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	ijac20053304
id	ijac20053304
authors	Lyon, Eduardo
year	2005
title	Autopoiesis and Digital Design Theory: CAD Systems as Cognitive Instruments
source	International Journal of Architectural Computing vol. 3 - no. 3, 317-334
summary	In contrast to traditional models of design process fundamentally defined by the abstract manipulation of objects, this study recognizes that the resources available for rethinking architecture are to be found in a reformulation of its theory and practice. This reformation should be based on non-linear design processes in which dynamic emergence and invention take the place of a linear design process fixed on a particular object evolution. Advances in computation thinking and technology have stimulated the design and formulation of a large number of design software. Its elaboration supposes a new conceptualization of our discipline's knowledge, in a body of principles and regulations, which commands the artifact's design and its realization; therefore, it constitutes a preliminary datum for its comprehension, and thereby is of theoretical importance. Despite the continuous increment of power in computers and software capacities, the creative space of freedom defined by them acting as cognitive instruments remains almost unexplored. Therefore, we propose a change from a design knowledge based on objects to one focused on design as a network of processes. In addition, this study explores the concept of Distributed Cognition in order to redefine the use of digital tools in design process as Cognitive Instruments.
series	journal
more	http://www.ingentaconnect.com/search/expand?pub=infobike://mscp/ijac/2005/00000003/00000003/art00005
last changed	2007/03/04 07:08

_id	2005_000
id	2005_000
authors	Duarte, José Pinto, Ducla-Soares, Gonçalo and Sampaio, A. Zita (Eds.)
year	2005
title	Digital Design: The Quest for New Paradigms
source	23nd eCAADe Conference Proceedings [ISBN 0-9541183-3-2], Lisbon (Portugal) 21-24 September 2005, 880 p.
doi	https://doi.org/10.52842/conf.ecaade.2005
summary	As the field of computer-aided design evolved over the last thirty years or so, it has witnessed five changes of emphasis in research direction. In the first stage, the use of computers in architecture focused on the development of Computer Aided Design (CAD), that is, systems that simulated the use of drafting tools, and research was mainly concerned with the satisfaction of designers' ergonomic needs. In the second stage, there were efforts to use computer tools in non-graphical aspects of designing, such as the use of Data Base Management Systems (DBMS) in the quantity survey of buildings. The concern was to satisfy the cognitive needs of designers by focusing on the way information and knowledge were perceived, acquired, stored, and processed. In the third stage, the focus shifted to the development of realistic models of buildings to permit the assessment of design proposals. In the fourth stage, the focus was on studies concerned with the encoding of architectural knowledge into design tools (KBMS), and the discussion was whether to go towards design automation or design supporting tools. In the fifth stage, with the advent of the Internet and the development of communication tools, research became focused on the collaborative and social aspects of design activity. In recent years, research also became concerned with the exploration of the physical implications of digital media in the production of artefacts. Today, there is a vast range of research interests and approaches, but the quest for new, unifying paradigms continues.
series	eCAADe
type	normal paper
email
more	http://www.ecaade.org
last changed	2022/06/07 07:49

_id	sigradi2005_433
id	sigradi2005_433
authors	Muñoz, Patricia Laura; Juan López Coronel
year	2005
title	Looking at CAD from Morphology
source	SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 1, pp. 433-437
summary	Our knowledge on Morphology of Industrial Design was increased through its relation to CAD systems. It was not just a functional change, because there was an integration of conceptual and operational morphological knowledge with 3D modelling systems. Over almost ten years of research we identified three different stages: exploration, surpassing of restrictions and expansion. We worked mainly in the generative systems of curve spatial surfaces and on their determination and communication, combining both digital and analogous resources. Throughout these stages we were able to understand CAD systems as instruments of inquiry that enable morphological explorations that would be unfeasible without them. If we can look beyond their visualizing faculties we can enter this challenging research area that will allow us to broaden the vision and scope of our discipline. [Full paper in Spanish]
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	acadia05_048
id	acadia05_048
authors	Katodrytis, George
year	2005
title	Poiesis and Autopoiesis in Architecture
source	Smart Architecture: Integration of Digital and Building Technologies [Proceedings of the 2005 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 0-9772832-0-8] Savannah (Georgia) 13-16 October 2005, pp. 48-57
doi	https://doi.org/10.52842/conf.acadia.2005.048
summary	The use of digital technology in architecture has proven to be more assertive than originally thought: it has reconditioned the nature of the design process, and established new processes and techniques of fabrication. Recent applications in digital technology show inquisitiveness in the contentious subject Genetic Algorithms. This new architectural process is characterized by two main shifts: from poiesis (or poetry) to autopoiesis, and from authenticity to mimesis. Since evolutionary simulations give rise to new forms rather than design them, architects should now be both artists and operators of both Inventive and Systematic design. Inventive design: The digital media should bring about poiesis (poetry). Digital spaces reveal and visualize the unconscious desires of urban spaces, bringing forth new dreamscapes, mysterious and surreal. This implies a Freudian spatial unconscious, which can be subjected to analysis and interpretation. The tools of digital dreaming, meanwhile, have opened a window to the ‘urban unconscious’. Systematic Design: Digital media should bring about an autopoiesis. This approach calls into question traditional methods of architectural design that replace the hierarchical processes of production known as “cause and effect,” and propose a design process where the architect becomes a constructor of formal systems. Will the evolutionary simulation replace design? Is metric space dead? The new algorithmic evolutionary conditions give architecture an autopoiesis, similar to biological dynamics. Paradoxically, the new emerging process is more insightful. The emphasis of the exploration is on morphological complexity. Architecture, through “machine” fabrication, may become more responsive, rigorous and poetic.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	2005_491
id	2005_491
authors	Beirão, José and Duarte, José
year	2005
title	Urban Grammars: Towards Flexible Urban Design
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 491-500
doi	https://doi.org/10.52842/conf.ecaade.2005.491
summary	Traditional urban plans have definitive design systems, without the flexibility required to deal with the complexity and change that characterise contemporary urban societies. To provide urban plans with increased flexibility, it is proposed a design methodology capable of producing various design solutions instead of a specific definitive design. The methodology uses shape grammars as a process for generating urban design. In this approach, design becomes a system of solutions rather than a specific one. Through the analyses of a group of urban plans, a design methodology was sketched in which rules are used to enable more flexibility. These plans where chosen for their perceived qualities in terms of language, planning efficiency, and latent flexibility. As a result, a four-phased methodology was identified and thus, proposed for designing urban plans. This methodology was then combined with shape grammars and tested in a design studio setting. Students were asked to use the methodology and shape grammars as auxiliary instruments in the design of a flexible plan for a new town. In the following year, to simulate real-world conditions and oblige students to consider urban ordering and scale, work was structured differently. First, students were asked to develop a rule-based urban plan as in the previous year. Second, they were asked to conceive a detail plan for a sector of an urban plan defined by another group of students following its rules. The plans were then analysed with the goal of refining the methodology. Results show that shape grammars produce urban plans with non-definitive formal solutions, while keeping a consistent spatial language. They also provide plans with explicit and implicit flexibility, thereby giving future designers a wider degree of freedom. Finally, they provide students with a concrete methodology for approaching urban design and foster the development of additional designing skills.
keywords	Shape Grammars, Flexible Urban Design
series	eCAADe
email
last changed	2022/06/07 07:54

_id	2005_665
id	2005_665
authors	Brito, Tiago, Fonseca, Manuel J. and Jorge, Joaquim A.
year	2005
title	DecoSketch – Towards Calligraphic Approaches to Interior Design
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 665-670
doi	https://doi.org/10.52842/conf.ecaade.2005.665
summary	Computer-Aided Design tools have long played an important role in architecture design. However, we need to go beyond direct manipulation to devise new tools that will expedite the interior design and decoration. Indeed, conventional CAD systems, while providing ever increasing functionality, do not provide equal support to the drafting and drawing tasks. This makes even the simplest drawings a complicated endeavor. Draftspeople struggle with different concepts that those learnt from their earlier days in school and have to think long and hard to translate familiar sequences of operations to commands which require navigating a dense jungle of menus. The term calligraphic interfaces was coined by us to designate a large family of applications organized around the drawing paradigm, using a digital stylus and a tablet-and-screen combination as seen most recently in Tablet PCs®. Using these, users can enter drawings in a natural manner, largely evocative of drafting techniques that were perfected for pencil-and-paper media. This paper presents a simple calligraphic interface to explore interior design literally from the ground up. The Decosketch application is a modeling and visualization tool structured around 2 _D architectural plants. Its purpose is to help architects or customers easily creating and navigating through house designs starting from the floorplan and moving to their three-dimensional representation. Moreover, both 2D and 3D representations can be independently edited, providing a natural interface that tries to adhere to well-known representations and idioms used by architects when drafting using pencil and paper.
series	eCAADe
email
last changed	2022/06/07 07:54

_id	sigradi2005_300
id	sigradi2005_300
authors	Cavieres, Andrés P.; Marcelo Quezada G.
year	2005
title	Analysis of the possibilities offered by the application of parametric modeling technologies in the design processes shared between architects and industrial designers: The prefabricated house case.
source	SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 1, pp. 300-303
summary	Traditionally, the teaching of digital design systems has been focused on the operative learning of software. However, this almost exclusively technical approach has leaded to a partial view of these systems, as well suited platforms to exploration of project’s possibilities. Consequently their relevance as a base for project representation and therefore as a useful instrument for conceptual exploration for design and experimental research of their processes have been undervalued. On the other hand, this restrictive perspective results in an important waste of the teaching possibilities lying in CAD software related with interdisciplinary teamwork. The following academic experience obeys to a new insight of how to teach these tools, based upon problem solving in Design by interdisciplinary students work teams from Architecture and Industrial Design. In this bet, the learning process is flexible, shared and collaborative, according to the requirements of each project, powered by the commitment of facing common goals. [Full paper in Spanish]
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	caadria2006_597
id	caadria2006_597
authors	CHOR-KHENG LIM, CHING-SHUN TANG, WEI-YEN HSAO, JUNE-HAO HOU, YU-TUNG LIU
year	2006
title	NEW MEDIA IN DIGITAL DESIGN PROCESS: Towards a standardize procedure of CAD/CAM fabrication
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 597-599
doi	https://doi.org/10.52842/conf.caadria.2006.x.r4i
summary	In 1990, due to the traditional architecture design and construction method difficult to build the complicated and non-geometry free-form Fish Structure in Barcelona, architect Frank Gehry started learn from the field of aerospace to utilize CAD/CAM technology in design and manufacture process. He created the free-form fish model in CAD system and exported the digital CAD model data to CAM machine (RP and CNC) to fabricate the design components, and finally assembled on the site. Gehry pioneered in the new digital design process in using CAD/CAM technology or so-called digital fabrication. It becomes an important issue recently as the CAD/CAM technology progressively act as the new digital design media in architectural design and construction process (Ryder et al., 2002; Kolarevic, 2003). Furthermore, in the field of architecture professional, some commercial computer systems had been developed on purpose of standardizes the digital design process in using CAD/CAM fabrication such as Gehry Technologies formed by Gehry Partners; SmartGeometry Group in Europe and Objectile proposed by Bernard Cache. Researchers in the research field like Mark Burry, Larry Sass, Branko Kolarevic, Schodek and others are enthusiastic about the exploration of the role of CAD/CAM fabrication as new design media in design process (Burry, 2002; Schodek et al., 2005; Lee, 2005).
series	CAADRIA
email
last changed	2022/06/07 07:50

_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	2005_805
id	2005_805
authors	El-Khoury, Nada, De Paoli, Giovanni and Tidafi, Temy
year	2005
title	Using Digital Devices to Find New Ways of Representing Audience Visibility in Theatrical Spaces
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 805-810
doi	https://doi.org/10.52842/conf.ecaade.2005.805
summary	The following paper is in keeping with other pieces of research which tend to broaden the role of today’s computer tools so that they be seen as more than just representative. In fact, more and more studies focus on computer tools used as smart guides in the development stages of the preliminary concept. We therefore present a cognitive and interactive device with characteristics that address a theatre designer’s requirements. It provides information on the visual quality of seats and optimizes their location in order to improve audience visibility. The working method we introduce will serve as a basis for future implementations when designing theatrical facilities and providing for audience visibility.
keywords	Visibility; CAD; Theatrical Facility; Digital Devices
series	eCAADe
email
last changed	2022/06/07 07:55

_id	2005_629
id	2005_629
authors	Koutamanis, Alexander
year	2005
title	A Biased History of CAAD
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 629-637
doi	https://doi.org/10.52842/conf.ecaade.2005.629
summary	The democratization and popularization of the computer has brought on fundamental changes to many areas related to computer science, including CAAD. Such areas have been facing the necessity to reposition and reorient themselves in rapidly evolving academic and professional frameworks. A factor that complicates the processes of repositioning and reorientation is that most areas have a short but varied and frequently incoherent history that may be poorly understood. The paper is an attempt to trace the history of CAAD by means of publications. This refers to both key publications and the thematic structure of the overall CAAD production. The underlying hypothesis is that CAAD derives from two distinct ambitions, the technology-driven, bottom-up development of architectural computer graphics and the more domain theory-minded, top-down automation of designing. A third, less popular ambition is the computerization of analysis and evaluation, which can be treated as a subcategory of the previous two. The results of the bibliographic analysis are summarized in a timeline that indicates a convergence of ambitions and approaches in the 1980s, the period when CAAD became a recognizable area. In the 1990s the democratization and popularization of the computer caused diversification of CAAD activities over a wide spectrum, ranging from support to end-use of computer systems to computational theory and including the development of advanced, specific applications in cooperation with other architecture, building or design specializations.
keywords	History; Bibliography; Drawing; Design; Computerization
series	eCAADe
email
last changed	2022/06/07 07:51

_id	acadia05_142
id	acadia05_142
authors	Lee, Jaewook and Kalay, Yehuda E.
year	2005
title	Collaborative Design Approach to Intelligent Environments
source	Smart Architecture: Integration of Digital and Building Technologies [Proceedings of the 2005 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 0-9772832-0-8] Savannah (Georgia) 13-16 October 2005, pp. 142-155
doi	https://doi.org/10.52842/conf.acadia.2005.142
summary	Intelligent environments are buildings and other settings that can recognize the changing needs of their users and/or the changing nature of their context, and respond to them by adjusting some key environmental parameters (temperature, light, sound, furnishings, etc.). Unlike the currently common approach, which is based on systems theory (i.e., adjusting the parameters of the environment to match some pre-defined use profile), the approach proposed in this paper is based on dynamic, collaborative design: it views the (built) environment as comprised of multiple independent object-agents, each of which is responsible for one small aspect of the environment. Each can sense the immediate changes pertaining to its domain of responsibility, and propose corrective measures, which are negotiated with other agents to form a collective response. The paper hypothesizes that such an approach can be made more context-sensitive and dynamic, is easily scaleable, and can respond to the needs of multiple different users of the environment at the same time. The paper presents the rationale for developing the multi-agent approach, its hypothetical implementation, and its application to hypothetical case studies.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	2005_615
id	2005_615
authors	Serrato-Combe, Antonio
year	2005
title	Lindenmayer Systems – Experimenting with Software String Rewriting as an Assist to the Study and Generation of Architectural Form
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 615-621
doi	https://doi.org/10.52842/conf.ecaade.2005.615
summary	In 1968 Aristid Lindenmayer proposed a series of mathematical constructs as a foundation for an axiomatic theory of form development. Since that time, Lindenmayer Systems or L-systems have evolved and found many practical applications in the computer visualization area. Generation of fractal imagery, realistic modeling and high quality visualization of organic forms and even music generation are now possible with the assistance of L-systems. But, is it possible to use L-systems in architectural design? Why would anyone use L-systems in architectural design? How would one use them? What could one expect from their use? In addition to providing answers to the above questions this paper presents: 1. Concepts behind L-systems 2. The need to transform L-Systems so they can have creative architectural application possibilities 3. Examples on the architectural use of L-Systems 4. Conclusions
keywords	Form Generation, Lindenmayer, String rewriting, Visualization
series	eCAADe
email
last changed	2022/06/07 07:56

_id	sigradi2005_161
id	sigradi2005_161
authors	Serrato-Combe, Antonio
year	2005
title	Lindenmayer Systems – Experimenting with Software String Rewriting as an Assist to the Study and Generation of Architectural Form
source	SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 1, pp. 161-166
summary	In 1968 Aristid Lindenmayer proposed a series of mathematical constructs as a foundation for an axiomatic theory of form development. Since that time, Lindenmayer Systems or L-systems have evolved and found many practical applications in the computer visualization area. Generation of fractal imagery, realistic modeling and high quality visualization of organic forms and even music generation are now possible with the assistance of L-systems. But, is it possible to use L-systems in architectural design? Why would anyone use L-systems in architectural design? How would one use them? What could one expect from their use?
series	SIGRADI
type	normal paper
email
last changed	2016/03/10 10:00

_id	5b89
id	5b89
authors	Sevaldson, Birger
year	2005
title	Developing Digital Design Techniques Investigations on Creative Design Computing
source	Oslo School of Architecture and Design, PHD-Thesis
summary	1.1. The themes in this theses 16 1.1.1. Mind the mind gap 16 1.1.2. Prologue: The World Center for Human Concerns 17 1.1.3. Creative computer use 26 1.1.4. Design strategies and techniques 31 1.2. Overview 33 1.2.1. Main issues 34 1.2.2. The material 36 1.2.3. The framework of this thesis 37 2. CURRENT STATE AND BACKGROUND 39 2.1. New tools, old thoughts. 39 2.1.1. A misuse strategy 44 2.1.2. Emergence in design 47 2.1.3. Programming and design 50 2.1.4. Artificial intelligence 53 2.1.5. Human intelligence and artificial representations 53 2.2. Electronic dreams 54 2.2.1. The dream of intuitive software 55 2.2.2. The dream of the designing machine 60 2.2.3. The dream of self-emerging architecture; genetic algorithms in design 61 2.2.4. A cultural lag 62 2.3. Ideas and ideology 64 2.3.1. A personal perspective on the theories of the 1990s 65 2.3.2. "The suffering of diagrams" 68 2.3.3. Architectural theory and design methodology 69 2.4. Ideas on creativity 72 2.4.1. What is creativity? 73 2.4.2. Creativity, a cultural phenomenon. 75 2.4.3. Creativity in the information age 79 2.4.4. Creativity-enhancing techniques 81 2.4.5. Crucial fiicro-cultures 82 2.4.6. A proposal for a practitioner approach to creativity 83 2.5. Summary and conclusion of part 2 84 3. NEW DESIGN TECHNIQUES 86 3.1. Introduction 86 3.2. New technology - new strategy 87 3.3. Thinking through design practice: the inspirational playful design approach 88 3.4. A Corner stone: emergence 89 3.4.1. The source material 94 3.5. Recoding, translation and interpretation 95 A case: Tidsrom 97 3.6. Reconfiguring schemata 109 3.7. Rules and games 113 3.8. Virtuality and virtual models 118 3.8.1. What is "The Virtual"? 118 3.8.2. Virtual reality 119 Investigating "the virtual" 120 3.8.3. Analysing the virtual 126 3.9. Visual thinking (diagrams and visual thinking) 130 3.9.1. Visual Thinking and Abstraction. 130 3.9.2. A heuristic process 132 3.9.3. Visual thinking, skills and tacit knowledge 132 3.9.4. Media for visual thinking 133 3.10. Diagrammatic thinking 138 3.10.1. Descriptive diagrams 142 3.10.2. Generative diagrams 144 3.10.3. Versioning 149 3.10.4. Finding 153 3.10.5. Translation and interpretation 158 3.10.6. From generative diagram to program 168 3.10.7. Dynamic generative diagrams 171 3.11. The question of selection 175 3.12. Summary and conclusion of part 3 178 4. WAYS OF WORKING: FROM DESIGN PRACTICE TOWARDS THEORY AND DIGITAL DESIGN METHODS 179 4.1. Introduction 179 4.1.1. Practice-based research 180 4.1.2. Visual material is central. 180 4.1.3. Two investigation paths 180 4.1.4. Achievements 180 4.2. Methods 181 4.2.1. Explorative and generative research 182 4.2.2. A first-person approach 183 4.2.3. Analysis 184 4.2.4. The Material 185 4.3. Systematising creative computer use. Ways of working; techniques in creative computer use. 186 4.3.1. Categorization 186 4.3.2. Mapping the field of design computing. 187 4.3.3. Generic techniques 190 4.3.4. Specific techniques 192 4.3.5. Table of techniques 193 4.3.6. Examples of techniques 200 4.3.7. Traces of technology. 213 4.4. The further use of the generated material 219 4.4.1. Realisation strategies 221 4.4.2. Templates and scaffolds 223 4.5. Summary of Part 4 240 PART 5. WAYS OF THINKING: INTENTIONS IN CREATIVE COMPUTER USE. 241 5.1. Intentions 241 5.1.1. Categorising intentions 242 5.2. Intention themes 243 5.2.1. Cases and samples from Group one: Formal, phenomenal, spatial and geometrical themes 244 5.2.2. Intentions of response to the complexity of urban systems 297 5.3. The Hybrid Process 317 5.3.1. Hybridization strategies 319 5.3.2. The hybrid process and its elements. 328 6. SUMMARY AND CONCLUSIONS 344 6.1. Principles, concepts and methods for creative design computing 344 6.2. A new type of creativity? 348 6.3. A practice as the field for an investigation 349 6.4. Suggestions for further studies 349
series	thesis:PhD
type	normal paper
last changed	2007/04/08 16:11

_id	2005_287
id	2005_287
authors	Achten, Henri and Reymen, Isabelle
year	2005
title	Structured Reflection as a Means to Deepen Understanding of CAAD
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 287-294
doi	https://doi.org/10.52842/conf.ecaade.2005.287
summary	In this paper we outline a strategy of structured reflection to improve reflection by students in a course on the implication of CAAD, design theory, and design methodology. Earlier editions of the course showed that students often did not evolve their learning beyond a checklist level. Reflection is an important mechanism to improve learning from design situations. After a consideration of the main approaches to design reflection, we take up Schön’s notion of reflection and provide support for structured reflection in CAAD education, based on earlier experiences with structured question lists in a civil engineering course. Findings after the first year’s run show a deeper level of reflection on a more elaborate level.
keywords	Structured Reflection, CAAD, Education
series	eCAADe
email
last changed	2022/06/07 07:54

_id	2005_010
id	2005_010
authors	Aish, Robert
year	2005
title	From Intuition to Precision
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 10-14
doi	https://doi.org/10.52842/conf.ecaade.2005.010
summary	Design has been described as making inspire decisions with incomplete information. True, we may use prior knowledge, we may even think we understand the causalites involved, but what really matters is exploration: of new forms, of new materials, and speculation about the response to the resulting effects. Essentially, this exploration has its own dynamics, involving intuition and spontaneity, and without which there is no design. But of course we all know that this is not the whole story. Design is different to 'craft'; to directly 'making' or 'doing'. It necessarily has to be predictive in order to anticipate what the consequence of the 'making' or 'doing' will be. Therefore we inevitably have to counter balance our intuition with a well developed sense of premeditation. We have to be able to reason about future events, about the consequence of something that has not yet being made. There is always going to be an advantage if this reasoning can be achieved with a degree of precision. So how can we progress from intuition to precision? What abstractions can we use to represent, externalize and test the concepts involved? How can we augment the cognitive processes? How can we record the progression of ideas? And, how do we know when we have arrived? Design has a symbiotic relationship with geometry. There are many design issues that are independent of any specific configurations. We might call these “pre-geometric” issues. And having arrived at a particular configuration, there may be many material interpretations of the same geometry. We might call these “post-geometric” issues. But geometry is central to design, and without appropriate geometric understanding, the resulting design will be limited. Geometry has two distinct components, one is a formal descriptive system and the other is a process of subjective evaluation.
series	eCAADe
email
last changed	2022/06/07 07:54

_id	ac12
id	ac12
authors	Akin, Ö.; R. Krishnamurti, K.P. Lam (eds)
year	2005
title	Generative CAD Systems
source	Singapore: Carnegie Mellon University, 2005
summary	In the new millennium, Computer Aided Design has emerged as the most potent technological innovation in design. As BIM promises to integrate design tasks vertically and horizontally through graceful data exchange, new frontiers appear to researchers and practitioners as potential watershed events of the next decade. Generative approaches, a venerable engagement of computational design, is emerging as one of these. The proceedings of the Generative CAD Symposium held at Carnegie Mellon University, both summarizes the three decades of work in this area and reveals the beginnings of research and application expected in this domain. After all, will designers be able to effortlessly and intelligently generate potential design solutions that respond to appropriate design requirements and designers’ intentions?
series	book
type	normal paper
email
more	http://www.andrew.cmu.edu/user/oa04/publications_books.html
last changed	2008/09/04 07:18

_id	sigradi2005_811
id	sigradi2005_811
authors	Amundarain, Iñaki Martín; Víctor Aperribay ; Jesús Mª Alonso ; José Javier San Martín José Ignacio San Martín ; José Mª Arrieta ; Igor Treviño
year	2005
title	Advanced techniques of design in support to medical science: Application to implantological treatments.
source	SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 2, pp. 811-817
summary	At the present time the importance of the image of people plays a key role. Therefore many people who leave these standards wish to change their aesthetic face one, in occasions to look for characteristics that respond to the modern beauty, and in others, to try to solve a medical problem. In the work that is exposed here, the use of the present technological tools of design appears, like support to the scientific development that it makes possible an effectively learn more express and to the students of Odontolgy, improvement of the quality of the treatments of the doctors and help the patients to see beforehand the final results of the operations, avoiding to see disagreeable images. So, the support of the surgical procedures on systems CAD/CAM is making possible the enormous development of medical science, such form that are every time better, more comfortable to learn and are less traumatic for them. [Full paper in Spanish]
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	2005_811
id	2005_811
authors	Anay, Hakan
year	2005
title	A Critical Approach to the Use of Computers in Architectural Design
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 811-817
doi	https://doi.org/10.52842/conf.ecaade.2005.811
summary	There are two dominant approaches to architectural and urbanistic problem solving: program based approaches and paradigm based approaches. Beyond these two, this paper proposes the critical/formalist approach as a paradigm for architectural design while summarizing the epistemological foundations of it, and investigates the possible contribution of the computers to this approach. The primary aim is to set a starting point for a more comprehensive future research.
keywords	Design Theory, Design Methodology, Computer Aided Design, Formalism, Architectural Form
series	eCAADe
email
last changed	2022/06/07 07:54

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