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	70c4
authors	Gross, M.D., Do, E.Y.-L. and Johnson, B.R.
year	2000
title	Beyond the low-hanging fruit: Information technology in architectural design past, present and future
source	W. Mitchell and J. Fernandez (eds), ACSA Technology Conference, MIT Press, Cambridge MA
summary	Today's commercial CAD software is the product of years of research that began in the 1960's and 1970's. These applications have found widespread use in the architectural marketplace; nevertheless they represent only the first fruits of research in computer aided design. New developments based on research in human-computer interaction (HCI), computer-supported collaborative work (CSCW), and virtual reality (VR) will result in a next generation of tools for architectural design. Although preliminary applications to design have been demonstrated in each of these areas, excellent opportunities remain to exploit new technologies and insights in service of better design software. In this paper we briefly examine each of these areas using examples from our own work to discuss the prospects for future research. We envision that future design technologies will develop from current and traditional conventions of practice combined with forward looking application of emerging technologies. In HCI, pen based interaction will allow architects to use the pencil again, without sacrificing the added power of computer aided design tools, and speech recognition will begin to play a role in capturing and retrieving design critique and discussion. In CSCW, a new generation of applications will address the needs of designers more closely than current general purpose meeting tools. In VR, applications are possible that use the technology not simply to provide a sense of three-dimensional presence, but that organize design information spatially, integrating it into the representation of artifacts and places.
series	other
email
last changed	2003/04/23 15:50

_id	9bc4
authors	Bhavnani, S.K. and John, B.E.
year	2000
title	The Strategic Use of Complex Computer Systems
source	Human-Computer Interaction 15 (2000), 107-137
summary	Several studies show that despite experience, many users with basic command knowledge do not progress to an efficient use of complex computer applications. These studies suggest that knowledge of tasks and knowledge of tools are insufficient to lead users to become efficient. To address this problem, we argue that users also need to learn strategies in the intermediate layers of knowledge lying between tasks and tools. These strategies are (a) efficient because they exploit specific powers of computers, (b) difficult to acquire because they are suggested by neither tasks nor tools, and (c) general in nature having wide applicability. The above characteristics are first demonstrated in the context of aggregation strategies that exploit the iterative power of computers.Acognitive analysis of a real-world task reveals that even though such aggregation strategies can have large effects on task time, errors, and on the quality of the final product, they are not often used by even experienced users. We identify other strategies beyond aggregation that can be efficient and useful across computer applications and show how they were used to develop a new approach to training with promising results.We conclude by suggesting that a systematic analysis of strategies in the intermediate layers of knowledge can lead not only to more effective ways to design training but also to more principled approaches to design systems. These advances should lead users to make more efficient use of complex computer systems.
series	other
email
last changed	2003/11/21 15:16

_id	0b3e
authors	Cybis Pereira, A.T., Ulbricht, V.R., Cybis, W., Tissiani, G. Palubiack Marinho, J.E., Sousa de Miranda, D.C., Rbornmamm, R. and Canto, A.
year	2000
title	Supervirtual: Desenvolvimento do Design de uma Interface em 3D para Comércio na Internet - (Supervirtual: Design Development of an On-Line Trading 3-D Interface)
source	SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 328-330
summary	The paper presents part of a research developed for the discipline of Ergonomics of Interfaces of the program of Post-Graduation of the Engineering of Production of UFSC. The research explores the approaches that should have an interface drawn for to the sale of products by the Internet in three dimensions, suggesting a complete storyboard. The design of the interface intends to assist to all the normative approaches, looking for the increase of the usability of the future system. Besides, it also lifts subjects on the advantages and disadvantages of the electronic trade in virtual media for the Internet and the possible approaches to institute norms to its graphic design, looking for the functionality and the aesthetics of the sailing and presentation of the content in 3D.
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	d7af
authors	Jung, Thomas and Do, Ellen Yi-Luen
year	2000
title	Immersive Redliner: Collaborative Design in Cyberspace
doi	https://doi.org/10.52842/conf.acadia.2000.185
source	Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 185-194
summary	The Immersive Redliner supports annotation of three-dimensional artifacts in collaborative design. It enables team members to drop annotation markers in a VRML world that are linked to comment text stored on a server. Visitors to the world later can review the design annotations in the locations where they were made. We report on two phases of the Redliner project: the first involves a hypothetical design scenario, the second a real application on a rehabilitation in a residence building in Strasbourg.
keywords	Annotation, Collaboration, Design, Virtual Worlds, Redlining.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	cf2009_poster_43
id	cf2009_poster_43
authors	Oh, Yeonjoo; Ellen Yi-Luen Do, Mark D Gross, and Suguru Ishizaki
year	2009
title	Delivery Types And Communication Modalities In The Flat-Pack Furniture Design Critic
source	T. Tidafi and T. Dorta (eds) Joining Languages Cultures and Visions: CAADFutures 2009 CD-Rom
summary	A computer-based design critiquing system analyzes a proposed solution and offers critiques (Robbins 1998). Critiques help designers identify problems as well as opportunities to improve their designs. Compared with human critics, today’s computer-based critiquing systems deliver feedback in quite restricted manner. Most systems provide only negative evaluations in text; whereas studio teachers critique by interpreting the student’s design, introducing new ideas, demonstrating and giving examples, and offering evaluations (Bailey 2004; Uluoglu 2000) using speech, writing, and drawing to communicate (Anthony 1991; Schön 1983). This article presents a computer-based critiquing system, Flat-pack Furniture Design Critic (FFDC). This system supports multiple delivery types and modalities, adapting the typical system architecture of constraint-based intelligent tutors (Mitrovic et al. 2007).
keywords	Critiquing system, design critiquing
series	CAAD Futures
type	poster
email
last changed	2009/07/08 22:12

_id	f586
authors	Gabriel, G. and Maher, M.L.
year	2000
title	Analysis of design communication with and without computer mediation
source	Proceedings of Co-designing 2000, pp. 329-337
summary	With recent developments in CAD and communication technologies, the way we visualise and communicate design representations is changing. A matter of great interest to architects, practitioners and researchers alike, is how computer technology might affect the way they think and work. The concern is not about the notion of 'support' alone, but about ensuring that computers do not disrupt the design process and collaborative activity already going on (Bannon and Schmidt, 1991). Designing new collaborative tools will then have to be guided by a better understanding of how collaborative work is accomplished and by understanding what resources the collaborators use and what hindrances they encounter in their work (Finholt et al., 1990). Designing, as a more abstract notion, is different than having a business meeting using video conferencing. In design it is more important to 'see' what is being discussed rather than 'watch' the other person(s) involved in the discussion. In other words the data being conveyed might be of more importance than the method with which it is communicated (See Kvan, 1994). Similarly, we believe that by using text instead of audio as a medium for verbal communication, verbal representations can then be recorded alongside graphical representations for later retrieval and use. In this paper we present the results of a study on collaborative design in three different environments: face-to-face (FTF), computer-mediated using video conferencing (CMCD-a), and computer-mediated using "talk by typing" (CMCD-b). The underlying aim is to establish a clearer notion of the collaborative needs of architects using computer-mediation. In turn this has the potential in assisting developers when designing new collaborative tools and in assisting designers when selecting an environment for a collaborative session.
series	other
last changed	2003/04/23 15:50

_id	9384
authors	Burry, M., Datta, S. and Anson, S.
year	2000
title	Introductory Computer Programming as a Means for Extending Spatial and Temporal Understanding
doi	https://doi.org/10.52842/conf.acadia.2000.129
source	Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 129-135
summary	Should computer programming be taught within schools of architecture? Incorporating even low-level computer programming within architectural education curricula is a matter of debate but we have found it useful to do so for two reasons: as an introduction or at least a consolidation of the realm of descriptive geometry and in providing an environment for experimenting in morphological time-based change. Mathematics and descriptive geometry formed a significant proportion of architectural education until the end of the 19th century. This proportion has declined in contemporary curricula, possibly at some cost for despite major advances in automated manufacture, Cartesian measurement is still the principal ‘language’ with which to describe building for construction purposes. When computer programming is used as a platform for instruction in logic and spatial representation, the waning interest in mathematics as a basis for spatial description can be readdressed using a left-field approach. Students gain insights into topology, Cartesian space and morphology through programmatic form finding, as opposed to through direct manipulation. In this context, it matters to the architect-programmer how the program operates more than what it does. This paper describes an assignment where students are given a figurative conceptual space comprising the three Cartesian axes with a cube at its centre. Six Phileban solids mark the Cartesian axial limits to the space. Any point in this space represents a hybrid of one, two or three transformations from the central cube towards the various Phileban solids. Students are asked to predict the topological and morphological outcomes of the operations. Through programming, they become aware of morphogenesis and hybridisation. Here we articulate the hypothesis above and report on the outcome from a student group, whose work reveals wider learning opportunities for architecture students in computer programming than conventionally assumed.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	maver_090
id	maver_090
authors	Harrison C., Grant, M., Granat, M., Maver, T. and Conway, B.
year	2000
title	Development of a Wheelchair Virtual
source	3rd International Conference on Disability, VR and Associated Technologies, Sardinia, (Ed. P Sharkey) ICDVRAT2000, 1-8
summary	In the UK the Disability Discrimination Act 1995 aims to end discrimination against disabled people. Importantly the Act gives the disabled community new employment and access rights. Central to these rights will be an obligation for employers and organisations to provide premises which do not disadvantage disabled people. Many disabled people rely on wheelchairs for mobility. However, many buildings do not provide conditions suited to wheelchair users. This project aims to provide instrumentation allowing wheelchair navigation within virtual buildings. The provision of such instrumentation assists architects in identifying the needs of wheelchair users at the design stage. Central to this project is the need to provide a platform which can accommodate a range of wheelchair types, that will map intended wheelchair motion into a virtual world and that has the capacity to provide feedback to the user reflecting changes in floor surface characteristics and slope. The project represents a collaborative effort between architects, bioengineers and user groups and will be comprised of stages related to platform design, construction, interfacing, testing and user evaluation.
series	other
email
last changed	2003/09/03 15:01

_id	cd17
authors	Bermudez, J., Agutter, J., Westenskow, D., Foresti, S., Zhang, Y., Gondeck-Becker, D., Syroid, N., Lilly, B., Strayer, .D. and Drews, F.
year	2000
title	Data Representation Architecture: Visualization Design Methods, Theory and Technology Applied to Anesthesiology
doi	https://doi.org/10.52842/conf.acadia.2000.091
source	Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 91-102
summary	The explosive growth of scientific visualization in the past 10 years demonstrate a consistent and tacit agreement among scientists that visualization offers a better representation system for displaying complex data than traditional charting methods. However, most visualization works have not been unable to exploit the full potential of visualization techniques. The reason may be that these attempts have been largely executed by scientists. While they have the technical skills for conducting research, they do not have the design background that would allow them to display data in easy to understand formats. This paper presents the architectural methodology, theory, technology and products that are being employed in an ongoing multidisciplinary research in anesthesiology. The project’s main goal is to develop a new data representation technology to visualize physiologic information in real time. Using physiologic data, 3-D objects are generated in digital space that represent physiologic changes within the body and show functional relationships that aid in the detection, diagnosis, and treatment of critical events. Preliminary testing results show statistically significant reduction in detection times. The research outcome, potential, and recently received NIH grant supporting the team’s scientific methods all point to the contributions that architecture may offer to the growing field of data visualization.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	6b25
authors	Pini, E.L., Abades, I.S. and Paolucci, A.L.
year	2000
title	El Modelo Digital en los Primeros Años de la Enseñanza de la Arquitectura (The Digital Model in the First Years of the Architectural Education)
source	SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 336-338
summary	We will analyze a pedagogic exercise that joined together both the Informatics and Morphology Courses, required in the second year of Architecture School. The objective of the analysis is to explore the possibilities of the computer as a tool for design, and also to contribute some ideas for planning, curriculum development, and the necessary training to introduce the use of computer graphics in the Architecture School. We based our analysis on some preliminary hypotheses: (1) Students must learn to use digital models with a certain degree of simultaneity with learning design and the other techniques used to develop models. (2) Professors of Design, Representation, and Morphology are main actors in this learning process; they do not have to become experts in informatics, but have some understanding of the topic. (3) Many universities and professional associations are offering students and professionals courses based in the use of programs, instead of addressing their real needs.
series	SIGRADI
email
last changed	2016/03/10 09:57

_id	ga0026
id	ga0026
authors	Ransen, Owen F.
year	2000
title	Possible Futures in Computer Art Generation
source	International Conference on Generative Art
summary	Years of trying to create an "Image Idea Generator" program have convinced me that the perfect solution would be to have an artificial artistic person, a design slave. This paper describes how I came to that conclusion, realistic alternatives, and briefly, how it could possibly happen. 1. The history of Repligator and Gliftic 1.1 Repligator In 1996 I had the idea of creating an “image idea generator”. I wanted something which would create images out of nothing, but guided by the user. The biggest conceptual problem I had was “out of nothing”. What does that mean? So I put aside that problem and forced the user to give the program a starting image. This program eventually turned into Repligator, commercially described as an “easy to use graphical effects program”, but actually, to my mind, an Image Idea Generator. The first release came out in October 1997. In December 1998 I described Repligator V4 [1] and how I thought it could be developed away from simply being an effects program. In July 1999 Repligator V4 won the Shareware Industry Awards Foundation prize for "Best Graphics Program of 1999". Prize winners are never told why they won, but I am sure that it was because of two things: 1) Easy of use 2) Ease of experimentation "Ease of experimentation" means that Repligator does in fact come up with new graphics ideas. Once you have input your original image you can generate new versions of that image simply by pushing a single key. Repligator is currently at version 6, but, apart from adding many new effects and a few new features, is basically the same program as version 4. Following on from the ideas in [1] I started to develop Gliftic, which is closer to my original thoughts of an image idea generator which "starts from nothing". The Gliftic model of images was that they are composed of three components: 1. Layout or form, for example the outline of a mandala is a form. 2. Color scheme, for example colors selected from autumn leaves from an oak tree. 3. Interpretation, for example Van Gogh would paint a mandala with oak tree colors in a different way to Andy Warhol. There is a Van Gogh interpretation and an Andy Warhol interpretation. Further I wanted to be able to genetically breed images, for example crossing two layouts to produce a child layout. And the same with interpretations and color schemes. If I could achieve this then the program would be very powerful. 1.2 Getting to Gliftic Programming has an amazing way of crystalising ideas. If you want to put an idea into practice via a computer program you really have to understand the idea not only globally, but just as importantly, in detail. You have to make hard design decisions, there can be no vagueness, and so implementing what I had decribed above turned out to be a considerable challenge. I soon found out that the hardest thing to do would be the breeding of forms. What are the "genes" of a form? What are the genes of a circle, say, and how do they compare to the genes of the outline of the UK? I wanted the genotype representation (inside the computer program's data) to be directly linked to the phenotype representation (on the computer screen). This seemed to be the best way of making sure that bred-forms would bare some visual relationship to their parents. I also wanted symmetry to be preserved. For example if two symmetrical objects were bred then their children should be symmetrical. I decided to represent shapes as simply closed polygonal shapes, and the "genes" of these shapes were simply the list of points defining the polygon. Thus a circle would have to be represented by a regular polygon of, say, 100 sides. The outline of the UK could easily be represented as a list of points every 10 Kilometers along the coast line. Now for the important question: what do you get when you cross a circle with the outline of the UK? I tried various ways of combining the "genes" (i.e. coordinates) of the shapes, but none of them really ended up producing interesting shapes. And of the methods I used, many of them, applied over several "generations" simply resulted in amorphous blobs, with no distinct family characteristics. Or rather maybe I should say that no single method of breeding shapes gave decent results for all types of images. Figure 1 shows an example of breeding a mandala with 6 regular polygons: Figure 1 Mandala bred with array of regular polygons I did not try out all my ideas, and maybe in the future I will return to the problem, but it was clear to me that it is a non-trivial problem. And if the breeding of shapes is a non-trivial problem, then what about the breeding of interpretations? I abandoned the genetic (breeding) model of generating designs but retained the idea of the three components (form, color scheme, interpretation). 1.3 Gliftic today Gliftic Version 1.0 was released in May 2000. It allows the user to change a form, a color scheme and an interpretation. The user can experiment with combining different components together and can thus home in on an personally pleasing image. Just as in Repligator, pushing the F7 key make the program choose all the options. Unlike Repligator however the user can also easily experiment with the form (only) by pushing F4, the color scheme (only) by pushing F5 and the interpretation (only) by pushing F6. Figures 2, 3 and 4 show some example images created by Gliftic. Figure 2 Mandala interpreted with arabesques Figure 3 Trellis interpreted with "graphic ivy" Figure 4 Regular dots interpreted as "sparks" 1.4 Forms in Gliftic V1 Forms are simply collections of graphics primitives (points, lines, ellipses and polygons). The program generates these collections according to the user's instructions. Currently the forms are: Mandala, Regular Polygon, Random Dots, Random Sticks, Random Shapes, Grid Of Polygons, Trellis, Flying Leap, Sticks And Waves, Spoked Wheel, Biological Growth, Chequer Squares, Regular Dots, Single Line, Paisley, Random Circles, Chevrons. 1.5 Color Schemes in Gliftic V1 When combining a form with an interpretation (described later) the program needs to know what colors it can use. The range of colors is called a color scheme. Gliftic has three color scheme types: 1. Random colors: Colors for the various parts of the image are chosen purely at random. 2. Hue Saturation Value (HSV) colors: The user can choose the main hue (e.g. red or yellow), the saturation (purity) of the color scheme and the value (brightness/darkness) . The user also has to choose how much variation is allowed in the color scheme. A wide variation allows the various colors of the final image to depart a long way from the HSV settings. A smaller variation results in the final image using almost a single color. 3. Colors chosen from an image: The user can choose an image (for example a JPG file of a famous painting, or a digital photograph he took while on holiday in Greece) and Gliftic will select colors from that image. Only colors from the selected image will appear in the output image. 1.6 Interpretations in Gliftic V1 Interpretation in Gliftic is best decribed with a few examples. A pure geometric line could be interpreted as: 1) the branch of a tree 2) a long thin arabesque 3) a sequence of disks 4) a chain, 5) a row of diamonds. An pure geometric ellipse could be interpreted as 1) a lake, 2) a planet, 3) an eye. Gliftic V1 has the following interpretations: Standard, Circles, Flying Leap, Graphic Ivy, Diamond Bar, Sparkz, Ess Disk, Ribbons, George Haite, Arabesque, ZigZag. 1.7 Applications of Gliftic Currently Gliftic is mostly used for creating WEB graphics, often backgrounds as it has an option to enable "tiling" of the generated images. There is also a possibility that it will be used in the custom textile business sometime within the next year or two. The real application of Gliftic is that of generating new graphics ideas, and I suspect that, like Repligator, many users will only understand this later. 2. The future of Gliftic, 3 possibilties Completing Gliftic V1 gave me the experience to understand what problems and opportunities there will be in future development of the program. Here I divide my many ideas into three oversimplified possibilities, and the real result may be a mix of two or all three of them. 2.1 Continue the current development "linearly" Gliftic could grow simply by the addition of more forms and interpretations. In fact I am sure that initially it will grow like this. However this limits the possibilities to what is inside the program itself. These limits can be mitigated by allowing the user to add forms (as vector files). The user can already add color schemes (as images). The biggest problem with leaving the program in its current state is that there is no easy way to add interpretations. 2.2 Allow the artist to program Gliftic It would be interesting to add a language to Gliftic which allows the user to program his own form generators and interpreters. In this way Gliftic becomes a "platform" for the development of dynamic graphics styles by the artist. The advantage of not having to deal with the complexities of Windows programming could attract the more adventurous artists and designers. The choice of programming language of course needs to take into account the fact that the "programmer" is probably not be an expert computer scientist. I have seen how LISP (an not exactly easy artificial intelligence language) has become very popular among non programming users of AutoCAD. If, to complete a job which you do manually and repeatedly, you can write a LISP macro of only 5 lines, then you may be tempted to learn enough LISP to write those 5 lines. Imagine also the ability to publish (and/or sell) "style generators". An artist could develop a particular interpretation function, it creates images of a given character which others find appealing. The interpretation (which runs inside Gliftic as a routine) could be offered to interior designers (for example) to unify carpets, wallpaper, furniture coverings for single projects. As Adrian Ward [3] says on his WEB site: "Programming is no less an artform than painting is a technical process." Learning a computer language to create a single image is overkill and impractical. Learning a computer language to create your own artistic style which generates an infinite series of images in that style may well be attractive. 2.3 Add an artificial conciousness to Gliftic This is a wild science fiction idea which comes into my head regularly. Gliftic manages to surprise the users with the images it makes, but, currently, is limited by what gets programmed into it or by pure chance. How about adding a real artifical conciousness to the program? Creating an intelligent artificial designer? According to Igor Aleksander [1] conciousness is required for programs (computers) to really become usefully intelligent. Aleksander thinks that "the line has been drawn under the philosophical discussion of conciousness, and the way is open to sound scientific investigation". Without going into the details, and with great over-simplification, there are roughly two sorts of artificial intelligence: 1) Programmed intelligence, where, to all intents and purposes, the programmer is the "intelligence". The program may perform well (but often, in practice, doesn't) and any learning which is done is simply statistical and pre-programmed. There is no way that this type of program could become concious. 2) Neural network intelligence, where the programs are based roughly on a simple model of the brain, and the network learns how to do specific tasks. It is this sort of program which, according to Aleksander, could, in the future, become concious, and thus usefully intelligent. What could the advantages of an artificial artist be? 1) There would be no need for programming. Presumbably the human artist would dialog with the artificial artist, directing its development. 2) The artificial artist could be used as an apprentice, doing the "drudge" work of art, which needs intelligence, but is, anyway, monotonous for the human artist. 3) The human artist imagines "concepts", the artificial artist makes them concrete. 4) An concious artificial artist may come up with ideas of its own. Is this science fiction? Arthur C. Clarke's 1st Law: "If a famous scientist says that something can be done, then he is in all probability correct. If a famous scientist says that something cannot be done, then he is in all probability wrong". Arthur C Clarke's 2nd Law: "Only by trying to go beyond the current limits can you find out what the real limits are." One of Bertrand Russell's 10 commandments: "Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric" 3. References 1. "From Ramon Llull to Image Idea Generation". Ransen, Owen. Proceedings of the 1998 Milan First International Conference on Generative Art. 2. "How To Build A Mind" Aleksander, Igor. Wiedenfeld and Nicolson, 1999 3. "How I Drew One of My Pictures: or, The Authorship of Generative Art" by Adrian Ward and Geof Cox. Proceedings of the 1999 Milan 2nd International Conference on Generative Art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	3888
authors	Reffat, Rabee M.
year	2000
title	Computational Situated Learning in Designing - Application to Architectural Shape Semantics
source	The University of Sydney, Faculty of Architecture
summary	Learning the situatedness (applicability conditions), of design knowledge recognised from design compositions is the central tenet of the research presented in this thesis. This thesis develops and implements a computational system of situated learning and investigates its utility in designing. Situated learning is based on the concept that "knowledge is contextually situated and is fundamentally influenced by its situation". In this sense learning is tuned to the situations within which "what you do when you do matters". Designing cannot be predicted and the results of designing are not based on actions independent of what is being designed or independent of when, where and how it was designed. Designers' actions are situation dependent (situated), such that designers work actively with the design environment within the specific conditions of the situation where neither the goal state nor the solution space is completely predetermined. In designing, design solutions are fluid and emergent entities generated by dynamic and situated activities instead of fixed design plans. Since it is not possible in advance to know what knowledge to use in relation to any situation we need to learn knowledge in relation to its situation, i.e. learn the applicability conditions of knowledge. This leads towards the notion of the situation as having the potential role of guiding the use of knowledge. Situated Learning in Designing (SLiDe) is developed and implemented within the domain of architectural shape composition (in the form of floor plans), to construct the situatedness of shape semantics. An architectural shape semantic is a set of characteristics with a semantic meaning based on a particular view of a shape such as reflection symmetry, adjacency, rotation and linearity. Each shape semantic has preconditions without which it cannot be recognised. Such preconditions indicate nothing about the situation within which this shape semantic was recognised. The situatedness or the applicability conditions of a shape semantic is viewed as, the interdependent relationships between this shape semantic as the design knowledge in focus, and other shape semantics across the observations of a design composition. While designing, various shape semantics and relationships among them emerge in different representations of a design composition. Multiple representations of a design composition by re-interpretation have been proposed to serve as a platform for SLiDe. Multiple representations provide the opportunity for different shape semantics and relationships among them to be found from a single design composition. This is important if these relationships are to be used later because it is not known in advance which of the possible relationships could be constructed are likely to be useful. Hence, multiple representations provide a platform for different situations to be encountered. A symbolic representation of shape and shape semantics is used in which the infinite maximal lines form the representative primitives of the shape. SLiDe is concerned with learning the applicability conditions (situatedness), of shape semantics locating them in relation to situations within which they were recognised (situation dependent), and updating the situatedness of shape semantics in response to new observations of the design composition. SLiDe consists of three primary modules: Generator, Recogniser and Incremental Situator. The Generator is used by the designer to develop a set of multiple representations of a design composition. This set of representations forms the initial design environment of SLiDe. The Recogniser detects shape semantics in each representation and produces a set of observations, each of which is comprised of a group of shape semantics recognised at each corresponding representation. The Incremental Situator module consists of two sub-modules, Situator and Restructuring Situator, and utilises an unsupervised incremental clustering mechanism not affected by concept drift. The Situator module locates recognised shape semantics in relation to their situations by finding regularities of relationships among them across observations of a design composition and clustering them into situational categories organised in a hierarchical tree structure. Such relationships change over time due to the changes taken place in the design environment whenever further representations are developed using the Generator module and new observations are constructed by the Recogniser module. The Restructuring Situator module updates previously learned situational categories and restructures the hierarchical tree accordingly in response to new observations. Learning the situatedness shape semantics may play a crucial role in designing if designers pursue further some of these shape semantics. This thesis illustrates an approach in which SLiDe can be utilised in designing to explore the shapes in a design composition in various ways; bring designers! attention to potentially hidden features and shape semantics of their designs; and maintain the integrity of the design composition by using the situatedness of shape semantics. The thesis concludes by outlining future directions for this research to learn and update the situatedness of design knowledge within the context of use; considering the role of functional knowledge while learning the situatedness of design knowledge; and developing an autonomous situated agent-based designing system.
series	thesis:PhD
email
last changed	2003/05/06 11:34

_id	sigradi2009_1158
id	sigradi2009_1158
authors	Tiani, André
year	2009
title	O Uso do Computador no Ensino de Projeto de Arquitetura: Análise Crítica da Produção dos Seminários SIGraDi e Projetar [The Use of Computer in Teaching Design Architecture: critical analysis of the production of Seminars SIGraDI and PROJETAR ]
source	SIGraDi 2009 - Proceedings of the 13th Congress of the Iberoamerican Society of Digital Graphics, Sao Paulo, Brazil, November 16-18, 2009
summary	This work, tied with the research line Education of Architecture, has as objective to reflect on the use of the computer in the education of architecture design in Brazil from the literature review of articles related to the subject published by Brazilian authors in the annals of the seminars SIGraDI and PROJETAR, in the period from 2000 to 2006. The analysis focuses on two issues: (a) the theoretical foundations and practices related to the processes and ways of rapprochement between the computer and the teaching of design, (b) the use of terminology and concepts related to the theme,
keywords	Ensino-aprendizagem; Projeto de Arquitetura; Projeto Auxiliado por Computador; SIGraDI; PROJETAR
series	SIGRADI
email
last changed	2016/03/10 10:01

_id	avocaad_2001_17
id	avocaad_2001_17
authors	Ying-Hsiu Huang, Yu-Tung Liu, Cheng-Yuan Lin, Yi-Ting Cheng, Yu-Chen Chiu
year	2001
title	The comparison of animation, virtual reality, and scenario scripting in design process
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	Design media is a fundamental tool, which can incubate concrete ideas from ambiguous concepts. Evolved from freehand sketches, physical models to computerized drafting, modeling (Dave, 2000), animations (Woo, et al., 1999), and virtual reality (Chiu, 1999; Klercker, 1999; Emdanat, 1999), different media are used to communicate to designers or users with different conceptual levels¡@during the design process. Extensively employed in design process, physical models help designers in managing forms and spaces more precisely and more freely (Millon, 1994; Liu, 1996).Computerized drafting, models, animations, and VR have gradually replaced conventional media, freehand sketches and physical models. Diversely used in the design process, computerized media allow designers to handle more divergent levels of space than conventional media do. The rapid emergence of computers in design process has ushered in efforts to the visual impact of this media, particularly (Rahman, 1992). He also emphasized the use of computerized media: modeling and animations. Moreover, based on Rahman's study, Bai and Liu (1998) applied a new design media¡Xvirtual reality, to the design process. In doing so, they proposed an evaluation process to examine the visual impact of this new media in the design process. That same investigation pointed towards the facilitative role of the computerized media in enhancing topical comprehension, concept realization, and development of ideas.Computer technology fosters the growth of emerging media. A new computerized media, scenario scripting (Sasada, 2000; Jozen, 2000), markedly enhances computer animations and, in doing so, positively impacts design processes. For the three latest media, i.e., computerized animation, virtual reality, and scenario scripting, the following question arises: What role does visual impact play in different design phases of these media. Moreover, what is the origin of such an impact? Furthermore, what are the similarities and variances of computing techniques, principles of interaction, and practical applications among these computerized media?This study investigates the similarities and variances among computing techniques, interacting principles, and their applications in the above three media. Different computerized media in the design process are also adopted to explore related phenomenon by using these three media in two projects. First, a renewal planning project of the old district of Hsinchu City is inspected, in which animations and scenario scripting are used. Second, the renewal project is compared with a progressive design project for the Hsinchu Digital Museum, as designed by Peter Eisenman. Finally, similarity and variance among these computerized media are discussed.This study also examines the visual impact of these three computerized media in the design process. In computerized animation, although other designers can realize the spatial concept in design, users cannot fully comprehend the concept. On the other hand, other media such as virtual reality and scenario scripting enable users to more directly comprehend what the designer's presentation.Future studies should more closely examine how these three media impact the design process. This study not only provides further insight into the fundamental characteristics of the three computerized media discussed herein, but also enables designers to adopt different media in the design stages. Both designers and users can more fully understand design-related concepts.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	f2f1
authors	Breen, Jack and Nottrot, Robert
year	2000
title	Project a2W. A Dialogue on New Media Perspectives
doi	https://doi.org/10.52842/conf.ecaade.2000.291
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 291-296
summary	This paper documents an initiative taking the form of a "dialogue". The format which has been developed is somewhat similar to that of the "conversation" which Mondrian conceived in 1919, taking place between two fictitious characters - A and B - discussing the new direction in art, which he called "Nieuwe Beelding" and which contributed to the "De Stijl" movement (the dialogue was followed later that year by a "trialogue" between X, Y and Z on a virtual walk taking them from the countryside to the city) 1 . This time the issue is not so much the evolvement of a new artistic or architectural style, but the role of "new media" in architecture... The present dialogue takes place between two fictitious media proponents ("Alpha" and "Omega"). They take turns questioning several issues and exchanging proposals... What are the values - and the promises - of computer supported instruments in creative design and research - concerning the art and science shaping the built environment? How do the present applications measure up, how do they compare to the expectations and ambitions expressed a number of years ago? The form of a dialogue means that issues and ideas, which are not often aired within the confines of academic discourse, can be played back and forth and a measure of exaggeration was intended from the beginning... This contribution does not in any way pretend to be all-inclusive. Rather, the paper is meant to put forward ideas and experiences - from the perspective of the Delft Media group, in practice, in teaching and in research - which may stimulate (or even irritate?) but will hopefully activate. The aim is to open up discussions, to allow other (hidden) agendas for the future to become more visible and to look for platforms for sharing concepts and fascinations, however improbable they might be...
keywords	A Dialogue on New Media
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:54

_id	326c
authors	Hirschberg, U., Gramazio, F., H¾ger, K., Liaropoulos Legendre, G., Milano, M. and Stöger, B.
year	2000
title	EventSpaces. A Multi-Author Game And Design Environment
doi	https://doi.org/10.52842/conf.ecaade.2000.065
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 65-72
summary	EventSpaces is a web-based collaborative teaching environment we developed for our elective CAAD course. Its goal is to let the students collectively design a prototypical application - the EventSpaces.Game. The work students do to produce this game and the process of how they interact is actually a game in its own right. It is a process that is enabled by the EventSpaces.System, which combines work, learning, competition and play in a shared virtual environment. The EventSpaces.System allows students to criticize, evaluate, and rate each otherÕs contributions, thereby distributing the authorship credits of the game. The content of the game is therefore created in a collaborative as well as competitive manner. In the EventSpaces.System, the students form a community that shares a common interest in the development of the EventSpaces.Game. At the same time they are competing to secure as much credit as possible for themselves. This playful incentive in turn helps to improve the overall quality of the EventSpaces.Game, which is in the interest of all authors. This whole, rather intricate functionality, which also includes a messaging system for all EventSpaces activities, is achieved by means of a database driven online working environment that manages and displays all works produced. It preserves and showcases each authorÕs contributions in relation to the whole and allows for the emergence of coherence from the multiplicity of solutions. This Paper first presents the motivation for the project and gives a short technical summary of how the project was implemented. Then it describes the nature of the exercises and discusses possible implications that this approach to collaboration and teaching might have.
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:50

_id	47ee
authors	Cheok, G.S., Stone, W.C., Lipman, R.R. and Witzgall, C.
year	2000
title	Ladars for construction assessment and update
source	Automation in Construction 9 (5-6) (2000) pp. 463-477
summary	Work at the National Institute of Standards and Technology (NIST) on laser radar imaging of a construction site is described. The objective of the NIST research is to make measurements required in a construction project quicker and cheaper than current practice and to do so without impacting existing operations. This can be done by developing techniques for real-time assessment and documentation in terms of 3-D as-built models of the construction process. Once developed, this technology may be used for other applications such as condition assessment of a hazardous environment where human intervention would be impossible.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	2355
authors	Tweed, Christopher and Carabine, Brendan
year	1999
title	CAAD in the Future Perfect
doi	https://doi.org/10.52842/conf.ecaade.1999.018
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 18-24
summary	The history of CAAD research is largely one of generic computing techniques grafted on to existing design practices. The motivation behind such research, on different occasions, has been to automate some or all of the design process, to provide design assistance, to check designs for compliance against some predefined criteria, or more recently to enable people to experience designs as realistically as possible before they are built. But these goals remain unexamined, and their fulfilment is assumed to be a self-evident benefit. In the worst cases, they are examples of barely concealed technology-push. Few researchers have stated in detail what they want computers to do for architectural design, most choosing instead to focus on what computers can do, rather than what is needed. This paper considers what we want CAAD systems to do for us. However, this will be a modest effort, a beginning, a mere sketch of possible directions for CAAD. But it should open channels for criticism and serious debate about the role of CAAD in the changing professional, social and cultural contexts of its eventual use in education and practice. The paper, therefore, is not so concerned to arrive at a single 'right' vision for future CAAD systems as concerned by the lack of any cogent vision for CAAD.
keywords	History, CAAD Research, Future Trends
series	eCAADe
email
more	http://www.aic.salford.ac.uk/Pit/home.html
last changed	2022/06/07 07:58

_id	f003
authors	Barbosa Vilas Boas, Naylor
year	2000
title	A Reconstrução Virtual do Antigo Passeio Público de Mestre Valentim: Metodologia de Trabalho e Pesquisa (The Virtual Reconstruction of the Mestre Valentin's Old "Passeio Publico" do Antigo Public Passeio of Mestre Valentim: Methodology and Research)
source	SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 171-173
summary	This work, part of the thesis named “The Passeio Público of Rio de Janeiro: Historical Analysis through Space Perception”, has the purpose to show the methodological process realized for the virtual reconstruction of the Passeio Público idealized by Mestre Valentim da Fonseca e Silva. That space, constructed at the end of 18 th century, was inspired by the French rationalists gardens, and existed until the 1860’s decade, when it was transformed by Auguste Glaziou's reformation, who conceived a new design for the Passeio Público, inspired by the landscape English gardens. To the virtual reconstruction, it was utilized iconographical sources - old photos, engravings and plans - plus travelers reports who passed by there before the reformation of 1860’s, which could enlighten details that wouldn’t appear in the consulted images. So, the final model reproduce with fidelity the whole original architectural elements conceived by Mestre Valentim to the Passeio, and also the correct articulation of the architectural elements that once existed there.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	df49
authors	Barbosa, Adriana Simeone
year	2000
title	Roteiro e Interface: Elementos Fundamentais para a Representação das Cidades Virtuais - (Story-board and Interface: Fundamental Elements for the Virtual Cities Representaion)
source	SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 322-324
summary	This paper derives from the project "A Evolucao do Sistemas simbólicos da Cidade Latino-Americana" by the team at the Laboratório de Analises Graficas e Representaçio Digital, PROURB (Programa de Pósgraduacio em Urbanismo) at the Faculdade de Arquitetura e Urbanismo, Universidade Federal do Rio de Janeiro. In a period of five years the CD-ROMs Havana Colonial, Rio de Janeiro Colonial and the websites Um Palacio na Cidade and Favela-Bairro were produced. Based on that experience this paper intends to demonstrate that there was a conceptual and technological evolution related to representation and through the analysis of a few of the screens of the above mentioned works we will discuss the importance of integrating navigation script and creation of the interfaces through which the user accesses the product.
series	SIGRADI
last changed	2016/03/10 09:47

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