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	ddssar9616
id	ddssar9616
authors	Hunt, John
year	1996
title	Establishing design directions for complex architectural projects: a decision support strategy
source	Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Spa, Belgium), August 18-21, 1996
summary	The paper seeks to identify characteristics of the design decision-making strategy implicit in the first placed design submissions for three significant architectural competitions: the Sydney Opera House competition, and two recent design competitions for university buildings in New Zealand. Cohn Rowe's (1982) characterisation of the design process is adopted as a basis for the analysis of these case studies. Rowe's fertile analogy between design and (criminal) detection is first outlined, then brought to bear on the case studies. By means of a comparison between the successful and selected unsuccessful design submissions in each case, aspects of Rowe's characterisation of the design process are confirmed. On the basis of this analysis several common features of the competition-winning submissions, and their implicit decision-making processes, are identified. The first of these features relates to establishing project or programmatic requirements and the prioritizing of these. The second concerns the role of design parameters or requirements that appear as conflicting or contradictory, in the development of a design direction and in innovative design outcomes. The third concerns the process of simultaneous consideration given by the designer to both project parameters or requirements, and to design solution possibilities - a process described by Rowe as "dialectical interanimation".
series	DDSS
last changed	2003/08/07 16:36

_id	cf57
authors	Anumba, C.J.
year	1996
title	Functional Integration in CAD Systems
source	Advances in Engineering Software, 25, 103-109
summary	This paper examines the issue of integration in CAD systems and argues that for integration to be effective, it must address the functional aspects of a CAD system. It discusses the need for integrated systems and, within a structural engineering context, identifies several facets of integration that should be targeted. These include 2-D drafting and 3-D modelling, graphical and non-graphical design information, the CAD data structure and its user interface, as well as integration of the drafting function with other engineering applications. Means of achieving these levels of integration are briefly discussed and a prognosis for the future development of integrated systems explored. Particular attention is paid to the emergence (and potential role) of `product models' which seek to encapsulate the full range of data elements required to define completely an engineering artefact.
series	journal paper
last changed	2003/04/23 15:14

_id	6abd
authors	Dawson, Anthony and Burry, Mark
year	1996
title	The Continuing Dichotomy: Practice vs. Education
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 131-142
doi	https://doi.org/10.52842/conf.ecaade.1996.131
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	ddssar9618
id	ddssar9618
authors	Kanoglu, Alaattin
year	1996
title	Application of General Purpose Project Planning & Programming Software for Production Planning & Control in Plants which Produce Prefabricated Building Components
source	Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Spa, Belgium), August 18-21, 1996
summary	The "open systems" in building prefabrication may be qualified more flexible to some extent compared to the closed ones and may use the tools and approaches used in industrial production areas for the es-timation of demand and production. As for the closed systems in particular, it is not possible for these systems to apply this kind of an approach. Their production must be based on absolutely assured de-mands and projects. Because of this, they need detailed projects and assembly schedules for produc-tion. As a result of this, their production modes can be qualified "custom-made" type and production planning functions must provide the demand values from the assembly schedules of contracted pro-jects. The problem can be solved by integrating the work schedules of the sites that are served by fac-tory. Integration of data on a computerized system will be preferable and it is possible to realize the model in two alternative ways. The first is developing a new conceptual model and convert it into a software and the second is developing an approach for customizing general purpose project planning and programming software for using them in production planning. The second solution is studied in the paper following this. The aims of this study are analyzing outstanding general purpose project planning & programming software from the point of view of requirements of production planning function and their customizability; comparing the requirements of the model designed for production planning and capabilities of general purpose planning software and developing the conceptual and practical dimensions and basic principals of the model for using the general purpose planning and programming software for production planning.
series	DDSS
last changed	2003/08/07 16:36

_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	acadia07_284
id	acadia07_284
authors	Robinson, Kirsten; Gorbet, Robert; Beesley, Philip
year	2007
title	Evolving Cooperative Behaviour in a Reflexive Membrane
source	Expanding Bodies: Art • Cities• Environment [Proceedings of the 27th Annual Conference of the Association for Computer Aided Design in Architecture / ISBN 978-0-9780978-6-8] Halifax (Nova Scotia) 1-7 October 2007, 284-293
doi	https://doi.org/10.52842/conf.acadia.2007.284
summary	This paper describes the integration of machine intelligence into an immersive architectural sculpture that interacts dynamically with users and the environment. The system is conceived to function as an architectural envelope that might transfer air using a distributed array of components. The sculpture includes a large array of interconnected miniature structural and kinetic elements, each with local sensing, actuation, and machine intelligence. We demonstrate a model in which these autonomous, interconnected agents develop cooperative behaviour to maximize airflow. Agents have access to sensory data about their local environment and ‘learn’ to move air through the working of a genetic algorithm. Introducing distributed and responsive machine intelligence builds on work done on evolving embodied intelligence (Floreano et al. 2004) and architectural ‘geotextile’ sculptures by Philip Beesley and collaborators (Beesley et al. 1996-2006). The paper contributes to the general field of interactive art by demonstrating an application of machine intelligence as a design method. The objective is the development of coherent distributed kinetic building envelopes with environmental control functions. A cultural context is included, discussing dynamic paradigms in responsive architecture.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 08:00

_id	70b1
authors	Emdanat, S.S., Vakalo, E.0. and Malkawi, A.M.
year	1996
title	A Conceptual Framework for Integrating Morphological and Thermal Analysis in the Generation of Orthogonal Architectural Designs
source	Proceedings of the 84th ACSA Meeting; Boston, pp. 117-131
summary	Digital networks are gaining importance as environments for learning and creative collaboration. Technical achievements, software enhancements, and a growing number of applicable principles make it possible to compile complex environments that satisfy many aspects necessary for creative collaboration. This paper focuses on three issues: the architecture of collaborative environments, communication in these environments and the processes inherent to creative collaboration. The information architecture of digital environments looks different from physical architecture, mainly because the material that it is made out of is information and not stone, wood or metal and the goal is to provide appropriate paths and views to information. Nonetheless, many analogies can be drawn between information architecture and physical architecture, including the need for useability, aesthetics, and consistency. To communicate is important for creative collaboration. Digital networks request and enable new strategies for communicating. Regarding the collaborative creative process we have been able to detect principles and features that enhance this process, but there are still many unanswered questions. For example, the environment can enable and improve the frequency of surprise and coincidence, two factors that often play decisive roles in the creative processes but cannot be planned for in advance. Freedom and transparency within the environment are other important factors that foster creative collaboration. The following findings are based on numerous courses, which we have taught using networked environments and some associated, research projects that helped to verify their applicability for architectural practice.
series	other
last changed	2003/04/23 15:50

_id	a295
authors	Penttilä, Hannu
year	1996
title	The Meaning of CAAD in Architectural Education
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 347-354
doi	https://doi.org/10.52842/conf.ecaade.1996.347
summary	A brief historical analysis followed by some possible future scenarios The influence of CAD – nowadays more correctly stated with CAAD meaning architectural CAD – has been more and more evident in the university level architectural education. The development process of architectural CAD-courses and wider CAD-curriculums could, at least in Scandinavian countries, be described and simplified with a couple of development steps analyzed here, to give the starting point. And since the process of educational evolution will naturally keep on developing in the future also, some possible future paths concerning both CAD-equipment, CAAD-education and more traditional architectural curriculumns, are described here after the historical analysis. Following commonly used futures studies methods, my intent is not to predict the future, but to give several probable future choices, of which some might come true, and some might not. Some of the paths are evident, some are ideal and some may cause also negative effects. The future of architectural education and CAAD as part of it will certainly appear somehow, very possibly somewhere in the middle of these presented paths. The aim of this presentation is to give the architectural education community – the schools and faculty – a wide perspective view to analyze and plan their local course structures also for the future. The future possibilities are presented here, so that the schools can prepare for the forecoming future changes in their workin environment. Finally, the future will appear the way we will create it.
series	eCAADe
email
more	http://www.tut.fi/~penttila/index.html
last changed	2022/06/07 08:00

_id	aa7c
authors	Amirante, M. Isabella and Burattini, Ernesto
year	1996
title	Automatic Procedures for Bio-Climatic Control
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 29-40
doi	https://doi.org/10.52842/conf.ecaade.1996.029
summary	The experiences illustrated here are related to the new regulation of teaching architecture in Italy and these ones in particular have been concentrated on the technological aspects of teaching architecture. We can consider the evolution of the architect from the individual operator to the manager multi- disciplinary aspects of the building process ( building process manager) as a reality today. Information technology, specifically applied to bio-climatic architecture and environmental control, can be of great importance for this professional role, and for this reason it is very useful to include these topics at the beginning the teaching design process. This paper describes a particular approach to bio-climatic problems of the architectural project. An experimental course has been performed by the second year students of the "Laboratorio di Construzione dell' Architettura", at the School of Architecture of the Second University of Naples, in Aversa. Analysing old and new buildings, they used some flow charts for the evaluation and representation of energetic behaviour of buildings regarding their climatic and geographical environment. In the flow charts the decisions are represented by boxes that allow to determine "rightness index" related to: morphological characters of the site and environment, typology and particular organisation of the inside spaces, shape of building, technological solution of the building "skin". The navigation through the decision boxes is made with simple options like; "winds: protected or exposed site", "shape of building; free, close or cross plane", "presence of trees on the south,; yes or not",; it shows the students the bio-climatic quality of the building and, through numeric value assigned to each option, determines the "weight" of its climatic comfort.
series	eCAADe
last changed	2022/06/07 07:54

_id	af94
authors	Anumba, C.J.
year	1996
title	Data structures and DBMS for computer-aided design systems
source	Advances in Engineering Software, 25(2/3), 123-129
summary	The structures for the storage of data in CAD systems influence to a large extent the effectiveness of the system. This paper reviews the wide range of data structures and database management systems (DBMS) available for structuring CAD data. Examples of basic data types are drawn from the MODULA-2 language. The relationship between these basic data types, their composite structures and the classical data models (on which many DBMS are based) is discussed, and the limitations of existing DBMS in modelling CAD data highlighted. A set of requirements for CAD database management systems is drawn up and the emerging role of product models (which seek to encapsulate the totality of data elements required to define fully an engineering artefact) is explored.
series	journal paper
last changed	2003/04/23 15:14

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
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	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	ab1e
authors	Coyne, R., McLaughlin, S., Newton, S., Sudweeks, F., Haynes, D. and Jumani, A.
year	1996
title	Report on Computers in Practice: A survey of computers in architectural practice
source	UK: University of Edinburgh
summary	This is a report on the dynamic relationship between information technology (IT) and architectural practice. The report summarises the attitudes and opinions of practitioners gathered through extensive recorded interviews, and compares these attitudes and opinions with the findings of other studies. The report is compiled from the point of view of an understanding of appropriating as preceding as the model for understanding. We thereby connect what is going on in IT with concepts currently under discussion in postmodern thought and in the tradition of philosophical pragmatism. We identify several of the major options identified by practitioners in their use of IT, including practicing without computers, substituting computers for traditional tasks, delivering traditional services in an innovative way through IT, and developing new services with IT. We also demonstrate how firms are changing and are being shaped by the market for architectural services. One of the major areas of change is in how IT and related resources are managed. We also consider how the role of the practitioner as an individual in a firm is changing along with changes in IT, and how different prognoses about the future of IT in practice are influenced by certain dominant metaphors. Our conclusion is that IT is best understood and appropriated when it is seen as fitting into a dynamic field or constellation of technologies and practices. Such an orientation enables the reflective practitioner to confront what is really going on as IT interacts with practice. praxis- practice theory
series	report
last changed	2003/04/23 15:50

_id	ddssup9607
id	ddssup9607
authors	Gordon, T., Karacapilidis, N., Voss, H. and Zauke, A.
year	1996
title	Computer-Mediated Cooperative Spatial 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	Decision making on spatial planning problems has to integrate recent advancements on geographical information systems with a framework that supports fair, rational and efficient decision making procedures. Such a framework will assist government and businesses with the retrieval, use and reuse of information in cooperative, distributed planning procedures requiring access to spatial data. This paper gives an overview of a computer-mediated group decision support system for the World Wide Web, namely ZENO. The target is to provide intelligent assistance to human mediators and other kinds cf "trusted third parties" during the above procedures. The role of the system is to remain neutral and help assure that the interests and goals of all members of a group, regardless of their status, are respected and appreciated. In this paper, the system's features are illustrated with a retrospective model of a real urban planning example, concerning the allocation of a new technology park in the area of the city of Bonn, where more than eighty communities, local and federal authorities, and other organizations have been requested to submit their suggestions, objections and comments on a spatial planning problem.
series	DDSS
email
last changed	2003/08/07 16:36

_id	fb63
id	fb63
authors	Jabi, Wassim
year	1996
title	An Outline of the Requirements for a Computer-Supported Collaborative Design System
source	Open House International, vol 21, no 1, March 1996
summary	Computer-Aided Architectural Design (CAAD) systems have adequately satisfied several needs so far. They have dramatically improved the accuracy and consistency of working drawings, enabled designers to visualize their design ideas in three-dimensions, allowed the analysis of designs through data exchange and integrated databases, and even allowed the designers to evaluate (and in some cases generate) designs based on comparisons to previous cases and/or the formalization of grammars. Yet, there is a consensus that CAAD systems have not yet achieved their full potential. First, most systems employ a single-user approach to solving architectural problems which fails to grapple with the fact that most design work is done through teamwork. Second, current systems still can not support early design stages which involve client briefing, data collection, building program formulation, and schematic design generation. This paper seeks to study remedies to both of the afore-mentioned limitations through focusing on the fundamental dialectic and collaborative nature of what is called designing: a concerned social activity that proceeds by creating architectural elements to address a set of requirements and their re-thinking as a result of architectural conjecture. To investigate this relationship, it is proposed to build a computer-supported collaborative design environment using the tools of conceptual modeling, object-oriented algorithms, and distributed agents. Based on findings regarding the role of artifacts in collaborative design and a literature survey, this paper concludes with an outline of the requirements for the above system.
series	journal paper
type	normal paper
email
last changed	2008/06/12 16:34

_id	2f3c
authors	Jabi, Wassim
year	1996
title	An Outline of the Requirements for a Computer-Supported Collaborative Design System
source	Open House International, vol. 21 no 1, March 1996, pp. 22-30
summary	Computer-Aided Architectural Design (CAAD) systems have adequately satisfied several needs so far. They have dramatically improved the accuracy and consistency of working drawings, enabled designers to visualize their design ideas in three-dimensions, allowed the analysis of designs through data exchange and integrated databases, and even allowed the designers to evaluate (and in some cases generate) designs based on comparisons to previous cases and/or the formalization of grammars. Yet, there is a consensus that CAAD systems have not yet achieved their full potential. First, most systems employ a single-user approach to solving architectural problems which fails to grapple with the fact that most design work is done through teamwork. Second, current systems still can not support early design stages which involve client briefing, data collection, building program formulation, and schematic design generation. This paper seeks to study remedies to both of the afore-mentioned limitations through focusing on the fundamental dialectic and collaborative nature of what is called designing: a concerned social activity that proceeds by creating architectural elements to address a set of requirements and their re-thinking as a result of architectural conjecture. To investigate this relationship, it is proposed to build a computer-supported collaborative design environment using the tools of conceptual modeling, object-oriented algorithms, and distributed agents. Based on findings regarding the role of artifacts in collaborative design and a literature survey, this paper concludes with an outline of the requirements for the above system.
keywords	Computer Supported Collaborative Design
series	other
email
last changed	2002/03/05 19:54

_id	ddssup9615
id	ddssup9615
authors	Lucardie, L., de Gelder, J. and Duursma, C.
year	1996
title	Matching the Knowledge Needs of Trade and Industry: Advanced and Operational Knowledge Based Systems
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	Complex tasks that are being performed in trade and industry such as diagnosis, engineering and planning, increasingly require rapid and easy access to large amounts of complicated knowledge. To cope with these demands on trade and industry, advanced automated support for managing knowledge seems to be needed. Knowledge based systems are claimed to match these needs. However, to deal with the vast volume and complexity of knowledge through knowledge based systems, preconditions at three computer systems levels should be fulfilled. At the first level, called the knowledge level, the development of knowledge based systems requires a well-elaborated theory of the nature of knowledge that helps to get a clear and consistent definition of knowledge. By providing guidelines for selecting and developing methodologies and for organising the mathematical functions underlying knowledge representation formalisms, such a definition significantly advances the process of knowledge engineering. Here, we present the theory of functional object-types as a theory of the nature of knowledge. At the second level, called the symbol level, the representation formalisms used must be compatible with the chosen theory of the nature of knowledge. The representation formalisms also have to be interpretable as propositions representing knowledge, so that their knowledge level import can be assessed. Furthermore, knowledge representation formalisms have to play a causal role in the intelligent behaviour of the knowledge based system. At the third level, called the systems level, a knowledge based system should be equipped with facilities that enable an effective management of the representation formalisms used. Yet other system facilities are needed to allow the knowledge base to communicate with existing computer systems used in the daily practice of trade and industry, for instance Database Management Systems, Geographical Information Systems and Computer Aided Design Systems. It should be taken into account that these systems may run in different networks and on different operating systems. A real-world knowledge based system that operates in the field of soil contamination exemplifies the development of an advanced and operational knowledge-based system that complies with the preconditions at each computer systems level.
series	DDSS
last changed	2003/08/07 16:36

_id	6ab6
authors	Maher, M.L., Rutherford, J. and Gero, J.
year	1996
title	Graduate Design Computing Teaching at the University of Sydney
source	CAADRIA ‘96 [Proceedings of The First Conference on Computer Aided Architectural Design Research in Asia / ISBN 9627-75-703-9] Hong Kong (Hong Kong) 25-27 April 1996, pp. 233-244
doi	https://doi.org/10.52842/conf.caadria.1996.233
summary	Design Computing involves the effective application of computing technologies, digital media, formal methods and design theory to the study and practice of design. Computers are assuming a prominent role in design practice. This change has been partly brought about by economic pressures to improve the efficiency of design practice, but there has also been a desire to aid the design process in order to produce better designs. The introduction of new computer-based techniques and methods generally involves a re-structuring of practice and ways of designing. We are also seeing significant current developments that have far reaching implications for the future. These innovations are occuring at a rapid rate and are imposing increasing pressures on design professionals. A re-orientation of skills is required in order to acquire and manage computer resources. If designers are to lead rather than follow developments then they need to acquire specialist knowledge – a general Computing also demands technical competence, an awareness of advances in the field and an innovative spirit to harness the technology understanding of computers and their impact, expertise in the selection and management of computer-aided design systems, and skill in the design an implementation of computer programs and systems.
series	CAADRIA
email
last changed	2022/06/07 07:59

_id	ddssup9611
id	ddssup9611
authors	Polidori, MaurIcio Couto
year	1996
title	Built Form Impact Assessment Method of Description
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	Continuous change in contemporary cities heve produced an urban space tipollogically diverse, particulary in fast growing South-American countries. As a result, the straight contextual analysis, usually used to assess the degree of innovation/permanence of new buildings in urban settings becomes ineffective, for the simple reason that frequently it is virtually impossible to establish what the context dominance actually is. The method proposed in this paper takes the issue of tipological analysis from a systems approach. This is carried out by a series of procedures, such as: a) identifying buildings'constitutive parts, which can be done at any degree of detail; b) listing them according to their attributes of repertory and formal composition. ;with this it is obtained a extensive catalogue of the entities taking part of the considered urban setting, from which the actual context can be depicted; c) listing each entity's participation in the landscape composition, or the role each one has in the landscape configuration. The software that operates the analysis does the rest, measuring the degree of innovation/permanence of each entity, in relation to the others, and defining what the context is made of.. From this, any inclusion/exclusion in the considered townscape is automatically evaluated in terms of impact on the pre-existing setting. The system can be used at any urban scale, as well as at the building scale.
series	DDSS
last changed	2003/08/07 16:36

_id	c2cf
authors	Roberts, Andrew
year	1996
title	CAAD - The Role of the Design Tutor
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 381-386
doi	https://doi.org/10.52842/conf.ecaade.1996.381
summary	Whilst it is often argued that computers have an positive role to play in the educational process, design tutors frequently view computer based design work as being of inferior quality to that of designs produced by traditional means. This may be no fault of the technology, but more likely a consequence of a student’s inappropriate use of that technology. It could be argued that part of the role of the design tutor is to encourage students to use technology in a more appropriate way, rather than to totally discourage the use of computers in their designs. The introduction of computer technologies has led to new ways of designing, which may be very different to the methods of design that are traditionally taught. This paper proposes that the successful implementation of CAAD in Architectural design education, can only be achieved if design tutors fully appreciate and embrace these new design methodologies, in a way which extends beyond the need to simply accept the new technology.
series	eCAADe
email
more	http://ctiweb.cf.ac.uk/
last changed	2022/06/07 07:56

_id	e8ef
authors	Soufi, B. and Edmonds, E.
year	1996
title	The cognitive basis of emergence: implications for design support
source	Design Studies, Vol. 17 No. 4, 451-463
summary	Emergent shapes play a significant role in the creative design process. Designers frequently visualize emergent shapes and structure their understanding of the design and their reasoning about it in terms of emergent entities and relations. In design research, effort has concentrated on developing computational models capable of representing emergent shapes. Much less attention has been paid to the cognitive processes that give rise to emergence. In cognitive science, however, emergence has been the subject of empirical study. It is suggested that both the study of perception and that of mental imagery can contribute to understanding the cognitive psychological basis of emergence and the nature of emergent shapes that arise. Relevant cognitive science research findings are reviewed in this paper. Based on these findings two main classes of emergence processes are developed. Their implications for the development of user-interactive computational models of emergent shapes are then discussed.
series	journal paper
last changed	2003/04/23 15:50

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