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	b0c3
authors	Flanagan, Robert
year	1999
title	Designing by Simulation
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 25-30
summary	This article evaluates ‘simulation’ as a contributing factor in architectural design. While computers enhance simulation, they have yet to transform the art of architecture. A partial explanation is found at the extremes of design processes: Gaudí’s Sagrada Família Cathedral of Barcelona is an empiricist’s culminating achievement -- faith expressed in stone. By contrast, SOM’s Sear’s Tower of Chicago is the modernist monument to rational process -- (financial) faith engineered in steel and glass. Gaudí employed an understanding of the heritage of stone and masonry to fashion his design while SOM used precise relationships of mathematics and steel. However, the designs in both the Sear’s Tower and Sagrada Família are restricted by the solutions inherent in the methods. In contrast, student designs often have no inherent approach to building. While the solution may appear to be evident, the method must often be invented; this is potentially more costly and complex than the design itself. This issue is not new to computers, but its hyper--reality is potentially more complex and disruptive. In evaluating the role of computer simulation in architectural design, this article employs two methods: 1.) Exoskeletal design: A limited collection of connected plates is formed and designed through warping, bending and forming. Reference architect Buckminster Fuller. 2.) Endoskeletal design: Curtain wall construction is taken to its minimalist extreme, using pure structure and membrane. Reference artist Christo.
series	SIGRADI
email
last changed	2016/03/10 09:52

_id	94b4
authors	Matalasov, M. and Lapshina, Je.
year	1999
title	Modelling (Simulation) and Reality
source	Simulation of Architectural Space - Color and Light, Methods and Effects [Proceedings of the 4rd European Architectural Endoscopy Association Conference / ISBN 3-86005-267-5] Dresden (Germany), 29 September - 1 October 1999, pp. 32-35
summary	In a terms of studying and practical design a sufficient experience of analytic work of our lab shows, that the view of suggesting scheme on the same kind of process development is accompanied by sadden mistakes or conscious inaccuracies.Traditional conventions of architectural models same times with no paying attention to scale and size may drive to cause of distortion from the points of view to them. Power and possibilities of modern CAD initiates same sort of temptations and errors. For our point of view, solving the above problems is having same restrictions, one of which, may be – providing a visual coincidence of the videoframes of building site and it’s model done whether by small scale modelling or CAD. According to our practice a different methods of superimposing of real and designing spaces are shown in this article.
series	EAEA
more	http://info.tuwien.ac.at/eaea
last changed	2005/09/09 10:43

_id	eaea2005_151
id	eaea2005_151
authors	Ohno, Ruyzo
year	2006
title	Seat preference in public squares and distribution of the surrounding people: An examination of the validity of using visual simulation
source	Motion, E-Motion and Urban Space [Proceedings of the 7th European Architectural Endoscopy Association Conference / ISBN-10: 3-00-019070-8 - ISBN-13: 978-3-00-019070-4], pp. 151-163
summary	Public squares are shared by people who use them for various purposes. When people choose seats in a square, they unconsciously evaluate not only the physical characteristics of the space but also the distribution of others already present (Hall, 1966; Sommer, 1969; Whyte, 1988). Knowing the hidden rules of this behaviour will be important in designing squares that remain comfortable even in crowded situations. Most past studies of seat choice preference have reported on statistical tendencies derived from observations of subject behavior in actually existing sites (i.e., Abe, 1997; Imai, 1999; Kawamoto, 2003). However, they provide no clear theoretical model for explaining the basic mechanisms regulating such behaviour. The present study conducts a series of experiments in both real and virtual settings in order to extract quantitative relationships between subjects’ seat preferences and the presence of nearby strangers and to clarify what factors influence their seat choices.
series	EAEA
type	normal paper
email
more	http://info.tuwien.ac.at/eaea
last changed	2008/04/29 20:46

_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	93a8
authors	Anders, P.
year	1999
title	Envisioning Cyberspace: Designing 3D Electronic Spaces
source	McGraw-Hill, NY
summary	Free of the constraints of physical form and limited only by imagination, new environments spring to life daily in a fantastic realm called cyberspace. The creators of this new virtual world may be programmers, designers, architects, even children. In this invigorating exploration of the juncture between cyberspace and the physical world, architect Peter Anders brings together leading-edge cyberspace art and architecture ... inspiring new techniques and technologies ... unexpected unions of reality and virtuality ... and visions of challenges and opportunities as yet unexplored. More than an invitation to tour fantastic realms and examine powerful tools, this book is a hard-eyed look at cyberspace's impact on physical, cultural, and social reality, and the human-centered principles of its design. This is a book that will set designers and architects thinkingNand a work of importance to anyone fascinated with the fast-closing space between the real and the virtual.
series	other
email
last changed	2003/04/23 15:14

_id	2fe1
authors	Arroyo, Julio and Chiarella, Mauro
year	1999
title	Infographic: Its Incorporation and Relativity in Architectural Design Process
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 313-318
summary	This paper is about an architectural design workshop regularly held at a public university in Santa Fe, Argentina. The class is about 150 students large, with different informatic capabilities and hardware facilities. The design problem of the workshop, which is one year long, is the relationship between architectural project and the construction of the urbanity. This implies both a physical intervention and a cultural expression. Pedagogy seeks students to overcome individualism, characteristic that is hardly induced by PCs, making a socialized design experience. A complementary and simultaneous use of graphic and infographic data is one of the main criteria of the workshop. The idea is to look for students to reach a wide vision by means of the use of different representation systems and means of information. Digital graphic is introduced early in the design process as an electronic model of urban context. It is considered as a one among many other graphic resources and is used together with ordinary models, geometric drawings, aerial and regular photography and hand made sketches. This paper relates the results that have been obtained when students were asked to make an analytic and sensitive approach to the relationship site - urban situation. This relationship has a great importance for the workshop since its goal is to make students to understand the the value of designing in and for the city.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	1071
authors	Asanowicz, Aleksander
year	1999
title	Evolution of Computer Aided Design: Three Generations of CAD
doi	https://doi.org/10.52842/conf.ecaade.1999.094
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 94-100
summary	This paper describes the three generations of CAD systems. The first generation of (primarily analytical) computer programmes really aided designing. These programmes were the tools for finding a functional solution in different areas of designing, from flat plans to the space organisation of a hospital. One of the shortcomings of these programmes was the lack of graphic interface. With time, however, this kind of interface was developed. As a result of this second generation of CAD systems the computer was transformed into a drafting machine and CAD meant Computer Aided Drafting. The main thesis of this consideration is that only now we have the chance to return to the idea of Computer Aided Design. One of the examples of these trends is the AVOCAAD programme in which Added Value of CAAD is analysed. The development of the third generation of CAD systems will be possible in the near future. Aiding the process of designing will demand the elaboration of new methods of using the computer at the early stages of this process. The computer should be used not for generating variants of functional solutions only but for also for the creation of 3D forms by 3D sketching. For this, the computer should be transformed from a tool into a medium; only then will designing become true Designing in Cyber Space.
keywords	Generations of CAAD, Design Process, Creation, Medium
series	eCAADe
email
last changed	2022/06/07 07:54

_id	ga9915
id	ga9915
authors	Calio, F. and Marchetti, E.
year	1999
title	Linear algebra and creative process
source	International Conference on Generative Art
summary	Mathematical methods providing metamorphosis of three-dimensional objects are considered. Linear algebra is the basic tool : precisely linear transformations depending on a parameter are the way to produce the basic surface, moreover logic rules of manipulation of its parametric equations allow the realization of the generative process. We think that mathematical methods introduced into a generative approach can increase the performances in the designing evolution. This paper illustrates an example realized by modifying mathematically a three-dimensional form, whose initial idea is recognisable at every step.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_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	5a48
authors	Combes, L. and Bellomio, A.
year	1999
title	Creativity and Modularity in Architecture
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 169-179
summary	The Modern Movement in Architecture put forward industrialization, mass production and standardization among its most important banners. At the end of the century those principles are partially applied. However, the overwhelming growing of exchanges and the purchase of artifacts coming from all over the world to be assembled in order to create new artifacts, determines that in the short span, a world wide standardization becomes unavoidable. Designers should be aware about this imminent issue. Working with standard objects means modular thinking. If modules are conceived as sort of constraining entities framing the mind, creative thinking is facing a gloomy prospect. Creativity and freedom seem to be jeopardized by ready made objects. In fact, from the beginning of design as a form- giving activity it exists a dialectic between creativity and feasibility. It is not surprising since designing is essentially the transformation of ideas into real world objects. Nonetheless, the increasing standardization and the indispensable use of computers are exasperating that dialectics. In this paper is argued that if the characteristics of modular procedures are used in the early stage of the design process to prompt the form for further adjustment, creative thinking is released from excessive awareness about dimensional constraints. The first part of the paper is devoted to the description of the contextural trends that make modular thinking relevant. In the second part some propositions about the use of computer systems to generate "modular freedom" are exposed together with examples illustrating the proposed process.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	ga9916
id	ga9916
authors	Elzenga, R. Neal and Pontecorvo, Michael S.
year	1999
title	Arties: Meta-Design as Evolving Colonies of Artistic Agents
source	International Conference on Generative Art
summary	Meta-design, the act of designing a system or species of design instead of a design instance, is an important concept in modern design practice and in the generative design paradigm. For meta-design to be a useful tool, the designer must have more formal support for both design species definition/expression and the abstract attributes which the designer is attempting to embody within a design. Arties is an exploration of one possible avenue for supporting meta-design. Arties is an artistic system emphasizing the co-evolution of colonies of Artificial Life design or artistic agents (called arties) and the environment they inhabit. Generative design systems have concentrated on biological genetics metaphors where a population of design instances are evolved directly from a set of ‘parent’ designs in a succession of generations. In Arties, the a-life agent which is evolved, produces the design instance as a byproduct of interacting with its environment. Arties utilize an attraction potential curve as their primary dynamic. They sense the relative attraction of entities in their environment, using multiple sensory channels. Arties then associate an attractiveness score to each entity. This attractiveness score is combined with a 'taste' function built into the artie that is sensitized to that observation channel, entity, and distance by a transfer function. Arties use this attraction to guide decisions and behaviors. A community of arties, with independent evolving attraction criteria can pass collective judgement on each point in an art space. As the Artie moves within this space it modifies the environment in reaction to what it senses. Arties support for Meta-design is in (A) the process of evolving arties, breeding their attraction potential curve parameters using a genetic algorithm and (B) their use of sensory channels to support abstract attributes geometries. Adjustment of these parameters tunes the attraction of the artie along various sensing channels. The multi-agent co-evolution of Arties is one approach to creating a system for supporting meta-design. Arties is part of an on-going exploration of how to support meta-design in computer augmented design systems. Our future work with Arties-like systems will be concerned with applications in areas such as modeling adaptive directives in Architecture, Object Structure Design, spatio-temporal behaviors design (for games and simulations), virtual ambient spaces, and representation and computation of abstract design attributes.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	d931
authors	Gabryszewski, Artur B.
year	1999
title	Idea of an Intelligent Building - Development Prospects
doi	https://doi.org/10.52842/conf.ecaade.1999.739
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 739-743
summary	An ever-increasing number of offices as also residential buildings are being realised by designers and investors in accordance with the concept of an intelligent building. Houses of the new generation are being constructed. This is possible thanks to dynamic progress in the development of computer and microprocessor engineering techniques. Putting into reality the idea of the 'intelligent building' will become one of the most interesting assignments of Polish building industry in the rapidly approaching XXI century. The term 'intelligent building' first appeared in the eighties. The idea behind this conception is aspiring to create a friendly, work supporting, effective environment. The revolution in telecommunications and information technology along with change in the standards of office work, have caused computer networks and modem systems of automation and protection, to invade buildings. From the technical point of view, an intelligent building is an object in which all the subsystems co-operate with each other, forming a friendly environment for man. For users of an intelligent building, the most important issue is realisation of the following aims: object management which includes both control of human resources and automation systems in the building and also efficient management of the building space in such a way that the costs of its utilisation are minimised. The possibility of optional installation of modern systems and equipment should be facilitated by the architecture itself. Therefore, the specifics of all the building elements should be taken into account right at the designing stage. The following features characterise an intelligent building: integration of telecommunication systems in the building, central management and supervision system and utilisation of structural cabling as the carrier of signals controlling most of the systems in the building. Presently, there is no building in Poland that could be characterised by the three features mentioned.
keywords	High-tech Architecture, Ecology, CAAD
series	eCAADe
email
last changed	2022/06/07 07:50

_id	c91a
authors	Gero, J.S. and Kazakov, V.
year	1999
title	Adapting evolutionary computing for exploration in creative designing
source	J.S. Gero and M.L. Maher (Eds.), Computational Models of Creative Design IV, Key Centre of Design Computing and Cognition, University of Sydney, Sydney, Australia, pp. 175-186
summary	This paper introduces a modification to genetic algorithms which provides computational support to creative designing by adaptively exploring design structure spaces. This modification is based on the re-interpretation of the GA's crossover as a random sampling of interpolations and its replacement with the random sampling of direct phenotype-phenotype interpolation and phenotype-phenotype extrapolation. Examples of the process are presented
keywords	Creative Design, Evolutionary Computation
series	other
email
last changed	2003/04/06 09:11

_id	bb42
authors	Gero, John S. and Kazakov, Vladimir
year	1999
title	An Interpolation/Extrapolation Process For Creative Designing
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 263-274
summary	This paper introduces a new computational operation that provides support for creative designing by adaptively exploring design state spaces. This modification is based on the re-interpretation of the crossover operation of genetic algorithms as an interpolation and its generalization to extrapolation. Examples of the results of the application of the process are presented.
keywords	Creative design, computational exploration, design combination
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	f371
authors	Hadjisophocleous, G.V. and Benichou, N.
year	1999
title	Performance criteria used in fire safety design
source	Automation in Construction 8 (4) (1999) pp. 489-501
summary	In many countries around the world, building codes are shifting from prescriptive- to performance-based for technical, economic, and social reasons. This move is made possible by progress in fire safety technologies, including the development of engineering tools that are required to implement performance codes. The development of performance-based codes follows a transparent, hierarchical structure in which there are usually three levels of objectives. The top level objectives usually state the functional requirements and the lowest level the performance criteria. Usually, one middle level exists, however, more levels can be used in this hierarchical structure depending on the complexity of the requirements. The success of performance-based codes depends on the ability to establish performance criteria that will be verifiable and enforceable. The performance criteria should be such that designers can easily demonstrate, using engineering tools, that their designs meet them and that the code authority can enforce them. This paper presents the performance criteria that are currently used by fire protection engineers in designing fire safety systems in buildings. These include deterministic and probabilistic design criteria as well as safety factors. The deterministic criteria relate mainly to life safety levels, fire growth and spread levels, fire exposure and structural performance. The probabilistic criteria focus on the incident severity and incident likelihood. Finally, the inclusion of safety factors permits a conservative design and allows for a smaller margin of error due to uncertainty in the models and the input data.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	39cb
authors	Kelleners, Richard H.M.C.
year	1999
title	Constraints in object-oriented graphics
source	Eindhoven University of Technology
summary	In the area of interactive computer graphics, two important approaches to deal with the complexity of designing and implementing graphics systems are object-oriented programming and constraint-based programming. From literature, it appears that combination of these two has clear advantages but has also proven to be difficult. One of the main problems is that constraint programming infringes the information hiding principle of object-oriented programming. The goal of the research project is to combine these two approaches to benefit from the strengths of both. Two research groups at the Eindhoven University of Technology investigate the use of constraints on graphics objects. At the Architecture department, constraints are applied in a virtual reality design environment. At the Computer Science department, constraints aid in modeling 3D animations. For these two groups, a constraint system for 3D graphical objects was developed. A conceptual model, called CODE (Constraints on Objects via Data flows and Events), is presented that enables integration of constraints and objects by separating the object world from the constraint world. In the design of this model, the main aspect being considered is that the information hiding principle among objects may not be violated. Constraint solvers, however, should have direct access to an object’s internal data structure. Communication between the two worlds is done via a protocol orthogonal to the message passing mechanism of objects, namely, via events and data flows. This protocol ensures that the information hiding principle at the object-oriented programming level is not violated while constraints can directly access “hidden” data. Furthermore, CODE is built up of distinct elements, or entity types, like constraint, solver, event, data flow. This structure enables that several special purpose constraint solvers can be defined and made to cooperate to solve complex constraint problems. A prototype implementation was built to study the feasibility of CODE. Therefore, the implementation should correspond directly to the conceptual model. To this end, every entity (object, constraint, solver) of the conceptual model is represented by a separate process in the language MANIFOLD. The (concurrent) processes communicate by events and data flows. The implementation serves to validate the conceptual model and to demonstrate that it is a viable way of combining constraints and objects. After the feasibility study, the prototype was discarded. The gained experience was used to build an implementation of the conceptual model for the two research groups. This implementation encompassed a constraint system with multiple solvers and constraint types. The constraint system was built as an object-oriented library that can be linked to the applications in the respective research groups. Special constructs were designed to ensure information hiding among application objects while constraints and solvers have direct access to the object data. CODE manages the complexity of object-oriented constraint solving by defining a communication protocol to allow the two paradigms to cooperate. The prototype implementation demonstrates that CODE can be implemented into a working system. Finally, the implementation of an actual application shows that the model is suitable for the development of object-oriented software.
keywords	Computer Graphics; Object Oriented Programming; Constraint Programming
series	thesis:PhD
last changed	2003/02/12 22:37

_id	687c
authors	Kosco, Igor
year	1999
title	How the World Became Smaller
doi	https://doi.org/10.52842/conf.ecaade.1999.230
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 230-237
summary	The world of computers became fruitful and independent before the new millennium started. New technologies and methods are giving us new tools and possibilities every day as well as the challenge how to use them. The advantage of architecture and namely of architects teaching at the universities or schools is remarkable: new techniques reflect the education, research and practice - and what is important - by one person. The links between practice and university from the point of view: how the computer technologies and CAAD influences methods of designing, managing and collaboration are very important in both directions. It grows with the number of students who left university with good computer skills on one side and number of architectural and engineering offices using computers on the other. Networks and Internet enables to exchange data but also experiences. Internet itself is not only a tool for surfing and enjoying or the source of information, but preferably like a powerful tool for collaboration, workgroups, virtual studios or long distance education. This paper describes experiences from research and educational projects between Slovak Technical University, IUG Grenoble, University of Newcastle and others and their influence on architectural education and practice.
keywords	Long-Distance Education, Research, Practice
series	eCAADe
email
last changed	2022/06/07 07:51

_id	7e64
authors	Koutamanis, Alexander
year	1999
title	Approaches to the Integration of CAAD Education in the Electronic Era: Two Value Systems
doi	https://doi.org/10.52842/conf.ecaade.1999.238
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 238-243
summary	In recent years the democratization of information and communication technologies (ICT) has become the greatest influence on the structure of CAAD education. While the content of the CAAD courses simply had to absorb the new technological possibilities, the structure of the courses and in particular their relationship to the rest of the curriculum has become the subject of speculation and experimentation. Integration of CAAD education in an architectural curriculum occurs either by (a) placing emphasis on designing in CAAD courses, or by (b) integrating computing in design courses. Both approaches respond to the democratization of ICT by making design computing widely available and acceptable. Further improvement is possible if the student becomes the carrier of integration. This is based on the long-term amplification of two value systems. The first refers to personal cognition: rather than rewarding a student with the teacher's approval, educational goals should be translated into individual skills and knowledge. The second system addresses the values of the peer group: such groups support learning by comparison to other individuals and emerging communal characteristics, either as a result of competition or for reasons of assimilation.
keywords	Education, Democracy, Personal Cognition
series	eCAADe
email
last changed	2022/06/07 07:51

_id	f9c4
authors	Kvan, Thomas and Candy, Linda
year	1999
title	Designing Collaborative Environments for Strategic Knowledge in Design
source	2nd International Workshop on Strategic Knowledge and Concept Formation, Iwate Prefectural University, 20-22 October 1999, pp. 85-94
summary	This paper considers aspects of strategic knowledge in design and some implications for designing in collaborative environments. Two key questions underline the concerns. First; how can strategic knowledge for collaborative design be taught and second; what kind of computer-based collaborative designing might best support the learning of strategic knowledge? We argue that the support of learning of strategic knowledge in collaborative design by computer-mediated means must be based upon empirical evidence about the nature of learning and design practice in the real world. Examples of research by the authors that seeks to provide that evidence are described and an approach to computer system design and evaluation proposed.
keywords	Collaborative Design; Strategic Knowledge; Empirical Studies; Computer Support
series	other
email
last changed	2002/11/15 18:29

_id	ab9c
authors	Kvan, Thomas and Kvan, Erik
year	1999
title	Is Design Really Social
source	International Journal of Virtual Reality, 4:1
summary	There are many who will readily agree with Mitchell's assertion that "the most interesting new directions (for computer-aided design) are suggested by the growing convergence of computation and telecommunication. This allows us to treat designing not just as a technical process... but also as a social process." [Mitchell 1995]. The assumption is that design was a social process until users of computer-aided design systems were distracted into treating it as a merely technical process. Most readers will assume that this convergence must and will lead to increased communication between design participants, that better social interaction leads to be better design. The unspoken assumption appears to be that putting the participants into an environment with maximal communication channels will result in design collaboration. The tools provided, therefore, must permit the best communication and the best social interaction. We see a danger here, a pattern being repeated which may lead us into less than useful activities. As with several (popular) architectural design or modelling systems already available, however, computer system implementations all too often are poor imitations manual systems. For example, few in the field will argue with the statement that the storage of data in layers in a computer-aided drafting system is an dispensable approach. Layers derive from manual overlay drafting technology [Stitt 1984] which was regarded as an advanced (manual) production concept at the time many software engineers were specifying CAD software designs. Early implementations of CAD systems (such as RUCAPS, GDS, Computervision) avoided such data organisation, the software engineers recognising that object-based structures are more flexible, permitting greater control of data editing and display. Layer-based systems, however, are easier to implement in software, more familiar to the user and hence easier to explain, initially easier to use but more limiting for an experienced and thoughtful user, leading in the end to a lesser quality in resultant drawings and significant problems in output control (see Richens [1990], pp. 31-40 for a detailed analysis of such features and constraints). Here then we see the design for architectural software faithfully but inappropriately following manual methods. So too is there a danger of assuming that the best social interaction is that done face-to-face, therefore all collaborative design communications environments must mimic face-to-face.
series	journal paper
email
last changed	2003/05/15 10:29

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