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

_id	e72f
authors	Dorta, Tomás and LaLande, Philippe
year	1998
title	The Impact of Virtual Reality on the Design Process
doi	https://doi.org/10.52842/conf.acadia.1998.138
source	Digital Design Studios: Do Computers Make a Difference? [ACADIA Conference Proceedings / ISBN 1-880250-07-1] Québec City (Canada) October 22-25, 1998, pp. 138-163
summary	Sketching, either hand or computer generated, along with other traditional visualization tools such as perspective drawing have difficulty in correctly representing three dimensional objects. Even physical models, in architecture, suffer in this regard because of inevitable scaling. The designer finds himself cut off from the reality of the object and is prone to misinterpretations of the object and its surrounding space and to resulting design errors. These are sometimes not perceived until too late, once the object has been constructed. Traditional tools use 2D media to represent 3D objects and only manage to introduce the third dimension in a limited manner (perspectives, not only tedious to construct, are static). This scenario affects the design process, particularly the cycle of proposal, verification and correction of design hypotheses as well as the cognitive aspects that condition the designer’s visualization of the designed object. In most cases, computer graphics mimic, through its interface, the traditional way of doing things. The architectural model is parametricized with little regard for visualization. No allowance is made for the change in the medium of graphic representation. Moreover, effort is not made to capitalize on the advantages of numerical calculation to propose new interfaces and new dimensions in object visualization. Virtual Reality (VR), seen not only as technology but as experience, brings the 3D object, abstractly viewed by traditional means, into clearer focus and provides us with these new dimensions. Errors due to abstracted representation are reduced since the interface is always three dimensional and the interactions intuitively made in real time thus allowing the designer to experience the presence of the designed object very quickly. At the École de design industriel of the Faculté d’aménagement, we have run tests using non-immersive VR–one passive (comprehension) and another active (design). This project, involving a group of 72 students during a period of six weeks (6h/week), aimed at analyzing the impact of VR as a visualization tool on the design process versus traditional tools. The results, described in this presentation, shed light on the effect of VR on the creative process as such, as well as on the quality of the results produced by that process.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	e78b
authors	Akin, O. and Akin, C.
year	1998
title	On the process of creativity in puzzles, inventions, and designs
source	Automation in Construction 7 (2-3) (1998) pp. 123-138
summary	The most common means of identifying creativity has been through its products. In architecture, music, writing, art, even puzzle solving and scientific discovery, the prerequisite for considering creativity has been the presence of a creative product. Alternatively, anecdotal descriptions have been used to identify processes that are considered creative. Many scientific discoveries have been linked to a sudden realization or unexplainable revelation punctuated with the AHA! response. Outside of the creative product itself and the AHA! response, the kinds of concrete evidence that point to the process of creativity are precious few. Our purpose here is to further examine these phenomena and develop hypotheses about the nature of the creative process. Our ultimate aim is to develop a general theory of creativity. We intend to base this theory on a set of conditions that are necessary for the creative process to take place in a number of domains: puzzles, scientific discoveries, and design, with special emphasis on architectural design.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	e513
authors	Chaikin, George
year	1998
title	The Computer and the Studio
doi	https://doi.org/10.52842/conf.ecaade.1998.051
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 51-54
summary	The studio is the primary place of architectural education - the place where the warp of representation and the weft of technique are woven together. Architecture is taught as a domain of ideas, ideas about how and why buildings are built, about the dialectic between concept and materiality. To the architectural student, the drawing is the exemplar of the quality of work he or she will expect in the final construction process. As such, it is very important that the student appreciate the "materiality" of the work to be realized, and this is best done through the education of the whole person, of the entire cognitive mechanism, which most certainly includes the hands. We feel strongly that the student must engage in the creative process in a profoundly physical way, must learn the art and joy of making things, and only then can she or he appreciate the representational abstraction offered by the computer.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:55

_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
doi	https://doi.org/10.52842/conf.caadria.2007.x.w5x
source	CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
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	4d6f
authors	Chodorowski, Franciszek
year	1998
title	From Inversive Perspective to Virtual Space
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 43-52
summary	Looking back at history, considering the proportions taken up by the particular developments of the future vision of an architectural work, one observes that the main method used was based on a form of drawing in the perpendicular projection in the form of "planes", cross sections and elevations. However, the research considering the threedimensional approach of the design solution, took into consideration a model made of wood, plaster or paper. The supplementary works in the form of an axonometric or a perspective drawing were not usually the domain of architects. Such way of presenting space was used by artists: painters and sculptors. The rapid development taking place in the use of computers in preparing architectural design documentation makes one reflect on many issues. Modern software, apart from making it possible to develop projections, cross sections and elevations, allows the presentation of a three dimensional vision of an architectural solution on the basis of axonometry, perspective and a study of virtual space. Despite the obvious progress facilitating the graphic editing process of design work, the initial design phase is an unchanged process, similar to past times ' It is based on transferring the creative invention onto paper by means of handmade sketches, similarly to making an inventory measurement note.
series	plCAD
last changed	1999/04/08 17:16

_id	c3e0
authors	Dorsey, J. and McMillan, L.
year	1998
title	Computer Graphics and Architecture: State of the Art and Outlook for the Future
source	Computer Graphics, Vol 32, No 1, Feb 1998. pp. 45-48
summary	During the three decades since Ivan Sutherland introduced the Sketchpad system, there has been an outpouring of computer graphics systems for use in architecture. In response to this development, most of the major architectural firms around the world have embraced the idea that computer literacy is mandatory for success. We would argue, however, that most of these recent developments have failed to tap the potential of the computer as a design tool. Instead, computers have been relegated largely to the status of drafting instruments, so that the "D" in CAD stands for drafting rather than design. It is important that future architectural design systems consider design as a continuous process rather than an eventual outcome.The advent of computer graphics technology has had an impact on the architectural profession. Computer graphics has revolutionized the drafting process, enabling the rapid entry and modification of designs. In addition, modeling and rendering systems have proven to be invaluable aids in the visualization process, allowing designers to walk through their designs with photorealistic imagery. Computer graphics systems have also demonstrated utility for capturing engineering information, greatly simplifying the analysis and construction of proposed designs. However, it is important to consider that all of these tasks occur near the conclusion of a larger design process. In fact, most of the artistic and intellectual challenges of an architectural design have already been resolved by the time the designer sits down in front of a computer. In seeking insight into the design process, it is generally of little use to revisit the various computer archives and backups. Instead, it is best to explore the reams of sketches and crude balsa models that fill the trash cans of any architectural studio.In architecture, as in most other fields, the initial success of computerization has been in areas where it frees humans from tedious and mundane tasks. This includes the redrawing of floor plans after minor modifications, the generation of largely redundant, yet subtly different engineering drawings and the generation of perspective renderings.We believe that there is a largely untapped potential for computer graphics as a tool in the earlier phases of the design process. In this essay, we argue that computer graphics might play a larger role via applications that aid and amplify the creative process.
series	journal paper
last changed	2003/04/23 15:50

_id	ddss9826
id	ddss9826
authors	Hendricx, A., Geebelen, B., Geeraerts, B. and Neuckermans, H.
year	1998
title	A methodological approach to object modelling in the architectural designprocess
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	The paper describes a first prototype constructed in search for a central object model. It presents all possible data, concepts and operations concerning the architectural design process in the early phases.A central model of the process of design is essential: going from one design phase into another, the model describes geometrical shapes, abstract concepts like space and activity, concrete physical building elements and the basic operations all these entities undertake. Emphasis is put on combining all these different viewpoints, thus enabling the designer to use a broad range of design strategies. The aim is to help him and not steer or even hamper his creative process. Information necessary toassist the user of the system concerning energy calculation, stability checks etc can be extracted. By means of appropriate interfaces not only those tests built on top of the system but also existing software packages can make use of the model’s object structure. The implemented object model is one of the cornerstones of the IDEA+ project, aiming to provide an Integrated Design Environment for Architecture.
keywords	object model, building model, CAAD, IDEA+, MERODE
series	DDSS
last changed	2003/08/07 16:36

_id	88f5
authors	Matalasow, M.E.
year	1998
title	Once More on the Role of Different Methods and Means of the Analysis
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 127-140
summary	The correct evaluation of design proposals both by experts and future users, demands their presentation with regard to the real environment and real conditions of observation. It is interesting when analysing designs in complicated town planning situations, and becomes especially important in CIVILIZED SOCIETIES, when it concerns historic territories. Analytical works, connected with preparation of the information, corresponding in the greatest degree to the real conditions and previous scientific investigations, are carried out in a number of European educational institutions (Technical universities in Delft, Tampere, Stuttgart, etc.), corresponding to the Laboratory of videosystems of the Moscow Architectural Institute (State Academy). Their results are periodically reported at conferences of the European Architectural Endoscopy Association, which in keeping with its name and status is occupied with problems of the most real reflection of the designed space. I suppose that due to the objective necessity at our future conference (the 4th conference of the EAEA) we shall discuss not tools, but methods and ways ensuring correct vision of the designed space. Because of this and the present state of the technique of presentation and also recollecting my words at the previous conferences, that technical means are only tools but not an ideology of the creative activities in designing, it is reasonable once more (or maybe not once) to return to the "accompanying" means, which sometimes, and in a historical environment, i want to underline again, in a CIVILIZED SOCIETY, can and must become decisive. And it is especially important for the simulation means to take into consideration spatial and temporal factors.
series	EAEA
more	http://info.tuwien.ac.at/eaea
last changed	2005/09/09 10:43

_id	791e
id	791e
authors	Monreal, Amadeo; Jacas, Joan
year	2004
title	COMPUTER AIDED GENERATION OF ARCHITECTURAL TYPOLOGIES
source	Proceedings of the Fourth International Conference of Mathematics & Design, Special Edition of the Journal of Mathematics & Design, Volume 4, No.1, pp. 73-82.
summary	The work we present may be considered as the consolidation of a methodology that was already outlined in the paper presented in the second M&D congress held in San Sebastian (1998). We establish that, in architectural design, the computer is only used in the last step in order to achieve the traditional Euclidean design in a more precise and comfortable way and to improve the quality of the handmade designs. Our proposal consists in modifying the process from the very beginning of the creative act. That is, when the design conception is born. If we want to obtain the maximum benefit of the computer possibilities, we ought to support this conception by means of a language tuned with the mentioned tool. Due to the fact that the internal language used by the computer for producing graphics is mathematical, we must incorporate, in some way, this language in the codification of the creative process. In accordance with this setting, we propose a mathematical grammar for the design based on the construction of modulated standard mathematical functions. This grammar is developed independently from the graphical software and it is specified only when a particular computer program for the effective generation on the graphical objects is selected.
series	other
type	normal paper
email
last changed	2005/04/07 12:49

_id	86d6
authors	Roberts, Andrew and Forster, Wayne
year	1998
title	From CAAD Lab to Studio: Integration of CAAD with Studio in a ‘Linear’ Based Scheme of Study
doi	https://doi.org/10.52842/conf.ecaade.1998.131
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 131-138
summary	This paper traces the relationship of CAAD with creative studio work within a ‘year based’ school of architecture where the curriculum is founded on a series of ‘Core Projects’. These ‘Core Projects’ are structured so that undergraduates undertake a structured study of the essentials of architecture in an orderly progression. Within this pattern CAAD is not a stand-alone subject or module and as students do not work in units, it is difficult to run specialist CAAD options. The subject is regarded as another skill in communication and tuition in CAAD is provided as part of the acquisition of central architectural skills. CAAD, therefore is regarded as one of the components of skills and knowledge needed to support and the ‘Core Projects’ which account for about 70% of the course assessment. The paper will analyse the evolution of CAAD education within this kind of course in Architecture, reflecting on some of the tensions that have arisen through this and use student work to illustrate some of the lessons learnt over this period
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:56

_id	a5cd
authors	Sasada, T., Yamaguchi, S., Morozumi, M., Kaga, A. and Homma, R. (Eds.)
year	1998
title	CAADRIA ‘98 [Conference Proceedings]
doi	https://doi.org/10.52842/conf.caadria.1998.
source	Proceedings of The Third Conference on Computer Aided Architectural Design Research in Asia / ISBN 4-907662-009 / Osaka (Japan) 22-24 April 1998, 482 p.
summary	Recent progress in hardware and software technology for CAAD systems offer new challenges and opportunities to architects and design educators in aspects such as modeling systems for sketching and design evaluation; knowledge bases as a source of design thinking; network or CD-ROM image banks of design archives; video-conferencing to support geographically distributed interdisciplinary collaboration; etc. Despite expectations that CAAD system would support creative and productive design processes more effectively than those in a traditional design studio, their contributions to architectural design practice and design education still seem to be limited. The fault is, in part, that there are many designers and educators who have yet to experience designing in the medium (as opposed to simply drafting) and partly because digital design tools and technologies have still to be developed or to be integrated to a process of designers' activities. Clearly there are opportunities for further efforts to explore and develop better CAAD technologies as well as to demonstrate and prove possible impact of their application on design practice and design education.
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:57

_id	e679
authors	Seichter, H., Donath, D. and Petzold, F.
year	2002
title	TAP – The Architectural Playground - C++ framework for scalable distributed collaborative architectural virtual environments
doi	https://doi.org/10.52842/conf.ecaade.2002.422
source	Connecting the Real and the Virtual - design e-ducation [20th eCAADe Conference Proceedings / ISBN 0-9541183-0-8] Warsaw (Poland) 18-20 September 2002, pp. 422-426
summary	Architecture is built information (Schmitt, 1999). Architects have the task of restructuring and translating information into buildable designs. The beginning of the design process where the briefing is transformed into an idea is a crucial phase in the design process. It is where the architect makes decisions which influence the rest of the design development process (Vries et al., 1998). It is at this stage where most information is unstructured but has to be integrated into a broad context. This is where TAP is positioned – to support the architect in finding solutions through the creation of spatially structured information sets without impairing thereby the creative development. We want to enrich the inspiration of an architect with a new kind of information design. A further aspect is workflow in a distributed process where the architect’s work becomes one aspect of a decentralised working patterns. The software supports collaborative work with models, sketches and text messages within an uniform surface. The representations of the various media are connected and combined with each other and the user is free to combine them according to his or her needs.
series	eCAADe
email
last changed	2022/06/07 07:59

_id	9
authors	Stipech, Alfredo
year	1998
title	Un Nuevo Horizonte Arquitectonico, Productivo e Intelectual (A New Architectural, Productive and Intelectual Horizon)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 76-83
summary	This work presents the pedagogical experience of a Design Workshop that investigated the impact of the digital and analogic means on the architectonic design process This work was based on the research of Dr. Arch. Julio BermÝdez who also directed this workshop in 1997. This class was part of the Training Program organized by the "Centro de Informatica y Diseho" (CID) at the "Universidad Nacional del Litoral" FADU (Facultad de Arquitectura Diseho y Urbanismo) Santa Fe, Argentina and made possible by the ongoing International Program of Academic Exchange between the FADU and the (University of Utah Graduate School of Architecture (IPAE Project NO 4). The experimental studio utilized an architectural problem to study the procedural, technical, interpretative and theoretical issues associated with the relationship of contemporary media and design process. The pedagogical vehicle was a program that expresses in itself the meeting or collision between two cultures competing for dominance at the end of the millennium: the immemorial material culture (corporeal, tectonic) and the new and everyday more influent virtual culture (information, nets, media, simulation). The premise for the design process, communication and criticism was the constant migration between the digital and analog representation systems. Within this theoretical-practical context semantic aspects containing different representation modalities were used such as physical and electronic models along with systematic and sensitive drawings (manuals, pixels and with CAD). Hybrid interfaces took a leading role in the process since they allowed the communication between analog and digital media through the creative and technical interaction between scanner, video and computer. This architectural and media context generated an intense pedagogic environment fostering the development of creativity and a critical attitude while allowing concrete breakthroughs in the teaching process and format design. Our work reflects on these results showing examples of stud-go works and providing a final evaluation of this unique experience in Argentina.
series	SIGRADI
email
last changed	2016/03/10 10:01

_id	ddss9860
id	ddss9860
authors	Vakalo, E-G. and Fahmy, A.
year	1998
title	A Theoretical Framework for the Analysis and Derivation of Orthogonal Building Plans and Sections
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	Architects are generally perceived as “Formgivers with an extraordinary gift” (Ackerman, 1980:12). Implicit in this statement is the belief that the operations that architects employ to compose their designs are the product of a creative faculty that is beyond the reach of rational discourse, and thereby cannot be subjected to logical investigation. This view is detrimental to the advancement of knowledge about architectural composition and adversely affects both practice and education in architecture. More specifically, it prevents the architectural community from acquiring of a more refined conception about how architects derive their designs. In contrast to this view, this study demonstrates that architectural form-making is amenable to logical analysis. In specific, this is to be done through a theoretical and computational framework that describe and explain the tasks involved in the making of orthogonal building plans and sections. In addition to illustrating the susceptibility of architectural form-making to logical analysis, the frameworks proposed in this study overcome the limitations of previously established theories thatdeal with architectural form-making. These can be divided into two categories: normative and positive theories.Normative theories include architectural treatises and manifestos. A major limitation of normativetheories is that they have limited explanatory power. Their concern is with promoting a specific aesthetic ideology and prescribing rules that can be used to derive compositions that conform to it. Therefore, they cannot be used to explain form-making in general. Positive frameworks, such asshape grammar, rely on rules to describe derivation and analysis processes. Nevertheless, they do not provide a comprehensive description of the tasks involved in architectural form-making. This causes the relation between the rules and compositional tasks to be ambiguous. It also affects adversely the ability of these frameworks to provide architects with a complete understanding of the role of compositional rules in derivation or analysis processes.
series	DDSS
type	normal paper
last changed	2010/05/16 09:11

_id	ijac20109304
id	ijac20109304
authors	Vermisso, Emmanouil
year	2011
title	Design economies of surface: can Architects learn from the manufacturing process of industry-driven projects like auto-cross racing?
source	International Journal of Architectural Computing vol. 9 - no. 3, 259-284
summary	This paper discusses an in-house manufactured race-car body for the annual Formula SAE® Series competition. The driving parameters for the design and fabrication process are examined with regards to the assignment's ‘format’ as a joint study between architecture and engineering students. Traditionally there has been an inhibition concerning communication between architects and engineers, that is perhaps successfully exemplified through Peter Rice's example of the "Iago mentality" (Rice, 1998) where the Shakespearean confrontation between Othello and Iago is viewed as an analogy to this communication: "In the dialogue of Architecture and Engineering, the engineer is the voice of rationality and reasoni." Unless dictated by construction necessities, research between these two disciplines is not sought as regularly as we would hope for; we are therefore, interested to assess the analog and computational techniques used from a design perspective, and, by understanding the implications of working among two different but similarly geared backgrounds, describe possible improvements on real-size projects that require both technical and design input, thereby affirming Rice's belief for creative inter-disciplinary discourse. Finally, the project is a reminder of the common ground between architectural and automotive design, by examining the notion of surface from a cross-disciplinary premise.
series	journal
last changed	2019/05/24 09:55

_id	avocaad_2001_09
id	avocaad_2001_09
authors	Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year	2001
title	Digital Architecture in CAD studio and Internet-based competition
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	Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	0471
authors	Bruton, B.
year	1998
title	Grammars and Pedagogy - Towards new Media Art and Design Education Strategies
doi	https://doi.org/10.52842/conf.caadria.1998.385
source	CAADRIA ‘98 [Proceedings of The Third Conference on Computer Aided Architectural Design Research in Asia / ISBN 4-907662-009] Osaka (Japan) 22-24 April 1998, pp. 385-394
summary	The impact of computational grammatical design on pedagogy has received little attention in art education due to the dominant modes of traditional approaches to art and design education. This paper explores the pedagogical implications of grammatical strategies using computers for judgements of design within an art educational setting. Grammatical strategies are studied for their effect on the judgements of novice artists in a new media educational context. It is argued that concepts of grammar and views of contingency are used in a variety of senses in the conception and form making of artists; that finding methods for discussing and utilising complex visual information is aided by grammatical formalisation; that these strategies are evidently effective at both early and mature stages of the realisation of a project. The research explores the relation between computer and art on three levels in which grammar is used: as a sense of grammar, as a computational paradigm and as a description of a kind of computer program. Grammatical formalism is apparent in two dimensional linear and non-linear animations using Photoshop, Premiere and Director, and in solid modelling programs such as Extreme 3D, Form Z, Strata Studio Pro, 3D Studio Max and SoftImage. Web site construction also impacts on the judgements of 2D and 3D design. Computational grammatical programs generate forms that reflect alternative understandings of art and design. Art practise is defined in terms of developing consistent and appropriate design language for the contingency at hand. Form making using grammatical tools, both recursive and array types, is discussed in terms of their applicability and educative value. Reference is made to formal qualities for critique and strategic capability of alternative pedagogy for generation of forms. Examples provided show how simple rule sets develop into complex derivational sequences that challenge traditional strategies for computer imaging. The paper demonstrates the value of a sense of grammars for novice art and design practitioners by using first hand examples of experimental work at the South Australian School of Art, University of South Australia. For novice artists and designers, grammars in conjunction with reflective practice is offered as a useful mind set that supports an interest in actively defining a new kind of art. Illustrations provided show the utility of a contingent sense of grammar for pedagogy and highlights the significant role of grammar in pedagogy.
keywords	Grammar, Pedagogy, Computer, Art, Design
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:54

_id	10
authors	Bund, Elizabeth and Barros, Diana Rodriguez
year	1998
title	Imagen Digital: Proceso Proyectual Confluyente (Digital Image: Confluyent Design Process)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 84-93
summary	The introduction of new technologies in architectural projects causes, in first place, their adaptation as an operative and instrumental resource, without considering the deep changes that their use generates. The digital image, understood as a reference of this process, is spreading and conquering new fields on ideation, representation and communication. The absence of theoretical support, that would offered another point of view is evident, so consequently we believe that is necessary to consider approaches qualitatively new, from epistemologic, methodologic, perceptive and aesthetic fields, in order to transfer them into professional an teaching practice. Today, the annulment of universal validity rules, and the different and contradictory interpretations, oblige to center our view in the interrelationships and,connections, rather than in the definition of each entity. This work develops synthetically a study which confronts and compares traditional project process - composition and heuristic design supported by linear proceeding and analogic media, with confluent project process, based on digital data and hypermedia links, generated simultaneously. The variants of the topics analyzed are at the same time the project itself, the underlying thinking model, and the project communication strategies.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	ab2e
authors	Cheng, Nancy Yen-Wen
year	1998
title	Wayfinding In Cyberspace - Negotiating Connections between Sites
doi	https://doi.org/10.52842/conf.caadria.1998.083
source	CAADRIA ‘98 [Proceedings of The Third Conference on Computer Aided Architectural Design Research in Asia / ISBN 4-907662-009] Osaka (Japan) 22-24 April 1998, pp. 83-92
summary	As the number of 3D virtual worlds grow, the distributed nature of the Internet will juxtapose many different kinds of spatial environments. Moving between these environments can be disorienting due to the lack of structural continuity. How can we create an easily navigable experience in a realm so different from the stable, natural world that we inhabit? This paper provides background about navigating virtual worlds, discusses the boundary gaps and describes efforts in how to bridge these gaps. Using examples from an academic exercise, archetypes of negotiated connections between sites are proposed.
keywords	Electronic Design Media, Virtual Reality, Precedence and Prototypes
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:55

_id	f448
authors	Hermann, M., Kohler, N., Koenig, H. and Luetzkendorf, T.
year	1998
title	CAAD System with Integrated Quantity Surveying, Energy Calculation, and LCA
source	Proceedings: Green Building Challenge 98, Vancouver, Canada. Vol. 2, 68 - 75
summary	In the framework of the German LEGOE project, an integrated tool is developed for computer aided architectural design (CAAD), quantity surveying (catalogue of building elements), life cycle cost calculation and estimation (construction and refurbishment), direct energy consumption (heating, hot-water, electri-city) and environmental impact assessment (mass flows and effect oriented evaluation). During the design process the architect works in his usual CAAD environment with building elements (e.g. one m2 of outer wall) which in turn are composed of detailed construction specifications, energy and mass flow coefficients and cost data. These elements are part of an independent catalogue of elements with all their relevant data. The different application programs use the same basic data and write the specific results into a project-specific database called a PDB which allows the comparison of these data to reference data from other projects. Evaluation and visualisation programs refer to the PDB only.
series	other
last changed	2003/04/23 15:50

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