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	abce
authors	Ishii, Hiroshi and Kobayashi, Minoru
year	1992
title	ClearBoard: A Seamless Medium for Shared Drawing and Conversation with Eye Contact Systems for Media-Supported Collaboration
source	Proceedings of ACM CHI'92 Conference on HumanFactors in Computing Systems 1992 pp. 525-532
summary	This paper introduces a novel shared drawing medium called ClearBoard. It realizes (1) a seamless shared drawing space and (2) eye contact to support realtime and remote collaboration by two users. We devised the key metaphor: "talking through and drawing on a transparent glass window" to design ClearBoard. A prototype of ClearBoard is implemented based on the "Drafter-Mirror" architecture. This paper first reviews previous work on shared drawing support to clarify the design goals. We then examine three metaphors that fulfill these goals. The design requirements and the two possible system architectures of ClearBoard are described. Finally, some findings gained through the experimental use of the prototype, including the feature of "gaze awareness", are discussed.
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	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	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	ascaad2022_043
id	ascaad2022_043
authors	Awan, Abeeha; Prokop, Simon; Vele, Jiri; Dounas, Theodor; Lombardi, Davide; Agkathidis, Asterios; Kurilla, Lukas
year	2022
title	Qualitative Knowledge Graph for the Evaluation of Metaverse(s) - Is the Metaverse Hype or a Promising New Field for Architects?
source	Hybrid Spaces of the Metaverse - Architecture in the Age of the Metaverse: Opportunities and Potentials [10th ASCAAD Conference Proceedings] Debbieh (Lebanon) [Virtual Conference] 12-13 October 2022, pp. 99-116
summary	With the advancement of augmented and virtual reality technologies both in scale as well as accessibility, the Metaverse (Stephenson, 1992, Hughes, 2022) has emerged as a new digital space with potential for the application of architectural creativity and design. With blockchain integration, the concept of the Metaverse shows promise in creating a “decentralised” space for design and creativity with rewards for its participants. As a platform that incorporates these technological components, does the Metaverse have utility for architectural design? Is there something truly novel in what the Metaverse brings to architectural computing, and architectural design? The paper constructs a qualitative knowledge graph that can be used for the evaluation of various kinds of Metaverses in and for architectural design. We use Design Science Research methods to develop the knowledge graph and its evaluative capacity, stemming from our experience with two Metaverses, Decentraland and Cryptovoxels. The paper concludes with a discussion of knowledge and practice gaps that are evident, framing the opportunities that architects might have in the future in terms of developing Metaverse(s).
series	ASCAAD
email
last changed	2024/02/16 13:24

_id	60e7
authors	Bailey, Rohan
year	2000
title	The Intelligent Sketch: Developing a Conceptual Model for a Digital Design Assistant
doi	https://doi.org/10.52842/conf.acadia.2000.137
source	Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 137-145
summary	The computer is a relatively new tool in the practice of Architecture. Since its introduction, there has been a desire amongst designers to use this new tool quite early in the design process. However, contrary to this desire, most Architects today use pen and paper in the very early stages of design to sketch. Architects solve problems by thinking visually. One of the most important tools that the Architect has at his disposal in the design process is the hand sketch. This iterative way of testing ideas and informing the design process with images fundamentally directs and aids the architect’s decision making. It has been said (Schön and Wiggins 1992) that sketching is about the reflective conversation designers have with images and ideas conveyed by the act of drawing. It is highly dependent on feedback. This “conversation” is an area worthy of investigation. Understanding this “conversation” is significant to understanding how we might apply the computer to enhance the designer’s ability to capture, manipulate and reflect on ideas during conceptual design. This paper discusses sketching and its relation to design thinking. It explores the conversations that designers engage in with the media they use. This is done through the explanation of a protocol analysis method. Protocol analysis used in the field of psychology, has been used extensively by Eastman et al (starting in the early 70s) as a method to elicit information about design thinking. In the pilot experiment described in this paper, two persons are used. One plays the role of the “hand” while the other is the “mind”- the two elements that are involved in the design “conversation”. This variation on classical protocol analysis sets out to discover how “intelligent” the hand should be to enhance design by reflection. The paper describes the procedures entailed in the pilot experiment and the resulting data. The paper then concludes by discussing future intentions for research and the far reaching possibilities for use of the computer in architectural studio teaching (as teaching aids) as well as a digital design assistant in conceptual design.
keywords	CAAD, Sketching, Protocol Analysis, Design Thinking, Design Education
series	ACADIA
last changed	2022/06/07 07:54

_id	0ad8
authors	Candy, E., Maver, T.W. and Petric, J.
year	1992
title	A Multi-Media Celebration of Robert Adam's Glasgow Architecture
doi	https://doi.org/10.52842/conf.ecaade.1992.043
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 43-54
summary	This paper is a summary of work done in preparation for an exhibition titled "A European Vision: Robert Adam's Glasgow" which marks the bi-centenary of Robert Adam's death. The main contributors to this project, orchestrated over academic sessions 91/92, were the undergraduate and post-graduate students from the Department of Architecture, University of Strathclyde, Glasgow.
series	eCAADe
email
last changed	2022/06/07 07:54

_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	ea96
authors	Hacfoort, Eek J. and Veldhuisen, Jan K.
year	1992
title	A Building Design and Evaluation System
source	New York: John Wiley & Sons, 1992. pp. 195-211 : ill. table. includes bibliography
summary	Within the field of architectural design there is a growing awareness of imbalance among the professionalism, the experience, and the creativity of the designers' response to the up-to-date requirements of all parties interested in the design process. The building design and evaluating system COSMOS makes it possible for various participants to work within their own domain, so that separated but coordinated work can be done. This system is meant to organize the initial stage of the design process, where user-defined functions, geometry, type of construction, and building materials are decided. It offers a tool to design a building to calculate a number of effects and for managing the information necessary to evaluate the design decisions. The system is provided with data and sets of parameters for describing the conditions, along with their properties, of the main building functions of a selection of well-known building types. The architectural design is conceptualized as being a hierarchy of spatial units, ranking from building blocks down to specific rooms or spaces. The concept of zoning is used as a means of calculating and directly evaluating the structure of the design without working out the details. A distinction is made between internal and external calculations and evaluations during the initial design process. During design on screen, an estimation can be recorded of building costs, energy costs, acoustics, lighting, construction, and utility. Furthermore, the design can be exported to a design application program, in this case AutoCAD, to make and show drawings in more detail. Through the medium of a database, external calculation and evaluation of building costs, life-cycle costs, energy costs, interior climate, acoustics, lighting, construction, and utility are possible in much more advanced application programs
keywords	evaluation, applications, integration, architecture, design, construction, building, energy, cost, lighting, acoustics, performance
series	CADline
last changed	2003/06/02 13:58

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

_id	cf2009_poster_09
id	cf2009_poster_09
authors	Hsu, Yin-Cheng
year	2009
title	Lego Free-Form? Towards a Modularized Free-Form Construction
source	T. Tidafi and T. Dorta (eds) Joining Languages Cultures and Visions: CAADFutures 2009 CD-Rom
summary	Design Media is the tool designers use for concept realization (Schon and Wiggins, 1992; Liu, 1996). Design thinking of designers is deeply effected by the media they tend to use (Zevi, 1981; Liu, 1996; Lim, 2003). Historically, architecture is influenced by the design media that were available within that era (Liu, 1996; Porter and Neale, 2000; Smith, 2004). From the 2D plans first used in ancient egypt, to the 3D physical models that came about during the Renaissance period, architecture reflects the media used for design. When breakthroughs in CAD/CAM technologies were brought to the world in the twentieth century, new possibilities opened up for architects.
keywords	CAD/CAM free-form construction, modularization
series	CAAD Futures
type	poster
last changed	2009/07/08 22:12

_id	4b2a
id	4b2a
authors	Jabi, Wassim
year	2004
title	A FRAMEWORK FOR COMPUTER-SUPPORTED COLLABORATION IN ARCHITECTURAL DESIGN
source	University of Michigan
summary	The development of appropriate research frameworks and guidelines for the construction of software aids in the area of architectural design can lead to a better understanding of designing and computer support for designing (Gero and Maher 1997). The field of research and development in computer-supported collaborative architectural design reflects that of the early period in the development of the field of computersupported cooperative work (CSCW). In the early 1990s, the field of CSCW relied on unsystematic attempts to generate software that increases the productivity of people working together (Robinson 1992). Furthermore, a shift is taking place by which researchers in the field of architecture are increasingly becoming consumers of rather than innovators of technology (Gero and Maher . In particular, the field of architecture is rapidly becoming dependent on commercial software implementations that are slow to respond to new research or to user demands. Additionally, these commercial systems force a particular view of the domain they serve and as such might hinder rather than help its development. The aim of this dissertation is to provide information to architects and others to help them build their own tools or, at a minimum, be critical of commercial solutions.
series	thesis:PhD
type	normal paper
email
last changed	2004/10/24 22:35

_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	e7c8
authors	Kalisperis, Loukas N., Steinman, Mitch and Summers, Luis H.
year	1992
title	Design Knowledge, Environmental Complexity in Nonorthogonal Space
source	New York: John Wiley & Sons, 1992. pp. 273-291 : ill. includes bibliography
summary	Mechanization and industrialization of society has resulted in most people spending the greater part of their lives in enclosed environments. Optimal design of indoor artificial climates is therefore of increasing importance. Wherever artificial climates are created for human occupation, the aim is that the environment be designed so that individuals are in thermal comfort. Current design methodologies for radiant panel heating systems do not adequately account for the complexities of human thermal comfort, because they monitor air temperature alone and do not account for thermal neutrality in complex enclosures. Thermal comfort for a person is defined as that condition of mind which expresses satisfaction with the thermal environment. Thermal comfort is dependent on Mean Radiant Temperature and Operative Temperature among other factors. In designing artificial climates for human occupancy the interaction of the human with the heated surfaces as well the surface-to-surface heat exchange must be accounted for. Early work in the area provided an elaborate and difficult method for calculating radiant heat exchange for simplistic and orthogonal enclosures. A new improved method developed by the authors for designing radiant panel heating systems based on human thermal comfort and mean radiant temperature is presented. Through automation and elaboration this method overcomes the limitations of the early work. The design procedure accounts for human thermal comfort in nonorthogonal as well as orthogonal spaces based on mean radiant temperature prediction. The limitation of simplistic orthogonal geometries has been overcome with the introduction of the MRT-Correction method and inclined surface-to-person shape factor methodology. The new design method increases the accuracy of calculation and prediction of human thermal comfort and will allow designers to simulate complex enclosures utilizing the latest design knowledge of radiant heat exchange to increase human thermal comfort
keywords	applications, architecture, building, energy, systems, design, knowledge
series	CADline
last changed	2003/06/02 10:24

_id	ddss9217
id	ddss9217
authors	Kim, Y.S. and Brawne, M.
year	1993
title	An approach to evaluating exhibition spaces in art galleries
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	There are certain building types in which movement of people is the most significant evaluation factor. Among these are art galleries and museums. Unlike other building types, which are often explicated by investigating the relationship between people and people, and between people and the built environment, art galleries and museums are a building type in which the social relationship between people hardly exists and peoples movement through space, that is, the functional relationship between people and space, is one of the most significant factors for their description. The typical museum experience is through direct, sequential, and visual contact with static objects on display as the visitor moves. Therefore, the movement pattern of the visitors must exert a significant influence on achieving the specific goal of a museum. There is a critical need for predicting the consequences of particular spatial configurations with respect to visitors movement. In this sense, it is the intention of this paper to find out the relationship between the spatial configuration of exhibition space and the visitors' movement pattern.
series	DDSS
last changed	2003/08/07 16:36

_id	caadria2014_071
id	caadria2014_071
authors	Li, Lezhi; Renyuan Hu, Meng Yao, Guangwei Huang and Ziyu Tong
year	2014
title	Sculpting the Space: A Circulation Based Approach to Generative Design in a Multi-Agent System
doi	https://doi.org/10.52842/conf.caadria.2014.565
source	Rethinking Comprehensive Design: Speculative Counterculture, Proceedings of the 19th International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA 2014) / Kyoto 14-16 May 2014, pp. 565–574
summary	This paper discusses an MAS (multiagent system) based approach to generating architectural spaces that afford better modes of human movement. To achieve this, a pedestrian simulation is carried out to record the data with regard to human spatial experience during the walking process. Unlike common practices of performance oriented generation where final results are achieved through cycles of simulation and comparison, what we propose here is to let human’s movement exert direct influence on space. We made this possible by asking "humans" to project simulation data on architectural surroundings, and thus cause the layout to change for the purpose of affording what we designate as good spatial experiences. A generation experiment of an exhibition space is implemented to explore this approach, in which tentative rules of such spatial manipulation are proposed and tested through space syntax analyse. As the results suggested, by looking at spatial layouts through a lens of human behaviour, this projection-and-generation method provides some insight into space qualities that other methods could not have offered.
keywords	Performance oriented generative design; projection; multi-agent system; pedestrian simulation; space syntax
series	CAADRIA
email
last changed	2022/06/07 07:59

_id	a582
authors	Marshall, Tony B.
year	1992
title	The Computer as a Graphic Medium in Conceptual Design
doi	https://doi.org/10.52842/conf.acadia.1992.039
source	Mission - Method - Madness [ACADIA Conference Proceedings / ISBN 1-880250-01-2] 1992, pp. 39-47
summary	The success CAD has experienced in the architectural profession demonstrates that architects have been willing to replace traditional drafting media with computers and electronic plotters for the production of working drawings. Its expanded use in the design development phase for 3D modeling and rendering further justifies CAD's usefulness as a presentation medium. The schematic design phase however, has hardly been influenced by the evolution of CAD. Most architects simply have not come to view the computer as a viable design medium. One reason for this might be the strong correspondence between architectural CAD and plan view graphics, as used in working drawings, compared to the weak correspondence between architectural CAD and plan view graphics, as used in schematic design. The role of the actual graphic medium during schematic design should not be overlooked in the development of CAD applications. In order to produce practical CAD applications for schematic design we must explore the computer’s potential as a form of expression and its role as a graphic medium. An examination of the use of traditional graphic media during schematic design will provide some clues regarding what capabilities CAD must provide and how a system should operate in order to be useful during conceptual design.
series	ACADIA
last changed	2022/06/07 07:59

_id	a6c8
authors	Oxman, Robert
year	1992
title	The Library of Babel: The Representation of Technological Knowledge in Electronic Libraries
doi	https://doi.org/10.52842/conf.ecaade.1992.101
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 101-118
summary	With the development of storage media such as the CD ROM, the availability and usage of very large data bases of information has dramatically opened new vistas for the creation of electronic libraries. From dictionaries and encyclopedias to historical treatises, the electronic packaging of large and cumbersome information sources has begun to demonstrate its utility and efficiency. Today the bridge to an unknown territory of electronic knowledge resources lies here at the boundary between the passive (though electronically accelerated) access to information through electronic books and the user interactive access to knowledge. This paper is about that boundary.
series	eCAADe
last changed	2022/06/07 08:00

_id	6225
authors	Ozcan, Oguzhan
year	1992
title	Specification of a Hypermedia System for the Topkapi Palace
doi	https://doi.org/10.52842/conf.ecaade.1992.119
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 119-132
summary	This paper summaries a doctoral investigation being carried out in the ABACUS group of the University of Strathclyde into the relevance of advanced multi-media technology to the explanation and investigation of the complex development of architecture which has historical and/or cultural significance.
series	eCAADe
last changed	2022/06/07 08:00

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