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

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_id	2b9f
authors	Nasar, Jack
year	1996
title	DESIGN BY COMPETITION: LOOKING AT COMPETITION ARCHITECTURE THROUGH TIME
source	Full-Scale Modeling in the Age of Virtual Reality [6th EFA-Conference Proceedings]
summary	We have seen an increase in design competitions for delivery of public buildings. Architectural groups such as the AIA or RIBA often call for a jury dominated by architects. A series of studies of a highly publicized design competition (Peter Eisenman's Wexner Center for the Visual Arts) show the building as a functional and "aesthetic" failure for the public. Some may argue that this is only a short-term appraisal, and that eventually the aesthetic statement will come into favor. To the question of whether architects (the experts) lead public tastes over time, we only have anecdotal evidence. Otherwise, there has been consistent findings of differences between what architects like and what the public likes. How can we look at long-term trends? This paper discusses two historiographic studies of competition architecture through history. One looks at the record of "masterpiece" buildings derived from frequency of reference in books and encyclopedias, and then tallies how many of those "masterpieces" result from competitions. Because of potential flaws in generalizing from these numbers, a second study has architects and non-architects judge photos of competition winning and competition losing designs from a 100-year period. The results show that both groups preferred more losers to winners. This suggests a need for an alternative model for design competition juries.
keywords	Model Simulation, Real Environments
series	other
type	normal paper
more	http://info.tuwien.ac.at/efa/
last changed	2004/05/04 14:41

_id	59c3
authors	Bruckman, Amy
year	1996
title	Finding One's Own Space in Cyberspace
source	MIT Technology Review. January 1996, p. 50
summary	The week the last Internet porn scandal broke, my phone didn't stop ringing: "Are women comfortable on the Net?" "Should women use gender-neutral names on the Net?" "Are women harassed on the Net?" Reporters called from all over the country with basically the same question. I told them all: your question is ill-formed. "The Net" is not one thing. It's like asking: "Are women comfortable in bars?" That's a silly question. Which woman? Which bar? The summer I was 18, I was the computer counselor at a summer camp. After the campers were asleep, the counselors were allowed out, and would go bar hopping. First everyone would go to Maria's, an Italian restaurant with red-and-white-checked table cloths. Maria welcomed everyone from behind the bar, greeting regular customers by name. She always brought us free garlic bread. Next we'd go to the Sandpiper, a disco with good dance music. The Sandpiper seemed excitingly adult--it was a little scary at first, but then I loved it. Next, we went to the Sportsman, a leather motorcycle bar that I found absolutely terrifying. Huge, bearded men bulging out of their leather vests and pants leered at me. I hid in the corner and tried not to make eye contact with anyone, hoping my friends would get tired soon and give me a ride back to camp.
series	other
last changed	2003/04/23 15:50

_id	6abd
authors	Dawson, Anthony and Burry, Mark
year	1996
title	The Continuing Dichotomy: Practice vs. Education
doi	https://doi.org/10.52842/conf.ecaade.1996.131
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 131-142
summary	While it is apparent from the architectural literature that some practices are innovative in their use of computers for architectural design, clear evidence indicates that most architectural practices have applied computing to traditional practice paradigms. Information technology is therefore being applied to practice systems which were in place prior to computers being available. This has significant implications for architectural education in which there is tension developing between the requirements of the commercially oriented architectural practice and the innovation driven computer-aided architectural design educator. The first wishes to equip graduates for immediate and productive employment in computerised architectural practices and may be loosely interpreted as a graduate’s ability to work as a CAD operator within an architectural practice environment. The second has the desire for students to be innovative in their use of information technology as an aid in informing and evaluating parts of both the design process and its outcomes. However, it is only when both architects and educators identify the architectural process as an integrated information system that these tensions can be resolved. This requires reconsideration of the function and use of information technology in both educational institutions and in architectural practices. The paper discusses how fruitful this can be in the current environment and outlines current developments at Deakin University which aim at providing a middle ground
series	eCAADe
email
last changed	2022/06/07 07:55

_id	6153
authors	Korbel, Wojciech
year	1996
title	The Present and Future, Development of CAD Exploration in the Office of City’s Architect
source	CAD Creativeness [Conference Proceedings / ISBN 83-905377-0-2] Bialystock (Poland), 25-27 April 1996 pp. 147-157
summary	The usage of computer as a standard tool for an architect became obvious in the past few years. Late 90's along with their rapid development of technology, followed by the growing amount of computer hardware on the market /constantly better and cheaper at the same time/ caused the big changes in the possibilities of project's presentation. The lack of necessary memory to perform proper calculations for high quality rendered images no longer exists. The question raised most commonly by all leading computer software producers concerns the amount of time in which those calculations can be carried out. The race continues while once again, the price of already existing hardware drops rapidly. All these facts make computer more accessible for a potential user such as an architect. Additionally CAD programmers try to make programs as friendly as possible, reducing constantly the amount of time required to learn the program, at least at its bases. As the result, in the next few years, computer may become a standard, at least in some ways of project's presentation. Once again we may face the problem, when the everyday life goes far beyond the expectations. The question appears, how can all kinds of architectural authorities be prepared for constant changes in this field.
series	plCAD
last changed	1999/04/09 15:30

_id	ddssup9613
id	ddssup9613
authors	Kulkarni, R.G., Stought, R.R. and Haynes, K.E.
year	1996
title	Traffic Flow Landscapes
source	Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part two: Urban Planning Proceedings (Spa, Belgium), August 18-21, 1996
summary	Major metropolitan areas and constituent independent jurisdictions face the problem of providing efficient transportation for their residents and in-and out commuters. A typical trip taker spends considerable time on the road to reach the workplace and other destinations. Though it may seem counter-intuitive, adding more links to existing road networks and/or increasing traffic capacity by adding lanes does not necessarily decrease travel times (eg. Braess' paradox). But it is certain that a dense redundant network of roads would provide a trip taker with alternate routes when traffic incidents occur. These types of questions raise the question of, how to evaluate the flow characteristics of the entire road network of a jurisdiction and its larger region in keeping the traffic moving? Further, how may the impact of adding more links/ lanes or the blocking of existing links! lanes be best measured? To answer these and related questions, we propose a methodology to evaluate a fitness criteria for road networks based on Kauffman's biological NK model (1993). We specify a transportation road traffic flow landscape analogous to the fitness landscape of the NK model. Using the transportation road traffic flow landscape we derive a road fitness index that can be used to evaluate either the entire road network's traffic flows or subparts of such network's traffic flows. We explore the possibility of investigating traffic flow landscapes to search for optimal routes to clear traffic. Finally we describe an approach for applying the theoretical framework developed in the paper to the traffic conditions on the road network of the city of Fairfax, Virginia.
keywords	Fitness Landscapes, NK Model, Genotype, Gene, Self-Organization, ITS Technology
series	DDSS
last changed	2003/08/07 16:36

_id	44cc
authors	Martens, Bob (ed.)
year	1996
title	Full-scale Modeling in the Age of Virtual Reality
source	Proceedings of the 6th European Full-scale Modeling Association Conference / ISBN 3-85437-132-2 / Vienna (Austria) 4-6 September 1996, 140 p.
summary	In times characterized by the growing "architectural criticism"; to the same extent as by the helplessness of the anonymous user the communication process between contractors, planner and users gains in importance. If communication is successful will not only depend on the quality of the project but also on the means of conveyance, e.g. visualizing or model representation. Can planning evaluation be effectively supported by virtual reality (VR)? The principal item of a full-scale lab preferably features a court-like facility where the 1:1 simulations are performed. Such lab facilities can be found at various architecture education centers throughout Europe. In the early eighties the European Full-scale Modeling Association (abrev. EFA, full-scale standing for 1:1 or simulation in full-scale) was founded acting as the patron of a conference every two years. In line with the conference title "Full-scale Modeling in the Age of Virtual Reality" the participants were particularly concerned with the relationship of physical 1:1 simulations and VR. The assumption that those creating architecture provide of a higher degree of affinity to physical than to virtual models and prototypes was subject of vivid discussions. Furthermore, the participants devoted some time to issues such as the integration of model-like ideas and built reality thus uncovering any such synergy-effects. Thus some major considerations had to be given to the question of how the architectís model-like ideas and built reality would correspond, also dealing with user-suitability as such: what the building artist might be thrilled with might not turn out to be the residentsí and usersí everyday delight. Aspects of this nature were considered at the îArchitectural Psychology Meeting” together with specialists on environment and aesthetics. As individual space perception as well as its evaluation differ amongst various architects, and these being from various countries furnishing cultural differences, lively discussions were bound to arise.
keywords	VR, Virtual Reality, Simulation in Full-scale, Model Simulation, Real Environments
series	other
email
more	http://info.tuwien.ac.at/efa/EFA-Proceedings.html
last changed	2003/08/25 10:12

_id	7f0f
authors	Naai-Jung, S.
year	1996
title	A study of 2D- and 3D-oriented architectural drawing production methods
source	Automation in Construction 5 (4) (1996) pp. 273-283
summary	The purpose of this paper is to present drawing production methods based on the difference between 2D- and 3D-oriented approaches. This study emphasizes the comparison of the two approaches in data production, updating and analysis. Architectural CAD drawings are outputted from design information through a computational interface. A drawing production model (P) can be represented by a database (DB) and an interface (I). The input interface is the input or update method between users and application systems. The output interface is the method of presenting architecture drawings like plans, elevations, sections and details based on input data. Under the constraints of a predefined data structure, the computational interface determines the efficiency and characteristics of input and output data. Drawing production methods can be classified into three types: segregating drawing files, applying reference files and constructing a virtual building model. These types come with different interfaces: 2D drafting has the same input and output interface, whereas constructing a 3D model is achieved using a different interface. A digital building model is defined as the electronic information of a whole building which is assembled by components with attributes. 2D- and 3D-oriented drawing methods are compared, based on items such as the required preparation before drafting, consistency of plans, elevations and sections, ease of modification, drafting efficiency, number of persons involved, and analysis potential.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:23

_id	ga0026
id	ga0026
authors	Ransen, Owen F.
year	2000
title	Possible Futures in Computer Art Generation
source	International Conference on Generative Art
summary	Years of trying to create an "Image Idea Generator" program have convinced me that the perfect solution would be to have an artificial artistic person, a design slave. This paper describes how I came to that conclusion, realistic alternatives, and briefly, how it could possibly happen. 1. The history of Repligator and Gliftic 1.1 Repligator In 1996 I had the idea of creating an “image idea generator”. I wanted something which would create images out of nothing, but guided by the user. The biggest conceptual problem I had was “out of nothing”. What does that mean? So I put aside that problem and forced the user to give the program a starting image. This program eventually turned into Repligator, commercially described as an “easy to use graphical effects program”, but actually, to my mind, an Image Idea Generator. The first release came out in October 1997. In December 1998 I described Repligator V4 [1] and how I thought it could be developed away from simply being an effects program. In July 1999 Repligator V4 won the Shareware Industry Awards Foundation prize for "Best Graphics Program of 1999". Prize winners are never told why they won, but I am sure that it was because of two things: 1) Easy of use 2) Ease of experimentation "Ease of experimentation" means that Repligator does in fact come up with new graphics ideas. Once you have input your original image you can generate new versions of that image simply by pushing a single key. Repligator is currently at version 6, but, apart from adding many new effects and a few new features, is basically the same program as version 4. Following on from the ideas in [1] I started to develop Gliftic, which is closer to my original thoughts of an image idea generator which "starts from nothing". The Gliftic model of images was that they are composed of three components: 1. Layout or form, for example the outline of a mandala is a form. 2. Color scheme, for example colors selected from autumn leaves from an oak tree. 3. Interpretation, for example Van Gogh would paint a mandala with oak tree colors in a different way to Andy Warhol. There is a Van Gogh interpretation and an Andy Warhol interpretation. Further I wanted to be able to genetically breed images, for example crossing two layouts to produce a child layout. And the same with interpretations and color schemes. If I could achieve this then the program would be very powerful. 1.2 Getting to Gliftic Programming has an amazing way of crystalising ideas. If you want to put an idea into practice via a computer program you really have to understand the idea not only globally, but just as importantly, in detail. You have to make hard design decisions, there can be no vagueness, and so implementing what I had decribed above turned out to be a considerable challenge. I soon found out that the hardest thing to do would be the breeding of forms. What are the "genes" of a form? What are the genes of a circle, say, and how do they compare to the genes of the outline of the UK? I wanted the genotype representation (inside the computer program's data) to be directly linked to the phenotype representation (on the computer screen). This seemed to be the best way of making sure that bred-forms would bare some visual relationship to their parents. I also wanted symmetry to be preserved. For example if two symmetrical objects were bred then their children should be symmetrical. I decided to represent shapes as simply closed polygonal shapes, and the "genes" of these shapes were simply the list of points defining the polygon. Thus a circle would have to be represented by a regular polygon of, say, 100 sides. The outline of the UK could easily be represented as a list of points every 10 Kilometers along the coast line. Now for the important question: what do you get when you cross a circle with the outline of the UK? I tried various ways of combining the "genes" (i.e. coordinates) of the shapes, but none of them really ended up producing interesting shapes. And of the methods I used, many of them, applied over several "generations" simply resulted in amorphous blobs, with no distinct family characteristics. Or rather maybe I should say that no single method of breeding shapes gave decent results for all types of images. Figure 1 shows an example of breeding a mandala with 6 regular polygons: Figure 1 Mandala bred with array of regular polygons I did not try out all my ideas, and maybe in the future I will return to the problem, but it was clear to me that it is a non-trivial problem. And if the breeding of shapes is a non-trivial problem, then what about the breeding of interpretations? I abandoned the genetic (breeding) model of generating designs but retained the idea of the three components (form, color scheme, interpretation). 1.3 Gliftic today Gliftic Version 1.0 was released in May 2000. It allows the user to change a form, a color scheme and an interpretation. The user can experiment with combining different components together and can thus home in on an personally pleasing image. Just as in Repligator, pushing the F7 key make the program choose all the options. Unlike Repligator however the user can also easily experiment with the form (only) by pushing F4, the color scheme (only) by pushing F5 and the interpretation (only) by pushing F6. Figures 2, 3 and 4 show some example images created by Gliftic. Figure 2 Mandala interpreted with arabesques Figure 3 Trellis interpreted with "graphic ivy" Figure 4 Regular dots interpreted as "sparks" 1.4 Forms in Gliftic V1 Forms are simply collections of graphics primitives (points, lines, ellipses and polygons). The program generates these collections according to the user's instructions. Currently the forms are: Mandala, Regular Polygon, Random Dots, Random Sticks, Random Shapes, Grid Of Polygons, Trellis, Flying Leap, Sticks And Waves, Spoked Wheel, Biological Growth, Chequer Squares, Regular Dots, Single Line, Paisley, Random Circles, Chevrons. 1.5 Color Schemes in Gliftic V1 When combining a form with an interpretation (described later) the program needs to know what colors it can use. The range of colors is called a color scheme. Gliftic has three color scheme types: 1. Random colors: Colors for the various parts of the image are chosen purely at random. 2. Hue Saturation Value (HSV) colors: The user can choose the main hue (e.g. red or yellow), the saturation (purity) of the color scheme and the value (brightness/darkness) . The user also has to choose how much variation is allowed in the color scheme. A wide variation allows the various colors of the final image to depart a long way from the HSV settings. A smaller variation results in the final image using almost a single color. 3. Colors chosen from an image: The user can choose an image (for example a JPG file of a famous painting, or a digital photograph he took while on holiday in Greece) and Gliftic will select colors from that image. Only colors from the selected image will appear in the output image. 1.6 Interpretations in Gliftic V1 Interpretation in Gliftic is best decribed with a few examples. A pure geometric line could be interpreted as: 1) the branch of a tree 2) a long thin arabesque 3) a sequence of disks 4) a chain, 5) a row of diamonds. An pure geometric ellipse could be interpreted as 1) a lake, 2) a planet, 3) an eye. Gliftic V1 has the following interpretations: Standard, Circles, Flying Leap, Graphic Ivy, Diamond Bar, Sparkz, Ess Disk, Ribbons, George Haite, Arabesque, ZigZag. 1.7 Applications of Gliftic Currently Gliftic is mostly used for creating WEB graphics, often backgrounds as it has an option to enable "tiling" of the generated images. There is also a possibility that it will be used in the custom textile business sometime within the next year or two. The real application of Gliftic is that of generating new graphics ideas, and I suspect that, like Repligator, many users will only understand this later. 2. The future of Gliftic, 3 possibilties Completing Gliftic V1 gave me the experience to understand what problems and opportunities there will be in future development of the program. Here I divide my many ideas into three oversimplified possibilities, and the real result may be a mix of two or all three of them. 2.1 Continue the current development "linearly" Gliftic could grow simply by the addition of more forms and interpretations. In fact I am sure that initially it will grow like this. However this limits the possibilities to what is inside the program itself. These limits can be mitigated by allowing the user to add forms (as vector files). The user can already add color schemes (as images). The biggest problem with leaving the program in its current state is that there is no easy way to add interpretations. 2.2 Allow the artist to program Gliftic It would be interesting to add a language to Gliftic which allows the user to program his own form generators and interpreters. In this way Gliftic becomes a "platform" for the development of dynamic graphics styles by the artist. The advantage of not having to deal with the complexities of Windows programming could attract the more adventurous artists and designers. The choice of programming language of course needs to take into account the fact that the "programmer" is probably not be an expert computer scientist. I have seen how LISP (an not exactly easy artificial intelligence language) has become very popular among non programming users of AutoCAD. If, to complete a job which you do manually and repeatedly, you can write a LISP macro of only 5 lines, then you may be tempted to learn enough LISP to write those 5 lines. Imagine also the ability to publish (and/or sell) "style generators". An artist could develop a particular interpretation function, it creates images of a given character which others find appealing. The interpretation (which runs inside Gliftic as a routine) could be offered to interior designers (for example) to unify carpets, wallpaper, furniture coverings for single projects. As Adrian Ward [3] says on his WEB site: "Programming is no less an artform than painting is a technical process." Learning a computer language to create a single image is overkill and impractical. Learning a computer language to create your own artistic style which generates an infinite series of images in that style may well be attractive. 2.3 Add an artificial conciousness to Gliftic This is a wild science fiction idea which comes into my head regularly. Gliftic manages to surprise the users with the images it makes, but, currently, is limited by what gets programmed into it or by pure chance. How about adding a real artifical conciousness to the program? Creating an intelligent artificial designer? According to Igor Aleksander [1] conciousness is required for programs (computers) to really become usefully intelligent. Aleksander thinks that "the line has been drawn under the philosophical discussion of conciousness, and the way is open to sound scientific investigation". Without going into the details, and with great over-simplification, there are roughly two sorts of artificial intelligence: 1) Programmed intelligence, where, to all intents and purposes, the programmer is the "intelligence". The program may perform well (but often, in practice, doesn't) and any learning which is done is simply statistical and pre-programmed. There is no way that this type of program could become concious. 2) Neural network intelligence, where the programs are based roughly on a simple model of the brain, and the network learns how to do specific tasks. It is this sort of program which, according to Aleksander, could, in the future, become concious, and thus usefully intelligent. What could the advantages of an artificial artist be? 1) There would be no need for programming. Presumbably the human artist would dialog with the artificial artist, directing its development. 2) The artificial artist could be used as an apprentice, doing the "drudge" work of art, which needs intelligence, but is, anyway, monotonous for the human artist. 3) The human artist imagines "concepts", the artificial artist makes them concrete. 4) An concious artificial artist may come up with ideas of its own. Is this science fiction? Arthur C. Clarke's 1st Law: "If a famous scientist says that something can be done, then he is in all probability correct. If a famous scientist says that something cannot be done, then he is in all probability wrong". Arthur C Clarke's 2nd Law: "Only by trying to go beyond the current limits can you find out what the real limits are." One of Bertrand Russell's 10 commandments: "Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric" 3. References 1. "From Ramon Llull to Image Idea Generation". Ransen, Owen. Proceedings of the 1998 Milan First International Conference on Generative Art. 2. "How To Build A Mind" Aleksander, Igor. Wiedenfeld and Nicolson, 1999 3. "How I Drew One of My Pictures: or, The Authorship of Generative Art" by Adrian Ward and Geof Cox. Proceedings of the 1999 Milan 2nd International Conference on Generative Art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	caadria2007_683
id	caadria2007_683
authors	Tayyar, Bahram
year	2007
title	Digitally Supported Neighbourhoods
doi	https://doi.org/10.52842/conf.caadria.2007.x.d5x
source	CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
summary	The new infrastructure of digital telecommunication and ubiquitous computation enables people to work, communicate, and entertain via electronic networks from their living places. Therefore, understanding the nature and design of digitally supported neighborhoods is likely to emerge as an increasingly important research question. This study investigates how neighborhoods in Melbourne can be more appropriately designed for new technologies and other convenience, especially for new residents with different life styles. It adopts Sidney Brower’s (1996) typology of neighborhoods and explores social, spatial and technological implications of new emergent lifestyles, according to Clifford’s (2002) classification, on every type. Key Words – Digitally Supported Neighborhoods, Implication of Modern ICTs, Telecommunication Based Lifestyles, Typology, Scenario Based Study.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	avocaad_2001_17
id	avocaad_2001_17
authors	Ying-Hsiu Huang, Yu-Tung Liu, Cheng-Yuan Lin, Yi-Ting Cheng, Yu-Chen Chiu
year	2001
title	The comparison of animation, virtual reality, and scenario scripting in design process
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	Design media is a fundamental tool, which can incubate concrete ideas from ambiguous concepts. Evolved from freehand sketches, physical models to computerized drafting, modeling (Dave, 2000), animations (Woo, et al., 1999), and virtual reality (Chiu, 1999; Klercker, 1999; Emdanat, 1999), different media are used to communicate to designers or users with different conceptual levels¡@during the design process. Extensively employed in design process, physical models help designers in managing forms and spaces more precisely and more freely (Millon, 1994; Liu, 1996).Computerized drafting, models, animations, and VR have gradually replaced conventional media, freehand sketches and physical models. Diversely used in the design process, computerized media allow designers to handle more divergent levels of space than conventional media do. The rapid emergence of computers in design process has ushered in efforts to the visual impact of this media, particularly (Rahman, 1992). He also emphasized the use of computerized media: modeling and animations. Moreover, based on Rahman's study, Bai and Liu (1998) applied a new design media¡Xvirtual reality, to the design process. In doing so, they proposed an evaluation process to examine the visual impact of this new media in the design process. That same investigation pointed towards the facilitative role of the computerized media in enhancing topical comprehension, concept realization, and development of ideas.Computer technology fosters the growth of emerging media. A new computerized media, scenario scripting (Sasada, 2000; Jozen, 2000), markedly enhances computer animations and, in doing so, positively impacts design processes. For the three latest media, i.e., computerized animation, virtual reality, and scenario scripting, the following question arises: What role does visual impact play in different design phases of these media. Moreover, what is the origin of such an impact? Furthermore, what are the similarities and variances of computing techniques, principles of interaction, and practical applications among these computerized media?This study investigates the similarities and variances among computing techniques, interacting principles, and their applications in the above three media. Different computerized media in the design process are also adopted to explore related phenomenon by using these three media in two projects. First, a renewal planning project of the old district of Hsinchu City is inspected, in which animations and scenario scripting are used. Second, the renewal project is compared with a progressive design project for the Hsinchu Digital Museum, as designed by Peter Eisenman. Finally, similarity and variance among these computerized media are discussed.This study also examines the visual impact of these three computerized media in the design process. In computerized animation, although other designers can realize the spatial concept in design, users cannot fully comprehend the concept. On the other hand, other media such as virtual reality and scenario scripting enable users to more directly comprehend what the designer's presentation.Future studies should more closely examine how these three media impact the design process. This study not only provides further insight into the fundamental characteristics of the three computerized media discussed herein, but also enables designers to adopt different media in the design stages. Both designers and users can more fully understand design-related concepts.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	73a3
authors	Case, Michael P.
year	1996
title	Discourse Model for collaborative design
source	Computer-Aided Design, Vol. 28 (5) (1996) pp. 333-345
summary	A Discourse Model, including a structure and a process, is developed that provides software support for collaborative engineering design. The model shares characteristics of other design systems in the literature,including frames, constraints, semantic networks, and libraries of sharable design objects. It contributes a new model for conflict-aware agents, dynamic identification and dissemination of agent interest sets, avirtual workspace language, automatic detection of conflict, and a unique protocol for negotiation that ensures that interested agents have an opportunity to participate. The model is implementation independent andapplicable to many research and commercial design environments currently available. An example scenario is provided in the architecture/engineering/construction domain that illustrates collaboration during theconceptual design of a fire station.
keywords	Agent, Conflict, Discourse Design Collaboration, Concurrent Engineering, Blackboard Architecture, KQML
series	journal paper
last changed	2003/05/15 21:33

_id	bd19
authors	Harrison, Steve and Dourish, Paul
year	1996
title	Re-Place-ing Space: The Roles of Place and Space in Collaborative Systems Learning from Space and Place
source	Proceedings of ACM CSCW'96 Conferenc on Computer-Supported Cooperative Work 1996 p.10
summary	Many collaborative and communicative environments use notions of "space" and spatial organisation to facilitate and structure interaction. We argue that a focus on spatial models is misplaced. Drawing on understandings from architecture and urban design, as well as from our own research findings, we highlight the critical distinction between "space" and "place". While designers use spatial models to support interaction, we show how it is actually a notion of "place" which frames interactive behaviour. This leads us to re-evaluate spatial systems, and discuss how "place", rather than "space", can support CSCW design.
keywords	Space; Place; Media Space; Virtual Reality; MUDs; Metaphor
series	other
last changed	2002/07/07 16:01

_id	ascaad2004_paper11
id	ascaad2004_paper11
authors	Abdelfattah, Hesham Khairy and Ali A. Raouf
year	2004
title	No More Fear or Doubt: Electronic Architecture in Architectural Education
source	eDesign in Architecture: ASCAAD's First International Conference on Computer Aided Architectural Design, 7-9 December 2004, KFUPM, Saudi Arabia
summary	Operating electronic and Internet worked tools for Architectural education is an important, and merely a prerequisite step toward creating powerful tele-collabortion and tele-research in our Architectural studios. The design studio, as physical place and pedagogical method, is the core of architectural education. The Carnegie Endowment report on architectural education, published in 1996, identified a comparably central role for studios in schools today. Advances in CAD and visualization, combined with technologies to communicate images, data, and “live” action, now enable virtual dimensions of studio experience. Students no longer need to gather at the same time and place to tackle the same design problem. Critics can comment over the network or by e-mail, and distinguished jurors can make virtual visits without being in the same room as the pin-up—if there is a pin-up (or a room). Virtual design studios (VDS) have the potential to support collaboration over competition, diversify student experiences, and redistribute the intellectual resources of architectural education across geographic and socioeconomic divisions. The challenge is to predict whether VDS will isolate students from a sense of place and materiality, or if it will provide future architects the tools to reconcile communication environments and physical space.
series	ASCAAD
email
last changed	2007/04/08 19:47

_id	846c
authors	Achten, Henri
year	1996
title	Generic Representations: Intermediate Structures in Computer Aided Architectural Composition.
source	Approaches to Computer Aided Architectural Composition [ISBN 83-905377-1-0] 1996, pp. 9-24
summary	The paper discusses research work on typological and generic knowledge in architectural design. Architectural composition occurs predominantly through drawings as a medium. Throughout the process, architects apply knowledge. The paper discusses the question how to accommodate this process in computers bearing in mind the medium of drawings and the application of knowledge. It introduces generic representations as one particular approach and discusses its implications by the concept of intermediate structures. The paper concludes with an evaluation of the presented ideas.
keywords
series	other
email
last changed	1999/04/08 17:16

_id	765f
authors	Adam, Holger
year	2002
title	Reinterpretation or replacement? The effects of the information and communication technologies on urban space
source	CORP 2002, Vienna, pp. 345-349
summary	The timid question “Virtual spaces or real places?” forms the core of many debates within the spatial sciences addressing theconsequences of the rapid development of information and communication technologies1 on existing spatial structures. So far several opinions rival each other for the interpretation of current and the prediction of future spatial developments. The spacelessness ofcomputer networks and the possibility to transmit data in real-time have lead visionaries to predict a far-reaching devaluation of timeand space, so questioning the future importance of traditional spatial structures: The “annihilation of distance and time constraints [incomputer networks] could undermine the very rationale for the existence of the city by dissolving the need for physical proximity”(Graham and Marvin 1996: 318). The disappearance of the city into the net, therefore, seems to become a distinct possibility.
series	other
email
more	www.corp.at
last changed	2003/11/21 15:15

_id	4b55
authors	Af Klercker, J. , Ekholm, A. and Fridqvist, S. (Ed.)
year	1996
title	Education for Practice [Conference Proceedings]
doi	https://doi.org/10.52842/conf.ecaade.1996
source	14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2 / Lund (Sweden) 12-14 September 1996, 425 p.
summary	There are many of us trying to make place for CAAD in a natural way in the Curriculum of the Architect school. We would like to make CAAD useful to the students already during their studies. Even if we have the support of our collegues for running courses there is very often no space in the timetable. And even if we have all the entusiasm of our students it is hard to practice your CAAD knowledge on projects where it is not asked for. The education of architects in the use of computers has lead me to try to find "the roots of education of architects" in general. A collegue of mine in a bookshelf of course litterature in Informatics found and put into my hands "Educating the reflective practitioner" by Donald Schön. It lead to an interesting process of personal reflection and discussion within our CAAD team. We think by the way that the theme of the conference points to the heart of the message in Donald Schöns book and we are inviting him as a key note speaker at the Conference.
series	eCAADe
type	normal paper
email
more	http://www.caad.lth.se/ECAADE/
last changed	2022/06/07 07:49

_id	8a25
authors	Alshawi, M. and Underwood, J.
year	1996
title	Applying object-oriented analysis to the integration of design and construction
source	Automation in Construction 5 (2) (1996) pp. 105-121
summary	This paper implements an Object Oriented Analysis technique to model information related to design and construction. In a previous study, an approach to integrate design and construction processes based upon information analysis and modelling has been proposed. By breaking down the project's vast information into groups of related information, construction related problems have been identified and then traced back too their relevant design processes. This paper models this process using a relatively young and new method of analysis rather than a traditional structured approach. An Object-Oriented Analysis (OOA) method has been applied to model the information in terms of the fundamental ideas that underlie object-oriented technology i.e. object types and classes, methods, requests, encapsulation and inheritance. Proceeding through the five major activities of Coad and Yourdon's OOA method, a complete OOA model has been developed with potential to improve the construction related problems.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	ddssup9602
id	ddssup9602
authors	Arentze, T.A., Borgers, A.W.J. and Harry J.P.
year	1996
title	A knowledge-based model for developing location strategies in a DSS for retail planning
source	Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part two: Urban Planning Proceedings (Spa, Belgium), August 18-21, 1996
summary	Most DSS for retail planning are based on impact assessment models to support the evaluation of plan scenario's. This paper introduces a complementary knowledge-based model to support also the earlier stage of formulating plan scenario's. An analysis of the retail planning problem reveals the main lines of the strategies adopted by most Dutch planners and retailers to achieve their goals. A basic strategy that seems to be appropriate in most problem contexts is formulated in the form of a set of decision tables. Each decision table or system of decision tables specifies for a problem area decision rules to identify and analyse problems and to formulate possible actions. The model is implemented in a DSS where it is used in combination with quantitative impact assessment models. A case study in the area of daily good facilities demonstrates the approach. The major conclusion is that the knowledge-based approach and in particular the decision table technique provides interesting possibilities to implement planning task structures in a DSS environment.
series	DDSS
last changed	2003/11/21 15:16

_id	e29d
authors	Arvesen, Liv
year	1996
title	LIGHT AS LANGUAGE
source	Full-Scale Modeling in the Age of Virtual Reality [6th EFA-Conference Proceedings]
summary	With the unlimited supply of electric light our surroundings very easily may be illuminated too strongly. Too much light is unpleasant for our eyes, and a high level of light in many cases disturbs the conception of form. Just as in a forest, we need shadows, contrasts and variation when we compose with light. If we focus on the term compose, it is natural to conceive our environment as a wholeness. In fact, this is not only aesthetically important, it is true in a physical context. Inspired by old windows several similar examples have been built in the Trondheim Full-scale Laboratory where depth is obtained by constructing shelves on each side of the opening. When daylight is fading, indirect artificial light from above gradually lightens the window. The opening is perceived as a space of light both during the day and when it is dark outside. Another of the built examples at Trondheim University which will be presented, is a doctor's waitingroom. It is a case study of special interest because it often appears to be a neglected area. Let us start asking: What do we have in common when we are waiting to come in to a doctor? We are nervous and we feel sometimes miserable. Analysing the situation we understand the need for an interior that cares for our state of mind. The level of light is important in this situation. Light has to speak softly. Instead of the ordinary strong light in the middle of the ceiling, several spots are selected to lighten the small tables separating the seats. The separation is supposed to give a feeling of privacy. By the low row of reflected planes we experience an intimate and warming atmosphere in the room. A special place for children contributes to the total impression of calm. In this corner the inside of some shelves are lit by indirect light, an effect which puts emphasis on the small scale suitable for a child. And it also demonstrates the good results of variation. The light setting in this room shows how light is “caught” two different ways.
keywords	Model Simulation, Real Environments
series	other
type	normal paper
more	http://info.tuwien.ac.at/efa/
last changed	2004/05/04 14:34

_id	ddssup9603
id	ddssup9603
authors	Bach, Boudewijn and MacGillivray, Trina
year	1996
title	Semi-manual design support for increasing railwaystation catchment & sustainable traffic routing
source	Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part two: Urban Planning Proceedings (Spa, Belgium), August 18-21, 1996
summary	The shape ('configuration'), location and direction of the pattern of potential trips by foot or bicycle can help decision makers and designers:- the shape of such a pattern informs about the potential size of a traffic calming area(such as 30Km-zoning),- the location of such a pattern refers to the user-groups and specific destinations that a urban network should bring in safe reach for dictated groups,- the direction of such a pattern, together with shape and location, points to the best routing to raise the Sustainable Traffic Modal Split or to improve the reach of destinations like a railway-station.The patters can be generated from zip-code's of user-groups with obvious and daily destinations (school-children, rail-passengers). The next step confronts the theoretical pattern with the layout of streets and the traffic flow, mapping or listing (potential) confrontations between cars and the non-motorised modes, a basis for economical investment in traffic-safety.A design can 'model' the analysed pattern(s) to a economic, direct and safe base (cycle or pedestrian) network. In co-operation, the Dutch the traffic consultant "Verkeersadviesbureau Diepens & Okkema" in Delft, The Netherlands and the Faculty of Architecture, Delft University of Technology, in Delft, The Netherlands, develloped the semi-manual design & decision support system "STAR-Analysis"
series	DDSS
last changed	2003/11/21 15:16

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