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	sigradi2004_326
id	sigradi2004_326
authors	Gilberto Corso Pereira
year	2004
title	Visualização e representação do espaço urbano [Visualization and Representation of Urban Space]
source	SIGraDi 2004 - [Proceedings of the 8th Iberoamerican Congress of Digital Graphics] Porte Alegre - Brasil 10-12 november 2004
summary	This project had as goal to investigate how an urban space can be represented, and how can we to present information that facilitated broad and interactive spatial analysis in an easy and friendly way. This target was reached trough the elaboration of a computer application that allowed urban information visualization about Salvador City. This tool let users to build thematic cartography, visualize interactive 3D models, images, etc. Project development already produced two different prototypes. First versions provide a great spatial analyze flexibility, but it interface founded in a workspace defined do not allow user to do all overlayer possible. In this case the tool was a kind of cartographic atlas. The actual version had as design presuppose, to give users more information, interactivity, power and flexibility, adopting new medias, new representation models, and presenting quantitative and qualitative information.
series	SIGRADI
email
last changed	2016/03/10 09:52

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

_id	510caadria2004
id	510caadria2004
authors	Ju-Yeon Kim & Hyun-Soo Lee
year	2004
title	Developing a Color Adaptive VR Interior Design System Based on Psychophsiological Responses
doi	https://doi.org/10.52842/conf.caadria.2004.857
source	CAADRIA 2004 [Proceedings of the 9th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 89-7141-648-3] Seoul Korea 28-30 April 2004, pp. 857-870
summary	This research utilizes vision-based affective recognition and sensing technologies, which are tested in order to interpret what emotional moods people experience with visual spatial images; these tests help to automatically provide feedback on the natural ways to manipulate affective intelligent communication. That is, the primary objective of this research is to realize an adaptable architectural virtual reality (VR) model whose color attributes can be changed dynamically according to the identified emotional state of the user. Eventually, this research addresses how to capture a specific user’s emotional states through the system and use it for modifying an architectural VR model, mainly for its color adaptation. In the applicability process, this system proposes towards user oriented smart environment such as the colors of an interior space are dynamically changed according to a characteristic affective response of a user.
series	CAADRIA
email
last changed	2022/06/07 07:52

_id	2004_495
id	2004_495
authors	Lonsing, Werner
year	2004
title	Augmented Reality as Tool in Architecture
doi	https://doi.org/10.52842/conf.ecaade.2004.495
source	Architecture in the Network Society [22nd eCAADe Conference Proceedings / ISBN 0-9541183-2-4] Copenhagen (Denmark) 15-18 September 2004, pp. 495-499
summary	This project describes a way to combine real-world images with graphical representations of three-dimensional objects.In architecture the combination of physical and virtual spaces is a traditional approach to propose the design of a building. Presenting a virtual design as it appears in relity requires either an unsatisfying level of abstraction while being on-site, as with sketches, or the performing of several ardous tasks. While in this case the quality is appropiate, it is now unlikely to get immediate results.Combining an interactive modeler as the primary designing instrument with a augmented reality system as mixture of cameras, GPS-devices and fiduciary features the system can demonstrate how augmentation as tool in architecture might work.
keywords	Augmentation: Augmented Reality; Interactive Modeler; Opengl; GPS
series	eCAADe
last changed	2022/06/07 07:59

_id	ascaad2004_paper13
id	ascaad2004_paper13
authors	Mandour, Mohamed Alaa
year	2004
title	From “Hard Architecture” to “Soft Architecture”: Architecture Form in the 21st Century
source	eDesign in Architecture: ASCAAD's First International Conference on Computer Aided Architectural Design, 7-9 December 2004, KFUPM, Saudi Arabia
summary	The digital revolution is affecting not only the way we produce drawings, but also the way we think about architecture. Such expressionistic, neo-baroque forms would have been unthinkable without higher technology, which allows for customization at a massive scale. Three dimensional computation extends the architect's range, permitting a wealth of experimentation, any form seems possible, the architecture language, the vocabulary changed, and the way design thinking has various dimensions. Within a short space of time the computer has become a widely accepted feature of architecture, both in the design process and in the everyday operation of buildings, and we are constantly aware that the computer's introductions into architecture will eventually have farreaching consequences. After all, the current revolution is not just about the computer as a tool but about its role and effect on the form of architecture and thinking This paper will discuss what form will architecture take in the next years? Will every future problem be anticipated, developing more efficient solutions? Will projects reflect meaningful architecture, for dynamic and contemplative environments and for aesthetic quality? And, how we will stand this unavoidable futurism?
series	ASCAAD
email
last changed	2007/04/08 19:47

_id	ddss2004_d-177
id	ddss2004_d-177
authors	Rafi, A., T. Hoai Nam, K. Jin Woo, and W. Lau
year	2004
title	InnotiveBrowser
source	Van Leeuwen, J.P. and H.J.P. Timmermans (eds.) Developments in Design & Decision Support Systems in Architecture and Urban Planning, Eindhoven: Eindhoven University of Technology, ISBN 90-6814-155-4, p. 177-191
summary	This paper explains the results of a collaborative research project between Multimedia University (Malaysia) and Innotive Corporation (Korea) to manage, design a multimedia archiving system and visualising knowledge for the students or the users in the Faculty of Creative Multimedia, Multimedia University. This research introduces InnotiveBrowser technology, a high performance multimedia display software that enhances the ability of user to search and discover digital content. The unique result of this method is that the images to be viewed are not limited to available RAM, instead the content utilises the available storage directly from the disk (hard drives). In other words, the larger the size of the hard disk, the greater the number of content information can be stored and displayed. This system is employed with Virtual Reality (VR) techniques particularly imparting viewing technology (pixel-ondemand) and navigation strategy to increase the viewing speed of multimedia information in real-time over the Internet, broadband and even via PDA platforms. This research hopes to set the benchmark for multimedia archiving system that can be applied in other CAD, CAAD or most of the design or production-based teaching and learning environment. The early findings of this research have been patented and this paper will demonstrate the research ideas and explain how we implement and customise the technology and content development in the Faculty of Creative Multimedia, Multimedia University.
keywords	InnotiveBrowser, Digital Asset Management, Multimedia Archiving, VR Technology
series	DDSS
last changed	2004/07/03 22:13

_id	3
authors	Andia, Alfredo
year	1998
title	Computadoras y Arquitectura en la Era Digital (Computers and Architecture in the Digital Era)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 22-31
summary	It seems that when architects think, and talk about computers, they only reflect on very narrow images of the phenomenon. Architects think that the impact of computers in their profession is only related to how PCs, CAD/CAM, networks, software, peripherals, can improve the way they work today. Architects, by enlarge, are unable to reflect beyond the screen of their computers and the wall of their offices when it comes to recognize the real consequences resulting from the new technological advances. In this paper we argue that we should think differently. We must recognize that computers are having much more profound impact on the profession. Computers - the technology of the fantastic, par excellence - are changing the city! They are fundamentally transforming the way we use space, and buildings! Computers are beginning to create new kinds of urban cultures and infrastructures. Building types such as offices, banks, retail spaces, and museums are being transformed into virtual workplaces, telecommuting centers, networks of automated teller machines, home banking, smart stores and multimedia experiences. Computers are transforming the concept of working, the concept of banking, the concept of shopping, etc. In the end, something fundamental about the architecture of these activities.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	50ce
authors	Baker, R.
year	1993
title	Designing the Future: The Computer Transformation of Reality
source	Thames and Hudson, Hong Kong
summary	A coffee table book on computer applications? Well, yes, because it does deal largely with matters of graphic design in architecture, fashion and textiles, painting, and photography; but it also has items which might be of interest in its sections on digital publication, typography, and electronic communication in general. It also seeks to discuss the way in which these applications may force us to change the way we think. Robin Baker writes in an unfortunately stiff and abstract manner about the impact computer programmes have had on the world of art and design, but the graphic images and extended picture captions help to keep the reader awake - even though the main text sometimes disappears for two or three double page spreads on end. There are also smatterings of pretentious art-world-speak about 'solving certain spatial problems' (in the design of curtain fabrics or teapots) and the introduction (inevitable?) of new jargon: 'shape grammar'(a list of so-called shape 'rules'), 'repurposing' (putting somebody else's work to new use) and 'genetic algorithms' (sculptural designs based on re-processed organic shapes - most of which look like stomach tumours). In his favour, Baker very generously credits students and commercial designers who have produced the effects he describes and illustrates so well. For writers, he sketches in the possibilities of Hypertext and Hypermedia and points to the future of Hyper publishing which he (and Rupert Murdoch)believes will be with us before the end of the century. He seems to have a good oversight of what is possible and practicable - though one wonders how up-to-date the view is when his book may have begun its life anything up to three years ago. He usefully points out that much new technology exists in or drags along with it the forms of earlier periods - so that in an age of electronic communication we still have printed books as a dominant cultural form. Maybe this is as it should be - but Baker makes a persuasive case for the claim that All This is Going to Change.
series	other
last changed	2003/04/23 15:14

_id	ddssar0004
id	ddssar0004
authors	Bignon, J.-C., Halin, G. and Nakapan, W.
year	2000
title	Building product information search by images
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	Building product information is required during the architectural design and technical design. The common access to the technical information system is the multi-criteria search mode. This search mode is adapted to the situation where an architect has a precise demand of information. But most of the time, the architect looks for ideas and wants to obtain many illustrations of product uses. Therefore, the system has to propose another search mode adapted to the situation where the demand is still fuzzy. Considering that the architect has the capacity to think with image and that an image can generate easily ideas, then a search by images seems to be suitable to the situation where an architect looks for ideas. The web is an inexhaustible resource of images we can exploit to provision an image database on a specific area. The system we propose allows making building product information search with images extracted from the web. This article presents the method used to extract images from web sites of French building product companies and how these images are used in an interactive and progressive image retrieval process.
series	DDSS
last changed	2003/11/21 15:16

_id	ascaad2012_004
id	ascaad2012_004
authors	El-Masri, Souheil; Mazen Kana’an and Mohammed Fawzi Elanany
year	2012
title	Architecture, Digital Techniques & Project Management
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. 14-20
summary	With the invention of computers, Architecture and other Engineering disciplines have undergone revolutionary developments offering new opportunities for improving efficiency and opening new frontiers for creativity. For example in architecture and urban planning, the discussions have been extended from conventional writings to cover cyberspace, virtual architecture and digital city. Moreover, computers have helped in the realization of many complex projects that would be inconceivable with traditional drawing techniques. This is clearly demonstrated in the works of Frank Gehry's, Zaha Hadid, Daniel Libeskind and many others. In deed, digital techniques have changed the design creative process and how the architects think. Traditionally the structured development architectural ideas from 2D drawings (plans, sections, elevations) towards 3D resolution has been replaced by more interactive approach of 2D & 3D. The changes that digital techniques have brought to the field of Architecture; including practice and education, can obviously be viewed from different angles and incite many discussions and questions. However, the purpose of this presentation is to discuss the role of digital techniques within the overall framework of project management in Gulf Housing Engineering. It starts the discussion with a brief on architecture and digital techniques in the Gulf Region, especially during the “boom period”; a period characterized by rapid production of buildings relying heavily on virtual images. It is against this background, the role of digital techniques is evaluated from a practice point of view. In fact in GHE, digital means are integral parts of the holistic project delivery process starting form initiation, to various design stages to construction ending with project completion. In this process emphasis is paid to the inter-relationships between IT Systems and Quality Control which in turn facilitate measuring, monitoring and reporting on various managerial, technical and design and budgetary aspects of the project. The presentation is supported by real case studies of GHE portfolio. It emphasizes that digital techniques should be an integral part of an overall process and should be seen as means to enhance efficiency and creativity; and should contribute to the betterment of the built environment
series	ASCAAD
email
more	http://www.ascaad.org/conference/2012/papers/ascaad2012_004.pdf
last changed	2012/05/15 20:46

_id	ecaade03_615_54_kheng
id	ecaade03_615_54_kheng
authors	Lim, Chor-Kheng
year	2003
title	Is a pen-based system just another pen or more than a pen?
doi	https://doi.org/10.52842/conf.ecaade.2003.615
source	Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6] Graz (Austria) 17-20 September 2003, pp. 615-622
summary	Freehand sketch is the most critical stage in the design process. The importance of the freehand sketch is in its ability to freely represent various projections of ambiguous drawing using a convenience tool, pen-and-paper. Recently, pen-based system which developed attempted to use pen as an input device, allowing sketches to be freely drawn on computers. However, as far as the various drawing projections, such as diagram, symbol, plan, elevation, section, perspective, etc., how are they interrelated to a designer’s cognitive behavior? Different media have different abilities to represent projections. What’s the difference of design cognitive behavior between conventional pen-and paper and pen-based system in view of both using a pen as a design medium? This research proceeds a think-aloud protocol analysis to present an analysis and discussion. Research results show that there is a relationship of gradual embodiment, mutually complementary, going from a whole to being dissected into sections between the different projections. Moreover, pen-based system is more than a pen, it allows designer to inspect a 3-D view during the sketching stage. This gives the designer more opportunities during the sketching stage to conduct the design thinking process based on the ambiguous 2-D projections and the more concrete 3-D images, as well as more opportunities for visual feedback
series	eCAADe
email
last changed	2022/06/07 07:59

_id	c7e9
authors	Maver, T.W.
year	2002
title	Predicting the Past, Remembering the Future
source	SIGraDi 2002 - [Proceedings of the 6th Iberoamerican Congress of Digital Graphics] Caracas (Venezuela) 27-29 november 2002, pp. 2-3
summary	Charlas Magistrales 2There never has been such an exciting moment in time in the extraordinary 30 year history of our subject area, as NOW,when the philosophical theoretical and practical issues of virtuality are taking centre stage.The PastThere have, of course, been other defining moments during these exciting 30 years:• the first algorithms for generating building layouts (circa 1965).• the first use of Computer graphics for building appraisal (circa 1966).• the first integrated package for building performance appraisal (circa 1972).• the first computer generated perspective drawings (circa 1973).• the first robust drafting systems (circa 1975).• the first dynamic energy models (circa 1982).• the first photorealistic colour imaging (circa 1986).• the first animations (circa 1988)• the first multimedia systems (circa 1995), and• the first convincing demonstrations of virtual reality (circa 1996).Whereas the CAAD community has been hugely inventive in the development of ICT applications to building design, it hasbeen woefully remiss in its attempts to evaluate the contribution of those developments to the quality of the built environmentor to the efficiency of the design process. In the absence of any real evidence, one can only conjecture regarding the realbenefits which fall, it is suggested, under the following headings:• Verisimilitude: The extraordinary quality of still and animated images of the formal qualities of the interiors and exteriorsof individual buildings and of whole neighborhoods must surely give great comfort to practitioners and their clients thatwhat is intended, formally, is what will be delivered, i.e. WYSIWYG - what you see is what you get.• Sustainability: The power of «first-principle» models of the dynamic energetic behaviour of buildings in response tochanging diurnal and seasonal conditions has the potential to save millions of dollars and dramatically to reduce thedamaging environmental pollution created by badly designed and managed buildings.• Productivity: CAD is now a multi-billion dollar business which offers design decision support systems which operate,effectively, across continents, time-zones, professions and companies.• Communication: Multi-media technology - cheap to deliver but high in value - is changing the way in which we canexplain and understand the past and, envisage and anticipate the future; virtual past and virtual future!MacromyopiaThe late John Lansdown offered the view, in his wonderfully prophetic way, that ...”the future will be just like the past, onlymore so...”So what can we expect the extraordinary trajectory of our subject area to be?To have any chance of being accurate we have to have an understanding of the phenomenon of macromyopia: thephenomenon exhibitted by society of greatly exaggerating the immediate short-term impact of new technologies (particularlythe information technologies) but, more importantly, seriously underestimating their sustained long-term impacts - socially,economically and intellectually . Examples of flawed predictions regarding the the future application of information technologiesinclude:• The British Government in 1880 declined to support the idea of a national telephonic system, backed by the argumentthat there were sufficient small boys in the countryside to run with messages.• Alexander Bell was modest enough to say that: «I am not boasting or exaggerating but I believe, one day, there will bea telephone in every American city».• Tom Watson, in 1943 said: «I think there is a world market for about 5 computers».• In 1977, Ken Olssop of Digital said: «There is no reason for any individuals to have a computer in their home».The FutureJust as the ascent of woman/man-kind can be attributed to her/his capacity to discover amplifiers of the modest humancapability, so we shall discover how best to exploit our most important amplifier - that of the intellect. The more we know themore we can figure; the more we can figure the more we understand; the more we understand the more we can appraise;the more we can appraise the more we can decide; the more we can decide the more we can act; the more we can act themore we can shape; and the more we can shape, the better the chance that we can leave for future generations a trulysustainable built environment which is fit-for-purpose, cost-beneficial, environmentally friendly and culturally significactCentral to this aspiration will be our understanding of the relationship between real and virtual worlds and how to moveeffortlessly between them. We need to be able to design, from within the virtual world, environments which may be real ormay remain virtual or, perhaps, be part real and part virtual.What is certain is that the next 30 years will be every bit as exciting and challenging as the first 30 years.
series	SIGRADI
email
last changed	2016/03/10 09:55

_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	ga0135
id	ga0135
authors	Roncoroni, Umberto
year	2001
title	BioIcons
source	International Conference on Generative Art
summary	BioIcons are images developed with artificial life, especially modified Cellular Automata to simulate a sort of living artistic tool. Each image is a spontaneous creation of Artificial Life: different shapes and colors are assigned to each cell of the digital being; this is done linking the “biological” state of each cell and the auto similarity existing between the cell and the digital being as a whole. The resulting picture is like a microscopic view, because we can endlessly magnify portions of the image, using this process to reach, conceptually and visually, the integration between Fractals andArtificial Life. BioIcons, as the rest of my work, is the product of my programming efforts: I think that using proprietary algorithms supports autonomy and originality. I started this work studying Cellular Automata algorithms; some of them are mutations of classic Cellular Automata, others are my own creations. After that, I studied how to force the Cellular Automata to behave like an artistic tool, introducing special parameters linked with color theory, perception and auto similarity. Finally, I studied an interface in such a way to allow interaction between the artificial artists and the user, and to transform the image into an interactive and dynamic process. The dynamic interactions between the piece of art and the public, the transformation of the artistic process into something open and free and the close connections between art and investigation are the orienting ideas of my artistic effort. Yet I’m also concerned with digital technology as it should be applied to art, mainly to discover the medium’s artistic language. I consider of great importance, for my artistic development, the opportunity to integrate my strong love for nature and life with art and mathematics, with the help of computer technologies.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	76ff
authors	Sorby, S.A.
year	1999
title	Developing 3-D Spatial Visualization Skills
source	Engineering Design Graphics Journal, vol. 63, no. 2 (Spring): 21-32
summary	This article brings up the point that 3-D spatial visualization skills are vital to graphics education. Instructors of graphics education, even though they have highly advanced spatial skills, rarely have the proper training on what spatial skills are or how the development of spatial skills takes place. As a result one must try to have a better understanding of spatial abilities. There are many interpretations as to what spatial skills really are and there is in therefore no one universal definition. As a way to better understand spatial abilities, Maier places them into five categories. The categories are spatial perception, spatial visualization, mental rotations, spatial rotations, and spatial orientation. These categories are vast. As a result of their vastness many of the categories overlap. Another step towards better understanding spatial skills involves differentiating how spatial skills are used while completing a task. Tartre makes a classification for how spatial skills are used while performing a task. The spatial skills are either used as spatial visualization that involves mentally moving the object, or as spatial orientation, which involves mentally moving the object. If the task involves spatial visualization then mental rotation can take place, which involves the entire object, or mental transformation can occur, which only involves part of an object. Visual thinking is a way to understand spatial skills. McKim offers the viewpoint that visual thinking occurs by three kinds of imagery. They are what one sees, what one can imagine, and what one can draw. All of these images interact with one another. Spatial skills are developed primarily in three different stages. This can be see be Piaget's theory on development. In the first stage, two dimensional, topological, skills are acquired. In the second stage, an understanding of 3-D objects, projective skills, from different viewpoints is achieved. Finally in the third stage, there is an understanding of area, volume, distance, translation, rotation and reflection, which is combined with projective skills. Spatial skills are evaluated in a variety of ways. There are tests that assess a person's projective skill level. Examples of these would be the Mental Cutting Test and the Differential Aptitude Test: Spatial Relation. Other tests assess mental rotation. Examples of mental rotation tests are the Purdue Spatial Visualization Test and the Mental Rotation Test. Results of these evaluations show mixed results as to whether there are gender differences in spatial skills. In order to enhance spatial skills, one must not only work with 3-D images, but they must also use concrete models and sketching. Overall I thought this article was very informative. It presented the information in a clear and concise manner. I summarized the information that I thought was especially useful for this class. The article really made me think how important it is not only to have spatial skills, but also to have an understanding of them.
series	journal paper
last changed	2003/04/23 15:14

_id	ascaad2004_paper11
id	ascaad2004_paper11
authors	Abdelfattah, Hesham Khairy and Ali A. Raouf
year	2004
title	No More Fear or Doubt: Electronic Architecture in Architectural Education
source	eDesign in Architecture: ASCAAD's First International Conference on Computer Aided Architectural Design, 7-9 December 2004, KFUPM, Saudi Arabia
summary	Operating electronic and Internet worked tools for Architectural education is an important, and merely a prerequisite step toward creating powerful tele-collabortion and tele-research in our Architectural studios. The design studio, as physical place and pedagogical method, is the core of architectural education. The Carnegie Endowment report on architectural education, published in 1996, identified a comparably central role for studios in schools today. Advances in CAD and visualization, combined with technologies to communicate images, data, and “live” action, now enable virtual dimensions of studio experience. Students no longer need to gather at the same time and place to tackle the same design problem. Critics can comment over the network or by e-mail, and distinguished jurors can make virtual visits without being in the same room as the pin-up—if there is a pin-up (or a room). Virtual design studios (VDS) have the potential to support collaboration over competition, diversify student experiences, and redistribute the intellectual resources of architectural education across geographic and socioeconomic divisions. The challenge is to predict whether VDS will isolate students from a sense of place and materiality, or if it will provide future architects the tools to reconcile communication environments and physical space.
series	ASCAAD
email
last changed	2007/04/08 19:47

_id	2004_090
id	2004_090
authors	Abdelhameed, Wael
year	2004
title	Visual Design Thinking in the Design Process as Impacted by Digital Media
doi	https://doi.org/10.52842/conf.ecaade.2004.090
source	Architecture in the Network Society [22nd eCAADe Conference Proceedings / ISBN 0-9541183-2-4] Copenhagen (Denmark) 15-18 September 2004, pp. 90-94
summary	Exploring design ideas, through two dimensional and three dimensional forms, is the basis of design exploration and visual design thinking during the design process. Imagining how drawings and models (be it manual or digital) will be presented in reality is the essence of visual design thinking. By the beginning of the 20th Century, architecture has become more three dimensional in design exploration and in representation. This transition to three dimensions makes the processes of visual design thinking more related to digital media. The nature of media, utilized by architects, affects design-exploration processes. The research investigates both the processes of visual design thinking and the interrelation between visual design thinking and digital media, in order to shed more light on how digital media should be introduced to students of architecture.
keywords	Visual Design Thinking: Digital Media; Architectural Education; Design Process
series	eCAADe
last changed	2022/06/07 07:54

_id	ascaad2004_paper17
id	ascaad2004_paper17
authors	Al-Attili, Aghlab A. and Richard D. Coyne
year	2004
title	Embodiment and Illusion: The Implications of Scale as a Cue for Immersion in Virtual Environments
source	eDesign in Architecture: ASCAAD's First International Conference on Computer Aided Architectural Design, 7-9 December 2004, KFUPM, Saudi Arabia
summary	This paper examines the extent to which the issue of scale impinges on our sense of immersion in virtual environments. We consider perception from the point of view of Merleau-Ponty's phenomenology, and describe a study involving extended interviews of a small number of subjects who were presented with static, moving and interactive images of spaces. We test a series of propositions about scale cues, and speculate on the wider phenomenological issues of expectation, metaphor and play.
series	ASCAAD
email
last changed	2007/04/08 19:47

_id	sigradi2004_333
id	sigradi2004_333
authors	Andrés S. Rodríguez
year	2004
title	Exploración de relaciones entre analogías y bocetos durante la generación de ideas en diseño industrial como elicitación de requerimientos para CAD [Exploration of Relations between Analogies and Sketches During the Generation of Ideas in Industrial Design for Eliciting CAD Requirements]
source	SIGraDi 2004 - [Proceedings of the 8th Iberoamerican Congress of Digital Graphics] Porte Alegre - Brasil 10-12 november 2004
summary	An exploration on the analogy-based idea generation process in industrial design is reported. In particular we try to identify relationships between the sketching process and the analogy building in order to elicit requirements for a supporting software. We use concurrent think aloud protocols to obtain experimental data and an extension of a proved content oriented schema to analyze them. Statistical analysis on segments containing .analogical chains. found relations between analogical and design actions that allow us to support the hypothesis that the sketch seems to be more useful for helping the analytical aspects of the analogical making (i.e. to code a situation in terms of higher order relations) than the synthetic ones (i.e. to identify an analogy source). Results were interpreted as software requirements for a Computer Aided Design Application.
keywords	Sketching, Analogy, CAD, Industrial design, Protocol analysis
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	2004_350
id	2004_350
authors	Asanowicz, Alexander
year	2004
title	Computer, Creativity and Unpredictability
doi	https://doi.org/10.52842/conf.ecaade.2004.350
source	Architecture in the Network Society [22nd eCAADe Conference Proceedings / ISBN 0-9541183-2-4] Copenhagen (Denmark) 15-18 September 2004, pp. 350-357
summary	Computers in designing are usually considered as a tool for preparing technical documentation, storage and managing information, coordinating of flow of design process, modelling and all kind of visualisations (renderings, animation, VR models). At the early design stages, when an idea of the form is created, computer is not used very often. The reason for this is that traditional computer drawing is too completed to be used at this stage. In new methods of supporting creativity, computer should be used for creation of less precise, unpredictable but more inspiring images. This method are based on the thesis that emotional elements have a great affect on the decision making process in designing. Intuition, unpredictability and no logic are the essence of creativity in the selection of associations. Confirmation of this statement we may find in many theories of creativity (theory of incubation elaborated by Wallas, genploration (Finke, Ward and Smith), redundant generation (Lem), synectics (Gordon)). All these theories emphasize the role of unpredictable associations and metaphors in creativity. Process of metaphorisation is characteristic for our era and plays important role in creative process. That’s why we need the new methods of graphic computer and non-computer transformation, which allows us a fuller exploration of design metaphors. The final conclusion is built on the thesis that too precise tools promote cause to decrease differences.
keywords	Creativity; Design Theory; Metaphors
series	eCAADe
email
last changed	2022/06/07 07:54

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