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	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

_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	8bf3
authors	McCullough, M., Mitchell, W.J. and Purcell, P. (Eds.)
year	1990
title	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [Conference Proceedings]
source	International Conference on Computer-Aided Architectural Design 1989/ ISBN 0-262-13254-0] (Massachusetts / USA), 1989, 505 p.
summary	Design is the computation of shape information that is needed to guide fabrication or construction of artifacts. But it is not so straightforward as, say, the computation of numerical information required to balance a checkbook. This is partly because algebras of shapes are not as well understood and precisely formalized as algebras of numbers, partly because the rules for carrying out shape computations tend to be fluid and ill defined and partly because the predicates that must be satisfied to achieve successful termination are often complex and difficult to specify. For centuries architects have carried out shape computations by hand, using informal procedures and the simplest of tools. Over the last two decades though, they have made increasing use of more formal procedures executed by computers. It is still too early to be sure of the gains and losses that follow from this development, but there is no doubt that it raises some challenging questions of architectural theory and some perplexing issues for those concerned with the future of architectural education. This book frames those issues and provides a diversity of perspectives on them. Its contents were initially presented at the CAAD Futures 89 Conference-an international gathering of researchers and teachers in the field of computer-aided architectural design which was jointly sponsored by the Harvard Graduate School of Design and the MIT Department of Architecture and held in Cambridge, Massachusetts, in July 1989. There are four major sections: Theoretical Foundations, Knowledge-Based Design Tools, Information Delivery Systems, and Case Studies: Electronic Media in the Design Studio. In a representative collection of current views, over thirty extensively illustrated papers discuss the experiences of universities in the USA, Europe, Japan, Israel, Canada, and Australia, articulate present theoretical and practical concerns, provide criticism of media and methods, and suggest directions for the future. Architectural educators and architects concerned with the effect of computer technology on the design process will find here an indispensable reference and a rich source of ideas. This book was itself prepared in an electronic design studio. Composition and typography, most image collection and placement, and such editing as was practical within this publishing format, were all performed digitally using Macintosh computers at the Harvard Graduate School of Design during a period of a few weeks in 1989.
series	CAAD Futures
email
last changed	2003/05/16 20:58

_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	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	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	abc9
authors	Campbell, A.T. and Fussell, D.S.
year	1990
title	Adaptive Mesh Generation for Global Diffuse Illumination
source	Computer Graphics Proc. SIGGRAPH 90 Vol. 24, No. 4, Aug. 1990, pp. 155-164
summary	Rapid developments in the design of algorithms for rendering globally illuminated scenes have taken place in the past five years. Net energy methods such as the hemicube and other radiosity algorithms have become very effective a t computing the energy balance for scenes containing diffusely reflecting objects. Such methods first break up a scene description into a relatively large number of elements, or possibly sev- eral levels of elements. Energy transfers among these ele- ments are then determined using a variety of means. While much progress has been made in the design of energy transfer algorithms, little or no attention has been paid to the proper generation of the mesh of surface elements. This pa- per presents a technique for adaptively creating a mesh of surface elements as the energy transfers are computed. The method allows large numbers of small elements to be placed at parts of the scene where the most active energy trans- fers occur without requiring that other parts of the scene be needlessly subdivided to the same degree. As a result, the computational effort in the energy transfer computations can be concentrated where it has the most effect. CR Categories and Subject Descriptors: 1.3.3 [Computer Graphics]: Picture/Image Generation-Display algorithms. 1.3.7 [Computer Graphics]: Three-Dimensional Graphics and Realism. General Terms: Algorithms Additional Key Words and Phrases: global illumination, radiosity, mesh-generation, diffuse, data structure, incremental.
series	journal paper
last changed	2003/04/23 15:50

_id	242f
authors	Goldman, Glenn and Zdepski, M. Stephen
year	1990
title	Image Sampling
source	From Research to Practice [ACADIA Conference Proceedings] Big Sky (Montana - USA) 4-6 October 1990, pp. 21-28
doi	https://doi.org/10.52842/conf.acadia.1990.021
summary	Analogous to music sampling, in which sounds from the environment are recorded, distorted and used in unique ways to create music, "image sampling" is the visual equivalent of a sound bite used to create new visual forms, textures, patterns and types of architecture. Through the use of image sam ling, a designer can accurately record and digitize images from the existing visual world: rom the physical (built or natural) context of the site, from history (a specific building " or a significant architectural monument) or from previous work produced by the designer. The digital scanning process makes design information equal and uniform, as it converts all images to dot patterns of varying color. As a result the image can be transformed through numeric operations (even when the algorithms are transparent to the end user). The recorded images can therefore be fragmented, combined, distorted, duplicated, tweened, or subjected to random automated operations. Because computer images are digital, they facilitate modification and transformation, unlike their analog counterparts. Merging video and image processing capabilities with three-dimensional modeling permits the designer to collage visual information into new and readily editable architectural proposals. Combining image samples into new architectural concepts expands the scope of potentials available to the architect and also raises fundamental questions about issues of originality, creativity, authenticity, and the nature of the design process itself. What is original work, created by the designer, and what is merely re-used? The discussion of new digital imaging eventually leads to questions about design theory and ethics, in addition to those associated with computer technology and architectural form. As one works in any new medium, including the digital environment, many questions are raised about its impacts on design. Much of what is presented in this paper are early speculations on the implications of the digital technology and its influence on architecture.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	09f7
authors	Goldschmidt, Gabriela
year	1990
title	Serial Sketching : Feedback Mechanisms in Designing
source	System Research, Informatics and Cybernetics, International Conference (5th : 1990 : Baden- Baden, Germany). For Cognition in Design Session, abbreviated paper
summary	Designing is seen as a process of small-step transformations of partial images of a still non-existing entity. The ultimate objective of the process is the production of sufficiently coherent and comprehensive representations of design entity, so as to allow the construction of a visual simulation of it, physically or mentally. Sketching is universally used by designers throughout the front-edge of the process as a major tool for the generation, transformation, and representation of images. Serial sketching, often executed on consecutive layers of transparent paper, allows the designer to experiment with changes while fully controlling previous versions of an image. Feedback from each version informs subsequent transformations. This typical characteristic of design behavior is explored through on-line studies quotidian design activity and is compared to modes of production in other domains
keywords	design process, cognition, sketching
series	CADline
last changed	1999/02/12 15:08

_id	4b09
authors	Iwata, Hiroo
year	1990
title	Artificial Reality with Force-Feedback : Development of Desktop Virtual Space with Compact Master Manipulator
source	Computer Graphics. August, 1990. vol. 24: pp. 165-170 : ill. includes bibliography
summary	A new configuration of human interface for 'artificial reality' is discussed. The paper describes a method of implementing force-feedback in a virtual space manipulation system. The system is composed of two subsystems, a real time graphic display system and a tactile input device with reaction force generator. A specialized graphic computer (Stardent TITAN) provides a real time image of the virtual space. A 9 degree-of-freedom manipulator applies reaction forces to the fingers and palm of the operator. The generated forces are calculated from a solid model of the virtual space. The performance of the system is exemplified in manipulation of virtual solids objects such as a mockup for industrial design and a 3D animated character
keywords	user interface, virtual reality, computer graphics
series	CADline
last changed	1999/02/12 15:08

_id	a23f
authors	Jordan, J. Peter (Ed.)
year	1990
title	From Research to Practice [Conference Proceedings]
source	ACADIA Conference Proceedings / Big Sky (Montana - USA) 4-6 October 1990, 231 p.
doi	https://doi.org/10.52842/conf.acadia.1990
summary	For the tenth time in as many years, the Association for Computer-Aided Design in Architecture (ACADIA) has invited architectural educators and professionals to discuss their activities and interests related to computer-aided architectural design. This annual meeting has grown from a small group representing a handful of schools to a conference with international participation. For the fifth time, the papers presented at this annual conference have been collected and published in a bound volume as the conference proceedings. In organizing these meetings, ACADIA must be viewed has having firmly established itself as a valuable forum for those who are interested and active in this area. Moreover, the proceedings of these conferences have become an important record for documenting the progress of ideas and activities in this field. This organization and its annual conferences have been a critical influence on my own professional development. The first conference I attended, ACADIA '86, confirmed a nagging suspicion that courses in computer-aided design (CAD) offered at the university level should be more than vendor training. Papers and conversations at subsequent conferences have reinforced this conviction and strengthened my commitment to CAD education which does more than convey electronic drawing technology. At the same time, I have been frustrated at the apparent lack of communication between those involved in these activities in architectural education and the average professional practice. With some notable exceptions, architects are only beginning to make basic computer-aided drafting pay for itself. In many small offices, "The CAD Computer" remains more decoration and status symbol than useful tool. While it can be argued that the economics of computer-aided drafting have only recently become attractive, it must be admitted that many members of ACADIA are actively involved in the development and use of computer applications which are significantly more challenging. In the short run, most of these activities will go largely unnoticed by the community of practicing architects. This situation raises a number of questions on the value of the work produced by members of ACADIA. One can (and many do) challenge the worth of "design" research produced by academia to those in professional practice. However, it is a fundamental mistake to insist that such work be of immediate and direct relevance to the profession. In fact, some presentations at the ACADIA conferences have focused solely on the pedagogical environment (which may be of some intellectual interest) but do not even attempt to address professional design issues. Other work may serve as the basis for further activities which may result in useful applications at some future point in time. Such work is strategic in nature and should not be expected to bear fruit for many years. These are the *natural" products of a university environment and, indeed, may be what the university does best. Still, design professionals remain indifferent (if not somewhat hostile) to these endeavors. The central dilemma resides in the ongoing debate about the fundamental goals of professional education. A number of design professionals believe that architectural education should follow more of a “trade school” model where a professional degree program becomes solely a process of acquiring (and practicing) a set of skills which are directly and immediately useful upon graduation. Today these people stiR closely examine the drafting skill of any recent graduate, but they are also likely to demanding expertise on AutoCAD. It is my view that this position tends to deprecate the image of architects and depreciate the economic status of the profession. On the other hand, there is a similar minority in architectural academia who teach because they are unable or unwilling to deal with the very real complexities and challenges of professional practice. These instructors tend to focus on obscure theory and academic credentials while discounting the importance of professional development. For most who participate in this discussion, it is becoming increasingly clear that professional competency must be founded on an effective marriage of intellectual theory and practical expertise. This must lead to the conclusion that CAD research must recognize and give serious consideration to the professional agenda in a substantive manner without abandoning those activities which deal with strategic and pedagogical issues.
series	ACADIA
email
more	http://www.acadia.org
last changed	2022/06/07 07:49

_id	5509
authors	Koutamanis, Alexandros
year	1990
title	Development of a computerized handbook of architectural plans
source	Delft University of Technology
summary	The dissertation investigates an approach to the development of visual / spatial computer representations for architectural purposes through the development of the computerized handbook of architectural plans (chap), a knowledge-based computer system capable of recognizing the metric properties of architectural plans. This investigation can be summarized as an introduction of computer vision to the computerization of architectural representations: chap represents an attempt to automate recognition of the most essential among conventional architectural drawings, floor plans. The system accepts as input digitized images of architectural plans and recognizes their spatial primitives (locations) and their spatial articulation on a variety of abstraction levels. The final output of chap is a description of the plan in terms of the grouping formations detected in its spatial articulation. The overall structure of the description is based on an analysis of its conformity to the formal rules of its “stylistic” context (which in the initial version of chap is classical architecture). Chapter 1 suggests that the poor performance of computerized architectural drawing and design systems is among others evidence of the necessity to computerize visual / spatial architectural representations. A recognition system such as chap offers comprehensive means for the investigation of a methodology for the development and use of such representations. Chapter 2 describes a fundamental task of chap: recognition of the position and shape of locations, the atomic parts of the description of an architectural plan in chap. This operation represents the final and most significant part of the first stage in processing an image input in machine environment. Chapter 3 moves to the next significant problem, recognition of the spatial arrangement of locations in an architectural plan, that is, recognition of grouping relationships that determine the subdivision of a plan into parts. In the absence of systematic and exhaustive typologic studies of classical architecture that would allow us to define a repertory of the location group types possible in classical architectural plans, Chapter 3 follows a bottom-up approach based on grouping relationships derived from elementary architectural knowledge and formalized with assistance from Gestalt theory and its antecedents. The grouping process described in Chapter 3 corresponds both in purpose and in structure to the derivation of a description of an image in computer vision [Marr 1982]. Chapter 4 investigates the well-formedness of the description of a classical architectural plan in an analytical manner: each relevant level (or sublevel) of the classical canon according to Tzonis & Lefaivre [1986] is transformed into a single group of criteria of well-formedness which is investigated independently. The hierarchical structure of the classical canon determines the coordination of these criteria into a sequence of cognitive filters which progressively analyses the correspondence of the descriptions derived as in Chapter 3 to the constraints of the canon. The methodology and techniques presented in the dissertation are primarily considered with respect to chap, a specific recognition system. The resulting specification of chap gives a measure of the use of such a system within the context of a computerized collection of architectural precedents and also presents several extensions to other areas of architecture. Although these extensions are not considered as verifiable claims, Chapter 5 describes some of their implications, including on the role of architectural drawing in computerized design systems, on architectural typologies, and on the nature and structure of generative systems in architecture.
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	ab3c
authors	Kramer, G.
year	1996
title	Mapping a Single Data Stream to Multiple Auditory Variables: A Subjective Approach to Creating a Compelling Design
source	Proceedings of the Third International Conferenceon Auditory Display, Santa FO Institute
summary	Representing a single data variable changing in time via sonification, or using that data to control a sound in some way appears to be a simple problem but actually involves a significant degree of subjectivity. This paper is a response to my own focus on specific sonification tasks (Kramer 1990, 1993) (Fitch & Kramer, 1994), on broad theoretical concerns in auditory display (Kramer 1994a, 1994b, 1995), and on the representation of high-dimensional data sets (Kramer 1991a & Kramer & Ellison, 1991b). The design focus of this paper is partly a response to the others who, like myself, have primarily employed single fundamental acoustic variables such as pitch or loudness to represent single data streams. These simple representations have framed three challenges: Behavioral and Cognitive Science-Can sonifications created with complex sounds changing simultaneously in several dimensions facilitate the formation of a stronger internal auditory image, or audiation, than would be produced by simpler sonifications? Human Factors and Applications-Would such a stronger internal image of the data prove to be more useful from the standpoint of conveying information? Technology and Design-How might these richer displays be constructed? This final question serves as a starting point for this paper. After years of cautious sonification research I wanted to explore the creation of more interesting and compelling representations.
series	other
last changed	2003/04/23 15:50

_id	4e31
authors	Norman, Richard B.
year	1990
title	Electronic Color : The Art of Color Applied to Graphic Computing
source	xiv, 186 p. : ill. (some col.) New York: Van Nostrand Reinhold, 1990. includes bibliography
summary	This book offers artists an introduction to a new technology for the communication of visual ideas, and it offers scientists an introduction to principles of art that have existed forever, but made simpler to communicate because of the new technology. The 9 chapters of the book cover such topics as: The language of color (tools and teaching, the elements of design, how color speaks, electronic color as teacher); A theory of contrasts (the Bauhaus, the seven contrasts of Johannes Itten, design applications); Color models (the need for order, traditional concepts of color organization, computer color selection, inventing a color space); Electronics as a source of color (color images, the color monitor, additive and subtractive color, the automation of graphics, reproduction of the computer image); The dynamics of color (dynamics in painting, impressionism, the Albers color descriptions, color dynamics today, dynamic architectural images); Illusions of space and form (transparency, perception of space, definition of form); Color psychology (the meaning of color, the colors, color transposition, applied psychology); Color in the design process (the discovery of site, the design of buildings, the color of cities); The representation of form (automation of the construction process, intuition in drawing, intuition in design, form and color)
keywords	computer graphics, color, education
series	CADline
last changed	2003/06/02 13:58

_id	avocaad_2001_19
id	avocaad_2001_19
authors	Shen-Kai Tang, Yu-Tung Liu, Yu-Sheng Chung, Chi-Seng Chung
year	2001
title	The visual harmony between new and old materials in the restoration of historical architecture: A study of computer simulation
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 research of historical architecture restoration, scholars respectively focus on the field of architectural context and architectural archeology (Shi, 1988, 1990, 1991, 1992, 1995; Fu, 1995, 1997; Chiu, 2000) or on architecture construction and the procedure of restoration (Shi, 1988, 1989; Chiu, 1990). How to choose materials and cope with their durability becomes an important issue in the restoration of historical architecture (Dasser, 1990; Wang, 1998).In the related research of the usage and durability of materials, some scholars deem that, instead of continuing the traditional ways that last for hundreds of years (that is to replace new materials with old ones), it might be better to keep the original materials (Dasser, 1990). However, unavoidably, some of the originals are much worn. Thus we have to first establish the standard of eliminating components, and secondly to replace identical or similar materials with the old components (Lee, 1990). After accomplishing the restoration, we often unexpectedly find out that the renewed historical building is too new that the sense of history is eliminated (Dasser, 1990; Fu, 1997). Actually this is the important factor that determines the accomplishment of restoration. In the past, some scholars find out that the contrast and conflict between new and old materials are contributed to the different time of manufacture and different coating, such as antiseptic, pattern, etc., which result in the discrepancy of the sense of visual perception (Lee, 1990; Fu, 1997; Dasser, 1990).In recent years, a number of researches and practice of computer technology have been done in the field of architectural design. We are able to proceed design communication more exactly by the application of some systematic softwares, such as image processing, computer graphic, computer modeling/rendering, animation, multimedia, virtual reality and so on (Lawson, 1995; Liu, 1996). The application of computer technology to the research of the preservation of historical architecture is comparatively late. Continually some researchers explore the procedure of restoration by computer simulation technology (Potier, 2000), or establish digital database of the investigation of historical architecture (Sasada, 2000; Wang, 1998). How to choose materials by the technology of computer simulation influences the sense of visual perception. Liu (2000) has a more complete result on visual impact analysis and assessment (VIAA) about the research of urban design projection. The main subjects of this research paper focuses on whether the technology of computer simulation can extenuate the conflict between new and old materials that imposed on visual perception.The objective of this paper is to propose a standard method of visual harmony effects for materials in historical architecture (taking the Gigi Train Station destroyed by the earthquake in last September as the operating example).There are five steps in this research: 1.Categorize the materials of historical architecture and establish the information in digital database. 2.Get new materials of historical architecture and establish the information in digital database. 3.According to the mixing amount of new and old materials, determinate their proportion of the building; mixing new and old materials in a certain way. 4.Assign the mixed materials to the computer model and proceed the simulation of lighting. 5.Make experts and the citizens to evaluate the accomplished computer model in order to propose the expected standard method.According to the experiment mentioned above, we first address a procedure of material simulation of the historical architecture restoration and then offer some suggestions of how to mix new and old materials.By this procedure of simulation, we offer a better view to control the restoration of historical architecture. And, the discrepancy and discordance by new and old materials can be released. Moreover, we thus avoid to reconstructing ¡§too new¡¨ historical architecture.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_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	2105
authors	Sirikasem, Peerapong and Degelman, Larry 0.
year	1990
title	The Use of Video-Computer Presentation Techniques to Aid in Communication Between Architect and Client
source	From Research to Practice [ACADIA Conference Proceedings] Big Sky (Montana - USA) 4-6 October 1990, pp. 205-216
doi	https://doi.org/10.52842/conf.acadia.1990.205
summary	In an attempt to enhance the communication between architect and client, research was conducted in the use of computer modeling and video imaging techniques for the final architectural presentation process. By superimposing the painted building design from the CAD system onto a digitized image of the intended location, a composite image was achieved. These techniques have advantages in creating a realistic composite image of a proposed building design in its intended location within a short period of time. In order to provide more visual clues, a multiple view presentation format using a series of selected views (multiple views) was used. In addition, the research had further attempted to present the video- computer presentation in an animation sequence. The animation presentations were evaluated by comparing them with the multiple view presentations. Manual rendering and single viewpoint displays were also included in the comparisons in order to validate the results. Questionnaires were used to measure the capability of each presentation format to communicate the intended information to the audiences. The experiments were conducted with non-architecture subject groups in the local Bryan/College Station area.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	c767
authors	Sirikasem, Peerapong
year	1990
title	Video-Computer Imaging Techniques: the Effect of Presentation by Animation and Multiple Views on Comnnunicative Effectiveness of an Architectural Design
source	Texas A&M University
summary	In an attempt to enhance the communication between architect and client, research was conducted in the use of computer modeling and video imaging techniques for the final architectural presentation process. By superimposing the painted building design from the computer-aided design (CAD) system onto a digitized image of the intended location, a composite image was achieved. These techniques have advantages in creating realistic composite images of proposed building designs in their intended location within a short period of time. In order to provide more visual clues, a multiple view presentation was examined. In addition, the research attempted to present the video-computer in an animation sequence. This was done by creating a series of sequential composite images, and recording them frame by frame onto the video tape. Then, the animation presentation was played back in real time. The animation presentations were evaluated by comparing them with the multiple view presentations. Manual rendering and single viewpoint displays were also included in the comparisons in order to aid in interpretation of the results. Questionnaires were used to measure the capability of each presentation format in communicating the building design information to non-architecturally trained persons. The results indicate that video-computer presentations were equal to or better than manual rendering. The video-computer presentations, with their short production time, were more practical to use in the architectural process than the conventional presentations. The results of the comparisons revealed that video-computer presentations in animation format were superior to those of multiple view format in the depth cue category. On the other hand, video-computer presentations by multiple view format was found to be superior to animation format in communicating both size and scale. These results occurred under the different complexity levels of the buildings used.
series	thesis:PhD
last changed	2003/02/12 22:37

_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	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

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