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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	2c22
authors	O'Neill, Michael J.
year	1992
title	Neural Network Simulation as a Computer- Aided design Tool For Predicting Wayfinding Performance
source	New York: John Wiley & Sons, 1992. pp. 347-366 : ill. includes bibliography
summary	Complex public facilities such as libraries, hospitals, and governmental buildings often present problems to users who must find their way through them. Research shows that difficulty in wayfinding has costs in terms of time, money, public safety, and stress that results from being lost. While a wide range of architectural research supports the notion that ease of wayfinding should be a criterion for good design, architects have no method for evaluating how well their building designs will support the wayfinding task. People store and retrieve information about the layout of the built environment in a knowledge representation known as the cognitive map. People depend on the information stored in the cognitive map to find their way through buildings. Although there are numerous simulations of the cognitive map, the mechanisms of these models are not constrained by what is known about the neurophysiology of the brain. Rather, these models incorporate search mechanisms that act on semantically encoded information about the environment. In this paper the author describes the evaluation and application of an artificial neural network simulation of the cognitive map as a means of predicting wayfinding behavior in buildings. This simulation is called NAPS-PC (Network Activity Processing Simulator--PC version). This physiologically plausible model represents knowledge about the layout of the environment through a network of inter-connected processing elements. The performance of NAPS-PC was evaluated against actual human wayfinding performance. The study found that the simulation generated behavior that matched the performance of human participants. After the validation, NAPS-PC was modified so that it could read environmental information directly from AutoCAD (a popular micro-computer-based CAD software package) drawing files, and perform 'wayfinding' tasks based on that environmental information. This prototype tool, called AutoNet, is conceptualized as a means of allowing designers to predict the wayfinding performance of users in a building before it is actually built
keywords	simulation, cognition, neural networks, evaluation, floor plans, applications, wayfinding, layout, building
series	CADline
last changed	2003/06/02 13:58

_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	eda3
authors	Goldschmidt, Gabriela
year	1992
title	Criteria for Design Evaluation : A Process-Oriented Paradigm
source	New York: John Wiley & Sons, 1992. pp. 67-79. includes bibliography
summary	Architectural research of the last two or three decades has been largely devoted to design methodology. Systematic evaluations of design products and prescription of their desired qualities led to specifications for better designs and possible routines to achieve them. Computers have facilitated this task. The human designer, however, has largely resisted the use of innovative methods. In this paper the author claims that the reason for that lies in insufficient regard for innate cognitive aptitudes which are activated in the process of designing. A view of these aptitudes, based on patterns of links among design moves, is presented. It is proposed that process research is mandatory for further advancements in design research utility
keywords	cognition, design process, research, protocol analysis, architecture
series	CADline
last changed	1999/02/12 15:08

_id	caadria2004_k-1
id	caadria2004_k-1
authors	Kalay, Yehuda E.
year	2004
title	CONTEXTUALIZATION AND EMBODIMENT IN CYBERSPACE
doi	https://doi.org/10.52842/conf.caadria.2004.005
source	CAADRIA 2004 [Proceedings of the 9th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 89-7141-648-3] Seoul Korea 28-30 April 2004, pp. 5-14
summary	The introduction of VRML (Virtual Reality Markup Language) in 1994, and other similar web-enabled dynamic modeling software (such as SGI’s Open Inventor and WebSpace), have created a rush to develop on-line 3D virtual environments, with purposes ranging from art, to entertainment, to shopping, to culture and education. Some developers took their cues from the science fiction literature of Gibson (1984), Stephenson (1992), and others. Many were web-extensions to single-player video games. But most were created as a direct extension to our new-found ability to digitally model 3D spaces and to endow them with interactive control and pseudo-inhabitation. Surprisingly, this technologically-driven stampede paid little attention to the core principles of place-making and presence, derived from architecture and cognitive science, respectively: two principles that could and should inform the essence of the virtual place experience and help steer its development. Why are the principles of place-making and presence important for the development of virtual environments? Why not simply be content with our ability to create realistically-looking 3D worlds that we can visit remotely? What could we possibly learn about making these worlds better, had we understood the essence of place and presence? To answer these questions we cannot look at place-making (both physical and virtual) from a 3D space-making point of view alone, because places are not an end unto themselves. Rather, places must be considered a locus of contextualization and embodiment that ground human activities and give them meaning. In doing so, places acquire a meaning of their own, which facilitates, improves, and enriches many aspects of our lives. They provide us with a means to interpret the activities of others and to direct our own actions. Such meaning is comprised of the social and cultural conceptions and behaviors imprinted on the environment by the presence and activities of its inhabitants, who in turn, ‘read’ by them through their own corporeal embodiment of the same environment. This transactional relationship between the physical aspects of an environment, its social/cultural context, and our own embodiment of it, combine to create what is known as a sense of place: the psychological, physical, social, and cultural framework that helps us interpret the world around us, and directs our own behavior in it. In turn, it is our own (as well as others’) presence in that environment that gives it meaning, and shapes its social/cultural character. By understanding the essence of place-ness in general, and in cyberspace in particular, we can create virtual places that can better support Internet-based activities, and make them equal to, in some cases even better than their physical counterparts. One of the activities that stands to benefit most from understanding the concept of cyber-places is learning—an interpersonal activity that requires the co-presence of others (a teacher and/or fellow learners), who can point out the difference between what matters and what does not, and produce an emotional involvement that helps students learn. Thus, while many administrators and educators rush to develop webbased remote learning sites, to leverage the economic advantages of one-tomany learning modalities, these sites deprive learners of the contextualization and embodiment inherent in brick-and-mortar learning institutions, and which are needed to support the activity of learning. Can these qualities be achieved in virtual learning environments? If so, how? These are some of the questions this talk will try to answer by presenting a virtual place-making methodology and its experimental implementation, intended to create a sense of place through contextualization and embodiment in virtual learning environments.
series	CAADRIA
type	normal paper
last changed	2022/06/07 07:52

_id	ecaade2009_138
id	ecaade2009_138
authors	Kozikoglu, Nilüfer; Erdogan, Meral; Nircan, Ahmet Kutsi; Özsel Akipek, Fulya
year	2009
title	Collective Design Network: Systems Thinking (Event-Pattern-Structures) and System Dynamics Modelling as a Design Concept and Strategy
doi	https://doi.org/10.52842/conf.ecaade.2009.533
source	Computation: The New Realm of Architectural Design [27th eCAADe Conference Proceedings / ISBN 978-0-9541183-8-9] Istanbul (Turkey) 16-19 September 2009, pp. 533-540
summary	This paper will relay the initial phase of a collaborative work within partners from the design discipline, systems engineering, and software engineering which deals with the interrelations of “network idea”, “systems thinking”, “collective design”, and “computation”. Vensim– a system dynamics modelling tool developed by Ventana Systems, Inc. in 1992 – has been used in an experimental first year design studio to engage students in systems thinking in the architectural design environment. It has been observed that this tool enabled most students to develop a multi-layered, complex and more controlled design logic and to amplify the cognitive processes at the beginning of the design education. We conclude that in order to fully realize systems thinking in the design process, new ways of integrating parametric design environments and system dynamic modelling environments needs to be investigated.
wos	WOS:000334282200064
keywords	Design network, system dynamics, dynamic pattern, collectivity, integration
series	eCAADe
email
last changed	2022/06/07 07:51

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

_id	7291
authors	Arvesen, Liv
year	1992
title	Measures and the Unmeasurable
source	Proceedings of the 4rd European Full-Scale Modelling Conference / Lausanne (Switzerland) 9-12 September 1992, Part C, pp. 11-16
summary	Nowhere do we ever find a similar environment as the one related to the tea ceremony. We may learn from the teamasters as we may learn from our masters of architecture. Directly and indirectly we are influenced by our surroundings which have been proved by research and which we ourselves experience in our daily life. The full scale experiments have been made on this subject. Related to the nervous mind the experiments were concentrated of form expressing safety and peace.
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	29e7
authors	Batty, M.
year	1992
title	Urban modeling in computer-graphic and geographic information system environments
source	Environment and Planning B: Planning and Design 19, pp. 663-688
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	898a
authors	Bay, J.H.
year	2002
title	Cognitive Biases and Precedent Knowledge in Human and Computer-Aided Design Thinking
doi	https://doi.org/10.52842/conf.caadria.2002.213
source	CAADRIA 2002 [Proceedings of the 7th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 983-2473-42-X] Cyberjaya (Malaysia) 18–20 April 2002, pp. 213-220
summary	Cognitive biases (illusions) and potential errors can occur when using precedent knowledge for analogical, pre-parametric and qualitative design thinking. This paper refers largely to part of a completed research (Bay 2001) on how heuristic biases, discussed by Tversky and Kahneman (1982) in cognitive psychology, can affect judgement and learning of facts from precedents in architectural design, made explicit using a kernel of conceptual system (Tzonis et. al., 1978) and a framework of architectural representation (Tzonis 1992). These are used here to consider how such illusions and errors may be transferred to computer aided design thinking.
series	CAADRIA
email
last changed	2022/06/07 07:54

_id	aa78
authors	Bayazit, Nigan
year	1992
title	Requirements of an Expert System for Design Studios
doi	https://doi.org/10.52842/conf.ecaade.1992.187
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 187-194
summary	The goal of this paper is to study problems of the transition from traditional architectural studio teaching to CAAD studio teaching which requires a CAAD expert system as studio tutor, and to study the behavior of the student in this new environment. The differences between the traditional and computerized studio teaching and the experiences in this field are explained referring to the requirements for designing time in relation to the expertise of the student in the application of a CAD program. Learning styles and the process of design in computerized and non-computerized studio teaching are discussed. Design studio requirements of the students in traditional studio environment while doing design works are clarified depending on the results of an empirical study which explained the relations between the tutor and the student while they were doing studio critiques. Main complaints of the students raised in the empirical study were the lack of data in the specific design problem area, difficulties of realization of ideas and thoughts, not knowing the starting point of design, having no information about the references to be used for the specific design task, having difficulties in the application of presentation techniques. In the concluding parts of the paper are discussed the different styles of teaching and their relation to the CAAD environment, the transformation of the instructional programs for the new design environment, the future expectations from the CAAD programs, properties of the new teaching environment and the roles of the expert systems in design studio education.
keywords	CAAD Education, Expert System, Architectural Design Studio, Knowledge Acquisition
series	eCAADe
email
last changed	2022/06/07 07:54

_id	e039
authors	Bertin, Vito
year	1992
title	Structural Transformations (Basic Architectural Unit 6)
doi	https://doi.org/10.52842/conf.ecaade.1992.413
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 413-426
summary	While the teaching of the phenomenon of form as well as space is normally seen within an environment of free experimentation and personal expression, other directions prove to be worth of pursuit. The proposed paper represents such an exploration. The generation of controlled complexity and structural transformations have been the title of the project which forms the base of this paper. In it, the potential for creative development of the student was explored in such a way, that as in the sciences a process can be reproduced or an exploration utilized in further experimentation. The cube as a well proven B.A.U. or basic architectural unit has again been used in our work. Even a simple object like a cube has many properties. As properties are never pure, but always related to other properties, and looking at a single property as a specific value of a variable, it is possible to link a whole field of objects. These links provide a network of paths through which exploration and development is possible. The paper represents a first step in a direction which we think will compliment the already established basic design program.
series	eCAADe
email
last changed	2022/06/07 07:52

_id	eabb
authors	Boeykens, St. Geebelen, B. and Neuckermans, H.
year	2002
title	Design phase transitions in object-oriented modeling of architecture
doi	https://doi.org/10.52842/conf.ecaade.2002.310
source	Connecting the Real and the Virtual - design e-ducation [20th eCAADe Conference Proceedings / ISBN 0-9541183-0-8] Warsaw (Poland) 18-20 September 2002, pp. 310-313
summary	The project IDEA+ aims to develop an “Integrated Design Environment for Architecture”. Its goal is providing a tool for the designer-architect that can be of assistance in the early-design phases. It should provide the possibility to perform tests (like heat or cost calculations) and simple simulations in the different (early) design phases, without the need for a fully detailed design or remodeling in a different application. The test for daylighting is already in development (Geebelen, to be published). The conceptual foundation for this design environment has been laid out in a scheme in which different design phases and scales are defined, together with appropriate tests at the different levels (Neuckermans, 1992). It is a translation of the “designerly” way of thinking of the architect (Cross, 1982). This conceptual model has been translated into a “Core Object Model” (Hendricx, 2000), which defines a structured object model to describe the necessary building model. These developments form the theoretical basis for the implementation of IDEA+ (both the data structure & prototype software), which is currently in progress. The research project addresses some issues, which are at the forefront of the architect’s interest while designing with CAAD. These are treated from the point of view of a practicing architect.
series	eCAADe
email
last changed	2022/06/07 07:52

_id	8d37
authors	Bradford, J.W., Ng, F.F. and Will, B.F.
year	1992
title	Models and Hypermedia for Architectural Education
doi	https://doi.org/10.52842/conf.ecaade.1992.019
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 19-42
summary	Hypermedia uses the hypertext style of interactive navigation through computer-based multimedia materials to provide access to a wealth of information for use by teachers and students. Academic disciplines concerned about the enlightenment of future designers of the built environment require an additional medium not yet available in hypermedia - interactive 3-D computer models. This paper discusses a hypermedia CAI system currently being developed at the University of Hong Kong for use in architectural education. The system uses interactive 3D computer models as another medium for instructional information, and as user orientation and database access devices. An object oriented, 3-D model hierarchy is used as the organizational structure for the database. A prototype which uses the system to teach undergraduate architecture students about a traditional Chinese temple is also illustrated. The prototype demonstrates the use of a computer as the medium for bilingual English and Chinese instruction.
keywords	3-D Modelling, Architectural Education, Computer Aided Instruction, Hypermedia, Multimedia
series	eCAADe
email
last changed	2022/06/07 07:54

_id	b4c4
authors	Carrara, G., Fioravanti, A. and Novembri, G.
year	2000
title	A framework for an Architectural Collaborative Design
doi	https://doi.org/10.52842/conf.ecaade.2000.057
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 57-60
summary	The building industry involves a larger number of disciplines, operators and professionals than other industrial processes. Its peculiarity is that the products (building objects) have a number of parts (building elements) that does not differ much from the number of classes into which building objects can be conceptually subdivided. Another important characteristic is that the building industry produces unique products (de Vries and van Zutphen, 1992). This is not an isolated situation but indeed one that is spreading also in other industrial fields. For example, production niches have proved successful in the automotive and computer industries (Carrara, Fioravanti, & Novembri, 1989). Building design is a complex multi-disciplinary process, which demands a high degree of co-ordination and co-operation among separate teams, each having its own specific knowledge and its own set of specific design tools. Establishing an environment for design tool integration is a prerequisite for network-based distributed work. It was attempted to solve the problem of efficient, user-friendly, and fast information exchange among operators by treating it simply as an exchange of data. But the failure of IGES, CGM, PHIGS confirms that data have different meanings and importance in different contexts. The STandard for Exchange of Product data, ISO 10303 Part 106 BCCM, relating to AEC field (Wix, 1997), seems to be too complex to be applied to professional studios. Moreover its structure is too deep and the conceptual classifications based on it do not allow multi-inheritance (Ekholm, 1996). From now on we shall adopt the BCCM semantic that defines the actor as "a functional participant in building construction"; and we shall define designer as "every member of the class formed by designers" (architects, engineers, town-planners, construction managers, etc.).
keywords	Architectural Design Process, Collaborative Design, Knowledge Engineering, Dynamic Object Oriented Programming
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:55

_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
doi	https://doi.org/10.52842/conf.caadria.2007.x.w5x
source	CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
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	caadria2006_617
id	caadria2006_617
authors	CHING-CHIEN LIN
year	2006
title	A GREATER SENSE OF PRESENCE: SPATIAL INTERFACE IN VR CAVE
doi	https://doi.org/10.52842/conf.caadria.2006.x.j1m
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 617-619
summary	Virtual environments are three–dimensional spaces presented visually. They combine the user’s experience and sense of 'being there' in the virtual environment. Presence is a central element of virtual reality that it is seen as a part of its definition (Steuer, 1992). Direct interactions between participants and the virtual environment generate a more enhanced sense of immersion, thus making the participants feels they are part of that environment (Witmer & Singer, 1998).
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	6bff
authors	Coyne, Richard
year	1992
title	The Role of Metaphor in Understanding Computers in Design
doi	https://doi.org/10.52842/conf.acadia.1992.003
source	Mission - Method - Madness [ACADIA Conference Proceedings / ISBN 1-880250-01-2] 1992, pp. 3-11
summary	The study of metaphor provides valuable insights into the workings of thought and understanding. This chapter addresses the important question of what the study of metaphor has to say about technology, the design process and hence the role of computers in design. The conclusion is that design involves the generation of action within a collaborative environment in which there is the free play of metaphor. A recognition of the close relationship between technology and metaphor provides insights into how to evaluate and develop the effective use of computers in design.
series	ACADIA
email
last changed	2022/06/07 07:56

_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	6ea4
authors	Eastman, C.M.
year	1992
title	A Data Model Analysis of Modularity and Extensibility in Building Databases
source	Building and Environment, Vol 27, No: 2, pp. 135-148
summary	This paper uses data modeling techniques to define how database schemas for an intelligent integrated architectural CAD system can be made extensible. It reviews the product data modeling language EDM, then applies it to define a part of an architectural data model. Extensions are then investigated, regarding how users could integrate various design-specific packages into a uniquely configured system. Both, extension by substituting one technology for another and by adding a new evaluation application, are considered. Data modeling allows specification of a CAD database and identification of the kind of modularization that will work and what problems may arise.''
series	journal paper
email
last changed	2003/04/23 15:14

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