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	dfaf
authors	Ataman, Osman
year	2000
title	Some Experimental Results in the Assessment of Architectural Media
doi	https://doi.org/10.52842/conf.acadia.2000.163
source	Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 163-171
summary	The relationship between the media and architectural design can be an important factor and can influence the design outcome. However, the nature, direction and magnitude of this relationship are unknown. Consequently, there have been many speculative claims about this relationship and almost none of them are supported with empirical research studies. In order to investigate these claims and to provide a testable framework for their potential contributions to architectural education, this study aims to explore the effects of media on architectural design. During 1995-1997, a total of 90 students enrolling in First Year Design Studio and Introduction to Computing classes at Georgia Tech participated in the study. A set of quantitative measures was developed to assess the differences between the two media and the effects on the architectural design. The results suggested that media influenced certain aspects of students’ designs. It is concluded that there is a strong relationship between the media and architectural design. The type of media not only changes some quantifiable design parameters but also affects the quality of design.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	sigradi2008_049
id	sigradi2008_049
authors	Benamy, Turkienicz ; Beck Mateus, Mayer Rosirene
year	2008
title	Computing And Manipulation In Design - A Pedagogical Experience Using Symmetry
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	The concept of symmetry has been usually restricted to bilateral symmetry, though in an extended sense it refers to any isometric transformation that maintains a certain shape invariant. Groups of operations such as translation, rotation, reflection and combinations of these originate patterns classified by modern mathematics as point groups, friezes and wallpapers (March and Steadman, 1974). This extended notion represents a tool for the recognition and reproduction of patterns, a primal aspect of the perception, comprehension and description of everything that we see. Another aspect of this process is the perception of shapes, primary and emergent. Primary shapes are the ones explicitly represented and emergent shapes are the ones implicit in the others (Gero and Yan, 1994). Some groups of shapes known as Semantic Shapes are especially meaningful in architecture, expressing visual features so as symmetry, rhythm, movement and balance. The extended understanding of the concept of symmetry might improve the development of cognitive abilities concerning the creation, recognition and meaning of forms and shapes, aspects of visual reasoning involved in the design process. This paper discusses the development of a pedagogical experience concerned with the application of the concept of symmetry in the creative generation of forms using computational tools and manipulation. The experience has been carried out since 1995 with 3rd year architectural design students. For the exploration of compositions based on symmetry operations with computational support we followed a method developed by Celani (2003) comprising the automatic generation and update of symmetry patterns using AutoCAD. The exercises with computational support were combined with other different exercises in each semester. The first approach combined the creation of two-dimensional patterns to their application and to their modeling into three-dimensions. The second approach combined the work with computational support with work with physical models and mirrors and the analysis of the created patterns. And the third approach combined the computational tasks with work with two-dimensional physical shapes and mirrors. The student’s work was analyzed under aspects such as Discretion/ Continuity –the creation of isolated groups of shapes or continuous overlapped patterns; Generation of Meta-Shapes –the emergence of new shapes from the geometrical relation between the generative shape and the structure of the symmetrical arrangement; Modes of Representation –the visual aspects of the generative shape such as color and shading; Visual Reasoning –the derivation of 3D compositions from 2D patterns by their progressive analysis and recognition; Conscious Interaction –the simultaneous creation and analysis of symmetry compositions, whether with computational support or with physical shapes and mirrors. The combined work with computational support and with physical models and mirrors enhanced the students understanding on the extended concept of symmetry. The conscious creation and analysis of the patterns also stimulated the student’s understanding over the different semantic possibilities involved in the exploration of forms and shapes in two or three dimensions. The method allowed the development of both syntactic and semantic aspects of visual reasoning, enhancing the students’ visual repertoire. This constitutes an important strategy in the building of the cognitive abilities used in the architectural design process.
keywords	Symmetry, Cognition, Computing, Visual reasoning, Design teaching
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	2068
authors	Frazer, John
year	1995
title	AN EVOLUTIONARY ARCHITECTURE
source	London: Architectural Association
summary	In "An Evolutionary Architecture", John Frazer presents an overview of his work for the past 30 years. Attempting to develop a theoretical basis for architecture using analogies with nature's processes of evolution and morphogenesis. Frazer's vision of the future of architecture is to construct organic buildings. Thermodynamically open systems which are more environmentally aware and sustainable physically, sociologically and economically. The range of topics which Frazer discusses is a good illustration of the breadth and depth of the evolutionary design problem. Environmental Modelling One of the first topics dealt with is the importance of environmental modelling within the design process. Frazer shows how environmental modelling is often misused or misinterpreted by architects with particular reference to solar modelling. From the discussion given it would seem that simplifications of the environmental models is the prime culprit resulting in misinterpretation and misuse. The simplifications are understandable given the amount of information needed for accurate modelling. By simplifying the model of the environmental conditions the architect is able to make informed judgments within reasonable amounts of time and effort. Unfortunately the simplications result in errors which compound and cause the resulting structures to fall short of their anticipated performance. Frazer obviously believes that the computer can be a great aid in the harnessing of environmental modelling data, providing that the same simplifying assumptions are not made and that better models and interfaces are possible. Physical Modelling Physical modelling has played an important role in Frazer's research. Leading to the construction of several novel machine readable interactive models, ranging from lego-like building blocks to beermat cellular automata and wall partitioning systems. Ultimately this line of research has led to the Universal Constructor and the Universal Interactor. The Universal Constructor The Universal Constructor features on the cover of the book. It consists of a base plug-board, called the "landscape", on top of which "smart" blocks, or cells, can be stacked vertically. The cells are individually identified and can communicate with neighbours above and below. Cells communicate with users through a bank of LEDs displaying the current state of the cell. The whole structure is machine readable and so can be interpreted by a computer. The computer can interpret the states of the cells as either colour or geometrical transformations allowing a wide range of possible interpretations. The user interacts with the computer display through direct manipulation of the cells. The computer can communicate and even direct the actions of the user through feedback with the cells to display various states. The direct manipulation of the cells encourages experimentation by the user and demonstrates basic concepts of the system. The Universal Interactor The Universal Interactor is a whole series of experimental projects investigating novel input and output devices. All of the devices speak a common binary language and so can communicate through a mediating central hub. The result is that input, from say a body-suit, can be used to drive the out of a sound system or vice versa. The Universal Interactor opens up many possibilities for expression when using a CAD system that may at first seem very strange.However, some of these feedback systems may prove superior in the hands of skilled technicians than more standard devices. Imagine how a musician might be able to devise structures by playing melodies which express the character. Of course the interpretation of input in this form poses a difficult problem which will take a great deal of research to achieve. The Universal Interactor has been used to provide environmental feedback to affect the development of evolving genetic codes. The feedback given by the Universal Interactor has been used to guide selection of individuals from a population. Adaptive Computing Frazer completes his introduction to the range of tools used in his research by giving a brief tour of adaptive computing techniques. Covering topics including cellular automata, genetic algorithms, classifier systems and artificial evolution. Cellular Automata As previously mentioned Frazer has done some work using cellular automata in both physical and simulated environments. Frazer discusses how surprisingly complex behaviour can result from the simple local rules executed by cellular automata. Cellular automata are also capable of computation, in fact able to perform any computation possible by a finite state machine. Note that this does not mean that cellular automata are capable of any general computation as this would require the construction of a Turing machine which is beyond the capabilities of a finite state machine. Genetic Algorithms Genetic algorithms were first presented by Holland and since have become a important tool for many researchers in various areas.Originally developed for problem-solving and optimization problems with clearly stated criteria and goals. Frazer fails to mention one of the most important differences between genetic algorithms and other adaptive problem-solving techniques, ie. neural networks. Genetic algorithms have the advantage that criteria can be clearly stated and controlled within the fitness function. The learning by example which neural networks rely upon does not afford this level of control over what is to be learned. Classifier Systems Holland went on to develop genetic algorithms into classifier systems. Classifier systems are more focussed upon the problem of learning appropriate responses to stimuli, than searching for solutions to problems. Classifier systems receive information from the environment and respond according to rules, or classifiers. Successful classifiers are rewarded, creating a reinforcement learning environment. Obviously, the mapping between classifier systems and the cybernetic view of organisms sensing, processing and responding to environmental stimuli is strong. It would seem that a central process similar to a classifier system would be appropriate at the core of an organic building. Learning appropriate responses to environmental conditions over time. Artificial Evolution Artificial evolution traces it's roots back to the Biomorph program which was described by Dawkins in his book "The Blind Watchmaker". Essentially, artificial evolution requires that a user supplements the standard fitness function in genetic algorithms to guide evolution. The user may provide selection pressures which are unquantifiable in a stated problem and thus provide a means for dealing ill-defined criteria. Frazer notes that solving problems with ill-defined criteria using artificial evolution seriously limits the scope of problems that can be tackled. The reliance upon user interaction in artificial evolution reduces the practical size of populations and the duration of evolutionary runs. Coding Schemes Frazer goes on to discuss the encoding of architectural designs and their subsequent evolution. Introducing two major systems, the Reptile system and the Universal State Space Modeller. Blueprint vs. Recipe Frazer points out the inadequacies of using standard "blueprint" design techniques in developing organic structures. Using a "recipe" to describe the process of constructing a building is presented as an alternative. Recipes for construction are discussed with reference to the analogous process description given by DNA to construct an organism. The Reptile System The Reptile System is an ingenious construction set capable of producing a wide range of structures using just two simple components. Frazer saw the advantages of this system for rule-based and evolutionary systems in the compactness of structure descriptions. Compactness was essential for the early computational work when computer memory and storage space was scarce. However, compact representations such as those described form very rugged fitness landscapes which are not well suited to evolutionary search techniques. Structures are created from an initial "seed" or minimal construction, for example a compact spherical structure. The seed is then manipulated using a series of processes or transformations, for example stretching, shearing or bending. The structure would grow according to the transformations applied to it. Obviously, the transformations could be a predetermined sequence of actions which would always yield the same final structure given the same initial seed. Alternatively, the series of transformations applied could be environmentally sensitive resulting in forms which were also sensitive to their location. The idea of taking a geometrical form as a seed and transforming it using a series of processes to create complex structures is similar in many ways to the early work of Latham creating large morphological charts. Latham went on to develop his ideas into the "Mutator" system which he used to create organic artworks. Generalising the Reptile System Frazer has proposed a generalised version of the Reptile System to tackle more realistic building problems. Generating the seed or minimal configuration from design requirements automatically. From this starting point (or set of starting points) solutions could be evolved using artificial evolution. Quantifiable and specific aspects of the design brief define the formal criteria which are used as a standard fitness function. Non-quantifiable criteria, including aesthetic judgments, are evaluated by the user. The proposed system would be able to learn successful strategies for satisfying both formal and user criteria. In doing so the system would become a personalised tool of the designer. A personal assistant which would be able to anticipate aesthetic judgements and other criteria by employing previously successful strategies. Ultimately, this is a similar concept to Negroponte's "Architecture Machine" which he proposed would be computer system so personalised so as to be almost unusable by other people. The Universal State Space Modeller The Universal State Space Modeller is the basis of Frazer's current work. It is a system which can be used to model any structure, hence the universal claim in it's title. The datastructure underlying the modeller is a state space of scaleless logical points, called motes. Motes are arranged in a close-packing sphere arrangement, which makes each one equidistant from it's twelve neighbours. Any point can be broken down into a self-similar tetrahedral structure of logical points. Giving the state space a fractal nature which allows modelling at many different levels at once. Each mote can be thought of as analogous to a cell in a biological organism. Every mote carries a copy of the architectural genetic code in the same way that each cell within a organism carries a copy of it's DNA. The genetic code of a mote is stored as a sequence of binary "morons" which are grouped together into spatial configurations which are interpreted as the state of the mote. The developmental process begins with a seed. The seed develops through cellular duplication according to the rules of the genetic code. In the beginning the seed develops mainly in response to the internal genetic code, but as the development progresses the environment plays a greater role. Cells communicate by passing messages to their immediate twelve neighbours. However, it can send messages directed at remote cells, without knowledge of it's spatial relationship. During the development cells take on specialised functions, including environmental sensors or producers of raw materials. The resulting system is process driven, without presupposing the existence of a construction set to use. The datastructure can be interpreted in many ways to derive various phenotypes. The resulting structure is a by-product of the cellular activity during development and in response to the environment. As such the resulting structures have much in common with living organisms which are also the emergent result or by-product of local cellular activity. Primordial Architectural Soups To conclude, Frazer presents some of the most recent work done, evolving fundamental structures using limited raw materials, an initial seed and massive feedback. Frazer proposes to go further and do away with the need for initial seed and start with a primordial soup of basic architectural concepts. The research is attempting to evolve the starting conditions and evolutionary processes without any preconditions. Is there enough time to evolve a complex system from the basic building blocks which Frazer proposes? The computational complexity of the task being embarked upon is not discussed. There is an implicit assumption that the "superb tactics" of natural selection are enough to cut through the complexity of the task. However, Kauffman has shown how self-organisation plays a major role in the early development of replicating systems which we may call alive. Natural selection requires a solid basis upon which it can act. Is the primordial soup which Frazer proposes of the correct constitution to support self-organisation? Kauffman suggests that one of the most important attributes of a primordial soup to be capable of self-organisation is the need for a complex network of catalysts and the controlling mechanisms to stop the reactions from going supracritical. Can such a network be provided of primitive architectural concepts? What does it mean to have a catalyst in this domain? Conclusion Frazer shows some interesting work both in the areas of evolutionary design and self-organising systems. It is obvious from his work that he sympathizes with the opinions put forward by Kauffman that the order found in living organisms comes from both external evolutionary pressure and internal self-organisation. His final remarks underly this by paraphrasing the words of Kauffman, that life is always to found on the edge of chaos. By the "edge of chaos" Kauffman is referring to the area within the ordered regime of a system close to the "phase transition" to chaotic behaviour. Unfortunately, Frazer does not demonstrate that the systems he has presented have the necessary qualities to derive useful order at the edge of chaos. He does not demonstrate, as Kauffman does repeatedly, that there exists a "phase transition" between ordered and chaotic regimes of his systems. He also does not make any studies of the relationship of useful forms generated by his work to phase transition regions of his systems should they exist. If we are to find an organic architecture, in more than name alone, it is surely to reside close to the phase transition of the construction system of which is it built. Only there, if we are to believe Kauffman, are we to find useful order together with environmentally sensitive and thermodynamically open systems which can approach the utility of living organisms.
series	other
type	normal paper
last changed	2004/05/22 14:12

_id	eccf
authors	Herbert, Daniel M.
year	1995
title	Models, Scanners, Pencils, and CAD: Interactions Between Manual and Digital Media
doi	https://doi.org/10.52842/conf.acadia.1995.021
source	Computing in Design - Enabling, Capturing and Sharing Ideas [ACADIA Conference Proceedings / ISBN 1-880250-04-7] University of Washington (Seattle, Washington / USA) October 19-22, 1995, pp. 21-34
summary	This paper discusses new approaches to the relation between handmade and computer aided media in design. The discussion focuses on two advanced studio projects in which graduate student designers incorporated interactions between physical models, a digital scanner, handmade drawings, and the manipulation of images in the computer. These interactions provide a valuable supplement to traditional means -- both manual and digital -- for generating, developing, and representing architectural form. Features of the student’s work that other designers will find significant are its focus on multiple interactions, its setting within a realistic design process, and its use of low levels of computer technology. After describing details of the designer’s media techniques, the paper discusses the practical and theoretical implications of the work.
series	ACADIA
last changed	2022/06/07 07:49

_id	6b82
authors	Week, David
year	1995
title	The Database Revisited: Beyond the Container Metaphor
doi	https://doi.org/10.52842/conf.acadia.1995.053
source	Computing in Design - Enabling, Capturing and Sharing Ideas [ACADIA Conference Proceedings / ISBN 1-880250-04-7] University of Washington (Seattle, Washington / USA) October 19-22, 1995, pp. 53-70
summary	The growth of international networks, and of international trade in general, has increased the opportunities for architects to work together over distance. In our practice at Pacific Architecture, we’ve been using first modems, and now the Internet, to connect co-workers at sites in Australia, Oregon, Scotland, and Papua New Guinea. Design collaboration has been primarily through the e-mail exchange of text and drawings. We’ve also assessed other CMC tools. Products like Timbuktu and video-conferencing software allow for real-time collaboration, based on the metaphor of two (or more) people together at a table, able to see and hear each other, and to work together on the same document. Groupware make intragroup communication the basis for building a workgroup’s knowledgebase. On recent projects, we’ve begun using database software as the basis for collaborative design communication. We’ve taken as a model for data structure Christopher Alexander’s ‘pattern language’ schema. Conversations about the design take the form of a collaborative construction of the language. Inputs into the database are constrained by the ‘pattern’ format. The CAD drawings run in parallel, as an ‘expression’ or ‘instance’ of the language. So far, CAD and database do not have an integrated interface. This paper describes our experience in these projects. It also outlines a set of design criteria for an integrated CAD/database environment economically and incrementally achievable within the constraints of currently available software. Formulating such criteria requires the reconceptualisation of notions of ‘database’. This paper looks at these notions through philosophical and linguistic work on metaphor. In conclusion, the paper analyses the way in which we can use a reframed notion of database to create a useful collaborative communication environment, centred on the architectural drawing.
series	ACADIA
last changed	2022/06/07 07:58

_id	6cb2
authors	Af Klercker, Jonas
year	1995
title	Architects Early Sketching on Computer Using Multimedia
doi	https://doi.org/10.52842/conf.ecaade.1995.247
source	Multimedia and Architectural Disciplines [Proceedings of the 13th European Conference on Education in Computer Aided Architectural Design in Europe / ISBN 0-9523687-1-4] Palermo (Italy) 16-18 November 1995, pp. 247-256
summary	This paper presents a development work which aims at practical applications of ideas built on experiences in practise and education and the theoretical development in the BAS.CAAD project. The important difference between BAS.CAAD and CAD programs of today is the possibility to handle user organisation, building design and site in the same program. This means that design today has to be done in at least 3 separate programs with different ways of defining objects. It is then a computer technical problem to mix and study the relations between objects of separate origin. In a recent project our method to overcome this difficulty in CAAD computing was using a Multimedia program making visual simulations to analyse consequences of form etc. As the process went on and forms where more concrete it was possible to make simulations worth showing and discussing to involve colleagues, clients and users.
series	eCAADe
email
more	http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_51.htm
last changed	2022/06/07 07:54

_id	623e
authors	Arumi-Noe, Francisco
year	1995
title	Algorithm For The Automatic Design Of A Shading Device
doi	https://doi.org/10.52842/conf.acadia.1995.233
source	Computing in Design - Enabling, Capturing and Sharing Ideas [ACADIA Conference Proceedings / ISBN 1-880250-04-7] University of Washington (Seattle, Washington / USA) October 19-22, 1995, pp. 233-242
summary	Given that there is a need to shade a window from the summer sun and also a need to expose it to the winter sun, this article describes an algorithm to design automatically a geometric construct that satisfies both requirements. The construct obtained represents the minimum solution to the simultaneous requirements. The window may be described by an arbitrary convex polygon and it may be oriented in any direction and it may be placed at any chosen latitude. The algorithm consists of two sequential steps: first to find a winter solar funnel surface; and the second to clip the surface subject to the summer shading conditions. The article introduces the design problem, illustrates the results through two examples, outlines the logic of the algorithm and includes the derivation of the mathematical relations required to implement the algorithm. This work is part of the MUSES project, which is a long term research effort to integrate Energy Consciousness with Computer Graphics in Architectural Design.
keywords	Energy Conscious Design, Green Architecture, Sustainable Architecture, Solar Design, Computer Aided Design
series	ACADIA
last changed	2022/06/07 07:54

_id	819d
authors	Eiteljorg, H.
year	1988
title	Computing Assisted Drafting and Design: new technologies for old problems
source	Center for the study of architecture, Bryn Mawr, Pennsylvania
summary	In past issues of the Newsletter, George Tressel and I have written about virtual reality and renderings. We have each discussed particular problems with the technology, and both of us mentioned how compelling computer visualizations can be. In my article ("Virtual Reality and Rendering," February, 1995, Vol. 7, no. 4), I indicated my concerns about the quality of the scholarship and the level of detail used in making renderings or virtual worlds. Mr. Tressel (in "Visualizing the Ancient World," November, 1996, Vol. IX, no. 3) wrote about the need to distinguish between real and hypothetical parts of a visualization, the need to differentiate materials, and the difficulties involved in creating the visualizations (some of which were included in the Newsletter in black-and-white and on the Web in color). I am returning to this topic now, in part because the quality of the images available to us is improving so fast and in part because it seems now that neither Mr. Tressel nor I treated all the issues raised by the use of high-quality visualizations. The quality may be illustrated by new images of the older propylon that were created by Mr. Tressel (Figs. 1 - 3); these images are significantly more realistic than the earlier ones, but they do not represent the ultimate in quality, since they were created on a personal computer.
series	other
last changed	2003/04/23 15:50

_id	acadia21_100
id	acadia21_100
authors	Ghandi, Mona; Ismail, Mohamed; Blaisdell, Marcus
year	2021
title	Parasympathy
doi	https://doi.org/10.52842/conf.acadia.2021.100
source	ACADIA 2021: Realignments: Toward Critical Computation [Proceedings of the 41st Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 979-8-986-08056-7]. Online and Global. 3-6 November 2021. edited by B. Bogosian, K. Dörfler, B. Farahi, J. Garcia del Castillo y López, J. Grant, V. Noel, S. Parascho, and J. Scott. 100-109.
summary	Parasympathy is an interactive spatial experience operating as an extension of visitors’ minds. By integrating Artificial Intelligence (AI), wearable technologies, affective computing (Picard 1995; Picard 2003), and neuroscience, this project blurs the lines between the physical, digital, and biological spheres and empowers users’ brains to solicit positive changes from their spaces based on their real-time biophysical reactions and emotions. The objective is to deploy these technologies in support of the wellbeing of the community especially when related to social matters such as inclusion and social justice in our built environment. Consequently, this project places the users’ emotions at the very center of its space by performing real-time responses to the emotional state of the individuals within the space.
series	ACADIA
type	project
email
last changed	2023/10/22 12:06

_id	ae06
authors	Grant, Michael and Paterson, Inga
year	1995
title	Multimedia - A Multi Purpose Programming Environment
doi	https://doi.org/10.52842/conf.ecaade.1995.183
source	Multimedia and Architectural Disciplines [Proceedings of the 13th European Conference on Education in Computer Aided Architectural Design in Europe / ISBN 0-9523687-1-4] Palermo (Italy) 16-18 November 1995, pp. 183-186
summary	In the few short years since the emergence of multimedia programming tools this activity has moved from the periphery of the Information Technologies to the mainstream of computing applications. This is due not only to the progressive development in hardware and software technologies but also to the escalating set of desires of authors and users of multimedia products. Perhaps the most interesting theme within this strand of development is in the progression of the capabilities of the scripting and programming capabilities now on offer. The purpose of this paper is to trace the development of this aspect and speculate on the future of multimedia authoring tools as a new generation programming environment where the distinction between multimedia and CAD becomes less well defined.
series	eCAADe
email
more	http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_24.htm
last changed	2022/06/07 07:51

_id	ac5e
authors	Hirschberg, Urs and Streilein, André
year	1995
title	CAAD Meets Digital Photogrammetry: Modeling "Weak Forms" for Computer Measurement
doi	https://doi.org/10.52842/conf.acadia.1995.299
source	Computing in Design - Enabling, Capturing and Sharing Ideas [ACADIA Conference Proceedings / ISBN 1-880250-04-7] University of Washington (Seattle, Washington / USA) October 19-22, 1995, pp. 299-313
summary	The integration of state-of-the-art photogrammetric methods with the capabilities of CAAD has great potential for a variety of architectural applications. This paper describes the current status of an ongoing research project which aims to develop an easy to use tool for the photogrammetric generation of accurate, reliable and well structured 3D CAAD models of architectural objects. The project adresses the whole range of issues that arise from the digital image acquisition to the data processing, the data integration between photogrammetry and CAAD and the architectural structuring of the geometric data. While also giving a brief overview of the project, the paper concentrates on one central aspect of the system: a method to model what we will define as "weak forms" as the basis for qualitatively controlled computer measurement.
keywords	Digital Architectural Photogrammetry, Constraint-Based Modelling
series	ACADIA
email
last changed	2022/06/07 07:50

_id	c0ef
authors	Kalay, Yehuda and Séquin, Carlo
year	1995
title	Designer-Client Collaboration in Architectural and Software Design
doi	https://doi.org/10.52842/conf.acadia.1995.383
source	Computing in Design - Enabling, Capturing and Sharing Ideas [ACADIA Conference Proceedings / ISBN 1-880250-04-7] University of Washington (Seattle, Washington / USA) October 19-22, 1995, pp. 383-403
summary	An upper-level undergraduate architectural design studio and a graduate computer science CAD course were paired to study client-designer interactions. The dual nature of these courses led to two sets of products: building designs compatible with the specifications of the clients, and prototype CAD tool to assist architects in the conceptual design phases. First, the computer scientists acted as clients to the architects, who designed a building for the computer science department. Once the computer science students had become familiar, through observation, with the architectural design process, they began developing tools for the architects' use. In that reversed-role, the architects became the clients of the computer scientists. For both parties this interaction provided an opportunity to experience the social aspects of the design process, in particular, the designer-client relationships, which most often are absent in traditional educational settings. This paper describes the objectives of this integrated pair of courses, the methods and processes used, and some of the results.
keywords	Design, Design Process, Design Studio, Design Education, Architectural Design, CAD
series	ACADIA
email
last changed	2022/06/07 07:52

_id	802c
authors	Kalisperis, Loukas N. and Kolarevic, Branko (Eds.)
year	1995
title	Computing in Design - Enabling, Capturing and Sharing Ideas [Conference Proceedings]
doi	https://doi.org/10.52842/conf.acadia.1995
source	ACADIA Conference Proceedings / ISBN 1-880250-04-7 / University of Washington (Seattle, Washington / USA) October 19-22, 1995, 423 p.
summary	The papers collected in this volume reflect not only the conference theme of enabling, capturing, and sharing design ideas, but also the ACADIA’s fifteen-year-old spirit of sharing new ideas about the application and integration of computing technology in architectural education and practice. In the fifteen years of its existence, ACADIA has not only encouraged new research, but has also motivated classroom use of new approaches that incorporate digital media directly into the design process. This educational mission is particularly important as architectural computing spreads from school's design studios into architectural offices, as students whom we train move into the work place and share their knowledge of the new design technologies. The papers in this volume clearly show that the capturing, enabling, and sharing of ideas are enhanced by the use of computers in design, not just in documentation and production, but more importantly from the very origination of the idea. The long sought synergy between the "digital" and the "traditional" is slowly, but increasingly happening in design studios and offices. Thousands of students and architects are exploring design ideas using digital technology, i.e., CAD is more or less in everyone's hands.
series	ACADIA
email
last changed	2022/06/07 07:49

_id	2e3b
authors	Kvan, Thomas and Kvan, Erik
year	1997
title	Is Design Really Social
source	Creative Collaboration in Virtual Communities 1997, ed. A. Cicognani. VC'97. Sydney: Key Centre of Design Computing, Department of Architectural and Design Science, University of Sydney, 8 p.
summary	There are many who will readily agree with Mitchell’s assertion that “the most interesting new directions (for computer-aided design) are suggested by the growing convergence of computation and telecommunication. This allows us to treat designing not just as a technical process... but also as a social process.” [Mitchell 1995]. The assumption is that design was a social process until users of computer-aided design systems were distracted into treating it as a merely technical process. Most readers will assume that this convergence must and will lead to increased communication between design participants; that better social interaction leads to be better design. The unspoken assumption appears to be that putting the participants into an environment with maximal communication channels will result in design collaboration. The tools provided; therefore; must permit the best communication and the best social interaction. We think it essential to examine the foundations and assumptions on which software and environments are designed to support collaborative design communication. Of particular interest to us in this paper is the assumption about the “social” nature of design. Early research in computer-assisted design collaborations has jumped immediately into conclusions about communicative models which lead to high-bandwidth video connections as the preferred channel of collaboration. The unstated assumption is that computer-supported design environments are not adequate until they replicate in full the sensation of being physically present in the same space as the other participants (you are not there until you are really there). It is assumed that the real social process of design must include all the signals used to establish and facilitate face-to-face communication; including gestures; body language and all outputs of drawing (e.g. Tang [1991]). In our specification of systems for virtual design communities; are we about to fall into the same traps as drafting systems did?
keywords	CSCW; Virtual Community; Architectural Design; Computer-Aided Design
series	other
email
last changed	2002/11/15 18:29

_id	71eb
authors	Li, Andrew I-kang, and Tsou, Jin-Yeu
year	1995
title	The rule-based nature of wood frame construction of the Yingzaofashi and the role of virtual modelling in understanding it
source	Computing in architectural research, Proceedings of the International Conference on Chinese Architectural History, 25-40. Hong Kong, 7-10 August 1995
summary	The wood frame construction system of the Yingzao fashi is rule-based. In this system, the text can be understood as rules, construction as the execution of those rules, and the building as the output of the rules. To illustrate, we discuss a three-bay ting tang and some of the rules which govern its overall form and size. This three-bay ting tang is the smallest hall defined in the Yingzao fashi. Virtual models offer a critical advantage over real models and drawings. This type of representation allows us to ask questions which are particularly relevant to the rule-based system. We can execute the rules quickly and thus concentrate on the rules, their output, and the relation between them. We propose some areas of research made possible with virtual modelling. One is a study of curvature as a product of several rules, including shengqi, cejiao, and juzhe.
series	other
email
last changed	2003/04/23 15:50

_id	3f1d
authors	Mahalingam, Ganapathy
year	1995
title	The Application of Object-Oriented Computing In The Development of Design Systems for Auditoria
source	University of Florida
summary	This dissertation has a two-part theoretical basis. The first part is that architectural entities like spatial enclosures can be modeled as computational objects in object-oriented design systems. The second part is that spatial forms of auditoria can be generated from acoustical, functional and programmatic parameters. The method used to establish the theoretical basis is the application of the concepts of object-oriented computing in the development of design systems for auditoria. As a practical demonstration of the theoretical basis, two object-oriented design systems for the preliminary spatial design of fan-shaped and rectangular proscenium-type auditoria were developed. In the two systems, the concept of acoustic sculpting is used to convert acoustical, functional and programmatic parameters into architectural parameters used in the spatial design of the auditoria. Statistical, analytical and mathematical methods are used to generate the spatial forms of the auditoria based on the various parameters. The auditoria are modeled as parametric computational objects. The implementation of the systems is described in detail. The systems are true design systems because they involve the creation of spatial information from nonspatial information. The application of acoustic sculpting in the implemented systems is tested with case studies. The results are presented and discussed. These systems serve as indicators of the potential of object-oriented design systems in architecture. The dissertation concludes with a projection of how the object-oriented computing paradigm can benefit the creation of design systems in architecture. Future directions for research and development are outlined.
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	cea2
authors	Roe, Sharon L.
year	1995
title	Investigations into the Production of Form
doi	https://doi.org/10.52842/conf.acadia.1995.371
source	Computing in Design - Enabling, Capturing and Sharing Ideas [ACADIA Conference Proceedings / ISBN 1-880250-04-7] University of Washington (Seattle, Washington / USA) October 19-22, 1995, pp. 371-382
summary	Computers have exploded into the world of the architect, yet architects have only begun to explore the role of computers in the creative process or the effects of particular applications on design projects. Likewise, educators are seeking methods for investigating the computer as a tool which may or may not effect the thing produced. Is it a tool for representation (copying), or a key player in the generation of ideas—a tool for the production of form? This paper describes the theoretical foundations and results of a series of exercises developed for beginning design students. In three investigations students consider: Algorithms (the fundamental logic of a computer application) using Building blocks (reductive entities that act as the origins of form) by Collaging and making assemblies (techniques for experimentation and exploration). The purpose of these exercises (called ABC exercises) is to explore the relationship between the computer as a tool and the production of form and type in architecture.
series	ACADIA
last changed	2022/06/07 07:56

_id	ascaad2006_paper2
id	ascaad2006_paper2
authors	Sharji, Elyna and Ahmed Rafi
year	2006
title	The Significant Role of an Electronic Gallery to the Education Experience and Learning Environment
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	Multimedia has brought new paradigms to education where users are able to use the technology to create compelling content that truly represents a new archetype in media experience. According to Burger (1995), the synergy of digital media is becoming a way of life where new paradigms for interactive audio-visual experiences of all communicative arts to date are mandatory. It potentially mixes technology and disciplines of architecture and art. Students can learn on their own pace and they can be tested in a non-linear way while interactivity allows the curious to easily explore related topics and concepts. Fundamental assumptions, theories and practices of conventional design paradigm are constantly being challenged by digital technology and this is the current scenario in architecture and art and design schools globally. Thus schools are enhancing the methods and improvising the technology of imparting knowledge to be in consistent with recent findings and knowledge. To be able to cater the use of digital media and information technology on architectural and art design education, four criteria are required, which are; the SPACE and place to accommodate the educational activities, the TOOLS that assist imparting of knowledge, the CONTENT of syllabus and information and the acceptance and culture of the receiving end users and HUMAN PERCEPTION. There is a need for the research of realization and activating the architectural space that has been equipped with multimedia tools and upgraded with recent technology to facilitate and support the community of learners and users. Spaces are now more interactive, multi functional, flexible and intelligent to suit the trend of computing in normal everyday life of the education sector, business and management, art and leisure, corporate and technological area. While the new concept of computing in education is still in the earlier phase, the conventional analogue paradigm still dominates the architectural design discourse which acts as a barrier to the development of digital designs and architectural education. A suitable approach is in need to bridge the gap between what theory has been explored and the practice of knowledge. A digital support environment with intelligent design and planning tools is envisioned to bridge the gap and to cater for the current scenario.
series	ASCAAD
type	normal paper
email
last changed	2021/07/16 10:34

_id	f4b9
authors	Watanabe, Shun
year	1995
title	Representing Geometric Knowledge in Architectural Design
source	Sixth International Conference on Computer-Aided Architectural Design Futures [ISBN 9971-62-423-0] Singapore, 24-26 September 1995, pp. 25-34
summary	Geometric knowledge is essential to architectural design. A new method of geometric computing is proposed in this paper, in which geometric decision making in architectural design process can be represented naturally. I begin by discussing characteristics of geometry in the architectural design process and making clear the issues in the graphic libraries which have been used as a substitute in current CAD/CG systems. Then, I mention how to represent the spatial geometric primitives and operations from the view of knowledge in algebraic geometry. It is not sufficient for the architectural design process to represent geometric primitives and operations, and a model of geometric decision making is presented to manage the dynamism of the design process. I also explain the interaction between the presented geometric decision model and the architectural model which was proposed as the framework to develop our knowledge-based computer-aided architectural design system.
keywords	Design Process, Geometry, Decision Making, CAD, AI
series	CAAD Futures
last changed	1999/08/03 17:16

_id	0c8e
authors	Ager, Mark Thomas and Sinclair, Brian R.
year	1995
title	StereoCAD: Three Dimensional Representation
source	Sixth International Conference on Computer-Aided Architectural Design Futures [ISBN 9971-62-423-0] Singapore, 24-26 September 1995, pp. 343-355
summary	Concepts of stereoscopic vision have been around for more than two thousand years. Despite this long history, its application to the field to architecture and design seems relatively unexplored. Synthesis of two technologies, the stereoscope and the computer, was the focus of the present study. The goal of the research was to determine if computer-generated stereoscopic pairs hold value for architectural design. Using readily available computer technology (Apple Macintosh) the research team modelled and rendered an existing project to verify the degree of correlation between the physical construct, the computer 3D model and resultant correlation between the physical construct, the computer 3D model and resultant rendered stereo-paired representation. The experiments performed in this study have shown that producing stereo-paired images that highly correlate to reality is possible using technology that is readily available in the marketplace. Both the technology required to produce (i.e., personal computer and modelling/rendering software) and view (i.e., modified stereoscope) the images is unimposing. Both devices can easily fit in a studio or a boardroom and together can be utilized effectively to permit designers, clients and end-users to experience proposed spaces and projects. Furthermore, these technologies are familiar (clients and end-users have already experienced them in other applications and settings) and assume a fraction of the cost of more dynamic, immersive virtual reality systems. Working from this base, limitations of the process as well as future applications of computer-generated stereoscopic images are identified.
keywords	Stereovision, Representation, Computers, Architects, Design
series	CAAD Futures
last changed	2003/11/21 15:15

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