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	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	cdc2008_035
id	cdc2008_035
authors	Fiamma, Paolo
year	2008
title	D.I.G.I.T.A.L. Defining Internal Goals In The Architectural Landscape
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 35-40
summary	The digital factor is a challenge to regain the meaning of Design on Architecture, in addition to evaluating its possible extension and transformations. Digital could be an answer for the actual needs of architectural design: Architecture should be digital because digital is profit. Digital could help to understand architectural design as ""verified conception"" through the concept of computational modelling: Architecture should be digital because digital goes in line and not against design tradition. Digital could enhance the didactic dimension, really important for students: Architecture should be digital because is actual. Digital offers cognitive and ontological value for the design and new skills for the designer: Architecture should be digital because digital is a catalyst of new and creativity. Digital reshapes constructed architecture introducing new aesthetic paradigms: Architecture should be digital because digital is the mental landscape as reference point for the actual theoretical phase of Architecture … There are several answers to the question: “Why Architecture should be digital?”, but without rigor and critical dimension cannot be any digital benefit in architectural landscape, and the main risk could be that the “representation” prevails over ""the fact"".
email
last changed	2009/01/07 08:05

_id	ecaade2008_139
id	ecaade2008_139
authors	Kepczynska-Walczak, Anetta
year	2008
title	Contemporary Renaissance Architect - Yet Architect?
doi	https://doi.org/10.52842/conf.ecaade.2008.445
source	Architecture in Computro [26th eCAADe Conference Proceedings / ISBN 978-0-9541183-7-2] Antwerpen (Belgium) 17-20 September 2008, pp. 445-450
summary	This paper is a contribution into domain of Generative Design and Digital Aids to Design Creativity. The outcomes of two workshops for the fourth and fifth year students of architecture are presented. The workshops allowed to draw particularly interesting lessons leading, in consequence, to more general reflections on questions such as the limits in design creativity versus unexpected outcomes calculated by a computer, the gap between boundless possibilities offered by digital design tools and real practice in building construction. And finally, how advanced research results can be incorporated in teaching. This is particularly important, as nowadays students, to become successful architects in the future, not only will have to be good in using CAAD software but also in programming and software development.
keywords	Generative Design, Digital Aids to Design Creativity, CAAD Curriculum
series	eCAADe
email
last changed	2022/06/07 07:52

_id	ddss2008-40
id	ddss2008-40
authors	Marin, Ph.; J.C. Bignon, H. Lequay
year	2008
title	Integral evolutionary design, integrated to early stageof architectural design processGenerative exploration of architectural envelope responding tosolar passive qualities
source	H.J.P. Timmermans, B. de Vries (eds.) 2008, Design & Decision Support Systems in Architecture and Urban Planning, ISBN 978-90-6814-173-3, University of Technology Eindhoven, published on CD
summary	This paper tackles the exploration of generative digital tools in the field of architectural design. Evolutionary mechanisms are expected to help the designer and to support his creativity. Our purpose is to implement a digital tool based on a genetic algorithm, which uses environmental parameters and human interplay to evolve an architectural form. The analysis of design processes and CAD use lead us to mark a transformation of design process at a cognitive level.
keywords	Genetic algorithm, generative architectural design process, environmental parameters
series	DDSS
last changed	2008/09/01 17:06

_id	ecaade2008_025
id	ecaade2008_025
authors	Asanowicz, Aleksander
year	2008
title	How to Find an Idea? - Computer Aided Creativity
doi	https://doi.org/10.52842/conf.ecaade.2008.735
source	Architecture in Computro [26th eCAADe Conference Proceedings / ISBN 978-0-9541183-7-2] Antwerpen (Belgium) 17-20 September 2008, pp. 735-742
summary	In this paper the possibilities of using computer software in creative searching of design ideas is analysed. At the basis of such psychological theories as Incubation, Synectics, Geneplore, Bisociation, Conceptual Blending, Visual Synectics the implementation of digital technologies in the idea searching – the main stage of design process – is presented. In all computer ‘metaphorisation’ methods presented in this paper pictures are treated as idea triggers. Designer generate the ideas of the form by use the pictures as triggers for free association or for metaphorisation. The two cases of implementation of these methods, which based on graphic transformations, will be presented.
keywords	Creativity, design methods, form searching
series	eCAADe
email
last changed	2022/06/07 07:54

_id	cdc2008_229
id	cdc2008_229
authors	Asut, Serdar
year	2008
title	Rethinking the Creative Architectural Design in the Digital Culture
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 229-234
summary	This paper tries to examine the effects of emerging digital tools in architectural design. Digital tools are not only practical instruments used for drawing, but they also affect design thinking. As the ones that are used in architectural design are mostly commercial, one can say that design thinking, the identity of the design and the creativity of the designer are defined by the companies which develop these tools. Therefore architects have to be able to manipulate these tools and personalize them in order to free their design thinking and creativity. This paper addresses the open source development in order to redefine creativity in architecture of digital culture.
keywords	Design Tools, Digital Culture, CAD Software, Open Source
email
last changed	2009/01/07 08:05

_id	ecaade2008_034
id	ecaade2008_034
authors	Christenson, Mike
year	2008
title	Questioning the Primacy of Visual Simulation in an Epistemology of Digital Models
doi	https://doi.org/10.52842/conf.ecaade.2008.889
source	Architecture in Computro [26th eCAADe Conference Proceedings / ISBN 978-0-9541183-7-2] Antwerpen (Belgium) 17-20 September 2008, pp. 889-896
summary	This paper questions the degree to which visual simulations are conventionally assumed to be a primary means of entering digital models into productive architectural discourse. The paper considers established means by which digital models are made known, specifically those which place epistemological value on multiple representational modes, particularly building information modeling software. The paper outlines a proposal to displace the use of visual simulation as a primary means of making digital models known.
keywords	Digital aids to design creativity, generative design, modes of production, precedents and prototypes, research, education and practice
series	eCAADe
email
last changed	2022/06/07 07:56

_id	ecaade2008_101
id	ecaade2008_101
authors	Jabi, Wassim; Hall, Theodore; Passerini, Katia; Borcea, Cristian; Jones, Quentin
year	2008
title	Exporting the Studio Model of Learning
doi	https://doi.org/10.52842/conf.ecaade.2008.509
source	Architecture in Computro [26th eCAADe Conference Proceedings / ISBN 978-0-9541183-7-2] Antwerpen (Belgium) 17-20 September 2008, pp. 509-516
summary	We have conducted a series of interdisciplinary studios that partner students in the School of Architecture with peers in the College of Computing Sciences, with two principal goals: to foster creativity in the development of information technology, and conversely, to support creativity through information technology. Our studio project focuses on ubiquitous social computing as a topic of interest to both communities that requires their collaboration to realize a physical implementation. There are administrative as well as cultural hurdles in conducting such a studio. To assess the impact of the pedagogical approach, we employed qualitative observations as well as quantitative survey data. Best results depend on achieving a degree of parity in studio experience across disciplines.
keywords	interdisciplinary design studio, ubiquitous social computing, computer supported collaborative work, human computer interaction
series	eCAADe
email
last changed	2022/06/07 07:52

_id	caadria2008_32_session4a_263
id	caadria2008_32_session4a_263
authors	Kan, Jeff W.T.; John S Gero
year	2008
title	Do computer mediated tools affect team design creativity?
doi	https://doi.org/10.52842/conf.caadria.2008.263
source	CAADRIA 2008 [Proceedings of the 13th International Conference on Computer Aided Architectural Design Research in Asia] Chiang Mai (Thailand) 9-12 April 2008, pp. 263-270
summary	This paper presents the results of a quantitative analysis to measure the development of creative design ideas in design protocols. It presents a working definition of design creativity used in the analysis followed by the method of study. Five sets of video and audio data were collected from experiments that involved two designers designing similar tasks in three different settings: face-to-face, an Internet GroupBoard, and a 3D virtual world. The most creative pair was selected for qualitative and quantitative analysis. Our result shows that designers developed more design ideas in the face-to-face setting than in the 3D virtual world settings.
keywords	Creativity, protocol analysis, collaborations, virtual world
series	CAADRIA
email
last changed	2022/06/07 07:52

_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	ecaade2008_006
id	ecaade2008_006
authors	Marin, Philippe; Bignon, Jean-Claude; Lequay, Hervé
year	2008
title	Integral Evolutionary Design, Integrated to Early Stage of Architectural
doi	https://doi.org/10.52842/conf.ecaade.2008.019
source	Architecture in Computro [26th eCAADe Conference Proceedings / ISBN 978-0-9541183-7-2] Antwerpen (Belgium) 17-20 September 2008, pp. 19-26
summary	This paper deals with the architectural design process and the digital tools able to support a creative activity. Evolutionary devices are expected to support the architect in the initial phase of his work in progress and to stimulate his creativity through analogical thinking. An experimental tool is described, this one is using a genetic algorithm to explore the solution space, and it is based on both solar passive qualities and subjective interaction.
keywords	Architectural design process, evolutionary design, genetic algorithm, analogical thinking, environmental parameters
series	eCAADe
email
last changed	2022/06/07 07:59

_id	sigradi2014_164
id	sigradi2014_164
authors	Moroni Dotoranda, Janaina Luisa da Silva; Paulo Edi Rivero Martins, Dr.Giuseppe Lotti
year	2014
title	Estilo de herramientas didácticas que favorecen la creatividad. Tema: Nuevas metodologías de aprendizaje
source	SIGraDi 2014 [Proceedings of the 18th Conference of the Iberoamerican Society of Digital Graphics - ISBN: 978-9974-99-655-7] Uruguay - Montevideo 12 - 14 November 2014, pp. 245-249
summary	Creativity is an important factor for innovators. According to Eguchi and Pinheiro (2008) the basis of design is innovation because of the use creative methodology. It’s important to remember that the word “project” comes from the Latin “proyectus”, meaning “a forward throwing action”. According to Ramos (2006), “educating for creativity is essential.” Beetlestone (2000), De Bono (1993), Munari (1997) and Pawlak (2000) argue that as we’re children we’re curious to find answers to everything, but that traditional schooling brakes the creativity. This research is a methodological test which aims to identify the reasons for student’s selection of specific creative tools used in university projects.
keywords	Creativity; Innovation; Design; Education; Freedom
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	sigradi2022_112
id	sigradi2022_112
authors	Toledo, Jimena
year	2022
title	The Role of Visual Platforms -visual Social Media- in the Creative Design Process
source	Herrera, PC, Dreifuss-Serrano, C, Gómez, P, Arris-Calderon, LF, Critical Appropriations - Proceedings of the XXVI Conference of the Iberoamerican Society of Digital Graphics (SIGraDi 2022), Universidad Peruana de Ciencias Aplicadas, Lima, 7-11 November 2022 , pp. 639–650
summary	In the current design practice, new digital tools have emerged -visual- also called Infrastructures (Perkel, 2011) such as; Behance 2003, Pinterest 2009, Archdaily 2008, Instagram (2010) -to cite the most recognized in the creative field in Argentina-, which promote different opportunities and support the creative process and problem solving, making it easier for designers to find inspiring material through the Internet. However, very little is known about how these new practices affect professional work, how they themselves see it and the tensions they generate.This article will present the results of a general survey applied to expert designers as part of the first stage of the Doctoral Research project. Which investigates the behavior referred specifically to the use of visual platforms -visual social media- in order to understand, characterize, describe the use and involvement of them within the design process.
keywords	Project processes - Creativity - Design process - Visual Social Media -Curatorial Practice
series	SIGraDi
email
last changed	2023/05/16 16:56

_id	acadia08_066
id	acadia08_066
authors	Ahlquist, Sean; Moritz Fleischmann
year	2008
title	Material & Space: Synthesis Strategies based on Evolutionary Developmental Biology
doi	https://doi.org/10.52842/conf.acadia.2008.066
source	Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 66-71
summary	A material system can be defined as a set of self-organized materials, defining a certain spatial arrangement. In architecture, this material arrangement acts as a threshold for space, though space often only appears as a by-product of the material organization. Treating space as a resulting, therefore secondary, independent product minimizes the capacity to generate architecture that is astutely aware of concerns of functionality, environment and energy. An effective arrangement of material can only be determined in relation to the spaces that it defines. When proposing a more critical approach, a material system can be seen as an intimate inter-connection and reciprocal exchange between the material construct and the spatial conditions. It is necessary to re-define material system as a system that coevolves spatial and material configurations through analysis of the resultant whole, in a process of integration and evaluation. ¶ With this understanding of material system comes an expansion in the number of criteria that are simultaneously engaged in the evolution of the design. The material characteristics, as well as the spatial components and forces (external and internal), are pressures onto the arrangement of material and space. ¶ This brings a high degree of complexity to the process. Biological systems are built on methods that resolve complex interactions through sets of simple yet extensible rules. Evolutionary Developmental Biology explains how growth is an interconnected process of external forces registering fitness into a fixed catalogue of morphological genetic tools. Translating the specific framework for biological growth into computational processes, allows the pursuit of an architecture that is fully informed by the interaction of space and material.
keywords	Biology; Computation; Material; Parametric; System
series	ACADIA
last changed	2022/06/07 07:54

_id	sigradi2008_049
id	sigradi2008_049
authors	Benamy, Turkienicz ; Beck Mateus, Mayer Rosirene
year	2008
title	Computing And Manipulation In Design - A Pedagogical Experience Using Symmetry
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	The concept of symmetry has been usually restricted to bilateral symmetry, though in an extended sense it refers to any isometric transformation that maintains a certain shape invariant. Groups of operations such as translation, rotation, reflection and combinations of these originate patterns classified by modern mathematics as point groups, friezes and wallpapers (March and Steadman, 1974). This extended notion represents a tool for the recognition and reproduction of patterns, a primal aspect of the perception, comprehension and description of everything that we see. Another aspect of this process is the perception of shapes, primary and emergent. Primary shapes are the ones explicitly represented and emergent shapes are the ones implicit in the others (Gero and Yan, 1994). Some groups of shapes known as Semantic Shapes are especially meaningful in architecture, expressing visual features so as symmetry, rhythm, movement and balance. The extended understanding of the concept of symmetry might improve the development of cognitive abilities concerning the creation, recognition and meaning of forms and shapes, aspects of visual reasoning involved in the design process. This paper discusses the development of a pedagogical experience concerned with the application of the concept of symmetry in the creative generation of forms using computational tools and manipulation. The experience has been carried out since 1995 with 3rd year architectural design students. For the exploration of compositions based on symmetry operations with computational support we followed a method developed by Celani (2003) comprising the automatic generation and update of symmetry patterns using AutoCAD. The exercises with computational support were combined with other different exercises in each semester. The first approach combined the creation of two-dimensional patterns to their application and to their modeling into three-dimensions. The second approach combined the work with computational support with work with physical models and mirrors and the analysis of the created patterns. And the third approach combined the computational tasks with work with two-dimensional physical shapes and mirrors. The student’s work was analyzed under aspects such as Discretion/ Continuity –the creation of isolated groups of shapes or continuous overlapped patterns; Generation of Meta-Shapes –the emergence of new shapes from the geometrical relation between the generative shape and the structure of the symmetrical arrangement; Modes of Representation –the visual aspects of the generative shape such as color and shading; Visual Reasoning –the derivation of 3D compositions from 2D patterns by their progressive analysis and recognition; Conscious Interaction –the simultaneous creation and analysis of symmetry compositions, whether with computational support or with physical shapes and mirrors. The combined work with computational support and with physical models and mirrors enhanced the students understanding on the extended concept of symmetry. The conscious creation and analysis of the patterns also stimulated the student’s understanding over the different semantic possibilities involved in the exploration of forms and shapes in two or three dimensions. The method allowed the development of both syntactic and semantic aspects of visual reasoning, enhancing the students’ visual repertoire. This constitutes an important strategy in the building of the cognitive abilities used in the architectural design process.
keywords	Symmetry, Cognition, Computing, Visual reasoning, Design teaching
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	acadia08_152
id	acadia08_152
authors	Biloria, Nimish
year	2008
title	Morphogenomic Urban and Architectural Systems: An Investigation into Informatics Oriented Evolution of Form: The Case of the A2 Highway
doi	https://doi.org/10.52842/conf.acadia.2008.152
source	Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 152-157
summary	This research paper exemplifies upon a novel information integrated generative design method: Morphogenomics, being experimented with at Hyperbody, TU Delft. Morphogenomics, a relatively new research area, which deals with the intricacies of morphological informatics. This paper furthermore discusses an ongoing Morphogenmoics oriented design-research case: the development of a Distributed Network-city along the A2 highway, Netherlands. The A2 highway, development is a live project seeking urban development on either side of this busy highway. Hyperbody, during the course of this research initiative developed a series of real-time interactive computational tools focusing upon the collaborative contextual generation of a performative urban and architectural morphology for the A2 highway. This research paper elaborates upon these computational techniques based Morphogenomic approach and its resultant outcomes.
keywords	Computation; Evolution; Flocking; Information; Morphogenesis
series	ACADIA
last changed	2022/06/07 07:54

_id	cdc2008_359
id	cdc2008_359
authors	Burke, Anthony
year	2008
title	Reframing “intelligence” in computational design environments
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 359-366
summary	This paper seeks to establish a set of principals that form an understanding of intelligent systems related to design and architecture, through a review of intelligence as it has been understood over the last 60 years since Alan Turing first asked the question “can machines think?”1 From this review, principals of intelligence can be identified within the neurophysiological and artificial intelligence (AI) communities that provide a foundation for understanding intelligence in computational architecture and design systems. Through critiquing these principals, it is possible to re-frame a productive general theory of intelligent systems that can be applied to specific design processes, while simultaneously distinguishing the goals of design oriented intelligent systems from those goals of general Artificial Intelligence research.
email
last changed	2009/01/07 08:05

_id	6953
id	6953
authors	Derix C, Miranda P and Gamlesaeter A
year	2008
title	Design Support Systems for Sustainable Development in the Thames Gateway area of London: “Smart Solutions for Spatial Planning “(SSSP)
source	Design Computation Cognition conference 2008
summary	This presentation will describe the methods and approaches used to develop applications for Urban Planners for use in masterplanning and scenario building. It was developed using a grant from the Higher Educational Council for England, and the Department for Trade and Industry as part of the “Building Sustainable Communities“ project.
keywords	urban planning, sustainability, masterplanning, computational design
series	other
type	workshop
email
more	http://www.springer.com/computer/information+systems+and+applications/book/978-1-4020-8727-1
last changed	2012/09/17 21:20

_id	46d4
id	46d4
authors	Fischer, Thomas
year	2008
title	Designing (tools (for designing (tools for ...))))
source	RMIT University, Melbourne
summary	Outcomes of innovative designing are frequently described as enabling us in achieving more desirable futures. How can we design and innovate so as to enable future processes of design and innovation? To investigate this question, this thesis probes the conditions, possibilities and limitations of toolmaking for novelty and knowledge generation, or in other words, it examines designing for designing. The focus of this thesis is on the development of digital design tools that support the reconciliation of conflicting criteria centred on architectural geometry. Of particular interest are the roles of methodological approaches and of biological analogies as guides in toolmaking for design, as well as the possibility of generalising design tools beyond the contexts from which they originate. The presented investigation consists of an applied toolmaking study and a subsequent reflective analysis using second- order cybernetics as a theoretical framework. Observations made during the toolmaking study suggest that biological analogies can, in informal ways, inspire designing, including the designing of design tools. Design tools seem to enable the generation of novelty and knowledge beyond the contexts in and for which they are developed only if their users apply them in ways unanticipated by the toolmaker. Abstract The reflective analysis offers theoretical explanations for these observations based on aspects of second-order cybernetics. These aspects include the modelling of designing as a conversation, different relationships between observers (such as designers) and systems (such as designers engaged in their projects), the distinction between coded and uncoded knowledge, as well as processes underlying the production and the restriction of meaning. Initially aimed at the development of generally applicable, prescriptive digital tools for designing, the presented work results in a personal descriptive model of novelty and knowledge generation in science and design. This shift indicates a perspective change from a positivist to a relativist outlook on designing, which was accomplished over the course of the study. Investigating theory and practice of designing and of science, this study establishes an epistemological model of designing that accommodates and extends a number of theoretical concepts others have previously proposed. According to this model, both design and science generate and encode new knowledge through conversational processes, in which open-minded perception appears to be of greater innovative power than efforts to exercise control. The presented work substantiates and exemplifies radical constructivist theory of knowledge and novelty production, establishes correspondences between systems theory and design research theory and implies that mainstream scientific theories and practices are insufficient to account for and to guide innovation.
keywords	Digital design tools, geometry rationalisation, second-order cybernetics, knowledge generation
series	thesis:PhD
type	normal paper
email
more	http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080424.160537/index.html
last changed	2008/05/10 08:31

_id	caadria2008_18_session3a_153
id	caadria2008_18_session3a_153
authors	Gero, John S.; Kazjon S. Grace, Robert Saunders
year	2008
title	Computational Analogy-Making in Designning: A Process Architecture
doi	https://doi.org/10.52842/conf.caadria.2008.153
source	CAADRIA 2008 [Proceedings of the 13th International Conference on Computer Aided Architectural Design Research in Asia] Chiang Mai (Thailand) 9-12 April 2008, pp. 153-160
summary	This paper presents a model of computational analogy-making in designing based on the notion of situated similarity. Situated similarity is the idea that the relationship between two concepts is dependent not only on what the agent knows about those concepts but also on the way the agent is looking at them. Analogy-making is modelled as three interacting processes: formulation, matching and mapping. The model is developed and then its implications for developing situated analogy-making systems in design are discussed.
keywords	Analogy-making; situatedness; similarity; designing
series	CAADRIA
email
last changed	2022/06/07 07:51

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