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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	4c30
authors	Aura, Seppo
year	1993
title	Episode as a Unit of Analysis of Movement
source	Endoscopy as a Tool in Architecture [Proceedings of the 1st European Architectural Endoscopy Association Conference / ISBN 951-722-069-3] Tampere (Finland), 25-28 August 1993, pp. 53-66
summary	Everybody who has read his Gordon Cullen or his Edmund H. Bacon knows that movement has long been recognized as a factor in environmental planning in many ways. For example, in the traditional Japanese promenade garden the importance of movement has always been appreciated. The promenader gains an intense experience of the succession, variation and rhythm of the surrounding scene. The spaces and paths lead him from one stage to another. The spatial structure of the Japanese promenade garden, as well as of traditional Japanese architecture in general, is joined most intensively to time and motion. The environment is in relation to the flow of change in many sense, both concretely and existentially. Taking an example of western urban environment. Here perhaps the most marked sequential spaces are to be found in small medieval, mediterranean towns. Thanks to their organic growth, narrow and winding streets and the emphasis on public squares, most of them provide exciting experiences if the observer is only interested in seeing the townscape from the point of view of movement. There are also examples of this kind of environment in Finland. In old wooden towns like Porvoo and Rauma one can still find varied and rhythmic streetscapes and networks of streets and squares, together with a human scale and an almost timeless atmosphere. One could say that such an opportunity to experience spaces sequentially, or as serial visions, is an important dimension for us, especially as pedestrians. And as Gordon Cullen has shown there is in any urban environment much scope to heighten this experience. For example, by creating a sense of ’entering in’ some place, ’leaving for’, ’moving towards’, ’turning into’, ’walking through’ some place or ’following on’ the flow of spaces. Or, as Edmund H. Bacon has said, the departure point of good town planning should be that the successive towns spaces give rise to a flow of harmonic experiences: present experiences merge with earlier ones and become a step towards a future. Or, again in the words of Donald Appleyard, Kevin Lynch and John R. Myer: “The experience of a city is basically of a moving view, and this is the view we must understand if we wish to reform the look of our cities”.
keywords	Architectural Endoscopy
series	EAEA
more	http://info.tuwien.ac.at/eaea/
last changed	2005/09/09 10:43

_id	cf2011_p170
id	cf2011_p170
authors	Barros, Mário; Duarte José, Chaparro Bruno
year	2011
title	Thonet Chairs Design Grammar: a Step Towards the Mass Customization of Furniture
source	Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 181-200.
summary	The paper presents the first phase of research currently under development that is focused on encoding Thonet design style into a generative design system using a shape grammar. The ultimate goal of the work is the design and production of customizable chairs using computer assisted tools, establishing a feasible practical model of the paradigm of mass customization (Davis, 1987). The current research step encompasses the following three steps: (1) codification of the rules describing Thonet design style into a shape grammar; (2) implementing the grammar into a computer tool as parametric design; and (3) rapid prototyping of customized chair designs within the style. Future phases will address the transformation of the Thonet’s grammar to create a new style and the production of real chair designs in this style using computer aided manufacturing. Beginning in the 1830’s, Austrian furniture designer Michael Thonet began experimenting with forming steam beech, in order to produce lighter furniture using fewer components, when compared with the standards of the time. Using the same construction principles and standardized elements, Thonet produced different chairs designs with a strong formal resemblance, creating his own design language. The kit assembly principle, the reduced number of elements, industrial efficiency, and the modular approach to furniture design as a system of interchangeable elements that may be used to assemble different objects enable him to become a pioneer of mass production (Noblet, 1993). The most paradigmatic example of the described vision of furniture design is the chair No. 14 produced in 1858, composed of six structural elements. Due to its simplicity, lightness, ability to be stored in flat and cubic packaging for individual of collective transportation, respectively, No. 14 became one of the most sold chairs worldwide, and it is still in production nowadays. Iconic examples of mass production are formally studied to provide insights to mass customization studies. The study of the shape grammar for the generation of Thonet chairs aimed to ensure rules that would make possible the reproduction of the selected corpus, as well as allow for the generation of new chairs within the developed grammar. Due to the wide variety of Thonet chairs, six chairs were randomly chosen to infer the grammar and then this was fine tuned by checking whether it could account for the generation of other designs not in the original corpus. Shape grammars (Stiny and Gips, 1972) have been used with sucesss both in the analysis as in the synthesis of designs at different scales, from product design to building and urban design. In particular, the use of shape grammars has been efficient in the characterization of objects’ styles and in the generation of new designs within the analyzed style, and it makes design rules amenable to computers implementation (Duarte, 2005). The literature includes one other example of a grammar for chair design by Knight (1980). In the second step of the current research phase, the outlined shape grammar was implemented into a computer program, to assist the designer in conceiving and producing customized chairs using a digital design process. This implementation was developed in Catia by converting the grammar into an equivalent parametric design model. In the third phase, physical models of existing and new chair designs were produced using rapid prototyping. The paper describes the grammar, its computer implementation as a parametric model, and the rapid prototyping of physical models. The generative potential of the proposed digital process is discussed in the context of enabling the mass customization of furniture. The role of the furniture designer in the new paradigm and ideas for further work also are discussed.
keywords	Thonet; furniture design; chair; digital design process; parametric design; shape grammar
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	ecaade2022_368
id	ecaade2022_368
authors	Das, Avishek, Brunsgaard, Camilla and Madsen, Claus Brondgaard
year	2022
title	Understanding the AR-VR Based Architectural Design Workflow among Selected Danish Architecture Practices
doi	https://doi.org/10.52842/conf.ecaade.2022.1.381
source	Pak, B, Wurzer, G and Stouffs, R (eds.), Co-creating the Future: Inclusion in and through Design - Proceedings of the 40th Conference on Education and Research in Computer Aided Architectural Design in Europe (eCAADe 2022) - Volume 1, Ghent, 13-16 September 2022, pp. 381–388
summary	Virtual reality (VR) and augmented reality (AR) have been proposed to be additional architectural design mediums for at least 25 years (Dagit, 1993). Despite rapid technical and technological development, it has not been adopted into architectural design practices as compared to academia and research. Surveys from the American Institute of Architects (AIA) and Royal Institutes of British Architects (RIBA) demonstrate the state of architectural practices; 72% of architects and 65% of architects respectively are not using any kind of virtual, augmented, or mixed reality in their practices(RIBA and Microsoft, 2018; Hampson, 2020). In this paper, the authors investigate the state of practices, issues, challenges, and opportunities of the utilization of virtual, augmented, and mixed realities in six architectural practices in the Danish context. Three of the practices are large architectural practices, one medium-sized practice specializing in institutional, healthcare and cultural architecture, and one firm designing private family houses, kindergartens, daycares and places for people with disability and, one experimental design studio. All these practices have used VR/AR in their projects to various degrees. In recent years Danish architectural practices have been involved in various VR/AR-based exhibitions, demonstrations, and tool developments to promote the usage of the same in design practice. Through a set of qualitative interviews with personnel from key architectural practices, the authors would like to demonstrate the present state of practices. The investigation explores the usage of VR and AR in Danish architecture practices by identifying challenges and opportunities regarding skill levels, architectural typology, use cases, toolchains, and workflow and shows similarities and differences between traditional and VR-based design processes. The main findings show how VR/AR-based visualization helps architects to perceive spatiality and also ushers creativity through immersion and overlays.
keywords	Virtual Reality, Augmented Reality, Architectural Design Practice, Denmark
series	eCAADe
email
last changed	2024/04/22 07:10

_id	ecaade2014_153
id	ecaade2014_153
authors	David Morton
year	2014
title	Augmented Reality in architectural studio learning:How Augmented Reality can be used as an exploratory tool in the design learning journey
doi	https://doi.org/10.52842/conf.ecaade.2014.1.343
source	Thompson, Emine Mine (ed.), Fusion - Proceedings of the 32nd eCAADe Conference - Volume 1, Department of Architecture and Built Environment, Faculty of Engineering and Environment, Newcastle upon Tyne, England, UK, 10-12 September 2014, pp. 343-356
summary	The boundaries of augmented reality in the academic field are now being explored at an ever increasing level. In this paper we present the initial findings of an educational project focusing on the use of augmented reality in the design process of an architectural student. The study seeks to evaluate the use of AR as a tool in the design stages, allowing effective exploration of spatial qualities of design projects undertaken in the studio. The learning process is guided by the exploration and detection of a design idea in both form and function, with the virtual environment providing a dynamic environment (Mantovani, 2001). This is further reflected in the constructivist theory where the learning processes use conceptual models, which are used to create incremental stages that become the platform to attain the next [Winn, 1993]. The additional benefit of augmented reality within the learning journey is the ability of the students to visually explore the architectural forms they are creating in greater depth.
wos	WOS:000361384700034
keywords	Augmented reality; pedagogy; learning journey; exploration
series	eCAADe
email
last changed	2022/06/07 07:55

_id	49f3
authors	Glanville, Ranulph
year	1993
title	Looking into Endoscopy - The Limitations of Evaluation in Architectural Design
source	Endoscopy as a Tool in Architecture [Proceedings of the 1st European Architectural Endoscopy Association Conference / ISBN 951-722-069-3] Tampere (Finland), 25-28 August 1993, pp. 185-193
summary	The means available to architects in their age-old task of creating (most usually, though not necessarily) buildings that do not yet exist (ie. virtual realities), can be seen as falling into two groups. Those that help us develop architectural ideas (exploring), and those that help us evaluate or test them (illustrating). In the former category, we have, for instance, the ”drawing on the back of the envelope”, the discursive brainstorm, and the design ”conversation with ourselves via paper and pencil” (the drawing strikes back). In the latter, we may include physical model building, careful (projective) drawing (including drawings that are instructions for making), mathematical and design science modelling and calculating, visualising techniques such as the rendered perspective, most CAD (computer aided design) work and architectural endoscopy. These techniques may be thought of in two ways, as Bosselman reported: the explanation (eg. the organisational plan) and the experience (eg the ”photo-realistic” perspective). Attached to these we have rules for success, such as those of ”style” (in the broad sense of the personal style that allows us to assume that we have answers to problems that have yet to appear). It should be clear even from the list above that there are many more techniques and technologies for evaluation (illustration) than for exploration (design): such is the mystery of design. It is the primary purpose of this paper to invite those involved in providing the enormous effort that has gone into making such techniques for illustration — evaluation — to consider how their efforts help with that other, and crucial, area — that of exploring: and to redress some of the balance of that effort towards exploration. For it occurs to me (as a teacher of architecture), that evaluation does not provide a course for action — it merely helps us determine what may be wrong (according to some criteria with which we choose not to argue). And, no matter how right or wrong a design may be, knowing that it is wrong doesn’t help us either modify it, or find a better initial idea. It only tells us we are not right — always assuming the evaluative model is correct; perhaps.
keywords	Architectural Endoscopy
series	EAEA
more	http://info.tuwien.ac.at/eaea/
last changed	2005/09/09 10:43

_id	ab3c
authors	Kramer, G.
year	1996
title	Mapping a Single Data Stream to Multiple Auditory Variables: A Subjective Approach to Creating a Compelling Design
source	Proceedings of the Third International Conferenceon Auditory Display, Santa FO Institute
summary	Representing a single data variable changing in time via sonification, or using that data to control a sound in some way appears to be a simple problem but actually involves a significant degree of subjectivity. This paper is a response to my own focus on specific sonification tasks (Kramer 1990, 1993) (Fitch & Kramer, 1994), on broad theoretical concerns in auditory display (Kramer 1994a, 1994b, 1995), and on the representation of high-dimensional data sets (Kramer 1991a & Kramer & Ellison, 1991b). The design focus of this paper is partly a response to the others who, like myself, have primarily employed single fundamental acoustic variables such as pitch or loudness to represent single data streams. These simple representations have framed three challenges: Behavioral and Cognitive Science-Can sonifications created with complex sounds changing simultaneously in several dimensions facilitate the formation of a stronger internal auditory image, or audiation, than would be produced by simpler sonifications? Human Factors and Applications-Would such a stronger internal image of the data prove to be more useful from the standpoint of conveying information? Technology and Design-How might these richer displays be constructed? This final question serves as a starting point for this paper. After years of cautious sonification research I wanted to explore the creation of more interesting and compelling representations.
series	other
last changed	2003/04/23 15:50

_id	e4fd
authors	McCartney, K., Ismail, A. and Rhodes, P.
year	1993
title	A Multimedia City Model for Environmental Impact Assessment and Public Consultation
doi	https://doi.org/10.52842/conf.ecaade.1993.x.b0g
source	[eCAADe Conference Proceedings] Eindhoven (The Netherlands) 11-13 November 1993
summary	Experiments with different techniques for creating multimedia models of city zones are being carried out in the School of Architecture in University of Portsmouth. This work is part of a cooperative project with the Department of Economics, the New Media Centre, and the Photogrammetry Unit in the Department of Geography, aimed at developing a prototype multimedia model of a sizable part of the City of Portsmouth. The model is designed to facilitate user interaction, and will be tested to evaluate its potential contribution to the process of public consultation, and in facilitating communication between different specialists engaged in the production of environmental impact statements required by the EC Environmental Impact Directive (851337).
series	eCAADe
last changed	2022/06/07 07:50

_id	8fd8
authors	Watt, Alan
year	1993
title	3D Computer graphics
source	Addison-Wesley, pp, 1-13
summary	The third edition of Alan Watt's 3D Computer Graphics, a bible of computer graphics, includes a CD-ROM full of examples and updated information on graphics and rendering algorithms. The book discusses many of the techniques that have evolved in the seven years since the previous edition was published. 3D Computer Graphics is a textbook, and it's designed for serious programmers creating graphics applications (not end users). Over the course of 16 sections, Watt introduces the concepts and implementation of computer imaging, from "Mathematical Fundamentals of Computer Graphics" to "Representation and Rendering" and ending with "Image-Based Rendering and Photo-Modeling." The last section, devoted to computer animation, includes methods for linked structures, collision detection, and particle animation (to name a few). Although the topics are sometimes hard to grasp, Mr. Watt writes clearly and concisely, making generous use of diagrams to help convey the principles described in the text. The accompanying CD-ROM includes over a dozen studies of computer graphics techniques and rendering algorithms. Presented in HTML, the exhaustive studies, each with a matrix of thumbnails, demonstrates the varied achievable results. One minor complaint here: although the thumbnails can be clicked to view a much larger image, the larger versions come in .tif format, which few (if any) Web browsers can view. Users will need another application to view them. Having the large image in .jpg format would have enabled the reader to view it in the already-open Web browser.
series	other
last changed	2003/04/23 15:14

_id	aa7f
authors	Bollinger, Elizabeth and Hill, Pamela
year	1993
title	Virtual Reality: Technology of the Future or Playground of the Cyberpunk?
doi	https://doi.org/10.52842/conf.acadia.1993.121
source	Education and Practice: The Critical Interface [ACADIA Conference Proceedings / ISBN 1-880250-02-0] Texas (Texas / USA) 1993, pp. 121-129
summary	Jaron Lanier is a major spokesperson of our society's hottest new technology: VR or virtual reality. He expressed his faith in the VR movement in this quote which appears in The User's Guide to the New Edge published by Mondo 2000. In its most technical sense, VR has attracted the attention of politicians in Washington who wonder if yet another technology developed in the United States will find its application across the globe in Asia. In its most human element, an entire "cyberpunk movement" has appealed to young minds everywhere as a seemingly safe form of hallucination. As architecture students, educators, and practitioners around the world are becoming attracted to the possibilities of VR technology as an extension of 3D modeling, visualization, and animation, it is appropriate to consider an overview of virtual reality. In virtual reality a user encounters a computersimulated environment through the use of a physical interface. The user can interact with the environment to the point of becoming a part of the experience, and the experience becomes reality. Natural and instinctive body movements are translated by the interface into computer commands. The quest for perfection in this human-computer relationship seems to be the essence of virtual reality technology. To begin to capture the essence of virtual reality without first-hand experience, it is helpful to understand two important terms: presence and immersion. The sense of presence can be defined as the degree to which the user feels a part of the actual environment. The more reality the experience provides, the more presence it has. Immersion can be defined as the degree of other simulation a virtual reality interface provides for the viewer. A highly immersive system might provide more than just visual stimuli; for example, it may additionally provide simulated sound and motion, and simultaneously prevent distractions from being present.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	2d1f
authors	Kavakli, Manolya and Bayazit, Nigan
year	1993
title	An Experiment on the Image Schemata
doi	https://doi.org/10.52842/conf.ecaade.1993.x.h2e
source	[eCAADe Conference Proceedings] Eindhoven (The Netherlands) 11-13 November 1993
summary	The main objective of this paper is to explain the process of knowledge acquisition utilising the method for the decomposition of the components of a system to extract design rules. The furnished drawing of a dwelling is considered as the language of a designer. These drawings contain the semantic knowledge that can be called general architectural know-how. This paper bases on the decomposition of the syntax of a room image. The syntax of a room image consists of walls, windows, circulation zones and furniture such as beds, wardrobes, commodes, dressing tables, etc. The syntax of a room image has some linkages. The designer put the syntax together with the joints of circulation zones as a grammar to match. The existing relations between the objects in a design can be called grammar. An experiment is applied to three classes of a CAAD course organised by the Turkish Chamber of Architects. The living room is given already furnished in the experiment and the rest of a dwelling is expected to be furnished. In the first phase, the experiment is applied on two different classes in different times. It is interesting that the same grammar is used by 6 of 8 couple of designers for 3 different types (A, B and D) of bedrooms. Only one of the bedrooms of C type) has different design styles in spite of looking much like each other. In the second phase, for the third class of 6 groups, plan is modified slightly. In this case all of the 6 couples of designers use the same grammar for 2 alternatives of D type bedroom for parents. An original method is applied in the elicitation of the knowledge in this experiment. The properties of the objects and their links are represented by a semantic network graph. This paper also presents the grammar of the furnished rooms and shows the density of preferences. Design rules are extracted from these drawings of a furnished dwelling by searching for similarities in the plans designed by different designers. The designers have some specifications about the grammar of furnishing and an image schema of the proposed room in their minds, depending on their education and experiences. During the design of a room, designers look for differences and the similarities existing in the syntax of the proposed room image and the image of furnished room on the screen. If these images match with each other, the designers satisfy with the result This paper investigates the image schemata of the designers by evaluating their drawings. Some design rules are represented by means of image schemata. Matching the joints of circulation zones, the designers put the syntax of different image schemata together and they can illustrate different alternatives, restricted by the translation of these image schemata.
series	eCAADe
email
last changed	2022/06/07 07:50

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