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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	acadia06_317
id	acadia06_317
authors	Lee, E. S., Hong, S., Johnson, Brian R.
year	2006
title	Context Aware Paper-Based Review Instrument A Tangible User Interface for Architecture Design Review
doi	https://doi.org/10.52842/conf.acadia.2006.317
source	Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 317-327
summary	We describe the design and implementation of a prototype computer-supported collaborative work (CSCW) environment for review of architectural construction documents. This environment utilizes a novel plain-paper tangible interface that supports shared activity such as review of construction documents using an “over the shoulder” computational assistant called CAPRI.Despite the increasing use of computers, work in most architecture firms still largely revolves around paper drawings. Architects structure their work around paper instead of digital representations for reasons of legal liability and tradition, as well as technical limitations. While hardcopy is intuitive, dense, and easy to access, it lacks direct connection to the wide range of design knowledge increasingly available in interactive design environments. This lack is felt most acutely during design review processes, when the designer or reviewer is often called upon to consult and consider holistically a variety of supporting (backing) documents, a task which requires focused attention and a good memory, if errors are to be avoided.Our prototype system enables multiple reviewers to interact equally with a paper construction document using a tangible interface to query detail and backing data from a project knowledge base. We believe this will decrease the reviewer’s cognitive load by bringing design data to them in a contextual and timely way. In doing so, we believe errors will be caught sooner and mistakes reduced.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	ascaad2006_paper8
id	ascaad2006_paper8
authors	Abdullah, Sajid; Ramesh Marasini and Munir Ahmad
year	2006
title	An Analysis of the Applications of Rapid Prototyping in Architecture
source	Computing in Architecture / Re-Thinking the Discourse: The Second International Conference of the Arab Society for Computer Aided Architectural Design (ASCAAD 2006), 25-27 April 2006, Sharjah, United Arab Emirates
summary	Rapid prototyping (RP) techniques are widely used within the design/manufacturing industry and are well established in manufacturing industry. These digital techniques offer quick and accurate prototypes with relatively low cost when we require exact likeness to a particular scale and detail. 3D modeling of buildings on CAD-systems in the AEC sector is now becoming more popular and becoming widely used practice as the higher efficiency of working with computers is being recognized. However the building of scaled physical representations is still performed manually, which generally requires a high amount of time. Complex post-modernist building forms are more faithfully and easily represented in a solid visualization form, than they could be using traditional model making methods. Using RP within the engineering community has given the users the possibility to communicate and visualize designs with greater ease with the clients and capture any error within the CAD design at an early stage of the project or product lifecycle. In this paper, the application of RP in architecture is reviewed and the possibilities of modeling architectural models are explored. A methodology of developing rapid prototypes with 3D CAD models using methods of solid freeform manufacturing in particular Fused Deposition Modeling (FDM) is presented and compared against traditional model making methods. An economical analysis is presented and discussed using a case study and the potential of applying RP techniques to architectural models is discussed.
series	ASCAAD
email
last changed	2007/04/08 19:47

_id	2006_106
id	2006_106
authors	Achten, Henri
year	2006
title	Feature clusters for online recognition of graphic units in drawings
doi	https://doi.org/10.52842/conf.ecaade.2006.106
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 106-112
summary	Automated recognition of sketch drawings can provide the means for a natural interface between the designer and a design support system. Sketch drawing recognition is knowledge-intensive in the sense that the system must know what to look for in a drawing. In earlier work, we identified 24 different types of representations, termed graphic units. For recognition of graphic units we combine a multi-agent approach and online recognition. Each agent is specialised for one graphic unit. It continuously parses the online input stream for stroke features that fall within its scope. When an agent-specific threshold is reached, the agent puts a claim. Each agent has a specific cluster of features that can be viewed as distributed over a decision tree. The activation pattern of feature clusters over the decision tree is an indication which graphic unit is likely to be identified by the system. In this paper, we present the exhaustive set of features for agents and a binary decision tree over which the features are distributed.
keywords	Image recognition; sketches; graphic units; feature-based modelling
series	eCAADe
email
last changed	2022/06/07 07:54

_id	ascaad2016_013
id	ascaad2016_013
authors	Belkis Öksüz, Elif
year	2016
title	Parametricism for Urban Aesthetics - A flawless order behind chaos or an over-design of complexity
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. 105-112
summary	Over the last decade, paradigm shifts in the philosophy of space-time relations, the change from space-time to spatio-temporality, caused significant changes in the design field, and introduced new variations and discourses for parametric approaches in architecture. Among all the discourses, parametricism is likely the most spectacular one. The founder of parametricism, Patrik Schumacher (2009) describes it as “a new style,” which has “the superior capacity to articulate programmatic complexity;” and “aesthetically, it is the elegance of ordered complexity in the sense of seamless fluidity.” In its theoretical background, Schumacher (2011) affiliates this style with the philosophy of autopoiesis, the philosophy that stands between making and becoming. Additionally, parametricism concerns not only the physical geometry in making of form; but also discusses the relational and causal aspects in becoming of form. In other words, it brings the aesthetic qualities in making through the topological intelligence behind becoming. Regarding that, parametricism seems an effective way of managing /creating complex topologies in form-related issues. However, when it comes to practice, there are some challenging points of parametricism in large-scale design studies. Thus, this work underlines that the dominance of elegance for urban planning has the potential of limiting the flexible and dynamic topology of the urban context, and objectifying the whole complex urban form as an over-designed product. For an aesthetic inquiry into urban parametricism, this paper highlights the challenging issues behind the aesthetic premises of parametricism at the urban design scale. For that, Kartal Master Plan Design Proposal by Zaha Hadid Architects (2006) will be discussed as an exemplary work.
series	ASCAAD
email
last changed	2017/05/25 13:31

_id	sigradi2006_e068d
id	sigradi2006_e068d
authors	Catovic-Hughes, Selma
year	2006
title	Digital Storytelling: "Memory….. Sarajevo, my personal story"
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 337-340
summary	“It was a fresh summer night, sky deprived of stars, and hardly any signs of life. After hours of waiting, well passed midnight, they finally allowed us to enter. I couldn’t see or hear much, except movements of those in front of me, but judging by intense scent of mildew and worm-like smell of earth, I realized my mile long underground adventure had begun. There was no looking back, only the brave steps ahead into my new, and hopefully, safe and fruitful future.” [ from diary95 ] Just like many teens around the world, I too kept a journal. It began with playful thoughts of a teenage girl, living in Sarajevo, enjoying life. On my fifteenth birthday, those carefree moments were soon replaced with brutal facts of life under siege: Sarajevo and its citizens had been surrounded by the Serbs who took over all the roads leading in and out of the city. Three years later, I was weeks away from graduating high school, and instead of getting excited, I wondered about my future…”Yesterday was awesome -- we had both electricity and water for eight straight hours…hooray!! You could see the lights miles away…the entire city was awake, making pies and bread, washing clothes, watching movies.” [ from diary93 ] Was I going to spend the rest of my life anticipating the restricted electric and water timetable? Would I wake up the next day to see all my family alive? Would I ever have a chance to fulfill my dreams? This project captures the process of [re]tracing steps of my personal journey of leaving Sarajevo to come to the United States and [re]constructing memories as a sequence of spatial events using the artifacts and the text from my war journals. The intent of my project is to define that line between the old and the new, and intertwine and merge its current condition with the facts and memories from the past. Although there was never a permanent “Berlin-wall-like” divider, the natural contours of the river and invisible screens of the snipers served as impermeable walls and divided the city for four years. The implied boundary seemed to be more powerful than the massiveness of the concrete barricades. Is it possible to re-condition something [building, space, soul] to be and feel the same when it had been destroyed and deeply scarred on the inside? Instead of placing banal memorials engraved with the bare facts, how can we make a tribute to a series of events—a time period that changed the fabric of the city—in a more three-dimensional experience? How can we integrate digital phenomenon in the process of the post-war reconstruction to re-trace the past while creating necessary advanced improvements for the new contemporary society? The impact that social conditions have on architecture, art, culture, and ultimately, people can be told in a universal language – digital storytelling, containing pieces of history and personal memories to create representations of time and space of the past, present or future.
keywords	memory; postwar; retrace; reconstruction; memorial
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	sigradi2006_e028c
id	sigradi2006_e028c
authors	Griffith, Kenfield; Sass, Larry and Michaud, Dennis
year	2006
title	A strategy for complex-curved building design:Design structure with Bi-lateral contouring as integrally connected ribs
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 465-469
summary	Shapes in designs created by architects such as Gehry Partners (Shelden, 2002), Foster and Partners, and Kohn Peterson and Fox rely on computational processes for rationalizing complex geometry for building construction. Rationalization is the reduction of a complete geometric shape into discrete components. Unfortunately, for many architects the rationalization is limited reducing solid models to surfaces or data on spread sheets for contractors to follow. Rationalized models produced by the firms listed above do not offer strategies for construction or digital fabrication. For the physical production of CAD description an alternative to the rationalized description is needed. This paper examines the coupling of digital rationalization and digital fabrication with physical mockups (Rich, 1989). Our aim is to explore complex relationships found in early and mid stage design phases when digital fabrication is used to produce design outcomes. Results of our investigation will aid architects and engineers in addressing the complications found in the translation of design models embedded with precision to constructible geometries. We present an algorithmically based approach to design rationalization that supports physical production as well as surface production of desktop models. Our approach is an alternative to conventional rapid prototyping that builds objects by assembly of laterally sliced contours from a solid model. We explored an improved product description for rapid manufacture as bilateral contouring for structure and panelling for strength (Kolarevic, 2003). Infrastructure typically found within aerospace, automotive, and shipbuilding industries, bilateral contouring is an organized matrix of horizontal and vertical interlocking ribs evenly distributed along a surface. These structures are monocoque and semi-monocoque assemblies composed of structural ribs and skinning attached by rivets and adhesives. Alternative, bi-lateral contouring discussed is an interlocking matrix of plywood strips having integral joinery for assembly. Unlike traditional methods of building representations through malleable materials for creating tangible objects (Friedman, 2002), this approach constructs with the implication for building life-size solutions. Three algorithms are presented as examples of rationalized design production with physical results. The first algorithm [Figure 1] deconstructs an initial 2D curved form into ribbed slices to be assembled through integral connections constructed as part of the rib solution. The second algorithm [Figure 2] deconstructs curved forms of greater complexity. The algorithm walks along the surface extracting surface information along horizontal and vertical axes saving surface information resulting in a ribbed structure of slight double curvature. The final algorithm [Figure 3] is expressed as plug-in software for Rhino that deconstructs a design to components for assembly as rib structures. The plug-in also translates geometries to a flatten position for 2D fabrication. The software demonstrates the full scope of the research exploration. Studies published by Dodgson argued that innovation technology (IvT) (Dodgson, Gann, Salter, 2004) helped in solving projects like the Guggenheim in Bilbao, the leaning Tower of Pisa in Italy, and the Millennium Bridge in London. Similarly, the method discussed in this paper will aid in solving physical production problems with complex building forms. References Bentley, P.J. (Ed.). Evolutionary Design by Computers. Morgan Kaufman Publishers Inc. San Francisco, CA, 1-73 Celani, G, (2004) “From simple to complex: using AutoCAD to build generative design systems” in: L. Caldas and J. Duarte (org.) Implementations issues in generative design systems. First Intl. Conference on Design Computing and Cognition, July 2004 Dodgson M, Gann D.M., Salter A, (2004), “Impact of Innovation Technology on Engineering Problem Solving: Lessons from High Profile Public Projects,” Industrial Dynamics, Innovation and Development, 2004 Dristas, (2004) “Design Operators.” Thesis. Massachusetts Institute of Technology, Cambridge, MA, 2004 Friedman, M, (2002), Gehry Talks: Architecture + Practice, Universe Publishing, New York, NY, 2002 Kolarevic, B, (2003), Architecture in the Digital Age: Design and Manufacturing, Spon Press, London, UK, 2003 Opas J, Bochnick H, Tuomi J, (1994), “Manufacturability Analysis as a Part of CAD/CAM Integration”, Intelligent Systems in Design and Manufacturing, 261-292 Rudolph S, Alber R, (2002), “An Evolutionary Approach to the Inverse Problem in Rule-Based Design Representations”, Artificial Intelligence in Design ’02, 329-350 Rich M, (1989), Digital Mockup, American Institute of Aeronautics and Astronautics, Reston, VA, 1989 Schön, D., The Reflective Practitioner: How Professional Think in Action. Basic Books. 1983 Shelden, D, (2003), “Digital Surface Representation and the Constructability of Gehry’s Architecture.” Diss. Massachusetts Institute of Technology, Cambridge, MA, 2003 Smithers T, Conkie A, Doheny J, Logan B, Millington K, (1989), “Design as Intelligent Behaviour: An AI in Design Thesis Programme”, Artificial Intelligence in Design, 293-334 Smithers T, (2002), “Synthesis in Designing”, Artificial Intelligence in Design ’02, 3-24 Stiny, G, (1977), “Ice-ray: a note on the generation of Chinese lattice designs” Environmental and Planning B, volume 4, pp. 89-98
keywords	Digital fabrication; bilateral contouring; integral connection; complex-curve
series	SIGRADI
email
last changed	2016/03/10 09:52

_id	sigradi2006_e145a
id	sigradi2006_e145a
authors	Heiss, Leah
year	2006
title	Empathy over distance: Wearables as tools for augmenting Remote Emotional Connection
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 66-69
summary	Mainstream communication modes emphasise network speed, connection access, resolution, portability, and aesthetic design as primary to the success of their products. Within this vision a three by four centimetre screen and high resolution display are deemed adequate to emulate the intensities and complexities of face-to-face connection with loved ones. They allow us to ‘be there with you’ from wherever we might be. Yet interpersonal communication is a massively complex phenomenon. It involves a plethora of micro-activities which occur at a physical, physiological, and psychological level allowing us to recognise at a cellular scale intention, motive and emotional authenticity. Our conscious and non-conscious involvement in spatially collocated communication is substantial due to these myriad channels of real-time bi-directional information transfer. While contemporary communications technologies have the capacity to mediate our relationships, they fall short of encouraging the richness of spatially co-present interaction. The research discussed in this paper investigates the potential expansion of remote connection when electronically enhanced apparel is incorporated into the communications mix. Rather than pursuing the manifold functionalities of traditional communications media the garments discussed focus solely on the goal of enhancing empathy between physically distant individuals. This paper reports on the development and testing of a range of garments that conduct presence information between remotely located people. The garments sense, process, transmit and receive the heartbeat wavelength (ECG). They are enabled with ECG sensors, signal processing equipment, small vibration motors, and radio transceivers which allow users to ‘feel’ the heartbeat of a remote friend/lover/relative as vibration through their garment. The prototypes aim to enrich the remote communications experience through reintroducing an embodied, tactile dimension that is present in face-to-face communication. A range of user testing trials will be discussed which have been undertaken to assess the impact of the garments at a conscious and a non-conscious level. Conscious experiences were gauged through qualitative testing, by way of interviews and unsolicited written reactions, which have provided a range of engaging emotional responses. Non-conscious physiological reactions were assessed by recording ECG throughout user-testing periods. This data has been processed using HRV (heart rate variability) analysis software, running on MatLab. Preliminary results suggest that users have strong conscious and non-conscious reactions to the experience of wearing the prototype garments. The paper will describe the data processing techniques and findings of the user testing trials. The development of biosignal sensing garments has raised a range of issues including: innovative potentials for embedded peripheral awareness media; the expansion of the classical body to incorporate remotely sensed information; the issue of data semantics and the development of intensely personal non-verbal languages; and the issue of corporeal privacy when one’s biological information is exposed for potential download. They also bring into question how our bodily experiences might change when we incorporate remote sensory systems.
keywords	Enabled apparel; emotional tools; biosignals
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	acadia06_461
id	acadia06_461
authors	Martens, Bob
year	2006
title	Exploring the Design and Fabrication of Inflatables: “The Taming of the Shrew”
doi	https://doi.org/10.52842/conf.acadia.2006.461
source	Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 461-470
summary	The building materials that help designers or architects achieve their goal of defining and enclosing space are usually concrete, steel, glass or wood. For these materials designers have both empirical data gained from experience and at times complex calculation methods enabling them to use them in their designs in a tangible, reckonable and, consequently, almost risk-free manner. It seems obvious that creating a design with well-known building materials will lead to more or less predictable outcomes. This is a good reason for investigating a design process dealing with air-filled building-elements. Architectural structures look completely different when one employs a “building material” which has not been subjected to either detailed investigations or sophisticated calculations. The “Smart_Air” Design Studio was devised to take a closer look at the unusual building material “air,” which we have only just begun to explore, and to make it the centre of a focused design exercise. The objective was to use “air” or, rather, pneumatic technologies, to arrive at structurally sound solutions for enclosing space, which could be considered a “roof” in the widest sense of the term.
series	ACADIA
email
last changed	2022/06/07 07:59

_id	2006_098
id	2006_098
authors	Parthenios, Panagiotis
year	2006
title	Critical points for change - A vital mechanism for enhancing the conceptual design process
doi	https://doi.org/10.52842/conf.ecaade.2006.098
source	Communicating Space(s) [24th eCAADe Conference Proceedings / ISBN 0-9541183-5-9] Volos (Greece) 6-9 September 2006, pp. 98-105
summary	The Conceptual design is not a linear process; it consists of sub-processes, levels of refinement, which are individual but interact with each other. Each level of refinement corresponds to the types of media and tools used during conceptual design. Architects take advantage of a broad palette of tools and media for design, because each tool has its own strengths and weaknesses and provides an additional value—an added level of vision—to the architect. This closely relates to the notion of Critical Points for Change (CPC) a contribution this study makes towards a better understanding of the uniqueness of the conceptual design process. CPC are crucial moments when the architect suddenly becomes able to “see” something which drives him to go back and either alter his idea and refine it or reject it and pursue a new one. They are crucial parts of the design process because they are a vital mechanism for enhancing design. This characteristic of the nature of the conceptual design process is independent of the tools. Nevertheless, the right tools play an extremely important role. The distinctive capabilities of each tool allow the architect to deal successfully with CPC and overcome the points in the design process where he or she feels “stuck.”
keywords	Conceptual design; design process; tool; design ability; computational support
series	eCAADe
email
last changed	2022/06/07 08:00

_id	sigradi2006_e113b
id	sigradi2006_e113b
authors	Sanza, Paolo
year	2006
title	The built environment revisited digitally: an approach to 2D and 3D CAD teaching
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 215-218
summary	There is a characteristic that distinguishes the School of Architecture at Oklahoma State University from other architecture schools in the United States and that is the absence of a design studio in the spring semester of the third year. Among the various classes the students are required to take during this time is ARCH 3253_computer applications in architecture defined in the School catalog as an “introduction to 2D and 3D computer CAD topics and their application in the design process.” The absence of a design studio has allowed [me] to morph an otherwise technically oriented course to a course that weaves the learning of the basic of various computer programs with research, writing, graphic and physical explorations. This paper exposes the pedagogy of the course alongside sample of students’ work during the spring 2006 semester and will disclose its future development as web and film technologies are introduced to the course. The introduction of the “forth dimension” to the course will both augment and foster alternative means of architectural communication by promoting multimodal representations and will respond to the personal observation that in spite of the essentially total use of the computer in the daily creative life of students and professionals alike, the architectural representation output has virtually remained unchanged [and for the most part unchallenged] since the time when pens, pencils, and papers were the media of choice. In addition to its pedagogical character, the paper will also share the personal explorations that triggered following one of the assignments and led to the development and realization of a graphic piece for one of the summer 2006 exhibits at the Scottsdale Museum of Contemporary Art in Scottsdale, Arizona and prompted the initial development of the design of a restaurant, also in Scottsdale, Arizona [in its schematic design phase at the time of the writing of this abstract].
keywords	virtual; representation; 4th dimension
series	SIGRADI
email
last changed	2016/03/10 09:59

_id	sigradi2006_c093b
id	sigradi2006_c093b
authors	Sánchez Cavazos, María Estela
year	2006
title	El Aprendizaje del Diseño Arquitectónico en el mundo digital [Architectural design learning in a digital world]
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 210-214
summary	The background of this paper goes back to the yer 2000 when its autor realizad an investigation in the architecture workshops. In that same year she finished her master's thesis about the design process and continued with investigations observing the influence of the computer use in the process. The main goal of the paper is to determine if the digital mediums take an important role between the connection of knowledges, actitudes and habilites for the architectonic design. The methodology used for the data collection was trough participant observations, interviews and cuasiexperiments. The paper shows how the student takes elements from the knowledges, actitudes and habilities, and connects them to realize constructions of new schemes of knowledge in the architectonic design process; the use of old and new tools to design and how it influences the outcome is observed.
series	SIGRADI
email
last changed	2016/03/10 10:01

_id	caadria2006_303
id	caadria2006_303
authors	YU-CHUN HUANG
year	2006
title	A SPACE MAKE YOU LIVELY: A BRAIN-COMPUTER INTERFACE APPROACH TO SMART SPACE
doi	https://doi.org/10.52842/conf.caadria.2006.x.b8j
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 303-312
summary	This research is paying attention to the new field of “Smart Homes”. The goal of Smart Homes is to provide and more economical dwellings for humans. Le Cobusier envisioned a house as a machine for living. To enable a space to take the initiative in perceiving the demands of the user and to respond with appropriate feedback under diverse conditions, there is a new field development of Brain-Computer Interface (BCI). This research proposes, therefore, a smart space that enables the user to work in an energized way via the BCI system. When the space “perceives” that someone is getting sleepy by monitoring the user’s brainwaves, it will take appropriate action such as providing specific background music or adjusting the lighting and temperature in the room as subliminal reminders to the user to stay alert and productive.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	caadria2006_589
id	caadria2006_589
authors	YU-NAN YEH
year	2006
title	FREEDOM OF FORM: THE ORIENTAL CALLIGRAPHY AND AESTHETICS IN DIGITAL FABRICATION
doi	https://doi.org/10.52842/conf.caadria.2006.x.v6f
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 589-591
summary	Computer-Aided Design (CAD) / Computer-Aided Manufacturing (CAM) related research has been discussed since the 1960's (Ryder, G. et al, 2002, Mark Burry, 2002). Indeed, both Frank O. Gehry and Toyo Ito utilized CAD/CAM to create rich architectural form and in so doing gave birth to a new type of aesthetics. The visualization and liberalization of form space is the single most important characteristic attributable to the use of computers as a design tool. By the 1980's, Laser cutting and Rapid Prototyping techniques developed from CAM, became important new digital tools when researchers and designers discussed the development of form in architecture.
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	sigradi2006_e011c
id	sigradi2006_e011c
authors	Narahara, Taro and Terzidis, Kostas
year	2006
title	Optimal Distribution of Architecture Programs with Multiple-constraint Genetic Algorithm
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 299-303
summary	A genetic algorithm (GA) is a search technique for optimizing or solving a problem based on evolutionary biology, using terms and processes such as genomes, chromosomes, cross-over, mutation, or selection. The evolution starts from a population of completely random individuals and happens in generations. In each generation, the fitness of the whole population is evaluated, multiple individuals are stochastically selected from the current population (based on their fitness), modified (mutated or recombined) to form a new population, which becomes current in the next iteration of the algorithm. In architecture, GAs are of special interest mainly because of their ability to address a problem offering a multiplicity of possible solutions. Contrary to other algorithms where the objective is to accommodate a manually conceived diagram, GAs are emergent procedures that evolve over time through multiple attempt cycles (i.e. generations) and therefore offer a bottom-up approach to design. In addition, by using the computational power of computers they can resolve complex interactions between multiple factors and under multiple constraints offering solutions that occasionally surprise the designer. One of the main problems in architecture today is the quantity of the information and the level of complexity involved in most building projects. As globalization and economic development has started to arise at unprecedented levels, the need for large urban developments have become commonplace. Housing projects for a few hundreds to thousands of people have started to emerge over large urban areas. In such cases, the old paradigm for housing design was the development of high rises that served as stacking devices for multiple family housing units. Such a direction was unfortunately the only way to address excessive complexity using manual design skills mainly because it was simple to conceive but also simple to construct. The unfortunate nature of this approach lies rather in the uniformity, similarity, and invariability that these projects express in comparison to individuality, discreteness, and identity that human beings and families manifest. One of the main areas of complexity that could benefit architecture is in housing projects. In these projects there is a typology of residential units that need to be combined in various schemes that will fulfill multiple functional, environmental, and economic constraints. In this paper, the design of a 200-unit residential complex on a corner of two streets in an urban context was investigated as a case study. Recent advancement in tectonics and structural engineering enables the realization of buildings in mega scales and starts to introduce another layer of complexity into the building programs. Conventional design methods relying on the preconceived knowledge based approaches are no longer reliable. Beyond the certain quantitative factors and the complexity of the problems, search occasionally enters into the unpredictable domain of the human perception. Computational approaches to design allows us to go through thousands of iterations in a second and find the solution sets beyond the reach of designers’ intuitive search spaces. Genetic Algorithm can be a potential derivative for finding optimum design solution from indeterminate search spaces constrained by multi dimensional factors.
keywords	Genetic Algorithm; Housing Design; Multiple-constraint
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	ijac20064105
id	ijac20064105
authors	Sowa, Agnieszka Katarzyna
year	2006
title	Towards architect-aided computing design
source	International Journal of Architectural Computing vol. 4 - no. 1, 69-85
summary	In the design process of some recent, specific architectural projects the part elaborated by computers and machines significantly grows. They could generate, optimize and produce the most complicated and complex solutions, taking over some tasks which before were the domain of architects. This article presents a project carried out by postgraduate students at Eidgenossische Technische Hochschule in Zurich, Switzerland, where such a digital design process was implemented, with all its advantages and disadvantages. The observations and conclusions gained during the work allow the author to formulate the concept of Architect-Aided Computing Design, to define some challenges for architects created by such a working method, and to present an analysis about the potential new software for architectural production.
keywords	Structural Optimization; Rapid Prototyping; CNC Production; CAAD Education
series	journal
email
more	http://www.ingentaconnect.com/content/mscp/ijac/2006/00000004/00000001/art00006
last changed	2007/03/04 07:08

_id	a3c8
id	a3c8
authors	Verdy Kwee, Dean Bruton, Antony Radford
year	2006
title	Visual Expressiveness in Educative Architectural Animations
source	Proceedings of the 4th international conference on Computer graphics and interactive techniques in Australasia and Southeast Asia. 2006, Kuala Lumpur, Malaysia November 29 - December 02, 2006
summary	Consider the current graphic capabilities of multimedia authoring tools. Many information technologies have been exploited to the fullest in the gaming and advertising industries. As far as educational materials produced to explain outstanding architectural and many heritage works, most publications still rely on print media. While much digital information has been propagated online through the Internet (and a few CD-ROM formats could also be found) the techniques of delivery have yet to take advantage of potential technologies, preferring only to digitally replicate and hyperlink the structure and content found in their printed cousins. The reason for this slow adoption is not clear and paradoxical since our society places abundant emphasis and stresses the importance of education over games. However, it seems that the industry and, more importantly, the architecture discipline themselves do not appear to promote architectural visualisations as a significant contributor to the education and learning process. Therefore, educative architectural information visualisation may have to set itself apart, especially to generate growth and interest in this area. This paper does not deal with the technical aspects of visualisation creation processes but proposes to emphasise architectural visualisations – animations, in particular - as a heightened form of art that could be approached with grammatical lens more than merely a technical exercise that aims to serve an outcome or an industry as they are often perceived now. Digital architectural visualisations and their delivery techniques can be expanded much more as an artistic (architectural) expression like architectural writings are to authors, games to game designers. Although differences could be identified, there are numerous lessons that can be drawn from other forms of art to propel architectural visualisations to a new level beyond those seen in real-estate websites, architectural practices and most students’ works in reputed educational institutions. Architectural information is peculiar to each building. In order to explicate the essences of architectural works (i.e. the vocabularies, designer’s intents, etc), in all fairness, their presentations cannot be generically produced and uniformly adapted. What one technique and approach could successfully achieve in explaining one building cannot exactly be re-applied to another building with the same expected results. Forms, scales, circulation paths, lighting assignments, designer’s intents, other information (and types) to be delivered differ from one building to another. As such, executions are also wide open to be explored to not only address the practical issues but also to express the intentions of the author/s or director/s to strengthen the architectural narratives. This paper highlights and illustrates by examples, specifically in architectural flythroughs/animations, considerations that need to be addressed in order that the results would serve as an artistic/architectural expression with a degree of educative substance.
keywords	Educative, education, animation, flythrough, expression, grammar, art,
series	other
type	short paper
email
more	http://portal.acm.org/citation.cfm?id=1174429.1174461&coll=GUIDE&dl=%23url.coll
last changed	2007/01/04 00:14

_id	sigradi2006_e165b
id	sigradi2006_e165b
authors	Angulo, Antonieta
year	2006
title	Optimization in the Balance between the Production Effort of E-learning Tutorials and their related Learning Outcome
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 122-126
summary	This paper provides evidence on the level of media richness that may be cost effective in the development of e-learning tutorials for teaching and learning computer visualization techniques. For such a purpose the author provides an analysis of low-cost / high-impact media rich products, the effort and cost required in their development and the measurement of related learning outcomes. Circa twenty years of R&D of multimedia and hypermedia applications for instruction have demonstrated the benefits of communicating relevant information to learners using engaging media. Based on this evidence, this paper assumes that due to the cognitive style of design students, the instructional packages for learning computer techniques for design visualization that are rich in media content, tend to be more effective. Available visualization technologies make the development of e-learning tutorials feasible and apparently the logical way to implement our instructional packages. However the question in the development of e-learning tutorials becomes a more strategic one when we are called to reach a level of optimization between producing a package with a basic standard, namely; text & still-graphic based tutorials, or a state-of-the-art package that is based on video demonstrations (more than enough?) that can accommodate the students’ learning requirements and also our production costs. The costs include the human resources (instructor, producers, assistants and others) and the material resources (hardware and software, copies, and others) involved in the creation of the e-learning tutorials. The key question is: What is good enough, and what is clearly superfluous? In order to confirm our hypothesis and propose a relevant balance between media richness and learning effectiveness, this paper describes an experiment in the use of two different levels of media richness as used to deliver instructions on the production of computer animations for design visualization. The students recruited for this experiment were fairly familiarized with the use of 3D modeling concepts and software, but had no previous knowledge of the techniques included in the tutorials; in specific; camera animation procedures. The students, separated in two groups, used one of the two methods; then they proceeded to apply their newly acquired skills in the production of an animation without using the help of any external means. The assessment of results was based on the quality of the final product and the students’ performance in the recall of the production procedures. Finally an interview with the students was conducted on their perception of what was accomplished from a metacognitive point of view. The results were processed in order to establish comparisons between the different levels of achievement and the students’ metacognitive assessment of learning. These results have helped us to create a clear set of recommendations for the production of e-learning tutorials and their conditions for implementation. The most beneficial characteristics of the two tested methods in relation to type of information, choice of media, method of information delivery, flexibility of production/editorial tools,! and overall cost of production, will be transferred into the development of a more refined product to be tested at larger scale.
keywords	e-learning tutorials; media richness; learning effectiveness; cognitive style; computer visualization techniques
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	acadia06_230
id	acadia06_230
authors	Anzalone, Phillip
year	2006
title	Synthetic Research
doi	https://doi.org/10.52842/conf.acadia.2006.230
source	Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 230-231
summary	Synthetic Research insinuates a relationship of a meticulous process of discovering truth contradicted against a fabricated, as in concocted, reality. It is important to recognize the logical aspect of synthetic when examining what synthetic research can provide for architectural discourse. Synthesis contrasts with analysis in that it’s primary methods involve recourse to experience; it is experience that is at the heart of synthetic research. The synthesis of theory, architectural constructions, technological artifacts and computational techniques requires experiencing the results of experimentation. Synthetic digital architecture necessitates a discovery process incorporating creation that allows for experience, be it virtual reality, full-scale prototyping or spatial creations; provided experience is a truthful one, and not disingenuous and thereby slipping into the alternate definition of synthetic.Research’s experimental arm, as opposed to the analytic, relies on tinkering - implying the unfinished, the incomplete, the prototype. Examples of this are everywhere. Computer screenshots are a strikingly literal example of synthetic research when used as a means of experiencing a process. Performance mock-ups of building assemblies are a method of synthetic research in that one experiences a set of defined performances in order to discover and redefine the project. The watchmaker craft is an exercise in research/experimentation where material properties are inherent in function and aesthetics; consider how the components interact with the environment - motion, gravity, space-time, temperature. Efficiency at this point is predominantly structural and physical. Decorative or aesthetic elements are applied or integrated in later iterations along with optimization of performance, marketing and costs.What is a architectural research? How can research synthesize the wide range of possibilities for the trajectory of architecture when engaged in digital and computational techniques? The goals, techniques, documentation and other methods of research production have a place in architecture that must be explored, particularly as it related to computation. As in other fields, we must build a legitimate body of research whereby others can use and expand upon, such that digital architectures evolve in innovative as well as prosperous paths.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	sigradi2006_c159e
id	sigradi2006_c159e
authors	Aroztegui Massera, Carmen
year	2006
title	Aprendiendo del cine: Evaluación de códigos formales y estrategias narrativas en una instalación de video. [Learning from the movie: Formal codes and narrative strategies in a video installation]
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 415-419
summary	Architectural animations often evidence limitations when trying to get across our design intensions in terms of the experiencing of a place. When architects design a space, they propose not only geometry and space functionality, All in all, any architectural design implies a way of experiencing the space. But how can we communicate it? Narrative films developed - in the last century - communication conventions that allow the audience to feel transported to the time and place of the movie. However, architects have barely introduced these conventions into their animations. The objective of this paper is to review two examples - a scene on a film and a video installation- that could help architects to use film codes creatively in when communicating the experiencing of a place.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	ijac20064401
id	ijac20064401
authors	Boeykens, Stefan; Neuckermans, Herman
year	2006
title	Improving Design Workflow in Architectural Design Applications
source	International Journal of Architectural Computing vol. 4 - no. 4, pp. 1-19
summary	In architectural design software, there is a trend to integrate the whole design process in a single application. Design, 3D modeling, drafting, but also design evaluation and presentation are bundled inside the application. This is especially apparent in applications that adhere to the concept of Building Information Modeling. When we look at the functionality in these applications, however, a disruption of the design process can be encountered, preventing the designer to step back and forth throughout the different design phases or scale levels. Three current architectural design applications are briefly positioned and compared and potential improvements to the workflow are introduced.
series	journal
more	http://www.ingentaconnect.com/content/mscp/ijac/2006/00000004/00000004/art00002
last changed	2007/03/04 07:08

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