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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	ga0024
id	ga0024
authors	Ferrara, Paolo and Foglia, Gabriele
year	2000
title	TEAnO or the computer assisted generation of manufactured aesthetic goods seen as a constrained flux of technological unconsciousness
source	International Conference on Generative Art
summary	TEAnO (Telematica, Elettronica, Analisi nell'Opificio) was born in Florence, in 1991, at the age of 8, being the direct consequence of years of attempts by a group of computer science professionals to use the digital computers technology to find a sustainable match among creation, generation (or re-creation) and recreation, the three basic keywords underlying the concept of “Littérature potentielle” deployed by Oulipo in France and Oplepo in Italy (see “La Littérature potentielle (Créations Re-créations Récréations) published in France by Gallimard in 1973). During the last decade, TEAnO has been involving in the generation of “artistic goods” in aesthetic domains such as literature, music, theatre and painting. In all those artefacts in the computer plays a twofold role: it is often a tool to generate the good (e.g. an editor to compose palindrome sonnets of to generate antonymic music) and, sometimes it is the medium that makes the fruition of the good possible (e.g. the generator of passages of definition literature). In that sense such artefacts can actually be considered as “manufactured” goods. A great part of such creation and re-creation work has been based upon a rather small number of generation constraints borrowed from Oulipo, deeply stressed by the use of the digital computer massive combinatory power: S+n, edge extraction, phonetic manipulation, re-writing of well known masterpieces, random generation of plots, etc. Regardless this apparently simple underlying generation mechanisms, the systematic use of computer based tools, as weel the analysis of the produced results, has been the way to highlight two findings which can significantly affect the practice of computer based generation of aesthetic goods: ? the deep structure of an aesthetic work persists even through the more “desctructive” manipulations, (such as the antonymic transformation of the melody and lyrics of a music work) and become evident as a sort of profound, earliest and distinctive constraint; ? the intensive flux of computer generated “raw” material seems to confirm and to bring to our attention the existence of what Walter Benjamin indicated as the different way in which the nature talk to a camera and to our eye, and Franco Vaccari called “technological unconsciousness”. Essential references R. Campagnoli, Y. Hersant, “Oulipo La letteratura potenziale (Creazioni Ri-creazioni Ricreazioni)”, 1985 R. Campagnoli “Oupiliana”, 1995 TEAnO, “Quaderno n. 2 Antologia di letteratura potenziale”, 1996 W. Benjiamin, “Das Kunstwerk im Zeitalter seiner technischen Reprodizierbarkeit”, 1936 F. Vaccari, “Fotografia e inconscio tecnologico”, 1994
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	acadia20_416
id	acadia20_416
authors	Genadt, Ariel
year	2020
title	Discrete Continuity in the Urban Architectures of H. Hara & K. Kuma
doi	https://doi.org/10.52842/conf.acadia.2020.1.416
source	ACADIA 2020: Distributed Proximities / Volume I: Technical Papers [Proceedings of the 40th Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-95213-0]. Online and Global. 24-30 October 2020. edited by B. Slocum, V. Ago, S. Doyle, A. Marcus, M. Yablonina, and M. del Campo. 416-424.
summary	The 2020 pandemic has laid bare the ambiguous value of the virtual proximity that distributed computing enables. The remote interaction it ushered in at an unprecedented scale also spawned social isolation, which is symbolically underscored by the reliance of this form of connectivity on individuals’ discrete digital identification. This cyber-spatial dualism may be called ‘discrete continuity,’ and it already appeared in architectural thought in the 1960s with the advent of cybernetics and the first computers. The duality resurfaced in the 1990s in virtual projects, when architectural software was first widely commercialized, and it reappeared in built form in the past decade. This paper sheds light on the architectural aspects of this conceptual duality by identifying the use of discreteness and continuity in the theories of two Japanese architects, Hiroshi Hara (b.1936) and his former student, Kengo Kuma (b.1954), in their attempts to combine the two topological conditions as metaphors of societal structures. They demonstrate that the onset of the current condition, while new in its pervasiveness, has been latent in architectural thinking for several decades. This paper examines Hara’s and Kuma’s theories in light of the author’s interviews with the architects, their writings, and specific projects that illustrate metaphoric translations of topological terms into social structures, reflected in turn in the organization of urban schemes and building parts. While Hara’s and Kuma’s respective implementations are poles apart visually and materially, they share the idea that the discrete continuity of contemporary urban experience ought to be reflected in architecture. This link between their ideas has previously been overlooked.
series	ACADIA
type	paper
email
last changed	2023/10/22 12:06

_id	ecaade2015_265
id	ecaade2015_265
authors	Hosey, Shannon; Beorkrem, Christopher, Damiano, Ashley, Lopez, Rafael and McCall, Marlena
year	2015
title	Digital Design for Disassembly
doi	https://doi.org/10.52842/conf.ecaade.2015.2.371
source	Martens, B, Wurzer, G, Grasl T, Lorenz, WE and Schaffranek, R (eds.), Real Time - Proceedings of the 33rd eCAADe Conference - Volume 2, Vienna University of Technology, Vienna, Austria, 16-18 September 2015, pp. 371-382
summary	The construction and building sector is now widely known to be one of the biggest energy consumers, carbon emitters, and creators of waste. Some architectural agendas for sustainability focus on energy efficiency of buildings that minimize their energy intake during their lifetime - through the use of more efficient mechanical systems or more insulative wall systems. One issue with these sustainability models is that they often ignore the hierarchy of energy within architectural design. The focus on the efficiency is but one aspect or system of the building assembly, when compared to the effectiveness of the whole, which often leads to ad-hoc ecology and results in the all too familiar “law of unintended consequences” (Merton, 1936). As soon as adhesive is used to connect two materials, a piece of trash is created. If designers treat material as energy, and want to use energy responsibly, they can prolong the lifetime of building material by designing for disassembly. By changing the nature of the physical relationship between materials, buildings can be reconfigured and repurposed all the while keeping materials out of a landfill. The use of smart joinery to create building assemblies which can be disassembled, has a milieu of new possibilities created through the use of digital manufacturing equipment. These tools afford designers and manufacturers the ability to create individual joints of a variety of types, which perform as well or better than conventional systems. The concept of design for disassembly is a recognizable goal of industrial design and manufacturing, but for Architecture it remains a novel approach. A classic example is Kieran Timberlake's Loblolly House, which employed material assemblies “that are detailed for on-site assembly as well as future disassembly and redeployment” (Flat, Inc, 2008). The use of nearly ubiquitous digital manufacturing tools helps designers create highly functional, precise and effective methods of connection which afford a building to be taken apart and reused or reassembled into alternative configurations or for alternative uses. This paper will survey alternative energy strategies made available through joinery using digital manufacturing and design methods, and will evaluate these strategies in their ability to create diassemblable materials which therefore use less energy - or minimize the entropy of energy over the life-cycle of the material.
wos	WOS:000372316000043
series	eCAADe
email
more	https://mh-engage.ltcc.tuwien.ac.at/engage/ui/watch.html?id=4075520a-6fe7-11e5-bcc8-f7d564ea25ed
last changed	2022/06/07 07:50

_id	caadria2011_063
id	caadria2011_063
authors	Lo, Chia-Hui; Ih-Cheng Lai and Teng-Wen Chang
year	2011
title	A is B, displacement: Exploring linking patterns within metaphor in the design process
doi	https://doi.org/10.52842/conf.caadria.2011.663
source	Proceedings of the 16th International Conference on Computer Aided Architectural Design Research in Asia / The University of Newcastle, Australia 27-29 April 2011, pp. 663-672
summary	Design educators often apply metaphor as a teaching tool to help novice designers in their design process. Richards(1936) defines metaphor as the form “A is B”. The most important operation in metaphor is displacement—the linking process of moving A to B. Linking ideas is the key mechanism in the design process. By linking ideas, a graph-like knowledge represents the individual memories with the nodes and arcs that are the ideas and the links between ideas respectively. Such linking knowledge provides an interesting way to understand the operation of displacement within metaphor. This research applies a computational tool (called DIM) to produce a graph-like knowledge. Protocol analysis is then used to understand how designers organize ideas. The objective of this research was to explore the linking patterns of idea displacement within metaphor in the design process.
keywords	Metaphor; displacement; linking ideas; graph-like knowledge; protocol analysis
series	CAADRIA
email
last changed	2022/06/07 07:59

_id	eaea2009_meisse
id	eaea2009_meisse
authors	Meisse, Maximilian
year	2011
title	Photographs of the Legendary Tempelhof Airport
source	Projecting Spaces [Proceedings of the 9th European Architectural Endoscopy Association Conference / ISBN 978-3-942411-31-8 ], pp. 25-28
summary	Classified as a historical monument, it is the world’s third biggest building and was once the oldest airport in service. In accordance with the designs of Ernst Sagebiel, a student of Erich Mendelsohn, construction work started in 1936. The outbreak of the Second World War prevented the completion of the building project. After the war, the area became an American military base, gaining international fame in the postwar period, thanks to the Allied airlift Luftbru_cke.
series	other
more	http://info.tuwien.ac.at/eaea
last changed	2011/03/04 08:45

_id	42ff
authors	Zarnowiecka, Jadwiga C.
year	1994
title	Data for Creation
doi	https://doi.org/10.52842/conf.ecaade.1994.x.b5u
source	The Virtual Studio [Proceedings of the 12th European Conference on Education in Computer Aided Architectural Design / ISBN 0-9523687-0-6] Glasgow (Scotland) 7-10 September 1994, p. 209
summary	The need for regional styles to exist in architecture has been broadly and long discussed. In general, regionalisms are socially accepted and they should be employed. Discussions usually become more intensified together with the search for inspiration to create new styles in architecture. In Poland Stanislaw Witkiewicz, arts critic and theoretitian, a painter and a writer, created and developed “the Zakopane style” on the turn of the 19th century. This is the only one architectural style focussed on the regional features that has been preserved until nowadays. It referred both to architecture and industrial forms. It was received by the contemporaries with ambivalent attitude, from the uncritical enthusiasm to emotional negation. One side claimed that the style affected the national consciousness and united the nation without the State. According to the other side, “the Zakopane style”, when outside the Podhale region, shocked with its non-conformity to the surroundings. About 1910 there was an attempt to create the style not exactly regional but rather national. The designs referred to neoclassic Old Polish mansion house with a porch supported by columns and high mansard roof. Between 1915 and 1918 projects to rebuild the Polish villages and little towns were thrown open to competition. Afterwards, neatly published project catalogues presented universal, all-Polish type of architecture. In 1918, after I World War and after Poland regained independence, whole housing estates were built in manorial style. At the same time the described sets of competition projects were used together with the new ones, prepared by eg. Polish Hygenic Society (1936). All the project proposals show the all-Polish type of regionalism. Another intensification of discussion concerning the regional style is linked with the post-modernist ideas. Modernism-lacking ornament, cosmopolitan, without any homely features (by the way, he is jolly smart who knows what this “homeliness” is all about) despite its undeniable achievements has been finally faced with crushing criticism. Together with this reaction the search for inspiration in regional features of architecture has been revived. But then there has been a lack of Witkiewicz’s enthusiasm and stubbornness. We deal with constant attempts to solve the problem of creation in regional style. The situation described allows for the statement that there are two forms of regionalism: one on a narrow, territorial and second on the all-Polish scale. No doubt, “the Zakopane style” was the territorial regionalism, and the manorial architecture-the all-Polish one. The condition and quantity of traditional forms are really varied in Poland. For these still existing objects to serve as “model” and inspiration, they have to be examined, classified and made accessible to the designers. The next step is to extract the most distinct features of sub-regions and to popularize the knowledge of these problems. At the Faculty of Architecture of Bialystok Technical University the relative data base concerning the regional architecture is being created on the basis of Microsoft’s ACCESS. It is still another attempt to preserve and uphold the cultural landscape of Poland.
series	eCAADe
last changed	2022/06/07 07:50

_id	cdrf2019_134
id	cdrf2019_134
authors	Zhen Han, Wei Yan, and Gang Liu
year	2020
title	A Performance-Based Urban Block Generative Design Using Deep Reinforcement Learning and Computer Vision
doi	https://doi.org/https://doi.org/10.1007/978-981-33-4400-6_13
source	Proceedings of the 2020 DigitalFUTURES The 2nd International Conference on Computational Design and Robotic Fabrication (CDRF 2020)
summary	In recent years, generative design methods are widely used to guide urban or architectural design. Some performance-based generative design methods also combine simulation and optimization algorithms to obtain optimal solutions. In this paper, a performance-based automatic generative design method was proposed to incorporate deep reinforcement learning (DRL) and computer vision for urban planning through a case study to generate an urban block based on its direct sunlight hours, solar heat gains as well as the aesthetics of the layout. The method was tested on the redesign of an old industrial district located in Shenyang, Liaoning Province, China. A DRL agent - deep deterministic policy gradient (DDPG) agent - was trained to guide the generation of the schemes. The agent arranges one building in the site at one time in a training episode according to the observation. Rhino/Grasshopper and a computer vision algorithm, Hough Transform, were used to evaluate the performance and aesthetics, respectively. After about 150 h of training, the proposed method generated 2179 satisfactory design solutions. Episode 1936 which had the highest reward has been chosen as the final solution after manual adjustment. The test results have proven that the method is a potentially effective way for assisting urban design.
series	cdrf
email
last changed	2022/09/29 07:51

_id	sigradi2023_46
id	sigradi2023_46
authors	Barashkov, Julia
year	2023
title	Customising Urban Joy: Urban Planning Mechanisms for the Mass - Customisation of Cities, through the Quantifiable Nature of Joy Using Geo-tagged Social Media Data
source	García Amen, F, Goni Fitipaldo, A L and Armagno Gentile, Á (eds.), Accelerated Landscapes - Proceedings of the XXVII International Conference of the Ibero-American Society of Digital Graphics (SIGraDi 2023), Punta del Este, Maldonado, Uruguay, 29 November - 1 December 2023, pp. 31–42
summary	The paper examines citizen participation in a digitally-driven society and the disparity between desired and existing cities. It emphasises the need to transform cities into adaptable environments that respond to the needs of residents. Traditional top-down urban planning often fails to match the flexible nature of digitised urban residents. To address this, an agent-based model is employed, evaluating urban environments based on individual sentiment derived from social media API. The study case of Wittenberge, Germany, showcases the methodology, including the creation of a 3D digital twin using open data sources and generating agents with unique personalities from social media keywords. These agents' "life satisfaction score" reflects their ability to fulfil daily needs and preferences within a 20-minute walking radius.
keywords	Data-based urban design, Citizen participation, Agent-based modelling, Social media sentiment analysis, Co-creation in cities
series	SIGraDi
email
last changed	2024/03/08 14:06

_id	d60a
authors	Casti, J.C.
year	1997
title	Would be Worlds: How simulation is changing the frontiers of science
source	John Wiley & Sons, Inc., New York.
summary	Five Golden Rules is caviar for the inquiring reader. Anyone who enjoyed solving math problems in high school will be able to follow the author's explanations, even if high school was a long time ago. There is joy here in watching the unfolding of these intricate and beautiful techniques. Casti's gift is to be able to let the nonmathematical reader share in his understanding of the beauty of a good theory.-Christian Science Monitor "[Five Golden Rules] ranges into exotic fields such as game theory (which played a role in the Cuban Missile Crisis) and topology (which explains how to turn a doughnut into a coffee cup, or vice versa). If you'd like to have fun while giving your brain a first-class workout, then check this book out."-San Francisco Examiner "Unlike many popularizations, [this book] is more than a tour d'horizon: it has the power to change the way you think. Merely knowing about the existence of some of these golden rules may spark new, interesting-maybe even revolutionary-ideas in your mind. And what more could you ask from a book?"-New Scientist "This book has meat! It is solid fare, food for thought . . . makes math less forbidding, and much more interesting."-Ben Bova, The Hartford Courant "This book turns math into beauty."-Colorado Daily "John Casti is one of the great science writers of the 1990s."-San Francisco Examiner In the ever-changing world of science, new instruments often lead to momentous discoveries that dramatically transform our understanding. Today, with the aid of a bold new instrument, scientists are embarking on a scientific revolution as profound as that inspired by Galileo's telescope. Out of the bits and bytes of computer memory, researchers are fashioning silicon surrogates of the real world-elaborate "artificial worlds"-that allow them to perform experiments that are too impractical, too costly, or, in some cases, too dangerous to do "in the flesh." From simulated tests of new drugs to models of the birth of planetary systems and galaxies to computerized petri dishes growing digital life forms, these laboratories of the future are the essential tools of a controversial new scientific method. This new method is founded not on direct observation and experiment but on the mapping of the universe from real space into cyberspace. There is a whole new science happening here-the science of simulation. The most exciting territory being mapped by artificial worlds is the exotic new frontier of "complex, adaptive systems." These systems involve living "agents" that continuously change their behavior in ways that make prediction and measurement by the old rules of science impossible-from environmental ecosystems to the system of a marketplace economy. Their exploration represents the horizon for discovery in the twenty-first century, and simulated worlds are charting the course. In Would-Be Worlds, acclaimed author John Casti takes readers on a fascinating excursion through a number of remarkable silicon microworlds and shows us how they are being used to formulate important new theories and to solve a host of practical problems. We visit Tierra, a "computerized terrarium" in which artificial life forms known as biomorphs grow and mutate, revealing new insights into natural selection and evolution. We play a game of Balance of Power, a simulation of the complex forces shaping geopolitics. And we take a drive through TRANSIMS, a model of the city of Albuquerque, New Mexico, to discover the root causes of events like traffic jams and accidents. Along the way, Casti probes the answers to a host of profound questions these "would-be worlds" raise about the new science of simulation. If we can create worlds inside our computers at will, how real can we say they are? Will they unlock the most intractable secrets of our universe? Or will they reveal instead only the laws of an alternate reality? How "real" do these models need to be? And how real can they be? The answers to these questions are likely to change the face of scientific research forever.
series	other
last changed	2003/04/23 15:14

_id	e513
authors	Chaikin, George
year	1998
title	The Computer and the Studio
doi	https://doi.org/10.52842/conf.ecaade.1998.051
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 51-54
summary	The studio is the primary place of architectural education - the place where the warp of representation and the weft of technique are woven together. Architecture is taught as a domain of ideas, ideas about how and why buildings are built, about the dialectic between concept and materiality. To the architectural student, the drawing is the exemplar of the quality of work he or she will expect in the final construction process. As such, it is very important that the student appreciate the "materiality" of the work to be realized, and this is best done through the education of the whole person, of the entire cognitive mechanism, which most certainly includes the hands. We feel strongly that the student must engage in the creative process in a profoundly physical way, must learn the art and joy of making things, and only then can she or he appreciate the representational abstraction offered by the computer.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:55

_id	ecaade03_423_111_chen
id	ecaade03_423_111_chen
authors	Chen, Jia-Yih Joy
year	2003
title	Space prototypes for achieving "Ubiquitous Computing": Reconfiguring the existing space with physical interactions
doi	https://doi.org/10.52842/conf.ecaade.2003.423
source	Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6] Graz (Austria) 17-20 September 2003, pp. 423-426
summary	In this project, “Ubiquitous Computing” space prototypes with new embedment of context information are studied. Through the related theories, research models and experiments, the prototypes for future information space and user styles are proposed, including space modules, user behaviors with physical HCI interactions, and required information technology. Space prototypes for exhibition and lab areas with supported infrastructure and interface are tested in the experiments.
keywords	Ubiquitous Computing, Interactive Space, Information Space Design
series	eCAADe
email
last changed	2022/06/07 07:55

_id	caadria2003_a4-1
id	caadria2003_a4-1
authors	Chen, Jia-Yih Joy and Jeng, Taysheng
year	2003
title	Exploring Digital City With Physical Interactions
doi	https://doi.org/10.52842/conf.caadria.2003.505
source	CAADRIA 2003 [Proceedings of the 8th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 974-9584-13-9] Bangkok Thailand 18-20 October 2003, pp. 505-512
summary	The purpose of this work is to develop needed interaction techniques for understanding the context of a digital city. In this paper, we present a framework in terms of three perspectives: information representation, physical interactions and media space design. We implement tangible media for physical interactions, allowing users to explore a digital city with respect to different positions in time-space in an interactive and intuitive manner. The time-space representation is mapped to physical media space. Our work is demonstrated in a digital 3D museum project for Tainan city in Taiwan.
series	CAADRIA
email
last changed	2022/06/07 07:55

_id	ecaade2023_145
id	ecaade2023_145
authors	Dortheimer, Jonathan, Schubert, Gerhard, Dalach, Agata, Brenner, Lielle Joy and Martelaro, Nikolas
year	2023
title	Think AI-side the Box! Exploring the Usability of text-to-image generators for architecture students
doi	https://doi.org/10.52842/conf.ecaade.2023.2.567
source	Dokonal, W, Hirschberg, U and Wurzer, G (eds.), Digital Design Reconsidered - Proceedings of the 41st Conference on Education and Research in Computer Aided Architectural Design in Europe (eCAADe 2023) - Volume 2, Graz, 20-22 September 2023, pp. 567–576
summary	This study examines how architecture students use generative AI image generating models for architectural design. A workshop was conducted with 25 participants to create designs using three state-of-the-art generative diffusion models and BIM or 3D modeling software. Results showed that the participants found the image-generating models useful for the preliminary design stages but had difficulty when the design advanced because the models did not perform as they expected. Finally, the study shows areas for improvement that merit further research. The paper provides empirical evidence on how generative diffusion models are used in an architectural context and contributes to the field of digital design.
keywords	Machine Learning, Diffusion Models, Design Process, Computational Creativity
series	eCAADe
email
last changed	2023/12/10 10:49

_id	ascaad2022_000
id	ascaad2022_000
authors	El-Bastawissi, Ibtihal Y.; Abdelmohsen, Sherif
year	2022
title	ASCAAD 2022: Hybrid Spaces of the Metaverse
source	Hybrid Spaces of the Metaverse - Architecture in the Age of the Metaverse: Opportunities and Potentials [10th ASCAAD Conference Proceedings] Debbieh (Lebanon) [Virtual Conference] 12-13 October 2022, 743 p.
summary	The ASCAAD 2022 theme focuses on Hybrid Spaces of the Metaverse, with the aim of unraveling the opportunities and potentials of architecture in the age of the Metaverse. Historically space was always the container of people’s activities and memories; it is the collective reflection of their life styles. Walls, floors and ceilings of architectural spaces witnessed the moments of joy and happiness, as well as moments of misery that changed human history, from the signing of the United Nations Declaration post WWII, to the first I-phone sold in the Apple store; history is written inside architectural spaces. The new era of the 4th industrial revolution, which is associated with digital transformation, will unlock new opportunities for architects, interior designers and whoever will enter the domain of the metaverse. The metaverse will not only serve as a portal to a new world, but also as an extension to new activities such as commercial, social, educational and business activities that will thrive in the new virtual realm. The metaverse will act as the natural transcendence of technological advancements carrying new potentials to the architectural profession. Active Worlds, Second Life, Roblox and Fortnite are all early versions of what we will witness in the next few years, shifting from entertainment to full commercial, official and governmental activities; all will be hosted inside virtual and hybrid spaces. A new era will start inside virtual realms; real economy will rise inside virtual architecture but without the multiple physical or structural constraints that limit physicality anymore such as gravity, and day and night cycles; no oxygen is needed anymore. But this time, human activities will not only be recorded and saved but also attended and lived in real time. Computational design will continue to thrive and even evolve into new forms aligning with new changes and challenges of the metaverse. Hybrid spaces are the spaces that will be built as a virtual extension of real spaces. They will be in connection to real spaces and reflecting their activities on a real time basis. On the other hand, pure virtual spaces will occur, trespassing time zones and geographical barriers. The importance of hybrid experiences was most realized after the pandemic lockdowns; and now is the time to invent new design methodologies and new theories as a natural transcendence of architecture profession. Hyperlinks portals replacing staircases and elevators, physically impossible structures, open budget interiors, teleportation are all new notions emerging with the new domain. Today, virtual spaces are hosted on various cloud services and registered as Non-Fungible Tokens (NFTs). They are experienced as immersed spaces using headsets or semi immersed spaces presented through laptops and/or mobile screens. With the new accelerating pace of technology, there is high possibility for integration within our neural networks to be experienced in our minds with just closing our eyes in the near future.
series	ASCAAD
email
last changed	2024/02/16 13:24

_id	7ce5
authors	Gal, Shahaf
year	1992
title	Computers and Design Activities: Their Mediating Role in Engineering Education
source	Sociomedia, ed. Edward Barret. MIT Press
summary	Sociomedia: With all the new words used to describe electronic communication (multimedia, hypertext, cyberspace, etc.), do we need another one? Edward Barrett thinks we do; hence, he coins the term "sociomedia." It is meant to displace a computing economy in which technicity is hypostasized over sociality. Sociomedia, a compilation of twenty-five articles on the theory, design and practice of educational multimedia and hypermedia, attempts to re-value the communicational face of computing. Value, of course, is "ultimately a social construct." As such, it has everything to do with knowledge, power, education and technology. The projects discussed in this book represent the leading edge of electronic knowledge production in academia (not to mention major funding) and are determining the future of educational media. For these reasons, Sociomedia warrants close inspection. Barrett's introduction sets the tone. For him, designing computer media involves hardwiring a mechanism for the social construction of knowledge (1). He links computing to a process of social and communicative interactivity for constructing and desseminating knowledge. Through a mechanistic mapping of the university as hypercontext (a huge network that includes classrooms as well as services and offices), Barrett models intellectual work in such a way as to avoid "limiting definitions of human nature or human development." Education, then, can remain "where it should be--in the human domain (public and private) of sharing ideas and information through the medium of language." By leaving education in a virtual realm (where we can continue to disagree about its meaning and execution), it remains viral, mutating and contaminating in an intellectually healthy way. He concludes that his mechanistic model, by means of its reductionist approach, preserves value (7). This "value" is the social construction of knowledge. While I support the social orientation of Barrett's argument, discussions of value are related to power. I am not referring to the traditional teacher-student power structure that is supposedly dismantled through cooperative and constructivist learning strategies. The power to be reckoned with in the educational arena is foundational, that which (pre)determines value and the circulation of knowledge. "Since each of you reading this paragraph has a different perspective on the meaning of 'education' or 'learning,' and on the processes involved in 'getting an education,' think of the hybris in trying to capture education in a programmable function, in a displayable object, in a 'teaching machine'" (7). Actually, we must think about that hybris because it is, precisely, what informs teaching machines. Moreover, the basic epistemological premises that give rise to such productions are too often assumed. In the case of instructional design, the episteme of cognitive sciences are often taken for granted. It is ironic that many of the "postmodernists" who support electronic hypertextuality seem to have missed Jacques Derrida's and Michel Foucault's "deconstructions" of the epistemology underpinning cognitive sciences (if not of epistemology itself). Perhaps it is the glitz of the technology that blinds some users (qua developers) to the belief systems operating beneath the surface. Barrett is not guilty of reactionary thinking or politics; he is, in fact, quite in line with much American deconstructive and postmodern thinking. The problem arises in that he leaves open the definitions of "education," "learning" and "getting an education." One cannot engage in the production of new knowledge without orienting its design, production and dissemination, and without negotiating with others' orientations, especially where largescale funding is involved. Notions of human nature and development are structural, even infrastructural, whatever the medium of the teaching machine. Although he addresses some dynamics of power, money and politics when he talks about the recession and its effects on the conference, they are readily visible dynamics of power (3-4). Where does the critical factor of value determination, of power, of who gets what and why, get mapped onto a mechanistic model of learning institutions? Perhaps a mapping of contributors' institutions, of the funding sources for the projects showcased and for participation in the conference, and of the disciplines receiving funding for these sorts of projects would help visualize the configurations of power operative in the rising field of educational multimedia. Questions of power and money notwithstanding, Barrett's introduction sets the social and textual thematics for the collection of essays. His stress on interactivity, on communal knowledge production, on the society of texts, and on media producers and users is carried foward through the other essays, two of which I will discuss. Section I of the book, "Perspectives...," highlights the foundations, uses and possible consequences of multimedia and hypertextuality. The second essay in this section, "Is There a Class in This Text?," plays on the robust exchange surrounding Stanley Fish's book, Is There a Text in This Class?, which presents an attack on authority in reading. The author, John Slatin, has introduced electronic hypertextuality and interaction into his courses. His article maps the transformations in "the content and nature of work, and the workplace itself"-- which, in this case, is not industry but an English poetry class (25). Slatin discovered an increase of productive and cooperative learning in his electronically- mediated classroom. For him, creating knowledge in the electronic classroom involves interaction between students, instructors and course materials through the medium of interactive written discourse. These interactions lead to a new and persistent understanding of the course materials and of the participants' relation to the materials and to one another. The work of the course is to build relationships that, in my view, constitute not only the meaning of individual poems, but poetry itself. The class carries out its work in the continual and usually interactive production of text (31). While I applaud his strategies which dismantle traditional hierarchical structures in academia, the evidence does not convince me that the students know enough to ask important questions or to form a self-directing, learning community. Stanley Fish has not relinquished professing, though he, too, espouses the indeterminancy of the sign. By the fourth week of his course, Slatin's input is, by his own reckoning, reduced to 4% (39). In the transcript of the "controversial" Week 6 exchange on Gertrude Stein--the most disliked poet they were discussing at the time (40)--we see the blind leading the blind. One student parodies Stein for three lines and sums up his input with "I like it." Another, finds Stein's poetry "almost completey [sic] lacking in emotion or any artistic merit" (emphasis added). On what grounds has this student become an arbiter of "artistic merit"? Another student, after admitting being "lost" during the Wallace Steven discussion, talks of having more "respect for Stevens' work than Stein's" and adds that Stein's poetry lacks "conceptual significance[, s]omething which people of varied opinion can intelligently discuss without feeling like total dimwits...." This student has progressed from admitted incomprehension of Stevens' work to imposing her (groundless) respect for his work over Stein's. Then, she exposes her real dislike for Stein's poetry: that she (the student) missed the "conceptual significance" and hence cannot, being a person "of varied opinion," intelligently discuss it "without feeling like [a] total dimwit." Slatin's comment is frightening: "...by this point in the semester students have come to feel increasingly free to challenge the instructor" (41). The students that I have cited are neither thinking critically nor are their preconceptions challenged by student-governed interaction. Thanks to the class format, one student feels self-righteous in her ignorance, and empowered to censure. I believe strongly in student empowerment in the classroom, but only once students have accrued enough knowledge to make informed judgments. Admittedly, Slatin's essay presents only partial data (there are six hundred pages of course transcripts!); still, I wonder how much valuable knowledge and metaknowledge was gained by the students. I also question the extent to which authority and professorial dictature were addressed in this course format. The power structures that make it possible for a college to require such a course, and the choice of texts and pedagogy, were not "on the table." The traditional professorial position may have been displaced, but what took its place?--the authority of consensus with its unidentifiable strong arm, and the faceless reign of software design? Despite Slatin's claim that the students learned about the learning process, there is no evidence (in the article) that the students considered where their attitudes came from, how consensus operates in the construction of knowledge, how power is established and what relationship they have to bureaucratic insitutions. How do we, as teaching professionals, negotiate a balance between an enlightened despotism in education and student-created knowledge? Slatin, and other authors in this book, bring this fundamental question to the fore. There is no definitive answer because the factors involved are ultimately social, and hence, always shifting and reconfiguring. Slatin ends his article with the caveat that computerization can bring about greater estrangement between students, faculty and administration through greater regimentation and control. Of course, it can also "distribute authority and power more widely" (50). Power or authority without a specific face, however, is not necessarily good or just. Shahaf Gal's "Computers and Design Activities: Their Mediating Role in Engineering Education" is found in the second half of the volume, and does not allow for a theory/praxis dichotomy. Gal recounts a brief history of engineering education up to the introduction of Growltiger (GT), a computer-assisted learning aid for design. He demonstrates GT's potential to impact the learning of engineering design by tracking its use by four students in a bridge-building contest. What his text demonstrates clearly is that computers are "inscribing and imaging devices" that add another viewpoint to an on-going dialogue between student, teacher, earlier coursework, and other teaching/learning tools. The less proficient students made a serious error by relying too heavily on the technology, or treating it as a "blueprint provider." They "interacted with GT in a way that trusted the data to represent reality. They did not see their interaction with GT as a negotiation between two knowledge systems" (495). Students who were more thoroughly informed in engineering discourses knew to use the technology as one voice among others--they knew enough not simply to accept the input of the computer as authoritative. The less-advanced students learned a valuable lesson from the competition itself: the fact that their designs were not able to hold up under pressure (literally) brought the fact of their insufficient knowledge crashing down on them (and their bridges). They also had, post factum, several other designs to study, especially the winning one. Although competition and comparison are not good pedagogical strategies for everyone (in this case the competitors had volunteered), at some point what we think we know has to be challenged within the society of discourses to which it belongs. Students need critique in order to learn to push their learning into auto-critique. This is what is lacking in Slatin's discussion and in the writings of other avatars of constructivist, collaborative and computer-mediated pedagogies. Obviously there are differences between instrumental types of knowledge acquisition and discoursive knowledge accumulation. Indeed, I do not promote the teaching of reading, thinking and writing as "skills" per se (then again, Gal's teaching of design is quite discursive, if not dialogic). Nevertheless, the "soft" sciences might benefit from "bridge-building" competitions or the re-institution of some forms of agonia. Not everything agonistic is inhuman agony--the joy of confronting or creating a sound argument supported by defensible evidence, for example. Students need to know that soundbites are not sound arguments despite predictions that electronic writing will be aphoristic rather than periodic. Just because writing and learning can be conceived of hypertextually does not mean that rigor goes the way of the dinosaur. Rigor and hypertextuality are not mutually incompatible. Nor is rigorous thinking and hard intellectual work unpleasurable, although American anti-intellectualism, especially in the mass media, would make it so. At a time when the spurious dogmatics of a Rush Limbaugh and Holocaust revisionist historians circulate "aphoristically" in cyberspace, and at a time when knowledge is becoming increasingly textualized, the role of critical thinking in education will ultimately determine the value(s) of socially constructed knowledge. This volume affords the reader an opportunity to reconsider knowledge, power, and new communications technologies with respect to social dynamics and power relationships.
series	other
last changed	2003/04/23 15:14

_id	caadria2005_a_8b_a
id	caadria2005_a_8b_a
authors	Jia-Yih Joy Chen, Taysheng Jeng
year	2005
title	A Context-Aware Home for Child-minding
doi	https://doi.org/10.52842/conf.caadria.2005.403
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. 403-412
summary	This paper introduces the concept of context awareness to the application of designing an interactive home with emphasis on child-minding. We setup the functional requirements of a context-aware home and seek the technology to provide safety monitor and real-time guidance for kid who is temporarily alone at home. The approaches presented are: (1) Survey and Research Scope (2) User Life Pattern Observations (3) Activity Zones and Scenarios (3) Context Database and Context Manager (4) Media and Interface (5) Evaluation. The process and result will lead our following applications of context awareness in future interactive home study.
series	CAADRIA
email
last changed	2022/06/07 07:52

_id	c3f4
authors	Joy, William
year	1980
title	An Introduction to Display Editing with VI
source	September, 1980. 30 p
summary	VI (Visual) is a display oriented interactive text editor. When using VI the screen of the terminal acts as a window into the file which is being editing. Changes which made to the file are reflected in what is seen. Using VI the user can insert new text any place in the file quite easily. Most of the commands to VI move the cursor around in the file. There are commands to move the cursor forward and backward in units of characters, words, sentences and paragraphs. A small set of operators, like d for delete and c for change, are combined with the motion commands to form operations such as delete word or change paragraph, in a simple and natural way. This regularity and the mnemonic assignment of commands to keys makes the editor command set easy to remember and to use. VI works on a large number of display terminals, and new terminals are easily driven after editing a terminal description file. While it is advantageous to have an intelligent terminal which can locally insert and delete lines and characters from the display, the editor will function quite well on dumb terminals over slow phone lines. The editor makes allowances for the low bandwidth in these situations and uses smaller window sizes and different display updating algorithms to make best use of the limited speed available. It is also possible to use the command set of VI on hardcopy terminals, storage tubes and 'glass ty's' using a one line editing window; thus VI's command set is available on all terminals. The full command set of the more traditional, line oriented editor ED is available within VI; it is quite simple to switch between the two modes of editing
keywords	UNIX, display, word processing, software
series	CADline
last changed	1999/02/12 15:08

_id	acadia03_064
id	acadia03_064
authors	Malnar, Joy Monice (et al.)
year	2003
title	Make No Little Plans: Designing the Chicago Lakefront in a Virtual Reality Environment
doi	https://doi.org/10.52842/conf.acadia.2003.x.d1u
source	Connecting >> Crossroads of Digital Discourse [Proceedings of the 2003 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-12-8] Indianapolis (Indiana) 24-27 October 2003, p. 436
summary	Architects have always needed somewhere to draw. History has seen dirt, stone, wood, and paper each serve in turn as the architect’s medium. Every technological advance has helped to manifest these exploratory visions in ever-increasing fidelity, while influencing the way in which the design process is conducted. Computer technology is the latest step in this progression, adding a third dimension to the architect’s drawings. Programs like form•Z, 3DS max, etc. allow the architect to build lifelike models and take clients on fly-throughs. Now, virtual reality has advanced architectural drawing to “full body design”, letting architects experience their creations, rather than just seeing those creations in front of them. ShadowLight-Mirage offers a unique environment in virtual reality in which to create rich ambiances of vibrancy, vitality and vigor.
series	ACADIA
last changed	2022/06/07 07:49

_id	b0fb
authors	Martegani, P.
year	2000
title	Digital Design – New Frontiers for the Objects
source	Birkhauser
summary	This might be a good small volume to assign a design class in the US, for it is elegant and profusely illustrated with a variety of the latest hot industrial products and laboratory concept proofs, many of which are European and rarely seen by designers in the United States. It has credible short introductions and expecially choice imagery of Robots, Ubiquitous Computing, Artifical Animals, "Multimedia Objects to Wear", communications and guidance devices. It groups other sample images to illustrate concepts of transparency, autonomy of the parts. Paolo Martegani writes six chapters that include the topic categories listed above, and Riccardo Montenegro follows up with two chapters on design history and process. Unfortunately, sometimes the text is a thicket, and other times it's leaden. For example, "Practically all objects are becoming multimedia oriented" is clunky and explains nothing. Elsewhere the book would have benefited from a technical reviewer, as when "Joe's Law', attributed to "Bill Joe of the California Company SUN", sounds suspiciously like something put forth by Bill Joy of Sun Microsystems, Inc. and deserving accuracy. Darragh Henegan's English translation from the original Italian seems rushed and needs more sandpaper and polish. Despite these problems, the pictures in DIGITAL DESIGN make it worthwhile for the bookshelves of designers or design students, and arouse the reader's curiosity about the strengths of the other books in this series.
series	other
last changed	2003/04/23 15:14

_id	sigradi2020_229
id	sigradi2020_229
authors	Mondal, Joy
year	2020
title	Chingree: Grasshopper Plugin to Generate 2D Compositions and 3D Embodiments Inspired from Mondrian's Neo-plastic Compositions Using Shape Grammar
source	SIGraDi 2020 [Proceedings of the 24th Conference of the Iberoamerican Society of Digital Graphics - ISSN: 2318-6968] Online Conference 18 - 20 November 2020, pp. 229-237
summary	The paper documents the development of algor thms (released as Grasshopper plugin Chingree) to generate 2D compositions and 3D embodiments inspired from the visual ethos of Mondrian's neo-plastic compositions. Based on the empirical analysis of the compositions; rectangles are sub-divided with lines parallel to x and y axes, folllowed by selection of few of the sub-divisions for colouring. The principles of sub-division and selection are applied in 3D. Volumes are sub-divided with planes parallel to xy, yz and zx planes. Few of the sub- divisions are selected to be present (analogous to colouring in 2D). Shape gr mmar is used to control sub-division.
keywords	Neo-plastic, Mondrian, Shape grammar, 3D massing, Sub-division
series	SIGraDi
email
last changed	2021/07/16 11:48

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