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	0e41
authors	Matthews, David and Temple, Stephen
year	1998
title	A Pedagogy of Interdependent Technologies: An Experimental Studio for Synthesizing Digital and Mechanical Processes
doi	https://doi.org/10.52842/conf.ecaade.1998.099
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 99-106
summary	As computer technology is integrated into design curricula, significant shifts in pedagogy must be developed that acknowledge and incorporate alterations in teaching design process. This paper offers a critical analysis of the effects on design productivity of an experimental design studio that proposed and investigated an interdependent relationship of mechanical and digital technologies. A design studio was developed based on linking digital and physical technologies through systematic transformations of one technology into the other. Transformations were structured as a series of projects to test concepts of "making/building" in the form of abstracting/ making concrete, building/un-building, and un-making/making. Student permutations of the transforming operations revealed that design processes occurred as a mutuality, rather than an opposition, of the virtual and material. Design activity was revealed as a patterned flow of systematic formulations built on previous transformations. Key results of the studio indicated increased early development of conceptualization, increased refinement and integration of design issues throughout the project stages, and greater sensitivity to use of materials in a more holistic realization of concepts. Current curriculum structures that fragment technologies and subjugate ideas of craft, technology, and ideation into separate courses or educational issues, do so at the expense of substantive design refinement. The experimental studio of interdependent technologies offers digital and mechanical technologies as an holistic feature of design processes, thus indicating a greater integration of "support" courses into design studio and implicating an increased role of "hands-on constructing" such as that in wood/metal shops.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:58

_id	48db
authors	Proctor, George
year	2001
title	CADD Curriculum - The Issue of Visual Acuity
doi	https://doi.org/10.52842/conf.ecaade.2001.192
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 192-200
summary	Design educators attempt to train the eyes and minds of students to see and comprehend the world around them with the intention of preparing those students to become good designers, critical thinkers and ultimately responsible architects. Over the last eight years we have been developing the digital media curriculum of our architecture program with these fundamental values. We have built digital media use and instruction on the foundation of our program which has historically been based in physical model making. Digital modeling has gradually replaced the capacity of physical models as an analytical and thinking tool, and as a communication and presentation device. The first year of our program provides a foundation and introduction to 2d and 3d design and composition, the second year explores larger buildings and history, the third year explores building systems and structure through design studies of public buildings, fourth year explores urbanism, theory and technology through topic studios and, during the fifth year students complete a capstone project. Digital media and CADD have and are being synchronized with the existing NAAB accredited regimen while also allowing for alternative career options for students. Given our location in the Los Angeles region, many students with a strong background in digital media have gone on to jobs in video game design and the movie industry. Clearly there is much a student of architecture must learn to attain a level of professional competency. A capacity to think visually is one of those skills and is arguably a skill that distinguishes members of the visual arts (including Architecture) from other disciplines. From a web search of information posted by the American Academy of Opthamology, Visual Acuity is defined as an ability to discriminate fine details when looking at something and is often measured with the Snellen Eye Chart (the 20/20 eye test). In the context of this paper visual acuity refers to a subject’s capacity to discriminate useful abstractions in a visual field for the purposes of Visual Thinking- problem solving through seeing (Arnheim, 1969, Laseau 1980, Hoffman 1998). The growing use of digital media and the expanding ability to assemble design ideas and images through point-and-click methods makes the cultivation and development of visual skills all the more important to today’s crop of young architects. The advent of digital media also brings into question the traditional, static 2d methods used to build visual skills in a design education instead of promoting active 3d methods for teaching, learning and developing visual skills. Interactive digital movies provide an excellent platform for promoting visual acuity, and correlating the innate mechanisms of visual perception with the abstractions and notational systems used in professional discourse. In the context of this paper, pedagogy for building visual acuity is being considered with regard to perception of the real world, for example the visual survey of an environment, a site or a street scene and how that visual survey works in conjunction with practice.
keywords	Curriculum, Seeing, Abstracting, Notation
series	eCAADe
email
last changed	2022/06/07 08:00

_id	0a31
authors	Johnson, Scott
year	1998
title	Toward Making the Language of CAAD Match the Language of Architecture: A Protean Elements Approach
doi	https://doi.org/10.52842/conf.ecaade.1998.093
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 93-100
summary	Both in education and in practice, architecture is experiencing a division between designers and "CAD specialists." One reason for the division may be the inherent division between design concepts and CAD concepts. In a very real sense, computer use and design utilize different languages. Becoming an expert in the "craft" of CAD means having to learn to recognize and manipulate a different set of conceptual elements than is used in design. The set of concepts we use affects our thought and behavior incredibly deeply, and translation from one set of concepts to another has significant cognitive cost. This paper discusses the mismatch between architectural and CAD concepts, and proposes protean elements as a solution to the problem. Protean elements are CAD system elements which correspond to architectural elements and have attributes appropriate for the elements they represent. They can be gradually refined in a top-down manner, without demands for certain pieces of missing data, or requirements for "correctness." The goal is to help CAD systems come closer to speaking the same language as architects. A test implementation of a system based on protean elements is currently underway, and aspects of this implementation are discussed.
series	eCAADe
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/02johnson/index.htm
last changed	2022/06/07 07:52

_id	ga9809
id	ga9809
authors	Kälviäinen, Mirja
year	1998
title	The ideological basis of generative expression in design
source	International Conference on Generative Art
summary	This paper will discuss issues concerning the design ideology supporting the use and development of generative design. This design ideology is based on the unique qualities of craft production and on the forms or ideas from nature or the natural characteristics of materials. The main ideology presented here is the ideology of the 1980´s art craft production in Finland. It is connected with the general Finnish design ideology and with the design ideology of other western countries. The ideology for these professions is based on the common background of design principles stated in 19th century England. The early principles developed through the Arts and Crafts tradition which had a great impact on design thinking in Europe and in the United States. The strong continuity of this design ideology from 19th century England to the present computerized age can be detected. The application of these design principles through different eras shows the difference in the interpretations and in the permission of natural decorative forms. The ideology of the 1980ïs art craft in Finland supports the ideas and fulfilment of generative design in many ways. The reasons often given as the basis for making generative design with computers are in very many respects the same as the ideology for art craft. In Finland there is a strong connection between art craft and design ideology. The characteristics of craft have often been seen as the basis for industrial design skills. The main themes in the ideology of the 1980´s art craft in Finland can be compared to the ideas of generative design. The main issues in which the generative approach reflects a distinctive ideological thinking are: Way of Life: The work is the communication of the maker´s inner ideas. The concrete relationship with the environment, personality, uniqueness, communication, visionary qualities, development and growth of the maker are important. The experiments serve as a media for learning. Taste and Aesthetic Education: The real love affair is created by the non living object with the help of memories and thought. At their best objects create the basis in their stability and communication for durable human relationships. People have warm relationships especially with handmade products in which they can detect unique qualities and the feeling that the product has been made solely for them. Counter-culture: The aim of the work is to produce alternatives for technoburocracy and mechanical production and to bring subjective and unique experiences into the customerïs monotonious life. This ideology rejects the usual standardized mass production of our times. Mythical character: There is a metamorphosis in the birth of the product. In many ways the design process is about birth and growth. The creative process is a development story of the maker. The complexity of communication is the expression of the moments that have been lived. If you can sense the process of making in the product it makes it more real and nearer to life. Each piece of wood has its own beauty. Before you can work with it you must find the deep soul of its quality. The distinctive traits of the material, technique and the object are an essential part of the metamorphosis which brings the product into life. The form is not only for formïs sake but for other purposes, too. You cannot find loose forms in nature. Products have their beginnings in the material and are a part of the nature. This art craft ideology that supports the ideas of generative design can be applied either to the hand made crafts production or to the production exploiting new technology. The unique characteristics of craft and the expression of the material based development are a way to broaden the expression and forms of industrial products. However, for a crafts person it is not meaningful to fill the world with objects. In generative, computer based production this is possible. But maybe the production of unique pieces is still slower and makes the industrial production in that sense more ecological. People will be more attached to personal and unique objects, and thus the life cycle of the objects produced will be longer.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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