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CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
supported by the sibling associations ACADIA, CAADRIA, eCAADe, SIGraDi, ASCAAD and CAAD futures

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_id	3ff5
authors	Abbo, I.A., La Scalea, L., Otero, E. and Castaneda, L.
year	1992
title	Full-Scale Simulations as Tool for Developing Spatial Design Ability
source	Proceedings of the 4rd European Full-Scale Modelling Conference / Lausanne (Switzerland) 9-12 September 1992, Part C, pp. 7-10
summary	Spatial Design Ability has been defined as the capability to anticipate effects (psychological impressions on potential observers or users) produced by mental manipulation of elements of architectural or urban spaces. This ability, of great importance in choosing the appropriate option during the design process, is not specifically developed in schools of architecture and is partially obtained as a by-product of drawing, designing or architectural criticism. We use our Laboratory as a tool to present spaces to people so that they can evaluate them. By means of a series of exercises, students confront their anticipations with the psychological impressions produced in other people. For this occasion, we present an experience in which students had to propose a space for an exhibition hag in which architectural projects (student thesis) were to be shown. Following the Spatial Design Ability Development Model which we have been using for several years, students first get acquainted with the use of evaluation instruments for psychological impressions as well as with research methodology. In this case, due to the short period available, we reduced research to investigate the effects produced by the manipulation of only 2 independents variables: students manipulated first the form of the roof, walls and interiors elements, secondly, color and texture of those elements. They evaluated spatial quality, character and the other psychological impressions that manipulations produced in people. They used three dimensional scale models 1/10 and 1/1.
keywords	Full-scale Modeling, Model Simulation, Real Environments
series	other
email
more	http://info.tuwien.ac.at/efa
last changed	2003/08/25 10:12

_id	4704
authors	Amirante, I., Rinaldi, S. and Muzzillo, F.
year	1992
title	A Tutorial Experiment Concerning Dampness Diagnosis Supported by an Expert System
doi	https://doi.org/10.52842/conf.ecaade.1992.159
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 159-172
summary	(A) The teaching of Technology of Building Rehabilitation in Italian Universities - (B) Experimental course of technological rehabilitation with computer tools - (C) Synthesis of technological approach - (D) Dampness diagnostic process using the Expert System - (E) Primary consideration on tutorial experience - (F) Bibliography
series	eCAADe
last changed	2022/06/07 07:54

_id	338b
authors	Bishop, I. D.
year	1992
title	Data integration for visualization: application to decision support
source	AURSIA '92: Proceedings of the Twentieth Annual International Conference of the Australian Urban and Regional Information Systems Association Incorporated, Gold Coast, Australia, 25-27 November 1992, Australian Urban and Regional Information Systems Association Incorporated, ACT, Australia, pp. 74-80
summary	Contributed by Susan Pietsch (spietsch@arch.adelaide.edu.au)
keywords	3D City Modeling, Development Control, Design Control
series	other
last changed	2001/06/04 20:27

_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	ddss9211
id	ddss9211
authors	Gilleard, J. and Olatidoye, O.
year	1993
title	Graphical interfacing to a conceptual model for estimating the cost of residential construction
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	This paper presents a method for determining elemental square foot costs and cost significance for residential construction. Using AutoCAD's icon menu and dialogue box' facilities, a non-expert may graphically select (i) residential configuration; (ii) construction quality level; (iii) geographical location; (iv) square foot area; and finally, (v) add-ons, e.g. porches and decks, basement, heating and cooling equipment, garages and carports etc. in order to determine on-site builder's costs. Subsequent AutoLisp routines facilitate data transfer to a Lotus 1-2-3 spreadsheet where an elemental cost breakdown for the project may be determined. Finally, using Lotus 1-2-3 macros, computed data is transferred back to AutoCAD, where all cost significant items are graphically highlighted.
series	DDSS
last changed	2003/08/07 16:36

_id	56de
authors	Handa, M., Hasegawa, Y., Matsuda, H., Tamaki, K., Kojima, S., Matsueda, K., Takakuwa, T. and Onoda, T.
year	1996
title	Development of interior finishing unit assembly system with robot: WASCOR IV research project report
source	Automation in Construction 5 (1) (1996) pp. 31-38
summary	The WASCOR (WASeda Construction Robot) research project was organized in 1982 by Waseda University, Tokyo, Japan, aiming at automatizing building construction with a robot. This project is collaborated by nine general contractors and a construction machinery manufacturer. The WASCOR research project has been divided into four phases with the development of the study and called WASCOR I, II, III, and IV respectively. WASCOR I, II, and III finished during the time from 1982 to 1992 in a row with having 3-4 years for each phase, and WASCOR IV has been continued since 1993. WASCOR IV has been working on a automatized building interior finishing system. This system consists of following three parts. (1) Development of building system and construction method for automated interior finishing system. (2) Design of hardware system applied to automated interior finishing system. (3) Design of information management system in automated construction. As the research project has been developing, this paper describes the interim report of (1) Development of building system and construction method for automated interior finishing system, and (2) Design of hardware system applied to automated interior finishing system.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	32eb
authors	Henry, Daniel
year	1992
title	Spatial Perception in Virtual Environments : Evaluating an Architectural Application
source	University of Washington
summary	Over the last several years, professionals from many different fields have come to the Human Interface Technology Laboratory (H.I.T.L) to discover and learn about virtual environments. In general, they are impressed by their experiences and express the tremendous potential the tool has in their respective fields. But the potentials are always projected far in the future, and the tool remains just a concept. This is justifiable because the quality of the visual experience is so much less than what people are used to seeing; high definition television, breathtaking special cinematographic effects and photorealistic computer renderings. Instead, the models in virtual environments are very simple looking; they are made of small spaces, filled with simple or abstract looking objects of little color distinctions as seen through displays of noticeably low resolution and at an update rate which leaves much to be desired. Clearly, for most applications, the requirements of precision have not been met yet with virtual interfaces as they exist today. However, there are a few domains where the relatively low level of the technology could be perfectly appropriate. In general, these are applications which require that the information be presented in symbolic or representational form. Having studied architecture, I knew that there are moments during the early part of the design process when conceptual decisions are made which require precisely the simple and representative nature available in existing virtual environments. This was a marvelous discovery for me because I had found a viable use for virtual environments which could be immediately beneficial to architecture, my shared area of interest. It would be further beneficial to architecture in that the virtual interface equipment I would be evaluating at the H.I.T.L. happens to be relatively less expensive and more practical than other configurations such as the "Walkthrough" at the University of North Carolina. The set-up at the H.I.T.L. could be easily introduced into architectural firms because it takes up very little physical room (150 square feet) and it does not require expensive and space taking hardware devices (such as the treadmill device for simulating walking). Now that the potential for using virtual environments in this architectural application is clear, it becomes important to verify that this tool succeeds in accurately representing space as intended. The purpose of this study is to verify that the perception of spaces is the same, in both simulated and real environment. It is hoped that the findings of this study will guide and accelerate the process by which the technology makes its way into the field of architecture.
keywords	Space Perception; Space (Architecture); Computer Simulation
series	thesis:MSc
last changed	2003/02/12 22:37

_id	6f36
authors	Jacobson, I., Christerson, M., Jonsson, P. and Overgaard, G.
year	1992
title	Object-Oriented Software Engineering
source	A Use Case Driven Approach. New York, NY: Addison-Wesley
summary	A text on industrial system development using object- oriented techniques, rather than a book on object-oriented programming. Will be useful to systems developers and those seeking a deeper understanding of object orientation as it relates to the development process.
series	other
last changed	2003/04/23 15:14

_id	caadria2020_242
id	caadria2020_242
authors	Martin Iglesias, Rodrigo, Voto, Cristina and Agra, RocÃo
year	2020
title	Design in the Age of Dissident Cyborgs - Xenofuturism as caring-curing practices
doi	https://doi.org/10.52842/conf.caadria.2020.2.233
source	D. Holzer, W. Nakapan, A. Globa, I. Koh (eds.), RE: Anthropocene, Design in the Age of Humans - Proceedings of the 25th CAADRIA Conference - Volume 2, Chulalongkorn University, Bangkok, Thailand, 5-6 August 2020, pp. 233-240
summary	This paper synthesizes several years of research in the field of the theory of architecture and design, and its subsequent undergraduate and graduate teaching. Specifically, it is a work that reflects on how architecture and design should face the three most important paradigmatic phenomena of our present and near future. Paradigms as things we think with, rather than as things we think about (Agamben, 2008), or in other words, it matters what ideas we use to think of other ideas (Strathern, 1992). These phenomena refer to environmental, technological and anthropological aspects, and the strategies to cope with them, involving alternate design thinking and practice in which futurabilities and futurizations depart from the displacement generated by post-utopian visions based on dissidence and subalternity.
keywords	Chthulucene; Cyborg Design; Dissident Futures; Futurization; Xenofuturism
series	CAADRIA
email
last changed	2022/06/07 07:59

_id	ddss9210
id	ddss9210
authors	Poortman, E.R.
year	1993
title	Ratios for cost control
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 design of buildings takes place in phases representing a development from rough to precision planning. Estimates are made in order to test whether the result is still within the budget set by the client or developer. In this way, the decisions taken during the design phase can be quantified and expressed in monetary terms. To prevent blaming the wrong person when an overrun is discovered, the cost control process has to be improved. For that purpose, two new procedures have been developed: (i) a new translation activity; and (ii) ratios by which quantities can be characterized. 'Translation is the opposite of estimation. A monetary budget is converted -'translated' - into quantities, reflecting the desired quality of the building materials. The financial constraints of the client are thus converted into quantities - the building components used by the designers. Characteristic quantity figures play an important role in this activity. In working out an estimate, the form factor (i.e., the ratio between two characteristic values of a building component) has to be determined. The unit cost is then tested against that ratio. The introduction of the 'translation' activity and the use of characteristic quantity figures and form factors enhance existing estimation methods. By implementing these procedures, cost control becomes considerably more reliable.
series	DDSS
last changed	2003/08/07 16:36

_id	63aa
authors	Pozo, José Manuel
year	1992
title	The Use of Graphic Data Bases in the Teaching of Geometry
doi	https://doi.org/10.52842/conf.ecaade.1992.133
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 133-136
summary	The paper doesn't intend to provide relevant innovations in the field of processing program designs or software technology. Although I respect other opinions, I feel that the uncontested aid which using computers to teach architecture means should preferably and primarily be oriented towards searching for ways to better transmit and explain what we have, up to now, been teaching through other means. However, the novelty and advantages of reccuring to this new instrument should not make us fall into the mistake of letting it be used as a substitute of teachers' and students' work. The computer is simply another instrument; of great potential efficacy, but nevertheless just an instrument.
series	eCAADe
last changed	2022/06/07 08:00

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

_id	ddss9204
id	ddss9204
authors	Pullen, W.R., Wassenaar, C.L.G., van Heti'ema, I., Dekkers, J.T., Janszen, I., Boender, C.G.E., Tas, A. and Stegeman, H.
year	1993
title	A decision support system for housing of (public) organizations
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	In this paper we present a hierarchical decision support system for the allocation of organisations to available buildings, and for the allocation of employees of an organisation to the work units of a building. For both allocation problems a mathematical model and optimisation algorithm is developed, taking into account the relevant criteria, such as the extent to which the allocated floorspace is in accordance with the standards, and the extent to which departments are housed in connecting zones of a building. The decision support system is illustrated by two practical applications.
series	DDSS
last changed	2003/08/07 16:36

_id	831d
authors	Seebohm, Thomas
year	1992
title	Discoursing on Urban History Through Structured Typologies
doi	https://doi.org/10.52842/conf.acadia.1992.157
source	Mission - Method - Madness [ACADIA Conference Proceedings / ISBN 1-880250-01-2] 1992, pp. 157-175
summary	How can urban history be studied with the aid of three-dimensional computer modeling? One way is to model known cities at various times in history, using historical records as sources of data. While such studies greatly enhance the understanding of the form and structure of specific cities at specific points in time, it is questionable whether such studies actually provide a true understanding of history. It can be argued that they do not because such studies only show a record of one of many possible courses of action at various moments in time. To gain a true understanding of urban history one has to place oneself back in historical time to consider all of the possible courses of action which were open in the light of the then current situation of the city, to act upon a possible course of action and to view the consequences in the physical form of the city. Only such an understanding of urban history can transcend the memory of the actual and hence the behavior of the possible. Moreover, only such an understanding can overcome the limitations of historical relativism, which contends that historical fact is of value only in historical context, with the realization, due to Benedetto Croce and echoed by Rudolf Bultmann, that the horizon of "'deeper understanding" lies in "'the actuality of decision"' (Seebohm and van Pelt 1990). One cannot conduct such studies on real cities except, perhaps, as a point of departure at some specific point in time to provide an initial layout for a city knowing that future forms derived by the studies will diverge from that recorded in history. An entirely imaginary city is therefore chosen. Although the components of this city at the level of individual buildings are taken from known cities in history, this choice does not preclude alternative forms of the city. To some degree, building types are invariants and, as argued in the Appendix, so are the urban typologies into which they may be grouped. In this imaginary city students of urban history play the role of citizens or groups of citizens. As they defend their interests and make concessions, while interacting with each other in their respective roles, they determine the nature of the city as it evolves through the major periods of Western urban history in the form of threedimensional computer models. My colleague R.J. van Pelt and I presented this approach to the study of urban history previously at ACADIA (Seebohm and van Pelt 1990). Yet we did not pay sufficient attention to the manner in which such urban models should be structured and how the efforts of the participants should be coordinated. In the following sections I therefore review what the requirements are for three-dimensional modeling to support studies in urban history as outlined both from the viewpoint of file structure of the models and other viewpoints which have bearing on this structure. Three alternative software schemes of progressively increasing complexity are then discussed with regard to their ability to satisfy these requirements. This comparative study of software alternatives and their corresponding file structures justifies the present choice of structure in relation to the simpler and better known generic alternatives which do not have the necessary flexibility for structuring the urban model. Such flexibility means, of course, that in the first instance the modeling software is more timeconsuming to learn than a simple point and click package in accord with the now established axiom that ease of learning software tools is inversely related to the functional power of the tools. (Smith 1987).
series	ACADIA
email
last changed	2022/06/07 07:56

_id	ddss9213
id	ddss9213
authors	Shabha, G.S.
year	1993
title	Development of objective methods for measuring flexibility of school buildings
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	This research investigates many problems related to the design for change and flexibility of school buildings. The problem of change proves to be highly complex due to the unpredictability and the difficulty of measuring change. Many deficiencies have been identified in the previous methods concerning lack of indicators for measuring flexibility, reliability and insufficiency of data for indicating change in buildings over use. In the light of the above problems, two main objectives have been established: (i) to propose operational measures of the extent of incorporation of design variables in school designs, and (ii) to propose operational measures of the extent of flexibility of school buildings in use. However, due to the limitations this paper is bound to, the investigation will focus on the second objective. It is anticipated that such operational measures might provide a framework for both architects and researchers, during the early design stage, to ensure that their conjectures about the potential of flexibility might be enhanced during use; hence, improving their prediction of buildings performance over use. This might assist in developing a more coherent objective body of knowledge, which could be fruitfully manipulated during the early design stage to enhance the effectiveness of flexibility in use.
series	DDSS
last changed	2003/08/07 16:36

_id	avocaad_2001_17
id	avocaad_2001_17
authors	Ying-Hsiu Huang, Yu-Tung Liu, Cheng-Yuan Lin, Yi-Ting Cheng, Yu-Chen Chiu
year	2001
title	The comparison of animation, virtual reality, and scenario scripting in design process
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	Design media is a fundamental tool, which can incubate concrete ideas from ambiguous concepts. Evolved from freehand sketches, physical models to computerized drafting, modeling (Dave, 2000), animations (Woo, et al., 1999), and virtual reality (Chiu, 1999; Klercker, 1999; Emdanat, 1999), different media are used to communicate to designers or users with different conceptual levels¡@during the design process. Extensively employed in design process, physical models help designers in managing forms and spaces more precisely and more freely (Millon, 1994; Liu, 1996).Computerized drafting, models, animations, and VR have gradually replaced conventional media, freehand sketches and physical models. Diversely used in the design process, computerized media allow designers to handle more divergent levels of space than conventional media do. The rapid emergence of computers in design process has ushered in efforts to the visual impact of this media, particularly (Rahman, 1992). He also emphasized the use of computerized media: modeling and animations. Moreover, based on Rahman's study, Bai and Liu (1998) applied a new design media¡Xvirtual reality, to the design process. In doing so, they proposed an evaluation process to examine the visual impact of this new media in the design process. That same investigation pointed towards the facilitative role of the computerized media in enhancing topical comprehension, concept realization, and development of ideas.Computer technology fosters the growth of emerging media. A new computerized media, scenario scripting (Sasada, 2000; Jozen, 2000), markedly enhances computer animations and, in doing so, positively impacts design processes. For the three latest media, i.e., computerized animation, virtual reality, and scenario scripting, the following question arises: What role does visual impact play in different design phases of these media. Moreover, what is the origin of such an impact? Furthermore, what are the similarities and variances of computing techniques, principles of interaction, and practical applications among these computerized media?This study investigates the similarities and variances among computing techniques, interacting principles, and their applications in the above three media. Different computerized media in the design process are also adopted to explore related phenomenon by using these three media in two projects. First, a renewal planning project of the old district of Hsinchu City is inspected, in which animations and scenario scripting are used. Second, the renewal project is compared with a progressive design project for the Hsinchu Digital Museum, as designed by Peter Eisenman. Finally, similarity and variance among these computerized media are discussed.This study also examines the visual impact of these three computerized media in the design process. In computerized animation, although other designers can realize the spatial concept in design, users cannot fully comprehend the concept. On the other hand, other media such as virtual reality and scenario scripting enable users to more directly comprehend what the designer's presentation.Future studies should more closely examine how these three media impact the design process. This study not only provides further insight into the fundamental characteristics of the three computerized media discussed herein, but also enables designers to adopt different media in the design stages. Both designers and users can more fully understand design-related concepts.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	7905
authors	Deering, Michael
year	1992
title	High Resolution Virtual Reality
source	Proceedingsfrom SIGGRAPH 1992, (Chicago, Illinois, July 1992). 195-202
summary	I define the lower layers of Virtual Reality to be: the highly-accurate, real-time simulation by computer of the interaction of the physical world with human senses. My focus is on the visual system, the talk will desceribe the techniques used to perform this simulation in several running systems at Sun microsystems. These include: correct perspective viewing equations, correcting for the optics of both human includes details of the Virtual Portal, a 1K x 2K walk-in virtual display device.
series	other
last changed	2003/04/23 15:14

_id	cba7
authors	Glanville, Ranulph
year	1992
title	CAD Abusing Computing
doi	https://doi.org/10.52842/conf.ecaade.1992.213
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 213-224
summary	I should like to differentiate three ways in which computers can be applied (used) in any field—although, in this case, I shall speak of architecture as the universal exemplar: that is, three approaches. I should also like to differentiate two attitudes to what computing is.
series	eCAADe
last changed	2022/06/07 07:51

_id	6208
authors	Abou-Jaoude, Georges
year	1992
title	To Master a Tool
source	Proceedings of the 4rd European Full-Scale Modelling Conference / Lausanne (Switzerland) 9-12 September 1992, Part B, p. 15
summary	The tool here is the computer or to be precise, a unit that includes the computer, the peripherals and the software needed to fulfill a task. These tools are getting very sophisticated and user interfaces extremly friendly, therefore it is very easy to become the slave of such electronic tools and reach self satisfaction with strait forward results and attractive images. In order to master and not to become slaves of sophisticated tools, a very solid knowledge of related fields or domains of application becomes necessary. In the case of this seminar, full scale modelling, is a way to understand the relation between a mental model and it's full-scale modelling, it is a way of communicating what is in a designers mind. Computers and design programs can have the same goal, rather than chosing one method or the other let us try to say how important it is today to complement designing with computer with other means and media such as full scale modelling, and what computer modelling and simulation can bring to full scale modelling or other means.
keywords	Full-scale Modeling, Model Simulation, Real Environments
series	other
more	http://info.tuwien.ac.at/efa
last changed	2003/08/25 10:12

_id	acadia06_455
id	acadia06_455
authors	Ambach, Barbara
year	2006
title	Eve’s Four Faces interactive surface configurations
doi	https://doi.org/10.52842/conf.acadia.2006.455
source	Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 455-460
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

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