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	ecaadesigradi2019_449
id	ecaadesigradi2019_449
authors	Becerra Santacruz, Axel
year	2019
title	The Architecture of ScarCity Game - The craft and the digital as an alternative design process
source	Sousa, JP, Xavier, JP and Castro Henriques, G (eds.), Architecture in the Age of the 4th Industrial Revolution - Proceedings of the 37th eCAADe and 23rd SIGraDi Conference - Volume 3, University of Porto, Porto, Portugal, 11-13 September 2019, pp. 45-52
doi	https://doi.org/10.52842/conf.ecaade.2019.3.045
summary	The Architecture of ScarCity Game is a board game used as a pedagogical tool that challenges architecture students by involving them in a series of experimental design sessions to understand the design process of scarcity and the actual relation between the craft and the digital. This means "pragmatic delivery processes and material constraints, where the exchange between the artisan of handmade, representing local skills and technology of the digitally conceived is explored" (Huang 2013). The game focuses on understanding the different variables of the crafted design process of traditional communities under conditions of scarcity (Michel and Bevan 1992). This requires first analyzing the spatial environmental model of interaction, available human and natural resources, and the dynamic relationship of these variables in a digital era. In the first stage (Pre-Agency), the game set the concept of the craft by limiting students design exploration from a minimum possible perspective developing locally available resources and techniques. The key elements of the design process of traditional knowledge communities have to be identified (Preez 1984). In other words, this stage is driven by limited resources + chance + contingency. In the second stage (Post-Agency) students taking the architects´ role within this communities, have to speculate and explore the interface between the craft (local knowledge and low technological tools), and the digital represented by computation data, new technologies available and construction. This means the introduction of strategy + opportunity + chance as part of the design process. In this sense, the game has a life beyond its mechanics. This other life challenges the participants to exploit the possibilities of breaking the actual boundaries of design. The result is a tool to challenge conventional methods of teaching and leaning controlling a prescribed design process. It confronts the rules that professionals in this field take for granted. The game simulates a 'fake' reality by exploring in different ways with surveyed information. As a result, participants do not have anything 'real' to lose. Instead, they have all the freedom to innovate and be creative.
keywords	Global south, scarcity, low tech, digital-craft, design process and innovation by challenge.
series	eCAADeSIGraDi
email
last changed	2022/06/07 07:54

_id	ab4d
authors	Huang, Tao-Kuang, Degelman, Larry O., and Larsen, Terry R.
year	1992
title	A Visualization Model for Computerized Energy Evaluation During the Conceptual Design Stage (ENERGRAPH)
source	Mission - Method - Madness [ACADIA Conference Proceedings / ISBN 1-880250-01-2] 1992, pp. 195-206
doi	https://doi.org/10.52842/conf.acadia.1992.195
summary	Energy performance is a crucial step toward responsible design. Currently there are many tools that can be applied to reach this goal with reasonable accuracy. Often times, however, major flaws are not discovered until the final stage of design when it is too late to change. Not only are existing simulation models complicated to apply at the conceptual design stage, but energy principles and their applications are also abstract and hard to visualize. Because of the lack of suitable tools to visualize energy analysis output, energy conservation concepts fail to be integrated into the building design. For these reasons, designers tend not to apply energy conservation concepts at the early design stage. However, since computer graphics is a new phase of visual communication in design process, the above problems might be solved properly through a computerized graphical interface in the conceptual design stage. The research described in this paper is the result of exploring the concept of using computer graphics to support energy efficient building designs. It focuses on the visualization of building energy through a highly interactive graphical interface in the early design stage.
series	ACADIA
email
last changed	2022/06/07 07:50

_id	49bf
authors	Johnson, Robert E.
year	1992
title	Design Inquiry and Resource Allocation
source	New York: John Wiley & Sons, 1992. pp. 51-65 : ill. tables. includes bibliography
summary	This paper proposes that the primary role of resource allocation in design is to assist design decision makers in ordering preferences and exploring trade-offs. Most existing cost evaluation paradigms focus on assessing costs after design decisions are made. This view unnecessarily restricts the active participation of economic knowledge in design decision-making. The approach described in this research suggests that the exploration and definition of values and references should be the major focus of economic analysis within the design process. A conceptual framework for this approach is presented along with several examples that illustrate the use of this framework. Computational approaches are suggested which play a central role in clarifying preference and exploring trade-offs during design
keywords	economics, architecture, building, construction, resource allocation, design, cost, evaluation
series	CADline
last changed	2003/06/02 13:58

_id	9d0c
authors	McVey, G., McCrobie, D., Evans, D., McIlvaine Parsons, D., Templar, J. Konz, S. and Caldwell, B.
year	1992
title	Interactions between Environmental Design and Human Factors Specialists ENVIRONMENTAL DESIGN: Panel
source	Proceedings of the Human Factors Society 36th Annual Meeting 1992 v.1 pp. 575-577
summary	Most of the interactions between human factors specialists, such as ergonomists, and environmental specialists such as facility planners and architects tend to be task specific and do not follow any accepted process. Consequently, the success of such interactions are usually a function of serendipity rather than informed expectation. It is anticipated that by gathering such specialists in an open discussion, relevant issues may be addressed and successful interaction procedures introduced and discussed. Such a forum is desirable for developing an understanding of the differences, educational and operational, between environmental design specialists, and human factors specialists, as well as for exploring the ways their communications can be enhanced. It is anticipated that by sharing their experiences with the attendees, the presenters will identify relevant on-going knowledge transfer activities, and also introduce and discuss practical problem-solving and communication methods that can be used with assurance by the attendees themselves when faced with similar problems in the future. This panel will focus on issues that arrive out of situations where human factors specialists and environmental design specialists are joined together in project development. The specialties represented include architecture, facility planning, environmental psychology, ergonomic research, industrial design and engineering, and equipment and furniture design and manufacturing.
series	other
last changed	2002/07/07 16:01

_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	ebc6
authors	Stoker, Douglas F. and Jones, Dennis B.
year	1992
title	RISCAD: A SIMPLIFIED APPROACH TO CAD SYSTEM DESIGN
source	Mission - Method - Madness [ACADIA Conference Proceedings / ISBN 1-880250-01-2] 1992, pp. 113-123
doi	https://doi.org/10.52842/conf.acadia.1992.113
summary	When employing CAD systems to the design task, it is usually the case that 90% of the work is accomplished by 10% of the capabilities of the system. These capabilities are often more appropriate to the tasks of modeling and drafting rather than exploring design alternatives. CAD system design might well benefit from the application of the RISC philosophy, namely, identify and incorporate only those capabilities most appropriate and frequently used in the design process and make them very powerful and efficient, provide the ability to combine those capabilities to form compound operations, simplify and streamline the user interface and maximize the use of computational power. The RISCAD system (Reduced Instruction Set Computer Aided Design System) takes this approach.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:56

_id	acadia06_455
id	acadia06_455
authors	Ambach, Barbara
year	2006
title	Eve’s Four Faces interactive surface configurations
source	Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 455-460
doi	https://doi.org/10.52842/conf.acadia.2006.455
summary	Eve’s Four Faces consists of a series of digitally animated and interactive surfaces. Their content and structure are derived from a collection of sources outside the conventional boundaries of architectural research, namely psychology and the broader spectrum of arts and culture.The investigation stems from a psychological study documenting the attributes and social relationships of four distinct personality prototypes: the Individuated, the Traditional, the Conflicted, and the Assured (York and John 1992). For the purposes of this investigation, all four prototypes are assumed to be inherent, to certain degrees, in each individual. However, the propensity towards one of the prototypes forms the basis for each individual’s “personality structure.” The attributes, social implications and prospects for habitation have been translated into animations and surfaces operating within A House for Eve’s Four Faces. The presentation illustrates the potential for constructed surfaces to be configured and transformed interactively, responding to the needs and qualities associated with each prototype. The intention is to study the effects of each configuration and how each configuration may be therapeutic in supporting, challenging or altering one’s personality as it oscillates and shifts through the four prototypical conditions.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	ddss9219
id	ddss9219
authors	Bourdakis, V. and Fellows, R.F.
year	1993
title	A model appraising the performance of structural systems used in sports hall and swimming pool buildings in greece
source	Timmermans, Harry (Ed.), Design and Decision Support Systems in Architecture (Proceedings of a conference held in Mierlo, the Netherlands in July 1992), ISBN 0-7923-2444-7
summary	The selection of the best performing structural system (among steel, timber laminated, concrete, fabric tents) for medium span (30-50m) sports halls and swimming pools in Greece formed the impetus for this research. Decision-making concerning selection of the structural system is difficult in this sector of construction, as was explained in the "Long Span Structures" conference (November 1990, Athens. Greece). From the literature it has been found that most building appraisals end up at the level of data analysis and draw conclusions on the individual aspects they investigate. These approaches usually focus on a fraction of the problem, examining it very deeply and theoretically. Their drawback is loss of comprehensiveness and ability to draw conclusions on an overall level and consequently being applicable to the existing conditions. Research on an inclusive level is sparse. In this particular research project, an inclusive appraisal approach was adopted, leading to the identification of three main variables: resources, human-user-satisfaction, and technical. Consequently, this led to a combination of purely quantitative and qualitative data. Case studies were conducted on existing buildings in order to assess the actual performance of the various alternative structural systems. This paper presents the procedure followed for the identification of the research variables and the focus on the development of the model of quantification. The latter is of vital importance if the problem of incompatibility of data is to be solved, overall relation of findings is to be achieved and holistic conclusions are to be drawn.
series	DDSS
last changed	2003/11/21 15:16

_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	2325
authors	Chilton, John C.
year	1992
title	Computer Aided Structural Design in Architectural Instruction
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 443-450
doi	https://doi.org/10.52842/conf.ecaade.1992.443
summary	In schools of architecture there is a tendency to associate the use of computers solely with the production of graphic images as part of the architectural design process. However, if the architecture is to work as a building it is also essential that technical aspects of the design are adequately investigated. One of the problem areas for most architectural students is structural design and they are often reluctant to use hand calculations to determine sizes of structural elements within their projects. In recent years, much of the drudgery of hand calculation has been removed from the engineer by the use of computers, and this has, hopefully, allowed a more thorough investigation of conceptual ideas and alternatives. The same benefit is now becoming available to architectural students. This is in the form of structural analysis and design programs that can be used, even by those having a limited knowledge of structural engineering, to assess the stability of designs and obtain approximate sizes for individual structural elements. The paper discusses how the use of such programs is taught, within the School of Architecture at Nottingham. Examples will be given of how they can assist students in the architectural design process. In particular, the application of GLULAM, a program for estimating sizes of laminated timber elements and SAND, a structural analysis and design package, will be described.
series	eCAADe
last changed	2022/06/07 07:55

_id	ddss9206
id	ddss9206
authors	Drach, A., Langenegger, M. and Heitz, S.
year	1993
title	Working with prototypes: from cad to flexible tools for integrated building design
source	Timmermans, Harry (Ed.), Design and Decision Support Systems in Architecture (Proceedings of a conference held in Mierlo, the Netherlands in July 1992), ISBN 0-7923-2444-7
summary	The formulation of design knowledge as concepts, goals and rules cannot be captured in fixed and valid statements. The dynamic modelling of concepts and goals is, on the contrary, part of the design process itself. Tools that effectively support architects in their design should therefore never use predefined mechanisms, but must be definable interactively according to design specifications. We propose the concept of prototypes as a cognitive model to represent and structure design knowledge. Prototypes incorporate an individual view of design in a synthetic and organizational model for a defined area of interest. They actively control and guide design processes in supporting the organizational concepts for solutions. The a+Tool implements these concepts on the basis of a modelling language. It provides a dynamic toolkit and user interface to support design as well as knowledge modelling.
series	DDSS
last changed	2003/08/07 16:36

_id	7ce5
authors	Gal, Shahaf
year	1992
title	Computers and Design Activities: Their Mediating Role in Engineering Education
source	Sociomedia, ed. Edward Barret. MIT Press
summary	Sociomedia: With all the new words used to describe electronic communication (multimedia, hypertext, cyberspace, etc.), do we need another one? Edward Barrett thinks we do; hence, he coins the term "sociomedia." It is meant to displace a computing economy in which technicity is hypostasized over sociality. Sociomedia, a compilation of twenty-five articles on the theory, design and practice of educational multimedia and hypermedia, attempts to re-value the communicational face of computing. Value, of course, is "ultimately a social construct." As such, it has everything to do with knowledge, power, education and technology. The projects discussed in this book represent the leading edge of electronic knowledge production in academia (not to mention major funding) and are determining the future of educational media. For these reasons, Sociomedia warrants close inspection. Barrett's introduction sets the tone. For him, designing computer media involves hardwiring a mechanism for the social construction of knowledge (1). He links computing to a process of social and communicative interactivity for constructing and desseminating knowledge. Through a mechanistic mapping of the university as hypercontext (a huge network that includes classrooms as well as services and offices), Barrett models intellectual work in such a way as to avoid "limiting definitions of human nature or human development." Education, then, can remain "where it should be--in the human domain (public and private) of sharing ideas and information through the medium of language." By leaving education in a virtual realm (where we can continue to disagree about its meaning and execution), it remains viral, mutating and contaminating in an intellectually healthy way. He concludes that his mechanistic model, by means of its reductionist approach, preserves value (7). This "value" is the social construction of knowledge. While I support the social orientation of Barrett's argument, discussions of value are related to power. I am not referring to the traditional teacher-student power structure that is supposedly dismantled through cooperative and constructivist learning strategies. The power to be reckoned with in the educational arena is foundational, that which (pre)determines value and the circulation of knowledge. "Since each of you reading this paragraph has a different perspective on the meaning of 'education' or 'learning,' and on the processes involved in 'getting an education,' think of the hybris in trying to capture education in a programmable function, in a displayable object, in a 'teaching machine'" (7). Actually, we must think about that hybris because it is, precisely, what informs teaching machines. Moreover, the basic epistemological premises that give rise to such productions are too often assumed. In the case of instructional design, the episteme of cognitive sciences are often taken for granted. It is ironic that many of the "postmodernists" who support electronic hypertextuality seem to have missed Jacques Derrida's and Michel Foucault's "deconstructions" of the epistemology underpinning cognitive sciences (if not of epistemology itself). Perhaps it is the glitz of the technology that blinds some users (qua developers) to the belief systems operating beneath the surface. Barrett is not guilty of reactionary thinking or politics; he is, in fact, quite in line with much American deconstructive and postmodern thinking. The problem arises in that he leaves open the definitions of "education," "learning" and "getting an education." One cannot engage in the production of new knowledge without orienting its design, production and dissemination, and without negotiating with others' orientations, especially where largescale funding is involved. Notions of human nature and development are structural, even infrastructural, whatever the medium of the teaching machine. Although he addresses some dynamics of power, money and politics when he talks about the recession and its effects on the conference, they are readily visible dynamics of power (3-4). Where does the critical factor of value determination, of power, of who gets what and why, get mapped onto a mechanistic model of learning institutions? Perhaps a mapping of contributors' institutions, of the funding sources for the projects showcased and for participation in the conference, and of the disciplines receiving funding for these sorts of projects would help visualize the configurations of power operative in the rising field of educational multimedia. Questions of power and money notwithstanding, Barrett's introduction sets the social and textual thematics for the collection of essays. His stress on interactivity, on communal knowledge production, on the society of texts, and on media producers and users is carried foward through the other essays, two of which I will discuss. Section I of the book, "Perspectives...," highlights the foundations, uses and possible consequences of multimedia and hypertextuality. The second essay in this section, "Is There a Class in This Text?," plays on the robust exchange surrounding Stanley Fish's book, Is There a Text in This Class?, which presents an attack on authority in reading. The author, John Slatin, has introduced electronic hypertextuality and interaction into his courses. His article maps the transformations in "the content and nature of work, and the workplace itself"-- which, in this case, is not industry but an English poetry class (25). Slatin discovered an increase of productive and cooperative learning in his electronically- mediated classroom. For him, creating knowledge in the electronic classroom involves interaction between students, instructors and course materials through the medium of interactive written discourse. These interactions lead to a new and persistent understanding of the course materials and of the participants' relation to the materials and to one another. The work of the course is to build relationships that, in my view, constitute not only the meaning of individual poems, but poetry itself. The class carries out its work in the continual and usually interactive production of text (31). While I applaud his strategies which dismantle traditional hierarchical structures in academia, the evidence does not convince me that the students know enough to ask important questions or to form a self-directing, learning community. Stanley Fish has not relinquished professing, though he, too, espouses the indeterminancy of the sign. By the fourth week of his course, Slatin's input is, by his own reckoning, reduced to 4% (39). In the transcript of the "controversial" Week 6 exchange on Gertrude Stein--the most disliked poet they were discussing at the time (40)--we see the blind leading the blind. One student parodies Stein for three lines and sums up his input with "I like it." Another, finds Stein's poetry "almost completey [sic] lacking in emotion or any artistic merit" (emphasis added). On what grounds has this student become an arbiter of "artistic merit"? Another student, after admitting being "lost" during the Wallace Steven discussion, talks of having more "respect for Stevens' work than Stein's" and adds that Stein's poetry lacks "conceptual significance[, s]omething which people of varied opinion can intelligently discuss without feeling like total dimwits...." This student has progressed from admitted incomprehension of Stevens' work to imposing her (groundless) respect for his work over Stein's. Then, she exposes her real dislike for Stein's poetry: that she (the student) missed the "conceptual significance" and hence cannot, being a person "of varied opinion," intelligently discuss it "without feeling like [a] total dimwit." Slatin's comment is frightening: "...by this point in the semester students have come to feel increasingly free to challenge the instructor" (41). The students that I have cited are neither thinking critically nor are their preconceptions challenged by student-governed interaction. Thanks to the class format, one student feels self-righteous in her ignorance, and empowered to censure. I believe strongly in student empowerment in the classroom, but only once students have accrued enough knowledge to make informed judgments. Admittedly, Slatin's essay presents only partial data (there are six hundred pages of course transcripts!); still, I wonder how much valuable knowledge and metaknowledge was gained by the students. I also question the extent to which authority and professorial dictature were addressed in this course format. The power structures that make it possible for a college to require such a course, and the choice of texts and pedagogy, were not "on the table." The traditional professorial position may have been displaced, but what took its place?--the authority of consensus with its unidentifiable strong arm, and the faceless reign of software design? Despite Slatin's claim that the students learned about the learning process, there is no evidence (in the article) that the students considered where their attitudes came from, how consensus operates in the construction of knowledge, how power is established and what relationship they have to bureaucratic insitutions. How do we, as teaching professionals, negotiate a balance between an enlightened despotism in education and student-created knowledge? Slatin, and other authors in this book, bring this fundamental question to the fore. There is no definitive answer because the factors involved are ultimately social, and hence, always shifting and reconfiguring. Slatin ends his article with the caveat that computerization can bring about greater estrangement between students, faculty and administration through greater regimentation and control. Of course, it can also "distribute authority and power more widely" (50). Power or authority without a specific face, however, is not necessarily good or just. Shahaf Gal's "Computers and Design Activities: Their Mediating Role in Engineering Education" is found in the second half of the volume, and does not allow for a theory/praxis dichotomy. Gal recounts a brief history of engineering education up to the introduction of Growltiger (GT), a computer-assisted learning aid for design. He demonstrates GT's potential to impact the learning of engineering design by tracking its use by four students in a bridge-building contest. What his text demonstrates clearly is that computers are "inscribing and imaging devices" that add another viewpoint to an on-going dialogue between student, teacher, earlier coursework, and other teaching/learning tools. The less proficient students made a serious error by relying too heavily on the technology, or treating it as a "blueprint provider." They "interacted with GT in a way that trusted the data to represent reality. They did not see their interaction with GT as a negotiation between two knowledge systems" (495). Students who were more thoroughly informed in engineering discourses knew to use the technology as one voice among others--they knew enough not simply to accept the input of the computer as authoritative. The less-advanced students learned a valuable lesson from the competition itself: the fact that their designs were not able to hold up under pressure (literally) brought the fact of their insufficient knowledge crashing down on them (and their bridges). They also had, post factum, several other designs to study, especially the winning one. Although competition and comparison are not good pedagogical strategies for everyone (in this case the competitors had volunteered), at some point what we think we know has to be challenged within the society of discourses to which it belongs. Students need critique in order to learn to push their learning into auto-critique. This is what is lacking in Slatin's discussion and in the writings of other avatars of constructivist, collaborative and computer-mediated pedagogies. Obviously there are differences between instrumental types of knowledge acquisition and discoursive knowledge accumulation. Indeed, I do not promote the teaching of reading, thinking and writing as "skills" per se (then again, Gal's teaching of design is quite discursive, if not dialogic). Nevertheless, the "soft" sciences might benefit from "bridge-building" competitions or the re-institution of some forms of agonia. Not everything agonistic is inhuman agony--the joy of confronting or creating a sound argument supported by defensible evidence, for example. Students need to know that soundbites are not sound arguments despite predictions that electronic writing will be aphoristic rather than periodic. Just because writing and learning can be conceived of hypertextually does not mean that rigor goes the way of the dinosaur. Rigor and hypertextuality are not mutually incompatible. Nor is rigorous thinking and hard intellectual work unpleasurable, although American anti-intellectualism, especially in the mass media, would make it so. At a time when the spurious dogmatics of a Rush Limbaugh and Holocaust revisionist historians circulate "aphoristically" in cyberspace, and at a time when knowledge is becoming increasingly textualized, the role of critical thinking in education will ultimately determine the value(s) of socially constructed knowledge. This volume affords the reader an opportunity to reconsider knowledge, power, and new communications technologies with respect to social dynamics and power relationships.
series	other
last changed	2003/04/23 15:14

_id	6cfd
authors	Harfmann, Anton C. and Majkowski, Bruce R.
year	1992
title	Component-Based Spatial Reasoning
source	Mission - Method - Madness [ACADIA Conference Proceedings / ISBN 1-880250-01-2] 1992, pp. 103-111
doi	https://doi.org/10.52842/conf.acadia.1992.103
summary	The design process and ordering of individual components through which architecture is realized relies on the use of abstract "models" to represent a proposed design. The emergence and use of these abstract "models" for building representation has a long history and tradition in the field of architecture. Models have been made and continue to be made for the patron, occasionally the public, and as a guide for the builders. Models have also been described as a means to reflect on the design and to allow the design to be in dialogue with the creator. The term "model" in the above paragraph has been used in various ways and in this context is defined as any representation through which design intent is expressed. This includes accurate/ rational or abstract drawings (2- dimensional and 3-dimensional), physical models (realistic and abstract) and computer models (solid, void and virtual reality). The various models that fall within the categories above have been derived from the need to "view" the proposed design in various ways in order to support intuitive reasoning about the proposal and for evaluation purposes. For example, a 2-dimensional drawing of a floor plan is well suited to support reasoning about spatial relationships and circulation patterns while scaled 3-dimensional models facilitate reasoning about overall form, volume, light, massing etc. However, the common denominator of all architectural design projects (if the intent is to construct them in actual scale, physical form) are the discrete building elements from which the design will be constructed. It is proposed that a single computational model representing individual components supports all of the above "models" and facilitates "viewing"' the design according to the frame of reference of the viewer. Furthermore, it is the position of the authors that all reasoning stems from this rudimentary level of modeling individual components. The concept of component representation has been derived from the fact that a "real" building (made from individual components such as nuts, bolts and bar joists) can be "viewed" differently according to the frame of reference of the viewer. Each individual has the ability to infer and abstract from the assemblies of components a variety of different "models" ranging from a visceral, experiential understanding to a very technical, physical understanding. The component concept has already proven to be a valuable tool for reasoning about assemblies, interferences between components, tracing of load path and numerous other component related applications. In order to validate the component-based modeling concept this effort will focus on the development of spatial understanding from the component-based model. The discussions will, therefore, center about the representation of individual components and the development of spatial models and spatial reasoning from the component model. In order to frame the argument that spatial modeling and reasoning can be derived from the component representation, a review of the component-based modeling concept will precede the discussions of spatial issues.
series	ACADIA
email
last changed	2022/06/07 07:49

_id	6d34
authors	Kensek, Karen and Noble, Doug (Eds.)
year	1992
title	Mission - Method - Madness [Conference Proceedings]
source	ACADIA Conference Proceedings / ISBN 1-880250-01-2 ) 1992, 232 p.
doi	https://doi.org/10.52842/conf.acadia.1992
summary	The papers represent a wide variety of exploration into the uses of computers in architecture. We have tried to impose order onto the collection by organizing them into six sessions: Metaphor, Mission, Method, Modeling for Visualization, Modeling, and Generative Systems. As with any ordering system for such a diverse selection, some session papers are strongly related while others are loosely grouped. Madness, an additional session not in the proceedings, will include short presentations of work in progress. Regarding the individual papers, it is particularly exciting to see research being conducted that is founded on previous work done by others. It is also interesting to note that half of the papers have been submitted by teams of authors. Whether this represents "computer supported cooperative work" remains to be seen. Certainly the work in this book represents an interesting and wide variety of explorations into computer supported design in architecture.
series	ACADIA
email
more	http://www.acadia.org
last changed	2022/06/07 07:49

_id	065b
authors	Beitia, S.S., Zulueta, A. and Barrallo, J.
year	1995
title	The Virtual Cathedral - An Essay about CAAD, History and Structure
source	Multimedia and Architectural Disciplines [Proceedings of the 13th European Conference on Education in Computer Aided Architectural Design in Europe / ISBN 0-9523687-1-4] Palermo (Italy) 16-18 November 1995, pp. 355-360
doi	https://doi.org/10.52842/conf.ecaade.1995.355
summary	The Old Cathedral of Santa Maria in Vitoria is the most representative building of the Gothic style in the Basque Country. Built during the XIV century, it has been closed to the cult in 1994 because of the high risk of collapse that presents its structure. This closure was originated by the structural analysis that was entrusted to the University of the Basque Country in 1992. The topographic works developed in the Cathedral to elaborate the planimetry of the temple revealed that many structural elements of great importance like arches, buttresses and flying buttresses were removed, modified or added along the history of Santa Maria. The first structural analysis made in the church suggested that the huge deformations showed in the resistant elements, specially the piers, were originated by interventions made in the past. A deep historical investigation allowed us to know how the Cathedral was built and the changes executed until our days. With this information, we started the elaboration of a virtual model of the Cathedral of Santa Maria. This model was introduced into a Finite Elements Method system to study the deformations suffered in the church during its construction in the XIV century, and the intervention made later in the XV, XVI and XX centuries. The efficiency of the virtual model simulating the geometry of the Cathedral along history allowed us to detect the cause of the structural damage, that was finally found in many unfortunate interventions along time.
series	eCAADe
more	http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_43.htm
last changed	2022/06/07 07:54

_id	6e99
authors	Hoffer, Erin Rae
year	1992
title	Creating the Electronic Design Studio: Development of a Heterogeneous Networked Environment at Harvard's Graduate School of Design
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 225-240
doi	https://doi.org/10.52842/conf.ecaade.1992.225
summary	The migration of design education to reliance on computer-based techniques requires new ways of thinking about environments which can effectively support a diverse set of activities. Both from a spatial standpoint and a computing resource standpoint, design studios must be inevitably reconfigured to support new tools and reflect new ways of communicating. At Harvard's GSD, a commitment to incorporating computer literacy as a fundamental component of design education enables us to confront these issues through the implementation of a heterogeneous network imbedded in an electronic design environment. This evolving prototype of a new design studio, its development and its potential, will be the subject of this paper. A new style design environment is built upon an understanding of traditional techniques, and layered with an awareness of new tools and methods. Initially we borrow from existing metaphors which govern our interpretation of the way designers work. Next we seek to extend our thinking to include allied or related metaphors such as the library metaphor which informs collections of software and data, or the laboratory metaphor which informs workspace groupings, or the transportation metaphor which informs computer-based communications such as electronic mail or bulletin boards, or the utility services metaphor which informs the provision of network services and equipment. Our evaluation of this environment is based on direct feedback from its users, both faculty and students, and on subjective observation of the qualitative changes in communication which occur between and among these groups and individuals. Ultimately, the network must be judged as a framework for learning and evaluation, and its success depends both on its ability to absorb our existing metaphors for the process of design, and to prefigure the emerging metaphors to be envisioned in the future.
series	eCAADe
last changed	2022/06/07 07:50

_id	ca47
authors	Lee, Shu Wan
year	1996
title	A Cognitive Approach to Architectural Style Several Characteristics of Design Thinking in Architecture
source	CAADRIA ‘96 [Proceedings of The First Conference on Computer Aided Architectural Design Research in Asia / ISBN 9627-75-703-9] Hong Kong (Hong Kong) 25-27 April 1996, pp. 223-226
doi	https://doi.org/10.52842/conf.caadria.1996.223
summary	Designing is a complicated human behaviour and method, and is often treated as a mysterious "black box” operation in human mind. In the early period as for theory-studying of design thinking, the way of thinking that the researchers took were mostly descriptive discussions. Therefore, they lacked direct and empirical evidence although those studies provided significant exploration of design thinking (Wang, 1995). In recent years as for the study of cognitive science, they have tried to make design "glass box”. That is to try to make the thinking processes embedded in designers publicized. That is also to externalize the design procedure which provided the design studies another theoretical basis of more accurate and deeply researched procedure (Jones, 1992). Hence the studying of design thinking has become more important and the method of designing has also progressed a lot. For example, the classification of the nature of design problem such as ill-defined and well-defined (Newell, Shaw, and Simon, 1967), and different theoretical procedure modes for different disciplines, such as viewing architectural models as conjecture-analysis models and viewing engineering models as analysis-synthesis (Cross, 1991).
series	CAADRIA
last changed	2022/06/07 07:52

_id	c5d7
authors	Kuffer, Monika
year	2003
title	Monitoring the Dynamics of Informal Settlements in Dar Es Salaam by Remote Sensing: Exploring the Use of Spot, Ers and Small Format Aerial Photography
source	CORP 2003, Vienna University of Technology, 25.2.-28.2.2003 [Proceedings on CD-Rom]
summary	Dar es Salaam is exemplary for cities in the developing world facing an enormous population growth. In the last decades, unplanned settlements have tremendously expanded, causing that around 70 percent of the urban dwellers are living now-a-days in these areas. Tools for monitoring such tremendous growth are relatively weak in developing countries, thus an effective satellite based monitoring system can provide a useful instrument for monitoring the dynamics of urban development. An investigation to asses the ability of extracting reliable information on the expansion and consolidation levels (density) of urban development of the city of Dar es Salaam from SPOT-HRV and ERS-SAR images is described. The use of SPOT and ERS should provide data that is complementary to data derived from the most recent aerial photography and from digital topographic maps. In a series of experiments various classification and fusion techniques are applied to the SPOT-HRV and ERS-SAR data to extract information on building density that is comparable to that obtained from the 1992 data. Ultimately, building density is estimated by linear and non-linear regression models on the basis of an one ha kernel and further aggregation is made to the level of informal settlements for a final analysis. In order to assess the reliability, use is made of several sample areas that are relatively stable over the study period, as well as, of data derived from small format aerial photography. The experiments show a high correlation between the density data derived from the satellite images and the test areas.
series	other
email
last changed	2003/03/11 20:39

_id	0719
authors	Shiffer, M.J.
year	1992
title	Towards a collaborative planning system
source	Environment and Planning B, Volume 19, 1992, pp. 709-722
summary	This article begins by exploring the problem of combining the elements of group cognition, access to media, and access to tools into a holistic planning process. It then discusses a way in which technology can be used to help combine these activities by incorporating graphical interfaces, associative information structuring, and computer-supported collaborative work into a microcomputer-based Collaborative Planning System (CPS). Methods for the development of a CPS are proposed and two systems are explored as examples. It is concluded that increased access to relevant information, aided by the implementation of a CPS, can ultimately lead to greater communication amongst participants in a group planning situation. This will ultimately have a positive effect on the quality of plans and decisions.
series	journal paper
last changed	2003/04/23 15:50

_id	2006_040
id	2006_040
authors	Ambach, Barbara
year	2006
title	Eve’s Four Faces-Interactive surface configurations
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 40-44
doi	https://doi.org/10.52842/conf.ecaade.2006.040
summary	Eve’s Four Faces consists of a series of digitally animated and interactive surfaces. Their content and structure are derived from a collection of sources outside the conventional boundaries of architectural research, namely psychology and the broader spectrum of arts and culture. The investigation stems from a psychological study documenting the attributes and social relationships of four distinct personality prototypes; the “Individuated”, the “Traditional”, the “Conflicted” and the “Assured”. (York and John, 1992) For the purposes of this investigation, all four prototypes are assumed to be inherent, to certain degrees, in each individual; however, the propensity towards one of the prototypes forms the basis for each individual’s “personality structure”. The attributes, social implications and prospects for habitation have been translated into animations and surfaces operating within A House for Eve’s Four Faces. The presentation illustrates the potential for constructed surfaces to be configured and transformed interactively, responding to the needs and qualities associated with each prototype. The intention is to study the effects of each configuration and how it may be therapeutic in supporting, challenging or altering one’s personality as it oscillates and shifts through the four prototypical conditions.
keywords	interaction; digital; environments; psychology; prototypes
series	eCAADe
type	normal paper
last changed	2022/06/07 07:54

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