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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 9de9
authors Laakso, Mikko
year 2001
title Practical Navigation in Virtual Architectural Environments
source Helsinki University of Technology, Espoo, Finland
summary The interest towards virtual reality (VR) and virtual environments (VE) is growing all the time. The applications being developed for VE run a wide spectrum, from games to business planning. This thesis concentrates on navigation in virtual architectural environments, movement in worlds that are very similar to our own. Navigation in a virtual world should be practical, intuitive and simple. Unfortunately, it is very often far from that - for some reason the usability issues in VEs have been usually left with little attention. Currently it is easy for a user to get lost and disoriented when traveling in a VE. This situation must change, navigating through virtual environments can no longer be considered a task reserved for the experts only. 3D-worlds and architectural applications for the common user require new, intuitive interface techniques. This thesis addresses issues related to both physical and cognitive aspects of navigation as well as theoretical models that bind them together. In the technology survey of this thesis, the virtual environment technology is presented. Different visual display systems, new input devices and some 3D user interface design aspects are described. The literature survey section discusses the main issues concerning navigation theory. The two parts of navigation, travel and wayfinding, are described in detail. The major challenges are discussed and some solutions and various research results are presented. A major part of the thesis consists of the description of HCNav, a new navigation system developed by the author. The system was constructed for use in the virtual room at Helsinki University of Technology. The purpose of HCNav is to provide a very intuitive and practical navigation interface. Three new experimental input devices, namely custom wand, data glove and speech recognition system, were tested. Another important part of the work is to evaluate the effectiveness of the HCNav system. A usability test was conducted to determine if the use of HCNav was actually improving navigation performance. Twelve subjects participated in a test where HCNav was compared with a traditional navigation software used previously in the virtual room. The experiment setup has been described and the results analyzed. The results are promising and show that the navigation methods adopted in HCNav are clearly better.
keywords Virtual Environments, Navigation, Usability
series thesis:MSc
last changed 2003/02/12 22:37
_id avocaad_2001_20
id avocaad_2001_20
authors Shen-Kai Tang
year 2001
title Toward a procedure of computer simulation in the restoration of historical 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 In the field of architectural design, “visualization¨ generally refers to some media, communicating and representing the idea of designers, such as ordinary drafts, maps, perspectives, photos and physical models, etc. (Rahman, 1992; Susan, 2000). The main reason why we adopt visualization is that it enables us to understand clearly and to control complicated procedures (Gombrich, 1990). Secondly, the way we get design knowledge is more from the published visualized images and less from personal experiences (Evans, 1989). Thus the importance of the representation of visualization is manifested.Due to the developments of computer technology in recent years, various computer aided design system are invented and used in a great amount, such as image processing, computer graphic, computer modeling/rendering, animation, multimedia, virtual reality and collaboration, etc. (Lawson, 1995; Liu, 1996). The conventional media are greatly replaced by computer media, and the visualization is further brought into the computerized stage. The procedure of visual impact analysis and assessment (VIAA), addressed by Rahman (1992), is renewed and amended for the intervention of computer (Liu, 2000). Based on the procedures above, a great amount of applied researches are proceeded. Therefore it is evident that the computer visualization is helpful to the discussion and evaluation during the design process (Hall, 1988, 1990, 1992, 1995, 1996, 1997, 1998; Liu, 1997; Sasada, 1986, 1988, 1990, 1993, 1997, 1998). In addition to the process of architectural design, the computer visualization is also applied to the subject of construction, which is repeatedly amended and corrected by the images of computer simulation (Liu, 2000). Potier (2000) probes into the contextual research and restoration of historical architecture by the technology of computer simulation before the practical restoration is constructed. In this way he established a communicative mode among archeologists, architects via computer media.In the research of restoration and preservation of historical architecture in Taiwan, many scholars have been devoted into the studies of historical contextual criticism (Shi, 1988, 1990, 1991, 1992, 1995; Fu, 1995, 1997; Chiu, 2000). Clues that accompany the historical contextual criticism (such as oral information, writings, photographs, pictures, etc.) help to explore the construction and the procedure of restoration (Hung, 1995), and serve as an aid to the studies of the usage and durability of the materials in the restoration of historical architecture (Dasser, 1990; Wang, 1998). Many clues are lost, because historical architecture is often age-old (Hung, 1995). Under the circumstance, restoration of historical architecture can only be proceeded by restricted pictures, written data and oral information (Shi, 1989). Therefore, computer simulation is employed by scholars to simulate the condition of historical architecture with restricted information after restoration (Potier, 2000). Yet this is only the early stage of computer-aid restoration. The focus of the paper aims at exploring that whether visual simulation of computer can help to investigate the practice of restoration and the estimation and evaluation after restoration.By exploring the restoration of historical architecture (taking the Gigi Train Station destroyed by the earthquake in last September as the operating example), this study aims to establish a complete work on computer visualization, including the concept of restoration, the practice of restoration, and the estimation and evaluation of restoration.This research is to simulate the process of restoration by computer simulation based on visualized media (restricted pictures, restricted written data and restricted oral information) and the specialized experience of historical architects (Potier, 2000). During the process of practicing, communicates with craftsmen repeatedly with some simulated alternatives, and makes the result as the foundation of evaluating and adjusting the simulating process and outcome. In this way we address a suitable and complete process of computer visualization for historical architecture.The significance of this paper is that we are able to control every detail more exactly, and then prevent possible problems during the process of restoration of historical architecture.
series AVOCAAD
email
last changed 2005/09/09 10:48
_id cf2011_p051
id cf2011_p051
authors Cote, Pierre; Mohamed-Ahmed Ashraf, Tremblay Sebastien
year 2011
title A Quantitative Method to Compare the Impact of Design Mediums on the Architectural Ideation Process.
source Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 539-556.
summary If we compare the architectural design process to a black box system, we can assume that we now know quite well both inputs and outputs of the system. Indeed, everything about the early project either feasibility studies, programming, context integration, site analysis (urban, rural or natural), as well as the integration of participants in a collaborative process can all be considered to initiate and sustain the architectural design and ideation process. Similarly, outputs from that process are also, and to some extent, well known and identifiable. We are referring here, among others, to the project representations or even to the concrete building construction and its post-evaluation. But what about the black box itself that produces the ideation. This is the question that attempts to answer the research. Currently, very few research works linger to identify how the human brain accomplishes those tasks; how to identify the cognitive functions that are playing this role; to what extent they operate and complement each other, and among other things, whether there possibly a chain of causality between these functions. Therefore, this study proposes to define a model that reflects the activity of the black box based on the cognitive activity of the human brain. From an extensive literature review, two cognitive functions have been identified and are investigated to account for some of the complex cognitive activity that occurs during a design process, namely the mental workload and mental imagery. These two variables are measured quantitatively in the context of real design task. Essentially, the mental load is measured using a Bakan's test and the mental imagery with eyes tracking. The statistical software G-Power was used to identify the necessary subject number to obtain for significant variance and correlation result analysis. Thus, in the context of an exploratory research, to ensure effective sample of 0.25 and a statistical power of 0.80, 32 participants are needed. All these participants are students from 3rd, 4th or 5th grade in architecture. They are also very familiar with the architectural design process and the design mediums used, i.e., analog model, freehand drawing and CAD software, SketchUp. In three experimental sessions, participants were asked to design three different projects, namely, a bus shelter, a recycling station and a public toilet. These projects were selected and defined for their complexity similarity, taking into account the available time of 22 minutes, using all three mediums of design, and this in a randomly manner to avoid the order effect. To analyze the two cognitive functions (mental load and mental imagery), two instruments are used. Mental imagery is measured using eye movement tracking with monitoring and quantitative analysis of scan paths and the resulting number and duration of participant eye fixations (Johansson et al, 2005). The mental workload is measured using the performance of a modality hearing secondary task inspired by Bakan'sworks (Bakan et al.; 1963). Each of these three experimental sessions, lasting 90 minutes, was composed of two phases: 1. After calibrating the glasses for eye movement, the subject had to exercise freely for 3 minutes while wearing the glasses and headphones (Bakan task) to get use to the wearing hardware. Then, after reading the guidelines and criteria for the design project (± 5 minutes), he had 22 minutes to execute the design task on a drawing table allowing an upright posture. Once the task is completed, the subject had to take the NASA TLX Test, on the assessment of mental load (± 5 minutes) and a written post-experimental questionnaire on his impressions of the experiment (± 10 minutes). 2. After a break of 5-10 minutes, the participant answered a psychometric test, which is different for each session. These tests (± 20 minutes) are administered in the same order to each participant. Thus, in the first experimental session, the subject had to take the psychometric test from Ekstrom et al. (1978), on spatial performance (Factor-Referenced Cognitive Tests Kit). During the second session, the cognitive style is evaluated using Oltman's test (1971). Finally, in the third and final session, participant creativity is evaluated using Delis-Kaplan test (D-KEFS), Delis et al. (2001). Thus, this study will present the first results of quantitative measures to establish and validate the proposed model. Furthermore, the paper will also discuss the relevance of the proposed approach, considering that currently teaching of ideation in ours schools of architecture in North America is essentially done in a holistic manner through the architectural project.
keywords design, ideation process, mental workload, mental imagery, quantitative mesure
series CAAD Futures
email
last changed 2012/02/11 19:21
_id ga0115
id ga0115
authors Eacott, John
year 2001
title MORPHEUS >> emergent music
source International Conference on Generative Art
summary MORPHEUS is a CD of fluid dance music. It features 16 tracks or ‘songs’ by 6 composers and is designed to behave, and be experienced like, a normal audio CD although having to run on a macintosh computer rather than a CD player. In contrast to normal audio, each song uses its own generative algorithms to enable it to exist in a state of ‘fluidity’, so that each time yourun a song you get a unique ‘performance’. (You could say that the music on MORPHEUS is something between a recording and a live performance.)I present here the origins and achievements of the project together with the basis of a discussion of some of the aesthetic issues surrounding it.
series other
email
more http://www.generativeart.com/
last changed 2003/08/07 17:25
_id avocaad_2001_11
id avocaad_2001_11
authors Gernot Pittioni
year 2001
title Handling of Complex Projects As Engineering-Partner of Planning Groups
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 collaborative handling of design activities is a growing matter of present planning processes. Most planning partners in the meantime have agreed on using CAD-systems. The common use of the design information is a vital factor which enables us to handle complex problems.The instruments offered by the CAD-systems are performing on a very low level. Many intelligent features get lost by data-transfer. But experience shows that more obstacles are built up by ineffective and insufficient use of the CAD-system and their properties.Huge efforts have to be done in improving the knowledge and the handling abilities of many users. They often do not even know that they are not using their systems in an appropriate way. In fact looking only at the plotted results nobody would guess that the data sometimes are entirely worthless for common use. This only turns out when complex projects rely on timesaving common data use and the partners get stuck in endless difficulties trying to get some information out of badly organised project files.
series AVOCAAD
email
last changed 2005/09/09 10:48
_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 51e4
authors Huanambal Coral, Carlos Alfonso
year 2001
title COMPORTAMIENTO CREATIVO EN LA PRODUCCIÓN DE ARQUITECTURA VIRTUAL (Creative Behavior in the Production of Virtual Architecture)
source SIGraDi biobio2001 - [Proceedings of the 5th Iberoamerican Congress of Digital Graphics / ISBN 956-7813-12-4] Concepcion (Chile) 21-23 november 2001, pp. 183-185
summary This investigation is because of the necessity to understand the Creative Act in Architecture. Objectives: 1.- To observe the Creative Personality in the production of Virtual Architecture related to informatic systems. 2.- Conditioning the Creative Environment for Virtual Architecture Production 3.- Analyze the Creative Process of Architectonic design produces between informatic Systems. 4.- Verify the Creative Product in Virtual Architecture. The students look for new ways to get new forms in their designs. In present time we design the architectonic objects by three dimensions in the computer it’s a virtual reality. We say Virtual Architecture. “The man’s Creative Environment always will be attend to raise its talent or geniality with anyone tolls to be used “.
series SIGRADI
email
last changed 2016/03/10 09:53
_id avocaad_2001_21
id avocaad_2001_21
authors Martijn Stellingwerff
year 2001
title Visual Cues in the CYBER-REAL Complex
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 Current Computer Aided Architectural Design deals with issues of complexity in creation and interpretation of the built environment, complexity of the computer systems and complexity of the representations of the design object. The term ‘CYBER-REAL Complex’ in this paper is defined as the whole (un)conscious state of the architectural design project in the heads of the design-group and as how it is maintained in CAAD systems. The ‘CYBER-REAL Complex’ contains the design, its context and all related information such as planning, product specifications and design ideas. An Intranet is an interesting means for storage and approach of such complex project-data. However the knowledge and data of the project participants remains in their heads and new methods have to be developed in order to get each participant to share his or her personal information about the project. Meetings and intense data retrieval by an Intranet can establish a useful ‘CYBER-REAL Complex’. Then, as a designer wants to approach and change the information in the ‘CYBER-REAL Complex’, a very good set of tools, methods and media has to be at hand. The complexity of all the information can be overwhelming and it can take much effort to re-understand and re-interpret the information before new decisions and design-steps can be made. Currently, the understanding of CAAD representations by the designer and the deliberate execution of operations on increasingly complex datasets through increasingly complex user interfaces takes too much time and effort. An enhanced way of representation in the ‘CYBER-REAL Complex’ could help the approach and understanding of the information. Therefore the visual language of information systems needs further research and development. This paper explores several limits of human perception and ways to adhere to the human way of visual thinking in order to find and add new visual cues in CAAD, VR interfaces and in the ‘CYBER-REAL Complex’ as a whole. Successively the perceptive aspects of complex information, the role of visual cues in complex information and several examples of visual cues in research tests are presented. The paper draws from knowledge of the Gestalt Theory, Perception Research and findings of a PhD research project about Visual Language for Context Related Architectural Design. Findings of this research show that designers use distinct views to get overview and insight in the project data and that different kinds of data representation are needed for different phases in the design process. Finally it showed that abstract represented and filtered information can be very useful for remaining focus in the otherwise overwhelming dataset.
series AVOCAAD
email
last changed 2005/09/09 10:48
_id b044
authors Martin, Rodrigo Q.
year 2001
title LA INTEGRACIÓN DE LA COMPUTACIÓN EN LA ENSEÑANZA DE LA ARQUITECTURA (The Integration of the Computation in the Teaching of Architecture)
source SIGraDi biobio2001 - [Proceedings of the 5th Iberoamerican Congress of Digital Graphics / ISBN 956-7813-12-4] Concepcion (Chile) 21-23 november 2001, pp. 229-232
summary Which are the questions to ask about integration of computer science and teaching Architecture? The use of a new tool may enhance the production of the different representations of the architectural object. But the insertion of a tool demands questioning about his real possibilities of use. The traditional language of space is composed with the constructive language : plans, sections, perspective ,etc. ; but the computer software that is used to design gives the possibility to represent space in several forms : inmersion, dynamic process, parametric deformations. Here appears the question, what is the new language? Which is the way to get to the center of architectural thought, the space. The computer representations and the modification processes of models are new dynamics of design, this has to be considered in the teaching of Architecture.
series SIGRADI
email
last changed 2016/03/10 09:55
_id 8c32
authors Pittioni, Gernot
year 2001
title Past, present and future issues with co-operating, seen from the engineering practice
source Stellingwerff, Martijn and Verbeke, Johan (Eds.), ACCOLADE - Architecture, Collaboration, Design. Delft University Press (DUP Science) / ISBN 90-407-2216-1 / The Netherlands, pp. 83-94 [Book ordering info: m.c.stellingwerff@bk.tudelft.nl]
summary Co-operation and/or collaboration is a vital aspect in planning. Many partners have to share information and have to react - if possible - without delay. In order to get support by computers combined with modern and recently immensely improved means of communication we have to explore, how we (should) communicate and what would be necessary to support this - may be in a different or modified process - by new media. It is obvious that this investigation will be a different one, whether done by research-institutions or by highly active practitioners, who cannot afford a test-phase with non-reliable performance. This contribution tries to supply some aspects of an engineering partner within a number of project-teams.
series other
last changed 2001/09/14 21:30
_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 ευ = good and άπτω = 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 – 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 “touch” 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
_id 4dd3
authors Reymen, Isabelle M.M.J.
year 2001
title Improving design processes through structured reflection : a domain-independent approach
source Eindhoven University of Technology
summary In the world of designing, three fields of attention can be recognised, namely design research, design practice, and design education. Gaps exist between these three fields. In this thesis about designing, the focus is on the gap between design research and design practice. Design practice includes many design disciplines and an increasing number of multidisciplinary teams. Main problems in design practice are the communication between designers with a different background and the integration and co-ordination of important aspects during a design process. By tackling these problems, the effectiveness and efficiency of design processes in practice can be improved. The study of similarities and differences between design processes in several design disciplines and the development of support for reflection on design processes are topics that can improve design practice and that deserve more attention in design research. The goal of my research is to decrease the gap between design research and design practice in order to improve design processes. Reflection on design processes can help designers to improve their design process, its results, and the designer’s proficiency: By reflecting explicitly on the current design situation and on the performed design activities, in a systematic way and on a regular basis, designers can plan next design activities that can be performed effectively and efficiently given the design goal at that moment. In this thesis, the combination of systematic and regular reflection is called structured reflection. To improve design processes in various design disciplines in practice, the study of similarities and differences between design processes in several disciplines can be useful. Similarities between design processes are the basis for domain-independent design knowledge (as distinguished from domain-specific design knowledge). To reach the goal of my research, I have chosen to combine, in a broad explorative study, the development of support for structured reflection on design processes and the development of domain-independent design knowledge. This thesis describes a domain-independent approach to improve design processes through structured reflection. My research process can be summarised as follows. I studied three design disciplines, namely architecture, mechanical engineering, and software engineering. To get input from design practice, I did qualitative empirical research: I performed twelve case studies in the three disciplines to inventory characteristics of design processes and I compared the cases for similarities and differences. The similarities, together with the results of a literature study, have been the basis for the development of domain-independent descriptive design knowledge. The developed descriptive knowledge, in turn, formed the basis for developing domain-independent prescriptive design knowledge. At the end of the project, I confronted all results with design practice to get feedback on the results in another empirical study and I performed a literature study to position the results in the design literature. My design philosophy and design frame are the descriptive results developed to answer the first research question, namely “How to describe design processes in a domain-independent way?”. My design philosophy is a set of domain-independent concepts and terms for describing a design process. The concepts and terms are based on an application of the general theory of state-transition systems to the context of designing; the concepts of state and state transition correspond to the main concepts of design situation and design activity in my design philosophy. The answer to the first research question given by the design philosophy is refined in a design frame: The design frame offers a means to structure the description of a design process in a domain-independent way. Major structuring concepts of the design frame are dimensions and subjects. I define three dimensions, namely level, perspective, and time. These dimensions define a three-dimensional space, called a positioning space, in which important aspects of design processes can be positioned. A positioning space must be defined for each subject, being the three parts of a design situation: the product being designed, the design process, and the design context. My design frame is a domain-independent structure formed by the combination of the three dimensions for each subject. My design method is the prescriptive result developed to answer the second research question, namely “How to support structured reflection on design processes in a domain-independent way?”. My design method is a domain-independent aid that offers designers support for reflecting on design processes in a structured way. Reflection on design processes is defined as an introspective contemplation on the designer’s perception of the design situation and on the remembered design activities. A reflection process is described as a process that consists of three steps that are called preparation, image forming, and conclusion drawing. The design method is based on two main concepts: The first concept is the systematic description and analysis of design situations and design activities by means of forms and checklists; only systematic support for the preparation step of a reflection process is developed. The second concept is the idea of design sessions, introduced to stimulate designers to reflect regularly during a design process. A design session is defined as a period of time during which one or more designers are working on a subtask of a certain design task, for example, one afternoon, a whole day, or a week. Both concepts are combined to support structured reflection on design processes. The complete design method consists of five steps for each design session, namely planning a design session, defining the subtask of the design session, reflecting at the beginning of a design session, designing during the core of a design session, and reflecting at the end of a design session. A prototype software tool, called ECHO, has been developed to explore the benefits of using a software system to facilitate the use of the design method. Together, the design philosophy and the design frame offer concepts, a vocabulary, and a structure to describe design processes in a domain-independent way. The design method is a first proposal of a method that supports structured reflection on design processes. My results are thus possible answers to the mentioned research questions and are starting points to improve the effectiveness and efficiency of design processes. Based on the feedback I collected, I am optimistic about the applicability of my results in design practice. By asking input from design practice and by developing results that are useful for design practice and that contribute to design research, I contribute to decrease the gap between design research and design practice. The most important recommendations for further research are to test all results extensively in design practice and to investigate how to apply the results in design education.
series thesis:PhD
email
last changed 2003/02/12 22:37
_id avocaad_2001_19
id avocaad_2001_19
authors Shen-Kai Tang, Yu-Tung Liu, Yu-Sheng Chung, Chi-Seng Chung
year 2001
title The visual harmony between new and old materials in the restoration of historical architecture: A study of computer simulation
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 research of historical architecture restoration, scholars respectively focus on the field of architectural context and architectural archeology (Shi, 1988, 1990, 1991, 1992, 1995; Fu, 1995, 1997; Chiu, 2000) or on architecture construction and the procedure of restoration (Shi, 1988, 1989; Chiu, 1990). How to choose materials and cope with their durability becomes an important issue in the restoration of historical architecture (Dasser, 1990; Wang, 1998).In the related research of the usage and durability of materials, some scholars deem that, instead of continuing the traditional ways that last for hundreds of years (that is to replace new materials with old ones), it might be better to keep the original materials (Dasser, 1990). However, unavoidably, some of the originals are much worn. Thus we have to first establish the standard of eliminating components, and secondly to replace identical or similar materials with the old components (Lee, 1990). After accomplishing the restoration, we often unexpectedly find out that the renewed historical building is too new that the sense of history is eliminated (Dasser, 1990; Fu, 1997). Actually this is the important factor that determines the accomplishment of restoration. In the past, some scholars find out that the contrast and conflict between new and old materials are contributed to the different time of manufacture and different coating, such as antiseptic, pattern, etc., which result in the discrepancy of the sense of visual perception (Lee, 1990; Fu, 1997; Dasser, 1990).In recent years, a number of researches and practice of computer technology have been done in the field of architectural design. We are able to proceed design communication more exactly by the application of some systematic softwares, such as image processing, computer graphic, computer modeling/rendering, animation, multimedia, virtual reality and so on (Lawson, 1995; Liu, 1996). The application of computer technology to the research of the preservation of historical architecture is comparatively late. Continually some researchers explore the procedure of restoration by computer simulation technology (Potier, 2000), or establish digital database of the investigation of historical architecture (Sasada, 2000; Wang, 1998). How to choose materials by the technology of computer simulation influences the sense of visual perception. Liu (2000) has a more complete result on visual impact analysis and assessment (VIAA) about the research of urban design projection. The main subjects of this research paper focuses on whether the technology of computer simulation can extenuate the conflict between new and old materials that imposed on visual perception.The objective of this paper is to propose a standard method of visual harmony effects for materials in historical architecture (taking the Gigi Train Station destroyed by the earthquake in last September as the operating example).There are five steps in this research: 1.Categorize the materials of historical architecture and establish the information in digital database. 2.Get new materials of historical architecture and establish the information in digital database. 3.According to the mixing amount of new and old materials, determinate their proportion of the building; mixing new and old materials in a certain way. 4.Assign the mixed materials to the computer model and proceed the simulation of lighting. 5.Make experts and the citizens to evaluate the accomplished computer model in order to propose the expected standard method.According to the experiment mentioned above, we first address a procedure of material simulation of the historical architecture restoration and then offer some suggestions of how to mix new and old materials.By this procedure of simulation, we offer a better view to control the restoration of historical architecture. And, the discrepancy and discordance by new and old materials can be released. Moreover, we thus avoid to reconstructing ¡§too new¡¨ historical architecture.
series AVOCAAD
email
last changed 2005/09/09 10:48
_id 97bd
authors Wu, J., Zhang, T. Zhang, X. and Zhou, J.
year 2001
title A face based mechanism for naming, recording and retrieving topological entities
source Computer-Aided Design, Vol. 33 (10) (2001) pp. 687-698
summary One of the principal tasks of history based parametric modeling is to maintain the design history of parts. When some constrains or definitions of a feature on the part aremodified, it should be guaranteed that its design history could be replayed automatically and correctly. Thus the users can get the desired part expediently, quickly andunambiguously. Topological naming mechanism is one of the main important technologies to fulfill this task. In order to solve this problem, this paper first analyzes thedesign history of parts, then presents a face based mechanism for naming, recording and retrieving topological entity and finally proposes a method named parametricspace information to solve ambiguity when recording and retrieving entities. This mechanism, which provides a solid basis for replaying the design history precisely, hasbeen implemented in InteSolid, a history and feature based modeling system.
keywords Topological Name, Design History, Feature And History Based Design
series journal paper
email
last changed 2003/05/15 21:33
_id ec4d
authors Croser, J.
year 2001
title GDL Object
source The Architect’s Journal, 14 June 2001, pp. 49-50
summary It is all too common for technology companies to seek a new route to solving the same problem but for the most part the solutions address the effect and not the cause. The good old-fashioned pencil is the perfect example where inventors have sought to design-out the effect of the inherent brittleness of lead. Traditionally different methods of sharpening were suggested and more recently the propelling pencil has reigned king, the lead being supported by the dispensing sleeve thus reducing the likelihood of breakage. Developers convinced by the Single Building Model approach to design development have each embarked on a difficult journey to create an easy to use feature packed application. Unfortunately it seems that the two are not mutually compatible if we are to believe what we see emanating from Technology giants Autodesk in the guise of Architectural Desktop 3. The effect of their development is a feature rich environment but the cost and in this case the cause is a tool which is far from easy to use. However, this is only a small part of a much bigger problem, Interoperability. You see when one designer develops a model with one tool the information is typically locked in that environment. Of course the geometry can be distributed and shared amongst the team for use with their tools but the properties, or as often misquoted, the intelligence is lost along the way. The effect is the technological version of rubble; the cause is the low quality of data-translation available to us. Fortunately there is one company, which is making rapid advancements on the whole issue of collaboration, and data sharing. An old timer (Graphisoft - famous for ArchiCAD) has just donned a smart new suit, set up a new company called GDL Technology and stepped into the ring to do battle, with a difference. The difference is that GDL Technology does not rely on conquering the competition, quite the opposite in fact their success relies upon the continued success of all the major CAD platforms including AutoCAD, MicroStation and ArchiCAD (of course). GDL Technology have created a standard data format for manufacturers called GDL Objects. Product manufacturers such as Velux are now able to develop product libraries using GDL Objects, which can then be placed in a CAD model, or drawing using almost any CAD tool. The product libraries can be stored on the web or on CD giving easy download access to any building industry professional. These objects are created using scripts which makes them tiny for downloading from the web. Each object contains 3 important types of information: · Parametric scale dependant 2d plan symbols · Full 3d geometric data · Manufacturers information such as material, colour and price Whilst manufacturers are racing to GDL Technologies door to sign up, developers and clients are quick to see the benefit too. Porsche are using GDL Objects to manage their brand identity as they build over 300 new showrooms worldwide. Having defined the building style and interior Porsche, in conjunction with the product suppliers, have produced a CD-ROM with all of the selected building components such as cladding, doors, furniture, and finishes. Designing and detailing the various schemes will therefore be as straightforward as using Lego. To ease the process of accessing, sizing and placing the product libraries GDL Technology have developed a product called GDL Object Explorer, a free-standing application which can be placed on the CD with the product libraries. Furthermore, whilst the Object Explorer gives access to the GDL Objects it also enables the user to save the object in one of many file formats including DWG, DGN, DXF, 3DS and even the IAI's IFC. However, if you are an AutoCAD user there is another tool, which has been designed especially for you, it is called the Object Adapter and it works inside of AutoCAD 14 and 2000. The Object Adapter will dynamically convert all GDL Objects to AutoCAD Blocks during placement, which means that they can be controlled with standard AutoCAD commands. Furthermore, each object can be linked to an online document from the manufacturer web site, which is ideal for more extensive product information. Other tools, which have been developed to make the most of the objects, are the Web Plug-in and SalesCAD. The Plug-in enables objects to be dynamically modified and displayed on web pages and Sales CAD is an easy to learn and use design tool for sales teams to explore, develop and cost designs on a Notebook PC whilst sitting in the architects office. All sales quotations are directly extracted from the model and presented in HTML format as a mixture of product images, product descriptions and tables identifying quantities and costs. With full lifecycle information stored in each GDL Object it is no surprise that GDL Technology see their objects as the future for building design. Indeed they are not alone, the IAI have already said that they are going to explore the possibility of associating GDL Objects with their own data sharing format the IFC. So down to the dirty stuff, money and how much it costs? Well, at the risk of sounding like a market trader in Petticoat Lane, "To you guv? Nuffin". That's right as a user of this technology it will cost you nothing! Not a penny, it is gratis, free. The product manufacturer pays for the license to host their libraries on the web or on CD and even then their costs are small costing from as little as 50p for each CD filled with objects. GDL Technology has come up trumps with their GDL Objects. They have developed a new way to solve old problems. If CAD were a pencil then GDL Objects would be ballistic lead, which would never break or loose its point. A much better alternative to the strategy used by many of their competitors who seek to avoid breaking the pencil by persuading the artist not to press down so hard. If you are still reading and you have not already dropped the magazine and run off to find out if your favorite product supplier has already signed up then I suggest you check out the following web sites www.gdlcentral.com and www.gdltechnology.com. If you do not see them there, pick up the phone and ask them why.
series journal paper
email
last changed 2003/04/23 15:14
_id a58e
authors Evans, S. and Hudson-Smith, A.
year 2001
title Information Rich 3D Computer Modeling of Urban Environments
source Working Paper 35, Centre for Advanced Spatial Analysis Working Papers; London, August 2001
summary We are living in an increasingly information rich society. Geographical Information Systems now allow us to precisely tag information to specific features, objects and locations. The Internet is enabling much of this information to be accessed by a whole spectrum of users. At CASA we are attempting to push this technology towards a three-dimensional GIS, that works across the Internet and can represent significant chunks of a large city. We believe that the range of possible uses for such technology is diverse, although we feel that urban planning is an area that can benefit greatly. An opportunity to push this ìplanning technologyî arose when CASA won a tender from Hackney Council to develop a dynamic website for community participation in the process of regenerating the Woodberry Down Estate. This is a run down part of northeast London that is undergoing a major redevelopment. CASA has developed a system that not only informs the local residents about the redevelopment process but it also enables them to use dynamic visualisations of the ìbefore and after effectsî of different plans, and then to discuss and vote on the variety of options.
series other
last changed 2003/04/23 15:50
_id 1e1a
authors Moeck, Martin
year 2001
title On top-down architectural lighting design. Constraint-based generation of light sources
source Proceedings of the Ninth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-7023-6] Eindhoven, 8-11 July 2001, pp. 331-348
summary One key problem of architectural lighting design is to specify goals that relate to aesthetics. Since visibility is an important criterion for many visual tasks and objects, heuristics from industrial lighting and visual inspection can be used to describe the appearance of objects relevant to architectural lighting design, and to derive corresponding light sources. This has the potential to bring computation time in the range of near-interactive rates. A combination of two constraining inputs, which are the specification of desired material appearance and the selection of highlights and shadows can be successfully used in determining light sources.
keywords Top-Down Design, Constraint Satisfaction Optimisation, Lighting Design, Visual Performance Criteria
series CAAD Futures
email
last changed 2006/11/07 07:22
_id 0b0e
authors Neto de Faria, J., Pellegrin, L., Senna, N. and Cardoso, V.
year 2001
title REVISTA PROTÓTIPO DESIGN: DIVULGAÇÃO E PUBLICAÇÃO DE NOVO MODELO DE REVISTA (Magazine Protótipo Design: Promotion and Publication of a New Magazine Model)
source SIGraDi biobio2001 - [Proceedings of the 5th Iberoamerican Congress of Digital Graphics / ISBN 956-7813-12-4] Concepcion (Chile) 21-23 november 2001, pp. 257-259
summary The magazine “Protótipo Design” proposes the exploration of cyberspace in the construction of a virtual design magazine capable of using coherently the resources offered by the new media and employing adequately the existing languages. The magazine works its interface with the intention of always offering new possibilities in the navigation analogies in order to edify the cyberspace with a unique form, not delimited by wore down analogies with the impressed magazines. Another preoccupation that moves the magazine is the investigation of the use of the Internet as a more economic form of publishing the theoretical and practical researches in design.
series SIGRADI
email
last changed 2016/03/10 09:56
_id 4664
authors Russell, Peter
year 2001
title Visualising Non-Visual Building Information
source Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 546-551
doi https://doi.org/10.52842/conf.ecaade.2001.546
summary Architecture can be understood as a process and as an object. In both forms, it consists of a complex of mass, monetary, energy and information flows that occur over time scales ranging from hours and days to centuries. The parts or elements making up buildings and the processes involved in producing, maintaining, using and disposing of them are highly intertwined and multi-dimensional. The field of Architecture can range from complete building stocks down to individual buildings, their elements, and the materials and processes making up these elements. What is more, it is also necessary to introduce time as a dimension in order to model the complete life cycle of buildings. Current CAD systems concentrate primarily on the replication of the traditional drawing process (sometimes in three dimensions) and the visualisation of the finished building. While these models describe the geometry and visual appearance of buildings, the bulk of the information about the building remains unseen. Recently developed systems such as the German LEGOE system have combined a materials database with specification and CAD systems, which allows for a more comprehensive description of the building. However, this additional information is displayed either rudimentarily or as lists of numbers. The information describing the position or visual quality of building elements is, in fact, minuscule in comparison to that describing the properties of the materials involved, their production methods, the energy needed to produce, transport and install the elements, and information concerning toxicology and environmental issues. What is more, these materials are not simply in situ, but can be considered to flow through the building. These flows also occur at widely varying rates according to the type of material and the type of building. The view is taken that buildings are actually temporary repositories of various “flows” which occupy the building during its lifetime. Thus seen, the various aspects of a building at a certain stage of its life are taken to be the total sum of its inputs and outputs at any given time. Currently, its complexity and the lack of cognitive assistance in its presentation limit the understanding of this information. The author postulates that to better understand this information, visual displays of this “non-visual” building information are needed, at least for those who, like architects, are more visually inclined. The paper describes attempts made to go beyond conventional two-dimensional charts, which have tended to only complicate understanding. This is partly due to the need to display a high number of dimensions in one space. Examples are shown of experimental visual displays using three-dimensional graphs created in VRML as well as a “remodelling” of the building based on statistical rather than spatial information to form a building “artefact”. The remodelled artefacts are based on a null-value three-dimensional form and are then modified according to the specific database information without changing their topology. These artefacts are initially somewhat idiosyncratic, but become more useful when a large enough population has been created. With sufficient numbers, it is possible to compare and classify the artefacts according to their visually discernible attributes. The classification of the artefacts is useful in understanding building types independent of their formal “architectural” or spatial qualities, particularly with age-use-classes. The paper also describes initial attempts to create building information landscapes that unfold from the artefacts allowing detailed views of the summarised information displayed by the individual artefacts.
keywords Building Information, Visualisation, VRML, Life Cycle Analysis
series eCAADe
email
last changed 2022/06/07 07:56
_id ga0132
id ga0132
authors Abe, Yoshiyuki
year 2001
title Beyond the math visualization - Geometrica and Stochastica
source International Conference on Generative Art
summary Mathematically controlled imaging process provides attractive results because of its infinite scaling capabilities with some other elements that contribute to the visualization. Its global/local and precise manipulation of parameters holds potential for realizing an unpredictable horizon of imagery. When it meets the artist's taste, this method could be a strong enough system of creation, and I have been producing images using the surfaces of hyperbolic paraboloid. On the other hand, a method absolutely free from the geometric parameter manipulation is possible with a stochastic process [1]. Like the technique of pendulum in photography, while its production rate of acceptable result is very low, its potential of generating a strong visual message is also very attractive. It is possible to set stochastic elements at any stage of the process, and conditional probability on those elements, or the hierarchy of probability management characterizes the probability distribution. Math space has no light. No gravity. No color on the math surfaces. And the math equation providesonly the boundary in 3D or higher mathematical dimensions. The fact means that artists can keep artistic reality with their unique tastes in colors on the surface and light sources, and this is the most important element of the math based imaging. Being able to give artists' own choice of colors and that the artist may take only right ones from the results of a stochastic process guarantee the motif and aesthetics of artist could be reflected onto the work.
series other
email
more http://www.generativeart.com/
last changed 2003/11/21 15:15

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