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

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Reformat results as: short short into frame detailed detailed into frame

_id	c204
authors	Aleksander Asanowicz
year	1996
title	Teaching and Learning - Full Brainwash
doi	https://doi.org/10.52842/conf.ecaade.1996.051
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 51-54
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	af53
authors	Boyer, E. and Mitgang, L.
year	1996
title	Building community: a new future for architecture education and practice
source	Carnegie Foundation for the Advancement of Teaching
summary	Internships, before and after graduation, are the most essential link connecting students to the world of practice. Yet, by all accounts, internship is perhaps the most troubled phase of the continuing education of architects. During this century, as architectural knowledge grew more complex, the apprenticeship system withered away and schools assumed much of the responsibility for preparing architects for practice. However, schools cannot do the whole job. It is widely acknowledged that certain kinds of technical and practical knowledge are best learned in the workplace itself, under the guidance of experienced professionals. All state accrediting boards require a minimum period of internship-usually about three years-before a person is eligible to take the licensing exam. The National Council of Architectural Registration Boards (NCARB) allows students to earn up to two years of work credit prior to acquisition of an accredited degree. The Intern Development Program (IDP), launched by NCARB and the American Institute of Architects in 1979, provides the framework for internship in some forty states. The program was designed to assure that interns receive adequate mentoring, that experiences are well-documented, and that employers and interns allocate enough time to a range of educational and vocational experiences to prepare students for eventual licensure. As the IDP Guidelines state, "The shift from school to office is not a transition from theory to pragmatism. It is a period when theory merges with pragmatism.... It's a time when you: apply your formal education to the daily realities of architectural practice; acquire comprehensive experience in basic practice areas; explore specialized areas of practice; develop professional judgment; continue your formal education in architecture; and refine your career goals." Whatever its accomplishments, however, we found broad consensus that the Intern Development Program has not, by itself, solved the problems of internship. Though we found mutually satisfying internship programs at several of the firms we visited or heard about around the country, at many others interns told us they were not receiving the continuing education and experience they needed. The truth is that architecture has serious, unsolved problems compared with other fields when it comes to supplying on-the-job learning experiences to induct students into the profession on a massive scale. Medicine has teaching hospitals. Beginning teachers work in actual classrooms, supported by school taxes. Law offices are, for the most part, in a better financial position to support young lawyers and pay them living wages. The architecture profession, by contrast, must support a required system of internship prior to licensure in an industry that has neither the financial resources of law or medicine, the stability and public support of teaching, nor a network of locations like hospitals or schools where education and practice can be seamlessly connected. And many employers acknowledged those problems. "The profession has all but undermined the traditional relationship between the profession and the academy," said Neil Frankel, FAIA, executive vice president of Perkins & Will, a multinational firm with offices in New York, Chicago, Washington, and London. "Historically, until the advent of the computer, the profession said, 'Okay, go to school, then we in the profession will teach you what the real world is like.' With the coming of the computer, the profession needed a skill that students had, and has left behind the other responsibilities." One intern told us she had been stuck for months doing relatively menial tasks such as toilet elevations. Another intern at a medium-sized firm told us he had been working sixty to seventy hours per week for a year and a half. "Then my wife had a baby and I 'slacked off' to fifty hours. The partner called me in and I got called on the carpet for not working hard enough." "The whole process of internship is being outmoded by economics," one frustrated intern told us. "There's not the time or the money. There's no conception of people being groomed for careers. The younger staff are chosen for their value as productive workers." "We just don't have the best structure here to use an intern's abilities to their best," said a Mississippi architect. "The people who come out of school are really problems. I lost patience with one intern who was demanding that I switch him to another section so that he could learn what he needed for his IDP. I told him, 'It's not my job to teach you. You are here to produce.'" What steps might help students gain more satisfying work opportunities, both during and after graduation?
series	other
last changed	2003/04/23 15:14

_id	3905
authors	Duffy, T.M. and Cunningham, D.J.
year	1996
title	Constructivism: Implications for the design and delivery of instruction
source	D.H. Jonassen, (Ed) Handbook of research for educational communications and technology, N.Y; Macmillan Library reference USA
summary	This will be a seminar that examines Constructivist theory as it applies to our thinking about instruction. Many folks think of constructivism as a method of instruction -- it is not. It is a framework for thinking about learning or what it means to come to know. As such, it is a framework for understanding (interpreting) any learning environment as well as a framework for designing instruction. The seminar will be organized around weekly readings. We will examine the alternative constructivist theories, e.g., socio-cultural constructivism and cognitive constructivism, and the pragmatism of Richard Rorty. However, rather than focusing on the differences between these frameworks, our emphasis will be on the implications of the broader, common framework for the design of instruction. Hence we will spend most of the semester discussing strategies for designing and delivering instruction, e.g., the work of Bransford, Collins, Pea, Jonassen, Spiro, Fosnot, Senge, and Schank. We will consider both business and schooling environments for learning -- there is significant work in both domains. There will be particular emphasis of the use of technology in instruction. We will look at the communication, information, and context providing roles of technology as contrasted to the traditional approach of using technology to deliver instruction (to teach). We will also pay particular attention to problem based learning as one instructional model. In PBL there is particular emphasis on the role of the facilitator as a learning coach (process orientation) as opposed to a content provider. There is also a particular emphasis on supporting the development of abductive reasoning skills so that the learner develops the ability to be an effective problem solver in the content domain. The major paper/project for the course will be the design of instruction to train individuals to be learning coaches in a problem based learning or goal based scenario learning environment. That is, how do you support teachers in adapting the role of learning coach (which, of course, requires us to understand what it means to be a learning coach). Design teams will be formed with the teams all working on this same design problem. A comprehensive prototype of the learning environment is required as well as a paper provide the theoretical framework and rationale for the design strategy. While not required, I would expect that computer technology will play a significant role in the design of your learning environment. With that in mind, let me note that it is not required that the prototype be delivered on the computer, i.e., I am not requiring programming skills but rather design skills and so "storyboards" is all that is required.
series	other
last changed	2003/04/23 15:14

_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	8b51
authors	Refvem, Sharon
year	1996
title	Constructive Learning Techniques and Color Application in Design
doi	https://doi.org/10.52842/conf.ecaade.1996.371
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 371-380
summary	This paper presents some of the results of my work in the area of architectural education and color application. "Constructive Learning" techniques are the framework within which a course in color theory and application has been developed for architectural students and professionals. Constructive learning theory designates three main learning phases: introductory, advanced and experienced; each of which has a unique set of requirements that must be addressed by those seeking to teach or develop meaningful tools for a given task. The introductory level is represented by those who posses little if any prior skills or knowledge in the subject area. Here it is advantageous to carefully guide the knowledge acquisition process in order to help build a knowledge foundation upon which a personalized learning process can take place. Advanced students are those that are ready, through a more focused, context related approach, to expand their capabilities. Finally, experienced learners can be defined as those capable of critically applying and innovatively using the knowledge, skills and tools that they have obtained through the introductory and advanced phases of the learning process. Because computers introduce the issue of color at a much earlier stage of design than might previously have been the case, a new set of skills and tools are needed. The proposed course seeks to define an appropriate learning methodology for designers that can provide them with not only knowledge of the subject area being covered, but also skills with which to approach it.
series	eCAADe
email
last changed	2022/06/07 08:00

_id	ce5c
authors	Scianna, Andrea
year	1996
title	What Software for Instruction in Architecture: Today Features and Needs for the Future
doi	https://doi.org/10.52842/conf.ecaade.1996.391
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 391-402
summary	In the last years the computer technology has evolved very fast; new tendencies were also exploded in computer programming, such as object oriented programming, but the world of Computer Science still records other news as the introduction in the market of new graphic environments or operating systems such as Windows 95. As results of this evolution all the applications currently used in CAAD teaching and for practice, were heavily updated; so they have acquired new power for the immediate use but some other features, interesting for CAAD instruction, were lost. Today, the creation inside some CAD programs of those little applications that are one of the highest moment of "learning by doing" method, starts to require more knowledge of some computer science techniques and of the operating systems too.
series	eCAADe
email
last changed	2022/06/07 07:56

_id	0c78
authors	Flood, I. and Christophilos, P.
year	1996
title	Modeling construction processes using artificial neural networks
source	Automation in Construction 4 (4) (1996) pp. 307-320
summary	The paper evaluates a neural network approach to modeling the dynamics of construction processes that exhibit both discrete and stochastic behavior, providing an alternative to the more conventional method of discrete-event simulation. The incentive for developing the technique is its potential for (i) facilitating model development in situations where there is limited theory describing the dependence between component processes; and (ii) rapid execution of a simulation through parallel processing. The alternative ways in which neural networks can be used to model construction processes are reviewed and their relative merits are identified. The most promising approach, a recursive method of dynamic modeling, is examined in a series of experiments. These involve the application of the technique to two classes of earthmoving system, the first comprising a push-dozer and a fleet of scrapers, and the second a loader and fleet of haul trucks. The viability of the neural network approach is demonstrated in terms of its ability to model the discrete and stochastic behavior of these classes of construction processes. The paper concludes with an indication of some areas for further development of the technique.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	ddssar9630
id	ddssar9630
authors	Stark, S.L. and Phillips, R.G.
year	1996
title	Occupational Performance Theory as a Support to Design of the Built Environment for Persons with Disabilities
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	Architectural practice should not be considered only a method of building buildings, but also a process of creating places for those who will use them. The interdependent nature of humans and the environment has provided architects and designers with a challenge; to build not only a space, but also a place in which human performance occurs. Environment -- behavior relations are complex and transactional. An understanding of this relationship facilitates the creation of environments that improve the quality of life for the buildings users. A strong understanding of the complexities of the environment is greatly enhanced by knowledge of the performance of the person. Knowledge of the person as a unique being who assumes different roles, possesses skills, and has attributes (abilities) allows the designer a greater respect of the dynamic experience of a person engaged in activity within an environment. The theory of occupational performance supports the understanding of the person and the persons daily tasks. These models describe human performance components and human performance areas. They also acknowledge that the person is engaged in activity within an environment. These models could prove to be invaluable to designers and architects interested in using knowledge of the persons in conjunction with knowledge of the environment to create spaces for people with disabilities.
series	DDSS
last changed	2003/08/07 16:36

_id	a06c
authors	Batie, David L.
year	1996
title	The Incorporation of Construction History into Architectural History: The HISTCON Interactive Computer Program
doi	https://doi.org/10.52842/conf.acadia.1996.235
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 235-243
summary	Current teaching methods for architectural history seldom embrace building technology as an essential component of study. Accepting the premise that architectural history is a fundamental component to the overall architectural learning environment, it is argued that the study of construction history will further enhance student knowledge. This hypothesis created an opportunity to investigate how the study of construction history could be incorporated to strengthen present teaching methods. Strategies for teaching architectural history were analyzed with the determination that an incorporation of educational instructional design applications using object-oriented programming and hypermedia provided the optimal solution. This evaluation led to the development of the HISTCON interactive, multimedia educational computer program. Used initially to teach 19th Century iron and steel construction history, the composition of the program provides the mechanism to test the significance of construction history in the study of architectural history. Future development of the program will provide a method to illustrate construction history throughout the history of architecture. The study of architectural history, using a construction oriented methodology, is shown to be positively correlated to increased understanding of architectural components relevant to architectural history and building construction.
series	ACADIA
last changed	2022/06/07 07:54

_id	4931
authors	Breen, Jack
year	1996
title	Learning from the (In)Visible City
doi	https://doi.org/10.52842/conf.ecaade.1996.065
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 65-78
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	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	db00
authors	Espina, Jane J.B.
year	2002
title	Base de datos de la arquitectura moderna de la ciudad de Maracaibo 1920-1990 [Database of the Modern Architecture of the City of Maracaibo 1920-1990]
source	SIGraDi 2002 - [Proceedings of the 6th Iberoamerican Congress of Digital Graphics] Caracas (Venezuela) 27-29 november 2002, pp. 133-139
summary	Bases de datos, Sistemas y Redes 134The purpose of this report is to present the achievements obtained in the use of the technologies of information andcommunication in the architecture, by means of the construction of a database to register the information on the modernarchitecture of the city of Maracaibo from 1920 until 1990, in reference to the constructions located in 5 of Julio, Sectorand to the most outstanding planners for its work, by means of the representation of the same ones in digital format.The objective of this investigation it was to elaborate a database for the registration of the information on the modernarchitecture in the period 1920-1990 of Maracaibo, by means of the design of an automated tool to organize the it datesrelated with the buildings, parcels and planners of the city. The investigation was carried out considering three methodologicalmoments: a) Gathering and classification of the information of the buildings and planners of the modern architectureto elaborate the databases, b) Design of the databases for the organization of the information and c) Design ofthe consultations, information, reports and the beginning menu. For the prosecution of the data files were generated inprograms attended by such computer as: AutoCAD R14 and 2000, Microsoft Word, Microsoft PowerPoint and MicrosoftAccess 2000, CorelDRAW V9.0 and Corel PHOTOPAINT V9.0.The investigation is related with the work developed in the class of Graphic Calculation II, belonging to the Departmentof Communication of the School of Architecture of the Faculty of Architecture and Design of The University of the Zulia(FADLUZ), carried out from the year 1999, using part of the obtained information of the works of the students generatedby means of the CAD systems for the representation in three dimensions of constructions with historical relevance in themodern architecture of Maracaibo, which are classified in the work of The Other City, generating different types ofisometric views, perspectives, representations photorealistics, plants and facades, among others.In what concerns to the thematic of this investigation, previous antecedents are ignored in our environment, and beingthe first time that incorporates the digital graph applied to the work carried out by the architects of “The Other City, thegenesis of the oil city of Maracaibo” carried out in the year 1994; of there the value of this research the field of thearchitecture and computer science. To point out that databases exist in the architecture field fits and of the design, alsoweb sites with information has more than enough architects and architecture works (Montagu, 1999).In The University of the Zulia, specifically in the Faculty of Architecture and Design, they have been carried out twoworks related with the thematic one of database, specifically in the years 1995 and 1996, in the first one a system wasdesigned to visualize, to classify and to analyze from the architectural point of view some historical buildings of Maracaiboand in the second an automated system of documental information was generated on the goods properties built insidethe urban area of Maracaibo. In the world environment it stands out the first database developed in Argentina, it is the database of the Modern andContemporary Architecture “Datarq 2000” elaborated by the Prof. Arturo Montagú of the University of Buenos Aires. The general objective of this work it was the use of new technologies for the prosecution in Architecture and Design (MONTAGU, Ob.cit). In the database, he intends to incorporate a complementary methodology and alternative of use of the informationthat habitually is used in the teaching of the architecture. When concluding this investigation, it was achieved: 1) analysis of projects of modern architecture, of which some form part of the historical patrimony of Maracaibo; 2) organized registrations of type text: historical, formal, space and technical data, and graph: you plant, facades, perspectives, pictures, among other, of the Moments of the Architecture of the Modernity in the city, general data and more excellent characteristics of the constructions, and general data of the Planners with their more important works, besides information on the parcels where the constructions are located, 3)construction in digital format and development of representations photorealistics of architecture projects already built. It is excellent to highlight the importance in the use of the Technologies of Information and Communication in this investigation, since it will allow to incorporate to the means digital part of the information of the modern architecturalconstructions that characterized the city of Maracaibo at the end of the XX century, and that in the last decades they have suffered changes, some of them have disappeared, destroying leaves of the modern historical patrimony of the city; therefore, the necessity arises of to register and to systematize in digital format the graphic information of those constructions. Also, to demonstrate the importance of the use of the computer and of the computer science in the representation and compression of the buildings of the modern architecture, to inclination texts, images, mapping, models in 3D and information organized in databases, and the relevance of the work from the pedagogic point of view,since it will be able to be used in the dictation of computer science classes and history in the teaching of the University studies of third level, allowing the learning with the use in new ways of transmission of the knowledge starting from the visual information on the part of the students in the elaboration of models in three dimensions or electronic scalemodels, also of the modern architecture and in a future to serve as support material for virtual recoveries of some buildings that at the present time they don’t exist or they are almost destroyed. In synthesis, the investigation will allow to know and to register the architecture of Maracaibo in this last decade, which arises under the parameters of the modernity and that through its organization and visualization in digital format, it will allow to the students, professors and interested in knowing it in a quicker and more efficient way, constituting a contribution to theteaching in the history area and calculation. Also, it can be of a lot of utility for the development of future investigation projects related with the thematic one and restoration of buildings of the modernity in Maracaibo.
keywords	database, digital format, modern architecture, model, mapping
series	SIGRADI
email
last changed	2016/03/10 09:51

_id	a322
authors	Gavin, Lesley
year	1996
title	Practice and On -Line Learning
doi	https://doi.org/10.52842/conf.ecaade.1996.163
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 163-170
summary	In response to the growing need for the provision of continuing education for architects in practice, the Open University has been examining the possibilities of offering postgraduate courses in the Built Environment. The Open University is a unique institution within the UK, in that all of its 150,000 students are taught through supported open learning. The production of teaching material for distance learning on this scale has involved the exploration of various teaching and learning methods. The OU has had over 25 years experience of distance learning as such and although many of its current teaching methods lend themselves admirably to the development of computer based distance learning, there is still ample opportunity to exploit new technologies in teaching methods. Recent developments within the field of multimedia, video conferencing etc. lend themselves admirably to visually orientated subjects such as architecture. Over the last year the programme of development into the Built Environment has involved the production of 3 pilot modules in the areas of Conservation, Sustainability in Architecture & Planning, and in Construction Technology. These modules are currently being developed for production on CD-ROM, but with a long term view that they may be offered on-line. This paper will discuss how computer technology can be utilised in continuing education beyond schools of architecture and into a practice based environment.
series	eCAADe
email
last changed	2022/06/07 07:51

_id	8832
authors	MacCallum, C. and Hanna, R.
year	1996
title	DEFLECT: A Computer Aided Learning Package For Teaching Structural Design
doi	https://doi.org/10.52842/conf.ecaade.1996.253
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 253-262
summary	The teaching of structures and its integration with design teaching has been seen as one of the major problems in design education in schools of architecture world-wide. A number of suggestions have been put forward to improve the quality of teaching in structures in architecture. These include the production of computer based learning materials, and the use of the computer as a ‘substitute’ tutor. This paper reports on a SHEFC funded project jointly carried out by the Department of Civil Engineering, University of Paisley, the Mackintosh School of Architecture, and Lamp Software. The project aims to build a computer-assisted learning package on the response of structures to load. The software will be used as an interactive teaching tool for both architectural and engineering students. The package has three levels: Beginners (Level 1), Intermediate (Level 2) and Advanced (Level 3). The first two levels have been completed after continuous feedback from both institutions. Level 1 is geared towards architectural and engineering students to help them understand structural behaviour of building components, such as deflection. Level 2 is a graphical editor that enables students to draw precisely the structure of their designs, investigate the deflection of structural members and identify areas of tension and compression. Level 3 is a design tool aimed at architectural and civil engineering students where they can design and analyse realistic structures by choosing structural members from a library, and specify materials and multiple loads. Prior to its final release, the software package was appraised by students from both institutions. Analysis of results from questionnaires revealed that students expressed a great deal of 'satisfaction' with many of its teaching and learning attributes. The outcome of this project will promote and enhance students’ understanding of the response of structures to load; it will also help students grasp the impact of varying building materials and cross sectional properties on the structural form.
series	eCAADe
email
last changed	2022/06/07 07:59

_id	4b22
authors	Moorhouse, J.
year	1996
title	Teach a Man to Catch a Fish
doi	https://doi.org/10.52842/conf.ecaade.1996.281
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 281-286
summary	An international charity outlined the following principle recently in an advertisement. “Give a man a fish and he will feed himself for a day, teach a man how to catch a fish and he will feed himself for a lifetime.” In education, the same principle may be applied to learning. To the student of architecture, skills in the use of commercial software may be advantageouus in the search for future employment and can prove for be a useful springboard for exploring the potential of CAAD in a broader sense. However, software (and hardware) is continually being upgraded and developed, and it is apparent that such software does not fully meet the need of the designer. Exploring the possibilities of CAADesigning as an integral part of learning to design will equip the student with the CAAD literacy necessary for working in practice, but more importantly will provide the student with a rich and diverse understanding of design approaches. Traditionally design tutors have taught (by example) how individual architects design. Providing a library of architects CAADesigning in different ways can be used to establish precedents and examples, demystify the activities to both students and tutors and provide a rich set of methodologies as a working context for students to draw inspiration from. As part of an ongoing research study, a new direction has been taken gathering, comparing, contrasting and grouping live records of architects CAADesigning. This paper will outline the benefits of recording and creating such a library and will describe examples of recent findings.
series	eCAADe
email
last changed	2022/06/07 07:58

_id	2fb2
authors	Murison, Alison
year	1996
title	Computer Based Learning for Architecture Students; A Methodology for Evaluating the Teaching and Learning
doi	https://doi.org/10.52842/conf.ecaade.1996.287
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 287-292
summary	The paper describes a methodology applied to the production, and evaluation of a computer based teaching package. In producing multimedia materials for teaching or for presentation, too much emphasis is sometimes given to the beauty of the images while not enough thought is given to the structure of the material. Is the student or "viewer" led through all the most important information? Can the use of computer based learning improve the quality of the teaching and learning experience? These issues are addressed, using as an example the production and testing of a package designed to complement a course on History of Scottish Architecture intended for senior students and especially to emphasise the Scottish context for exchange students. The package describes Linlithgow Palace in Scotland, showing how the contemporary political links between the Scotland and Italy were influential in the development of Renaissance architecture in Scotland.
series	eCAADe
email
more	http://www.hw.ac.uk/
last changed	2022/06/07 07:59

_id	aa13
authors	Oxman, Rivka
year	1996
title	Shared Design-Web-Space in Internet-Based Design
doi	https://doi.org/10.52842/conf.ecaade.1996.301
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 301-312
summary	The introduction of the computer into architectural studies has resulted in innovative pedagogical approaches to design education. In recent years we have employed a teaching approach in which the student models the formalization of design knowledge in a computerized environment and experiments with the formal processing of this knowledge in the generation of designs. Interacting with the computer in the generation of designs requires making design knowledge explicit and formalized. Knowledge modeling is an approach to design and education in which the designer models the design thinking involved in the making of the object. In this process appropriate computational technology is essential to support and enhance certain phenomena of reasoning. From the pedagogical point of view such computational design environment appear also to enhance design learning and performance through the capability gained in computer modelling. In this respect, there is an analogous impact on the potential of design knowledge environments which can support design performance in practice. In this paper we consider the Internetas a potential design knowledge environment. The nature of the Net as a medium for the representation, storage and accessing of design knowledge is presented and various research issues are introduced. The potential of this new medium as a resource for design learning, design practice and design collaboration derives from the attributes of the technology. We elaborate on the appropriateness of certain attributes of the medium as a potential design environment. Future possibilities of the Net as a shared design resource are proposed. Considerations of the Net as a collaboratively constructed design resource as well as a medium for collaborative design are introduced.
series	eCAADe
email
more	http://arrivka@technion.ac.il/~rivka
last changed	2022/06/07 08:00

_id	c7d4
authors	Davidson, James N. and Campbell, Dace A.
year	1996
title	Collaborative Design in Virtual Space - GreenSpace II: A Shared Environment for Architectural Design Review
doi	https://doi.org/10.52842/conf.acadia.1996.165
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 165-179
summary	Design reviews and discussions are fundamental to the process of design. The ability to digitally represent three dimensional space in real-time is a new and potentially persuasive method for reviewing and analyzing a design proposal. The development of real-time rendering engines and network protocols supporting distributed interaction makes possible the idea of a shared virtual environment for architectural collaboration. This paper presents a system which facilitates the review of an architectural design between multiple participants who are remotely distributed.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	56de
authors	Handa, M., Hasegawa, Y., Matsuda, H., Tamaki, K., Kojima, S., Matsueda, K., Takakuwa, T. and Onoda, T.
year	1996
title	Development of interior finishing unit assembly system with robot: WASCOR IV research project report
source	Automation in Construction 5 (1) (1996) pp. 31-38
summary	The WASCOR (WASeda Construction Robot) research project was organized in 1982 by Waseda University, Tokyo, Japan, aiming at automatizing building construction with a robot. This project is collaborated by nine general contractors and a construction machinery manufacturer. The WASCOR research project has been divided into four phases with the development of the study and called WASCOR I, II, III, and IV respectively. WASCOR I, II, and III finished during the time from 1982 to 1992 in a row with having 3-4 years for each phase, and WASCOR IV has been continued since 1993. WASCOR IV has been working on a automatized building interior finishing system. This system consists of following three parts. (1) Development of building system and construction method for automated interior finishing system. (2) Design of hardware system applied to automated interior finishing system. (3) Design of information management system in automated construction. As the research project has been developing, this paper describes the interim report of (1) Development of building system and construction method for automated interior finishing system, and (2) Design of hardware system applied to automated interior finishing system.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	0b2e
authors	Stouffs, R., Krishnamurti, R. and Eastman, C.
year	1996
title	A Formal Structure for Nonequivalent Solid Representations
source	Proceedings of IFIP WG 5.2: Workshop on Knowledge Intensive CAD II, (eds.) S. Finger, M. M‰ntyl‰, and T. Tomiyama. International Federation for Information Processing
summary	This work is based on the recognition that there will always be a need for different representations of the same entity, albeit a building or building part, a shape or other complex attribute. Different representations support different sets of operations with varying efficiencies. Given our expectation that such multiple representations will always exist, there is a need, formally, to define the relations between alternative representations, in order to support translation and identify where exact translation is or is not possible, and to define the coverage of different representations. A method for the analysis of representations is developed, which is applied to four different solid modeling representations.
series	other
email
last changed	2003/04/23 15:50

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