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	7e52
authors	Achten, Henri
year	2001
title	Normative Positions in Architectural Design - Deriving and Applying Design Methods
doi	https://doi.org/10.52842/conf.ecaade.2001.263
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 263-268
summary	This paper presents a recently finished course of eight weeks where CAAD skills, design methodology, and architectural theory are combined to discuss possible perspectives on the use of the computer in design, and its influence on architecture. In the course, three contemporary architects were studied; Peter Eisenman, Ben van Berkel, and Greg Lynn. Each was discussed on aspects of ontology (which are the elements of discourse), design method (design process and organization of the process), and the use of the computer (techniques and approaches). These were linked with design theory, architectural theory, and CAD-theory. The reflection on the work of the architects resulted in a number of design methods for each architect. The design methods were adapted to the available technologies in the university as well as to the scope of the exercise, since the period of eight weeks for an exercise cannot compete with design processes in practice that take many participants and much time. The students then applied the design methods to a design task: student housing and an exhibition pavilion on the campus area of the university. The task was so devised, that students could focus on either architectural or urban design level with one of the design methods. Also, the choice of architects and accompanying design methods was made in such a way that students with low, medium, and advanced computer skills could take part in the course and exercise. In a workshop held at the Czech Technical University (CVUT) in Prague, the same procedure was used in a one-week period for a different design task, but in an otherwise almost identical setting with respect to the CAAD software used. The methods and material were easily transferred to the other setting. The students were able to cope with the task and produced surprising results in the short time span available. The paper will provide an overview of the course, discuss the pedagogical implications of the work, and discuss how this particular work can be generalized to incorporate other architects and approaches.
keywords	CAAD: Design Methods, Pedagogy
series	eCAADe
email
last changed	2022/06/07 07:54

_id	1b10
id	1b10
authors	Bay, Joo-Hwa
year	2001
title	Cognitive Biases - The case of tropical architecture
source	Delft University of Technology
summary	This dissertation investigates, i) How cognitive biases (or illusions) may lead to errors in design thinking, ii) Why architects use architectural precedents as heuristics despite such possible errors, and iii) Develops a design tool that can overcome this type of errors through the introduction of a rebuttal mechanism. The mechanism controls biases and improves accuracy in architectural thinking. // The research method applied is interdisciplinary. It employs knowledge from cognitive science, environmental engineering, and architectural theory. The case study approach is also used. The investigation is made in the case of tropical architecture. The investigation of architectural biases draws from work by A. Tversky and D. Kahneman in 1982 on “Heuristics and biases”. According to Tversky and Kahneman, the use of heuristics of representativeness (based on similarity) and availability (based on ease of recall and imaginability) for judgement of probability can result in cognitive biases of illusions of validity and biases due to imaginability respectively. This theory can be used analogically to understand how errors arise in the judgement of environmental behaviour anticipated from various spatial configurations, leading to designs with dysfunctional performances when built. Incomplete information, limited time, and human mental resources make design thinking in practice difficult and impossible to solve. It is not possible to analyse all possible alternative solutions, multiple contingencies, and multiple conflicting demands, as doing so will lead to combinatorial explosion. One of the ways to cope with the difficult design problem is to use precedents as heuristic devices, as shortcuts in design thinking, and at the risk of errors. This is done with analogical, pre-parametric, and qualitative means of thinking, without quantitative calculations. Heuristics can be efficient and reasonably effective, but may not always be good enough or even correct, because they can have associated cognitive biases that lead to errors. Several debiasing strategies are discussed, and one possibility is to introduce a rebuttal mechanism to refocus the designer’s thinking on the negative and opposite outcomes in his judgements, in order to debias these illusions. The research is carried out within the framework of design theory developed by the Design Knowledge System Research Centre, TUDelft. This strategy is tested with an experiment. The results show that the introduction of a rebuttal mechanism can debias and improve design judgements substantially in environmental control. The tool developed has possible applications in design practice and education, and in particular, in the designing of sustainable environments.
keywords	Design bias; Design knowledge; Design rebuttal; Design Precedent; Pre-parametric design; Tropical architecture; Sustainability
series	thesis:PhD
type	normal paper
email
last changed	2006/05/28 07:42

_id	2006_000
id	2006_000
authors	Bourdakis, Vassilis and Charitos, Dimitris (eds.)
year	2006
title	Communicating Space(s)
doi	https://doi.org/10.52842/conf.ecaade.2006
source	24th eCAADe Conference Proceedings [ISBN 0-9541183-5-9], Volos (Greece) 6-9 September 2006, 914 p.
summary	The theme of this conference builds on and investigates the pre-existing and endlessly unfolding relationship between two domains of scientific inquiry: Architecture, urban design and planning, environmental design, geography and Social theory, media and communication studies, political science, cultural studies and social anthropology. Architectural design involves communication and could thus be partly considered a communicational activity. Designers (or not) see architectural designs, implicitly, as carriers of information and symbolic content; similarly buildings and urban environments have been “read” and interpreted by many (usu- ally not architects) as cultural texts. At the same time, social and cultural studies have studied buildings and cities, as contexts for social and cultural activities and life in general, from their mundane expression of “everyday life” (Highmore, 2001) to elite expressions of artistic creativity and performance. Information and communication technologies (ICTs) support both of these levels of scientific inquiry in many ways. Most importantly however, ICTs need design studies, architectural and visual design, social and cultural studies in their quest to create aesthetically pleasing, ergonomically efficient and functional ICT sys- tems; this need for interdisciplinarity is best articulated by the low quality of most on-line content and applica- tions published on the web.
series	eCAADe
type	normal paper
email
more	http://www.ecaade.org
last changed	2022/06/07 07:49

_id	89fe
authors	Ferrar, Steve
year	2001
title	The Nature of Non-Physical Space - Or how I learned to love cyberspace wherever it may be
doi	https://doi.org/10.52842/conf.ecaade.2001.208
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 208-213
summary	More designers are concerned with the occupation of the virtual world, through immersive techniques, for example, than in using it as a means for conceptualising and theorising architectural space. The paper examines how architects think about space and how our consideration of nonphysical space might assist in spatial theory and in teaching. It also considers cyberspace fiction both in writing and film to see how it might help us think about space in a more liberating way. Architects and architectural teaching tends to focus on space as an element of construction rather than a theoretical proposition. By discussing imaginary spaces in greater depth we could encourage students to think about space and spatial concepts in a less rigid way. In particular the paper addresses the issues of interaction and transactions in these environments and how information is represented and accessed in an apparently threedimensional manner. In his book ‘Snow Crash’, Neil Stephenson deals with many ideas concerning not only architectural space but also universal space and its organisation in space and time. He uses metaphor in his depiction of the ultimate in information gathering and management. These are compelling ways in which to communicate ideas about threedimensional thinking, and information collection and management to students of architecture as well as helping architects with the theory and visualisation of non-physical space.
keywords	Space: Virtual Reality, Cyberspace, Film, Literature
series	eCAADe
email
last changed	2022/06/07 07:56

_id	5d19
authors	Gómez Arvelo, Susana Carolina
year	2001
title	Simulador de proyecciones de sombras sobre modelos computarizados en 3d. Herramienta para evaluar la eficiencia de modelos de proteccion solar. [Shade simulator On 3D Computer Models. A Tool to Evaluate the Efficiency of Models for Solar Protection]
source	2da Conferencia Venezolana sobre Aplicación de Computadores en Arquitectura, Maracaibo (Venezuela) december 2001, pp. 156-165
summary	A Program of Graphic Computing, developed in the Language of Programming AUTOLISP and run in AUTOCAD 2000, which is guided toward the Investigation in Bioclimatic Architecture, is presented. Before a model of solar protection in 3D, and loading the input data of the geographical localization and orientation, time and evaluation date (chosen by the user), the program calculates and projects the simulation of the corresponding shade contours on every plane that constitutes the 3D pattern (openings, walls, protections, floor...). In this research different areas of knowledge concur: Plane and spherical trigonometry applied to the solar ray and to the Bioclimatic Architecture, space geometry, plane graphical representation of three-dimensional objects, a concept of the transformation of vision for the three-dimensional representation of the objects in computers, and modern programming techniques.
keywords	Bioclimatic Architecture; Heat Gaining Control; 3D Shades Simulator; Solar Protection
series	other
email
last changed	2003/02/14 08:29

_id	e6c5
authors	Heintz, John L.
year	2001
title	Coordinating virtual building design teams
source	Stellingwerff, Martijn and Verbeke, Johan (Eds.), ACCOLADE - Architecture, Collaboration, Design. Delft University Press (DUP Science) / ISBN 90-407-2216-1 / The Netherlands, pp. 65-76 [Book ordering info: m.c.stellingwerff@bk.tudelft.nl]
summary	Most research in design project management support systems treats the subject as an isolated objective problem. The goals to be met are defined in terms of a supposed universal view of the project, and now outside concerns are taken into account. While such approaches, including project simulation, may yield excellent results, they ignore what, for many projects, are the real difficulties. Design projects are not isolated. All participants have other obligations that compete with the given project for attention and resources. The various participants in the design process have different goals. For these reasons it is proposed that design project management can be best facilitated by tools which assist the participating actors to share suitable management information in order to make better co-ordination possible, while allowing the resource balancing between projects to occur in private. Such a tool represents the design project management task as a negotiation task that spans both projects and firms; the management of one project is the management of all. The model of design collaboration upon which the Design Coordination System (DeCo) is built was developed from 1) a heuristic case study used to gain insight into the ways in which designers co-ordinate their efforts, and 2) the application of the theory of the social contract as developed by John Rawls to the problem of design project management. The key innovation in the DeCo system is the shaping of the project management system around existing practices of collaborative project design management and planning. DeCo takes advantage of how designers already co-ordinate their work with each other and resolve disputes over deadlines and time lines. The advantage of DeCo is that it formalises these existing practices in order to accommodate both the increasing co-ordination burden and the difficulties brought about by the internationalisation of design practice. DeCo, the design project management system proposed here, provides a representation, a communications protocol, and a game theoretical decision structure. The combination of these three units provides users with the ability to exchange structured pictures of the project as seen from the points of view of individual actors. Further, it suggests a mechanism based on a specific principle of fairness for arriving at mutually acceptable project plans. The DeCo system permits the users freedom to manage their design processes as they will, while providing a basic compatibility between practices of design team members which supports their collaborative efforts to co-ordinate their design work.
series	other
last changed	2001/09/14 21:30

_id	caadria2003_b6-1
id	caadria2003_b6-1
authors	Howe, A.S., Kang, P. and Nasari, Omid
year	2003
title	Digiosk Digital Design to Robotic Deployment in Two Months
doi	https://doi.org/10.52842/conf.caadria.2003.811
source	CAADRIA 2003 [Proceedings of the 8th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 974-9584-13-9] Bangkok Thailand 18-20 October 2003, pp. 811-826
summary	In this paper, we discuss Kit-of-parts Theory and how it applies to the design, manufacture, and operation of a small robotic deployable demonstration structure called the Digiosk (Howe, 2001). "Kit-of-parts Theory" refers to the study and application of objectoriented building techniques, where building components are predesigned / pre-engineered / pre-fabricated for inclusion in joint-based (linear element), panel-based (planar element), module-based (solid element), and deployable (time element) construction systems. The Digiosk is an exposition display kiosk that was designed and manufactured digitally, and brought from concept to robotic functionality in a short period of time. Using kinematic mechanisms the cylinder opens up and deploys into a 2.7m cubical display booth complete with integral power and network connections. The kiosk was designed using a solid modeler, from which data was extracted to drive digital manufacturing processes. Owing to the well-developed understanding of Kit-of-parts Theory and the new "kinematic architecture" principles, the paperless process yielded a working prototype only eight weeks after initial conceptualization. The paper concludes with a discussion of how these concepts can be applied to large-scale projects and design processes.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	4dd3
authors	Reymen, Isabelle M.M.J.
year	2001
title	Improving design processes through structured reflection : a domain-independent approach
source	Eindhoven University of Technology
summary	In the world of designing, three fields of attention can be recognised, namely design research, design practice, and design education. Gaps exist between these three fields. In this thesis about designing, the focus is on the gap between design research and design practice. Design practice includes many design disciplines and an increasing number of multidisciplinary teams. Main problems in design practice are the communication between designers with a different background and the integration and co-ordination of important aspects during a design process. By tackling these problems, the effectiveness and efficiency of design processes in practice can be improved. The study of similarities and differences between design processes in several design disciplines and the development of support for reflection on design processes are topics that can improve design practice and that deserve more attention in design research. The goal of my research is to decrease the gap between design research and design practice in order to improve design processes. Reflection on design processes can help designers to improve their design process, its results, and the designer’s proficiency: By reflecting explicitly on the current design situation and on the performed design activities, in a systematic way and on a regular basis, designers can plan next design activities that can be performed effectively and efficiently given the design goal at that moment. In this thesis, the combination of systematic and regular reflection is called structured reflection. To improve design processes in various design disciplines in practice, the study of similarities and differences between design processes in several disciplines can be useful. Similarities between design processes are the basis for domain-independent design knowledge (as distinguished from domain-specific design knowledge). To reach the goal of my research, I have chosen to combine, in a broad explorative study, the development of support for structured reflection on design processes and the development of domain-independent design knowledge. This thesis describes a domain-independent approach to improve design processes through structured reflection. My research process can be summarised as follows. I studied three design disciplines, namely architecture, mechanical engineering, and software engineering. To get input from design practice, I did qualitative empirical research: I performed twelve case studies in the three disciplines to inventory characteristics of design processes and I compared the cases for similarities and differences. The similarities, together with the results of a literature study, have been the basis for the development of domain-independent descriptive design knowledge. The developed descriptive knowledge, in turn, formed the basis for developing domain-independent prescriptive design knowledge. At the end of the project, I confronted all results with design practice to get feedback on the results in another empirical study and I performed a literature study to position the results in the design literature. My design philosophy and design frame are the descriptive results developed to answer the first research question, namely “How to describe design processes in a domain-independent way?”. My design philosophy is a set of domain-independent concepts and terms for describing a design process. The concepts and terms are based on an application of the general theory of state-transition systems to the context of designing; the concepts of state and state transition correspond to the main concepts of design situation and design activity in my design philosophy. The answer to the first research question given by the design philosophy is refined in a design frame: The design frame offers a means to structure the description of a design process in a domain-independent way. Major structuring concepts of the design frame are dimensions and subjects. I define three dimensions, namely level, perspective, and time. These dimensions define a three-dimensional space, called a positioning space, in which important aspects of design processes can be positioned. A positioning space must be defined for each subject, being the three parts of a design situation: the product being designed, the design process, and the design context. My design frame is a domain-independent structure formed by the combination of the three dimensions for each subject. My design method is the prescriptive result developed to answer the second research question, namely “How to support structured reflection on design processes in a domain-independent way?”. My design method is a domain-independent aid that offers designers support for reflecting on design processes in a structured way. Reflection on design processes is defined as an introspective contemplation on the designer’s perception of the design situation and on the remembered design activities. A reflection process is described as a process that consists of three steps that are called preparation, image forming, and conclusion drawing. The design method is based on two main concepts: The first concept is the systematic description and analysis of design situations and design activities by means of forms and checklists; only systematic support for the preparation step of a reflection process is developed. The second concept is the idea of design sessions, introduced to stimulate designers to reflect regularly during a design process. A design session is defined as a period of time during which one or more designers are working on a subtask of a certain design task, for example, one afternoon, a whole day, or a week. Both concepts are combined to support structured reflection on design processes. The complete design method consists of five steps for each design session, namely planning a design session, defining the subtask of the design session, reflecting at the beginning of a design session, designing during the core of a design session, and reflecting at the end of a design session. A prototype software tool, called ECHO, has been developed to explore the benefits of using a software system to facilitate the use of the design method. Together, the design philosophy and the design frame offer concepts, a vocabulary, and a structure to describe design processes in a domain-independent way. The design method is a first proposal of a method that supports structured reflection on design processes. My results are thus possible answers to the mentioned research questions and are starting points to improve the effectiveness and efficiency of design processes. Based on the feedback I collected, I am optimistic about the applicability of my results in design practice. By asking input from design practice and by developing results that are useful for design practice and that contribute to design research, I contribute to decrease the gap between design research and design practice. The most important recommendations for further research are to test all results extensively in design practice and to investigate how to apply the results in design education.
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	7897
authors	Achten, Henri and De Vries, Bauke
year	2001
title	Multiple Sketch Users in DDDoolz
source	Stellingwerff, Martijn and Verbeke, Johan (Eds.), ACCOLADE - Architecture, Collaboration, Design. Delft University Press (DUP Science) / ISBN 90-407-2216-1 / The Netherlands, pp. 153-162 [Book ordering info: m.c.stellingwerff@bk.tudelft.nl]
summary	This paper presents DDDoolz, a desktop-VR three-dimensional voxel sketchtool. DDDoolz is developed in the Design Systems Group to explore the use of Virtual Reality technology in the early design stage. The aim is to offer a sketch-like environment in VR with an unobtrusive interface. The paper presents DDDoolz, how it is used in education and with partners in architectural practice, and some future developments. As an extension to current functionality, the possibility of multiple users at the same time will be developed in the system for the {ACCOLADE} workshop.
series	other
email
last changed	2001/09/14 21:30

_id	ascaad2004_paper12
id	ascaad2004_paper12
authors	Al-Qawasmi, Jamal
year	2004
title	Reflections on e-Design: The e-Studio Experience
source	eDesign in Architecture: ASCAAD's First International Conference on Computer Aided Architectural Design, 7-9 December 2004, KFUPM, Saudi Arabia
summary	The influence of digital media and information technology on architectural design education and practice is increasingly evident. The practice and learning of architecture is increasingly aided by and dependant on digital media. Digital technologies not only provide new production methods, but also expand our abilities to create, explore, manipulate and compose space. In contemporary design education, there is a continuous demand to deliver new skills in digital media and to rethink architectural design education in the light of the new developments in digital technology. During the academic years 2001-2003, I had the chance to lead the efforts to promote an effective use of digital media for design education at Department of Architecture, Jordan University of Science and Technology (JUST). Architectural curriculum at JUST dedicated much time for teaching computing skills. However, in this curriculum, digital media was taught in the form of "software use" education. In this context, digital media is perceived and used mainly as a presentation tool. Furthermore, Computer Aided Architectural Design and architectural design are taught in separate courses without interactions between the two.
series	ASCAAD
email
last changed	2007/04/08 19:47

_id	avocaad_2001_05
id	avocaad_2001_05
authors	Alexander Koutamanis
year	2001
title	Analysis and the descriptive approach
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	The rise of consciousness concerning the quality of working and living conditions has been a permanent though frequently underplayed theme in architecture and building since the reconstruction period. It has led to an explosive growth of programmatic requirements on building behaviour and performance, thus also stimulating the development of design analysis. The first stage of development was characterized by the evolution of prescriptive systems. These reversed the structure of pre-existing proscriptive systems into sequences of known steps that should be taken in order to achieve adequate results. Prescriptive systems complemented rather than replaced proscriptive ones, thereby creating an uncertain mixture of orthodoxy and orthopraxy that failed to provide design guidance for improving design performance and quality.The second stage in the development of design analysis focuses on descriptive methods and techniques for analyzing and supporting evaluation. Technologies such as simulation and scientific visualization are employed so as to produce detailed, accurate and reliable projections of building behaviour and performance. These projections can be correlated into a comprehensive and coherent description of a building using representations of form as information carriers. In these representations feedback and interaction assume a visual character that fits both design attitudes and lay perception of the built environment, but on the basis of a quantitative background that justifies, verifies and refines design actions. Descriptive analysis is currently the most promising direction for confronting and resolving design complexity. It provides the designer with useful insights into the causes and effects of various design problems but frequently comes short of providing clear design guidance for two main reasons: (1) it adds substantial amounts of information to the already unmanageable loads the designer must handle, and (2) it may provide incoherent cues for the further development of a design. Consequently the descriptive approach to analysis is always in danger of been supplanted by abstract decision making.One way of providing the desired design guidance is to complement the connection of descriptive analyses to representations of form (and from there to synthesis) with two interface components. The first is a memory component, implemented as case-bases of precedent designs. These designs encapsulate integrated design information that can be matched to the design in hand in terms of form, function and performance. Comparison between precedents with a known performance and a new design facilitate identification of design aspects that need be improved, as well as of wider formal and functional consequences. The second component is an adaptive generative system capable of guiding exploration of these aspects, both in the precedents and the new design. The aim of this system is to provide feedback from analysis to synthesis. By exploring the scope of the analysis and the applicability of the conclusions to more designs, the designer generates a coherent and consistent collection of partial solutions that explore a relevant solution space. Development of the first component, the design case-bases, is no trivial task. Transformability in the representation of cases and flexible classification in a database are critical to the identification and treatment of a design aspect. Nevertheless, the state of the art in case-based reasoning and the extensive corpus of analysed designs provide the essential building blocks. The second component, the adaptive generative system, poses more questions. Existing generative techniques do not possess the necessary richness or multidimensionality. Moreover, it is imperative that the designer plays a more active role in the control of the process than merely tweaking local variables. At the same time, the system should prevent that redesigning degenerates into a blind trial-and-error enumeration of possibilities. Guided empirical design research arguably provides the means for the evolutionary development of the second component.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	sigradi2003_076
id	sigradi2003_076
authors	Armesto, Tristán
year	2003
title	Producción Digital de un Auditorio (Digital Production of an Auditorium)
source	SIGraDi 2003 - [Proceedings of the 7th Iberoamerican Congress of Digital Graphics] Rosario Argentina 5-7 november 2003
summary	In the middle of the year 2001, we had the opportunity to project an Auditory in the particular building of our School of Architecture. The chance to produce the entire project an all the technical documentation was given; using only digital tools. The use of this tools let us to calculate illumination, isolation study, sound an thermical conditioning with a real time visualization of the three dimensional model.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	caadria2010_043
id	caadria2010_043
authors	Barker, Tom and M. Hank Haeusler
year	2010
title	Urban digital media: facilitating the intersection between science, the arts and culture in the arena of technology and building
doi	https://doi.org/10.52842/conf.caadria.2010.457
source	Proceedings of the 15th International Conference on Computer Aided Architectural Design Research in Asia / Hong Kong 7-10 April 2010, pp. 457-466
summary	The research presented in this paper investigates ways of providing better design applications for technologies in the field of Urban Digital Media (UDM). The work takes an emergent approach, evolving a design strategy through the early engagement of stakeholders. The paper discusses research in a design-led creative intersection between media technology, culture and the arts in the built environment. The case study discusses opportunities for the enhancement of a university campus experience, learning culture and community, through the provision of an integrated digital presence within campus architecture and urban spaces. It considers types of information architecture (Manovich, 2001) and designs for use in urban settings to create communication-rich, advanced and interactive designed spaces (Haeusler, 2009). The presented research investigates how to create a strategy for display technologies and networked communications to transform and augment the constructed reality of the built environment, allowing new formats of media activity.
keywords	Urban design; outdoor digital media; information architecture; multidisciplinary design; augmented reality; media facades
series	CAADRIA
email
last changed	2022/06/07 07:54

_id	117a
authors	Bermudez, J., Agutter, J., Westenskow, D., Zhang, Y., Foresti, S., Syroid, N., Lilly, B., Strayer, D., Drews, F. and Gondeck-Becker, D.
year	2001
title	LA ARQUITECTURA DE REPRESENTACION DE DATOS. DISEÑO ARQUITECTONICO APLICADO A LA VISUALIZACION EN ANESTESIOLOGIA (The Architecture of Data Representation. Architectonical Design Applied to the Visualization in Anestesiology)
source	SIGraDi biobio2001 - [Proceedings of the 5th Iberoamerican Congress of Digital Graphics / ISBN 956-7813-12-4] Concepcion (Chile) 21-23 november 2001, pp. 135-138
summary	This paper presents the architectural process and products that are being employed in an ongoing multidisciplinary research in anesthesiology. The project’s 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 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 the NIH grant supporting the team’s scientific methods demonstrate the contributions that architecture offers to the growing field of data visualization.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	36f5
authors	Burry, M., Burry, J. and Faulí, J.
year	2001
title	Sagrada Família Rosassa: Global Computeraided Dialogue between Designer and Craftsperson (Overcoming Differences in Age, Time and Distance)
doi	https://doi.org/10.52842/conf.acadia.2001.076
source	Reinventing the Discourse - How Digital Tools Help Bridge and Transform Research, Education and Practice in Architecture [Proceedings of the Twenty First Annual Conference of the Association for Computer-Aided Design in Architecture / ISBN 1-880250-10-1] Buffalo (New York) 11-14 October 2001, pp. 076-086
summary	The rose window (‘rosassa’ in Catalan) recently completed between the two groups of towers that make up the Passion Façade of Gaudí’s Sagrada Família Church in Barcelona measures eight metres wide and thirty-five metres in height [Figure 1]. There were four phases to the design based in three distinct geographical locations. The design was undertaken on site, design description in Australia some eighteen thousand kilometres distant, stone-cutting a thousand kilometres distant in Galicia, with the completion of the window in March 2001. The entire undertaking was achieved within a timeframe of fifteen months from the first design sketch. Within this relatively short period, the entire team achieved a new marriage between architecture and construction, a broader relationship between time-honoured craft technique with high technology, and evidence of leading the way in trans-global collaboration via the Internet. Together the various members of the project team combined to demonstrate that the technical office on site at the Sagrada Família Church now has the capacity to use ‘just-in-time’ project management in order to increase efficiency. The processes and dialogues developed help transcend the tyranny of distance, the difficult relationship between traditional craft based technique and innovative digitally enhanced production methods, and the three generational age differences between the youngest and more senior team members.
keywords	Digital Practice, Global Collaboration, Rapid Prototyping
series	ACADIA
email
last changed	2022/06/07 07:54

_id	caadria2010_042
id	caadria2010_042
authors	Celento, David
year	2010
title	Open-source, parametric architecture to propagate hyper-dense, sustainable urban communities: parametric urban dwellings for the experience economy
doi	https://doi.org/10.52842/conf.caadria.2010.443
source	Proceedings of the 15th International Conference on Computer Aided Architectural Design Research in Asia / Hong Kong 7-10 April 2010, pp. 443-452
summary	Rapid developments in societal, technological, and natural systems suggest profound changes ahead if research in panarchical systems (Holling, 2001) is to be believed. Panarchy suggests that systems, both natural and man-made, rise to the point of vulnerability then fail due to disruptive forces in a process of ‘creative destruction.’ This sequence allows for radical, and often unpredictable, renewal. Pressing sustainability concerns, burgeoning urban growth, and emergent ‘green manufacturing’ laws, suggest that future urban dwellings are headed toward Gladwell’s ‘tipping point’ (2002). Hyper-dense, sustainable, urban communities that employ open-source standards, parametric software, and web-based configurators are the new frontier for venerable visions. Open-source standards will permit the design, manufacture, and sale of highly diverse, inter-operable components to create compact urban living environments that are technologically sophisticated, sustainable, and mobile. These mass-customised dwellings, akin to branded consumer goods, will address previous shortcomings for prefabricated, mobile dwellings by stimulating consumer desire in ways that extend the arguments of both Joseph Pine (1992) and Anna Klingman (2007). Arguments presented by authors Makimoto and Manners (1997) – which assert that the adoption of digital and mobile technologies will create large-scale societal shifts – will be extended with several solutions proposed.
keywords	Mass customisation; urban dwellings; open source standards; parametric design; sustainability
series	CAADRIA
email
last changed	2022/06/07 07:55

_id	5d15
authors	Clayton, M.J., Song, Y., Han, K., Darapureddy, K., Al-Kahaweh, H. and Soh, I.
year	2001
title	Data for Reflection: Monitoring the Use of Web-Based Design Aids
doi	https://doi.org/10.52842/conf.acadia.2001.142
source	Reinventing the Discourse - How Digital Tools Help Bridge and Transform Research, Education and Practice in Architecture [Proceedings of the Twenty First Annual Conference of the Association for Computer-Aided Design in Architecture / ISBN 1-880250-10-1] Buffalo (New York) 11-14 October 2001, pp. 142-152
summary	Web technology provides a new way of generating information about design processes. By monitoring student use of Web-based design aids, it is possible to collect empirical, quantitative evidence regarding the time and sequence of activities in design. The research team has undertaken several software development projects to explore these concepts. In one project, students can use a Web browser running alongside CAD software to access a cost database and evaluate their designs. In a second project, students use a browser to record their time expenditures. They can better document, plan and predict their time needs for a project and better manage their efforts. In a third project, students record the rationale supporting their design decisions. The information is stored in databases and HTML files and is hyperlinked into the CAD software. Each tool provides facilities to record key information about transactions. Interactions are documented with student identification, time of activity, and kind of activity. The databases of empirical information tracking student activity are a unique substantiation of design process that can feed back into teaching and the creation of ever better design tools.
keywords	Design Methods, Empirical, Web, Cost Estimating, Time Management
series	ACADIA
email
last changed	2022/06/07 07:56

_id	ga0123
id	ga0123
authors	Coates P., Appels, T. Simon, C. and Derix, C.
year	2001
title	Current work at CECA
source	International Conference on Generative Art
summary	The centre for environment computing and architecture continues to experiment with new ways to form, and this paper presents three recent projects from the MSc programme. The three projects all share underlying assumptions about the use of generative algorithms to constructform, using fractal decomposition, lindenmayer systems and the marching cubes algorithm respectively to construct three dimensional "architectural" objects. The data needed to drive the morphology however ranges from formal proportional systems and Genetic L systems programming through swarming systems to perceptive self organising neural nets. In all cases, the projects pose the question what is architectural form. While after Stanford Anderson (Anderson 66) we know it is simplistic to say that it is an automatic outcome of a proper definition of the brief, it is also difficult to accept that the form of a building is an entirely abstract geometrical object existing without recourse to social or contextual justification. In anattempt to resolve these issues we have turned to the study of systems and general system theory as a way of understanding the mechanics of emergence and morphogenesis generally, and the
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ea46
authors	Colajanni B., Concialdi, S. and Pellitteri, G.
year	2001
title	Construction or Deconstruction: Which is the Best Way to Learn Architecture?
doi	https://doi.org/10.52842/conf.ecaade.2001.299
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 299-304
summary	The actual shift of the teaching methods from teacher-centred expository methods, to learner-centred exploratory ones. The educational goals are no more the construction of a solid theory knowledge from which the behaviour is driven. It is the acquisition of capabilities and skills directly related to the professional activity. The consequence is that the teacher has the task of endowing the student not only with a large amount of documentation but also with at least suggestions of the way to use it. One of these suggestions is the deconstruction (in a literal and not philosophical sense) as a way of investigating the structure of buildings. In a first phase in order to acquire, through generalisation a systematic knowledge of the way the parts of a building (their subsystems) contribute to the global architectural organism. In a second phase in order to explore buildings of special interest aiming at mastering their peculiar solutions. An example of this method is presented, limited to the spatial analysis only both for brevity sake and for particular difficulties presented.
keywords	Deconstruction, Learn Architecture, Learning By Experience
series	eCAADe
email
last changed	2022/06/07 07:56

_id	cf2011_p051
id	cf2011_p051
authors	Cote, Pierre; Mohamed-Ahmed Ashraf, Tremblay Sebastien
year	2011
title	A Quantitative Method to Compare the Impact of Design Mediums on the Architectural Ideation Process.
source	Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 539-556.
summary	If we compare the architectural design process to a black box system, we can assume that we now know quite well both inputs and outputs of the system. Indeed, everything about the early project either feasibility studies, programming, context integration, site analysis (urban, rural or natural), as well as the integration of participants in a collaborative process can all be considered to initiate and sustain the architectural design and ideation process. Similarly, outputs from that process are also, and to some extent, well known and identifiable. We are referring here, among others, to the project representations or even to the concrete building construction and its post-evaluation. But what about the black box itself that produces the ideation. This is the question that attempts to answer the research. Currently, very few research works linger to identify how the human brain accomplishes those tasks; how to identify the cognitive functions that are playing this role; to what extent they operate and complement each other, and among other things, whether there possibly a chain of causality between these functions. Therefore, this study proposes to define a model that reflects the activity of the black box based on the cognitive activity of the human brain. From an extensive literature review, two cognitive functions have been identified and are investigated to account for some of the complex cognitive activity that occurs during a design process, namely the mental workload and mental imagery. These two variables are measured quantitatively in the context of real design task. Essentially, the mental load is measured using a Bakan's test and the mental imagery with eyes tracking. The statistical software G-Power was used to identify the necessary subject number to obtain for significant variance and correlation result analysis. Thus, in the context of an exploratory research, to ensure effective sample of 0.25 and a statistical power of 0.80, 32 participants are needed. All these participants are students from 3rd, 4th or 5th grade in architecture. They are also very familiar with the architectural design process and the design mediums used, i.e., analog model, freehand drawing and CAD software, SketchUp. In three experimental sessions, participants were asked to design three different projects, namely, a bus shelter, a recycling station and a public toilet. These projects were selected and defined for their complexity similarity, taking into account the available time of 22 minutes, using all three mediums of design, and this in a randomly manner to avoid the order effect. To analyze the two cognitive functions (mental load and mental imagery), two instruments are used. Mental imagery is measured using eye movement tracking with monitoring and quantitative analysis of scan paths and the resulting number and duration of participant eye fixations (Johansson et al, 2005). The mental workload is measured using the performance of a modality hearing secondary task inspired by Bakan'sworks (Bakan et al.; 1963). Each of these three experimental sessions, lasting 90 minutes, was composed of two phases: 1. After calibrating the glasses for eye movement, the subject had to exercise freely for 3 minutes while wearing the glasses and headphones (Bakan task) to get use to the wearing hardware. Then, after reading the guidelines and criteria for the design project (¬± 5 minutes), he had 22 minutes to execute the design task on a drawing table allowing an upright posture. Once the task is completed, the subject had to take the NASA TLX Test, on the assessment of mental load (¬± 5 minutes) and a written post-experimental questionnaire on his impressions of the experiment (¬± 10 minutes). 2. After a break of 5-10 minutes, the participant answered a psychometric test, which is different for each session. These tests (¬± 20 minutes) are administered in the same order to each participant. Thus, in the first experimental session, the subject had to take the psychometric test from Ekstrom et al. (1978), on spatial performance (Factor-Referenced Cognitive Tests Kit). During the second session, the cognitive style is evaluated using Oltman's test (1971). Finally, in the third and final session, participant creativity is evaluated using Delis-Kaplan test (D-KEFS), Delis et al. (2001). Thus, this study will present the first results of quantitative measures to establish and validate the proposed model. Furthermore, the paper will also discuss the relevance of the proposed approach, considering that currently teaching of ideation in ours schools of architecture in North America is essentially done in a holistic manner through the architectural project.
keywords	design, ideation process, mental workload, mental imagery, quantitative mesure
series	CAAD Futures
email
last changed	2012/02/11 19:21

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