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	ecaade2009_194
id	ecaade2009_194
authors	Tong, Togan; Aydin, Erdal Devrim; Pusat, S. Emre
year	2009
title	Animation vs. Simulation
doi	https://doi.org/10.52842/conf.ecaade.2009.803
source	Computation: The New Realm of Architectural Design [27th eCAADe Conference Proceedings / ISBN 978-0-9541183-8-9] Istanbul (Turkey) 16-19 September 2009, pp. 803-808
summary	In his book “Cinema as an Art”, Rudolf Arnheim states that cinema (art) cannot achieve to realize the mechanical reproduction of the real (nature) because of technical limitations but also states that these limitations are compulsory for the production of art. According to Arnheim, these limitations cause artists to interpret the real (nature) and to materialize impressive expressions. Architecture presents its productions to its viewers (customers) using some kind of media, before materializing them in the physical world. The most common ones nowadays are technical drawings (perspectives), models, photographs and computer aided models and animations. The architect makes impressive expressions based on the technical limitations of the medium he/she uses. With the computer technology, simulation gives possibilities to the architect for presenting and experiencing his/her art very close to reality. Simulation is the best way to reproduce the reality mechanically, when it is compared to other mediums. In this study, simulation’s potential as an architectural presentation technique is examined through Arnheim’s vision and Rembrandt’s painting “Staalmeesters”.
wos	WOS:000334282200098
keywords	Simulation, animation, architectural presentation, interactivity
series	eCAADe
email
last changed	2022/06/07 07:58

_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	6209
authors	Schutzenberger, M.P.
year	1954
title	A Tentative Classification of Goal- Seeking Behaviors
source	Journal of Mental Science. 1954. vol. 100: pp. 97-102
summary	The purpose of this paper is to show in a general way the introduction of mathematics into goal-seeking behavior psychology. How certain of the more complex goal-seeking behaviors, seen in both machines and men, can be described, and the principles made clear, by a uniform mathematical framework of ideas
keywords	psychology, mathematics, problem solving
series	CADline
last changed	2003/06/02 13:58

_id	c207
authors	Branzell, Arne
year	1993
title	The Studio CTH-A and the Searching Picture
source	Endoscopy as a Tool in Architecture [Proceedings of the 1st European Architectural Endoscopy Association Conference / ISBN 951-722-069-3] Tampere (Finland), 25-28 August 1993, pp. 129-140
summary	What happens during an architect’s search for the best solution? How does he (or she) begin, which tools are chosen, what happens when he comes to a standstill? The activities – sketching, discussions with other people, making models, taking walks to think, visits to the library, etc? What is an ordinary procedure and what is more specific? Do the tools have an impact on the final solution chosen? What happens during periods of no activity? Are they important? In which fields of activities are signs of the searching process to be found? In other words — what is the process of creative thinking for architects? Mikael Hedin and myself at Design Methods, Chalmers University of Technology, have started research into architects’ problem-solving. We have finished a pilot study on a very experienced architect working traditionally, without Cad (”The Bo Cederlöf Case”). We have started preliminary discussions with our second ”Case”, an architect in another situation, who has been working for many years with Cad equipment (Gert Wingårdh). For our next case, we will study a third situation – two or more architects who share the responsibility for the solution and where the searching is a consequence of a dialogue between equal partners. At present, we are preparing a report on theories in and methods for Searching and Creativity. I will give you some results of our work up till now, in the form of ten hypotheses on the searching process. Finally, I would like to present those fields of activity where we have so far found signs of searching. Our approach, in comparison with earlier investigations into searching (the most respected being Arnheim’s study on Picasso’s completion of the Guernica) is to collect and observe signs of searching during the process, not afterwards. We are, to use a metaphor, following in the footsteps of the hunter, recording the path he chooses, what marks he makes, what tools, implements and equipment he uses. For practising architects: a better understanding of what is going on and encouragement to try new ways of searching, for architectural students: better preparation and training for problem solving. It all began while we compared the different objects in our collection of sketches at the Chalmers STUDIO for Visualisation and Communication. (For some years, we have been gathering sketches by Alvar Aalto, Jorn Utzon, Ralph Erskine, Erik and Tore Ahlsén, Lewerenz, Nyrén, Lindroos, Wingårdh and others in a permanent exhibition). We observed similarities in these sketches which allowed us to frame ten hypotheses about the searching process.
keywords	Architectural Endoscopy
series	EAEA
email
more	http://info.tuwien.ac.at/eaea/
last changed	2005/09/09 10:43

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	48db
authors	Proctor, George
year	2001
title	CADD Curriculum - The Issue of Visual Acuity
doi	https://doi.org/10.52842/conf.ecaade.2001.192
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 192-200
summary	Design educators attempt to train the eyes and minds of students to see and comprehend the world around them with the intention of preparing those students to become good designers, critical thinkers and ultimately responsible architects. Over the last eight years we have been developing the digital media curriculum of our architecture program with these fundamental values. We have built digital media use and instruction on the foundation of our program which has historically been based in physical model making. Digital modeling has gradually replaced the capacity of physical models as an analytical and thinking tool, and as a communication and presentation device. The first year of our program provides a foundation and introduction to 2d and 3d design and composition, the second year explores larger buildings and history, the third year explores building systems and structure through design studies of public buildings, fourth year explores urbanism, theory and technology through topic studios and, during the fifth year students complete a capstone project. Digital media and CADD have and are being synchronized with the existing NAAB accredited regimen while also allowing for alternative career options for students. Given our location in the Los Angeles region, many students with a strong background in digital media have gone on to jobs in video game design and the movie industry. Clearly there is much a student of architecture must learn to attain a level of professional competency. A capacity to think visually is one of those skills and is arguably a skill that distinguishes members of the visual arts (including Architecture) from other disciplines. From a web search of information posted by the American Academy of Opthamology, Visual Acuity is defined as an ability to discriminate fine details when looking at something and is often measured with the Snellen Eye Chart (the 20/20 eye test). In the context of this paper visual acuity refers to a subject’s capacity to discriminate useful abstractions in a visual field for the purposes of Visual Thinking- problem solving through seeing (Arnheim, 1969, Laseau 1980, Hoffman 1998). The growing use of digital media and the expanding ability to assemble design ideas and images through point-and-click methods makes the cultivation and development of visual skills all the more important to today’s crop of young architects. The advent of digital media also brings into question the traditional, static 2d methods used to build visual skills in a design education instead of promoting active 3d methods for teaching, learning and developing visual skills. Interactive digital movies provide an excellent platform for promoting visual acuity, and correlating the innate mechanisms of visual perception with the abstractions and notational systems used in professional discourse. In the context of this paper, pedagogy for building visual acuity is being considered with regard to perception of the real world, for example the visual survey of an environment, a site or a street scene and how that visual survey works in conjunction with practice.
keywords	Curriculum, Seeing, Abstracting, Notation
series	eCAADe
email
last changed	2022/06/07 08:00

_id	831d
authors	Seebohm, Thomas
year	1992
title	Discoursing on Urban History Through Structured Typologies
doi	https://doi.org/10.52842/conf.acadia.1992.157
source	Mission - Method - Madness [ACADIA Conference Proceedings / ISBN 1-880250-01-2] 1992, pp. 157-175
summary	How can urban history be studied with the aid of three-dimensional computer modeling? One way is to model known cities at various times in history, using historical records as sources of data. While such studies greatly enhance the understanding of the form and structure of specific cities at specific points in time, it is questionable whether such studies actually provide a true understanding of history. It can be argued that they do not because such studies only show a record of one of many possible courses of action at various moments in time. To gain a true understanding of urban history one has to place oneself back in historical time to consider all of the possible courses of action which were open in the light of the then current situation of the city, to act upon a possible course of action and to view the consequences in the physical form of the city. Only such an understanding of urban history can transcend the memory of the actual and hence the behavior of the possible. Moreover, only such an understanding can overcome the limitations of historical relativism, which contends that historical fact is of value only in historical context, with the realization, due to Benedetto Croce and echoed by Rudolf Bultmann, that the horizon of "'deeper understanding" lies in "'the actuality of decision"' (Seebohm and van Pelt 1990). One cannot conduct such studies on real cities except, perhaps, as a point of departure at some specific point in time to provide an initial layout for a city knowing that future forms derived by the studies will diverge from that recorded in history. An entirely imaginary city is therefore chosen. Although the components of this city at the level of individual buildings are taken from known cities in history, this choice does not preclude alternative forms of the city. To some degree, building types are invariants and, as argued in the Appendix, so are the urban typologies into which they may be grouped. In this imaginary city students of urban history play the role of citizens or groups of citizens. As they defend their interests and make concessions, while interacting with each other in their respective roles, they determine the nature of the city as it evolves through the major periods of Western urban history in the form of threedimensional computer models. My colleague R.J. van Pelt and I presented this approach to the study of urban history previously at ACADIA (Seebohm and van Pelt 1990). Yet we did not pay sufficient attention to the manner in which such urban models should be structured and how the efforts of the participants should be coordinated. In the following sections I therefore review what the requirements are for three-dimensional modeling to support studies in urban history as outlined both from the viewpoint of file structure of the models and other viewpoints which have bearing on this structure. Three alternative software schemes of progressively increasing complexity are then discussed with regard to their ability to satisfy these requirements. This comparative study of software alternatives and their corresponding file structures justifies the present choice of structure in relation to the simpler and better known generic alternatives which do not have the necessary flexibility for structuring the urban model. Such flexibility means, of course, that in the first instance the modeling software is more timeconsuming to learn than a simple point and click package in accord with the now established axiom that ease of learning software tools is inversely related to the functional power of the tools. (Smith 1987).
series	ACADIA
email
last changed	2022/06/07 07:56

_id	ecaade2024_68
id	ecaade2024_68
authors	Stojakovic, Vesna; Djuric, Isidora; Obradovic, Milos; Miljkovic, Tamara
year	2024
title	A Combined Approach for Image-based Virtual Reconstruction of Damaged Architectural Heritage
doi	https://doi.org/10.52842/conf.ecaade.2024.2.219
source	Kontovourkis, O, Phocas, MC and Wurzer, G (eds.), Data-Driven Intelligence - Proceedings of the 42nd Conference on Education and Research in Computer Aided Architectural Design in Europe (eCAADe 2024), Nicosia, 11-13 September 2024, Volume 2, pp. 219–228
summary	As our heritages continue to face ongoing risks of damage, virtual heritage reconstructions are often used as a valuable resource for presentation, dissemination, and archival purposes. This paper aims to establish a combined image-based approach for the virtual reconstruction of St. Rudolf’s Church in Banostor. We employ structure-from-motion (SfM) image-based surveying techniques for measurement and reconstruction. SfM enables a high level of automation and results in detailed point clouds, however requires a high level of photo consistency and sharpness. The method is applied to virtual reconstructions of both existing remains and the collapsed parts. We demonstrate how photosets taken without the necessary SfM surveying parameters can still be utilized for the virtual reconstruction of non-existing or damaged heritage.
keywords	Heritage, Virtual reconstruction, Photogrammetry, Image-based modeling
series	eCAADe
email
last changed	2024/11/17 22:05

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