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	53
authors	Vasquez de Velasco, Guillermo and Holland, Nancy
year	1998
title	Taller de Diseño Virtual Internacional y Educacion Reciproca a Distancia (International Virtual Design Studios and Reciprocal Distance Education)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 398-405
summary	Motivated by a tendency towards the development of international design and construction consortia, the paper explores the application of information technology in order to add an international and multicultural dimension to our Design Studios. In particular, the paper describes how a group of 4 Mexican design professors offers distance education to a Design Studio in the U.S. and how, in a reciprocal way, 4 American construction professors offer distance education to a Construction Studio in Mexico. Both groups of professors and students make extensive use of the Internet and a T1 dedicated line for compressed video. In addition to the experience previously mentioned, the paper elaborates on potential applications of the "Reciprocal Distance Education" model at university and professional levels. The paper presents conclusions that place particular attention in the evaluation of information resources. In the same way, some conclusions address the administrative an faculty structures that make possible the implementation of the model.
series	SIGRADI
email
last changed	2016/03/10 10:02

_id	6875
authors	Kosco, I., Tucny, J. and Dobson, A.
year	1998
title	Around the Table on the Net: Intranet and Internet Design Studios and Teaching
doi	https://doi.org/10.52842/conf.ecaade.1998.083
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 83-89
summary	New technologies like Computer Aided Design and network facilities are affecting the building procurement, design and construction processes very rapidly, in the education, design studio teaching as well as in the practice. Network technologies are giving us a variety of possibilities: quick and simple access to information, quick and easy communication, exchange of data in different formats (texts, data, drawings, images, animations, hypertext or multimedia products, etc.) or access to differently located computer and work on it. As the result the communication or collaboration in a design and construction process and management could be used not only in the CAD based design studio but, what is more important, between geographically dispersed members of design teams (dispersed in different places, towns, regions, countries or even continents). There is a lot of advantages: quick and easy communication and exchange of information, free choice of a team, easy revisions of a documentation, collaborative work on the same drawings, costs savings in travelling, issuing, copying and shipping, etc. On the other hand the long-distance education on an international base appears like a modern teaching tool. Paper reflects the experiences from International collaborative studio work via computer network, Internet and World Wide Web.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:51

_id	62fa
authors	Vasquez de Velasco, Guillermo P. and Clayton, Mark J.
year	1998
title	Integrating Introductory CAAD Courses and Upper Level Electronic Design Studios
doi	https://doi.org/10.52842/conf.ecaade.1998.157
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 157-164
summary	Although the use of computers has become widespread among architecture students, their use in design studios often lacks integration. To gain maximum advantage from computers, design students must acquire a breadth and depth of knowledge that allows them to choose the right tools, integrate multiple technologies, and apply knowledge to new situations. It is not possible for students to gain all of this knowledge in an ad hoc way as part of a design studio. Thus, an introductory CAAD course is a necessary prerequisite for participation in design studios that employ computer methods. The paper presents the experience of two faculty members currently working on the integration of their second year introductory CAAD courses and their fourth year Electronic Design Studios. The paper describes the pedagogical methods used in the introductory CAAD courses, and shows how they serve as the foundation for exercises in upper level electronic design studios. The paper also presents plans for the implementation of distance education methodologies in the delivery of computing and studio courses. The paper ends by providing conclusions that address how the use of computer technology permits the addition of instructional objectives that go beyond those of conventional design studios.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:58

_id	cf9d
authors	Yeung, C., Cheung, L., Yen, J. and Cheng, C.
year	1998
title	Virtual Classroom for Architecture
doi	https://doi.org/10.52842/conf.caadria.1998.093
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. 93-102
summary	Over the past few years, we have seen that the evolution of the Internet and World Wide Web technologies have significantly enhanced the global communication and collaboration. People, no matter where they are, are virtually getting closer and closer. The barriers that came from time and distance have been partially removed by the use of such technologies. Internet and WWW are not just technology, they are an environment or space. With such breakthrough in technologies, a new paradigm in education is there. The education very differently from what we have now. This paper presents an Internet-based environment to support teaching and learning in architecture education. We will discuss the design concept and how to integrate the technology and knowledge-based techniques to implement the learning environment for architecture students. Architecture is a very specific discipline which consists of the knowledge from arts, sciences, engineering, and more. One of the focuses in architecture education is to teach how to express and communicate design ideas with the multimedia or other technologies, such as, virtual reality (VR). A case study presented in this paper is about how to deliver and present the ancient Chinese temples and its bracket set systems from the server to the browsers to support distance teaching. That is, students and teachers may not be in the same location, but they are able to watch the same objects and to exchange ideas. We will discuss how to use multimedia technologies to illustrate how a temple and its bracket set differ from dynasties to dynasties and introduce its basic properties to the viewers. Moreover, we will discuss how we organize and handle 3-dimensional objects with such system. Many people are still arguing about whether Internet-based teaching or a real classroom setting is better. We are not implying that Internet-based teaching is superior or predicting that it will dominate the teaching in the near future. However, we strongly believe that it is just another alternative to express and represent architectural thinking to over some of the barriers that come from time and distance. We believe, that it is always true, that the Internet-based teaching may provide both teachers and learners greater flexibility and to support more International collaboration. That is, regardless where the students or teachers are, they can always participate in learning or teaching and make teaching and learning much more rich and interesting.
keywords	Virtual Classroom
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:57

_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	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	297e
authors	Van Asperdt, Anita and Diamond, Beth
year	1998
title	Integrating Digital Media in the Lanscape Architecture Studio: Overlaying Media and Process
doi	https://doi.org/10.52842/conf.acadia.1998.074
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. 74-86
summary	For landscape architecture students beginning to experiment with computer generated imagery, the focus should be on integrating digital media in a comprehensive manner, throughout various phases of the design process. Digital media exercises must be developed in such a manner that they support, express and enhance the design content of a studio project in conjunction with the chosen design process. In a beginning-level studio, digital media is best explored through easy-to-learn applications in a structured yet flexible studio environment. One powerful way to integrate digital media with design inquiry in a comprehensive and reciprocal manner is the electronic overlay of information and poetic impressions. This method takes on particular relevance in dealing with the multiple issues that face landscape architects today.
series	ACADIA
email
last changed	2022/06/07 07:58

_id	0c54
authors	Datta, Sambit and Woodbury, Robert F.
year	1998
title	Reducing Semantic Distance in Generative Systems: A Massing Example
doi	https://doi.org/10.52842/conf.acadia.1998.164
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. 164-171
summary	Generative design formalisms utilise discrete, constructive steps to encode strategies for formal change. In physical design media, the pervasive metaphor for doing design is the direct and continuous manipulation of the developing form. The goal of our investigation is to develop mixed initiative approaches to design exploration. In this paper, we address how constrained manipulation in generative systems can support both discrete and continuous modes of interaction. Massing is a common strategy for processing conceptual notions about three dimensional form. We use massing models of tenth century temple cellas as an example to illustrate an environment for constrained manipulation.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	203b
authors	Jabi, Wassim M.
year	1998
title	The Role of Artifacts in Collaborative Design
doi	https://doi.org/10.52842/conf.caadria.1998.271
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. 271-280
summary	With the proliferation of digital technology, a new category of design artifacts, usually described with the term virtual, has emerged. Virtual artifacts have gained further prominence due to the advances made in collaboration software and networking technologies. These technologies have made it easier to communicate design intentions through the transfer and sharing of virtual rather than physical artifacts. This becomes particularly true in the case of long-distance or international collaborative efforts. This paper compares the two major categories of artifacts – the physical and the computer-based – and places them in relationship to an observed collaborative design process. In order to get at their specific roles in collaboration, two case studies were conducted in which designers in academic and professional settings were observed using a methodology which focused on participation in the everydayness of the designer as well as casual discussions, collection of artifacts, note-taking, and detailed descriptions of insightful events. The collected artifacts were then categorized according to the setting in which they were created and the setting in which they were intended to be used. These two attributes could have one of two values, private or public, which yield a matrix of four possible categories. It was observed that artifacts belonging in the same quadrant shared common qualities such as parsimony, completeness, and ambiguity. This paper finds that distinguishing between physical and virtual artifacts according to their material and imagined attributes is neither accurate nor useful. This research illustrates how virtual artifacts can obtain the qualities of their physical counterparts and vice versa. It also demonstrates how a new meta-artifact can emerge from the inclusion and unification of its material and imagined components. In conclusion, the paper calls for a seamless continuity in the representation and management of physical and virtual artifacts as a prerequisite to the success of: (1) computer-supported collaborative design processes, (2) academic instruction dealing with making and artifact building, and (3) executive policies in architectural practice addressing the management of architectural documents.
keywords	Collaborative Design Process
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:50

_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	d44c
authors	Cheng, N.
year	1998
title	Digital Identity in the Virtual Design Studio
source	Constructing Identity: the Associated Collegiate Schools of Architecture (ACSA) 56th Annual Meeting Proceedings, Cleveland, Ohio
summary	Internet tools most effectively connect diverse groups when individuals involved experience vital human connections. Online strangers are pulled into a community in which they can see a friendly face in the crowded stream of information. Strong self expression engages an audience and can result in personal interactions which reward getting beyond the technology. A group of individual profiles can coalesce to give colorful definition to team biases, strengths and weaknesses. This paper examines how the expression of identity has been a critical factor in the success of Internet design collaborations. First, it provides context on how these projects can improve architectural education by increasing relevance. Second, it identifies opportunities for individual and team expression gathered from a series of annual international design exercises known as the Virtual Design Studio. Third, it explains strategies for fostering student expression and interaction. Finally, it cites areas for future investigation.
series	other
last changed	2003/04/23 15:50

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	aa52
authors	Chiu, Mao-Lin
year	1998
title	The Design Guidance of CSCW - Learning from Collaborative Design Studios
doi	https://doi.org/10.52842/conf.caadria.1998.261
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. 261-270
summary	Computer supported collaborative work (CSCW) becomes important for the architectural practice and design education in recent years. Design guidance on design operations facilitates design studios to achieve their educational and research purposes. This study depicts the experience of computer-supported collaborative design learned from three collaborative design studios. Design guidance can advise participants to understand the purpose of communication in CSCW, anticipate design collaboration, and formulate design operations by the process model. Based on the observations of CDS, the discussion focuses on how to develop guidance on design operations according to the following factors: (1) structured framework, (2) the kind of technology, (3) the level of communication, and (4) the process model of CSCW.
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:56

_id	6602
authors	Clayton, Mark J.
year	1998
title	Computing in Civil Engineering 1998
doi	https://doi.org/10.52842/conf.acadia.1998.x.q8w
source	ACADIA Quarterly, vol. 17, no. 4, p. 7
summary	Just before our ACADIA 98 conference, a conference was held in Boston addressing similar issues in the related profession of civil engineering. Sponsored by the American Society of Civil Engineers (ASCE), the conference was titled the International Computing Congress in Civil Engineering and was the fifteenth in the Computing in Civil Engineering series. Although the interests of civil engineers include nonarchitectural subjects such as traffic engineering, bridge building, and sanitation engineering, a large number of participants at the conference identify their area of interest as building engineering. Consequently, the conference addressed many issues of interest to architects. Sessions and presentations at the Congress paralleled those at ACADIA conferences. The World Wide Web was a topic of much discussion, just as it has been at ACADIA conferences. Civil engineering researchers are also exploring how to put courses on the Web, how to use the Internet to support collaboration, and how to distribute product data across the Web.Other papers addressed case-based reasoning, applications of object-oriented programming, expert systems, design education, automated building code checking, and product modeling. Not only did the Congress include a wide range of architecturally relevant topics, it was truly international, including participants from Asia, Europe, Australia, Africa and the Americas.
series	ACADIA
email
last changed	2022/06/07 07:49

_id	64c9
authors	Dannettel, Mark E. and Bertin, Vito
year	1998
title	Integrating Electronic Media into the Architecture Studio -A Teaching Development Grant at the Chinese University of Hong Kong.
doi	https://doi.org/10.52842/conf.caadria.1998.031
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. 31-38
summary	Increasingly, architecture students and instructors are exposed to a widening array of softwares, hardwares, and strategies for the production and representation of architectural work. In an effort to promote the effective use of these tools within design education, instructors need to develop strategies for implementing them into the design studios. A teaching development grant which has been received by the Department of Architecture at CUHK is entitled Integrated Media Design Studio. This investigation involves multiple instructors, and levels of design studios. It provides an environment of a wide range of available equipment for producing, evaluating, documenting, and communicating architectural work in the studio. In addition to increasing the effective use of technology resources, and also raising the quality of studio instruction, this teaching development grant aims to create opportunities to further integrate other courses within the studio environment.
keywords	Multimedia, Architecture, Studio, Education
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:55

_id	ecaade2018_243
id	ecaade2018_243
authors	Gardner, Nicole
year	2018
title	Architecture-Human-Machine (re)configurations - Examining computational design in practice
doi	https://doi.org/10.52842/conf.ecaade.2018.2.139
source	Kepczynska-Walczak, A, Bialkowski, S (eds.), Computing for a better tomorrow - Proceedings of the 36th eCAADe Conference - Volume 2, Lodz University of Technology, Lodz, Poland, 19-21 September 2018, pp. 139-148
summary	This paper outlines a research project that explores the participation in, and perception of, advanced technologies in architectural professional practice through a sociotechnical lens and presents empirical research findings from an online survey distributed to employees in five large-scale architectural practices in Sydney, Australia. This argues that while the computational design paradigm might be well accepted, understood, and documented in academic research contexts, the extent and ways that computational design thinking and methods are put-into-practice has to date been less explored. In engineering and construction, technology adoption studies since the mid 1990s have measured information technology (IT) use (Howard et al. 1998; Samuelson and Björk 2013). In architecture, research has also focused on quantifying IT use (Cichocka 2017), as well as the examination of specific practices such as building information modelling (BIM) (Cardoso Llach 2017; Herr and Fischer 2017; Son et al. 2015). With the notable exceptions of Daniel Cardoso Llach (2015; 2017) and Yanni Loukissas (2012), few scholars have explored advanced technologies in architectural practice from a sociotechnical perspective. This paper argues that a sociotechnical lens can net valuable insights into advanced technology engagement to inform pedagogical approaches in architectural education as well as strategies for continuing professional development.
keywords	Computational design; Sociotechnical system; Technology adoption
series	eCAADe
email
last changed	2022/06/07 07:51

_id	ga9817
id	ga9817
authors	Hartwell, David
year	1998
title	Design Methodology in Higher Education and the Role of Generative Approach to Problem-Solving
source	International Conference on Generative Art
summary	The Design Process - inherent conflicts? It is frequently stated that the activity of design is an iterative one; ie that it is a process whereby ideas are refined through constant change and development; if one also considers that designing is also very difficult: Hartwell and Holland (1) describe design "as an activity which attempts to reach an effective compromise between conflicting, complex and often apparently irreconcilable criteria"; then the key question arises: how can there be an effective interface between the obviously creative (generative?) elements of the design process and the (often) very functional / technical requirements of a typical design outcome.
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	e077
authors	Koutamanis, Alexander
year	1998
title	Designing with the Computer: The Influence of Design Practice and Research
doi	https://doi.org/10.52842/conf.ecaade.1998.091
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 91-97
summary	The paper describes the setup and development of an advanced course in CAAD in the framework of a particular teaching environment and the democratization of computing technologies. It traces the transformation of goals and means for the course as a result of changing priorities and interests towards a form that agrees with emerging cultural patterns as observed in architectural education.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:51

_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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