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	3e48
authors	Smithers, Tim
year	2001
title	Is Sketching an Aid to Memory or a Kind of Thinking?
source	J. S. Gero, B. Tversky and T. Purcell (eds), 2001, Visual and Spatial Reasoning in Design, II - Key Centre of Design Computing and Cognition, University of Sydney, Australia
summary	Reading the sketching in design literature gives theimpression that designers are cruelly crippled by cognitive disabilitiesand limitations that can only be surmounted with the aid of externalmemory devices, such as sketches and drawings. Designers are notdisabled so, not in general. Sketching is not an essential aid to memory,as is widely presumed. Sketching is a kind of thinking that is needed indesigning. An argument is presented to support this answer that drawson work by some of the authors who presume sketches to be cognitiveaids.
series	other
email
more	http://www.arch.usyd.edu.au/kcdc/conferences/vr01/
last changed	2003/05/02 11:16

_id	avocaad_2001_13
id	avocaad_2001_13
authors	Alexander Koutamanis
year	2001
title	Modeling irregular and complex forms
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	Computational technologies provide arguably the first real opportunity architectural design has had for a comprehensive description of built form. With the advent of affordable computer-aided design systems (including drafting, modeling, visualization and simulation tools), architects believe they can be in full control of geometric aspects and, through these, of a wide spectrum of other aspects that are implicit or explicit in the geometric representation. This belief is based primarily on the efficiency and effectiveness of computer systems, ranging from the richness and adaptability of geometric primitives to the utility of geometric representations in simulations of climatic aspects. Such capabilities support attempts to design and construct more irregular or otherwise complex forms. These fall under two main categories: (1) parsing of irregularity into elementary components, and (2) correlation of the form of a building with complex geometric structures.The first category takes advantage of the compactness and flexibility of computational representations in order to analyse the form of a design into basic elements, usually elementary geometric primitives. These are either arranged into simple, unconstrained configurations or related to each other by relationships that define e.g. parametric relative positioning or Boolean combinations. In both cases the result is a reduction of local complexity and an increase of implicit or explicit relationships, including the possibility of hierarchical structures.The second category attempts to correlate built form with constraints that derive usually from construction but can also be morphological. The correlation determines the applicability of complex geometric structures (minimally ruled surfaces) to the description of a design. The product of this application is generally variable in quality, depending upon the designer's grounding in geometry and his ability to integrate constraints from different aspects in the definition of the design's geometry.Both categories represent a potential leap forward but are also equally hampered by the rigidity of the implementation mechanisms upon which they rely heavily. The paper proposes an approach to making these mechanisms subordinate to the cognitive and technical aspects of architectural thinking through fuzzy modeling. This way of modeling involves a combination of (a) canonical forms, (b) tolerances around canonical forms and positions, (c) minimal and maximal values, (d) fuzzy boundaries, and (e) plastic interaction between elements based on the dual principles of local intelligence and autonomy. Fuzzy models come therefore closer to the intuitive manners of sketching, while facilitating transition to precise and complex forms. The paper presents two applications of fuzzy modeling. The first concerns the generation of schematic building layouts, including adaptive control of programmatic requirements. The second is a system for designing stairs that can adapt themselves to changes in their immediate environment through a fuzzy definition of geometric and topological parametrization.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	6eda
authors	Logie, Robert H.
year	2001
title	Working Memory: A Mental Space for Design and Discovery
source	J. S. Gero, B. Tversky and T. Purcell (eds), 2001, Visual and Spatial Reasoning in Design, II - Key Centre of Design Computing and Cognition, University of Sydney, Australia
summary	The design process can be viewed as the product of human creativethinking; the skills of generating new knowledge from old within theexternal constraints of the items to be designed. Expert designers have highlevel skills that assist them in this process. However design effectivenessand the training of design skills could benefit from an understanding of howhuman cognition undertakes the process of creative thinking without suchspecialist training, and what aspects of human cognition impede or enhancethis process. In this paper, I shall discuss some of the empirical researchand theoretical developments that have contributed to an understanding ofon-line visual and spatial cognition that might support creative thinking.The paper starts with a discussion of a particular theoretical frameworkreferred to as working memory, and some of the empirical work that hasused this framework to explore visual and spatial cognitive functions. Thisdiscussion will set the background of the general thesis for the chapter thatvisual and spatial aspects of working memory might play important roles increative thinking and design. This will lead to a discussion of the ways inwhich human working memory and the use of external aids to thinkingmight facilitate or constrain aspects of the creative process. The paper willend with a discussion of why human beings might have developed a workingmemory system, with the possibility that its primary purpose is to supportthe process of generating new knowledge.
series	other
email
more	http://www.arch.usyd.edu.au/kcdc/conferences/vr01/
last changed	2003/05/02 11:12

_id	7d26
authors	Pearson, D.G., Alexander, C. and Webster, Robin
year	2001
title	Working Memory and Expertise Differences in Design.
source	J. S. Gero, B. Tversky and T. Purcell (eds), 2001, Visual and Spatial Reasoning in Design, II - Key Centre of Design Computing and Cognition, University of Sydney, Australia
summary	The Creative Synthesis task devised by Finke and Slayton(1988) has been widely used as an experimental measure of mentalsynthesis, but previous studies have often failed to demonstrate anysignificant benefits of external support on participants’ performance.This paper discusses a study that examined novice and expert drawers’performance of synthesis using a modified stimuli set that was designedto increase the load on visuo-spatial working memory. The resultsshowed a significant increase in Transformational Complexity(Anderson & Hesltrup, 1993) of patterns produced by the expert groupwhile using sketching. It is argued that experts are more effective atusing sketching interactively to increase complexity, while novices relymore on using it as a simple memory aid.
series	other
email
more	http://www.arch.usyd.edu.au/kcdc/conferences/vr01/
last changed	2003/05/02 11:14

_id	avocaad_2001_09
id	avocaad_2001_09
authors	Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year	2001
title	Digital Architecture in CAD studio and Internet-based competition
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	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	0f18
authors	Bailey, Rohan
year	2001
title	A Digital Design Coach for Young Designers
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. 330-335
doi	https://doi.org/10.52842/conf.acadia.2001.330
summary	The present use of digital media in architectural practice and education is primarily focused on representation, communication of ideas and production. Designers, however, still use pencil and paper to assist the early conception of ideas. Recently, research into providing digital tools for designers to use in conceptual designing has focused on enhancing or assisting the designer. Rarely has the computer been regarded as a potential teaching tool for design skills. Based on previous work by the author about visual thinking and the justification for a digital design assistant, the intention of this paper is to illustrate to the reader the feasibility of a digital design coach. Reference is made to recent advances in research about design computability. In particular, research by Mark Gross and Ellen Do with respect to their Electronic Cocktail Napkin project is used as a basis on which to determine what such a digital coach may look and feel like.
keywords	Design Education, Protocol Analysis, CADD, Sketching
series	ACADIA
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	81ba
authors	Bilda, Zafer
year	2001
title	Designers‚ Cognition in Traditional versus Digital Media during Conceptual Design
source	Bilkent University Ankara Turkey
summary	Designers depend on representations to externalize their design thoughts. External representations are usually in the form of sketches (referred to as traditional media) in architectural design during the conceptual design. There are also attempts to integrate the use of digital representations into the conceptual design in order to construct a digital design medium. This thesis aims at gaining an insight on designers’ cognitive processes while sketching in digital versus traditional media. The analysis of cognitive processes of designers based on their protocols is necessary to reveal their design behavior in both media. An experiment was designed employing six interior architects (at Bilkent University) solving an interior space planning problem by changing the design media they work with. In order to encode the design behavior, a coding scheme was utilized so that inspecting both the design activity and the responses to media transition was possible in terms of primitive cognitive actions of designers. The analyses of the coding scheme constituents, which are namely segmentation and cognitive action categories enabled a comparative study demonstrating the effect of the use of different media in conceptual design phase. The results depicted that traditional media had advantages over the digital media such as supporting perception of visual-spatial features, and organizational relations of the design, production of alternative solutions and better conception of the design problem. These results also emerged implications for the computer aid in architectural design to support the conceptual phase of the design process.
keywords	Design Cognition; Protocol Analysis; Sketching; Digital Media
series	thesis:MSc
email
last changed	2003/05/01 20:14

_id	9a04
authors	Bouza Rodríguez, J.B., Valcarce, J.D., Baltar, X.L. and Vázquez, M.P.
year	2001
title	SISTEMA WEB INTERACTIVO CON CATÁLOGO PSEUDO-TRIDIMENSIONAL DE RODUCTOS Y VÍDEO EN TIEMPO REAL (Interactive Web System with Pseudo-Three-Dimensional Catalogue of Places and Video in Real Time)
source	SIGraDi biobio2001 - [Proceedings of the 5th Iberoamerican Congress of Digital Graphics / ISBN 956-7813-12-4] Concepcion (Chile) 21-23 november 2001, pp. 104-106
summary	It has been designed and developed a system Web that has video in real time and an interactive product catalogue based on pseudo-three-dimensional models, that is to say, models that they pretend to be three-dimensional, but that in fact do not have geometry 3D properly in the memory, but of an appropriate composition according to the case of geometry 2D (image or any graph), that allows to see the model from several points of view and to consult additional information (weight, material, dimensions, etc.). They have been analyzed and proven the different formats from transmission of video and audio by Internet, studying all its parameters, until finding the optimal ones for this server. In comparison with the use of format VRML (Virtual Reality Modeling Language) used commonly to put models 3D in the Web, this system that we have devised presents like advantages the low time of load, the high precision of the views of the object and the low cost of maintenance of the Web. On the other hand, one does not have the infinity of views and facility of manipulation of the VRML.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	7ff9
authors	Choi, J.-W., Lee, H.-S., Hwang, J.-E. and Kim, M.-J.
year	2001
title	The Wooden Construction data modeling of korean traditional architecture - Focused on the structure of Gongpo in Buseoksa MuRyangsujun
source	CAADRIA 2001 [Proceedings of the Sixth Conference on Computer Aided Architectural Design Research in Asia / ISBN 1-86487-096-6] Sydney 19-21 April 2001, pp. 265-274
doi	https://doi.org/10.52842/conf.caadria.2001.265
summary	Finding national identities from its traditional heritages might be an important research issue especially for Asian architects and researchers. Nevertheless, it is noticed that the structure of Korean traditional architecture has not been fully explored in a systematical or computational manner and its information is not shared efficiently. This study thus explores a computational way of structuring construction knowledge and building information of Korean traditional architecture.Ý To do this, we select a well-known old temple building, Buseoksa Muryangsujun, one of the oldest Buddhist temple in Korea, as a prototype. We first build an accurateÝ three-dimensional model of the building with an aid of a traditional building expert, categorize its building components, and then analyze their connectivity and the connectivity patterns and rules by especially focusing on the capital order system, called Gongpo. The result of the study shows several schema diagrams representing the wooden construction data model carefully designed for an intelligent building simulation and generative system that will be developed in the near future.Ý The paper also demonstrates a way of computationally describing some shape grammars that explain the components' connectivity.
series	CAADRIA
email
last changed	2022/06/07 07:56

_id	8a8c
authors	Choi, J.W., Kwon, D.-Y. and Lee, H.-S.
year	2001
title	DesignBUF: Exploring and Extending 2D Boolean Set Operations with Multiple Modes in the Early Design Phase
source	Proceedings of the Ninth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-7023-6] Eindhoven, 8-11 July 2001, pp. 589-602
summary	Boolean set operations have been a powerful design function set for any CAD systems including 2D and 3D domains. Their capacity to provide even more powerful design tools have not, however, been fully explored in the 2D system. The purpose of this study is to further explore 2D Boolean set operations with multiple modes, which include a pick mode, a wait mode, a drag-and-drop mode, and a draw-and-action mode. We develop a prototype design tool, called DesignBUF. It introduces a new concept of “design object buffer,” an intermediate design zone in which a designer freely sketches his/her design with design objects in a brainstorming fashion since valuable design ideas are ephemeral? and the designer needs to generate design schemes rapidly before the ideas disappear or are forgotten. After finishing such fast brainstorming processes, especially in the early design phase, the designer gets a stable and refined form of a floor plan, which in turn becomes a well structured form to maintain building and design information systematically. Therefore, the designer keeps switching back and forth between the “design object buffer” and structured floor plans. We believe that this dual working memory will not only increase system flexibility, but also reduce computation with unnecessarily complex design objects. This study also develops a robust algorithm to transform the intermediate design objects into a well-structured floor plan. In fact, the algorithm is also used for the extended Boolean set operations described above. A structured floor plan can also be transformed into non-structured forms. Research issues for future development are also identified at the end of the paper.
keywords	Design Buffer, Extended Boolean Set Operations, Structured Floor Plan.
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	38b0
authors	Cohen Egler, Tamara Tania
year	2001
title	SOCIEDADE DA INFORMAÇÃO: AÇÃO E DOMINAÇÃO (Information Society: Acts and Domination)
source	SIGraDi biobio2001 - [Proceedings of the 5th Iberoamerican Congress of Digital Graphics / ISBN 956-7813-12-4] Concepcion (Chile) 21-23 november 2001, pp. 25-27
summary	The central question in this paper is understand the new social forms of interaction in the society of information . The objective is to comprehend and establish an analytical line of thinking that can orient the comprehension about the new forms of numerical space constitution. The language of the net is metaphorical and the question is what does the information really means. The knowledge is quickly transferred through the fluxes, and is transforming people and processes bringing action possibilities. They constitute techniques that can expand the capacity of society to conquest freedom and interrupt domination relations, or they can work exactly as the contrary serving as domination instruments.
series	SIGRADI
email
last changed	2016/03/10 09:49

_id	7e02
authors	Elger, Dietrich and Russell, Peter
year	2002
title	The Virtual Campus: A new place for (lifelong) learning?
source	Connecting the Real and the Virtual - design e-ducation [20th eCAADe Conference Proceedings / ISBN 0-9541183-0-8] Warsaw (Poland) 18-20 September 2002, pp. 472-477
doi	https://doi.org/10.52842/conf.ecaade.2002.472
summary	472 eCAADe 20 [design e-ducation] Modeling Real and Virtual Worlds Session 13 In the early spring of 2001 a collection of German universities founded a virtual faculty of architecture, which was named „Liquid Campus“. Current thinking about future forms of education in the field of architecture combined with over 4 years of experience with net-based design studios, led to questions about the future of existing universities, their buildings and their use. This problem was put to 43 students in the form of a design exercise to create a place for a virtual university. In the current situation, in which the administration of knowledge is more and more located on the internet, and even the so-called meeting places themselves can be virtualised through the help of video-conference-software, the exercise was to design a virtual campus in the framework and to carry out this design work in a simulation of distributed practice. Initial criticism of the project came from the students in that exemplary working methods were not described, but left for the students to discover on their own. The creation of a concept for the Liquid Campus meant that the participants had to imagine working in a world without the face to face contacts that form the basis (at present) of personal interaction. Additionally, the assignment to create or design possible links between the real and the virtual was not an easy task for students who normally design and plan real physical buildings. Even the tutors had difficulties in producing focused constructive criticism about a virtual campus; in effect the virtualisation of the university leads to a distinctive blurring of its boundaries. The project was conducted using the pedagogical framework of the netzentwurf.de; a relatively well established Internet based communication platform. This means that the studio was organised in the „traditional“ structure consisting of an initial 3 day workshop, a face to face midterm review, and a collective final review, held 3,5 months later in the Museum of Communication in Frankfurt am Main, Germany. In teams of 3 (with each student from a different university and a tutor located at a fourth) the students worked over the Internet to produce collaborative design solutions. The groups ended up with designs that spanned a range of solutions between real and virtual architecture. Examples of the student’s work (which is all available online) as well as their working methods are described. It must be said that the energy invested in the studio by the organisers of the virtual campus (as well as the students who took part) was considerably higher than in normal design studios and the paper seeks to look critically at the effort in relation to the outcomes achieved. The range and depth of the student’s work was surprising to many in the project, especially considering the initial hurdles (both social and technological) that had to overcome. The self-referential nature of the theme, the method and the working environment encouraged the students to take a more philosophical approach to the design problem. The paper explores the implications of the student’s conclusions on the nature of the university in general and draws conclusions specific to architectural education and the role of architecture in this process.
series	eCAADe
email
last changed	2022/06/07 07:55

_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
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 208-213
doi	https://doi.org/10.52842/conf.ecaade.2001.208
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	avocaad_2001_06
id	avocaad_2001_06
authors	Giovanni De Paoli
year	2001
title	Architectural design and procedural models - A radical change of language to design in architecture
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 history of architecture and its teaching clearly reveal how representations of the image and drawing have changed over centuries. Today, computers are increasingly found at the desks of architecture professionals and students, but their usage remains restricted to technical functions and what is commonly known as CAD (computer-assisted design), in architecture is often simply the other CAD (computer-assisted drawing).This presentation deals with architectural design, particularly at its earliest stage. Our objective is to propose a model for describing the architectural concept that meets the needs of architects through software. Only then will they really be able to use computers as an aid to design by overcoming the obstacles that presently keep us from making full use of them.This has led me to propose an avenue of exploration that examines projection through an object’s properties, and a method of computer-assisted design that makes use of procedural models. These procedural models consist of geometric operators and operators that define the properties, characteristics and performance of a building — operators which I have termed “semantic”.This research fits into a paradigm that leads to representation of the building through functions that can be called with parameters and encapsuled in an algorithm, making it possible to create procedural models that assist with the design. This approach opens up a means of integrating the logos with the figurative representation where drawing is used instead of words to convey the architectural concept.The example of a procedural model shows how we can use a generic model to produce a volume model with all the characteristics belonging to the same family of objects. This type of model can serve not only to illustrate the result of a process, or to draw connections among buildings on the basis of their construction process, or to test the validity of a rule typical of a set of objects, but also to integrate, through a functional language, semantic operators which to date have been excluded from the initial design phase. This descriptive mechanism is extremely powerful in making it possible to establish relationships among the functions and properties of a building and the purpose of the architectural project.The scientific contribution of this research is to test the hypothesis that we can use computer tools to manipulate operators which enable the architect to reappropriate a complex design of the building, and open up new lines of investigation into integrating geometric and knowledge-based systems into a unified representation. The declarative approach for creating three-dimensional scenes fits into this perspective.It is now a matter of exploring the possibility of working on a “common morphology” shared by everyone involved in the design process by rewriting the functions or by converting the functions used for representation, or else through a functional dialect (language) that allows for dialectic relationships among all types of operators and the actions of the protagonists in the architectural design process.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	57b1
authors	Glanville, Ranulph
year	2001
title	Not Aping the Past: Mirror Men
source	Stellingwerff, Martijn and Verbeke, Johan (Eds.), ACCOLADE - Architecture, Collaboration, Design. Delft University Press (DUP Science) / ISBN 90-407-2216-1 / The Netherlands, pp. 29-42 [Book ordering info: m.c.stellingwerff@bk.tudelft.nl]
summary	To collaborate is to work together. To work, in my thinking, together presumes participation. When I talk of collaboration, I talk with the notion of participation in mind. I shall often write of participation as an alternative term to collaboration, in this paper. I am interested in anything that may enhance our creativity (as designers). There are those whose interest in collaboration is different, and equally justifiable. The main part of the title is from a quote by the composer Harrison Birtwistle, who said: ìTradition is not aping the past but making the future.î The intention in what I write is to suggest ways in which Information and Communication Technology can be used, not to ape the past, but to make the future, especially by enhancing our potential to act creatively. I do this by introducing facets of ideas in fragments, so they can interact with each other, rather than forming the great, separate arches of traditional arguments, one after the other. For me, collaboration is more than co-operation or co-ordination. It must involve novelty, the creation of something beyond the expected and more than an improvement a quantum step.
series	other
last changed	2001/09/14 21:30

_id	8599
authors	Heylighen, Ann and Neuckermans, Herman
year	2001
title	Baptism of fire of a Web-based design assistant
source	Proceedings of the Ninth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-7023-6] Eindhoven, 8-11 July 2001, pp. 111-124
summary	DYNAMO – a Dynamic Architectural Memory On-line – is a Web-based design assistant to support architectural design education. The tool is conceived as an (inter-)active workhouse rather than a passive warehouse: it is interactively developed by and actively develops its users' design knowledge. Its most important feature is not merely that it presents students with design cases, but that those cases trigger in-depth explorations, stimulate reflection and prime discussions between students, design teachers and professional architects. Whereas previous papers have focused on the theoretical ideas behind DYNAMO and on how Web-technology enabled us to translate these ideas into a working prototype, this paper reports on the prototype's baptism of fire in a 4th year design studio. It describes the setting and procedure of the baptism, the participation of the studio teaching staff, and the reactions and appreciation of the students. Based on students' responses to a questionnaire and observations of the tool in use, we investigated whether DYNAMO succeeded in engaging students and what factors stimulated/hampered this engagement. Despite the prototype nature of the system, students were noticeably enthusiastic about the tool. Moreover, DYNAMO turned out to be fairly 'democratic', in the sense that it did not seem to privilege students with private access to or prior knowledge of computer technology. However, the responses to the questionnaire raise questions about the nature of students' engagement. Three factors revealed themselves as major obstacles to student (inter-)action: lack of time, lack of encouragement by the teachers and lack of studio equipment. Although these obstacles may not relate directly to DYNAMO itself, they might have prevented the tool from functioning the way it was originally meant to. The paper concludes with lessons learned for the future of DYNAMO and, more in general, of ICT in architectural design education.
keywords	Design Studios, Utilization Of Internet, Design Support, Case-Based Design
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	avocaad_2001_08
id	avocaad_2001_08
authors	Ivanka Iordanova, Temy Tidafi
year	2001
title	Design assistance by complexity-supporting precedents' modelling
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	Architectural design processes imply complexity at every stage of the development of a project. On one hand, this complexity is rarely taken into consideration by the currently used CAD programs. On the other hand, recent theoretical researches indicate that a large proportion of architectural design processes are based on precedents as a source of inspiration or as a basis for reflection. A precedent is usually seen as a sketch, as a picture, as a drawing or as a visual memory of an architectural object or space. Recent research enlarges this concept into at least two directions: (1) precedents are looked for not only in the architectural space, and (2) it’s not only the visual aspect of a precedent that is important, but also its internal logic and structure, the know-how associated to it, and the actions needed for its creation. Usually, architectural design knowledge is implicitly presented by precedents. This design knowledge is applied to design-objects having various levels of generality, at different states of detailing and expected to be dynamically transformed during the following stages of design. Having in mind these characteristics of precedents called for during the architectural design process, we propose to join their visual representation with a description of their most important characteristics: structural organisation, way of production, functional organisation, spatial composition, etc. These can be either described or modelled by the original author, or interpreted by the precedent’s ‘user’. These design-knowledge models can be of use in several ways: (1) providing a library for search of precedents by semantic analogy, (2) offering ready-to-use capsules of design knowledge for new design situations, (3) enriching the ‘design world’ of the user-architect. We have implemented the proposed method of complexity-supporting precedents’ modelling by the means of the functional programming SGDL-Scheme language. The models (a programming function or a structure of programming functions) describe the actions necessary for the creation of an object (or its digital representation) and the structural organisation between the models in order to generate new, more complex ones. The concept of describing actions instead of shapes, provides a multi-level applicability of the models. Visual presentations (digital maquettes, images or animations) of newly generated objects can be stored in a visual-library of the assistant, thus creating a new ‘precedent’ that can be referred to in future by visual analogy. The design-knowledge that has generated the new object, is stored and linked to the image. Thus, the visual stimulus of a precedent can be joined with functional characteristics, production procedures and/or semantic meaning of the object. The paper will present the ‘engine’ of the proposed assistant, its organisation, as well as digital models of precedents that have served as a basis for the design of new architectural objects or structures. The assistant is conceived as an open, complexity supporting structure that can be further developed by the ‘user-architect’. We will discuss the advantages and limitations of the proposed assistant.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	c259
authors	Kokotovich, Vasilije and Purcell, Terry
year	2001
title	Ideas - The Embodiment of Ideas, and Drawing: An Experimental Investigation of Inventing
source	J. S. Gero, B. Tversky and T. Purcell (eds), 2001, Visual and Spatial Reasoning in Design, II - Key Centre of Design Computing and Cognition, University of Sydney, Australia
summary	The term visual reasoning, in cognitive psychology, oftenrefers to the use of visual spatial relations in making inferences aboutcorresponding conceptual relations. The conclusion is that external visualrepresentations have special properties, which can aid reasoning abouthigher order abstract concepts. The design literature is more specific andoften sees visual reasoning as synonymous with drawing, and considersthis a core activity in resolving design problems. The research to bereported examined visual reasoning and design, by investigating the rolethat drawing plays in the practicality and creativity of inventions. Themost striking finding was that using only mental imagery produced morecreative and practical inventions than the use of drawing and that this wasdependant on the area of expertise of the participants. This appears to runcounter to the views found in both the visual reasoning and designliterature regarding the effectiveness of visual representations anddrawing. This has implications for our understanding of both the visualreasoning and design thinking processes.
series	other
email
more	http://www.arch.usyd.edu.au/kcdc/conferences/vr01/
last changed	2003/05/02 11:11

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