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

_id	a73a
authors	Streich, Bernd
year	1996
title	3D-Scanning and 3D-Printing for Media Experimental Design Work in Architecture
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 183-190
doi	https://doi.org/10.52842/conf.acadia.1996.183
summary	Architects and designers use multiple media to explore and express design solutions. The physical model remains one of the most important media to represent the architect’s work that cannot completely be substituted by computer graphics. The experimental use of various media is of major Importance for architects. Nevertheless, the author of this article is convinced that architects and designers will continue to make physical models. During the design process. however, the designer might wish to transfer the design idea into the computer. If he has already made a physical model, it will take him much time to recreate the same model on the screen by means of his CAD programs. This would be different if it were possible to digitize the existing physical model and then to continue designing on the computer. In this paper, the author describes some 3D-scanning methods based, on computer tomograms. Also the inverse combination of modeling and digitizing would be useful. So-called 3D-printing methods could help architects to transform their model on the screen into physical models during or at the end of the computer supported design process. In this paper, the author will give a survey on how designers can use input and output devices to generate digital data from a physical model and - vice versa - to transform a digital design solution into a physical model. The reader will get an impression of both procedures from the examples given.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	82d3
authors	Park, Hoon
year	1996
title	Digital and Manual Media in Design
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 325-334
doi	https://doi.org/10.52842/conf.ecaade.1996.325
summary	Although there is an important commitment to the use of Computer Aided Design (CAD) systems in the design studio, there are still technologies that are not broadly accepted as useful to the designer especially in the early design stage. This is because CAD systems use the monitor and mouse which differ from the sketch paper and pen of manual media. This presentation explores how CAD systems can be applicable and integrated to this early design stage by allowing paper as a digital medium. With this exploration, I look at some ways for bridging manual media and digital media. For accommodating this approach, this article includes the evaluation of a prototype CAD system that discusses enhancing the role of CAD systems in the early design stage and linking the realms of the two currently distinct media — manual and digital. This system allows the designer to work with computer based and paper based tools in the same conventional environment. The method provides interesting insights into the relationship between digital and manual media.
series	eCAADe
last changed	2022/06/07 08:00

_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	63e6
authors	Af Klercker, Jonas
year	1996
title	Visualisation for Clients - One Example of Educating CAAD for Practice
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 17-24
doi	https://doi.org/10.52842/conf.ecaade.1996.017
summary	During the spring term 1996, 13 students of the 3rd and 4th year at the School of Architecture at Lund University had the opportunity to make a one semester CAAD project. 11 students chose the individual exercise to use computer media for developing a small architectural design in interaction with a client. The focus was set more on visualization and the process of communicating ideas, feelings and practical solutions between architect and client and visa versa rather than concentrated on the final product. This paper describes the process of the project and the reflections of the participants. It will discuss problems from the teachers point of view.
series	eCAADe
email
more	http://www.caad.lth.se/ECAADE/
last changed	2022/06/07 07:54

_id	63a7
id	63a7
authors	Ataman, Osman and Lonnman, Bruce
year	1996
title	Introduction to Concept and Form in Architecture: An Experimental Design Studio Using the Digital Media
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 3-9
doi	https://doi.org/10.52842/conf.acadia.1996.003
summary	This paper describes the use of digital media in a first year undergraduate architectural design studio. It attempts to address the importance of developing a design process that is redefined by the use of computing, integrating concept and perception. Furthermore, it describes the theoretical foundations and quasi-experiments of a series of exercises developed for beginning design students.
series	ACADIA
email
last changed	2022/06/07 07:54

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

_id	ebb2
authors	Proctor, George
year	2000
title	Reflections on the VDS, Pedagogy, Methods
source	ACADIA Quarterly, vol. 19, no. 1, pp. 15-16
doi	https://doi.org/10.52842/conf.acadia.2000.015.2
summary	After having conducted a Digital Media based design studio at Cal Poly for six years, we have developed a body of experience I feel is worth sharing. When the idea of conducting a studio with the exclusive use of digital tools was implemented at our college, it was still somewhat novel, and only 2 short years after the first VDS- Virtual Design Studio (UBC, UHK et.al.-1993). When we began, most of what we explored required a suspension of disbelief on the part of both the students and faculty reviewers of studio work. In a few short years the notions we examined have become ubiquitous in academic architectural discourse and are expanding into common use in practice. (For background, the digital media component of our curriculum owes much to my time at Harvard GSD [MAUD 1989-91] and the texts of: McCullough/Mitchell 1990, 1994; McCullough 1998; Mitchell 1990,1992,1996; Tufte 1990; Turkel 1995; and Wojtowicz 1993; and others.)
series	ACADIA
email
last changed	2022/06/07 08:00

_id	c96b
authors	Sanchez del Valle, Carmina
year	1996
title	Transformable, Folding Space
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 45-54
doi	https://doi.org/10.52842/conf.acadia.1996.045
summary	A group of architectural students in an advanced computer applications course were asked to design a folding or transformable personal space. They were to approach the design using two metaphors - Origami (or papiroflexia ) and Transformer robot toys - in a digital environment. These are familiar ideas evident in toys and furniture. Students found this way of thinking about architectural design foreign and unusual. The results were tentative, but insightful. New architectural forms emerged out of the plasticity, temporality, and speed of the digital medium. Origami and Transformer robots are more than toys. Through them, the Bauhaus notion of point transforms into line, line into plane, plane into solid can now be stretched to include space generated from motion. The argument for conceptualizing and developing the design within a digital environment was that the operations implied by Origami and Transformers, can be carefully studied in this context. Both processes, or types of objects, are best understood in teens of change in time and space. Digital media offers the dynamic capabilities needed to study distortions, step transformations & movement.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	avocaad_2001_20
id	avocaad_2001_20
authors	Shen-Kai Tang
year	2001
title	Toward a procedure of computer simulation in the restoration of historical architecture
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 the field of architectural design, “visualization¨ generally refers to some media, communicating and representing the idea of designers, such as ordinary drafts, maps, perspectives, photos and physical models, etc. (Rahman, 1992; Susan, 2000). The main reason why we adopt visualization is that it enables us to understand clearly and to control complicated procedures (Gombrich, 1990). Secondly, the way we get design knowledge is more from the published visualized images and less from personal experiences (Evans, 1989). Thus the importance of the representation of visualization is manifested.Due to the developments of computer technology in recent years, various computer aided design system are invented and used in a great amount, such as image processing, computer graphic, computer modeling/rendering, animation, multimedia, virtual reality and collaboration, etc. (Lawson, 1995; Liu, 1996). The conventional media are greatly replaced by computer media, and the visualization is further brought into the computerized stage. The procedure of visual impact analysis and assessment (VIAA), addressed by Rahman (1992), is renewed and amended for the intervention of computer (Liu, 2000). Based on the procedures above, a great amount of applied researches are proceeded. Therefore it is evident that the computer visualization is helpful to the discussion and evaluation during the design process (Hall, 1988, 1990, 1992, 1995, 1996, 1997, 1998; Liu, 1997; Sasada, 1986, 1988, 1990, 1993, 1997, 1998). In addition to the process of architectural design, the computer visualization is also applied to the subject of construction, which is repeatedly amended and corrected by the images of computer simulation (Liu, 2000). Potier (2000) probes into the contextual research and restoration of historical architecture by the technology of computer simulation before the practical restoration is constructed. In this way he established a communicative mode among archeologists, architects via computer media.In the research of restoration and preservation of historical architecture in Taiwan, many scholars have been devoted into the studies of historical contextual criticism (Shi, 1988, 1990, 1991, 1992, 1995; Fu, 1995, 1997; Chiu, 2000). Clues that accompany the historical contextual criticism (such as oral information, writings, photographs, pictures, etc.) help to explore the construction and the procedure of restoration (Hung, 1995), and serve as an aid to the studies of the usage and durability of the materials in the restoration of historical architecture (Dasser, 1990; Wang, 1998). Many clues are lost, because historical architecture is often age-old (Hung, 1995). Under the circumstance, restoration of historical architecture can only be proceeded by restricted pictures, written data and oral information (Shi, 1989). Therefore, computer simulation is employed by scholars to simulate the condition of historical architecture with restricted information after restoration (Potier, 2000). Yet this is only the early stage of computer-aid restoration. The focus of the paper aims at exploring that whether visual simulation of computer can help to investigate the practice of restoration and the estimation and evaluation after restoration.By exploring the restoration of historical architecture (taking the Gigi Train Station destroyed by the earthquake in last September as the operating example), this study aims to establish a complete work on computer visualization, including the concept of restoration, the practice of restoration, and the estimation and evaluation of restoration.This research is to simulate the process of restoration by computer simulation based on visualized media (restricted pictures, restricted written data and restricted oral information) and the specialized experience of historical architects (Potier, 2000). During the process of practicing, communicates with craftsmen repeatedly with some simulated alternatives, and makes the result as the foundation of evaluating and adjusting the simulating process and outcome. In this way we address a suitable and complete process of computer visualization for historical architecture.The significance of this paper is that we are able to control every detail more exactly, and then prevent possible problems during the process of restoration of historical architecture.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	af76
authors	Wong, Waycal C.H. and Will, Barry F.
year	1996
title	An Analysis of Using a Digital 3D Sundial as a Design and Decision Support Tool
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. 131-141
doi	https://doi.org/10.52842/conf.caadria.1996.131
summary	The rapid speed of computer development brings new technologies, and these advances require innovative investigations to apply them optimally in the field of architecture. Burkett (1984) demonstrated that computer graphics can ‘provide an excellent opportunity for exploring solar issues in building redesign’. With one of the latest computer technologies, the "hyper-model” environment, this research investigates how to environment can become an aid in the design and decision support area. The research first reviews the communication between the architect and the client as described by Salisbury (1990). The review indicates that an interactive 3D hypermedia paradigm, with quick response, fast data manipulation and 3D visualization, offers a better communication media between the architect and the client. This research applies the "hyper-model” environment to design and develop a new methodology in collecting, analyzing, and presenting solar data. It also endeavors to show the possibilities of using the environment in design process.
series	CAADRIA
last changed	2022/06/07 07:57

_id	c204
authors	Aleksander Asanowicz
year	1996
title	Teaching and Learning - Full Brainwash
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 51-54
doi	https://doi.org/10.52842/conf.ecaade.1996.051
summary	We often speak of changes in design process due to an application of computers. But in my opinion we more often rather speak of lack of changes. Lets hope that some day we will be able to witness full integrity and compatibility of design process and tools applied in it. Quite possible such an integrity may occur in the cyberspace. Nevertheless before that could happen some changes within the teaching methods at faculties of architecture, where despite great numbers of computer equipment used, the students are still being taught as in the XIX century. In terms of achieved results it proves ineffective because application of chalk and blackboard only will always loose to new media, which allow visual perception of dinosaurs in Jurassic Park. Our civilisation is the iconographic one. And that is why teaching methods are about to change. An application of computer as simply a slide projector seems to be way too expensive. New media demands new process and new process demands new media. Lets hope that could be achieved in cyberspace as being a combination of: classic ways of teaching, hypertext, multimedia, virtual reality and a new teaching methodology (as used in Berlitz English School - full brainwash). At our faculty several years ago we experimentally undertook and applied an Integrated Design Teaching Method. A student during design process of an object simultaneously learnt all aspects and functions of the object being designing i.e.: its structure, piping and wiring, material cost and even historic evolution of its form and function. Unfortunately that concept was too extravagant as for the seventies in our reality. At present due to wide implementation of new media and tools in design process we come to consider reimplementation of IDTM again.
series	eCAADe
email
last changed	2022/06/07 07:54

_id	e309
authors	Breen, Jack and Stellingwerff, Martijn
year	1996
title	A Case for Computer-Assisted Creativity through Clarity, Project 12 CAD and Beyond
source	CAD Creativeness [Conference Proceedings / ISBN 83-905377-0-2] Bialystock (Poland), 25-27 April 1996 pp. 31-35
summary	A paper exploring the opportunities of different Design Media for the benefit of Architectural and Urban Composition. It is argued that during the design process, the designer develops Models for a projected end result, which are visualised in the form of Images using traditional media. The Computer affords the possibility of creating (virtual) Models from which Images can be taken. Current types of Computer Interfaces still form an obstacle for creative computer assisted design, comparable to Sketching. It is argued that the Clarity of the medium will need to be enhanced, if it is to become an Instrument for truly creative design. Using the example of an educational, practical CAD exercise, the case for' Clarity for the benefit of creative Computing is put forward.
series	plCAD
email
last changed	2003/05/17 10:01

_id	a0d3
authors	Breen, Jack and Stellingwerff, Martijn
year	1996
title	A Case For Computer Assisted Creativity Through Clarity - Project 12 CAD and Beyond ...
source	Approaches to Computer Aided Architectural Composition [ISBN 83-905377-1-0] 1996, pp. 45-60
summary	A paper exploring the opportunities of different Design Media for the benefit of Architectural and Urban Composition. It is argued that during the design process, the designer develops Models for a projected end result, which are visualised in the form of Images using traditional media. The Computer affords the possibility of creating (virtual) Models from which Images can be taken. Current types of Computer Interfaces still form an obstacle for creative computer assisted design, comparable to Sketching. It is argued that the Clarity of the medium will need to be enhanced, if it is to become an Instrument for truly creative design. Using the example of an educational, practical CAD exercise, the case for Clarity for the benefit of creative Computing is put forward.
series	other
last changed	1999/04/08 17:16

_id	4931
authors	Breen, Jack
year	1996
title	Learning from the (In)Visible City
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 65-78
doi	https://doi.org/10.52842/conf.ecaade.1996.065
summary	This paper focuses on results and findings of an educational project, in which the participating students had to develop a design strategy for an urban plan by using and combining endoscopic and computational design visualisation techniques. This educational experiment attempted to create a link between the Media research programme titled 'Dynamic Perspective' and an educational exercise in design composition. It was conceived as a pilot study, aimed at the investigation of emerging applications and possible combinations of different imaging techniques which might be of benefit in architectural and urban design education and potentially for the (future) design practice. The aim of this study was also to explore the relationship between spatial perception and design simulation. The point of departure for the student exercise was an urban masterplan which the Dynamic Perspective research team prepared for the workshop 'the (in)visible city' as part of the 1995 European Architectural Endoscopy Association Conference in Vienna, Austria. The students taking part in the exercise were asked to develop, discuss and evaluate proposals for a given part of this masterplan by creating images through different model configurations using optical and computer aided visualisation techniques besides more traditional design media.The results of this project indicate that an active and combined use of visualisation media at a design level, may facilitate communication and lead to a greater understanding of design choices, thus creating insights and contributing to design decision-making both for the designers and for the other participants in the design process.
series	eCAADe
email
more	http://www.bk.tudelft.nl/Media/
last changed	2022/06/07 07:54

_id	caadria2007_659
id	caadria2007_659
authors	Chen, Zi-Ru
year	2007
title	The Combination of Design Media and Design Creativity _ Conventional and Digital Media
source	CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
doi	https://doi.org/10.52842/conf.caadria.2007.x.w5x
summary	Creativity is always interested in many fields, in particular, creativity and design creativity have many interpretations (Boden, 1991; Gero and Maher, 1992, 1993; Kim, 1990; Sternberg, 1988; Weisberg, 1986). In early conceptual design process, designers used large number of sketches and drawings (Purcell and Gero, 1998). The sketch can inspire the designer to increase the creativity of the designer’s creations(Schenk, 1991; Goldschmidt, 1994; Suwa and Tversky, 1997). The freehand sketches by conventional media have been believed to play important roles in processes of the creative design thinking(Goldschmidt, 1991; Schon and Wiggins, 1992; Goel, 1995; Suwa et al., 2000; Verstijnen et al., 1998; Elsas van and Vergeest, 1998). Recently, there are many researches on inspiration of the design creativity by digital media(Liu, 2001; Sasada, 1999). The digital media have been used to apply the creative activities and that caused the occurrenssce of unexpected discovery in early design processes(Gero and Maher, 1993; Mitchell, 1993; Schmitt, 1994; Gero, 1996, 2000; Coyne and Subrahmanian, 1993; Boden, 1998; Huang, 2001; Chen, 2001; Manolya et al. 1998; Verstijinen et al., 1998; Lynn, 2001). In addition, there are many applications by combination of conventional and digital media in the sketches conceptual process. However, previous works only discussed that the individual media were related to the design creativity. The cognitive research about the application of conceptual sketches design by integrating both conventional and digital media simultaneously is absent.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	6598
authors	Goldman, Glenn
year	1996
title	Reconstructions, Remakes and Sequels: Architecture and Motion Pictures
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 11-21
doi	https://doi.org/10.52842/conf.acadia.1996.011
summary	Motion pictures can illustrate worlds that have never been. They may show fantastic depictions of the future or an interpretation of the past. In either case, they have the power to reach millions of people across cultures, generations, and educational backgrounds with visions of our environment that do not exist in our everyday world. The study of imaginary worlds in this design studio case study is limited to motion pictures that postulate unique, or new environments rather than those films that faithfully attempt to document or reconstruct reality. In this sense, the movies used for study have a lineage traceable to Georges Melies "who came to film from illusionism and the "heater," rather than to the reality of the Lumiere brothers who came from photography which ultimately would lead to "cinema-verite." Discussions, assignments and presentations in the studio are organized to provide students with an opportunity to gain a different awareness of architecture and use varying stimuli as source material for design. The study of architectural history, art, formal principles of design, visual perception, and media are required in order to complete the reconstructions and creations of proposed environments. All student work throughout the entire semester is created with electronic media and the computer is used as an integral component of the studio enabling analysis and study, design, model creation, and animation. The available capabilities of computer graphics in the studio enables students to explore analytic and synthetic issues of design in motion pictures in a manner not readily available when restricted to traditional media. Through the use of digital media we have an opportunity to better understand the imaginary worlds for what they communicate and the ideas they contain, and therefore create an opportunity to modify our own concept of architecture.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	maver_084
id	maver_084
authors	Maver, T.W., Frame, I. and Chen, Y.
year	1996
title	The Development of a Virtual Studio Environment to Support Collaborative Building Design
source	Design, Synergy, Collaboration - selected papers from DEcon Conference
summary	This paper describes the development of a virtual studio environment to support collaborative working in the domain of building design. By applying and extending the real-world design studio model within the Internet-based distributed computing environments, the virtual studio concept has been refined as computerised settings, which integrate both the dispersed human designers and the distributed CAD applications. The hope is to achieve the similar effect as physical co-presence while providing extra advantages such as the support for automatic communication archiving and being less obtrusive than sharing a physical office. Like its real-world counterpart (which usually consists of the office, desks, file cabinets, instruments etc), such a virtual studio consists of the several major components, including a multi-user graphical user interface displaying the shared virtual workspace on each designer's workstation, distributed multimedia databases and CAD tools for processing the domain tasks, and rich human-human interaction facilities supporting a variety of communication modes. Advance distributed object computing technologies (0MG CORBA in particular) have been adopted for modelling and implementing the distributed systems, W3 (world-wide-web) technologies have also been exploited for constructing the distributed multi-media databases and an image communication kit. In contrast to the traditional CAD integration which is usually focused solely on the well-structured technical part of the product and process, the described research advocates a human-centred systems development strategy in which design is first of all taken as a process of social construction.
series	other
email
last changed	2003/09/03 15:01

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