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	a2e6
authors	Liggett, R.S., Mitchell, W.J. and Tan, M.
year	1992
title	Multi-Level Analysis and Optimization of Design
source	New York: John Wiley & Sons, 1992. pp. 2512-269 : ill. includes bibliography
summary	This paper discusses a knowledge-based computer-aided design system, that provides multi-level analysis capabilities, and that automatically propagates constraints on design variables from level to level. It also Supports formulation and solution of optimization problems at different levels, so that a solution can be approached by solving a sequence of appropriately constrained sub-optimization problems. Theory and implementation are discussed, and a detailed case study of application to the design of small house plans is provided
keywords	constraints, design, methods, knowledge base, CAD, systems, analysis, optimization, automation, user interface, shape grammars
series	CADline
email
last changed	2003/06/02 14:41

_id	acadia03_036
id	acadia03_036
authors	Gerzso, J. Michael
year	2003
title	On the Limitations of Shape Grammars: Comments on Aaron Fleisher’s Article “Grammatical Architecture?”
source	Connecting >> Crossroads of Digital Discourse [Proceedings of the 2003 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-12-8] Indianapolis (Indiana) 24-27 October 2003, pp. 279-287
doi	https://doi.org/10.52842/conf.acadia.2003.279
summary	Shape grammars were introduced by Gips and Stiny in 1972. Since then, there have been many articles and books written by them and their associates. In 1992, Aaron Fleisher, a professor at the School of Planning, MIT, wrote a critique of their work in an article titled “Grammatical Architecture?” published in the journal Environment and Planning B. According to him, Gips, Stiny and later Mitchell, propose a hypothesis that states that shape grammars are presumed to represent knowledge of architectural form, that grammars are “formable,” and that there is a visual correspondence to verbal grammar. The strong version of “the hypothesis requires that an architectural form be equivalent to a grammar.” Fleisher considers these hypotheses unsustainable, and argues his case by analyzing the differences between language, and architecture, and by dealing with the concepts of lexicons, syntax and semantics. He concludes by stating that architectural design is negotiated in two modalities: the verbal and the visual, and that equivalences are not at issue; they do not exist. If there is such thing as a language for design, it would provide the means to maintain a discussion of the consequences in one mode, of the state and conditions of the other. Fleisher’s observations serve as the basis of this paper, a tribute to him, and also an opportunity to present an outline to an alternate approach or hypothesis to shape grammars, which is “nonlinguistic” but “generative,” in the sense that it uses production rules. A basic aspect of this hypothesis is that the only similarity between syntactic rules in language and some rules in architecture is that they are recursive.
series	ACADIA
last changed	2022/06/07 07:51

_id	84e6
authors	Seebohm, Thomas
year	1995
title	A Response to William J. Mitchell's review of Possible Palladian Villas, by George Hersey and Richard Freedman, MIT Press, 1992
source	AA Files ( Journal of the Architectural Association School of Architecture), No. 30, Autumn, 1995, pp. 109 - 111
summary	A review by William J. Mitchell, entitled 'Franchising Architectural Styles", appeared in AA Files no. 26 (Autumn 1993). It reflects on a collision between two fundamentally opposing points of view, one held by the reviewer, the other by the reviewed. These determine our expectations of the role of computers in architectural design.
series	journal paper
email
last changed	2003/05/15 21:45

_id	130d
authors	Hoinkes, R. and Mitchell, R.
year	1994
title	Playing with Time - Continuous Temporal Mapping Strategies for Interactive Environments
source	6th Canadian GIS Conference, (Ottawa Natura Resources Canada), pp. 318-329
summary	The growing acceptance of GIS technology has had far- reaching effects on many fields of research. The recent developments in the area of dynamic and temporal GIS open new possibilities within the realm of historical research where temporal relationship analysis is as important as spatial relationship analysis. While topological structures have had wide use in spatial GIS and have been the subject of most temporal GIS endeavours, the different demands of many of these temporally- oriented analytic processes questions the choice of the topological direction. In the fall of 1992 the Montreal Research Group (MRG) of the Canadian Centre for Architecture mounted an exhibition dealing with the development of the built environment in 18th- century Montreal. To aid in presenting the interpretive messages of their data, the MRG worked with the Centre for Landscape Research (CLR) to incorporate the interactive capabilities of the CLR's PolyTRIM research software with the MRG's data base to produce a research tool as well as a public- access interactive display. The interactive capabilities stemming from a real- time object- oriented structure provided an excellent environment for both researchers and the public to investigate the nature of temporal changes in such aspects as landuse, ethnicity, and fortifications of the 18th century city. This paper describes the need for interactive real- time GIS in such temporal analysis projects and the underlying need for object- oriented vs. topologically structured data access strategies to support them.
series	other
last changed	2003/04/23 15:14

_id	43bb
authors	Wojtowicz, Jerzy, Davidson, James N. and Mitchell, William J.
year	1992
title	Design as Digital Correspondence
source	Mission - Method - Madness [ACADIA Conference Proceedings / ISBN 1-880250-01-2] 1992, pp. 89-101
doi	https://doi.org/10.52842/conf.acadia.1992.089
summary	This chapter is concerned with illustrating the potential and limitations of structured, "long distance"' design collaboration utilizing computational and telecommunication tools. Digital design collaboration makes new demands on both the computational tools and the process of making architecture.
series	ACADIA
email
last changed	2022/06/07 07:57

_id	caadria2007_659
id	caadria2007_659
authors	Chen, Zi-Ru
year	2007
title	The Combination of Design Media and Design Creativity _ Conventional and Digital Media
source	CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
doi	https://doi.org/10.52842/conf.caadria.2007.x.w5x
summary	Creativity is always interested in many fields, in particular, creativity and design creativity have many interpretations (Boden, 1991; Gero and Maher, 1992, 1993; Kim, 1990; Sternberg, 1988; Weisberg, 1986). In early conceptual design process, designers used large number of sketches and drawings (Purcell and Gero, 1998). The sketch can inspire the designer to increase the creativity of the designer’s creations(Schenk, 1991; Goldschmidt, 1994; Suwa and Tversky, 1997). The freehand sketches by conventional media have been believed to play important roles in processes of the creative design thinking(Goldschmidt, 1991; Schon and Wiggins, 1992; Goel, 1995; Suwa et al., 2000; Verstijnen et al., 1998; Elsas van and Vergeest, 1998). Recently, there are many researches on inspiration of the design creativity by digital media(Liu, 2001; Sasada, 1999). The digital media have been used to apply the creative activities and that caused the occurrenssce of unexpected discovery in early design processes(Gero and Maher, 1993; Mitchell, 1993; Schmitt, 1994; Gero, 1996, 2000; Coyne and Subrahmanian, 1993; Boden, 1998; Huang, 2001; Chen, 2001; Manolya et al. 1998; Verstijinen et al., 1998; Lynn, 2001). In addition, there are many applications by combination of conventional and digital media in the sketches conceptual process. However, previous works only discussed that the individual media were related to the design creativity. The cognitive research about the application of conceptual sketches design by integrating both conventional and digital media simultaneously is absent.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	7bf4
authors	Hornyanszky-Dalholm, Elisabeth and Rydberg-Mitchell, Birgitta
year	1992
title	COMMUNICATING WITH LAYPEOPLE
source	Proceedings of the 4rd European Full-Scale Modelling Conference / Lausanne (Switzerland) 9-12 September 1992, Part B, pp. 25-32
summary	The purpose of the architect's tools is, as generally stated, to help the architects themselves to develop and visualize their spatial ideas and intentions. But the tools can also be used to communicate with other groups of professionals and with laypeople. This paper deals with the question how the choice of tools can effect the communication between laypeople and architects. It also stresses the need of combining different media in order to create the best conditions for user's participation. If the users will be able to influence the planning of an environment they must understand the "language" of the medium and have the ability to use it themselves. Models on diverse scales, and first of all the scale 1:1, fulfil these demands better than drawings. There are distinct limitations of the full-scale model, when it comes to give the users a comprehension of the entire mock-up, and thus models on smaller scales are required. Limitations of both full-scale and small scale models concerning visualizing the exterior and the building's interaction with the environment could possibly be worked out with the help of computer technique.
keywords	Full-scale Modeling, Model Simulation, Real Environments
series	other
type	normal paper
email
more	http://info.tuwien.ac.at/efa
last changed	2004/05/04 15:39

_id	avocaad_2001_09
id	avocaad_2001_09
authors	Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year	2001
title	Digital Architecture in CAD studio and Internet-based competition
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	a07c
authors	Mitchell, William J.
year	1992
title	The Uses of Inconsistency in Design
source	New York: John Wiley & Sons, 1992. pp. 1-13 : ill. includes bibliography.--- This article is the introduction chapter to the book
summary	In this paper two of the central dogmas underlying most current theories of design evaluation are challenged: that the representations used by a designer must be well formed, and that a designer must have a consistent belief framework within which to make judgements about design proposals. The crucial roles in design of ambiguous and inconsistent representations and provisional beliefs are examined, and a model of design exploration based on nonmonotonic modes of reasoning is sketched
keywords	reasoning, evaluation, prediction, design process, architecture
series	CADline
email
last changed	2003/06/02 10:24

_id	ebb2
authors	Proctor, George
year	2000
title	Reflections on the VDS, Pedagogy, Methods
source	ACADIA Quarterly, vol. 19, no. 1, pp. 15-16
doi	https://doi.org/10.52842/conf.acadia.2000.015.2
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

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