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	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	9e26
authors	Do, Ellen Yi-Luen,
year	1999
title	The right tool at the right time : investigation of freehand drawing as an interface to knowledge based design tools
source	College of Architecture, Georgia Institute of Technology
summary	Designers use different symbols and configurations in their drawings to explore alternatives and to communicate with each other. For example, when thinking about spatial arrangements, they draw bubble diagrams; when thinking about natural lighting, they draw a sun symbol and light rays. Given the connection between drawings and thinking, one should be able infer design intentions from a drawing and ultimately use such inferences to program a computer to understand our drawings. This dissertation reports findings from empirical studies on drawings and explores the possibility of using the computer to automatically infer designer's concerns from the drawings a designer makes. This dissertation consists of three parts: 1) a literature review of design studies, cognitive studies of drawing and computational sketch systems, and a set of pilot projects; 2) empirical studies of diagramming design intentions and a design drawing experiment; and 3) the implementation of a prototype system called Right-Tool-Right-Time. The main goal is to find out what is in design drawings that a computer program should be able to recognize and support. Experiments were conducted to study the relation between drawing conventions and the design tasks with which they are associated. It was found from the experiments that designers use certain symbols and configurations when thinking about certain design concerns. When thinking about allocating objects or spaces with a required dimensions, designers wrote down numbers beside the drawing to reason xviii about size and to calculate dimensions. When thinking about visual analysis, designers drew sight lines from a view point on a floor plan. Based on the recognition that it is possible to associate symbols and spatial arrangements in a drawing with a designer's intention, or task context, the second goal is to find out whether a computer can be programed to recognize these drawing conventions. Given an inferred intention and context, a program should be able to activate appropriate design tools automatically. For example, concerns about visual analysis can activate a visual simulation program, and number calculations can activate a calculator. The Right- Tool-Right-Time prototype program demonstrates how a freehand sketching system that infers intentions would support the automatic activation of different design tools based on a designers' drawing acts.
series	thesis:PhD
email
more	http://www.arch.gatech.edu/~ellen/thesis.html
last changed	2004/10/04 07:49

_id	600e
authors	Gavin, Lesley
year	1999
title	Architecture of the Virtual Place
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 418-423
doi	https://doi.org/10.52842/conf.ecaade.1999.418
summary	The Bartlett School of Graduate Studies, University College London (UCL), set up the first MSc in Virtual Environments in the UK in 1995. The course aims to synthesise and build on research work undertaken in the arts, architecture, computing and biological sciences in exploring the realms of the creation of digital and virtual immersive spaces. The MSc is concerned primarily with equipping students from design backgrounds with the skills, techniques and theories necessary in the production of virtual environments. The course examines both virtual worlds as prototypes for real urban or built form and, over the last few years, has also developed an increasing interest in the the practice of architecture in purely virtual contexts. The MSc course is embedded in the UK government sponsored Virtual Reality Centre for the Built Environment which is hosted by the Bartlett School of Architecture. This centre involves the UCL departments of architecture, computer science and geography and includes industrial partners from a number of areas concerned with the built environment including architectural practice, surveying and estate management as well as some software companies and the telecoms industry. The first cohort of students graduated in 1997 and predominantly found work in companies working in the new market area of digital media. This paper aims to outline the nature of the course as it stands, examines the new and ever increasing market for designers within digital media and proposes possible future directions for the course.
keywords	Virtual Reality, Immersive Spaces, Digital Media, Education
series	eCAADe
email
more	http://www.bartlett.ucl.ac.uk/ve/
last changed	2022/06/07 07:51

_id	ga9928
id	ga9928
authors	Goulthorpe
year	1999
title	Hyposurface: from Autoplastic to Alloplastic Space
source	International Conference on Generative Art
summary	By way of immediate qualification to an essay which attempts to orient current technical developments in relation to a series of dECOi projects, I would suggest that the greatest liberation offered by new technology in architecture is not its formal potential as much as the patterns of creativity and practice it engenders. For increasingly in the projects presented here dECOi operates as an extended network of technical expertise: Mark Burry and his research team at Deakin University in Australia as architects and parametric/ programmatic designers; Peter Wood in New Zealand as programmer; Alex Scott in London as mathematician; Chris Glasow in London as systems engineer; and the engineers (structural/services) of David Glover’s team at Ove Arup in London. This reflects how we’re working in a new technical environment - a new form of practice, in a sense - a loose and light network which deploys highly specialist technical skill to suit a particular project. By way of a second disclaimer, I would suggest that the rapid technological development we're witnessing, which we struggle to comprehend given the sheer pace of change that overwhelms us, is somehow of a different order than previous technological revolutions. For the shift from an industrial society to a society of mass communication, which is the essential transformation taking place in the present, seems to be a subliminal and almost inexpressive technological transition - is formless, in a sense - which begs the question of how it may be expressed in form. If one holds that architecture is somehow the crystallization of cultural change in concrete form, one suspects that in the present there is no simple physical equivalent for the burst of communication technologies that colour contemporary life. But I think that one might effectively raise a series of questions apropos technology by briefly looking at 3 or 4 of our current projects, and which suggest a range of possibilities fostered by new technology. By way of a third doubt, we might qualify in advance the apparent optimism of architects for CAD technology by thinking back to Thomas More and his island ‘Utopia’, which marks in some way the advent of Modern rationalism. This was, if not quite a technological utopia, certainly a metaphysical one, More’s vision typically deductive, prognostic, causal. But which by the time of Francis Bacon’s New Atlantis is a technological utopia availing itself of all the possibilities put at humanity’s disposal by the known machines of the time. There’s a sort of implicit sanction within these two accounts which lies in their nature as reality optimized by rational DESIGN as if the very ethos of design were sponsored by Modern rationalist thought and its utopian leanings. The faintly euphoric ‘technological’ discourse of architecture at present - a sort of Neue Bauhaus - then seems curiously misplaced historically given the 20th century’s general anti-, dis-, or counter-utopian discourse. But even this seems to have finally run its course, dissolving into the electronic heterotopia of the present with its diverse opportunities of irony and distortion (as it’s been said) as a liberating potential.1 This would seem to mark the dissolution of design ethos into non-causal process(ing), which begs the question of ‘design’ itself: who 'designs' anymore? Or rather, has 'design' not become uncoupled from its rational, deterministic, tradition? The utopianism that attatches to technological discourse in the present seems blind to the counter-finality of technology's own accomplishments - that transparency has, as it were, by its own more and more perfect fulfillment, failed by its own success. For what we seem to have inherited is not the warped utopia depicted in countless visions of a singular and tyrranical technology (such as that in Orwell's 1984), but a rich and diverse heterotopia which has opened the possibility of countless channels of local dialect competing directly with the channels of power. Undoubtedly such multiplicitous and global connectivity has sent creative thought in multiple directions…
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	933a
authors	GVU
year	1999
title	Conceptual Design Space Project
source	Center Virtual Environments Group. GeorgiaTech,Virginia, USA
summary	The Conceptual Design Space (CDS) is a real-time, interactive virtual environments application which attempts to address the issue of 3D design in general and immersive design in particular. We are researching innovative tools and interface elements for virtual worlds. The first application of these techniques is an architectural one. Graduate students from Georgia Tech's College of Architecture will be using CDS to create conceptual building designs. The students will not only be able to inspect and "inhabit" their buildings, but will also have the ability to modify them, add details, or create new designs, all while immersed in the virtual world.
series	other
last changed	2003/04/23 15:50

_id	avocaad_2001_22
id	avocaad_2001_22
authors	Jos van Leeuwen, Joran Jessurun
year	2001
title	XML for Flexibility an Extensibility of Design Information Models
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	The VR-DIS research programme aims at the development of a Virtual Reality – Design Information System. This is a design and decision support system for collaborative design that provides a VR interface for the interaction with both the geometric representation of a design and the non-geometric information concerning the design throughout the design process. The major part of the research programme focuses on early stages of design. The programme is carried out by a large number of researchers from a variety of disciplines in the domain of construction and architecture, including architectural design, building physics, structural design, construction management, etc.Management of design information is at the core of this design and decision support system. Much effort in the development of the system has been and still is dedicated to the underlying theory for information management and its implementation in an Application Programming Interface (API) that the various modules of the system use. The theory is based on a so-called Feature-based modelling approach and is described in the PhD thesis by [first author, 1999] and in [first author et al., 2000a]. This information modelling approach provides three major capabilities: (1) it allows for extensibility of conceptual schemas, which is used to enable a designer to define new typologies to model with; (2) it supports sharing of conceptual schemas, called type-libraries; and (3) it provides a high level of flexibility that offers the designer the opportunity to easily reuse design information and to model information constructs that are not foreseen in any existing typologies. The latter aspect involves the capability to expand information entities in a model with relationships and properties that are not typologically defined but applicable to a particular design situation only; this helps the designer to represent the actual design concepts more accurately.The functional design of the information modelling system is based on a three-layered framework. In the bottom layer, the actual design data is stored in so-called Feature Instances. The middle layer defines the typologies of these instances in so-called Feature Types. The top layer is called the meta-layer because it provides the class definitions for both the Types layer and the Instances layer; both Feature Types and Feature Instances are objects of the classes defined in the top layer. This top layer ensures that types can be defined on the fly and that instances can be created from these types, as well as expanded with non-typological properties and relationships while still conforming to the information structures laid out in the meta-layer.The VR-DIS system consists of a growing number of modules for different kinds of functionality in relation with the design task. These modules access the design information through the API that implements the meta-layer of the framework. This API has previously been implemented using an Object-Oriented Database (OODB), but this implementation had a number of disadvantages. The dependency of the OODB, a commercial software library, was considered the most problematic. Not only are licenses of the OODB library rather expensive, also the fact that this library is not common technology that can easily be shared among a wide range of applications, including existing applications, reduces its suitability for a system with the aforementioned specifications. In addition, the OODB approach required a relatively large effort to implement the desired functionality. It lacked adequate support to generate unique identifications for worldwide information sources that were understandable for human interpretation. This strongly limited the capabilities of the system to share conceptual schemas.The approach that is currently being implemented for the core of the VR-DIS system is based on eXtensible Markup Language (XML). Rather than implementing the meta-layer of the framework into classes of Feature Types and Feature Instances, this level of meta-definitions is provided in a document type definition (DTD). The DTD is complemented with a set of rules that are implemented into a parser API, based on the Document Object Model (DOM). The advantages of the XML approach for the modelling framework are immediate. Type-libraries distributed through Internet are now supported through the mechanisms of namespaces and XLink. The implementation of the API is no longer dependent of a particular database system. This provides much more flexibility in the implementation of the various modules of the VR-DIS system. Being based on the (supposed to become) standard of XML the implementation is much more versatile in its future usage, specifically in a distributed, Internet-based environment.These immediate advantages of the XML approach opened the door to a wide range of applications that are and will be developed on top of the VR-DIS core. Examples of these are the VR-based 3D sketching module [VR-DIS ref., 2000]; the VR-based information-modelling tool that allows the management and manipulation of information models for design in a VR environment [VR-DIS ref., 2000]; and a design-knowledge capturing module that is now under development [first author et al., 2000a and 2000b]. The latter module aims to assist the designer in the recognition and utilisation of existing and new typologies in a design situation. The replacement of the OODB implementation of the API by the XML implementation enables these modules to use distributed Feature databases through Internet, without many changes to their own code, and without the loss of the flexibility and extensibility of conceptual schemas that are implemented as part of the API. Research in the near future will result in Internet-based applications that support designers in the utilisation of distributed libraries of product-information, design-knowledge, case-bases, etc.The paper roughly follows the outline of the abstract, starting with an introduction to the VR-DIS project, its objectives, and the developed theory of the Feature-modelling framework that forms the core of it. It briefly discusses the necessity of schema evolution, flexibility and extensibility of conceptual schemas, and how these capabilities have been addressed in the framework. The major part of the paper describes how the previously mentioned aspects of the framework are implemented in the XML-based approach, providing details on the so-called meta-layer, its definition in the DTD, and the parser rules that complement it. The impact of the XML approach on the functionality of the VR-DIS modules and the system as a whole is demonstrated by a discussion of these modules and scenarios of their usage for design tasks. The paper is concluded with an overview of future work on the sharing of Internet-based design information and design knowledge.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	9480
authors	Kan, J.W.T., Chow, B.K.M. and Tsou, J.-Y.
year	1999
title	Visual Impact Evaluation of Electricity Substation Architecture
source	CAADRIA '99 [Proceedings of The Fourth Conference on Computer Aided Architectural Design Research in Asia / ISBN 7-5439-1233-3] Shanghai (China) 5-7 May 1999, pp. 81-87
doi	https://doi.org/10.52842/conf.caadria.1999.081
summary	This paper presents a case study of the application of computer techniques for design communication and visual impact analysis. We were sponsored by China Light & Power Company Ltd. To simulate the design of a proposed electricity substation and its it is setting in a residential neighborhood. During a five-week intensive study, we took nearly one thousand photographs of the existing site. We also created a three-dimensional CAD model of the proposed substation, and produced perspectives from points of view analogous to the photographs. We applied Apple Quicktime VR technology to document the site environment with 360-degree panoramas. We then montaged the computer-generated panoramas with those taken from the real environment. A navigable virtual environment, architectural animation and set of still images were presented to the public in September 1998. The reactions from the regional council members and local residents nearby were recorded to provide evidence to measure the effectiveness of digital architectural design communication.
series	CAADRIA
email
last changed	2022/06/07 07:52

_id	8f39
authors	Laiserin, Jerry
year	1999
title	CAD in Practice Profile: Polshek Partnership Architects LLP
source	ACADIA Quarterly, vol. 18, no. 3, pp. 10-14
doi	https://doi.org/10.52842/conf.acadia.1999.010
summary	Since the advent of computers for architecture, James Stewart Polshek, FAIA, founding partner of Polshek Partnership Architects LLP, has insisted that his firm's technology standards match the same high level they maintain for their awardwinning designs. As explained by Senior Associate Don Weinreich, AIA, this objective translates into computing priorities that differ significantly from those of the average firm. Weinreich observes that many "typical" firms use computer technology for profitability first, consistency of documentation second, and enhancement of the design process last. At Polshek Partnership these priorities are reversed. Supporting and enriching the design process is the overriding objective of all computing activity at the firm. Consistency of documentation, as a second-level priority, is pursued not just for routine coordination and quality control, but in a proactive effort to maintain control over every detail in the process of communicating design intent—in other words, to further support design. The potential to increase profitability through computerization (e.g., by doing the same work in less time) ranks low among the computing priorities at Polshek Partnership. According to Weinreich, "the guiding principle is to do no harm," that is, to exploit the maximum potential of computers to support the design process without incurring additional net costs. In effect, the firm is taking the time and effort that computerization can save on many routine, procedural tasks and reinvesting those savings in additional design studies and details. This approach to computers for design is consistent with that of other AIA Firm Award-winning practices profiled in this series. (1)(2)
series	ACADIA
email
last changed	2022/06/07 07:52

_id	ddssup0211
id	ddssup0211
authors	Lolonis, P., Rokos, D. and Maragou, M.
year	2002
title	Use of Cadastral Data for the Development of Spatial Decision Support Systemsfor Coping with the Consequences of Natural Disasters
source	Timmermans, Harry (Ed.), Sixth Design and Decision Support Systems in Architecture and Urban Planning - Part two: Urban Planning Proceedings Avegoor, the Netherlands), 2002
summary	This paper investigates the potential usefulness of cadastral data to form the core part of databases of Spatial Decision Support Systems [SDSS] that are capable to support decision-makers in dealing with emergency situations, such as earthquakes, floods and fires. Particular emphasis is given on how those data can be used to generate information that is necessary to planners and decision-makers when they cope with natural disasters at every stage of the development of the disaster: before the occurrence (planning and preventive measures), immediately after occurrence (short term measures), and well-after occurrence (medium and long term measures). This investigation is conducted using the Municipality of Magoula, Attica, Greece, as a case study area. This municipality is situated in the greater Athens area and was struck by the earthquake that occurred there in September 1999. Within the scope of the project, wehave used cadastral data about the study area and data recorded by the inspection teams in order to set-up a prototype SDSS database that could facilitate planning and decision-making in such a situation. Then, we have used that prototype to generate scenarios and information about typical tasks that are performed during emergency situations. The advantages that are realized from the integration of such data and information technologies are described and assessed, particularly, in comparison with the traditional approaches that are used in such situations.
series	DDSS
last changed	2003/08/07 16:36

_id	046b
authors	Martens, Bob
year	1999
title	Education in Computer Aided Architectural Design in Europe
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 761-769
doi	https://doi.org/10.52842/conf.ecaade.1999.761
summary	The aim and object of this account is to elaborate on the role of eCAADe within the present worldwide "CAAD-activities". Each of the associations dedicated to the field of CAAD has taken its very own course of development, many cases of overlap and interaction have resulted, some of them, however, merely based on personal contacts. The purpose of eCAADe is to promote the sharing of ideas and collaboration in matters relating to Computer Aided Architectural Design. This, jointly drafted paper outlines these global aims within a worldwide context. The eCAADe umbrella covers both Europe and its periphery. Including the Middle East and North Africa. Though this does not apply as a kind of "territorial claim ", the primary affiliation of regions to at least one of the current international associations is sought. Historically, the early eighties are to be regarded as the period of first encounters with computers of larger proportions of people involved in architecture, simultaneously with the rise of personal computers. Thus various university sites acted as the forerunners in this field. Implementation of CAAD in teaching and research soon called for channeling the exchanges of experience via a suitable platform. The founding of ACADIA (the North American Organisation) in 1981, however, seems to have set the stage, as shortly thereafter the foundations for a European movement were laid.
series	eCAADe
email
more	http:www.ecaade.org
last changed	2022/06/07 07:59

_id	473d
authors	Maver, Tom and Petric, Jelena
year	1999
title	Virtual Heritage: Is There a Future for the Past?
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 482-487
summary	This paper attempts an overview of the contribution which emerging information technologies - viz CAD, Multimedia, Virtual Reality and the Internet - can make to the presentation, understanding and preservation of the rich architectural heritage which exists (pro-term) in almost every cultural context. In the UK, the growing interest in sites such as Stonehenge has, through the threat of greater physical presence, increasingly kept the public at bay - a curious paradox which Virtual Reality (VR) has the potential to address. Virtual Reality (-an overly used and underly understood term-) is an information technology which can provide a convincing experience of environments which: i) exist, but are too remote, costly or hazardous, to visit. ii) don't yet exist but are planned, such as architectural designs or urban plans. iii) never will exist, other than in the imagination. iv) existed in the past and are now threatened or already lost. // This paper has its focus on the latter category, i.e. what is now becoming known as Virtual Heritage (VH), but it puts VH in the context of the broader spectrum of simulated experiences of past, present and future environments of cultural significance. The paper draws largely on the work of ABACUS, the Architecture and Building Aids Computer Unit, Strathclyde. The examples of the application of IT to VH include: i) a virtual reality experience of Historic Scotland's premier historical site: Skara Brae, the most complete neolithic settlement in Northern Europe. ii) a multimedia CD-ROM featuring some 50 of the most wonderful interiors of Glasgow's architectural treasures. iii) a computer based archive of rare and normally inaccessible 17C and 18C drawings of Scottish buildings from three seminal sources. iv) a massive 3-D model of Glasgow (some 10,000 buildings located on the hilly terrain of the city), which is now accessible on the Internet. // The paper concludes with conjectures based on the examples given of how emerging information technologies can help secure a future for the past.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	6b7d
authors	Mishima, Yoshitaka and Szalapaj, Peter
year	1999
title	ADMIRE: an Architectural Design Multimedia Interaction Resource for Education
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 201-209
doi	https://doi.org/10.52842/conf.ecaade.1999.201
summary	This paper describes the development of a multimedia system called ADMIRE (an Architectural Design Multimedia Interaction Resource for Education), which enables undergraduate students to understand how to analyse existing buildings dynamically, as well as to develop their own initial architectural design theories. The system contains architectural information in the form of fully rendered models, conceptual illustrations created with a range of CAD software, and multimedia presentations showing various design theoretic analyses. Buildings are described with CAD generated images, and architects with profiles and theories. In addition to rendered designs, there are also conceptual models of each building in the system. Conceptual models are simplified forms of original designs in order to support an analytical understanding of buildings according to various analyses, such as structure, light, circulation, unit to whole, geometry, etc. Each conceptual model constitutes a different analysis of each building. The ADMIRE system links each piece of information to another, so that students can explore architecture and learn about it in a dynamic way. This system demonstrates a new way of learning about architectural analysis through dynamic multimedia computer interaction.
keywords	Dynamic Multimedia System, Analytical Models, Interactive Pedagogical Resource
series	eCAADe
email
last changed	2022/06/07 07:58

_id	0c63
authors	Montagu, Arturo, Rodriguez Barros, Diana and Chernobilsky, Lilia B.
year	1999
title	Design, Qualitative Analysis and Digital Media: An Experimental Pedagogic Approach to the Cultural Evaluation and Integration of Media
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 127-135
doi	https://doi.org/10.52842/conf.ecaade.1999.127
summary	Globalization is a multidimensional process which impregnates all the facts and events of our present culture and, as a by-product of this situation, there is a set of complex relationships where "intuitive behavior plus knowledge and information technology" are central issues of the new pedagogic procedures of our times. In this paper we assume by "knowledge" the data obtained from a set of relationships orientated towards the "heuristic approach" from the point of view of "qualitative analysis" concepts (Muhr 91). Our main "provisional hypothesis" is to use this methodology to control the analysis-synthesis process as a continuous procedure during the design stages. One particular aspect of this view is going through the "informatic culture phenomena" which is the base of the present "turning point" of design procedures in most of the architectural and design schools around the world. This paper discusses how "media" is affecting the "design process" regarding three aspects: the conceptual, the instrumental and the representational one. These aspects are affecting also the cultural models and creating new paradigms in the way how new design methodologies combine "heuristics procedures" with the growing set of computer graphics parameters.
keywords	Architecture, Design, Qualitative Analysis, Digital Media
series	eCAADe
email
last changed	2022/06/07 07:58

_id	f9f7
authors	Mullins, Michael
year	1999
title	Forming, Planning, Imaging and Connecting
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 178-185
doi	https://doi.org/10.52842/conf.ecaade.1999.178
summary	This paper sets out to define aspects of the architectural design process, using historical precedent and architectural theory, and tests the relationship of those aspects to the application of computers in architectural design, particularly in an educational context. The design process sub-sets are defined as: Forming, Planning, Imaging and Connecting. Historical precedents are uncovered in Classical, Modern, Postmodern and Contemporary architecture. The defined categories of the design process are related to current usages of computers in architectural education towards elucidating the strengths and weaknesses of digital media in those areas. Indications of their concurrent usage in digital design will be demonstrated in analysis of design studio programs presented at recent ACADIA conferences. An example of a current design studio programme set at the School of Architecture University of Natal, South Africa in which the above described categories give an underlying structure to the introduction of 3D digital modelling to undergraduates through design process. The definition of this set of design activities may offer a useful method for other educators in assessing existing and future design programs where digital tools are used.
keywords	Design-Process, Digital-Media, Design-Programmes
series	eCAADe
email
last changed	2022/06/07 07:59

_id	338a
authors	Noble, Douglas and Hsu, Jason
year	1999
title	Computer Aided Animation in Architecture: Analysis of Use and the Views of the Profession
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 109-114
summary	A traditional way to present three-dimensional representations of architectural design has been through the use of manually drawn perspective drawings. The perspective representation assists in the comprehension of the forms and spaces, but is difficult to manually generate. The computer revolution made perspectives much easier to generate and led to a dramatically increased use of three-dimensional representation as a presentation technique. We are just now seeing substantial uses of animation as a communication and presentation tool in architecture. This paper documents the results of two surveys of the architectural profession that sought to discover the current and near future intentions for the use of computer animation. Our belief is that current levels of computer animation use are low, but that many firms intend to start using animation both as a design and presentation tool. In early 1998 we conducted a survey of the uses of computer animation by architectural firms. We posited a set of 14 related hypotheses. This paper represents the tabulated results from 82 completed surveys out of 620 requests. While some level of confidence can be obtained from this sample size, we are publishing in the hope of encouraging continued response to the survey.
series	SIGRADI
email
last changed	2016/03/10 09:56

_id	ga9923
id	ga9923
authors	Simondetti, Alvise
year	1999
title	Experiments in Rule Based Design and Computer Generated Physical Prototypes
source	International Conference on Generative Art
summary	This paper explores some of the opportunities offered by computer aided design to architects, interior designers and industrial designers. It differs from much of the research in the field in the sense that, it expands out of the boundaries of the computer screen by making computer generated physical prototypes using several different Rapid Prototyping technologies.This paper surveys the author's work at the Department of Architecture, Massachusetts Institute of Technology and more recently the work of his research team at the School of Design, Hong Kong Polytechnic University. The aim of the research is to explore the designer's advantages and limitations using rule based design and rapid prototyping techniques and searching for novel research questions. For each of the experiments proposed I will describe (1) the set up of the experiment (2) the methodology used to conduct the experiments, (3) highlights its advantages and limitations and (4) proposes further possible research questions. Throughout the paper I will focus especially on the unexpected outcomes.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	6800
authors	Stellingwerff, Martijn
year	1999
title	SketchBoX
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 491-497
doi	https://doi.org/10.52842/conf.ecaade.1999.491
summary	Most Computer Aided Architectural Design software suits the engineered aspects of design quite well but is lacking as a design medium. As far as sketching is concerned, many architects still rely on traditional media such as pen and paper and scale models. This paper presents a theory concerning design media and the application of typical media aspects in a spatial sketch program. SketchBoX is conceived as an experimental 3D version of a sketchbook. It can be used for the notation of primary forms and structures in 'architectural' space. The program consists of several transparent drawing surfaces that can be placed in relation to each other and in relation to models of design or different design contexts. Thus architects and students in architecture might be able to explore more adequately the spatial configuration of the built environment and they can comment within the models of their designs. Architectural group discussions and collaborative work can be enhanced by SketchBoX because visual annotations can be made directly in relation to a 3D model. This paper describes the consequent design considerations and expected use of the SketchBoX program.
keywords	Exploration, Sketching, Commenting, Media, Creativity
series	eCAADe
email
last changed	2022/06/07 07:56

_id	d267
authors	Verbeke, J. Provoost, T., Verleye, J., Nys, K., Van Zutphen, R., Achten, H., Turksma, A., Pittioni, G., Asanowicz, A., Jakimowicz A. and Af Klercker, J.
year	1999
title	AVOCAAD, The Experience
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 244-251
doi	https://doi.org/10.52842/conf.ecaade.1999.244
summary	The Leonardo da Vinci project AVOCAAD (Added Value of Computer Aided Architectural Design) aims at stimulating creative and experimental use of computers in the field of Architecture and Construction by the use of new technologies. For this purpose, a large set of exercises and exercise materials was developed and is now available through an interactive web-site. This allows regular students as well as architects in practice to continuously seek for a more interesting and inspiring use of computers and IC-technology, adding value in their own field of interest and work. The interactive web-site generates a virtual forum for exchange of ideas. The AVOCAAD partners as well as the newly joined partners are currently using and testing the available teaching materials (exercises, foreground and background information) with students. Moreover a small design exercise in the context of the project has been the theme of a workshop held at the AVOCAAD 1999 conference. Students and architects were asked to create a design in a predefined space based on experimental architectural music. This paper intends to report on the experiences we gained in using the interactive web-site, the exercises and also doing the workshop. We will address the pedagogical implications of issues like learning environment, continuous and distance learning, and focus on their impact towards CAAD curricula. Examples and results will illustrate the general framework.
keywords	AVOCAAD, CAAD, Creativity, LLL, ODL
series	eCAADe
email
more	http://www.avocaad.org
last changed	2022/06/07 07:58

_id	caadria2006_633
id	caadria2006_633
authors	WAN-YU LIU
year	2006
title	THE EMERGING DIGITAL STYLE: Attention shift in architectural style recognition
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 633-635
doi	https://doi.org/10.52842/conf.caadria.2006.x.g4f
summary	“Style” has long been an important index to observe the design thinking of designers in architecture. Gombrich (1968) defined style as a particular selection from the alternatives when doing things; Ackerman (1963) considered that a distiguishable ensemble of certain characteristics we call a style; Schapiro (1961) pointed out that style is constant forms, and sometimes the constant elements, qualities and expression; Kirsch (1998), Cha and Gero (1999) thought of style as a form element and shape pattern. As Simon and others referred to, style emerged from the process of problem solving, Chan (1994, 2001) ever devised a serious of experiments to set up the operational definitions of style, further five factors that relate to generating styles. Owing to that the greater part of sketches and drawings in the design process couldn’t be replaced by computer-aided design systems (Eisentraut, 1997), designers must shift between different problem-solving methods while facing different design problems. The purpose in this research is to discuss the influences of computer usage on style generation and style recognition: The employment of certain procedural factors that occurred in the design processes that using conventional media is different from the ones that using computer media? Do personal styles emerge while designers shifting between different media in the design processes? Does any unusual phenomenon emerge while accustomed CAD-systems designers recognizing a style?
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	avocaad_2001_16
id	avocaad_2001_16
authors	Yu-Ying Chang, Yu-Tung Liu, Chien-Hui Wong
year	2001
title	Some Phenomena of Spatial Characteristics of Cyberspace
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	"Space," which has long been an important concept in architecture (Bloomer & Moore, 1977; Mitchell, 1995, 1999), has attracted interest of researchers from various academic disciplines in recent years (Agnew, 1993; Benko & Strohmayer, 1996; Chang, 1999; Foucault, 1982; Gould, 1998). Researchers from disciplines such as anthropology, geography, sociology, philosophy, and linguistics regard it as the basis of the discussion of various theories in social sciences and humanities (Chen, 1999). On the other hand, since the invention of Internet, Internet users have been experiencing a new and magic "world." According to the definitions in traditional architecture theories, "space" is generated whenever people define a finite void by some physical elements (Zevi, 1985). However, although Internet is a virtual, immense, invisible and intangible world, navigating in it, we can still sense the very presence of ourselves and others in a wonderland. This sense could be testified by our naming of Internet as Cyberspace -- an exotic kind of space. Therefore, as people nowadays rely more and more on the Internet in their daily life, and as more and more architectural scholars and designers begin to invest their efforts in the design of virtual places online (e.g., Maher, 1999; Li & Maher, 2000), we cannot help but ask whether there are indeed sensible spaces in Internet. And if yes, these spaces exist in terms of what forms and created by what ways?To join the current interdisciplinary discussion on the issue of space, and to obtain new definition as well as insightful understanding of "space", this study explores the spatial phenomena in Internet. We hope that our findings would ultimately be also useful for contemporary architectural designers and scholars in their designs in the real world.As a preliminary exploration, the main objective of this study is to discover the elements involved in the creation/construction of Internet spaces and to examine the relationship between human participants and Internet spaces. In addition, this study also attempts to investigate whether participants from different academic disciplines define or experience Internet spaces in different ways, and to find what spatial elements of Internet they emphasize the most.In order to achieve a more comprehensive understanding of the spatial phenomena in Internet and to overcome the subjectivity of the members of the research team, the research design of this study was divided into two stages. At the first stage, we conducted literature review to study existing theories of space (which are based on observations and investigations of the physical world). At the second stage of this study, we recruited 8 Internet regular users to approach this topic from different point of views, and to see whether people with different academic training would define and experience Internet spaces differently.The results of this study reveal that the relationship between human participants and Internet spaces is different from that between human participants and physical spaces. In the physical world, physical elements of space must be established first; it then begins to be regarded as a place after interaction between/among human participants or interaction between human participants and the physical environment. In contrast, in Internet, a sense of place is first created through human interactions (or activities), Internet participants then begin to sense the existence of a space. Therefore, it seems that, among the many spatial elements of Internet we found, "interaction/reciprocity" Ñ either between/among human participants or between human participants and the computer interface Ð seems to be the most crucial element.In addition, another interesting result of this study is that verbal (linguistic) elements could provoke a sense of space in a degree higher than 2D visual representation and no less than 3D visual simulations. Nevertheless, verbal and 3D visual elements seem to work in different ways in terms of cognitive behaviors: Verbal elements provoke visual imagery and other sensory perceptions by "imagining" and then excite personal experiences of space; visual elements, on the other hand, provoke and excite visual experiences of space directly by "mapping".Finally, it was found that participants with different academic training did experience and define space differently. For example, when experiencing and analyzing Internet spaces, architecture designers, the creators of the physical world, emphasize the design of circulation and orientation, while participants with linguistics training focus more on subtle language usage. Visual designers tend to analyze the graphical elements of virtual spaces based on traditional painting theories; industrial designers, on the other hand, tend to treat these spaces as industrial products, emphasizing concept of user-center and the control of the computer interface.The findings of this study seem to add new information to our understanding of virtual space. It would be interesting for future studies to investigate how this information influences architectural designers in their real-world practices in this digital age. In addition, to obtain a fuller picture of Internet space, further research is needed to study the same issue by examining more Internet participants who have no formal linguistics and graphical training.
series	AVOCAAD
email
last changed	2005/09/09 10:48

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