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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	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	89d9
authors	Cajati, Claudio
year	1992
title	The New Teaching of an Architect: The Rôle of Expert Systems in Technological Culture
doi	https://doi.org/10.52842/conf.ecaade.1992.435
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 435-442
summary	We already have the EEC, that is the European Economic Community. We have to build the CCE, that is the Common Cultural Europe. Architects and building engineers of any european country will be allowed to freely practise in any other country of the EEC. Of course, it is not only matter of coming down of the frontiers, of a greater labour mobility. Not even it will be enough that the university degree courses of the different countries agree to and put into effect the EEC common directives. They need rules and guidelines entering into the merits of practice: rules and guidelines which, rather than a legal and bureaucratic matter, must be the result of a common cultural and technical work, about clear and delimited questions of shared subjects, in which all the community countries be deeply concerned. Analogously, in the very field of research, the project "Human Capital and Mobility" has in view a greater european scientific and technological competitiveness, through an integration of human and material resources of different research centres, such as in shared-cost research projects and in concerted research actions. Such an integration is neither easy nor rapid. The political, social, cultural, technological peculiarities of the countries of the European Community certainly constitute an obstacle for the creation of a supernational cultural and technological pool. of common opportunities. These peculiarities, however, aren't only a restraint for the european community effort of unification and construction of shared goals, constraints, rules, methods, techniques, tools. They mean also a richness, an unrepeatable resourse: they are the result of a historical millenary stratification, which gave rise to urban and architectural contexts, to cultural and technological traditions it would be a serious mistake to waste.
series	eCAADe
email
last changed	2022/06/07 07:54

_id	6d1d
authors	Daru, R. and Daru, M.
year	1992
title	Personal Working Styles in the CMD Studio
doi	https://doi.org/10.52842/conf.ecaade.1992.451
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 451-472
summary	Normative and problem-solving approaches of architectural design ignore the personality aspects of the designing activity. Every architect approaches projects according to her/his own strategies and tactics. Usually they do not conform to the prescriptive models of design theoreticians. Computer aided design tools should be adapted to their utility within the strategies and tactics of each and every architectural student. We are testing the usefulness of CAAD tools developed by others or ourselves and identifying the needs for missing tools. It is already clear that many CAAD tools reflect the point of view of the programmer about strategies and tactics of designing and that they do not take into account the idiosyncrasies of the end user. Forcing the tools on students breeds the risk of fostering repulsion against ill-adapted tools, and consequently against CMD. Our research group pursues empirical research on working styles of designing by practising architects within the frame of a personality theory of actions. The results indicate that there are three main directions for designing strategies. If we want to take into account the real-world behaviour in design practice within architectural education, this implies the diversification of the exercises we offer to the students in threefold, corresponding with the three directions. To this, we add the didactic options of complementation, compensation and support, depending on what we know about the strong or weak points of the students involved. We have started proposing choices for the exercises of our design morphology studio. Students are offered approaches and tools we consider best adapted to their own working
series	eCAADe
email
last changed	2022/06/07 07:55

_id	4129
authors	Fargas, Josep and Papazian, Pegor
year	1992
title	Metaphors in Design: An Experiment with a Frame, Two Lines and Two Rectangles
doi	https://doi.org/10.52842/conf.acadia.1992.013
source	Mission - Method - Madness [ACADIA Conference Proceedings / ISBN 1-880250-01-2] 1992, pp. 13-22
summary	The research we will discuss below originated from an attempt to examine the capacity of designers to evaluate an artifact, and to study the feasibility of replicating a designer's moves intended to make an artifact more expressive of a given quality. We will present the results of an interactive computer experiment, first developed at the MIT Design Research Seminar, which is meant to capture the subject’s actions in a simple design task as a series of successive "moves"'. We will propose that designers use metaphors in their interaction with design artifacts and we will argue that the concept of metaphors can lead to a powerful theory of design activity. Finally, we will show how such a theory can drive the project of building a design system. When trying to understand how designers work, it is tempting to examine design products in order to come up with the principles or norms behind them. The problem with such an approach is that it may lead to a purely syntactical analysis of design artifacts, failing to capture the knowledge of the designer in an explicit way, and ignoring the interaction between the designer and the evolving design. We will present a theory about design activity based on the observation that knowledge is brought into play during a design task by a process of interpretation of the design document. By treating an evolving design in terms of the meanings and rules proper to a given way of seeing, a designer can reduce the complexity of a task by focusing on certain of its aspects, and can manipulate abstract elements in a meaningful way.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	1076
authors	Gero, John S. and Saunders, Robert
year	2000
title	Constructed Representations and Their Functions in Computational Models of Designing
doi	https://doi.org/10.52842/conf.caadria.2000.215
source	CAADRIA 2000 [Proceedings of the Fifth Conference on Computer Aided Architectural Design Research in Asia / ISBN 981-04-2491-4] Singapore 18-19 May 2000, pp. 215-224
summary	This paper re-examines the conclusions made by Schön and Wiggins in 1992 that computers were unable to reproduce processes crucial to designing. We propose that recent developments in artificial intelligence and design computing put us in a position where we can begin to computationally model designing as conceived by Schön and Wiggins. We present a computational model of designing using situated processes that construct representations. We show how constructed representations support computational processes that model the different kinds of seeing reported in designing. We also present recently developed computational processes that can identify unexpected consequences of design actions using adaptive novelty detection.
series	CAADRIA
email
last changed	2022/06/07 07:51

_id	7e68
authors	Holland, J.
year	1992
title	Genetic Algorithms
source	Scientific America, July 1992
summary	Living organisms are consummate problem solvers. They exhibit a versatility that puts the best computer programs to shame. This observation is especially galling for computer scientists, who may spend months or years of intellectual effort on an algorithm, whereas organisms come by their abilities through the apparently undirected mechanism of evolution and natural selection. Pragmatic researchers see evolution's remarkable power as something to be emulated rather than envied. Natural selection eliminates one of the greatest hurdles in software design: specifying in advance all the features of a problem and the actions a program should take to deal with them. By harnessing the mechanisms of evolution, researchers may be able to "breed" programs that solve problems even when no person can fully understand their structure. Indeed, these so-called genetic algorithms have already demonstrated the ability to made breakthroughs in the design of such complex systems as jet engines. Genetic algorithms make it possible to explore a far greater range of potential solutions to a problem than do conventional programs. Furthermore, as researchers probe the natural selection of programs under controlled an well-understood conditions, the practical results they achieve may yield some insight into the details of how life and intelligence evolve in the natural world.
series	journal paper
last changed	2003/04/23 15:50

_id	ascaad2006_paper18
id	ascaad2006_paper18
authors	Huang, Chie-Chieh
year	2006
title	An Approach to 3D Conceptual Modelling
source	Computing in Architecture / Re-Thinking the Discourse: The Second International Conference of the Arab Society for Computer Aided Architectural Design (ASCAAD 2006), 25-27 April 2006, Sharjah, United Arab Emirates
summary	This article presents a 3D user interface required by the development of conceptual modeling. This 3D user interface provides a new structure for solving the problems of difficult interface operations and complicated commands due to the application of CAD 2D interface for controlling 3D environment. The 3D user interface integrates the controlling actions of “seeing – moving –seeing” while designers are operating CAD (Schön and Wiggins, 1992). Simple gestures are used to control the operations instead. The interface also provides a spatial positioning method which helps designers to eliminate the commands of converting a coordinate axis. The study aims to discuss the provision of more intuitively interactive control through CAD so as to fulfil the needs of designers. In our practices and experiments, a pair of LED gloves equipped with two CCD cameras for capturing is used to sense the motions of hands and positions in 3D. In addition, circuit design is applied to convert the motions of hands including selecting, browsing, zoom in / zoom out and rotating to LED switches in different colours so as to identify images.
series	ASCAAD
email
last changed	2007/04/08 19:47

_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	11b6
authors	Kalmychkov, Vitaly A. and Smolyaninov, Alexander V.
year	1992
title	Design of Object-Oriented Data Visualization System
source	East-West International Conference on Human-Computer Interaction: Proceedings of the EWHCI'92 1992 pp. 463-470
summary	The report is devoted to the data visualization system design and implementation, which provides the means for design of the image of the user's numeric information on the personal computer. The problems of design, architecture and operation of data visualization system which provides to user convenient means for constructing the numeric information image of required type is considered. Image constructing is executed by means of required sizes fields placing and filling of them by necessary content (coordinates system, graphs, inscriptions). User's interface with instrument system is object-oriented: after object (field or its content) choice user can manipulate of it, executing only those operations, that are determined for it as object of appointed function. Ergonomical and comfortable constructing is ensured by careful coordinated system of possible actions on each of image constructing stage and supported by icons menu and textual menu.
series	other
last changed	2002/07/07 16:01

_id	88ca
authors	Kane, Andy and Szalapaj, Peter
year	1992
title	Teaching Design By Analysis of Precedents
doi	https://doi.org/10.52842/conf.ecaade.1992.477
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 477-496
summary	Designers, using their intuitive understanding of the decomposition of particular design objects, whether in terms of structural, functional, or some other analytical framework, should be able to interact with computational environments such that the understanding they achieve in turn invokes changes or transformations to the spatial properties of design proposals. Decompositions and transformations of design precedents can be a very useful method of enabling design students to develop analytical strategies. The benefit of an analytical approach is that it can lead to a structured understanding of design precedents. This in turn allows students to develop their own insights and ideas which are central to the activity of designing. The creation of a 3-D library of user-defined models of precedents in a computational environment permits an under-exploited method of undertaking analysis, since by modelling design precedents through the construction of 3-D Computer-Aided Architectural Design (CAAD) models, and then analytically decomposing them in terms of relevant features, significant insights into the nature of designs can be achieved. Using CAAD systems in this way, therefore, runs counter to the more common approach of detailed modelling, rendering and animation; which produces realistic pictures that do not reflect the design thinking that went into their production. The significance of the analytical approach to design teaching is that it encourages students to represent design ideas, but not necessarily the final form of design objects. The analytical approach therefore, allows students to depict features and execute tasks that are meaningful with respect to design students' own knowledge of particular domains. Such computational interaction can also be useful in helping students explore the consequences of proposed actions in actual design contexts.
series	eCAADe
last changed	2022/06/07 07:52

_id	ddss9215
id	ddss9215
authors	Mortola, E. and Giangrande, A.
year	1993
title	A trichotomic segmentation procedure to evaluate projects in architecture
source	Timmermans, Harry (Ed.), Design and Decision Support Systems in Architecture (Proceedings of a conference held in Mierlo, the Netherlands in July 1992), ISBN 0-7923-2444-7
summary	This paper illustrates a model used to construct the evaluation module for An Interface for Designing (AID), a system to aid architectural design. The model can be used at the end of every cycle of analysis-synthesis-evaluation in the intermediate phases of design development. With the aid of the model it is possible to evaluate the quality of a project in overall terms to establish whether the project is acceptable, whether it should be elaborated ex-novo, or whether it is necessary to begin a new cycle to improve it. In this last case, it is also possible to evaluate the effectiveness of the possible actions and strategies for improvement. The model is based on a procedure of trichotomic segmentation, developed with MCDA (Multi-Criteria Decision Aid), which uses the outranking relation to compare the project with some evaluation profiles taken as projects of reference. An application of the model in the teaching field will also be described.
series	DDSS
last changed	2003/08/07 16:36

_id	1992
authors	Russell, Peter
year	2002
title	Using Higher Level Programming in Interdisciplinary teams as a means of training for Concurrent Engineering
doi	https://doi.org/10.52842/conf.ecaade.2002.014
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. 14-19
summary	The paper explains a didactical method for training students that has been run three times to date. The premise of the course is to combine students from different faculties into interdisciplinary teams. These teams then have a complex problem to resolve within an extremely short time span. In light of recent works from Joy and Kurzweil, the theme Robotics was chosen as an exercise that is timely, interesting and related, but not central to the studies of the various faculties. In groups of 3 to 5, students from faculties of architecture, computer science and mechanical engineering are entrusted to design, build and program a robot which must successfully execute a prescribed set of actions in a competitive atmosphere. The entire course lasts ten days and culminates with the competitive evaluation. The robots must navigate a labyrinth, communicate with on another and be able to cover longer distances with some speed. In order to simplify the resources available to the students, the Lego Mindstorms Robotic syshed backgrounds instaed of synthetic ones. The combination of digitally produced (scanned) sperical images together with the use of HDR open a wide range of new implementation in the field of architecture, especially in combining synthetic elements in existing buildings, e.g. new interior elements in an existing historical museum).ural presentations in the medium of computer animation. These new forms of expression of design thoughts and ideas go beyond mere model making, and move more towards scenemaking and storytelling. The latter represents new methods of expression within computational environments for architects and designers.its boundaries. The project was conducted using the pedagogical framework of the netzentwurf.de; a relatively well established Internet based communication platform. This means that the studio was organised in the „traditional“ structure consisting of an initial 3 day workshop, a face to face midterm review, and a collective final review, held 3,5 months later in the Museum of Communication in Frankfurt am Main, Germany. In teams of 3 (with each student from a different university and a tutor located at a fourth) the students worked over the Internet to produce collaborative design solutions. The groups ended up with designs that spanned a range of solutions between real and virtual architecture. Examples of the student’s work (which is all available online) as well as their working methods are described. It must be said that the energy invested in the studio by the organisers of the virtual campus (as well as the students who took part) was considerably higher than in normal design studios and the paper seeks to look critically at the effort in relation to the outcomes achieved. The range and depth of the student’s work was surprising to many in the project, especially considering the initial hurdles (both social and technological) that had to overcome. The self-referential nature of the theme, the method and the working environment encouraged the students to take a more philosg and programming a winning robot. These differences became apparent early in the sessions and each group had to find ways to communicate their ideas and to collectively develop them by building on the strengths of each team member.
series	eCAADe
type	normal paper
email
last changed	2022/06/07 07:56

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

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

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

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

_id	ce98
authors	Anderson, Lee
year	1992
title	Virtual Graffiti Three-Dimensional Paint Tools for Conceptual Modeling in Upfront
doi	https://doi.org/10.52842/conf.acadia.1992.127
source	Mission - Method - Madness [ACADIA Conference Proceedings / ISBN 1-880250-01-2] 1992, pp. 127-133
summary	This chapter describes several limitations present in current 3-D programs used for conceptual design and then introduces a new threedimensional paint tool, as implemented in a beta version of Alias Upfront, that attempts to deal with some of those limitations.
series	ACADIA
last changed	2022/06/07 07:54

_id	735a
authors	Anh, Tran Hoai
year	1992
title	FULL-SCALE EXPERIMENT ON KITCHEN FUNCTION IN HANOI
source	Proceedings of the 4rd European Full-Scale Modelling Conference / Lausanne (Switzerland) 9-12 September 1992, Part A, pp. 19-30
summary	This study is a part of a licentiate thesis on "Functional kitchen for the Vietnamese cooking way"at the Department of Architecture and Development studies, Lund University. The issues it is dealing with are: (1) Inadequacy of kitchen design in the apartment buildings in Hanoi, where the kitchen is often designed as a mere cooking place - other parts of the food making process are not given any attention. (2) Lack of standard dimensional and planning criteria for functional kitchen which can serve as bases for kitchen design. // The thesis aims at finding out indicators on functional spatial requirements for kitchen, which can serve as guide-line for designing functional kitchen for Hanoi. One of the main propositions in the thesis is that functional kitchens for Hanoi should be organised to permit the culinary activities done according to the Vietnamese urban culinary practice. This is based on the concept that the culinary activity is an expression Of culture, thus the practice of preparing meal in the present context of the urban households in Hanoi has an established pattern, method which demand a suitable area and arrangement in the kitchen. This pattern and cooking method should make up the functional requirement for kitchen in Hanoi, and be taken in to account if functional kitchen designing is to be achieved. In the context of the space-limited apartment building of Hanoi, special focus is given to find out indicators on the minimum functional spatial requirements of the kitchen works.
keywords	Full-scale Modeling, Model Simulation, Real Environments
series	other
type	normal paper
more	http://info.tuwien.ac.at/efa
last changed	2004/05/04 15:29

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