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	5607
authors	Goldschmidt, Gabriela
year	2001
title	Is a Figure-Concept Binary Argumentation Pattern Inherent in Visual Design Reasoning?
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	This paper is based on the assumption that because designingis aimed at specifying configurations of entities, designers mustmanipulate forms and shapes and they must resort to visual reasoning todo so. Visual reasoning in designing is seen as the interplay betweenfigural and conceptual reasoning, such that the one supports andcontinues the other in order to arrive at a configuration that is valid interms of all the requirements it is to satisfy. We use protocol analysis toexplore the bond between conceptual and figural reasoning at two levelsof cognitive operation – that of the design move and that of theargument that is its building block. We conclude that the two modes ofreasoning are equi-present in designing; they describe a binary systemcharacterized by high frequency shifts between figure and concept.
series	other
email
more	http://www.arch.usyd.edu.au/kcdc/conferences/vr01/
last changed	2003/05/02 11:16

_id	3847
authors	Gattis, Merideth
year	2001
title	Space as a Basis for Reasoning
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	We use space as a basis for reasoning whenever we use aspatial representation of a nonspatial concept to make decisions orinferences. From a psychological perspective, our tendency to create andreason fluidly from spatial models is somewhat surprising, becauseusing a spatial model to reason involves creating correspondencesbetween two semantically unrelated concepts: space, and something thatisn’t space, whether that be time, performance, or the desirability of anew job. Our proficiency in using space as a basis for reasoning reliesour abilities to detect similarities in the structures of very differentconcepts. In this paper I discuss two types of similarities between spaceand nonspatial concepts and describe how those similarities influencereasoning from spatial representations.
series	other
email
more	http://www.arch.usyd.edu.au/kcdc/conferences/vr01/
last changed	2003/05/02 11:16

_id	a64e
authors	Liu, Yu-Tung
year	2001
title	Spatial Representation of Design Thinking in Virtual Space
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	“Space” has long been an important concept in architecture;and architectural spaces and forms have been continuously evolved dueto the appearance of new concepts of space. Since the invention ofInternet, new spaces have been created through the computer. Tounderstand how human beings in the digital age experience these newvirtual spaces, and to discover the implications of the possible newconcepts of space into the physical architectural world, this paperdiscusses the nature of virtual spaces by examining the verbal and visualelements involved in the creation of a sense of virtual spaces. All theverbal and visual elements of virtual spaces discovered through ourexperiments and interviews are presented. It is found that the three coreelements of both verbally and visually constructed virtual spaces are:movements, interactions, and acoustic effects. In addition, a comparisonbetween verbally and visually constructed spaces, and between physicaland virtual spaces are explored. Finally, further studies related to therole of digital media in the construction of a sense of space aresuggested at the end of this paper.
series	other
email
more	http://www.arch.usyd.edu.au/kcdc/conferences/vr01/
last changed	2003/05/02 11:15

_id	avocaad_2001_03
id	avocaad_2001_03
authors	M.K.D. Coomans, J.P. van Leeuwen, H.J.P. Timmermans
year	2001
title	Abstract but Tangible, Complex but Manageable
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In the VR-DIS research program, an innovative design-information modelling technique has been proposed that is based on features. In this modelling technique, the designer is invited not only to model the form and spatial aspects of his or her design, but also to model the structure of the data behind the design. The designer is offered a way to control how abstract design data is structured and stored. In this way, the designer is given the power to model concepts like conformity, contrast, and scale on the formal data level, and this for both graphical and non-graphical design characteristics. Further, the designer is invited to input formal descriptions of own design concepts, and use these personal concepts during the design process. With this new information modelling technique, we expect that the designers will be better capable to handle the complexity of linking diverse kinds of information involved in a design process. This new way of computer aided design offers a unique design freedom: any design concept becomes addressable. On the other hand, this technique also puts the responsibility for the content of the CAD database entirely in the hands of the designer. In order to be able to enjoy the design freedom fully and at the same time handle the responsibility over the design database, a computer tool is needed that shows the precise content of the database, and that is easy and quick to interact with. Only with such a tool, the designer will be capable of keeping the complex data model in pace with his or her design reasoning. To realise this requirement, a “feature browser” has been developed with a 3D graphical user interface. It shows the data objects as 3D blocks, mutually linked by rubber-band arrows that closely reflect the database structure. The whole forms an interactive 3D graph. The intuitiveness and user friendliness of the interface was improved by adding features like the visualisation of the browsing history, the visualisation of link-semantics, and animated visual feedback effects. The hardware part of the interface is worked out as a Fish Tank VR set-up. This hardware configuration improves the experienced realism of the displayed 3D objects up to a feeling of physical presence. The interface as a whole therefore provides a highly attractive display of the abstract design data; abstract but tangible. It is a tool in which complex data structures can be explored and controlled: complex but manageable.
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	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	4a53
authors	Faltings, Boi
year	2001
title	Qualitative Spatial Reasoning Based on Algebraic Topology
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	Several formalisms have been proposed for qualitativereasoning about regions and their topological relations in space. Theseformalisms, based on pairwise relations, do not allow sufficientlypowerful inferences to be used for spatial reasoning tasks such asplanning a collision-free path. In this paper, I show how consideringrelations between region triples, much more powerful reasoningtechniques become possible. I show in particular that in twodimensions, purely topological reasoning is sufficient to compute aminimal place graph which represents all minimal and maximal regioncombinations, as well as all minimal paths between them. I illustratehow this could be applied to motion planning, showing that in spite ofits qualitative nature, the formalism is powerful enough to solveproblems of practical interest.
series	other
email
more	http://www.arch.usyd.edu.au/kcdc/conferences/vr01/
last changed	2003/05/02 11:14

_id	ef84
authors	Gero, John S. and Kazakov, Vladimir
year	2001
title	Entropic-Based Similarity and Complexity Measures of 2D Archtectural Drawings
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	In this paper we construct an information-theoretic model ofarchitectural drawings. This model is then used to quantify and measurethe complexities and similarities of drawings. The approach is appliedwithin a linear qualitative shape representation but can be generalized toother types of representation. The descriptive and analytic power of theproposed methods are demonstrated by studying the time evolution ofthe architectural plans produced by Aalto and Kahn and by comparingthem to each other.
series	other
email
more	http://www.arch.usyd.edu.au/kcdc/conferences/vr01/
last changed	2003/05/02 11:13

_id	b81b
authors	Gross, Mark D.
year	2001
title	Emergence in a Recognition Based Drawing Interface
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	People perceive patterns in representations, patterns that may nothave been initially intended. This phenomenon of emergence is deemed toplay an important role in design. Computer based design assistants canand should support this human perceptual ability, using patternrecognition to anticipate human designers’ perception of emergent shapesand supporting the subsequent manipulation of and reasoning with theseshapes as part of the design. Freehand drawing programs with gesturerecognition are well positioned to implement shape emergence. Supportfor emergent shapes in the Back of an Envelope system is described.
series	other
email
more	http://www.arch.usyd.edu.au/kcdc/conferences/vr01/
last changed	2003/05/02 11:13

_id	100d
authors	Hadikusumo, B.H.W. and Rowlinson, S.
year	2001
title	Development of a virtually real construction site - design for safety
source	CIDAC, Volume 3 Issue 2 May 2001
summary	Interpreting two-dimensional drawings presents problems for builders since they are required to transfer these into three-dimensional mental images. Virtual Reality (VR) technology has several advantages. One is that it can be used to solve the problem of image transfer since VR supports a What-You-See-Is-What-You-Get object together with a binocular effect, improving users' visual sense. Another advantage of VR is the capability to present a real time dynamic simulation, which can be used to represent construction processes. By representing virtually real construction components and processes, users can walk through the virtual project. Using his/her safety knowledge, he/she can identify safety hazards inherent within the virtually real construction components and processes and determine the appropriate safety precautions to employ to make the virtual construction site safe. This hazard identification process can be better achieved if a guideline is provided. Therefore, a Design-For-Safety-Process (DFSP) guideline is developed to assist users to identify safety hazards as well as to recommend remedial safety measures. This paper discusses how virtual reality benefits the construction industry in terms of a design representation. In addition, important issues in developing virtually real construction components and processes as well as functions of virtual reality which are needed to support the DFSP are discussed.
series	journal paper
last changed	2003/05/15 20:36

_id	caadria2007_233
id	caadria2007_233
authors	Hoseini, Ali Ghaffarian; Rahinah Ibrahim
year	2007
title	Using Social Network Analysis for Visualising Spatial Planning During Conceptual Design Phase
source	CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
doi	https://doi.org/10.52842/conf.caadria.2007.x.i8r
summary	Spatial diagramming exercises with clients are difficult when most clients are not able to visualize the end results of their requirements. This paper would like to introduce a computational tool—Social Network Analysis (SNA)—commonly used in the communications field to study relationships between people we believe can resolve this visualization problem. Our research intent is to affirm whether or not we can use SNA as a spatial planning tool during conceptual building design. We posit that since the nodes and structural relationships between the nodes may have similar architectural characteristics, the tool would enable architects to make changes by moving any spaces on a floor plan while safely maintaining their spatial relationships to other spaces. In this paper, we would like to develop a proof-of-concept model using an available SNA tool to facilitate spatial diagramming visualization during conceptual design phase. We tested the use of a SNA tool at four levels. The first level determined whether we could develop spatial relationship between functional spaces (such as the living room must be adjacent to the front entry). The second level is on setting priorities values for the different nodes and the linkages. The third level determined whether we could develop grouping relationship between several functional spaces that have a common characteristic (such as public versus private spaces) on one horizontal plane. The final fourth level determined whether we could develop multiple layers that are connected by one common connector (such as a staircase in a double-story house). Our models are validated intellectually by visual comparison between our model and another diagramming by Nooshin (2001) that was developed manually. We are most interested in the fourth level because complexity in the spatial diagramming exercises is caused by multi-layered spatial arrangements at the horizontal and vertical planes. We expect our study to provide us guidelines in developing a prototype for a spatial diagramming tool using SNA, which architects can use to resolve visualization problems when conducting the exercise with their clients.
series	CAADRIA
email
last changed	2022/06/07 07:50

_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

_id	72fb
authors	Koutamanis, Alexander
year	2001
title	On the Management of Visual Design Documentation
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 124-130
doi	https://doi.org/10.52842/conf.ecaade.2001.124
summary	One of the most significant consequences of computerization in design practice is a spectacular increase in the amount and complexity of information produced for the specification, analysis and communication of design decisions and products. Computerization is intended to have a positive effect on such subjects but offers no builtin guarantees. The complexity, redundancy and amount of information that is generated on a variety of media has accentuated the problems of archiving, indexing and retrieving design documentation, either in the same project or in related ones. The shortcomings of visual information processing derive from a number of inherent problems: lack of integration in information carriers and kinds; organizational uncertainty, especially with respect to archiving and retrieval; superficial replication of analogue practices; limited understanding of information utility; chronic underestimates of automation potential coupled to overestimates of costs. A progressive improvement of design documentation should focus on: (1) the integration of information kinds and carriers in a single representation (in the direction of virtual prototyping); (2) correlation of information registration and processing with information utility; (3) structural rather than opportunistic or deterministic integration of utility requirements in design representations; (4) recognition of informatization and information management as a new specialization that complements existing roles in the design and management of the built environment
keywords	Computerization, Management, Visual Representation, Integration
series	eCAADe
email
last changed	2022/06/07 07:51

_id	625d
authors	Liapi, Katherine A.
year	2001
title	Geometric Configuration and Graphical Representation of Spherical Tensegrity Networks
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. 258-267
doi	https://doi.org/10.52842/conf.acadia.2001.258
summary	The term “Tensegrity,” that describes mainly a structural concept, is used in building design to address a class of structures with very promising applications in architecture. Tensegrity structures are characterized by almost no separation between structural configuration and formal or architectural expression (Liapi 2000). In the last two decades structural and mechanical aspects in the design of these structures have been successfully addressed, while their intriguing morphology has inspired several artists and architects. Yet, very few real world applications of the tensegrity concept in architecture have been encountered. The geometric and topological complexity of tensegrity structures that is inherent to their structural and mechanical basis may account for significant difficulties in the study of their form and their limited application in building design. In this paper an efficient method for the generation of the geometry of spherical tensegrity networks is presented. The method is based on the integration of CAD tools with Descriptive Geometry procedures and allows designers to resolve and visualize the complex geometry of such structures.
keywords	Tensegrity Networks, Visualization, Geometric Configuration
series	ACADIA
email
last changed	2022/06/07 07:59

_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	06fd
authors	Oxman, Rivka and Heylighen, Ann
year	2001
title	A Case with a View - Towards an Integration of Visual and Case-Based Reasoning in Design
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 346-341
doi	https://doi.org/10.52842/conf.ecaade.2001.346
summary	Despite the long-term effort to establish the theoretical foundations for Case-Based Reasoning (CBR) in design, it appears that additional theoretical efforts are needed in order to achieve the promise of this affinity. In this paper we argue that visual reasoning, is a fundamental attribute of architectural design, and therefore combining it with CBR may provide significant results both for the field of design thinking as well as for the field of CAAD. This paper focuses on reformulating theoretical foundations for CBR in design by incorporating insights from studies in fields like visual imagery and creativity, where visual reasoning is recognized to play a key role. Within classical CBR research, however, visual reasoning has not received much attention until now. Instead, researchers have concentrated on traditional issues and topics in CBR such as indexing, retrieval and adaptation. The second part of the paper therefore switches attention to how these traditional issues may benefit from integrating Case-Based with visual reasoning.
keywords	Case-Based Reasoning, Visual Reasoning, Visual Imagery, Visual Cognition
series	eCAADe
email
last changed	2022/06/07 08:00

_id	7491
authors	Oxman, Rivka and Streich, Bernd
year	2001
title	Digital Media and Design Didactics in Visual Cognition
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 186-191
doi	https://doi.org/10.52842/conf.ecaade.2001.186
summary	The cognitive properties of design learning have rarely been the subject of design education. Irrespective of the specific design domain, traditional educational models in design education are based upon the evaluation of the product of designing rather than on what might be considered a learning increment. Lately we have developed the concept of cognitive learning tasks as learning increments in design education and propose that digital media constitute the basis of uniquely powerful learning technologies. The research described in this paper addresses the confluence of cognitive learning tasks as a pedagogical approach in design education, its potential relationship to digital media in order to develop a digital design didactics, and the relationship of these developments in design education to current practices of digital design generation. In this paper, we focus on the cognitive aspects of visual cognition in design learning. An example in the domain of architectural design is illustrated.
keywords	Design Learning, Cognitive Design, Visual Cognition, Design Thinking, Design Generation
series	eCAADe
email
last changed	2022/06/07 08:00

_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	cf2011_p115
id	cf2011_p115
authors	Pohl, Ingrid; Hirschberg Urs
year	2011
title	Sensitive Voxel - A reactive tangible surface
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. 525-538.
summary	Haptic and tactile sensations, the active or passive exploration of our built surroundings through our sense of touch, give us a direct feeling and detailed information of space, a sense of architecture (Pallasmaa 2005). This paper presents the prototype of a reactive surface system, which focuses its output on the sense of touch. It explains how touch sensations influence the perception of architecture and discusses potential applications that might arise from such systems in the future. A growing number of projects demonstrate the strong impact of interaction design on the human senses and perception. They offer new ways of sensing and experiencing architectural space. But the majority of these interaction concepts focus on visual and auditory output-effects. The sense of touch is typically used as an input generator, but neglected as as a potential receiver of stimuli. With all the possibilities of sensors and micro-devices available nowadays, there is no longer a technical reason for this. It is possible to explore a much wider range of sense responding projects, to broaden the horizon of sensitive interaction concepts (Bullivant 2006). What if the surfaces of our surroundings can actively change the way it feels to touch them? What if things like walls and furniture get the ability to interactively respond to our touch? What new dimensions of communication and esthetic experience will open up when we conceive of tangibility in this bi-directional way? This paper presents a prototype system aimed at exploring these very questions. The prototype consists of a grid of tangible embedded cells, each one combining three kinds of actuators to produce divergent touch stimuli. All cells can be individually controlled from an interactive computer program. By providing a layering of different combinations and impulse intensities, the grid structure enables altering patterns of actuation. Thus it can be employed to explore a sort of individual touch aesthetic, for which - in order to differentiate it from established types of aesthetic experiences - we have created the term 'Euhaptics' (from the Greek ŒµœÖ = good and Œ¨œÄœÑœâ = touch, finger). The possibility to mix a wide range of actuators leads to blending options of touch stimuli. The sense of touch has an expanded perception- spectrum, which can be exploited by this technically embedded superposition. The juxtaposed arrangement of identical multilayered cell-units offers blending and pattern effects of different touch-stimuli. It reveals an augmented form of interaction with surfaces and interactive material structures. The combination of impulses does not need to be fixed a priori; it can be adjusted during the process of use. Thus the sensation of touch can be made personally unique in its qualities. The application on architectural shapes and surfaces allows the user to feel the sensations in a holistic manner ‚Äì potentially on the entire body. Hence the various dimensions of touch phenomena on the skin can be explored through empirical investigations by the prototype construction. The prototype system presented in the paper is limited in size and resolution, but its functionality suggests various directions of further development. In architectural applications, this new form of overlay may lead to create augmented environments that let inhabitants experience multimodal touch sensations. By interactively controlling the sensual patterns, such environments could get a unique ‚Äútouch‚Äù for every person that inhabit them. But there may be further applications that go beyond the interactive configuration of comfort, possibly opening up new forms of communication for handicapped people or applications in medical and therapeutic fields (Grunwald 2001). The well-known influence of touch- sensations on human psychological processes and moreover their bodily implications suggest that there is a wide scope of beneficial utilisations yet to be investigated.
keywords	Sensitive Voxel- A reactive tangible surface
series	CAAD Futures
email
last changed	2012/02/11 19:21

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