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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Reformat results as: short short into frame detailed detailed into frame

_id	2098
authors	Goldman, Glenn and Hoon, Michael
year	1994
title	Digital Design In Architecture: First Light, Then Motion, and Now Sound
doi	https://doi.org/10.52842/conf.acadia.1994.027
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 27-38
summary	If we restricted our idea of architecture to only the traditional and static description of visual space and form, we might not be considering significant characteristics of the places we are designing. If, however, we accepted even a limited definition, as stated by Le Corbusier, that "architecture is the masterly, correct, and magnificent play of masses brought together in light", we would at least be forced to consider the dimension of time as the ever-changing daylight modifies the way our creations are perceived. However, neither the built nor the natural environments are silent. Sound affects the way we feel about certain events and places, and in turn, places we create can modify or influence the way we hear sounds. As computers become more audio capable, we can expect changes in the ways that architects plan, design, and present their projects. Issues of both objective and nonobjective sound can become significant factors throughout the building delivery process. As the visual sophistication and acoustic expectations of society rise because of the ubiquitous power of electronic multimedia - as well as "cross-media" applications (film, video, television, and scientific visualization) it is inevitable that the architectural design and presentation processes reflect these changes.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	2ccd
authors	Kalisperis, Loukas N.
year	1994
title	3D Visualization in Design Education
doi	https://doi.org/10.52842/conf.acadia.1994.177
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 177-184
summary	It has been said that "The beginning of architecture is empty space." (Mitchell 1990) This statement typifies a design education philosophy in which the concepts of space and form are separated and defined respectively as the negative and positive of the physical world, a world where solid objects exist and void-the mere absence of substance-is a surrounding atmospheric emptiness. Since the beginning of the nineteenth century, however, there has been an alternative concept of space as a continuum: that there is a continuously modified surface between the pressures of form and space in which the shape of the space in our lungs is directly connected to the shape of the space within which we exist. (Porter 1979). The nature of the task of representing architecture alters to reflect the state of architectural understanding at each period of time. The construction of architectural space and form represents a fundamental achievement of humans in their environment and has always involved effort and materials requiring careful planning, preparation, and forethought. In architecture there is a necessary conversion to that which is habitable, experiential, and functional from an abstraction in an entirely different medium. It is often an imperfect procedure that centers on the translation rather than the actual design. Design of the built environment is an art of distinctions within the continuum of space, for example: between solid and void, interior and exterior, light and dark, or warm and cold. It is concerned with the physical organization and articulation of space. The amount and shape of the void contained and generated by the building create the fabric and substance of the built environment. Architecture as a design discipline, therefore, can be considered as a creative expression of the coexistence of form and space on a human scale. As Frank Ching writes in Architecture: Form, Space, and Order, "These elements of form and space are the critical means of architecture. While the utilitarian concerns of function and use can be relatively short lived, and symbolic interpretations can vary from age to age, these primary elements of form and space comprise timeless and fundamental vocabulary of the architectural designer." (1979)
series	ACADIA
email
last changed	2022/06/07 07:52

_id	45f0
authors	Coleman, Kim
year	1994
title	Synergism and Contingency: Design Collaboration with the Computer
doi	https://doi.org/10.52842/conf.acadia.1994.209
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 209-217
summary	The outcome of an architectural project is always contingent, dependent upon conditions or events that are not established at the outset. A university design studio does not easily replicate the state of flux which occurs as an architectural commission proceeds. In developing an architectural project, each new situation, whether it be a building code issue, an engineering issue, or a client reaction, must be viewed as an opportunity to further refine and develop the design rather than a hindrance to the outcome. In the design studio I describe in this paper, students test processes which attempt to take advantage of contingent conditions, opening up the design solutions to new possibilities. As a means to open up the design process to new possibilities, this studio introduces the computer as the primary tool for design exploration. Through the computer interface, the work speculates on the possibilities of synergism, defined as the actions of two or more substances or organisms to achieve an effect of which each is individually incapable.' Three synergetic conditions are explored: that between the designer and the computer, that between the designer with computer and designers of previous works of art or architecture, and that between two or more designers working together with the computer. The lack of a predictable result, one that may be obvious or superficial, is a positive byproduct of the synergetic and contingent circumstances under which the designs are developed.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	672c
authors	Hill, Pamela J. and Smeltzer, Geert T.A.
year	1994
title	Virtual Reality in the Architectural Design Studio
doi	https://doi.org/10.52842/conf.acadia.1994.229
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 229-231
summary	In 1994, students from Montana State University took part in a student exchange at the Eindhoven University of Technology in the Netherlands. The goal of this exchange was to investigate the pedagogical results of using Virtual Reality in the architectural design studio as a tool to create, understand, and describe three-dimensional space. At the conclusion of this project, it was discovered that through VR the students were able to understand the spatial qualities of their own designs much more comprehensively than with threedimensional computer models alone. It was also discovered that the understanding of peer students, design, and technical faculty was enhanced as well.
series	ACADIA
email
last changed	2022/06/07 07:50

_id	8fb2
id	8fb2
authors	McCall, Raymond, Bennett, Patrick and Johnson, Erik
year	1994
title	An Overview of the PHIDIAS II HyperCAD System
doi	https://doi.org/10.52842/conf.acadia.1994.063
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 63-74
summary	The PHIDIAS II HyperCAD system combines the functionality of CAD graphics, hypermedia, database management and knowledge-based computation in a single, highly integrated design environment. The CAD functionality includes both 3-D and 2-D vector graphics. The hypermedia includes support for text, raster images, video and sound. The database management enables persistent storage and interlinking of large collections of text, images, video, sound and vector graphics, i.e., thousands of vector graphic objects and drawings in a single database. Retrieval is provided both through use of "associative indexing" based on hyperlinks and through use of an advanced query language. The knowledge- based computation includes both inference and knowledgebased critiquing. A highly unusual feature of PHIDIAS II is that it implements all of its functions using only hypermedia mechanisms. Complex vector graphic drawings and objects are represented as composite hypermedia nodes. Inference and critiquing are implemented through use of what are known as virtual structures [Halasz 1988], including virtual links and virtual nodes. These nodes and links are dynamic (computed) rather than static (constant). They are defined as expressions in the same language used for queries and are computed at display time. The implementation of different kinds of functions using a common set of mechanisms makes it easy to use them in combination, thus further augmenting the system's functionality. PHIDIAS supports design by informing architects as they develop a solution's form. The idea is thus not to make the design process faster or cheaper but rather to improve the quality of the things designed. We believe that architects can create better buildings for their users if they have better information. This includes information about buildings of given types, user populations, historical and modern precedents, local site and climate conditions, the urban and natural context and its historical development, as well as local, state and federal regulations.
series	ACADIA
last changed	2022/06/07 07:59

_id	6058
authors	Smulevich, Gerard
year	1994
title	The Electronic Bauhaus
doi	https://doi.org/10.52842/conf.acadia.1994.197
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 197-208
summary	This paper describes the use of electronic space in a fourth year undergraduate architectural design studio. It attempts to address the importance of developing a design process that is redefined by the use of computing, integrating concept and perception. This goal is set in the studio exercise, an international student design competition to design an addition to the school of architecture at the original Bauhaus/Weimar. The studio involved re-evaluating the Bauhaus principles of integrating the artist and the craftsman, but in contemporary or post-industrial terms. In 1989 the Wall came down. Seamless access of western telecommunications and media became greatly responsible for the crumbling of the rigid machine-age soviet technocracy; and with it, the former east German city of Weimar, home to the first Bauhaus, was once again a living part of architectural history. When the Association of Collegiate Schools of Architecture announced an international student competition to design a new addition to the school of architecture at the original Bauhaus/Weimar, we immediately decided that this should be an Electronic Bauhaus.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	ca51
authors	Asanowicz, Aleksander
year	1994
title	CAFE: Composition for Architects - Forms and Emotions
doi	https://doi.org/10.52842/conf.ecaade.1994.x.l3s
source	The Virtual Studio [Proceedings of the 12th European Conference on Education in Computer Aided Architectural Design / ISBN 0-9523687-0-6] Glasgow (Scotland) 7-10 September 1994, pp. 249
summary	In the architectural creation process there has always been an inclination to improve the methods of designing in the way of ,,objectivization" of designing process. Objectivization which would explain why we do design in this way and not the other. In spite of the trend to the total objectivization (Vitruvius, Alberti, Palladio), the results appeared to be still subjective, i.e. they included methods of designing typical of the one and only architect. This fact made them completely useless in the designing practice. On the other hand one cannot underestimate their meaning as to this very practice. Because it is just thanks to them that the development of designing studies has taken place. We do learn not only watching works of great architects, but also studying their opinions concerning problems of form, function and construction. That is why it seems to be useful to collect experiences concerning the classic theory of architectural composition, which have been gathered through centuries, as well as to try once again to objectivize the process. Composition information arranged in the form of data-base would create the ground for proper functioning of an expert system uniting diagnostic and planning functions. Study of that kind, not claiming design applications could be an excellent educational equipment in teaching architectural composition. In the proposed teaching system attempts have been made to look at the architectural composition theory in the light of the perception of the form, and - emerging in this process - emotional and aesthetic evaluations. In order to define which evaluations have been most often expressed during the perception process of architectural forms, the students of Architecture Faculty in Bialystok Technical University have been polled on the subject: ,,Which words are most commonly used in the descriptions of architecture works?"
series	eCAADe
email
last changed	2022/06/07 07:50

_id	7a20
id	7a20
authors	Carrara, G., Fioravanti, A.
year	2002
title	SHARED SPACE’ AND ‘PUBLIC SPACE’ DIALECTICS IN COLLABORATIVE ARCHITECTURAL DESIGN.
source	Proceedings of Collaborative Decision-Support Systems Focus Symposium, 30th July, 2002; under the auspices of InterSymp-2002, 14° International Conference on Systems Research, Informatics and Cybernetics, 2002, Baden-Baden, pg. 27-44.
summary	The present paper describes on-going research on Collaborative Design. The proposed model, the resulting system and its implementation refer mainly to architectural and building design in the modes and forms in which it is carried on in advanced design firms. The model may actually be used effectively also in other environments. The research simultaneously pursues an integrated model of the: a) structure of the networked architectural design process (operators, activities, phases and resources); b) required knowledge (distributed and functional to the operators and the process phases). The article focuses on the first aspect of the model: the relationship that exists among the various ‘actors’ in the design process (according to the STEP-ISO definition, Wix, 1997) during the various stages of its development (McKinney and Fischer, 1998). In Collaborative Design support systems this aspect touches on a number of different problems: database structure, homogeneity of the knowledge bases, the creation of knowledge bases (Galle, 1995), the representation of the IT datum (Carrara et al., 1994; Pohl and Myers, 1994; Papamichael et al., 1996; Rosenmann and Gero, 1996; Eastman et al., 1997; Eastman, 1998; Kim, et al., 1997; Kavakli, 2001). Decision-making support and the relationship between ‘private’ design space (involving the decisions of the individual design team) and the ‘shared’ design space (involving the decisions of all the design teams, Zang and Norman, 1994) are the specific topic of the present article. Decisions taken in the ‘private design space’ of the design team or ‘actor’ are closely related to the type of support that can be provided by a Collaborative Design system: automatic checks performed by activating procedures and methods, reporting of 'local' conflicts, methods and knowledge for the resolution of ‘local’ conflicts, creation of new IT objects/ building components, who the objects must refer to (the ‘owner’), 'situated' aspects (Gero and Reffat, 2001) of the IT objects/building components. Decisions taken in the ‘shared design space’ involve aspects that are typical of networked design and that are partially present in the ‘private’ design space. Cross-checking, reporting of ‘global’ conflicts to all those concerned, even those who are unaware they are concerned, methods for their resolution, the modification of data structure and interface according to the actors interacting with it and the design phase, the definition of a 'dominus' for every IT object (i.e. the decision-maker, according to the design phase and the creation of the object). All this is made possible both by the model for representing the building (Carrara and Fioravanti, 2001), and by the type of IT representation of the individual building components, using the methods and techniques of Knowledge Engineering through a structured set of Knowledge Bases, Inference Engines and Databases. The aim is to develop suitable tools for supporting integrated Process/Product design activity by means of a effective and innovative representation of building entities (technical components, constraints, methods) in order to manage and resolve conflicts generated during the design activity.
keywords	Collaborative Design, Architectural Design, Distributed Knowledge Bases, ‘Situated’ Object, Process/Product Model, Private/Shared ‘Design Space’, Conflict Reduction.
series	other
type	symposium
email
last changed	2005/03/30 16:25

_id	6279
id	6279
authors	Carrara, G.; Fioravanti, A.
year	2002
title	Private Space' and ‘Shared Space’ Dialectics in Collaborative Architectural Design
source	InterSymp 2002 - 14th International Conference on Systems Research, Informatics and Cybernetics (July 29 - August 3, 2002), pp 28-44.
summary	The present paper describes on-going research on Collaborative Design. The proposed model, the resulting system and its implementation refer mainly to architectural and building design in the modes and forms in which it is carried on in advanced design firms. The model may actually be used effectively also in other environments. The research simultaneously pursues an integrated model of the: a) structure of the networked architectural design process (operators, activities, phases and resources); b) required knowledge (distributed and functional to the operators and the process phases). The article focuses on the first aspect of the model: the relationship that exists among the various ‘actors’ in the design process (according to the STEP-ISO definition, Wix, 1997) during the various stages of its development (McKinney and Fischer, 1998). In Collaborative Design support systems this aspect touches on a number of different problems: database structure, homogeneity of the knowledge bases, the creation of knowledge bases (Galle, 1995), the representation of the IT datum (Carrara et al., 1994; Pohl and Myers, 1994; Papamichael et al., 1996; Rosenmann and Gero, 1996; Eastman et al., 1997; Eastman, 1998; Kim, et al., 1997; Kavakli, 2001). Decision-making support and the relationship between ‘private’ design space (involving the decisions of the individual design team) and the ‘shared’ design space (involving the decisions of all the design teams, Zang and Norman, 1994) are the specific topic of the present article. Decisions taken in the ‘private design space’ of the design team or ‘actor’ are closely related to the type of support that can be provided by a Collaborative Design system: automatic checks performed by activating procedures and methods, reporting of 'local' conflicts, methods and knowledge for the resolution of ‘local’ conflicts, creation of new IT objects/ building components, who the objects must refer to (the ‘owner’), 'situated' aspects (Gero and Reffat, 2001) of the IT objects/building components. Decisions taken in the ‘shared design space’ involve aspects that are typical of networked design and that are partially present in the ‘private’ design space. Cross-checking, reporting of ‘global’ conflicts to all those concerned, even those who are unaware they are concerned, methods for their resolution, the modification of data structure and interface according to the actors interacting with it and the design phase, the definition of a 'dominus' for every IT object (i.e. the decision-maker, according to the design phase and the creation of the object). All this is made possible both by the model for representing the building (Carrara and Fioravanti, 2001), and by the type of IT representation of the individual building components, using the methods and techniques of Knowledge Engineering through a structured set of Knowledge Bases, Inference Engines and Databases. The aim is to develop suitable tools for supporting integrated Process/Product design activity by means of a effective and innovative representation of building entities (technical components, constraints, methods) in order to manage and resolve conflicts generated during the design activity.
keywords	Collaborative Design, Architectural Design, Distributed Knowledge Bases, ‘Situated’ Object, Process/Product Model, Private/Shared ‘Design Space’, Conflict Reduction.
series	other
type	symposium
email
last changed	2012/12/04 07:53

_id	0726
authors	Kadysz, Andrzej
year	1994
title	CAD the Tool
doi	https://doi.org/10.52842/conf.ecaade.1994.x.k7r
source	The Virtual Studio [Proceedings of the 12th European Conference on Education in Computer Aided Architectural Design / ISBN 0-9523687-0-6] Glasgow (Scotland) 7-10 September 1994, p. 212
summary	What is the role of CAAD as a tool of architectural form creation ? We used to over-estimate the role of computer as significant factor of design process. In fact it serves only to produce technical documentation and to visualise designed buildings. We usually use CAAD to record ideas, not to create designs. We use it like more complex pencil. But it is unsuitable for conceptual design , with imperceptible influence on idea definition. Its practical usefulnes is limited. I would like to consider and find out reasons of that state, present some conclusions and ideas on computer aided architectural form creation. Many tools were invented to extend posibilities of human body or intellect. Microscop and telescop are extensions of human eye. Which organ is extended by computer (especially by CAAD)? CAAD with high developed function of visualising of the object beeing designed seems to be an extension of architect's imagination. It is beeing used to foresee visual efects, to check designed forms, to see something what we are not able to imagine. It performes the role of electronic modeler. Real model and virtual model - the medium of presentation is diferent but ways of using them are similar . Dislocation of place where we build model is not a big achievement, but potential possbilities of CAAD in modeling are almost unlimited (?). What are special features of CAAD as a modeling tool? First we have to consider what is indispensible when building a model: to embody idea. To do this we need space, substance and tools. In architectural design practice space is a real site with definite climate, neigbourhood, orientation. Substance that we shape is an archiectural form composed of many difrent elements: walls, windows, roof, entry, ... , proportions, rhythm, emotions, impresions... The tool is: our knowledge, imagination, talent, experience, norms, law and drawing equipment. Working with the computer, making virtual model, we have many of mentioned elements given in structure of CAAD program and interpreted by it. But many of them have different character. Making traditional dummy of building we operate on reality which is manually accessible. In case of computer model we operate on information. Space, substance and tool (- program) are informations, data. Human being is not an abstract data processor, but creature that lives non stop in close, direct, sensual contact with nature. By this contact with enviroment collects experiences. Computer can operate on digital data that is optionally selected and given by user, independent upon enviromental conditions. Usually architecture was created on basis of enviroment, climate, gravity. But these do not exist in CAAD programs or exist in the symbolic form. Character of these conditions is not obvious. We can watch demeanour of objects in gravity but it can be also antigravity. In theory of systems everything is considered as a part of biger system. In "virtual" reality (in computer space) we deal with accurences which are reduced to abstract level, free upon terms or connections. We work with our CAAD software using geometric space whithout any other principle.
series	eCAADe
last changed	2022/06/07 07:50

_id	ddss9453
id	ddss9453
authors	Krafta, Romulo
year	1994
title	Urban Configuration, Attraction And Morphology
source	Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary	Spatial Interaction (SI), based on the principle of attraction, has set up a powerful way of looking at the behaviour of urban systems. Within-place activities generate and/or attract trips, due to their inner fragmentary nature; several activities articulate a system of locations and flows which is supposed to be regulated by concentration of those activities and distance between them'. SI has been criticized for having a poor theory and little regard to spatial specifics. In general terms, planners and large-scale urban scientists have been more comfortable with it than designers and urban morphologists, whose questions about space configuration are awkwardly dealt with in such a framework. Recently, Space Syntax (SS) has been suggested as an alternative to describe possible roles of space in the urban system. Its theory looks very complex - a deep cultural, anthropological connection between man and space, an atavistic impulse driving the shaping of space. Teklenburg et al have shown, however, that it is, in fact, very simple and not far from the rude assumptions of SI: a matter of distance and orientation3. Hence, what does look new is just its way of describing orientation, through the axiallity of public space. Axial lines retain the fundamental issue of connectivity; so they describe space more efficiently than the traditional zones or links used in SI models. SI says little about configuration, SS says little about interaction between spaces and activities, and both say nothing about morphology, or the configurational development of urban systems. An alternative approach is suggested: (i) urban spatial configurati-on (urban grid and built form) strongly conditions activity location and flows, in the short term. In this way, a convenient description of such a configuration should denounce its potential to housing activities and generate flows. This required description should take the grid axiallity as a measure of connectivity and orientation, as in SS, as well as the built form as a measure of attraction, as in SI; (ii) activity location and flows strongly conditions urban spatial configuration change, in the long run. Location and flow patterns create values that are expressed by an increasing conflict between rising land values and declining building values. As a result, configuration is taken as a particular state of a morphology whose transformation rules are an economic expression of spatiality. Flows are cause and effect in the lagged process of mutual transformation which shapes the urban space.
series	DDSS
email
last changed	2003/08/07 16:36

_id	ddss9456
id	ddss9456
authors	Kubiak, Bernard and Korowicki, Antoni
year	1994
title	Identification And Analysis of the Recreational Behaviour Forms and the Needed Recreational Space Using the Integrated Spatial and Object-Oriented Gis: Concepts and Statements
source	Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary	This paper is concerned with how to measure and investigate changes in the recreational behaviour and the required recreational space in Polish seaside recreational areas in last few years. Spatial information is an integral part of the identification and analysis of recreational behaviour and required recreational space. We postulate, therefore, that spatial information should be fully incorporated in integrated object-oriented GIS and Decision Support Technology. We argue in this paper that the existing theoretical approaches with their descriptive and technical basis do not offer directions for its application and evaluation. They do not seek to explain the processes undergone by spatial information, nor define appropriate data models. New approaches to GIS use object-oriented structures and expert systems concepts, and they will become increasingly helpful in understanding GIS. It is not unreasonable to expect that the most important issue is to use a data model or object-oriented models which closely represent the user's concept of the geographic object for representing spatial phenomena. We have discovered that most Polish users in this field are unable to collect the data they require directly. Thus they have to use methods and techniques, which cannot be found in GIS such as SWOT analysis. According to our experiences, the identification and analysis of the recreational behaviour and the required recreational space should be defined as a system approach where: (i) recreational space requires an object, (ii) state of recreational space is defined by the set of values of recreational space features, and (iii) the utility of the recreational space is defined by a set of features. The identification and analysis of the recreational behaviour in the presented approach are based on the features/utilities matrix of the recreational space and the computer map. The development of such a system needs many organizational changes. It is shown that in many applications organizational rather than the technical aspects of GIS determine their future and open the way to new spatial analytical techniques.
series	DDSS
last changed	2003/08/07 16:36

_id	9377
authors	Nowacki, Aleksander
year	1995
title	Gothic Cathedral in the Virtual Reality
source	CAD Space [Proceedings of the III International Conference Computer in Architectural Design] Bialystock 27-29 April 1995, pp. 43-56
summary	Everyone who once visited Beauvais, small town placed 100 km from Paris, certainly asked himself: "how would have this highest gothic cathedral, that was started here, looked like if it had been completed?". I attempted to answer this question in my diploma work in 1994. However, the task wouldn't be done without power of contemporary computers. They made it possible to create the entire three-dimensional model of this magnificent building in the virtual reality. Cathedral Saint-Pierre in Beauvais, which was started in 1225, partly collapsed in 1284 and 1573. Finally, in 1600, when only choir and transept were finished, the works had been interrupted. The height of this highest gothic interior in the world is 48.5m. To my disposition I had the drawings of plan and cross- section of the existing part of the building, photographic specification and detailed description of the construction of the cathedral. I used PC 486DX/33, 16 MB RAM, HD 170 MB and software: Autodesk AutoCAD r.12 and AccuRender r.1.10. The work was divided into three stages. The first one was "building" the model of existing part of the cathedral in the threedimensional CAD-space. The next one was trying "to finish" the temple based on theoretical reflections and comparative analyses of existing French gothic cathedrals. The last stage included the performance of the series of pseudorealistic pictures showing the "finished" cathedral in Beauvais from the outside, inside and with illumination by night.
series	plCAD
last changed	2000/01/24 10:08

_id	ddss9482
id	ddss9482
authors	Schmitt, Gerhard N.
year	1994
title	Interaction with Architectural Cases in a Virtual Design Environment
source	Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary	The prime business of architecture is change through design. While most architects will welcome any tool which supports this activity with minimal effort, they will not embrace a tool which either seems to automate design or requires major efforts to understand and use. Conventional databases - be it in the form of books or computer applications - are normally in a serving function to support the activity of design and to provide reference. Visual databases have a long history in architecture in the form of drawings, photographs and, more recently, computer-captu-red or computer-generated images. Whereas the first computer-based image libraries closely followed the existing paradigm of existing paper-based libraries, new developments both in software and in computing media offer different opportunities. Knowledge-based and case-based descriptions of architectural features increasingly replace the traditional, passive representations. While in the past these images were subject to more or less random interpretations, the new computer-based images are only one representation of a model which includes many other aspects. The visual aspects of a building are thus no longer restricted to the finished drawing, but new representations of the abstractions of a building become possible. True and direct interaction with visually presented objects thus becomes a reality. The paper presents a prototype of a visual database in a virtual design environment in its critical aspects: (i) the architectural content and representation of such a database and the criteria for the cases in it, (ii) the enabling computing and software environment, and (iii) three practical applications. The prototype is presently being implemented in the Architectural Space Laboratory (ASL) in the Department of Architecture at ETh Zurich.
series	DDSS
email
last changed	2003/08/07 16:36

_id	eaea2005_133
id	eaea2005_133
authors	Weber, Ralf
year	2006
title	Urban space and architectural scale - Two examples of empirical research in architectural aesthetics
source	Motion, E-Motion and Urban Space [Proceedings of the 7th European Architectural Endoscopy Association Conference / ISBN-10: 3-00-019070-8 - ISBN-13: 978-3-00-019070-4], pp. 133-149
summary	As one of the oldest schools of architecture in Germany, Dresden has a long and continuous tradition in the field of architectural aesthetics and building composition. Architects such as Fritz Schumacher initiated research and teaching in the field in the 1920s, and this was revitalised during the 1950s by Otto Schubert who laid the foundations for a scientific description of the correlation between optics and architectural design, and also worked towards a comprehensive theory of architectural composition. As a result of the architectural ideology of the East German regime, such studies were consigned to near oblivion and the main concern became interior decoration. With the appointment of Professor Ralf Weber, the institute was reestablished in 1994 under its original name, the Institute of Spatial Design (Raumgestaltung). Its new research agenda originated from Weber’s book “On the Aesthetics of Architectural Form - A Psychological Approach to the Structure and the Order of Perceived Architectural Space” (Ashgate 1994). In order to verify some of the hypotheses advanced in the book empirically, members of the institute have been carrying out a number of studies in the areas of oculomotor research and the perceptual foundations of design, and have been addressing issues that would help formulate principles of good architectural form and space applicable to the everyday practice of architectural design. Currently, the Institute of Spatial Design focuses on the further development of the psychological bases of experiencing architecture, as well as on theories of aesthetics and their application in practice. Specifically, attention is paid, on the one hand, to the perception and experience of architecture, i.e. aesthetics, and on the other, to the assemblage of various parts into an overall whole in a building, city or landscape – in other words, architectural composition. These two aspects are naturally inextricably intertwined: the one concerns the reception of architecture, the other, its production. Under these headings, various other areas of interest, such as architectural tectonics, systems of order and proportions, or the issue of scale in architecture, are tackled through dissertations, research projects and seminars. The institute has been cooperating on several studies with the Cognitive & Biological Psychology Unit at the University of Leipzig and the intention is eventually to establish an interdisciplinary research unit for architectural aesthetics.
series	EAEA
type	normal paper
email
more	http://info.tuwien.ac.at/eaea
last changed	2008/04/29 20:46

_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	e8b9
authors	Kesler, Beatrice
year	1994
title	PROGRAMME OF HABITAT WISHES - A TOOL FOR COMMUNICATION
source	Beyond Tools for Architecture [Proceedings of the 5th European Full-scale Modeling Association Conference / ISBN 90-6754-375-6] Wageningen (The Netherlands) 6-9 September 1994, pp. 23-30
summary	How to develop an attractive built environment with the desired housing and well kept outdoor conditions? As long as experts do not ask lay-people for their needs and wants, we must not be surprised that people are not interested in their environment and show a lack of care. The contribution of (future) inhabitants in the planning process can have a material and a social impact on building, improving and maintaining a neighbourhood. One of the problems that have to be solved is the question how to improve the communication between non-professionals and professionals, between inhabitants and designers (architects). Inhabitants express themselves in a simple language about the number of rooms, cupboards, size of the garden and parking place. Architects communicate in drawings of designs and talk in a technical language about functions, forms, spacial structures, light and expression. It can be helpful - is the fundamental idea in Wageningen - to develop a shared language, to start talking about activities and to use scale models in a structured process. The participation process is a sort of exploratory expedition. Good communication is a must for a successful participation process. A clear expression of the 'programme of habitat wishes' is the first step in the dialogue between inhabitants and architect. The Structural Space Planning Method is a structured process to develop a 'programme of habitat wishes' for the built environment. It can be related to all sorts of objects: houses, co-housing projects, institutions, playgrounds, streets or neighbourhoods. Full scale and scale models are part of the Structural Space Planning Method, as described by Van Dam (these proceedings). This contribution describes some practical experiences with the development of the 'programme of habitat wishes' and the effects on the participation process.
keywords	Model Simulation, Real Environments
series	other
type	normal paper
more	http://info.tuwien.ac.at/efa
last changed	2004/05/04 10:59

_id	2fc4
authors	Linzer, H., Martens, B. and Voigt, A.
year	1994
title	The Integration of Virtual and Full-Scale Modelling
doi	https://doi.org/10.52842/conf.ecaade.1994.147
source	The Virtual Studio [Proceedings of the 12th European Conference on Education in Computer Aided Architectural Design / ISBN 0-9523687-0-6] Glasgow (Scotland) 7-10 September 1994, pp. 147-151
summary	Practically every design- and planning activity aims at its ultimate realization in the built environment. Any respective decisions are generally taken on the basis of substitutes of the original. Yet, the true spatial dimensions and proportions can be conceived on a 1:1 scale "without any mental detour". Moreover, the interaction of light, colour and material is best represented in the 1:1 model. One of the main reasons why physical 1:1 models are rarely constructed is certainly the unbalanced economic relation between expenditure and resulting use. Therefore, representation by means of less expensive virtual models has taken a preeminent position. However, a balanced combination of physical and virtual models in full-scale according to area- and problem-type, degree of details and scale is likely to become increasingly important in the future. It is not the aim of Simulation Aided Architectural Design (SAAD) and Simulation Aided City Development (SACD) to do completely away with existing working procedures and planning techniques, but to act supplements promoting the integration of traditional and new simulation techniques by an-ticipating "realities" aimed at the best-suited design of a common living space. Furthermore, the generation of visions and utopian schemes may add to an enhancement as far as spatial development and design are regarded within the issue of falsification and verification of spatial developments.
series	eCAADe
email
more	http://info.tuwien.ac.at/ecaade/
last changed	2022/06/07 07:59

_id	eb5f
authors	Al-Sallal, Khaled A. and Degelman, Larry 0.
year	1994
title	A Hypermedia Model for Supporting Energy Design in Buildings
doi	https://doi.org/10.52842/conf.acadia.1994.039
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 39-49
summary	Several studies have discussed the limitations of the available CAAD tools and have proposed solutions [Brown and Novitski 1987, Brown 1990, Degelman and Kim 1988, Schuman et al 1988]. The lack of integration between the different tasks that these programs address and the design process is a major problem. Schuman et al [1988] argued that in architectural design many issues must be considered simultaneously before the synthesis of a final product can take place. Studies by Brown and Novitski [1987] and Brown [1990] discussed the difficulties involved with integrating technical considerations in the creative architectural process. One aspect of the problem is the neglect of technical factors during the initial phase of the design that, as the authors argued, results from changing the work environment and the laborious nature of the design process. Many of the current programs require the user to input a great deal of numerical values that are needed for the energy analysis. Although there are some programs that attempt to assist the user by setting default values, these programs distract the user with their extensive arrays of data. The appropriate design tool is the one that helps the user to easily view the principal components of the building design and specify their behaviors and interactions. Data abstraction and information parsimony are the key concepts in developing a successful design tool. Three different approaches for developing an appropriate CAAD tool were found in the literature. Although there are several similarities among them, each is unique in solving certain aspects of the problem. Brown and Novitski [1987] emphasize the learning factor of the tool as well as its highly graphical user interface. Degelman and Kim [1988] emphasize knowledge acquisition and the provision of simulation modules. The Windows and Daylighting Group of Lawrence Berkeley Laboratory (LBL) emphasizes the dynamic structuring of information, the intelligent linking of data, the integrity of the different issues of design and the design process, and the extensive use of images [Schuman et al 19881, these attributes incidentally define the word hypermedia. The LBL model, which uses hypermedia, seems to be the more promising direction for this type of research. However, there is still a need to establish a new model that integrates all aspects of the problem. The areas in which the present research departs from the LBL model can be listed as follows: it acknowledges the necessity of regarding the user as the center of the CAAD tool design, it develops a model that is based on one of the high level theories of human-computer interaction, and it develops a prototype tool that conforms to the model.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	241b
authors	Anderson, Lee
year	1994
title	Film Theory and Architectural Design
doi	https://doi.org/10.52842/conf.acadia.1994.219
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 219-227
summary	This paper describes a 10 week, 3rd year architectural design studio, taught by the author, that explored the use of film and video techniques in the design process. The exploration was of (1) the potential of recently available personal computer software and hardware for image and video capture, manipulation and recording, and (2) the potential for application of video, informed by film theory, in the early stages of architectural design.
series	ACADIA
last changed	2022/06/07 07:54

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