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	6b43
id	6b43
authors	Heylighen A, Casaer M, Neuckermans H
year	2005
title	SHARING-IN-ACTION. HOW DESIGNERS CAN SHARE INSIGHTS WITHOUT KNOWING
source	P. Kommers & P. Isaías (eds), Web Based Communities 2005, Proceedings of the IADIS International Conference on Web-Based Communities 2005, Algarve (Portugal), Feb 2005, pp.238-245 (ISBN 972-99353-7-8)
summary	In architecture, design ideas are developed as much through interaction as by individuals in isolation. This awareness inspired the development of a Dynamic Architectural Memory On-line, an interactive platform to share ideas, knowledge and insights in the form of concrete building projects among designers in different contexts and at different levels of expertise. Interaction with various user groups revealed this platform to suffer from at least two thresholds. First of all, making projects available to other platform users takes time, effort, and specific skills. Secondly, designers tend to sense a psychological threshold to share their ideas and insights with others. In trying to tackle both thresholds, this paper proposes to conceive the platform as an associative network of projects, and develops ideas about how the relationships in this network can be determined and updated by exploiting the insights implicitly available in the project documentation and user (inter)actions. In the long run, this should allow the platform to learn from all designers using the platform, including those who do not release information on their own projects, and to apply the lessons learned to continuously enhance its performance.
keywords	web-based communities, self-organization, data mining, design experience
series	other
type	normal paper
email
last changed	2005/04/01 13:25

_id	cf2011_p135
id	cf2011_p135
authors	Chen Rui, Irene; Schnabel Marc Aurel
year	2011
title	Multi-touch - the future of design interaction
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. 557-572.
summary	The next major revolution for design is to bring the natural user interaction into design activities. Graphical User Interfaces (GUI) brought a new approach that was more effective compared to their conventional predecessors. In recent years, Natural User Interfaces (NUI) have advanced user experiences and multi-touch and gesture technologies provide new opportunities for a variety of potential uses in design. Much attention has been paid to leverage in the design of interactive interfaces. The mouse input and desktop screen metaphors limit the information sharing for multiple users and also delayed the direct interaction for communication between each other. This paper proposes the innovative method by integrating game engine ‘Unity3D’ with multi-touch tangible interfaces. Unity3D provides a game development tool as part of its application package that has been designed to let users to focus on creating new games. However, it does not limit the usage of area to design additional game scenarios since the benefits of Unity3D is allowing users to build 3D environments with its customizable and easy to use editor, graphical pipelines to openGL (http://unity3d.com/, 2010 ). It creates Virtual Reality (VR) environments which can simulates places in the real world, as well as the virtual environments helping architects and designers to vividly represent their design concepts through 3D visualizations, and interactive media installations in a detailed multi-sensory experience. Stereoscopic displays advanced their spatial ability while solving issues to design e.g. urban spaces. The paper presents how a multi-touch tabletop can be used for these design collaboration and communication tasks. By using natural gestures, designers can now communicate and share their ideas by manipulating the same reference simultaneously using their own input simultaneously. Further studies showed that 3Dl forms are perceived and understood more readily through haptic and proprioceptive perception of tangible representations than through visual representation alone (Gillet et al, 2005). Based on the authors’ framework presented at the last CAADFutures, the benefits of integrating 3D visualization and tactile sensory can be illustrated in this platform (Chen and Wang, 2009), For instance, more than one designer can manipulate the 3D geometry objects on tabletop directly and can communicate successfully their ideas freely without having to waiting for the next person response. It made the work more effective which increases the overall efficiency. Designers can also collect the real-time data by any change they make instantly. The possibilities of Uniy3D make designing very flexible and fun, it is deeply engaging and expressive. Furthermore, the unity3D is revolutionizing the game development industry, its breakthrough development platform for creating highly interactive 3D content on the web (http://unity3d.com/ , 2010) or similar to the interface of modern multimedia devices such as the iPhone, therefore it allows the designers to work remotely in a collaborative way to integrate the design process by using the individual mobile devices while interacting design in a common platform. In design activities, people create an external representation of a domain, often of their own ideas and understanding. This platform helps learners to make their ideas concrete and explicit, and once externalized, subsequently they reflect upon their work how well it sits the real situation. The paper demonstrates how this tabletop innovatively replaces the typical desktop metaphor. In summary, the paper addresses two major issues through samples of collaborative design: firstly presenting aspects of learners’ interactions with physical objects, whereby tangible interfaces enables them constructing expressive representations passively (Marshall, 2007), while focussing on other tasks; and secondly showing how this novel design tool allows designers to actively create constructions that might not be possible with conventional media.
keywords	Multi-touch tabletop, Tangible User Interface
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	cf2011_p027
id	cf2011_p027
authors	Herssens, Jasmien; Heylighen Ann
year	2011
title	A Framework of Haptic Design Parameters for Architects: Sensory Paradox Between Content and Representation
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. 685-700.
summary	Architects‚Äîlike other designers‚Äîtend to think, know and work in a visual way. In design research, this way of knowing and working is highly valued as paramount to design expertise (Cross 1982, 2006). In case of architecture, however, it is not only a particular strength, but may as well be regarded as a serious weakness. The absence of non-visual features in traditional architectural spatial representations indicates how these are disregarded as important elements in conceiving space (Dischinger 2006). This bias towards vision, and the suppression of other senses‚Äîin the way architecture is conceived, taught and critiqued‚Äîresults in a disappearance of sensory qualities (Pallasmaa 2005). Nevertheless, if architects design with more attention to non visual senses, they are able to contribute to more inclusive environments. Indeed if an environment offers a range of sensory triggers, people with different sensory capacities are able to navigate and enjoy it. Rather than implementing as many sensory triggers as possible, the intention is to make buildings and spaces accessible and enjoyable for more people, in line with the objective of inclusive design (Clarkson et al. 2007), also called Design for All or Universal Design (Ostroff 2001). Within this overall objective, the aim of our study is to develop haptic design parameters that support architects during design in paying more attention to the role of haptics, i.e. the sense of touch, in the built environment by informing them about the haptic implications of their design decisions. In the context of our study, haptic design parameters are defined as variables that can be decided upon by designers throughout the design process, and the value of which determines the haptic characteristics of the resulting design. These characteristics are based on the expertise of people who are congenitally blind, as they are more attentive to non visual information, and of professional caregivers working with them. The parameters do not intend to be prescriptive, nor to impose a particular method. Instead they seek to facilitate a more inclusive design attitude by informing designers and helping them to think differently. As the insights from the empirical studies with people born blind and caregivers have been reported elsewhere (Authors 2010), this paper starts by outlining the haptic design parameters resulting from them. Following the classification of haptics into active, dynamic and passive touch, the built environment unfolds into surfaces that can act as ‚Äúmovement‚Äù, ‚Äúguiding‚Äù and/or ‚Äúrest‚Äù plane. Furthermore design techniques are suggested to check the haptic qualities during the design process. Subsequently, the paper reports on a focus group interview/workshop with professional architects to assess the usability of the haptic design parameters for design practice. The architects were then asked to try out the parameters in the context of a concrete design project. The reactions suggest that the participating architects immediately picked up the underlying idea of the parameters, and recognized their relevance in relation to the design project at stake, but that their representation confronts us with a sensory paradox: although the parameters question the impact of the visual in architectural design, they are meant to be used by designers, who are used to think, know and work in a visual way.
keywords	blindness, design parameters, haptics, inclusive design, vision
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	2005_819
id	2005_819
authors	Dorta, Tomás
year	2005
title	HYBRID MODELING: MANUAL AND DIGITAL MEDIA IN THE FIRST STEPS OF THE DESIGN PROCESS
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 819-827
doi	https://doi.org/10.52842/conf.ecaade.2005.819
summary	This paper proposes a new paradigm in computer-aided design: hybrid modeling. Considering, on one hand the traditional sketches and mock-ups, and digital techniques on the other, this paradigm fuses the two and proposes a new technique that uses the performance of the digital with the capacities of the analog without replacing or imitating one or the other. In the development of design computer solutions, it is important to know the user well. However, most researchers propose systems that do not consider how designers actually work. Furthermore, two principal elements must be considered in the design process: shape and space. These aspects need to be approached with convenient tools that are adapted to the designers. This new paradigm is presented through two new innovative techniques: the hybrid mock-up (for shape) and drafted virtual reality (for space). A review of the implications of this paradigm on the design process is presented. Not only are the techniques fast and easy to learn and execute, but the results demonstrate that the designers can express both their individuality and the idiosyncrasies of their personal representations; important elements that are difficult to achieve with conventional 3D modeling techniques, especially during the primary stages of the design process.
keywords	Manual Media, Design Process, Rapid Prototyping, Sketches, 3D Modeling
series	eCAADe
type	normal paper
email
last changed	2022/06/07 07:55

_id	ascaad2012_003
id	ascaad2012_003
authors	Elseragy, Ahmed
year	2012
title	Creative Design Between Representation and Simulation
source	CAAD \| INNOVATION \| PRACTICE [6th International Conference Proceedings of the Arab Society for Computer Aided Architectural Design (ASCAAD 2012 / ISBN 978-99958-2-063-3], Manama (Kingdom of Bahrain), 21-23 February 2012, pp. 11-12
summary	Milestone figures of architecture all have their different views on what comes first, form or function. They also vary in their definitions of creativity. Apparently, creativity is very strongly related to ideas and how they can be generated. It is also correlated with the process of thinking and developing. Creative products, whether architectural or otherwise, and whether tangible or intangible, are originated from ‘good ideas’ (Elnokaly, Elseragy and Alsaadani, 2008). On one hand, not any idea, or any good idea, can be considered creative but, on the other hand, any creative result can be traced back to a good idea that initiated it in the beginning (Goldschmit and Tatsa, 2005). Creativity in literature, music and other forms of art is immeasurable and unbounded by constraints of physical reality. Musicians, painters and sculptors do not create within tight restrictions. They create what becomes their own mind’s intellectual property, and viewers or listeners are free to interpret these creations from whichever angle they choose. However, this is not the case with architects, whose creations and creative products are always bound with different physical constraints that may be related to the building location, social and cultural values related to the context, environmental performance and energy efficiency, and many more (Elnokaly, Elseragy and Alsaadani, 2008). Remarkably, over the last three decades computers have dominated in almost all areas of design, taking over the burden of repetitive tasks so that the designers and students can focus on the act of creation. Computer aided design has been used for a long time as a tool of drafting, however in this last decade this tool of representation is being replaced by simulation in different areas such as simulation of form, function and environment. Thus, the crafting of objects is moving towards the generation of forms and integrated systems through designer-authored computational processes. The emergence and adoption of computational technologies has significantly changed design and design education beyond the replacement of drawing boards with computers or pens and paper with computer-aided design (CAD) computer-aided engineering (CAE) applications. This paper highlights the influence of the evolving transformation from Computer Aided Design (CAD) to Computational Design (CD) and how this presents a profound shift in creative design thinking and education. Computational-based design and simulation represent new tools that encourage designers and artists to continue progression of novel modes of design thinking and creativity for the 21st century designers. Today computational design calls for new ideas that will transcend conventional boundaries and support creative insights through design and into design. However, it is still believed that in architecture education one should not replace the design process and creative thinking at early stages by software tools that shape both process and final product which may become a limitation for creative designs to adapt to the decisions and metaphors chosen by the simulation tool. This paper explores the development of Computer Aided Design (CAD) to Computational Design (CD) Tools and their impact on contemporary design education and creative design.
series	ASCAAD
email
more	http://www.ascaad.org/conference/2012/papers/ascaad2012_003.pdf
last changed	2012/05/15 20:46

_id	2005_197
id	2005_197
authors	Hsieh, Chih-Wen
year	2005
title	A Networked Sketching Environment for Supporting Collective Creativity
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 197-204
doi	https://doi.org/10.52842/conf.ecaade.2005.197
summary	In the early conceptual design, individual designers often make extensive use of sketches to explore design problems. Moreover, within the collaborative design sessions, designers communicate and discuss with each other by sharing their temporary sketches. These private design artifacts are used to externalize ideas and share them with other designers in order to facilitate the performance of design sessions. During such social interaction performance, some abstraction behaviors behind social activities like collective creativity are synchronized. However, the existent tele-communication tools proposed for separated design groups, slightly hold back the activities of collective creativity. It makes designers dedicated just in the table discussion, and negatively influenced on collective creativity sharing. Thus, some private design artifacts became isolated in tele-communicative environments. In order to respect this, we propose an approach that uses the notion of Digital Backchannel to realize the sub-channel communications. In this paper, we also present the implementation of a working prototype of groupware application. Finally, we discussed some points from our studies.
keywords	CSCD: CSCW; Natural User Interface; Digital-Backchannel; Collective Creativity
series	eCAADe
email
last changed	2022/06/07 07:50

_id	caadria2005_a_7b_d
id	caadria2005_a_7b_d
authors	Jane R. Burry, Andrew L. Burrow, Mark C. Burry
year	2005
title	Upholding the Poetic in Design Collaboration
source	CAADRIA 2005 [Proceedings of the 10th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 89-7141-648-3] New Delhi (India) 28-30 April 2005, vol. 1, pp. 288-299
doi	https://doi.org/10.52842/conf.caadria.2005.288
summary	Design is a fundamentally collaborative activity. It commonly calls on a wide range of expertise and is arguably most effective when all contributions can be considered from an early and highly conceptual phase of the process. The sharing of information, particularly in a process that, at its best, involves collective conceptualisation is complicated by the very close and reciprocal relationship between the partial knowledge about the object of design and the mode of expression or representation of these ideas. As the design process and its numerous inputs, iterations and interrelationships become embedded in the communications; knowledge capture, management and access become central issues. This paper will selectively recount some of the substantive evidence for the characteristics of communication environments most supportive to design collaboration. In response to these findings it will introduce the use of wiki as the basis of an environment to provide this support, provide more detailed examples of the ways in which wiki has been adopted in early collaborative experiments and describe the developments currently being implemented, and how these are being tested in use.
series	CAADRIA
email
last changed	2022/06/07 07:52

_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	caadria2005_a_7c_a
id	caadria2005_a_7c_a
authors	Anandan Karunakaran
year	2005
title	Organisation of Pedestrian Movements: an Agent-Based Approach
source	CAADRIA 2005 [Proceedings of the 10th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 89-7141-648-3] New Delhi (India) 28-30 April 2005, vol. 1, pp. 305-313
doi	https://doi.org/10.52842/conf.caadria.2005.305
summary	Cities are becoming more complex in this digital era due to technological changes. Thinking of cities without such technological changes is equivalent to an embryonic state in the morphology of city growth, that is, the growth seems less advanced. So it is appropriate to think of the non digital city digitally. Urban design is one state which establishes the perfect relationship between the street, people and building. The relationship of the people with the building and street is becoming one of the key factors in architecture. It has been observed that the design of a city has been influenced by the pedestrian movement. Many cities prior to the industrial era were largely determined by the social interactions based on walking. Thus the pedestrians play a key role in the formation of the city. They are a very important component in any representation of transport movements. They generally terminate or initiate a chain of linked activities, and if observed carefully, a single pedestrian movement is meant to include various sub journeys from one location to another. In order to organize pedestrians, we need to understand the pedestrian movement system. Though there is a lot of development of urban models in this aspect, it is still in a nascent state in comparison with the digital advancement. Thus much research work is carried out which can be applied to any given environmental setting, and as a result urban designers can respond to the changing socio-cultural technologies.
series	CAADRIA
last changed	2022/06/07 07:54

_id	sigradi2005_000
id	sigradi2005_000
authors	Angulo, Antonieta and Vásquez de Velasco, Guillermo (eds.)
year	2005
title	SiGradi2005: Vision and Visualization
source	Proceedings of the 9th Iberoamerican Congress of Digital Graphics Graphics / ISBN 978-1-59975-306-5] Lima (Perú) 21-23 november 2005, 826 p.
summary	Paradoxically, one of the most difficult but enjoyable things we do is to imagine. To open the eyes of our mind and see what no one else can see. We see images of things that are yet to be and through the same skill we devise ways in which to make them happen. We design the future in the form of environments, graphics, products, films, and a growing range of new media. Our ability to develop a vision and to visualize it is a gift that we are called to cultivate and put to good use. We have been privileged with a great responsibility. In the process of developing a vision and communicating that vision to others, we “visualize”. Visualization can be a very private experience in which we are alone with mental images that help us shape our vision. In other instances visualization can be a component of mass communication. Visualization can be a means or can be an end. It can be a small architectural sketch on a paper napkin or a mega-graphic covering a high-rise building, an airplane or a ship. In every case, the relationship between vision and visualization is a mutually supportive articulation of what our eyes and our minds can see. Our vision of the role of computers in the art and science of visualization is in constant development. Computer visualization can support an intimate dialog between a designer and his/her vision. It can translate and communicate that vision to a larger audience and in the hands of a new-media artist it can actually constitute his/her vision. The 9th Annual Conference of SIGraDI (Ibero American Society for Computer Graphics) will explore our collective vision on the future of digital visualization and digital media in Environmental Design, Product Design, Graphic Design, Cinematography, New Media, and Art. Authors are invited to share their research work with a focus on how it contributes to shape a collective understanding of the past, awareness of the present, and vision of the future in our multiple disciplines.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	caadria2005_b_4c_b
id	caadria2005_b_4c_b
authors	Chang, Ting-Yuan
year	2005
title	Shift the Style: Supporting Product Design through Evolving Styles
source	CAADRIA 2005 [Proceedings of the 10th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 89-7141-648-3] New Delhi (India) 28-30 April 2005, vol. 2, pp. 240-245
doi	https://doi.org/10.52842/conf.caadria.2005.240
summary	How can we provide computational supports for product designers to actively utilize existing styles as driving force to achieve new designs? For a new style that can take the advantage from existing styles, we surveyed Case-Based Design and Case-Based Reasoning systems for product design and found discouraging results. We employ Learning Classifier Systems, a machine-learning paradigm, to perform automatic style classification. These classified styles are used to evolve new styles of designs.
series	CAADRIA
email
last changed	2022/06/07 07:55

_id	caadria2006_565
id	caadria2006_565
authors	CHEN CHIEN TUNG
year	2006
title	DESIGN ON SITE: Portable, Measurable, Adjustable Design Media
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 565-567
doi	https://doi.org/10.52842/conf.caadria.2006.x.b7f
summary	Space designers usually look for information on site before proceeding design. They image any possibilities of design, while they are on site. Restricted to traditional design media, if they want to develop their ideas further, they have to go back to desks. This kind of design process can capture only part of information of the site. Why not do some developments directly when designers are on the site? That is the starting point of this paper. The whole situation of site is very complicated, so it is very difficult discussing all the possibilities. In order to understand how to design on site, reducing the variations is needed. Tsai and Chang (2005) proposed a prototype about design on site, which focuses on land forming. So I chose interior as the site to reduce the variation and have more controllable factors. Still there are many factors effecting design on site, scale is very unique and very important factor of them. Beginners are difficult to really feel how long it is on the plan drawing, and even most advanced VR equipment still can’t fully present the rich information on the site. To experience the site though body, the main idea is how to propose a portable device that can support space designer to do design on site directly, with intuitional body movement and precise scale, and get feedback immediately.
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	1375
id	1375
authors	Coyne, Richard
year	2005
title	Cornucopia Limited: Design and Dissent on the Internet
source	MIT Press: Cambridge, Mass
summary	The Internet provides a remarkable demonstration of the persistence of the gift in contemporary commerce. Net enthusiasts seem prepared to donate much to the common good. This generous spirit ought to strike resonances with the culture of design, which generally promotes a creative ethos of generosity, conspicuous display, and exuberance. But the cornucopia of the gift economy is offset by net culture's recent leanings towards consumerism. This book challenges the supposed gift society of the Internet, and supplants the gift by a more compelling metaphor, enjoyed in certain quarters of contemporary design, that of theft, rule breaking, and transgression. The relationship between design thinking and the network economy is characterized by the reckless spirit of the trickster, the crosser of boundaries, and the malingerer in the hybrid and uncertain condition of the threshold. The book thus presents a designer's view of the network economy, drawing on insights from design theorists, economists, philosophers and cultural theorists. It provides valuable insights for theorists of human-computer interaction, architects, designers, and those interested in registering the source and direction of the impulse to create, innovate, and design. The book examines five metaphors: household, machine, game, gift and threshold. Economic theory is grounded in the household. The romantics and Marx claimed that labor is dominated by the rampant machinery of capitalism. The computer game represents a potent exemplar of new media economics. The gift is presented as precursor to commercial exchange. Coyne subjects each metaphor to scrutiny in terms of how it deals with the threshold, in other words as it is dissected by the cynic or manipulated by the trickster, and other liminal dwellers in the network economy. 'What’s shaping the culture of the Internet? This turns out to be a surprisingly tricky question, one that Richard Coyne explores with verve and erudition.' --Albert Borgmann, author of Holding On to Reality
keywords	design computing digital media economics threshold trickster e-commerce
series	book
type	normal paper
email
last changed	2006/05/27 18:21

_id	2005_547
id	2005_547
authors	Elger, Dietrich and Russell, Peter
year	2005
title	Crisis? What Crisis?
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 547-556
doi	https://doi.org/10.52842/conf.ecaade.2005.547
summary	The paper describes the current situation concerning career opportunities in the field of architecture in developed western countries. Several aspects that are almost universal mark this situation. Firstly, there are too many architects chasing traditional work in competition with structural (civil) engineers. This is not surprising in consideration of the fact, that the architectural education industry produces far too many new architects for the economy to absorb. In Germany, the number is almost three times too many. Secondly, the needs of the building industry have changed over the past twenty years so that the skills that architects want to offer are not necessarily those that are sought. Lastly, the constant specialisation of work has continued unabated. Architects, as generalists, have idly watched their areas of expertise be usurped from neighbouring fields like civil and structural engineering The reasons for this crisis are manifold. In the schools of architecture, the discussions often deal with form or formal arguments, which, in fact, have little or no relevance to the building industry. This position was tenable so long as the clients were willing to accept formal arguments in order to receive buildings of high quality or current social relevance (i.e. current architectural fashion). With the dual aspects of globalisation and a shift to maintaining building stocks rather than producing new buildings, the tolerance for “architectural” discussions has been reduced even further. Indeed, the monetary pressures overwhelm almost all other aspects, including so-called green issues. What is more, most of the monetary issues are time based. Time represents, perhaps, the largest pressure in any current planning project. The clients expect expedient, accurate and inexpensive solutions. If architects are not able to produce these, the clients will (and do) go elsewhere. The authors argue that there remain serious problems to be solved for architects and the metier in general. Ever cheaper, ever faster and ever encompassing information technologies offer the architectural community a chance to turn recent trends on their head. By using information technologies to their full potential, architects can reassert themselves as the coordinators of building information and processes. Simply put, this means less photorealistic rendering and more databases, which may be unappealing for those architects who have positioned themselves as “designers” and are able to talk long on form, but short on cost or logistics. Nonetheless, the situation is not lost, so long as architects are able to recognise what is desired from the point of view of the client and what is desired from the point of view of the architect. It is not a question of one or the other. Architects must be able to offer innovative design solutions that not only address the fiscal, legal and programmatic constraints, but also push the boundaries at to the position of architecture in the community at large. For educators, it must be made clear that the real potential architects possess is their encompassing knowledge of the building process including their expertise concerning questions of architectural form, function, history and art. Precisely while they are generalists are architects invaluable in a sea of specialists. The biggest hurdle to asserting this in the past has been the control of the vast amounts of information. This is no longer a problem and also no longer an excuse. In the education of architects, it must be made clear that their role dictates sovereignty over architectural information. Architectural Information Management is a necessary skill alongside the more traditional architectural skills. A brief outlook as to how this might come about is detailed in the paper. The authors propose didactic steps to achieve this. Primarily, the education of computer supported planning should not simply end with a series of lectures or seminars, but culminate in integrated Design Studios (which including Design-Build scenarios).
keywords	Architectural Information Mangement, Computer Supported Design Studios, CSCW
series	eCAADe
email
last changed	2022/06/07 07:55

_id	2005_459
id	2005_459
authors	Hou, June-Hao
year	2005
title	Dancing Stairs
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 459-465
doi	https://doi.org/10.52842/conf.ecaade.2005.459
summary	This paper reviews empirical studies in product modeling and issues of CAAD, and then proposes a new way of thinking in object modeling for abstract design concepts – by using stairs as the subject of study because of its systematic nature and wide variety of forms. This object model works in the higher level over existing product models and deals with abstract concept only. It provides a mean for capturing design concepts and knowledge. Most stair generator in CAAD are only capable of making regular stairs, let alone those fascinating free-form stairs. The purpose of this research is to find a higher conceptual structure of stairs by the object modeling method, so virtually all types of stairs can be described and modeled. Therefore conceptual design in CAAD would be possible and useful for designers. A prototype on AutoCAD will be implemented to demonstrate how the conceptual structure works.
keywords	Object Modeling: Abstract Design Concept; Stairs
series	eCAADe
email
last changed	2022/06/07 07:50

_id	ascaad2016_002
id	ascaad2016_002
authors	Jabi, Wassim
year	2016
title	Rigorous Creativity - Ubiquity, Parametrics, Tectonics
source	Parametricism Vs. Materialism: Evolution of Digital Technologies for Development [8th ASCAAD Conference Proceedings ISBN 978-0-9955691-0-2] London (United Kingdom) 7-8 November 2016, pp. 3-6
summary	Architects frequently understand and experience design and creativity as a personal and lonely activity. However, there is, increasingly, a need to collaborate with others in the design and construction of buildings. Digital technology is intricately intertwined with the creative and social aspects of the emerging practice world. A prime example is the use of digital fabrication technology and building information models to directly transfer information among architects, contractors, fabricators and consultants. At the same time, the discipline and practice of creative design is increasingly seen as a valuable cognitive skill, to be emulated, tapped, and understood by other disciplines in various settings. Fields outside of architecture and governmental granting agencies have shown strong interest in understanding, rationalizing and importing the creative design process that architects engage in. The obstacle, however, has been that architects and designers are rarely able to explain their processes in a manner understood by others. The advent of digital tools and social computing further complicates the issues of how designers design with such tools and how designers design with others (Lawson, 2005). Our aim should be to define a discipline of collaborative digital design with clear conceptual frameworks, methodologies, and epistemologies. The goal is two-fold: 1) to formulate a discipline of digital design based on sound theoretical and pragmatic underpinnings, and 2) to elucidate the processes of digital design so that we can better communicate them to other disciplines and thus engage more effectively in interdisciplinary research.
series	ASCAAD
email
last changed	2017/05/25 13:13

_id	sigradi2005_178
id	sigradi2005_178
authors	Kenzari, Bechir
year	2005
title	Synthesis of cutting-edge technologies and miniature tooling in the physical modelling of architectural objects designed on CAD
source	SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 1, pp. 178-183
summary	Developments made in the Rapid Prototyping and CAD/CAM (including CNC and Laser) Technologies are giving designers the advantage of building physical realities, at whatever scale, directly and automatically from computer files, with the explicit implications of speed, precision and flexibility. Yet there are modeling details that can only be solved through the use of specialized materials, accessories and miniature tools which neither fall under the CNC, laser or rapid prototyping categories, but complement them. The most emphatic aspect of this research is to show how technical expertise, craftsmanship and detailing in the making of physical models require the intervention of not-so-well-known tools and machines. In the absence of an ideal technology to convert all 3-d digital models into physical models, and despite the advent of CAD-CAM and Rapid Prototyping, the combination of high technology and miniature tooling becomes the ultimate way to go in order to solve many modeling requirements.
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	cf2005_1_37_234
id	cf2005_1_37_234
authors	KNIGHT Michael, DOKONAL Wolfgang, BROWN Andre and HANNIBAL Claire
year	2005
title	Contemporary Digital Techniques in the Early Stages of Design
source	Computer Aided Architectural Design Futures 2005 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Futures / ISBN 1-4020-3460-1] Vienna (Austria) 20–22 June 2005, pp. 165-174
summary	This paper reviews the role that computers can play in the early design stages and considers how far recent developments in commercial software have enabled designers to improve design performance through interaction with a CAAD system. An experimental approach is reported on.
keywords	design methodology, sketch, traditional, practice
series	CAAD Futures
email
last changed	2006/11/07 07:27

_id	cdc2008_243
id	cdc2008_243
authors	Loukissas, Yanni
year	2008
title	Keepers of the Geometry: Architects in a Culture of Simulation
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 243-244
summary	“Why do we have to change? We’ve been building buildings for years without CATIA?” Roger Norfleet, a practicing architect in his thirties poses this question to Tim Quix, a generation older and an expert in CATIA, a computer-aided design tool developed by Dassault Systemes in the early 1980’s for use by aerospace engineers. It is 2005 and CATIA has just come into use at Paul Morris Associates, the thirty-person architecture firm where Norfleet works; he is struggling with what it will mean for him, for his firm, for his profession. Computer-aided design is about creativity, but also about jurisdiction, about who controls the design process. In Architecture: The Story of Practice, Architectural theorist Dana Cuff writes that each generation of architects is educated to understand what constitutes a creative act and who in the system of their profession is empowered to use it and at what time. Creativity is socially constructed and Norfleet is coming of age as an architect in a time of technological but also social transition. He must come to terms with the increasingly complex computeraided design tools that have changed both creativity and the rules by which it can operate. In today’s practices, architects use computer-aided design software to produce threedimensional geometric models. Sometimes they use off-the-shelf commercial software like CATIA, sometimes they customize this software through plug-ins and macros, sometimes they work with software that they have themselves programmed. And yet, conforming to Larson’s ideas that they claim the higher ground by identifying with art and not with science, contemporary architects do not often use the term “simulation.” Rather, they have held onto traditional terms such as “modeling” to describe the buzz of new activity with digital technology. But whether or not they use the term, simulation is creating new architectural identities and transforming relationships among a range of design collaborators: masters and apprentices, students and teachers, technical experts and virtuoso programmers. These days, constructing an identity as an architect requires that one define oneself in relation to simulation. Case studies, primarily from two architectural firms, illustrate the transformation of traditional relationships, in particular that of master and apprentice, and the emergence of new roles, including a new professional identity, “keeper of the geometry,” defined by the fusion of person and machine. Like any profession, architecture may be seen as a system in flux. However, with their new roles and relationships, architects are learning that the fight for professional jurisdiction is increasingly for jurisdiction over simulation. Computer-aided design is changing professional patterns of production in architecture, the very way in which professionals compete with each other by making new claims to knowledge. Even today, employees at Paul Morris squabble about the role that simulation software should play in the office. Among other things, they fight about the role it should play in promotion and firm hierarchy. They bicker about the selection of new simulation software, knowing that choosing software implies greater power for those who are expert in it. Architects and their collaborators are in a continual struggle to define the creative roles that can bring them professional acceptance and greater control over design. New technologies for computer-aided design do not change this reality, they become players in it.
email
last changed	2009/01/07 08:05

_id	cf2005_1_31_28
id	cf2005_1_31_28
authors	PENG Chengzhi
year	2005
title	Townscaping: Development of Dynamic Virtual City Augmented 3D Sketch Design Tools
source	Computer Aided Architectural Design Futures 2005 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Futures / ISBN 1-4020-3460-1] Vienna (Austria) 20–22 June 2005, pp. 105-114
summary	The paper presents the development of an experimental Web-based design environment called Townscaping to be used at the conceptual stage of architectural and urban design. Inspired by Gordon Cullen's seminal work on Townscape (1960's-1970's), the idea of Townscaping is to explore how 3D digital sketch design tools could be developed to operate in connection with a dynamic virtual city system under a user's direct control. A prototype of Townscaping has been designed and implemented on the basis of an existing dynamic virtual city system. In Townscaping, a set of tools is provided for users to create and edit 3D graphic elements to be positioned directly onto the user-specified virtual city models. One of the key features of Townscaping is to enable sketching while navigation: designers can perform sketch design and gain immediate visual feedback while navigating the 3D virtual city models to any viewpoint at any moment. The current study suggests that it is feasible for virtual city models to serve as interactive urban contexts for 3D sketch design. Townscaping is considered primarily a research platform with which we are interested in investigating if designers' engaging in 3D space conceptions may be enhanced through interacting and sketching with virtual townscapes.
keywords	virtual city, 3D sketch design, interactive urban visualisation, web-based design
series	CAAD Futures
email
last changed	2006/11/07 07:27

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