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	4894
authors	Asanowicz, Aleksander
year	1998
title	Approach to Computer Implementation in Architectural Curriculum
doi	https://doi.org/10.52842/conf.ecaade.1998.004
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 4-8
summary	This paper examines traditional teaching methods in architecture and identifies opportunities which are offered by computers for changing the teaching process. Introduction of CAAD to the teaching schedules unquestionably and explicity uncovered a need of changes within the whole schedule of study. In this paper we will submit the thesis that the problem does not lay in how will CAAD be incorporated into the architectural curriculum, because it is the CAAD that has the potential to become an integrating factor of architectural curriculum.
series	eCAADe
email
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/22asanowicz/index.htm
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	ga9808
id	ga9808
authors	Ceccato, Cristiano
year	1998
title	MICROGENESIS, The Architect as Toolmaker: Computer-Based Generative Design Tools and Methods
source	International Conference on Generative Art
summary	The purpose of this paper is to illustrate the results of various stages of research into the development of generative design methods and tools, conducted at the Architectural Association School of Architecture (London), Imperial College of Science, Technology and Medicine (London), and independently. A brief introduction explains the philosophy behind generative design methods and their basic principles. A number of computer software tools and projects developed by the author are then used to illustrate the methodology, techniques and features of generative design and its organisation of information.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ga0021
id	ga0021
authors	Eacott, John
year	2000
title	Generative music composition in practice - a critical evaluation
source	International Conference on Generative Art
summary	This critical evaluation will discuss 4 computer based musical works which, for reasons I shall explain, I describe as non-linear or generative. The works have been constructed by me and publicly performed or exhibited during a two year period from October 1998 to October 2000. ‘In the beginning…’ interactive music installation, strangeAttraction, Morley Gallery, London. July 1999 ‘jnrtv’ live generative dance music May 1999 to Dec 2000 ‘jazz’ interactive music installation, another strangeAttraction Morley Gallery, London. July 2000-09-26 ‘the street’ architectural interactive music installation, University of Westminster Oct 2000 Introduction I have always loved the practice of composing, particularly when it means scoring a work to be played by a live ensemble. There is something about taking a fresh sheet of manuscript , ruling the bar lines, adding clefs, key and time signatures and beginning the gradual process of adding notes, one at a time to the score until it is complete that is gratifying and compensates for the enormous effort involved. The process of scoring however is actually one distinct act within the more general task of creating music. Recently, the notion of ‘composing’ has met challenges through an increased interest in non-linear compositional methods. It is actually the presence of Chaotic or uncontrolable elements which add real beauty to music and many if not all of the things we value. If we think of a sunset, waves lapping on the shore, plants, trees a human face and the sound of the human voice, these things are not perfect and more importantly perhaps, they are transient, constantly changing and evolving. Last year and again this year, I have organised an exhibition of interactive , non-linear music installations called 'strangeAttraction'. The title refers to what Edward Lorenz called a ‘strange attractor’ the phenomenon that despite vast degrees of Chaos and uncertainty within a system, there is a degree of predictability, the tendency for chaotic behaviour to ‘attract’ towards a probable set of outcomes. Composition that deals with 'attractors' or probable outcomes rather than specific details which are set in stone is an increasingly intriguing notion.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	50a1
authors	Hoffman, Donald
year	1998
title	Visual Intelligence
source	Norton Publishing, New York
summary	After his stroke, Mr. P still had outstanding memory and intelligence. He could still read and talk, and mixed well with the other patients on his ward. His vision was in most respects normal---with one notable exception: He couldn't recognize the faces of people or animals. As he put it himself, "I can see the eyes, nose, and mouth quite clearly, but they just don't add up. They all seem chalked in, like on a blackboard ... I have to tell by the clothes or by the voice whether it is a man or a woman ...The hair may help a lot, or if there is a mustache ... ." Even his own face, seen in a mirror, looked to him strange and unfamiliar. Mr. P had lost a critical aspect of his visual intelligence. We have long known about IQ and rational intelligence. And, due in part to recent advances in neuroscience and psychology, we have begun to appreciate the importance of emotional intelligence. But we are largely ignorant that there is even such a thing as visual intelligence---that is, until it is severely impaired, as in the case of Mr. P, by a stroke or other insult to visual cortex. The culprit in our ignorance is visual intelligence itself. Vision is normally so swift and sure, so dependable and informative, and apparently so effortless that we naturally assume that it is, indeed, effortless. But the swift ease of vision, like the graceful ease of an Olympic ice skater, is deceptive. Behind the graceful ease of the skater are years of rigorous training, and behind the swift ease of vision is an intelligence so great that it occupies nearly half of the brain's cortex. Our visual intelligence richly interacts with, and in many cases precedes and drives, our rational and emotional intelligence. To understand visual intelligence is to understand, in large part, who we are. It is also to understand much about our highly visual culture in which, as the saying goes, image is everything. Consider, for instance, our entertainment. Visual effects lure us into theaters, and propel films like Star Wars and Jurassic Park to record sales. Music videos usher us before surreal visual worlds, and spawn TV stations like MTV and VH-1. Video games swallow kids (and adults) for hours on end, and swell the bottom lines of companies like Sega and Nintendo. Virtual reality, popularized in movies like Disclosure and Lawnmower Man, can immerse us in visual worlds of unprecedented realism, and promises to transform not only entertainment but also architecture, education, manufacturing, and medicine. As a culture we vote with our time and wallets and, in the case of entertainment, our vote is clear. Just as we enjoy rich literature that stimulates our rational intelligence, or a moving story that engages our emotional intelligence, so we also seek out and enjoy new media that challenge our visual intelligence. Or consider marketing and advertisement, which daily manipulate our buying habits with sophisticated images. Corporations spend millions each year on billboards, packaging, magazine ads, and television commercials. Their images can so powerfully influence our behavior that they sometimes generate controversy---witness the uproar over Joe Camel. If you're out to sell something, understanding visual intelligence is, without question, critical to the design of effective visual marketing. And if you're out to buy something, understanding visual intelligence can help clue you in to what is being done to you as a consumer, and how it's being done. This book is a highly illustrated and accessible introduction to visual intelligence, informed by the latest breakthroughs in vision research. Perhaps the most surprising insight that has emerged from vision research is this: Vision is not merely a matter of passive perception, it is an intelligent process of active construction. What you see is, invariably, what your visual intelligence constructs. Just as scientists intelligently construct useful theories based on experimental evidence, so vision intelligently constructs useful visual worlds based on images at the eyes. The main difference is that the constructions of scientists are done consciously, but those of vision are done, for the most part, unconsciously.
series	other
last changed	2003/04/23 15:14

_id	cc20
authors	Kensing, Finn
year	1998
title	Participatory Design: Issues and Concerns
source	Computer Supported Cooperative Work (CSCW) 7(3): 167-185; Jan 1998
summary	We characterize Participatory Design (PD) as a maturing area of research and as anevolving practice among design professionals. Although PD has been applied outside of technologydesign, here we focus on PD in relation to the introduction of computer-based systems at work.We discuss three main issues addressed by PD researchers; the politics of design; the nature ofparticipation; and method, tools and techniques for participation. We also report on the conditionsfor the transfer of “PD results” to workers, user groups, and design professionals that have characterizedPD over time and across geopolitical terrains. The topic of the sustainability of PD within anorganizational context is also considered. The article concludes with a discussion of common issuesexplored within PD and CSCWand frames directions for a continuing dialogue between researchersand practitioners from the two fields. The article draws on a review of PD and CSCW literatures aswell as on our own research and practical experiences.
keywords	CSCW; Design Professionals; Participatory Design; Politics of Design; Sustainability
series	other
email
last changed	2002/07/07 16:01

_id	6b49
authors	McMahon, C. and Browne, J.
year	1998
title	CADCAM: Principles, Practice and Manufacturing Management
source	2nd ed. Reading, Massachusetts: Addison-Wesley
summary	The application of computers to the product design and manufacturing process, known as CADCAM, is a successful and important technology which integrates the traditionally separate disciplines of Design and Manufacture. Presenting an ideal mix of theory, practice, and analysis along with real-life applications, this book offers an accessible introduction to CADCAM.
series	other
last changed	2003/04/23 15:14

_id	21ac
authors	Mogensen, Preben Holst
year	1998
title	When Survival is an Issue: PD in Support of Landscape Architecture
source	Computer Supported Cooperative Work (CSCW) 7(3): 187-203; Jan1998
summary	This paper reports on an ongoing project involving researchers from Lancaster Universityand a branch of a landscape architecture firm. It explores some of the possibilities pursued in theproject as well as the conditions they encountered. Specifically, it describes the introduction ofsupport for graphic work and electronic communication in a context characterised by continuousfinancial pressure, downsizing, and the need for short term gains. It seeks to contribute to the accumulationof experience within the participatory design community by reporting on an ongoing projectas regards its objectives in relationship to its context.
keywords	Design; Possibilities; Conditions; Landscape Architecture; Participatory Design
series	other
email
last changed	2002/07/07 16:01

_id	00eb
authors	Morozumi, Mitsuo
year	1998
title	Gradual Introduction of CAAD to Develop and Support Students’ Ability in Design Studio
doi	https://doi.org/10.52842/conf.ecaade.1998.107
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 107-114
summary	How to integrate CAAD into design education, and how to teach CAAD as a tool of design thinking has been a difficult issue left unresolved for architecture schools. This paper discusses the possible approach to these issues which were experienced in a Japanese university. In the first section, it will summarize the present situation of CAAD education in Japan. The second section reports the framework of design education and roles of CAAD programmed in a department. The third section introduces an example of course programs and students’ work. The fourth section observes a recent outcome of experimented program, such as, students’ work, scores and some results of a student questionnaire. In the final section, it will discuss the approach that introduce different levels of CAAD usage to design studios as the level of design education advances, was successful to integrate CAAD into design education.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:59

_id	6f74
authors	Norman, Richard
year	1998
title	Teaching Computation for Design
doi	https://doi.org/10.52842/conf.ecaade.1998.115
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 115-122
summary	Modeling the formal idea has long been problematic in schools. Renaissance tools, however inspired by the invention of perspective, usually result in two-dimensional sketches. Cardboard and small pieces of wood occasionally become the three-dimensional media of first visualization in studios; modeling on the computer is a newer idea. This paper examines two experiments, one where design fundamentals and solid modeling are introduced in a common studio, the other where instruction is removed from the studio environment and made an adjunct elective. In the first case the course is an introduction to both design and computation, an electronic investigation of Paul Klee’s first principles: point, line, shape, form and space—adding, subtracting, rotating and multiplying objects using Beaux Arts principles to create the design. The result is architectural form-making that was not possible in the studio-past. The second case is a course which isolates computer instruction from the studio, making it a separate academic discipline. Fantasy projects then demonstrate computational principle, exploring pure form without burden of technical or social obligation that studio imposes; alternative methods are presented for introducing design computation to the architectural student.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:58

_id	47
authors	Pimentel, Diego and Mendez, Ricardo
year	1998
title	Incorporacion de Nuevos Soportes Tecnologicos en la EnseÒanza del DiseÒo Grafico (Introduction of New Tecnologies of Supports in the Teaching of Graphic Design)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 350-357
summary	Development of a methodological strategy for the inclusion of new communication digital media to the Design course pedagogical process. How to introduce to the Graphic Design degree learning an strategy that includes the new communication technological support. Development of a practical exercise with real implementation in a last generation media. Institutional FADU Website design. From pre-impression to the pixel.
series	SIGRADI
last changed	2016/03/10 09:57

_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	63d1
authors	Rapid Prototyping Group Rapid Design and Manufacture Centre (RDM), Ryder, G., Ion, B., Green, G., Harrison, D. and Wood, Bruce
year	2002
title	Rapid design and manufacture tools in architecture
source	Automation in Construction 11 (3) (2002) pp. 279-290
summary	The continuing development of Rapid Prototyping technologies and the introduction of Concept Modelling technologies means that their use is expanding into a greater range of applications. The primary aim of this paper is to give the reader an overview of the current state of the art in Layered Manufacturing (LM) technology and its applicability in the field of architecture. The paper reports on the findings of a benchmarking study, conducted by the Rapid Design and Manufacturing (RDM) Group in Glasgow [G.J. Ryder, A. McGown, W. Ion, G. Green, D. Harrison, B. Wood, Rapid Prototyping Feasibility Report, Rapid Prototyping Group, Glasgow School of Art, 1998.], which identified that the applicability of LM technologies in any application can be governed by a series of critical process and application specific issues. A further survey carried out by the RDM group investigated current model making practice, current 3D CAD use and current use of LM technologies within the field of architecture. The findings are then compared with the capabilities of LM technologies. Future research needs in this area are identified and briefly outlined.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:23

_id	34
authors	Regot, Joaquin and De Mesa, Andres
year	1998
title	Modelado de Superficies Complejas. La Casa Mila de Antonio Gaudi (Modeling of Complex Surfaces. The House Mila of Antonio Gaudi)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 258-265
summary	This paper explains the three-dimensional representation procedure of one fragment of Mil· house elevation designed by the architect Antoni GaudÌ. The generation process of an architectonic virtual model constituted by free form surfaces like this, represents a paradigm of high level difficulty in CAD modeling. The main objective of our research has been not only construct a model that shows the complex form of its architecture, but also verify the performance of the different tools supported by computer aided design programs in the management of surface modeling.We obtained an accurate information of the real surface elevation with a photogrammetric survey using contour lines. The transformation of this kind of data in a three-dimensional model was not immediately Thus, we have had study different ways to generate the three-dimensional model solution. The process began with the construction of different surface models supported by analytic functions, but the obtained surfaces made with this system were deficient and not too much satisfactory. That's why, we use a polyhedron mesh surface method in order to improve these results.in spite of this methodology reductive performance, (compared with analytic function systems), the obtained surface demonstrated that this technique was the best way to satisfy the requirement of a free form surface previously established as we want to construct. From this point the principal problem was generate a surface defined by two-dimensional data, (contour lines), applying an automatic process sufficiently fast to compete with the analytic function systems.To satisfy the demand was necessary make complementary software to improve the process and allow more fluidity to resolve this typology of surfaces. We achieved this phase thanks to Joan Miquel Quilez collaboration and the constant dedication in the elaboration of complementary software to computer aided design. Finally, the introduction of render systems with lights, shadows, textures and reflected images, allowed show the studied elevation area of Mil· house with more accuracy. Thus, the limits and contours of the finally surface were more evident and help us to known the properties of a non- materialized free form surface successfully.
series	SIGRADI
email
last changed	2016/03/10 09:58

_id	ba1b
authors	Schnier, T. and Gero, J.S.
year	1998
title	From Frank Lloyd Wright to Mondrian: Transforming evolving representations
source	I. Parmee (Ed.), Adaptive Computing in Design and Manufacture, Springer, London, pp. 207-219
summary	If a computer is to create designs with the goal of following a certain style it has to have information about this style. Unfortunately, the most often used method of formal representations of style, shape grammars, does not lend itself to automated implementation. However, It has been shown how an evolutionary system with evolving representation can provide an alternative approach that allows a system to learn style knowledge automatically and without the need for an explicit representation. This paper shows how the applicability of evolved representation can be extended by the introduction of transformations of the representation. One such transformation allows mixing of style knowledge, similar to the cross-breeding of animals of different races, with the added possibility of controlling exactly what features are used from which source. This can be achieved through different ways of mixing representations learned from different examples and then using the new, combined representation to create new designs. In a similar manner, information learned in one application domain can be used in a different domain. To achieve this, either the representation or the genotype-phenotype transformation has to be adapted. The same operations also allow mixing of knowledge from different domains. As an example, we show how style information learned from a set of Mondrian paintings can be combined with style information from a Frank Lloyd Wright window design, to create new window designs. Also, we show how the combined style information can then be used to create three-dimensional objects, showing style features similar to the newly designed windows.
keywords	Genetic Engineering, Learning
series	other
email
last changed	2003/04/06 09:02

_id	ddss9852
id	ddss9852
authors	Shalaby, Tarek, Scutt, Tom and Palmer, Diane
year	1998
title	The ‘Intelligent Map’ as A Decision Support System for UrbanPlanners in Nottingham Using GIS Technology
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	Location is often considered as the most important factor leading to the success of public or private services. Location is the key in maximising accessibility and keeping operating cost low. A collaborative research project between ‘Nottingham University’ and the ‘Environmental ServicesDepartment of Nottingham City Council’ is developing an ‘Intelligent Map’ for identifying optimum locations for the recycling centres in the city. The object is to develop a new decision support system for urban planners, to be used as a management and analytical tool for improving locational decisionmaking. This paper discusses the technique of the Intelligent Map, and its concept. The paper includes three main sections. The first discusses the introduction of the mini-recycling centres in Nottingham, theproblems associated with their spatial distribution, and the need for a new decision support system using GIS technology. The second examines traditional techniques using GIS for identifying optimum locations and calculating catchment areas. The third explains the concept of the Intelligent Map; discussion takes the form of an initial analysis of the likely method to be applied, and then briefly outlines some of the prototyping work that is currently taking place at Nottingham.
series	DDSS
last changed	2003/08/07 16:36

_id	aaa9
authors	Shneiderman, Ben
year	1998
title	Designing the User Interface (3rd Ed.)
source	Addison Wesley, 650 p. [ISBN: 0201694972 ]
summary	Designing the User Interface is intended primarily for designers, managers, and evaluators of interactive systems. It presents a broad survey of designing, implementing, managing, maintaining, training, and refining the user interface of interactive systems. The book's second audience is researchers in human-computer interaction, specifically those who are interested in human performance with interactive systems. These researchers may have backgrounds in computer science, psychology, information systems, library science, business, education, human factors, ergonomics, or industrial engineering; all share a desire to understand the complex interaction of people with machines. Students in these fields also will benefit from the contents of this book. It is my hope that this book will stimulate the introduction of courses on user-interface design in all these and other disciplines. Finally, serious users of interactive systems will find that the book gives them a more thorough understanding of the design questions for user interfaces. My goals are to encourage greater attention to the user interface and to help develop a rigorous science of user-interface design.
series	other
email
more	http://www.awl.com/dtui/
last changed	2003/04/02 08:00

_id	bcdc
authors	Streitz, Norbert A.
year	1998
title	Integrated Design of Real Architectural Spaces and Virtual Information Spaces
source	Proceedings of ACM CHI 98 Conference on Human Factors in ComputingSystems (Summary) 1998 v.2 pp. 263-264
summary	This paper presents an introduction to the Suite "Integrated design of real architectural spaces and virtual information spaces". It discusses the affordances of architectural spaces serving as information spaces and vice versa. As a consequence, it argues for a two-way augmentation of these two worlds were are living in. It concludes with an overview of the papers of this Suite.
keywords	Augmented Reality; Physical Space; Architecture; Virtual Space; Ambient Information; Workspace Design
series	other
last changed	2002/07/07 16:01

_id	8a05
authors	Van Leeuwen, J., Dubbelman, T. and Achten, H.
year	1998
title	ICT as a Means of Education
doi	https://doi.org/10.52842/conf.ecaade.1998.131.2
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 131-137
summary	ICT and architecture are often viewed as separate subjects, that can also be taught separately. If the goal of teaching is to produce learned designers, then it is necessary to combine both issues into a single course. The paper presents the innovation of a traditional CAD course that suffered from decreasing results. We present the problems identified in the existing course and the measures taken to reorganise the contents and didactical approach of the course. The paper focuses on the innovation of the course by the introduction of information and communication technologies (ICT) both in the contents of the course and as a means of education. Abandoning printed images as the result of students? work, the new course required students to create a web page to present their efforts on architectural design, modelling, and visualisation. This had a beneficial effect on the students? attitude and enthusiasm for the course. It also allowed better planning of the course in terms of
series	eCAADe
email
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/42van_leeuwen/index.htm
last changed	2022/06/07 07:58

_id	ddssar0031
id	ddssar0031
authors	Witt, Tom
year	2000
title	Indecision in quest of design
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	Designers all start with a solution (Darke, 1984), with what is known (Rittel, 1969, 1970). Hans Menghol, Svein Gusrud and Peter Opvik did so with the chair in the 1970s. Not content with the knowledge of the chair, however, they walked backward to the ignorance of the question that has always elicited the solution of chair and asked themselves the improbable question, “What is a chair?” Their answer was the Balans chair. “Until the introduction of the Norwegian Balans (balance) chair, the multi-billion dollar international chair industry had been surprisingly homogeneous. This chair is the most radical of the twentieth century and probably since the invention of the chair-throne itself (Cranz 1998). Design theorists have tried to understand in a measurable way what is not measurable: the way that designers think. Rather than attempt to analyze something that cannot be taken apart, I attempt to illuminate methods for generating new knowledge through ways of seeing connections that are not logical, and in fact are sometimes ironic. Among the possibilities discussed in this dialogue are the methodological power of language in the form of metaphor, the power of the imagination in mind experiments, the power of mythological story telling, and the power of immeasurable intangibles in the generation of the new knowledge needed to design.
series	DDSS
last changed	2003/08/07 16:36

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