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	ecc5
authors	Bassanino, May Nahab
year	1999
title	The perception of computer generated architectural images
source	Liverpool University
summary	The broad aim of the research is to examine the role of computer generated architectural images on the way different people perceive architecture, and within this field of interest I have established a list of specific tasks to define the specific points of interest to examine. The following list of the main research objectives served as a guide in designing the experimental tests undertaken as part of this research: () Study the effect of both representation techniques and the used media on perceiving architecture. () Establish the differences (if there are any) of perception between different groups of people; principally architects and non-architects, but also subsets of each of these two groups. () To suggest the appropriate technique for presenting architecture for a particular group in a particular stage in the design process. () To investigate the influence of CAAD in architectural education on the students’ perception for architectural images.
series	thesis:PhD
last changed	2003/11/21 15:16

_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	6641
authors	Gero, John S. and Tang, Hsien-Hui
year	1999
title	Concurrent and Retrospective Protocols and Computer-Aided Architectural Design
doi	https://doi.org/10.52842/conf.caadria.1999.403
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. 403-410
summary	This paper presents the results of studying human designers using two forms of protocol analysis and examines the implications of the results on computer-aided architectural design systems. It uses and contrasts two types of protocol analyses: concurrent protocols and retrospective protocols. The preliminary results indicate that CAAD tools to be useful at the early stages of designing need to encompass synthesis, analysis and evaluation and be highly integrated.
series	CAADRIA
email
last changed	2022/06/07 07:51

_id	722c
authors	Gero, John S.
year	1999
title	A Model of Designing that Includes its Situatedness
doi	https://doi.org/10.52842/conf.caadria.1999.235
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. 235-241
summary	Current models of designing are inadequate as a basis for the development of CAAD tools for use at the conceptual stages of designing. Such models appear to be only satisfactory for the detail stages of designing. Further, current models of designing are not in accord with our present knowledge of designing. This gap has created difficulties in the development of suitable computational support tools for designers. The development of the model proposed in this paper aims to begin to fill that gap and hence provide a foundation for a new generation of computer-based design support tools, potentially applicable at the conceptual stage of designing.
series	CAADRIA
email
more	http://www.arch.usyd.edu.au/~john/kcdc
last changed	2022/06/07 07:51

_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	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	b57c
authors	Kvan, Thomas
year	1999
title	Designing Together Apart
source	Open University, Milton Keynes
summary	The design of computer tools to assist in work has often attempted to replicate manual methods. This replication has been proven to fail in a diversity of fields such as business management, Computer-Aided Design (CAD) and Computer- Supported Collaborative Work (CSCW). To avoid such a failure being repeated in the field of Computer-Supported Collaborative Design (CSCD), this thesis explores the postulation that CSCD does not have to be supported by tools which replicate the face-to-face design context to support distal architectural design. The thesis closely examines the prevailing position that collaborative design is a social and situated act which must therefore be supported by high bandwidth tools. This formulation of architectural collaboration is rejected in favour of the formulation of a collaborative expert act. This proposal is tested experimentally, the results of which are presented. Supporting expert behaviour requires different tools than the support of situated acts. Surveying research in computer-supported collaborative work (CSCW), the thesis identifies tools that support expert work. The results of the research is transferred to two contexts: teaching and practice. The applications in these two contexts illustrate how CSCD can be applied in a variety of bandwidth and technological conditions. The conclusion is that supporting collaborative design as an expert and knowledge-based act can be beneficially implemented in the teaching and practice of architecture.
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	e2ea
authors	Lee, Hwa-Ryong
year	1999
title	The Changing Face of Architectural Computing Research
doi	https://doi.org/10.52842/conf.ecaade.1999.011
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 11-17
summary	This paper examines the existing commercial and on-going research computer applications for architectural design. It investigates their uses, predictions and limitations; and reviews the teleology, technologies and theories exploited for computerising design. Finally, I will discuss two trends in the developments of CAAD, and present the new directions in CAAD research. This study will be based on understanding the computer's roles in designing, and further on establishing a new theoretical paradigm for mediating a computer system.
keywords	Historical Context, Theoretical Paradigms
series	eCAADe
email
last changed	2022/06/07 07:51

_id	9c3e
authors	Maher, M.L., Skow, B. and Cicognani, A.
year	1999
title	Designing the virtual campus
source	Design Studies, 20, 319-342
summary	Virtual Worlds are networked environments that look like the physical world, and create a sense of place for the person communicating, navigating, and doing things in the virtual world. Virtual worlds have traditionally been developed as games, in fact, most virtual worlds today are games. A virtual campus has been developed in the Architecture Faculty at the University of Sydney that is based on some of the concepts of virtual worlds. The virtual campus is a place on the internet where students can go to take courses, meet with academic staff, and communicate with other students. The development of the virtual campus has been influenced by research in design science and is based on the conceptual metaphor of architectural design. The design of the virtual campus is considered at three levels: the implementation level, the representation level, and the interface level. Identifying these levels provides a basis for the design of virtual worlds for professional and educational environments. The consideration of the representation level results in a consistent use of a conceptual metaphor so that a person in the virtual campus can make use of the facilities in an intuitive manner.
series	journal paper
email
last changed	2003/04/23 15:50

_id	e6fb
authors	McFadzean, Jeanette
year	1999
title	Computational Sketch Analyser (CSA): Extending the Boundaries of Knowledge in CAAD
doi	https://doi.org/10.52842/conf.ecaade.1999.503
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 503-510
summary	This paper focuses on the cognitive problem-solving strategies of professional architectural designers and their use of external representations for the production of creative ideas. Using a new form of protocol analysis (Computational Sketch Analysis), the research has analysed five architects' verbal descriptions of their cognitive reasoning strategies during conceptual designing. It compares these descriptions to a computational analysis of the architects' sketches and sketching behaviour. The paper describes how the current research is establishing a comprehensive understanding of the mapping between conceptualisation, cognition, drawing, and complex problem solving. The paper proposes a new direction for Computer Aided Architectural Design tools (CAAD). It suggests that in order to extend the boundaries of knowledge in CAAD an understanding of the complex nature of architectural conceptual problem-solving needs to be incorporated into and supported by future conceptual design tools.
keywords	Computational Sketch Analysis, Conceptual Design
series	eCAADe
email
last changed	2022/06/07 07:58

_id	2874
authors	Pan, Yunhe
year	1999
title	Dunhuang Art Cave Virtual Rebuilding and Navigation: Applying Multimedia, Intelligence and Design Technologies in Dunhuang Arts
doi	https://doi.org/10.52842/conf.caadria.1999.001
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. 1-20
summary	Dunhuang Art Cave is confronted with the serious influence of natural forces. Integrating Multimedia, Artificial intelligence and CAD, we can virtually preserve and reproduce the original cave architecture, painting sculptures and murals. This paper first introduce the main ideas of Dunhuang cave virtual rebuilding, cave virtual navigating, mural color restoring as well as Dunhuang-style pattern designing, and then analyzes in detail their technical issues and show results of prototype systems. In the end, we give a brief summary.
series	CAADRIA
last changed	2022/06/07 08:00

_id	ga9902
id	ga9902
authors	Soddu, Celestino
year	1999
title	Recognizability of designer imprinting in Generative artwork
source	International Conference on Generative Art
summary	Design lives within two fundamental stages, the creative and the evolutionary. The first is that of producing the idea: this approach is built activating a logical jump between the existing and possible worlds that represent our wishes and thoughts. A design idea is the identification of a set of possibilities that goes beyond specific "solutions" but identifies the sense or the attainable quality. The field involved in this design stage is "how" the world may be transformed, not what the possible scenario may be. The second is the evolutionary stage, that of the development of the idea. This approach runs inside paths of refinement and increases in complexity of the projects. It involves the management of the project to reach the desired quality.Generative design is founded on the possibility to clearly separate the creative and the evolutionary stages of the idea. And the first is reserved for man (because creative processes, being activated from subjective interpretations and being abduptive paths and not deductive, inductive or analytical ones, can not be emulated by machines) and the second may be carried out using artificial devices able to emulate logical procedures. The emulation of evolutionary logics is useful for a very simple reason: for getting the best operative design control on complexity. Designers know very well that the quality of a project depends, very importantly, on the time spent designing. If the time is limited, the project can not evolve enough to attain the desired quality. If the available time is increased, the project acquires a higher quality due to the possibility of crossing various parallel evolutionary paths, to develop these and to verify their relative potential running through the cycle idea/evolution more times and in progress. (scheme1) This is not all. In a time-limited design activity, the architect is pressed into facing the formalization of performance requirements in terms of answering directly specific questions. He is pressed into analytically systematizing the requirements before him to quickly work on the evolution of the project. The design solution can be effective but absolutely not flexible. If the real need of the user is, even slightly, different to the hypothesized requirement, the quality of the project, as its ability to respond to needs, breaks down. Projects approached in this way, which we could call "analytical", are quickly obsolete, being tied up to the flow of fashion. A more "creative" approach, where we don't try to accelerate (therby simplifying) the design development path "deducting" from the requirements the formalization choices but we develop our idea using the requirements and the constraints as opportunities of increasing the complexity of the idea, enriching the design development path to reach a higher quality, needs, without doubt, more time. As well as being, of course, a creative and non-analytical approach. This design approach, which is "the" design path, is a voyage of discovery that is comparable to that of scientific research. The fundamental structure is the idea as a "not deducted" hypothesis concerning a quality and recognizability of attainable artwork, according to the architect's "subjective" point of view. The needs and the constraints, identified as fields of possible development of the project, are opportunities for the idea to develop and acquire a specific identity and complexity. Once possible scenarios of a project are formed, the same requirements and constraints will take part, as "verification of congruity", of the increase in quality. Then the cycle, once more, will be run again to reach more satisfactory results. It is, without doubt, an approach that requires time.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	a875
authors	Suwa, M., Gero, J.S. and Purcell, T.
year	1999
title	How an Architect Created Design Requirements
source	G. Goldschmidt and W. Porter (eds), Design Thinking Research Symposium: Design Representation, MIT, Cambridge, pp. II.101-124
summary	There is an anecdotal view that designers, during a conceptual design process, not just synthesise solutions that satisfy initially given requirements, but also create by themselves novel design requirements that capture important aspects of the given problem. Further, it is believed that design sketches serve as a thinking tool for designers to do this. Then, what kinds of cognitive interaction with their own sketches enable designers to create novel requirements? The purpose of this paper is to answer this question. We examined the cognitive processes of a practising architect, using a protocol analysis technique. Our examinations focused on whether particular types of cognitive actions account for the creation of novel design requirements. We found that intensive occurrences of a certain type of perceptual actions, acts of establishing new relations or visual features on the sketches, are likely to co-occur with the creation of requirements. This suggests that this type of perceptual actions are the key constituent of acts of creating novel requirements, and therefore one of the important actions in sketching activities. This presents evidence of the view that designing is a situated act, as well as has an implication for design education.
keywords	Design Requirements; Sketches; Design Cognition; Protocol Analysis
series	journal paper
email
last changed	2003/03/31 08:37

_id	1a3d
authors	Willey, David
year	1999
title	Sketchpad to 2000: From Computer Systems to Digital Environments
doi	https://doi.org/10.52842/conf.ecaade.1999.526
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 526-532
summary	It can be argued that over the last thirty five years computer aided architectural design (CAAD) has made little impact in terms of aiding design. The paper provides a broadbrush review of the last 35 years of CAAD research and suggests that the SKETCHPAD notion that has dominated CAAD since 1963 is now a flawed concept. Then the discipline was replete with Modernist concepts of optimal solutions, objective design criteria and universal design standards. Now CAD needs to proceed on the basis of the Post Modern ways of thinking and designing opened up by digital techniques - the Internet, multimedia, virtual reality, electronic games, distance learning. Computers facilitate information flow and storage. In the late seventies and eighties the CAAD research community's response to the difficulties it had identified with the construction of integrated digital building models was to attempt to improve the intelligence of the computer systems to better match the understanding of designers. Now it is clear that the future could easily lie with CAAD systems that have almost no intelligence and make no attempt to aid the designer. Communication is much more central to designing than computing.
keywords	History, Intelligence, Interface, Sketchpad, Web
series	eCAADe
email
last changed	2022/06/07 07:56

_id	7a52
authors	Wong, Wilson and Kvan, Thomas
year	1999
title	Textual support of collaborative design
doi	https://doi.org/10.52842/conf.acadia.1999.168
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 168-176
summary	Discussions of media in architectural design typically revolve around graphical forms, be they digital or analog. For example, much current research addresses the relationship between design sketching and cognitive process affecting the products of individual designers. This emphasis on graphics overshadows the role of text in design. While most CAD tools pursue increasingly realistic computer graphics, the interactions of designing require broader support. In this paper, we consider the importance of text in collaborative architectural design. Text is a common medium to record information in computer technology and has a role to play in an architectural design process. In the collaborative environment, a shared understanding and preserved history are important for communication. In this way, just as graphics can be seen as a cognitive aid, so too can text. Any singular design medium is insufficient to present the design idea thoroughly. Several design media should coexist. This paper outlines the cognitive background graphics in design, then reviews the role of text in design collaboration, drawing upon experimental results from cognitive science and architectural settings. As a conclusion, the paper sets out a direction for future research and development of tools to support collaborative design communication.
series	ACADIA
email
last changed	2022/06/07 07:57

_id	20ab
authors	Yakeley, Megan
year	2000
title	Digitally Mediated Design: Using Computer Programming to Develop a Personal Design Process
source	Massachusetts Institute of Technology, Department of Architecture
summary	This thesis is based on the proposal that the current system of architectural design education confuses product and process. Students are assessed through, and therefore concentrate on, the former whilst the latter is left in many cases to chance. This thesis describes a new course taught by the author at MIT for the last three years whose aim is to teach the design process away from the complexities inherent in the studio system. This course draws a parallel between the design process and the Constructionist view of learning, and asserts that the design process is a constant learning activity. Therefore, learning about the design process necessarily involves learning the cognitive skills of this theoretical approach to education. These include concrete thinking and the creation of external artifacts to develop of ideas through iterative, experimental, incremental exploration. The course mimics the Constructionist model of using the computer programming environment LOGO to teach mathematics. It uses computer programming in a CAD environment, and specifically the development of a generative system, to teach the design process. The efficacy of such an approach to architectural design education has been studied using methodologies from educational research. The research design used an emergent qualitative model, employing Maykut and Morehouses interpretive descriptive approach (Maykut & Morehouse, 1994) and Glaser and Strausss Constant Comparative Method of data analysis (Glaser & Strauss, 1967). Six students joined the course in the Spring 1999 semester. The experience of these students, what and how they learned, and whether this understanding was transferred to other areas of their educational process, were studied. The findings demonstrated that computer programming in a particular pedagogical framework, can help transform the way in which students understand the process of designing. The following changes were observed in the students during the course of the year: Development of understanding of a personalized design process; move from using computer programming to solve quantifiable problems to using it to support qualitative design decisions; change in understanding of the paradigm for computers in the design process; awareness of the importance of intrapersonal and interpersonal communication skills; change in expectations of, their sense of control over, and appropriation of, the computer in the design process; evidence of transference of cognitive skills; change from a Behaviourist to a Constructionist model of learning Thesis Supervisor: William J. Mitchell Title: Professor of Architecture and Media Arts and Sciences, School of Architecture and Planning
series	thesis:PhD
last changed	2003/02/12 22:37

_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	d59a
authors	Zarnowiecka, Jadwiga C.
year	1999
title	AI and Regional Architecture
doi	https://doi.org/10.52842/conf.ecaade.1999.584
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 584-588
summary	In 1976 Richard Foqué established periods in the development of methods of designing. The first stage (the 50's and early 60's) - automatization of the designing process - properly identified language of description that is understood by a machine is vital. Christopher Alexander publishes 'Pattern Language'. The second stage (late 60's) - the use of the Arts - research techniques as interview, questionnaire, active observation; ergonomic aspects are also taken into consideration. The third stage (starts at the turn of the 60's and 70's) - co-participation of all of the parties involved in the designing process, and especially the user. The designing process becomes more complex but at the same time more intelligible to a non-professional - Alexander's 'Pattern Language' returns. It's been over 20 years now since the publication of this work. In the mid 70's prototypes of integrate building description are created. We are dealing now with the next stage of the designing methods development. Unquestionable progress of computer optimalization of technical and economical solutions has taken place. It's being forecasted that the next stage would be using computer as a simulator of the designing process. This stage may be combined with the development of AI. (Already in 1950 Alan Turing had formulated the theoretical grounds of Artificial Intelligence.) Can the development of the AI have the influence on the creation of present time regional architecture? Hereby I risk a conclusion that the development of AI can contribute to the creation of modern regional architecture.
keywords	Design Process, Artificial Intelligence, Regional Architecture
series	eCAADe
email
last changed	2022/06/07 07:57

_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	ga9914
id	ga9914
authors	Meogrossi, Piero
year	1999
title	The Idea of Rome: The Shape of Utopy
source	International Conference on Generative Art
summary	After having spent many years in researching about the topographical connections in the city and over the monumental sites and the main architectures of Rome (Palatino, Coliseum, Appia Antica are the areas where he’s working as director of restoring for the Rome Soprintendenza Archeologica) the architect Piero Meogrossi confirms his personal thesis dealing with a strategic oriented direction showing a geomanthic dynamism able to drive the urban growth. A key measure axis used to plan the topography submits the urban shape and the design itself at different ages revealing a virtual matrix whose hidden identity remains astronomically and simbolically characterized by the specific season position of the sun accorded to the dies natalis of Rome, the famous april XXIth connected with the romulean age and the tradictional Squared Rome. Such recognition over the archeological city connects the legendary and historical tales to the main monuments of Rome whose architectonical centers become instrumental knots to control, to accord and to submit to a DNA topographical codex, a symbolical axis-decuimanus by which the romans drive rules of the earth and of the sky (natural perspectives and sundial measures). The utopian reconstruction of the "sun-city plan" has confirmed the quality of the project by Sixtus Vth, the XVIIth century pope who wanted to create, as a new Romulus, a town design able to make comparison with the dynamic shape of the roman antiquities, a "net-city" whose infrastructures (obelisques and streets, etc.) let understood the value of that ancient topographical axis linking each others the center of the optagonal labyrinth to the center of Palatino,to the center of arch of Costantine to the center of Coliseum, to the center of optagonal hall in the golden kingdome by Nero........and further on. Rome, as example of historical town due to the western culture globality, needs to discover and organise those phisical memories,hidden identies whose ancient shape which can yet offer opportunies for the future plans and projects but only if the reality will be pushed by an Utopian vision as the Roman Column 200mt.high,accorded to the shapes upwritten, a Meogrossi’s project winner of the Utopia award in a national competition for the Rome of third millennium.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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