recent past. In addition, it was quite challenging. Even though the calls also encouraged submissions in areas other than the central theme, they discouraged contributions which might be redundant with past presentations. This must have filtered out presentations about "CAD in the studio" which did not have an orientation distinctively different from what everybody else is doing. Last, but possibly the most decisive factor must have been that, this year, Acadia was in competition with the Futures Conference. It does not take much to observe that more than half of the presentations at the CAAD Futures Conference were given by active Acadia members. Acadia should by all means be delighted that the bi-annual Futures took place in the States this year, but it certainly made our organizational task harder. As a matter of fact, as a record of CAAD happenings in 1989, 1 believe the Proceedings of the two Conferences complement each other and should be read as a pair.
series	ACADIA
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more	http://www.acadia.org
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