Cumincad : CUMINCAD Papers : Search Results

CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
supported by the sibling associations ACADIA, CAADRIA, eCAADe, SIGraDi, ASCAAD and CAAD futures

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_id	0f58
authors	Schrage, M.
year	1995
title	No more teams: Mastering the dynamics of creative collaboration
source	New York: Currency and DoubleDay
summary	For organizations that care about innovation, individual creativity isn't enough anymore -- people need to be in creative, collaborative relationships. For "virtual" organizations, collaborative relationships are a must or the organization won't survive. The world's greatest collaborations -- Picasso/ Braque, Watson/ Crick, Wozniak/Jobs -- relied on "shared spaces" where they could play with their ideas. Shared spaces, however you set them up, provide the neutral ground on which any and all ideas can be aired and considered. Developing a shared space for collaboration is about effectively using tools -- from felt tips on napkins, to whiteboards, to specialized computer software -- that can provide the shared space to keep all the good ideas, to cope with every objection, to handle conflicts as they come up, to make sure everyone gets their say and has it considered.
series	other
last changed	2003/04/23 15:14

_id	e613
authors	Kardos, Peter
year	1995
title	The Role of Spatial Experience Anticipation in Architectural Education and Urban Design
source	The Future of Endoscopy [Proceedings of the 2nd European Architectural Endoscopy Association Conference / ISBN 3-85437-114-4]
summary	Space and its matter substance are the main subjects of urban design, in which an architect, by setting in order the functional-operating relationships and the matter-dimensional manifestations of the formed structure, operates with the aim to achieve general harmony, functional and expressive complexity. Demanding a process, which coordinates relationships in all space dimensions, requires flexible openness of the work documentation during the conception period. Experience proved that such requirements are satisfactorily accomplished by the method of space-modeling, where the creative process happens on the working model. The reality, though diminished in a simplified form, is in advance, i.e. in an anticipated way. By adapted periscope the endoscopic method develops the method of spatial modeling in new media dimension and enriches it towards creativeness by enabling the simulated space to be percepted on a traditional artificial model in natural horizon of a man. To secure the anticipation by visual simulation of spatial experience on the monitor in a trustworthy manner with respect to real reality, according to relevant aspects of the conception, the visual simulation must respect the rules of sensory perception of a man in real environment. From the procedural point of view of perception the most significant fact for the psyche is the sequence dynamics of the subject and the movement of the perceiver in space. This means that in the mind of the perceiver the most emotionally reflected is the dynamic spatial experience. Despite the known disadvantages and technical circumstances of model building the method of spatial endoscopy proved itself in didactics, mainly in the approval phase of the aims of urbanistic composition and shaping of an urban space, especially because it enables to carry out by interactive means the sequence research and evaluation of the simulated space on the working model, directly in the studio or in laboratory conditions with relatively low expenses, and with the possibility of immediate correction and subsequent evaluation of the effect. Similarly, its audiovisually elaborated media outputs may simultaneously complete the identical model presentation within evaluating and approving continuations in professional gremiums or in making the results of urban and architectonic solutions popular in the layman public. According to an informal public opinion research on the effect of both CAD and endoscopy simulations, the later one is more popular. Is is, however, a matter of subjective evaluation and experience or a matter of commercial application.
keywords	Architectural Endoscopy, Real Environments
series	EAEA
more	http://info.tuwien.ac.at/eaea/
last changed	2005/09/09 10:43

_id	3f92
authors	Saad, Milad and Maher, Mary Lou
year	1995
title	Exploring the Possibilities for Computer Support for Collaborative Designing
source	Sixth International Conference on Computer-Aided Architectural Design Futures [ISBN 9971-62-423-0] Singapore, 24-26 September 1995, pp. 727-737
summary	Design projects require a collaboration of individuals and a coordination of information and tasks. Computer support for design, more specifically CAD systems, have been developed to support a single user through a graphical interface and project teams through distributed data. This paper considers recent developments in computer support for synchronous collaborative design. The possibilities for developing a support environment for synchronous collaborative design cover a broad range of technical and personal considerations. We explore these possibilities by presenting several perspectives of the technical considerations and options, followed by a discussion of how such environments have the potential to enable a shared understanding among people as they are designing.
keywords	Collaborative Design, Groupware, Shared CAD.
series	CAAD Futures
email
last changed	2003/05/16 20:58

_id	d7eb
authors	Bharwani, Seraj
year	1996
title	The MIT Design Studio of the Future: Virtual Design Review Video Program
source	Proceedings of ACM CSCW'96 Conference on Computer-Supported Cooperative Work 1996 p.10
summary	The MIT Design Studio of the Future is an interdisciplinary effort to focus on geographically distributed electronic design and work group collaboration issues. The physical elements of this virtual studio comprise networked computer and videoconferencing connections among electronic design studios at MIT in Civil and Environmental Engineering, Architecture and Planning, Mechanical Engineering, the Lab for Computer Science, and the Rapid Prototyping Lab, with WAN and other electronic connections to industry partners and sponsors to take advantage of non-local expertise and to introduce real design and construction and manufacturing problems into the equation. This prototype collaborative design network is known as StudioNet. The project is looking at aspects of the design process to determine how advanced technologies impact the process. The first experiment within the electronic studio setting was the "virtual design review", wherein jurors for the final design review were located in geographically distributed sites. The video captures the results of that project, as does a paper recently published in the journal Architectural Research Quarterly (Cambridge, UK; Vol. 1, No. 2; Dec. 1995).
series	other
last changed	2002/07/07 16:01

_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	b04c
authors	Goerger, S., Darken, R., Boyd, M., Gagnon, T., Liles, S., Sullivan, J. and Lawson, J.
year	1996
title	Spatial Knowledge Acquisition from Maps and Virtual Environments in Complex Architectural Space
source	Proc. 16 th Applied Behavioral Sciences Symposium, 22-23 April, U.S. Airforce Academy, Colorado Springs, CO., 1996, 6-10
summary	It has often been suggested that due to its inherent spatial nature, a virtual environment (VE) might be a powerful tool for spatial knowledge acquisition of a real environment, as opposed to the use of maps or some other two-dimensional, symbolic medium. While interesting from a psychological point of view, a study of the use of a VE in lieu of a map seems nonsensical from a practical point of view. Why would the use of a VE preclude the use of a map? The more interesting investigation would be of the value added of the VE when used with a map. If the VE could be shown to substantially improve navigation performance, then there might be a case for its use as a training tool. If not, then we have to assume that maps continue to be the best spatial knowledge acquisition tool available. An experiment was conducted at the Naval Postgraduate School to determine if the use of an interactive, three-dimensional virtual environment would enhance spatial knowledge acquisition of a complex architectural space when used in conjunction with floor plan diagrams. There has been significant interest in this research area of late. Witmer, Bailey, and Knerr (1995) showed that a VE was useful in acquiring route knowledge of a complex building. Route knowledge is defined as the procedural knowledge required to successfully traverse paths between distant locations (Golledge, 1991). Configurational (or survey) knowledge is the highest level of spatial knowledge and represents a map-like internal encoding of the environment (Thorndyke, 1980). The Witmer study could not confirm if configurational knowledge was being acquired. Also, no comparison was made to a map-only condition, which we felt is the most obvious alternative. Comparisons were made only to a real world condition and a symbolic condition where the route is presented verbally.
series	other
last changed	2003/04/23 15:50

_id	8dfc
authors	Jakimowicz, Adam and Kadysz, Andrzej
year	1995
title	Architecture of Many Media (Architecture is Many Media)
doi	https://doi.org/10.52842/conf.ecaade.1995.395
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. 395-400
summary	Basis issues concerning media need redefining, because new media should not be perceived and approached according to traditional conventions. Present understanding of a medium as a mean of linear transmission, with the primary role of sender is no more sufficient, is too simple. The possibility of mutual and multidirectional communication in the real time makes the distinction between sender and receiver not so clear. The roles are effacing, but actions, processes are not. When receiver becomes sender, the process of receiving is always distinct from sending. The importance of the process, the attention must move towards a temporal process of transmitting of the receiving. When the process changes, the message (even when ´only´ its form) changes, receiving changes because it is an active action. This paper is the collection of ideas for discussion.
series	eCAADe
email
more	http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_47.htm
last changed	2022/06/07 07:52

_id	c7e9
authors	Maver, T.W.
year	2002
title	Predicting the Past, Remembering the Future
source	SIGraDi 2002 - [Proceedings of the 6th Iberoamerican Congress of Digital Graphics] Caracas (Venezuela) 27-29 november 2002, pp. 2-3
summary	Charlas Magistrales 2There never has been such an exciting moment in time in the extraordinary 30 year history of our subject area, as NOW,when the philosophical theoretical and practical issues of virtuality are taking centre stage.The PastThere have, of course, been other defining moments during these exciting 30 years:• the first algorithms for generating building layouts (circa 1965).• the first use of Computer graphics for building appraisal (circa 1966).• the first integrated package for building performance appraisal (circa 1972).• the first computer generated perspective drawings (circa 1973).• the first robust drafting systems (circa 1975).• the first dynamic energy models (circa 1982).• the first photorealistic colour imaging (circa 1986).• the first animations (circa 1988)• the first multimedia systems (circa 1995), and• the first convincing demonstrations of virtual reality (circa 1996).Whereas the CAAD community has been hugely inventive in the development of ICT applications to building design, it hasbeen woefully remiss in its attempts to evaluate the contribution of those developments to the quality of the built environmentor to the efficiency of the design process. In the absence of any real evidence, one can only conjecture regarding the realbenefits which fall, it is suggested, under the following headings:• Verisimilitude: The extraordinary quality of still and animated images of the formal qualities of the interiors and exteriorsof individual buildings and of whole neighborhoods must surely give great comfort to practitioners and their clients thatwhat is intended, formally, is what will be delivered, i.e. WYSIWYG - what you see is what you get.• Sustainability: The power of «first-principle» models of the dynamic energetic behaviour of buildings in response tochanging diurnal and seasonal conditions has the potential to save millions of dollars and dramatically to reduce thedamaging environmental pollution created by badly designed and managed buildings.• Productivity: CAD is now a multi-billion dollar business which offers design decision support systems which operate,effectively, across continents, time-zones, professions and companies.• Communication: Multi-media technology - cheap to deliver but high in value - is changing the way in which we canexplain and understand the past and, envisage and anticipate the future; virtual past and virtual future!MacromyopiaThe late John Lansdown offered the view, in his wonderfully prophetic way, that ...”the future will be just like the past, onlymore so...”So what can we expect the extraordinary trajectory of our subject area to be?To have any chance of being accurate we have to have an understanding of the phenomenon of macromyopia: thephenomenon exhibitted by society of greatly exaggerating the immediate short-term impact of new technologies (particularlythe information technologies) but, more importantly, seriously underestimating their sustained long-term impacts - socially,economically and intellectually . Examples of flawed predictions regarding the the future application of information technologiesinclude:• The British Government in 1880 declined to support the idea of a national telephonic system, backed by the argumentthat there were sufficient small boys in the countryside to run with messages.• Alexander Bell was modest enough to say that: «I am not boasting or exaggerating but I believe, one day, there will bea telephone in every American city».• Tom Watson, in 1943 said: «I think there is a world market for about 5 computers».• In 1977, Ken Olssop of Digital said: «There is no reason for any individuals to have a computer in their home».The FutureJust as the ascent of woman/man-kind can be attributed to her/his capacity to discover amplifiers of the modest humancapability, so we shall discover how best to exploit our most important amplifier - that of the intellect. The more we know themore we can figure; the more we can figure the more we understand; the more we understand the more we can appraise;the more we can appraise the more we can decide; the more we can decide the more we can act; the more we can act themore we can shape; and the more we can shape, the better the chance that we can leave for future generations a trulysustainable built environment which is fit-for-purpose, cost-beneficial, environmentally friendly and culturally significactCentral to this aspiration will be our understanding of the relationship between real and virtual worlds and how to moveeffortlessly between them. We need to be able to design, from within the virtual world, environments which may be real ormay remain virtual or, perhaps, be part real and part virtual.What is certain is that the next 30 years will be every bit as exciting and challenging as the first 30 years.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	ebbf
authors	Ohno, Ryozo
year	1995
title	Street-scape and Way-finding Performance
source	The Future of Endoscopy [Proceedings of the 2nd European Architectural Endoscopy Association Conference / ISBN 3-85437-114-4]
summary	In this study, it was hypothesized that people’s performance of way-finding depends on the characteristics of street-scapes, i.e., the more visual information exists the easier people find their own ways. This relationship was investigated by an experiment using an environmental simulator and analysis of the subject’s behavioral data recorded by the simulation system. Three scale models (1/150) of identical maze patterns (300m x 300m) which have different street-scapes were created and set in the simulator, in which an endoscope connected to CCD color TV camera controlled by a system operated by a personal computer. Three types of streets are: (1) having no characteristics with monotonous surface, (2) having characteristics on each corner with different buildings, (3) having characteristics along the streets with trees, columns or fences. The simulator allows a subject to move through the scale models and looking around, using a “joy-stick“ for viewing the scene as projected on 100-inch CCTV screen. The control system of the simulator records all signals generated by the “joy-stick“ every 0.01 second, and thus exact position within the model space and the viewing direction at given moment can be stored in the computer memory, which can be used to analyze the subject’s behavior. The task of a subject was to find the way which was previously shown by the screen. Three male and three female subjects for each of three street types, for a total of eighteen subjects participated in the experiment. An analysis of the trace of movements and viewing directions generally supported the hypothesis that the street with visual characteristics were easier to memorize the route although there was a large difference in performance among subjects. It was also noted that there were three different strategies of way-finding according to the subject: one group of subjects seemed to rely on well structured knowledge of the route, i.e., the cognitive map, and the other group seemed to rely on incoming visual information of the changing scenes, and the last group seemed to find the way using both the cognitive map and visual information depending on the situations.
keywords	Architectural Endoscopy, Real Environments
series	EAEA
more	http://info.tuwien.ac.at/eaea/
last changed	2005/09/09 10:43

_id	c28b
authors	Rostanski, Krzysztof and Bugno, Agnieszka
year	1995
title	Greenery Designing in CAD Programs
source	CAD Space [Proceedings of the III International Conference Computer in Architectural Design] Bialystock 27-29 April 1995, pp. 15-23
summary	In this article we want to present our experiences with greenery designing and possibilities of presentation such designs using CAD programs. Architectural design is more than only building - we always try to show how it is connected with surrounding. Greenery is one of the most important element of space, it creates environment, CAD programs gives us a lot of possibilities for presentations of architectural designs, but they are very limited in as to showing greenery. The very useful thing in computer aided landscaping is the plant specifier and the simulator of plants growth, You can estimate number of trees used for design and shades of tree crowns and quickly correct the plan to avoid effect of shading the windows or other places. CAD programs of the international range are not very adequate to plants selection, because the plants in database are not suitable for polish climate. For example, LANDCADD"s Plant Specifier contain information about more than 1000 plants of different climate zones from all over the world (trees, shrubs and flowers.), but in Poland we use commonly about 1500 of only trees and shrubs, the number of flowers is even bigger, so this specifier seems to be completely inadequate to our country. As to visual presentations of plants in design they are to simple to express the diversity of plant species and their shapes. There are no possibilities for common computers to process such great number of data to create natural outlook of designed trees.
series	plCAD
last changed	2000/01/24 10:08

_id	1bb0
authors	Russell, S. and Norvig, P.
year	1995
title	Artificial Intelligence: A Modern Approach
source	Prentice Hall, Englewood Cliffs, NJ
summary	Humankind has given itself the scientific name homo sapiens--man the wise--because our mental capacities are so important to our everyday lives and our sense of self. The field of artificial intelligence, or AI, attempts to understand intelligent entities. Thus, one reason to study it is to learn more about ourselves. But unlike philosophy and psychology, which are also concerned with AI strives to build intelligent entities as well as understand them. Another reason to study AI is that these constructed intelligent entities are interesting and useful in their own right. AI has produced many significant and impressive products even at this early stage in its development. Although no one can predict the future in detail, it is clear that computers with human-level intelligence (or better) would have a huge impact on our everyday lives and on the future course of civilization. AI addresses one of the ultimate puzzles. How is it possible for a slow, tiny brain{brain}, whether biological or electronic, to perceive, understand, predict, and manipulate a world far larger and more complicated than itself? How do we go about making something with those properties? These are hard questions, but unlike the search for faster-than-light travel or an antigravity device, the researcher in AI has solid evidence that the quest is possible. All the researcher has to do is look in the mirror to see an example of an intelligent system. AI is one of the newest disciplines. It was formally initiated in 1956, when the name was coined, although at that point work had been under way for about five years. Along with modern genetics, it is regularly cited as the ``field I would most like to be in'' by scientists in other disciplines. A student in physics might reasonably feel that all the good ideas have already been taken by Galileo, Newton, Einstein, and the rest, and that it takes many years of study before one can contribute new ideas. AI, on the other hand, still has openings for a full-time Einstein. The study of intelligence is also one of the oldest disciplines. For over 2000 years, philosophers have tried to understand how seeing, learning, remembering, and reasoning could, or should, be done. The advent of usable computers in the early 1950s turned the learned but armchair speculation concerning these mental faculties into a real experimental and theoretical discipline. Many felt that the new ``Electronic Super-Brains'' had unlimited potential for intelligence. ``Faster Than Einstein'' was a typical headline. But as well as providing a vehicle for creating artificially intelligent entities, the computer provides a tool for testing theories of intelligence, and many theories failed to withstand the test--a case of ``out of the armchair, into the fire.'' AI has turned out to be more difficult than many at first imagined, and modern ideas are much richer, more subtle, and more interesting as a result. AI currently encompasses a huge variety of subfields, from general-purpose areas such as perception and logical reasoning, to specific tasks such as playing chess, proving mathematical theorems, writing poetry{poetry}, and diagnosing diseases. Often, scientists in other fields move gradually into artificial intelligence, where they find the tools and vocabulary to systematize and automate the intellectual tasks on which they have been working all their lives. Similarly, workers in AI can choose to apply their methods to any area of human intellectual endeavor. In this sense, it is truly a universal field.
series	other
last changed	2003/04/23 15:14

_id	1886
authors	Rychter, Zenon
year	1995
title	Matematical Architectural Syntesis
source	CAD Space [Proceedings of the III International Conference Computer in Architectural Design] Bialystock 27-29 April 1995, pp. 283-297
summary	Extremes converge. Life blossoms on the boundary. All creative thinking, architectural or mathematical, is essentially the some. Today legions of dull computers take over the role of renaissance giants in integrating all ways of thinking. On the sensual level, computer art is often indistinguishable from computer simulations of physical processes, such as fractals representing chaos. On the logical level, all information boils down to the language of bits, sequences of O's and I's or X's and Y's if you like- there just has to be two of them, like Adam and Eve at the beginning of mankind. Creating means synthesizing, composing, constructing a whole from elements. But often the starting point, the finish, the middle stages and methods are fuzzy, vague, ill- defined-ore all yet to be discovered or conceived. It is like groping in a dark labyrinth, searched and created at the same time. There are many branches to discover and explore, many dead ends forcing retreat, no guarantee of a solution, and even no clear idea of what a solution might be. It is a trial- and-error, generate-and-test, back-and-forth, top-down and bottom-up, global and local, inductive and deductive, rigorous at times and fuzzy most of the time, ameba-like process or bunch of processes. In this, creative, perspective both architecture and mathematics become experimental sciences: as such they require laboratories. Computer systems (hardware plus software) supply today the necessary environment, ways and means. To the happy user of a general-purpose platform, straddling the architecture-mathematics boundary-with one leg on a general-purpose computer-aided design system, like AutoCAD, and the other leg on a general-purpose mathematical system, like Mathematica, the essential unity of creatively doing both architecture and mathematics is hard to overlook.
series	plCAD
last changed	2000/01/24 10:08

_id	07da
authors	Wohlers, T.
year	1995
title	3D Digitizers for Engineering
source	Computer Graphics World, (March 1995), p. 112-115
summary	3D digitizing systems permit you to create a digital model from a physical part. The process is appealing because it can be difficult to create models of complex objects using computer tools without the aid of a 3D input device. Recreating an existing part from scratch, even with a computer, is like copying a printed page by retyping it. Although 3D digitizers are not as straightforward as a photocopy machine, the intent is the same. You can render and print a digitized model to communicate shape information, extract dimensions from it to show size information, and use the 3D database to manufacture a replica using rapid prototyping (RP) and CNC machines. You can also include the 3D model in multimedia or animation software as a learning or assembly aid. The challenge of the digitization process in manufacturing is to capture adequate detail and resolution. Adding a digitized model to a Hollywood film is often much easier than reverse engineering a part for prototyping or manufacturing. The only criteria for a movie or TV commercial is whether or not it looks good. No one from the audience measures the object to see if it meets a given tolerance. In manufacturing, RP and CNC machines require clean, complete, and accurate information. If areas on the model are incomplete or missing, it may be difficult or impossible to build the part. If edges, grooves, and features of the part are not fine and crisp, the results may be less than satisfactory. Most 3D digitizing systems are best at digitizing organic shapes such as free-form sculpted surfaces. When you see an advertisement or a catalog from companies offering digitized models, often you see objects such as human anatomy, animals, bones, skeletons, and so on. You may also see cars, trucks, motorcycles and airplanes, although they can be more difficult to digitize. Highly engineered parts, such as enclosures for electronic devices are usually the most difficult for 3D digitizers. That's why these systems aren't used widely for the reverse engineering of precision mechanical parts.
series	journal paper
last changed	2003/04/23 15:50

_id	avocaad_2001_16
id	avocaad_2001_16
authors	Yu-Ying Chang, Yu-Tung Liu, Chien-Hui Wong
year	2001
title	Some Phenomena of Spatial Characteristics of Cyberspace
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	"Space," which has long been an important concept in architecture (Bloomer & Moore, 1977; Mitchell, 1995, 1999), has attracted interest of researchers from various academic disciplines in recent years (Agnew, 1993; Benko & Strohmayer, 1996; Chang, 1999; Foucault, 1982; Gould, 1998). Researchers from disciplines such as anthropology, geography, sociology, philosophy, and linguistics regard it as the basis of the discussion of various theories in social sciences and humanities (Chen, 1999). On the other hand, since the invention of Internet, Internet users have been experiencing a new and magic "world." According to the definitions in traditional architecture theories, "space" is generated whenever people define a finite void by some physical elements (Zevi, 1985). However, although Internet is a virtual, immense, invisible and intangible world, navigating in it, we can still sense the very presence of ourselves and others in a wonderland. This sense could be testified by our naming of Internet as Cyberspace -- an exotic kind of space. Therefore, as people nowadays rely more and more on the Internet in their daily life, and as more and more architectural scholars and designers begin to invest their efforts in the design of virtual places online (e.g., Maher, 1999; Li & Maher, 2000), we cannot help but ask whether there are indeed sensible spaces in Internet. And if yes, these spaces exist in terms of what forms and created by what ways?To join the current interdisciplinary discussion on the issue of space, and to obtain new definition as well as insightful understanding of "space", this study explores the spatial phenomena in Internet. We hope that our findings would ultimately be also useful for contemporary architectural designers and scholars in their designs in the real world.As a preliminary exploration, the main objective of this study is to discover the elements involved in the creation/construction of Internet spaces and to examine the relationship between human participants and Internet spaces. In addition, this study also attempts to investigate whether participants from different academic disciplines define or experience Internet spaces in different ways, and to find what spatial elements of Internet they emphasize the most.In order to achieve a more comprehensive understanding of the spatial phenomena in Internet and to overcome the subjectivity of the members of the research team, the research design of this study was divided into two stages. At the first stage, we conducted literature review to study existing theories of space (which are based on observations and investigations of the physical world). At the second stage of this study, we recruited 8 Internet regular users to approach this topic from different point of views, and to see whether people with different academic training would define and experience Internet spaces differently.The results of this study reveal that the relationship between human participants and Internet spaces is different from that between human participants and physical spaces. In the physical world, physical elements of space must be established first; it then begins to be regarded as a place after interaction between/among human participants or interaction between human participants and the physical environment. In contrast, in Internet, a sense of place is first created through human interactions (or activities), Internet participants then begin to sense the existence of a space. Therefore, it seems that, among the many spatial elements of Internet we found, "interaction/reciprocity" Ñ either between/among human participants or between human participants and the computer interface Ð seems to be the most crucial element.In addition, another interesting result of this study is that verbal (linguistic) elements could provoke a sense of space in a degree higher than 2D visual representation and no less than 3D visual simulations. Nevertheless, verbal and 3D visual elements seem to work in different ways in terms of cognitive behaviors: Verbal elements provoke visual imagery and other sensory perceptions by "imagining" and then excite personal experiences of space; visual elements, on the other hand, provoke and excite visual experiences of space directly by "mapping".Finally, it was found that participants with different academic training did experience and define space differently. For example, when experiencing and analyzing Internet spaces, architecture designers, the creators of the physical world, emphasize the design of circulation and orientation, while participants with linguistics training focus more on subtle language usage. Visual designers tend to analyze the graphical elements of virtual spaces based on traditional painting theories; industrial designers, on the other hand, tend to treat these spaces as industrial products, emphasizing concept of user-center and the control of the computer interface.The findings of this study seem to add new information to our understanding of virtual space. It would be interesting for future studies to investigate how this information influences architectural designers in their real-world practices in this digital age. In addition, to obtain a fuller picture of Internet space, further research is needed to study the same issue by examining more Internet participants who have no formal linguistics and graphical training.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	c6b2
authors	Fenves, S.J., Garrett, J.H., Kiliccote, H., Law, K.H. and Reed, K.A.
year	1995
title	Computer representations of design standards and building codes: a U.S. perspective
source	The Int. Journal of Construction IT3(1), pp.13-34
summary	Standards representation and processing in the United States has had a long and interesting history of development. The work in the past has focused primarily on representing a standard, evaluating the intrinsic properties of that represented standard, and evaluating designs for conformance to that standard. To date, for a variety of reasons, standards writing organizations and computer-aided design software vendors have not adopted much of the results of this research. The failure of the approach so far in the U.S. can be traced to two distinct areas. One major cluster of causes is methodological: the initial concepts were not backed up by usable, persistent computer tools; and the initial application and model were not representative. The second cluster of causes of failure is professional, and has a lot to do with the dynamics of interaction of individuals and organizations. Future research must address the inadequacies of the current representations and create models that are able to represent all, or almost all, of the different types of provisions in any given standard; investigate and deliver a much richer set of processing functionality's, such as more support for use of design standards in earlier phases of design; support the treatment of multiple, heterogeneous standards available from distributed sources; and determine what type of support is needed to go from the textual versions of design standards to the formal models that can support sophisticated computation.
series	journal paper
last changed	2003/05/15 21:45

_id	ead7
authors	Gero, J.S. and Schnier, T.
year	1995
title	Evolving representations of design cases and their use in creative design
source	J.S. Gero, M.L. Maher and F. Sudweeks (eds), Preprints Computational Models of Creative Design , Key Centre of Design Computing, University of Sydney, pp. 343-368
summary	In case-based design, the adaptation of a design case to new design requirements plays an important role. If it is sufficient to adapt a predefined set of design parameters, the task is easily automated. If, however, more far-reaching, creative changes are required, current systems provide only limited success. This paper describes an approach to creative design adaptation based on the notion of creativity as 'goal oriented shift of focus of a search process'. An evolving representation is used to restructure the search space so that designs similar to the example case lie in the focus of the search. This focus is than used as a starting point to generate new designs.
series	other
email
last changed	2003/04/06 15:22

_id	807c
authors	Kellett, Ronald
year	1996
title	MEDIA MATTERS: NUDGING DIGITAL MEDIA INTO A MANUAL DESIGN PROCESS (AND VICE VERSA)
doi	https://doi.org/10.52842/conf.acadia.1996.031
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 31-43
summary	This paper reports on a media class offered during the 1995-96 academic year at the University of Oregon. This course, a renovation of an existing 'manual' media offering targeted intermediate Ievel graduate and undergraduate students who, while relatively experienced design students, were relatively inexperienced users of digital media for design. This course maintained a pedagogical emphasis on design process, a point of view that media are powerful influences on design thinking, and an attitude toward experimentation (and reflection) in matters of media and design process. Among the experiments explored were fitting together digital with manual media, and using digital media to collaborate in an electronic workspace. The experience offers opportunity to consider how digital media might be more widely integrated with what remains a predominantly 'manual' design process and media context for many architecture schools and practices.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:52

_id	ab9c
authors	Kvan, Thomas and Kvan, Erik
year	1999
title	Is Design Really Social
source	International Journal of Virtual Reality, 4:1
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 see a danger here, a pattern being repeated which may lead us into less than useful activities. As with several (popular) architectural design or modelling systems already available, however, computer system implementations all too often are poor imitations manual systems. For example, few in the field will argue with the statement that the storage of data in layers in a computer-aided drafting system is an dispensable approach. Layers derive from manual overlay drafting technology [Stitt 1984] which was regarded as an advanced (manual) production concept at the time many software engineers were specifying CAD software designs. Early implementations of CAD systems (such as RUCAPS, GDS, Computervision) avoided such data organisation, the software engineers recognising that object-based structures are more flexible, permitting greater control of data editing and display. Layer-based systems, however, are easier to implement in software, more familiar to the user and hence easier to explain, initially easier to use but more limiting for an experienced and thoughtful user, leading in the end to a lesser quality in resultant drawings and significant problems in output control (see Richens [1990], pp. 31-40 for a detailed analysis of such features and constraints). Here then we see the design for architectural software faithfully but inappropriately following manual methods. So too is there a danger of assuming that the best social interaction is that done face-to-face, therefore all collaborative design communications environments must mimic face-to-face.
series	journal paper
email
last changed	2003/05/15 10:29

_id	9577
authors	Matalasov, Michail E.
year	1995
title	About Videocomputer Technologies at the Moscow Architectural Institute
source	CAD Space [Proceedings of the III International Conference Computer in Architectural Design] Bialystock 27-29 April 1995, pp. 303-308
summary	Historically mock-up projecting turned out to be one of the bases of architectural education in the Moscow Architectural Institute. In spite of the fact, that technical progress did not pass over this Institute, introducing elements of computer techniques into the process of education, traditional methods do still prevail. In some sense it is a positive phenomenon, which does not allow this Institute to become ,one of the many typical ones", though in the epoch of global scientific and technical progress here this situation is forced. Under the economic conditions, established in this country, it is impossible to ensure such computer equipment, which would make the process of teaching students up-to-date methods of computer-aided design possible and really general, and make frontal employment of computers for solving complex design problems quite real. Now we can speak only about selective - optional teaching students mastering computer methods on the modern level. At the same time it was noted repeatedly, that essential defects are common to the traditional designing, especially when it concerns education; these defects are connected with a great degree of abstracting the model of the projected object (by the way this concerns also computer models), realized in the form of a small-scale mock-up. This is due to the representation of the projected object separated from the real environment as well as difference in the scales of the observer and the observed object. Mistakes in perception and appreciation caused in this way affect the efficiency of training disastrously. Luckily the available variety of sufficiently simple and cheap technical devices allows to overcome the mentioned defects to a considerable degree and combining these devices with personal computers makes it possible to enlarge their possibilities considerably. And at the same time due to the specific character of the employment it becomes unnecessary to have a lot of computers and the employed technologies turn out to be more "friendly" to the architect practically not demanding him to have complicated special knowledge. We mean special videocomputer technologies ("multimedia"), including the employment of periscope devices (environmental simulator or "telemaketoscope").
series	plCAD
last changed	2000/01/24 10:08

_id	f50a
authors	Rutherford, James
year	1995
title	A Multi-User Design Workspace
source	Sixth International Conference on Computer-Aided Architectural Design Futures [ISBN 9971-62-423-0] Singapore, 24-26 September 1995, pp. 673-685
summary	Advances in digital media and digital communication has fostered the growth of a new enabling technology that allows geographically displaced individuals to hold group meetings and provides the opportunity to interact in a collaborative venture. The development of computer software to aid remote collaboration has, until recently, focused on the provision of tools that enable two or more people to participate in the shared authoring of a mixed-media (lexi-visual) documents. This paper presents a model of the design process which is founded on the transient nature of collaboration. The model is used to develop a multimedia framework to support remote collaborative design providing transitional support between synchronous and asynchronous design activity. A prototype system is used to illustrate the salient features of the framework.
keywords	Collaborative Design
series	CAAD Futures
last changed	1999/08/03 17:16

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