CHAPTER CHAPTER 03: Paper Sessions C1, C2, C3dcaconference2014.org/2014 Proceedings/4. DCA 2014...

Design & Graphic Palimpsest [Dialogue-Discourse-Discussion]

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Design Communication Association

CHAPTER 03: Paper Sessions C1, C2, C3

03C H A P T E R

Session C1. Digital Exploration: Visualization, Education, BIM

Building Information Modeling - Case Study Mauro Buffa and Chuck Eastman | GA Tech

Architectural knowledge management and digital tools: a step for a proposal-Digital models and knowledgeHoussem Eddine Mnejja, Temy Tidafi | Universit de Montral, Canada

Revit as a Creative Medium? Jeanne Homer | Oklahoma State University

Smart Lab Using BIM and QR CodePavan Miadati and Mahmoodha Jagabar Sathick | Southern Polytechnic State University

Session C2. Communication & Design Education: Studio Context

Covered / Uncovered: Site research within architecture studios.Ed Akins | Southern Polytechnic State University

Axonometric: Strategies for the Capstone Studio Setting. Genevieve Baudoin | Kansas State University

Place and Its Discovery through Embodied Representation.Zuzanna Karczewska | Montana State University

Changing Scales: Spatial Design Visualization and Experiential Learning Strategies.Elizabeth Pober | University of Oklahoma

Session C3. Investigation & Representation

Unorthodox orthographies: projective deregulation for depicting time from Le Corbusier to OMA.Fobio Collonnese | Sapienza University of Rome

Un-earthing Eisenman: Deep Interiority and Present Absence in the work of architect.Rebecca ONeal Dagg | Auburn University

On Process Drawings: studying sketches of Mario Botta.Arief Setiawan | Southern Polytechnic State University

The Artist Inside Me: the case of interior design students Faredah Mohsen alMurahhem | Umm alQura University, Saudi Arabia

2014 Design Communication Conference

Host School: Architecture Deptartment Southern Polytechnic State University Georgia


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session C1 Digital Exploration: Visualization, Education, BIM Building Information Modeling - Case Study

Mauro Buffa and Chuck Eastman | GA Tech

IntroductionThe new Fondation Louis Vuitton (FLV) for Creation by Frank Gehry is a new exhibition space that will host a permanent art collection, performances, lectures and various rotating exhibitions. The building is located in the Bois du Boulogne, a public park in the western edge of Paris. Inside this park, we can find the Jardin dAcclimatation, which is the site designated for the new construction. This latest project by Frank Gehry, is an ambitious architectural paradigm that redefines once again a new boundary in architecture, especially with respect to its novel use of technology.

The fluid and sinuous sketch that Frank Gehry produced as a guideline for the design process indicates his intention to create an organic architectural body that can dialogue with its natural surrounding and at the same time relate to the city of Paris. To highlight and respect the presence of nature, the architect decides to use glass, a material that expresses lightness and transparency. The use of glass is of course not new. Glass-based landmarks include The Nationale Nederlanden building in Prague, The Conde Nast Cafeteria, New York and the Novartis HR building in Basel (1). What is new with Gehry in this project is the use of glass in a sculptural way. In what follows, we will describe Gehrys project in some detail, with special focus on the most innovative technological aspects of his work.

Project Design Workflow and Software TechnologyGehry usually starts the design process with physical models that are then 3D-scanned and brought into the digital space. He has been a pioneer of the use of computer technology in architecture. In the late 1980s, Jim Glymph, one of the partners at Gehry Partners LLP, introduced CATIA, the 3D software used in the aerospace industry. Since then, the office has been able to push the boundaries and demonstrate the ability of build architectural geometries that were imaginable but impossible to construct up to that point. Upon adopting CATIA, Gehrys office established a relationship with Dassault Systemes in France, the software company

that created CATIA. From this cooperation, a version of CATIA called Digital Project was created to fit the way Gehry and partners work, essentially customizing the software to the needs of the architecture, engineering and construction industry (AEC). What is interesting is that this collaboration has been beneficial for both parties. In fact, the way the software has been used by Gehry has influenced the way Dassault Systemes thinks about the software they produce. Since then, the architectural practice has had an influence on the automobile and aerospace industries (2).

From the beginning, the process adopted for the FLV was structured to be a highly collaborative effort that involved more than ten different companies and different software: Digital Project, Sketchup, various AutoDesk software, BoCAD, SolidWorks, ANSYS, NASTRAN, Sofistik3D, 3DVia Composer, Solibri, Tekla, Rhino 3D and Grasshopper 3D.

Gehry Technologies adopted a new Web-based 3D platform for file management and project collaboration: GT Global Exchange (GTX). GTX was used as a prototype system for GTeam. This platform allows different teams to collaborate and share model data online. The goal is to reach a faster consensus, reduce change orders in the fabrication phase and reduce project costs (3).

The workflow process around the FLV is strongly based on the concept of a master model as a BIM collaboration platform. This master model, through the use of GTX, is cloud-based and always accessible by the various teams at any time. The idea is to create a secure Drop box where people can access and share all the information carried by the master model. Users can work at the master model directly online from their computer without any 3D authoring application needing to be installed on the user machine.

For the realization of a master model, two main models



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have been merged together: a design detail model done by the architect is used as a starting point, while the contractor with the information acquired from the design model builds a more detailed model suitable for construction.

All in all, three models are operative: A design model (the authoring design

document). A detail contractor real-time working model. A high-fidelity assembly of the two used

for construction and from which all the information regarding the life cycle and the operation of the FLV can be gathered

Fig 1. The three models used during the process. There were more than a dozen teams involved in the project (especially in the fabrication phase), and some of them used their own software. The GTX Team effort consisted in trying to harmonize all these different platform models and data into Digital Project. Their role was to coach the other teams on how to interface their workflow with the main platform. This involved creating new scripts or customized tools to achieve a more refined level of interoperability. Andrew J. Witt, Ex Director of Research at Gehry Technologies states:

One of the objectives of the project was to create a 3D process that was for everyone to be involved. People that came on board to work on it, knew in advance that 3D was a major component for the whole process, and for those that did not have a 3D capability, Gehry Technologies had the role to consult in either training them and also to support this overall cultural change. Gehry Technologies not only provided technical support, but also helped build up a relationship of trust among the teams (4).

The purpose of the BIM process is to eliminate the common problems and mistakes that emerge from 3D team work. This intent is reached partially by simulation of the real building itself but more importantly through the creation of a model that is at the same time more flexible and adaptable to anyone in the process and at any time. Moreover, this model is capable of collecting the intelligence and the knowledge that are coming from the various competencies in the design process. In this sense, the 3D model was able to clarify numerous design

and engineering issues before they became problems.

Fig 2. View of the faade and its assembly components.

The challenge in this case is to manage the modifications that were made to the model over time, and to make all the other team members aware about of them. 3D projects often have many interdependent files, and any modification can propagate and require changes in a different part of the model. People that work on the project need to be aware of the modifications that affect them. It is very important for a team to be able to track all the changes, when they were made and by whom. This is what led to the adoption of a versioning system that controlled the modifications made through the process and facilitated communication among the various stakeholders involved in every phase of the project. The tool that was used for this purpose is a French Base Open Information System called Batiwork (5). A system that works with Catia, this versioning system facilitated the 3D validation process of the modification made by different teams.

3. Generative Detailing and 3D Intelligent ComponentsDigital Project has a very powerful tool called Power Copy. It is used for advanced replication; its function is to duplicate or instantiate a component and adapts it parametrically to its context. For example, when power copying a joint where the angle can be only within a certain radius, Digital Project will check to make sure that this condition is respected and if it is not, the joint will adapt to reestablish the preset condition.This is a very beneficial tool and it has been used extensively for the FLV project, in which hundreds of details and components have been designed with the use of this 3D tool.

What is especially useful is that an architect can design a detail component for a building in a prototype type of fashion, without knowing all of the geometric constraints that the particular component will undertake. The intelligence embedded in the script, will make it adjustable to the various contexts in which that object will be placed.

This generative detailing allows the designer to specify with a script a set of constraints or rules within the


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component itself. These rules can be very extensive and can include conditional states, and optimization of the detail in its particular surrounding. In addition, these intelligent details can be used by other people that do not have that particular expertise. Its purpose is to encapsulate some of the knowledge a particular detail requires and make it usable by somebody that does not have that particular knowledge. It is a way to share and redistribute knowledge among the team members.

4. StructureThe Building can be divided structurally into two main components.

The Iceberg The sails.

The icebergs can be considered the structural core of the project. They are a series of solid volumes that support the sails, the floating glass canopies that cover the entire building. The icebergs are designed as concrete shells or steel frameworks, and are totally covered with over 16,000 wall panels. Special technology, implemented and patented by Lafarge in 2008, provides the Ultra High Performance Concrete (UHPC) (6) adopted in the project. Bonna Sabla, a French company specialized in precast concrete, started industrial production of the panels in spring 2011. The BIM model and its parametric characteristics allowed architects and engineers to optimize the 16,000 panels all unique in shape according to panel size, bounding area and bounding volume to reduce mold variation.

Fig 4.Optimization process of the ductile panels.

Each mold shape was made in foam. The ruled surfaces were hot wire cut; the non ruled surfaces were routed (7). All of these operations were computer numeric controlled (CNC). The Casting assembly was realized with a layer of flexible silicon and the block out for the in-beds. Once the concrete was poured, the package was placed in a vacuumed bag for the 20 hours required to the cure process.

After being cured, each shape is mapped again with a laser scanner technology in order to ensure that the tolerance is kept within 1 mm. then; each one of the panels is assigned a number and a frequency radio identification to help the management track all the elements in their proper location on the iceberg structure. The 1600 panels are connected to the structural concrete core with two hundred aluminum panels that are designed to exactly match the outside curvature of the iceberg. Stiffening elements are located underneath every joint of the ductal tiles. These aluminum panels are connected to the concrete structure by especially designed spacers.The aluminum cladding was fabricated by Iemants N.V. Iemants, refined a highly automated process that allows

Fig 3. 3D intelligent components.

Fig 5. Data table used in the optimization process of the Aluminum cladding.



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the fabrication of these pieces with a careful control over low tolerances.

5. BIM consideration for the Iceberg constructionFLV construction process benefitted enormously from the flexibility that the use of GTX allowed. This flexibility allowed the integration in the process of many different workflow and technique that were being used from many different fabricators and subcontractor leaving the possibility to each one of them to work in the system they were more accustom to. For the fabrication of the aluminum cladding, the Digital Project model was imported into Rhino and then Grasshopper. This digital environment allowed the fabricators to develop specific scripts in VBNet and Phyton that lead Iemants to implement a strongly automated system for the production of the panels. This is a new process for the workflows than what we are accustomed to. Rhino is considered concept design software and is seldom used after the first stage of concept design. This might be explained by the improvements that Rhino has undertaken in recent years. After its generative/parametric plug-in was developed by David Ruthen, the software has been open to all kinds of diverse applications from fabrication to automation, and it has also been very accessible for new creations and customizations. The strength of this application that uses Grasshopper as a parametric modeling interface is that the vast majority of the applications are developed by users with an open source type of license. These and the user-friendly type of interface are growing their user community across practices and schools of architecture.

6. The SailsThe icebergs offer structural support to the sails. The sails constitute the exterior layer of the building. They give its typical aspect to the whole construction and they are the element inspired by Gehrys sketches. Gehry decided to use glass for the external layer of the building because of the materials qualities. He felt it was important to accentuate lightness and transparency within a site which is rich in natural presence like the Jardin dAcclimatation. According to the Gehry, It seemed inappropriate to me to create a solid object: I wanted to express a notion of transparency.(8).

Nevertheless, such a choice is quite new even in the not conventional Gehrian architectural vocabulary of shapes and methodology. After the ONeill Hay Barn (San Juan Capistrano, 1968), Frank Gehry got involved with the use of metal and its sculptural potential in a way that led to his most famous building in Bilbao. This is the first time that Gehry used glass in such a dramatic and sculpturally expressive way. Gehrys characteristic predilection for dynamism and movement seems here to reach new heights with the use of glass. The fascination of the architect with fish images acquires a new layer of complexity with the introduction of the transparency (you can see through the glass sails).

The sails are composed of a 13,000 square meters, almost 14,000 square feet of faade that is detached from

the main structural body of the icebergs, but anchors on them with specially designed custom joints. There are fourteen sails, formed with 3584 panels, each of which has been custom-made with a CNC type of fabrication and run through an optimization process; this process helps the team find the best fit for each of the fourteen sails.

Special 3D intelligent components have been implemented for the design of these panels. A script was developed and embedded into the component which carried information regarding the geometry, material and installation constraints. Afterwards, an adaptive instantiation (power copy) was used to adapt each of the components to its own location. At this point a first level of optimization was used to drive any nonlinear design condition or deformation towards a more controlled linear shape. A frequency analysis was used to determine which types of panels were recurring more often and from this analysis each panel was associated with a different family.

Fig 6. Frequency optimizer and Surface level optimization.

Final tolerance verification was done on a global level for the whole sails canopy structure. For the sail elements, three different levels of optimization studies were undertaken to iterate the information and data through the design process:

A surface level optimization, where the 3D intelligent component adjusts itself on the sail surface with a power copy operation.

A local surface deformation, where the different panels optimize themselves according to their families.

A global project optimization where the entire elements are checked for consistency and tolerances.

The fabrication of the glass sails was achieved with the use of a big CNC cylindrical glass bending machine. The glass panels, after being heated to the temperature of 800 degree F, are run through a set of cylindrical rolls that are able to adjust their position to accommodate the


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curvature to be impressed into the panel.

This structure has been studied by the Centre Scientifique et Technique du Btiment (CSTB), the French national organization providing research and innovation, as well as consultancy, testing, training and certification services in the construction industry. The CSTB appointed for this project RFR (9) and TESS (10), an engineering company that specializes in complex structures and sophisticated envelops. Several analyses were made in order to collect data for fabrication and behavior of the sails structure. Many measurements were made firstly on the construction site to evaluate the impact of the environment on the nature of winds encountered in the Paris region. Values collected in situ were reproduced in a wind tunnel respecting space, scale and time dimensions, such as the length of vortices and velocity variations as a function of time. Sensors installed on a mock-up of the project made from sintered powder were used to characterize their effects and quantify pressures present in the structures, (11) said Christian Barre, a CSTB engineer. Several analyses were also done for load transfer, risk of condensation, joint tightness and fire performance. For most of this analysis, the BIM master model was used to simulate possible scenarios concerning fire safety and crowd flow to better locate and place emergency exits.

7. Integrated use of the 3D ModelThe digital BIM model was used during all the phases of the project, from design to construction. At all times the 3D model was considered the sole source of validation for changes and procedures. Because of its high-fidelity details, embracing knowledge from all the various competencies involved in the project, the model allowed visualization of all the possible problems and provided for a solution head of time. This helped save time, money and reduced mistakes due to poor integration

of information in the drawing derived from the lack of individual knowledge.

All the contractors were contracted to develop 3D studies of their work. This obligation helped save time in the fabrication of the components since the vast majority of them were made through a CNC machining process. A level of 3D model integration was conducted with the use of laser scanning. All the fabricated parts were laser scanned to control their geometry and tolerances. Corrections were made where needed before installation.

At the time the project was developed, the use of tablet computers was not so common. A lot of the communication on site was done with more traditional methods, for example, paper. If the construction were to have started now, the communication flow on site would probably rely more heavily on the use of 3D visualization tools, such as tablets, and so on.

During construction, fabricators took the 3D master model and derived information that was important for their part of the job. Some of them built a 3D model of the building in the BIM tools they are accustomed to work with, some others sub-contracted back to GT to provide a 3D consultancy regarding detailed fabrication information in order to be able to be integrate them back in the 3D BIM Model.

Scripting was a big component of the process as well. Over 150 VB scripts were implemented within Digital Project (12). This technological component is changing the type of professional profile that used to be involved in the AEC industry. The people at Gehry Technologies often have diverse backgrounds that range from design to programming to construction. These versatile skills helped to harmonize with each other the various aspects of the project.

All the information regarding the project was integrated into the BIM model (occupancy information, wall types and finish, etc.). This effort for collecting all this information was of a particular value for all the team that will have to work with the building during its life cycle. Owner and building operators, maintenance staff, museum curators and all these various players have a resource full of valid information and data to be used for managing and optimizing their activities.

The 3D master model was also used to implement a full 4D simulation of the entire building. Predictive information was estimated regarding maintenance and renovation of particular building parts over the course of time.

In France, like in the rest of continental Europe, at the design development phase, the designer will hand off the documentation to the contractor that will develop the details for fabrication for which he will be responsible. This project adopts a slightly different approach. Here, designer and contractors have a much closer relationship.

Fig 7. Local and global optimization for the glass sails.



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At the design development phase, all consultants, builders and engineers were housed in one building on site. Over 300 people shared the same location during construction, and this factor was key to making the process successful. The Paris headquarters used GTX to constantly communicate with the other consultants and fabricators that were not on site. Moreover, the team from Gehry Technologies was always conscious that the different teams involved in the process used different tools. Each tool had potential and limitations and GT wanted to leave freedom to each team to create geometries in the environment that was most proficient to them. Their effort was to focus in the creation of a common environment in which to drop all the different created content without worrying about the system in which they were created. To this purpose, GTX, the cloud-server-shared master model was extremely beneficial. To track all of the changes and the various design iterations, a BIM-Connected SQL data base was implemented, with a versioning system that allowed the various teams to benefit from a query service.

8. ConclusionsWith the Louis Vuitton Foundation for Creation we are spectators of an evolving use of building information modeling. This project shifts the focus toward a cloud-based, grid-centric server that will help to distribute project information and data among the teams of a project through the use of a shared 3D BIM model. This effort is helping eliminate the problems derived from poor communication and technological organization. It will accelerate the design process and reduce the mistakes that could come from the lack of information and knowledge. An enhanced parametric modeling brings the project to an advanced automated CNC fabrication process that benefits the entire chain of production.

We are experiencing a comprehensive integration into the AEC industry of skills and competencies that are coming from different hi-technology fields. We will be witnesses of a development of the integration of database management into the BIM model. In the effort to smooth out the communication for the coordination of design information between teams, we will see an implementation of communication platform in to the BIM authoring tool interface. This will incrementally reduce the risk of mistakes and change orders especially in the construction phase, and project teams will have a better chance of delivering buildings on time and on budget.

A detailed simulation of some of the possible real scenarios will be used not only to help decision making in the design phase, but also to optimize the building operation during its life cycle. This project is already considered a milestone that will take us to a new era in the use of building information technology.

The Louis Vuitton Foundation for Creation has won the 2012 BIM Excellence Award, a prestigious recognition given by the American Institute of Architects; its

opening is expected by autumn 2014.

Notes.

1. Andrew J. Witt, (Director of Research at Gehry Technologies), e-mail message to author, Saturday, July 27, 2013.

2. Gehry Partners, Mildred Friedman, Editors, Architecture + Process - Gehry talks (New York NY: Universe Publishing, 2002), 51

3. gteam.com, accessed March 30, 2013, http://www.gteam.com/

4. Andrew J. Witt, (Director of Research at Gehry Technologies), Skype interview with the author, Thursday, February 28, 2013.

5. batiwork.fr, accessed April 2, 2014, http://www.batiwork.fr/

6. ductal-lafarge.com, accessed April 2, 2014. http://www.ductal-lafarge.com/wps/portal/ductal/HomePage

7. LVMH Mot Hennessy - Louis Vuitton S.A, AIA TAP BIM Awards 2012

8. Frank Gehry, comment on Fondation Louis Vuitton Press Kit, 1

9. http://www.rfr-group.com/en/footer/home/, accessed April 2, 2014.

10. http://www.tess.fr/, accessed April 2, 2014.

11. Christian Barre, comment on Louis Vuitton Foundation for Creation on a Cloud, February 2009, CSTB Web site.

12. http://www.cstb.fr/actualites/english-webzine/anglais/february-2009/louis-vuitton-foundation-for-creation-on-a-cloud.html

References

Barr, Christian and Karine Leempoels, Louis Vuitton Foundation for Creation on a cloud, cstb webzine, February 2009. Accessed June 13, 2014http://www.cstb.fr/actualites/english-webzine/anglais/february-2009/louis-vuitton-foundation-for-creation-on-a-cloud.html

Eastman, Chuck, Paul Teicholz, Rafael Sacks and Kathleen Liston, BIM Handbook, A Guide to Building Information Modeling, Hoboken, (New Jersey: John Wiley & Sons, 2008).Fondation pour la Cration Louis Vuitton. Accessed June 13, 2014 http://www.fondationlouisvuitton.fr/


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Fondation pour la Cration Louis Vuitton , Fondation Louis Vuitton Press Kit. Accessed June 13, 2014.fondationlvpresskt__1020.pdf

Gehry Partners and Mildred Friedman, Editors, Architecture + Process - Gehry Talks (New York: Universe Publishing, 2002).

Krichels, Jennifer, Gehrys Louis Vuitton Fondation Faade Fabrikator (Blog), October 2011.Accessed June 13, 2014 http://blog.archpaper.com/wordpress/archives/24715

Lafarge, Louis Vuitton Foundation: innovation from head to toe, May 2011, Accessed June 13, 2014h t t p : / / w w w. d u c t a l - l a f a rg e . c o m / w p s / p o r t a l /d u c t a l / 1 _ 1 _ B _ 1 - N e w s ? W C M _ G L O B A L _CONTEXT=/wps/wcm/connectlib_ductal/Site_ductal/AllPR/PressRelease_1329390075063/PR_EN

Tekla, Icebergs Louis Vuitton Fondation, Pouma/Iemants,(Paris, France), 2012, Accessed June 13, 2014http://www.tekla.com/global-bim-awards-2012/concrete-icebergs.html

Witt, Andrew J. Paris Museum Proves that BIM Really Can Be a Team Sport. Journal of Building Information Modeling, (Fall 2012):13-15.

Special Thanks to:Andrew Witt, Director of Research at Gehry Technologies for his time and to Dennis Shelden, CTO at Gehry Technologies for his support.



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Architectural knowledge management and digital tools: a step for a proposal-Digital models and knowledge

Houssem Eddine Mnejja, Temy Tidafi | Universit de Montral, Canada

session C1

Abstract: Our goal is to develop a strategy that could manage knowledge during the process of architectural design by a digital medium. This strategy is inspired from mental activities to capitalize new generated experiences as well as share and reuse knowledge. This paper is an attempts to answer the following question: How and what does a digital medium may dispose of the actors in order to apply knowledge in developing solutions, storing new generated experiences and sharing them for a further use? We use digital models as a support for modeling situations in addition to referents as a means for actuating and activating knowledge capitalization.

KEYWORDS: Architecture, Design process, Digital computation, cognition, actions, Knowledge Management.

title1: Knowledge and architecture:The architectural design process requires an intensive use of knowledge. According to Tidafi [1], there are 5 types of communication that can inform us about the knowledge associated with this process [1]. They focus on design process, solution developments, strategies and results. Knowledge is necessary to specify a design problem (defining project objectives and orientations, defining the technical, economic and organizational environment...), to conceptualize one or many alternatives, evaluate them, and determine their characteristics as well as their implementation strategy (define how the project will be implemented).

Digital tools and knowledge representation:The importance of knowledge is what compels the development of several approaches to manage, manipulate and model the knowledge in the process of architectural design. This can never be possible if not exploiting advances in communication technologies and programming languages. Among the main avenues of research we list.

(1) Knowledge management systems (KMS) like document management systems [2], semantic resources [3], building information modeling BIM [4], ontologies [5], decision support systems [6] and knowledge management platforms.

(2) Actions Model [1]. There are often recursive and repetitive actions. This kind of knowledge can be algorithms or scripts. They may be mathematical [7] or tectonic [8] rules for generating forms. They can incorporate material properties [9] or manufacturing processes [10].

(3) Referents developed by Iordanova and Tidafi [11], theyre based on cognitive interaction of different information formats like (images, proposals and procedures) handled during design process. These models are evolutionary and interactive; they can be converted, processed and modified.

(4) knowledge-based models like ONTOArch application developed by Zisko [12]. These models represent a structural description of a type of building; they are used to encompass the various factors needed for design process.

These approaches facilitate collaboration, information and knowledge funding. However, they have issues related to (1) the difficulty of formalizing knowledge generated during a design process. This task remains dependent on actors, deferred and unsystematic. (2) The second issue is that these approaches represent general information models, their organization and formats do not support an adequate reuse.

Title2: Cognitive approach:The architectural design includes several mental activities. It requires problem solving, decision making and action. Designers try to learn the needed skills from their experiences. These mental activities have been


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studied by several approaches like situated action [13] and phenomenology [14]. To characterize our digital tool, we are primarily interested in the cognitivist approach. We focus on knowledge representation, action, and memorization mechanisms.

Title2.1: Knowledge representationKnowledge is apprehended through representations. According to Markman (1998), representations have four components which are: the represented world, the representing world, the representation rules and the representation process. Representation may relate to real objects, events, actions and procedures. It is necessary for all cognitive and communication activities. [15]

The (1) computationalism and (2) connectionism are the main knowledge representation approaches [16]. The first argues that symbolic models are similar to brain structure. Mental activities involve manipulating symbols whose explicit structure is governed by syntactic rules. Thereby, any intelligent process must have an independent component that includes all the necessary knowledge. Otherwise, the connectionism or parallel distributed processing (PDP) influenced by the advances in neuroscience and based on the human brain working mechanism [16]. Learning is derived by environmental stimuli. According to connectionists, mental phenomena can be described as networks of uniform entities and / or interconnected nodes, each of which can take a certain level of activation.

Title2.2: Memorization.Memory is essential for any mental activity. It is the mechanism through which knowledge is stored. According to the experiments conducted by Atwood and Polson [17], memorization is better if it is associated with sub- goals during solving a problem. They believe it could be done by (1) learning goals and avoid negative situations and / or (2) the discovery during the resolution of a class of problems that the designer has adequate procedures. In the same context, Richard [18] gives importance to the inferences that connect the stored knowledge to problem situations .On his turn, Minsky [19] proposed K- Line theory of memory based on mental agents. He considers that a line K is activated when a person has a good idea or solves a problem. This K-line connects active mental agents when you solve a problem or have a good idea. Subsequently, activation of this line will result in the reproduction of a mental state similar to that during the problem solving by the implicated mental agents. This will facilitate the resolution of new old problems.

Title2.2: The transition from knowledge to action.Many schools of thoughts have focused on how to transfer knowledge into action. According to Richard [18], this transition depends on how the knowledge was produced (no space here). Among the existing approaches, we cite firstly (A) the notion of scheme: According to Piaget, it binds the perception and action [20]. A scheme is (1) reproducible; it includes information about the situations and the conditions of

its applicability. It is (2) assimilator; it can be applied to new situations and generalized by analogy. (3) It is teleological. (4) Finally, a scheme is not a declarative knowledge, since it can be self-applied without the need of any adaptation for new situation.

Secondly, we cite (B) The operationalization of declarative knowledge. It consists of interpreting them into an executable form [21].

Finally, (C) The translation of a semantic action network into a procedural form: this consists of the goal decomposition into intermediate sub-goals until reaching the primitive action level [18]. A semantic network specifies the possible goals to be achieved and the needed procedures to attain certain objectives. Knowledge is a compiled form of analogies that allows action automation and alleviates mental stress and the working memory use [21].Approaches to Knowledge representation, memorization and transferring into action are diversified and complex for many reasons. This is mainly because of the diversity and the complexity of both human brain and mental activities. Thats why; we have to take into consideration these factors when we develop a digital tool based to support a complex process like architectural design.

Title3: Proposed approach.Throughout this passage, we will explain our approach to digitally represent knowledge for architectural design process. First, we will go through the ways in which digital models can represent problem situations before describing the operational mode of our approach.

Title3.1: Knowledge representation.Architectural design is a complex activity that integrates and generates knowledge. Its knowledge representation can never be presented from a single perspective. A designer has to handle explicit knowledge; like standards and regulations, and tacit knowledge which are issued from personal or organizational experience. In case of difficult situations, new knowledge can emerge. We intend to represent knowledge in a way that allows action and live storage.

Title3.2: Knowledge Module.This module includes knowledge in different formats that could help designers during the design process. It will be live enriched by new expertise, knowledge and information generated during this process. It may include, as an example, the following components.

Title3.3: Processes module.Perceiving knowledge as algorithms enables the performance, generation, optimization and organization of actions. Such knowledge must be implemented through instructions which are understood by a machine using a programming language. We envision the use of functional programming languages such as SCHEME which allow, according to Tidafi [1], the reasoning on models with a recursive property like architectural design process. This knowledge can be related to



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the process of generating components or different interpretations of regulations and codes.

Title3.4: Evolutionary referents.According to literature, knowledge is constructed. A designer develops new knowledge based on those already existing in his long-term memory. This can be frames [22], referents [11] or precedents [23]. These pre-solutions can integrate multiple information formats. They could be transformed and adapted to new situations: editing an existing object or creating a new one may be a solution to a new type of problem or new alternatives for an existing problem. These components have the ability to store their interrelations, which facilitates the modeling of possible situations. This kind of base can store knowledge and expertise development during design process. We plan to use parametric objects to build this base. Indeed, these objects are modifiable, adjustable and evolutionary. They allow the incorporation of information and generative scripts.

Title3.5: General Knowledge based models.These models represent typical examples of projects. These may include different requirements and factors that describe and prescribe a specific type of project [12] and take into account the complexity of a project. They hierarchically represent knowledge and define the interrelationships between entities using semantic resources [24]. They can be employed as references or starting points for the development of new solutions [25].

Title4: Digital models: a support for situation modeling.We consider the digital models as a representation of a particular situation. Indeed, nowadays, they are used in all phases of a project. They are a support to develop concepts, to coordinate actions, to prescribe specifications, fabricate certain components and manage construction operations. These models are, according to Tidafi, a representation of complex process results and purposes. They include several dimensions such time and knowledge. We design digital models as a composition of referents. In such models, these elements interact according to functional, structural... relations. The modification of a component will result in the adaptations of other components directly or indirectly linked, which creates a new situation. Thus, the overall relationship of a certain component with another is what conditions its employment. Whereas, editing one of the components represents a new form of knowledge.We consider digital models as representatives of complex systems where the parties continue to interact [26] like a society [27]. They are quasi-decomposable systems [28] and allow exploiting know-how and expertise already existing and live captures of new experiences and knowledge for sharing or later using.

Title 4.1: Operating principle:We explain here how referents can put knowledge into action and how digital models can create situations that will be attached to the new knowledge generated in order to be stored.

Title4.2: Action mode.Components have an inferential potential which allows the use of their incorporated knowledge, relationships, norms and standards as well as the accumulated experience. So, two steps have to be performed: (1) the research for and the choice of a referent that can be made by the designer or suggested by the system and (2) the relationships editing which depend on the context. . This is an example of a designer who designs an operating theater.

1 /the search for the appropriate components: the system performs a search for all components related to the context (health, operating theater) which will provide examples (rest rooms, laundry, operating theater, Wake up room, preparation room...). When the designer chooses for example (operating theater), all other interrelated components like (laundry, preparation room...) will be placed.

2 /Relations Edition: The designer defines and edits the type of relationships between the components. In our case, there should not be any direct relationship between the operating room and the corridor. The system may suggest placing a wall between different possible types... Another example; the system will require placing a door between the preparation room and the operating theater while suggesting a set of doors in the ranking according to various criteria such as the method and installation time, maintenance costs, feedback from former users, the availability in the local market...

Title4.3: Active Live capture.During the design process, several changes, adaptations, innovations may arise to meet new needs and to solve problems. These changes are made directly on the digital models and allow live knowledge capture, attach it to an action situation and make it available to be shared and reused by others. We cite the example of a new material type that allows better economy and insulation. The designer have to select an existing wall or roof, create a new type incorporating the new material and annotate the reasons behind these changes. Once validated, this information will be available for reuse and will be given in such a new situation.

Title5: Conclusion.This paper discusses the roles of referents and digital models in the actuation and capture of knowledge relying on architectural design process. The benefits of our approach lie in the way it affects different actors of an architectural project. Designers will be better informed about new technologies, regulations, construction processes..., also policy makers can better manage, estimate and plan projects Whereas, industrials can commercialize and improve their products. Finally, property managers will be able to communicate their experiences and feedbacks. Our approach can be effectively transposed to other areas such as urban management and industrial design.


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Bibliograghy:

1. Tidafi, T., Moyens pour la communication en architecture : proposition de la modlisation dactions pour la figuration architecturale. 1996, Universit de Montral: Montral. p. xiv, 370 f.

2. Hjelt, M. and B.-C. Bjrk, Experiences of EDM usage in construction projects. Journal of Information Technology in Construction, 2006. 11: p. 113-125.

3. Katranuschkov, P., A. Gehre, and R.J. Scherer, An ontology framework to access IFC model data. 2003, ITcon.

4. Eastman, C., BIM handbook : a guide to building information modeling for owners, managers, engineers and contractors. 2011, Hoboken, N.J.: John Wiley and Sons Inc.

5. Rezgui and J. Miles, Harvesting and managing knowledge in construction : from theoretical foundations to business applications. 2011, Abingdon, Oxon; New York: Spon Press.

6. Lee, J. and Y. Jeong, User-centric knowledge representations based on ontology for AEC design collaboration. Computer-Aided Design, 2012. 44(8): p. 735-748.

7. Burry, J. and M. Burry, The new mathematics of architecture. AMC, 2012. 10: p. 12.

8. Leach, N., D. Turnbull, and C.J. Williams, Digital tectonics. 2004.

9. Ludovica Tramontin, M., Textile Tectonics: An Interview with Lars Spueybroek. Architectural Design, 2006. 76(6): p. 52-59.

10. Iwamoto Scott, A., Line Array: Protocells as Dynamic Structure. Architectural Design, 2011. 81(2): p. 112-121.

11. Iordanova and T. Tidafi, Referents modeling for the architectural design studio: Cognitive bases. Proc. of EuropIA-11, 2007: p. 171-184.

12. Zisko, A., Knowledge-based model for integrated tall building design factors. 2008.

13. Bguin, P. and Y. Clot, Laction situe dans le dveloppement de lactivit. Activits-revue lectronique, 2004. 1(2): p. 35-49.

14. Vermersch, P., Pour une psychologie phnomnologique. Psychologie franaise, 1999. 44(1): p. 7-18.

15. Heit, E., Knowledge and concept learning. Knowledge, concepts, and categories, 1997: p. 7-41.

16. Lamberts, K. and D. Shanks, Knowledge Concepts and Categories. 2013: Psychology Press.

17. Atwood, M.E. and P.G. Polson, A process model for water jug problems. Cognitive Psychology, 1976. 8(2): p. 191-216.

18. Richard, J.-F., Les activits mentales: de la comprhension laction. 2005: Armand Colin.

19. Minsky, M.L., K-lines: A theory of memory. Cognitive science, 1980. 4(2): p. 117-133.

20. Cellrier, G., Structures cognitives et schmes daction. Archives de psychologie, 1979. 47(180): p. 87-106.

21. Anderson, J.R., A spreading activation theory of memory. Journal of verbal learning and verbal behavior, 1983. 22(3): p. 261-295.

22. Schn, D.A., The reflective practitioner: How professionals think in action. 1983: Basic Books (AZ).

23. Oxman, R., Digital architecture as a challenge for design pedagogy: theory, knowledge, models and medium. Design studies, 2008. 29(2): p. 99-120.

24. Rezgui, Y., et al., Past, present and future of information and knowledge sharing in the construction industry: Towards semantic service-based e-construction? Computer-Aided Design, 2011. 43(5): p. 502-515.

25. Neches, R., et al., Enabling technology for knowledge sharing. AI magazine, 1991. 12(3): p. 36.

26. Simon, H.A., La science des systmes : science de lartificiel. 1974, Paris: Epi. 159.

27. Minsky, M.L., La societe de lesprit. 1988, Paris: Interditions.

28. Le Moigne, J.L., La modlisation des systmes complexes. d. rev. et corr. ed. Afcet systmes. 1999, Paris: Dunod. x, 178.



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session C1Revit as a Creative Medium?

Jeanne Homer | Oklahoma State University

A perennial challenge in the Comprehensive Design Studio is the balance of student creativity and the incorporation of technical topics within one design studio. Due to intensive time constraints, creativity can be sacrificed for the sake of project completion. In addition, with the pressure from the profession to teach Building Information Modeling, how could we layer and fold that into an already loaded semester, further threatening the creative aspect of the studio? After different attempts at integrating Revit, we have learned that with an early and efficient incorporation of Revit in the studio, students designs can actually become more creative. If incorporated early, it extends design time for consideration of alternatives, customization of building elements, refinement of lighting concepts, and investigation of interior design. In the Comprehensive Design Studio, creativity is revealed through individuality and invention in solving architectural problems with technical and time constraints, and Revit, if incorporated early, can enhance this process.

Summary of Comprehensive Design Studio In the Comprehensive Design Studio, fourth-year architecture and fifth-year architectural engineering students individually design a project for one semester. The project programs have included theaters, museums, homeless shelters, libraries, and community centers and are typically around 30,000 - 35,000 square feet. The faculty prefer to design a program with some functional and code difficulty for the architecture students and a higher level of structural complexity for the architectural engineering students. To control the scope of student work, the sites are often tight urban sites with an established build-to zone, and solutions are often systems-based, relying on careful consideration of scale and refinement. Similar to many practices, the semester is structured according to schematic design, design development, and what we call design documentation

that involves a few construction document sheets and a detail design.

The comprehensive semester consists of two interdependent and intertwined courses: a design studio and a technical seminar. Five faculty members teach the Comprehensive Design Studio: three architects, an architectural engineer who leads structural design, and an architectural engineer who leads environmental and sustainable system design. Throughout the studio, students design the architecture and are expected to integrate structural, mechanical, and faade systems into their project according to code and innovative practice. In addition, one of the architecture faculty members teaches a concurrent management course in which activities like specification and contract writing and budgeting are coordinated with the studio phases. This studio is tightly packed and students note that it is difficult, but they learn long-term lessons.

The Comprehensive Design Studio was recognized by the National Architectural Accreditation Board team in 2005 and 2011 for meeting the criteria of comprehensive design and collaboration among disciplines with distinction, so we are always concerned about changes negatively affecting the overall quality of the course. Adjustments must improve efficiency and quality; there is no room in the course for add-ons that do not advance the studios learning objectives: to design a project with technical integrity at several scales: site, building, faade, and detail. Layering something like Building Information Modeling into the course needs to be accomplished carefully. This paper will draw conclusions about our less successful and more successful methods of incorporating Revit into the course and delineate our future plans for what we would like to continue to improve.


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Less successful initial incorporations of RevitUp until about six years ago, professionals we interviewed about whether or not they expect graduates to be proficient at Revit or similar Building Information Modeling software emphasized that they would prefer that graduates know how to think and solve problems versus knowing Revit. With the economic downturn and need for employees efficiency in firms, this response shifted to include knowing Revit. Many employers began asking our graduates in interviews whether they are familiar with Revit or similar software. So, we decided to incorporate Revit, and our initial response to this in the Comprehensive Design Studio was to have students begin the semester by using the software comfortable to them, but also doing one Revit model of one bay of a space that showed the integration of structure, mechanical, architectural envelope, and space. This seemed to the faculty to be a reasonable scope of work through which we could have students become familiar with Revit. In the end a few of these models were successful in terms of assisting students in envisioning systems integration, but their overall designs and development did not show any improvement from this exercise, and the knowledge of Revit gained was limited and superficial.

Figure 1. An example of a Revit bay model.

As more Revit classroom instruction occurred in the semesters before the Comprehensive Design Studio, students began independently integrating Revit into their process during design development halfway through the semester. Again, this initially seemed logical, but it resulted in several problems. First, we experienced an overall lack of design exploration in the students process. Students were using Revit solely as a production tool and were plugging in standard Revit components without much thought. Design solutions were uncreative and seemingly limited by the software. Standard curtain walls and stairs that were inserted as placeholders inevitably were left unchanged and underdeveloped, and faculty found themselves commenting frequently that designs looked like office buildings, not homeless shelters or wellness centers.

Figure 2. Examples of homeless shelter projects done in Revit during design development with standard elements inserted.

Second, the incorporation of Revit during design development would often cut into students design time as much as two weeks. Over the years, I have noticed that students tend to use a software until it becomes complicated and, due to time constraints, they shift to another. This is not unique to students, as my discussions with professionals indicate that this occurs in firms. There is a pervasive thought that each tool has its particular usefulness, which is true to some degree. The decision, however, to take one model or drawing into another software can contribute to coordination problems throughout the process. Often with students, shifting software is done with the thought that it is easier to get certain things from another software. For example, students were using Revit during design development because they said, It will give me my two-dimensional drawings needed for design development and construction document requirements. In reality, there are much easier methods of producing two-dimensional drawings than creating a Revit model. Changing software is not always a directly lateral shift in a students process; it can set him or her behind.

A typical process of a student who does not integrate Revit early begins in schematic design with some small conceptual models, in some cases conceptual sketching, followed by Rhino modeling and/or CAD, rendering in 3DS Max or similar, and presentation using Photoshop, Illustrator, InDesign, Powerpoint, and Adobe Reader. Design development begins with building a Revit model, overlaying some hand elevation explorations in a mandatory course workshop, running eQuest for environmental systems testing, physical daylighting models, RISA structural modeling for the Architectural Engineers, rendering in the Autodesk cloud, and the same previous presentation process. Design documentation can include drawings from Revit, CAD, Rhino, and even Illustrator. It is a combination of what students are comfortable with and facultys dictating their preferred testing software and methods. Layering Revit into this type of scenario into design development proved too much and created even more inefficiency. A fundamental shift of integrating Revit was necessary. The adjustment, assisted by architect Andre Baros,



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involved using Revit from the beginning of the design process as a design tool.

Noted challenges with RevitWe learned the primary challenges to integrating Revit into the Comprehensive Design Studio include its steep learning curve, different modeling strategies, class mindset, and the fact that, unlike CAD or Rhino, the elements of the Revit model must actually be buildable. As with anything with a steep learning curve, and considering that our graduates are expected to be familiar with Revit entering a firm, earlier integration is the approach. Difficult skills need repetition and an early positive introduction. Students now are beginning to use Revit in the preceding studio, but that is not a guarantee, and willingness to adopt it varies among different classes of students, so we must consider early integration within the Comprehensive Design Studio. The sooner students can manipulate and be confident with the program, the more they can reap the benefits later and learn the program in more depth, working through frustrations they experience.

Revits marketing previously touted advantages in standardization, but only recently has highlighted users ability to customize design within a coordinated and consistent approach(1). The ability to plug in standard elements may save time, but can result in unexplored, uncreative elements in student designs. Those who know Revit more thoroughly are able to manipulate these elements or create new ones using basic geometry manipulation saved as a family within the file. It is worthwhile to use class time to show students how to customize elements like curtain walls, stairs, and louvers. In fact, this may raise students opinion of Revit and improve the class mindset.

Likely the most challenging aspect of incorporating Revit early is the different approach to modeling elements and managing the intimidating list of properties and constraints attached to each element. Some users believe that one must know all of the conditions of a wall, for example, to draw one in Revit, and that students do not yet know enough to make all those decisions upfront. Initially, the program does not seem flexible enough to handle a more generic approach needed at the beginning of design, that one cannot be creative in this information managing software. Again, a little more familiarity with the software can help students manipulate their models to represent the appropriate level of resolution in the design.

Success in integrating RevitWith the help of Andre Baros, we have been able to introduce students to this different approach with Revit. To address flexibility desired by many architects at the beginning of schematic design, Baros shared techniques that he uses in firms. For example, there are ways to draw quickly with simple walls, beginning with only 10 solid, 6 solid, and 2 transparent walls that represent glass. Those properties can be changed later

as more detail is known; Revit is short for revise it(2), after all. These schematic plans and model views are ideal as a base for trace overlay studies. This approach is aligned with what we would like students to do in the studio: design, analyze, and revise. In addition, there are different settings for viewing elements, and the coarse setting shows less information, so it appears more schematic. Although trace overlay can be done with AutoCAD drawings, CAD three-dimensional studies are cumbersome so the process is less fluid. Rhino of course is another common option, but as I have experienced, using Rhino then rebuilding a model later can reduce efficiency in the semesters process. We try to maximize Revits benefits, while controlling its pitfalls.

Figure 3: An engineering students Revit modeling throughout the semester showing a transition from massing studies to

definition of structure and materials.

A typical process of a student who integrates Revit early begins in schematic design with some small conceptual models, some conceptual sketching, followed by mass modeling in Revit of a design option. Hand overlays of two-and three-dimensional views of the model aid in exploring options, and the Revit model is updated to a schematic level. Rendering is done in Revit, and presentation in Photoshop, Illustrator, InDesign, Powerpoint and Adobe Reader. Design development involves adding information to the Revit model, overlaying hand explorations, running eQuest for environmental systems testing, physical daylighting models, RISA structural modeling for the Architectural Engineers, and the same previous rendering and presentation process. Design documentation consists primarily of Revit drawings. Although the process still involves quite a few programs and tools, it is a bit more streamlined and requires the repetition beneficial to learning Revit.

An immediate benefit I experience with students who begin Revit early is that during a critique or on their own they can easily print a model view and overlay hand options on trace in two-dimensional and three-dimensional drawings. This process is smoother than with other software, because with Revit, everything is in one program that is designed to take a project through several phases. The direct impact of a students adjustment of the model is instantly seen in model and plan, section, and/or elevation views. The feedback and processing loop become more instantaneous and critique more effective. Proper time management is also


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reinforced, as I am able to emphasize that exploration should be done now and not delayed until the next critique. I also demonstrate how easy and quick it is to run through several options and test them if students are having trouble. As a result, the students overall tend to more efficiently move through design options. Moving through design alternatives is especially important during design development. The Comprehensive Design Studio pushes students further into design and technical development than in other studios. Sometimes students are more comfortable with reworking schematic design decisions and rebuilding models than moving into the intense refinement that design development entails. They might prefer to spend their time tweaking their schematic designs in another software than investigating their projects in more detailed, creative exploration. The faculty has worked to introduce focused assignments and workshops to help students through less familiar territory, but if they leave the workshop and are still messing with schematic issues or rebuilding a model at their desks, they may lose the benefits of the workshop.

For example, at the beginning of design development after students have had a few days to address schematic changes suggested by the jury, we hold an elevation workshop and a wall section workshop. Students are pulled off their computers and asked to do hand overlays on trace on their own or another students design. Most students have enjoyed these workshops, and have been surprised how much they could accomplish in just a few hours. If the students are not keeping up with the schedule due to rebuilding a schematic model, they tend to file those trace sheets for later, which may or may not get incorporated into their designs. An additional benefit to working on elevation designs with students in Revit is that they can efficiently study it in three-dimensions and then refine it in two-dimensions. It is a fast process, and it helps students understand the three-dimensional impacts of two-dimensional decisions.

Figure 4: Example of benefits of hand drawn studies that were done over a base Revit model.

Students who push through the Revit learning curve move forward, continuing to explore design development alternatives. Lighting and daylighting are being more carefully integrated into the designs than in the past, and the interiors in general are going through more iteration. The Autodesk cloud helps this, as renderings that formerly spanned two days are now ready to view in less than an hour, so adjustments are not nearly as intimidating or time consuming. In addition, the simple ability to change something in plan and see immediate ramifications in form and space (or vice versa) is invaluable. As in schematic design, critiquing during design development with Revit is much easier, and if they develop their models throughout the entire semester they can add detail and information to what they have already built. As a faculty member, I am more fully aware of the state of their project than in previous years and experience fewer surprises at the juries.

Figure 5: Renderings on the left from 2011 show an interesting space, but little change from schematic design to

design development. Renderings from 2013 on the right show design development in lighting design, materials, and details.

With practice, diligence, and some focused instruction, as they move more deeply into the software, students can begin to manipulate and customize elements such as curtain walls, louvers, and stairs. Andre Baros introduces these ideas during design development. He shows students how to either manipulate standard Revit elements or how to create elements from scratch. Since students are limited on time, the faculty asks them to design one object in detail. Andre reminds them what they learned about parametrics, and a few have tackled that to great benefit. If they choose to develop exterior louvers in more detail, they can build those, and then insert them easily into their model and quickly re-render to study its overall effect. I have heard many times from students that they would like to design their louvers, but they will do them in another software like Grasshopper. Inevitably, the louvers do not change and they are left without louvers or with the standard elements given in Revit. In some ways, continually moving to other programs encourages procrastination.

As previously mentioned, true creativity in this studio is revealed in what students design within technical, system, and code parameters. We expect solutions to



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be buildable and presented during design development in a somewhat convincing, credible manner. Design development renderings should not just allude to what a space might be like; they should represent accurate scale, material finish, material scale, structure, mechanical systems, and light within reason. Faculty and students need to see the spatial impact of their decisions. Previous Comprehensive Design Studio renderings, prior to Revit, tended to be less realistic and convincing. In addition, due to time constraints, students were less able and willing to change and develop their designs.

Figure 6: The two left design development renderings are attractive, but are not convincing in their effects and still

remain a bit schematic. The two right renderings reflect the development that can happen from schematic design to design

development with Revit.

The renderings done using Revit and the cloud are not ones which will be used in a large poster or high-resolution marketing piece, but for what many students and architects need, it works well. Our students present their projects on a small projector or Smartboard to a jury of professionals, and rendering quality is adequate if the proper resolution is selected.

Those who embraced Revit reaped the rewards in the design documentation phase of the course in which they assemble and notate several different construction document sheets. Problems for students occur when they have to create construction documents from drawings of different softwares. We have had students juggling drawings from AutoCAD, Revit, Rhino, and even Illustrator. So much time is spent working through the formatting issues that the meat of the exercise is rushed and often underdeveloped. The concurrent management courses exercises also benefit from Revit, particularly in things like area take-offs for budgeting.

Generally, the students who are organized and open-minded benefit most from this process, but those are important characteristics anyway for success in the course. Fifth-year architectural engineering students have been quite open to using Revit, even though they have not taken the Revit classroom course and their engineering professors have not promoted it until recently. The added maturity and exposure to internships and interviewing contribute to their open attitudes.

CaveatsDue to Revits steep learning curve, it has become

important to ensure that the courses goals are not focused on Revit, but on comprehensive design, integration of systems, and technical soundness. We work to give students access to professionals and teaching assistants who know Revit well to assist them through fussy, frustrating maneuvers. More independent students reference free tutorial videos on the internet and find them quite helpful. If outside help does not happen, the faculty might spend valuable critique time answering Revit questions versus design discussion. The goal is to incorporate Revit in a way that thoroughly and efficiently enhances the management of course objectives.

If a studios objectives are different from the comprehensive studios, this process may not work. Although we do have some form-driven designs in the course done using Revit, many of the designs are systems-based, given our technical requirements. In addition, to reduce the scope of work for students while still maintaining program and structural complexity desired by faculty, we typically select more urban sites and even establish a zero-setback on at least one property line edge. For example, we may establish that 90% of the first two stories of a faade must be within 5 feet of the property line. This encourages a more urban solution, and developing the design aesthetically and technically becomes less wieldy for the student. Although there are other benefits to having a site in the middle of a field, we find that the students designs are less developed and refined.

As expected, there are students that simply do not want to learn Revit or fall behind and simply must eject from the program into something more familiar. Forcing it is not necessarily going to help the student or the studio, but I have learned that selling the idea is a significant part of the effort of integrating Revit more fully. Inviting the right people to promote the idea is important; young, energetic professional architects who design interesting projects sell the idea much more effectively than those who might show ugly drawings of unattractive designs done in Revit. Opportunities for one-on-one interaction with the professionals has proven important, so for next year we have planned to establish a workshop for the students during the course prior to this studio with several young architect alumni who integrate Revit into their design process.

Conclusion and continued goalsDespite an initial wariness to introducing Revit into the Comprehensive Design Studio, I realize that an earlier introduction to Revit in the studio results in improved design development results for many of our students. Students use of the Autodesk cloud during design development improved their ability and willingness to explore options of curtain walls, materials, stairs, and lighting. Some students are even more likely than in previous years to use trace overlay hand techniques on Revit-based drawings to quickly explore ideas. Streamlining the design process with Revit improves the design quality in many student projects.


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A primary goal for the future integration of Revit in the Comprehensive Design Studio is that the process could become even more streamlined. However, it is not only our students who have favorite software; our faculty members have programs that they are committed to. Energy analysis, for example, is done separately from the design model using eQwest. Similarly, engineering students build a separate model of their structure and load it in RISA to help them design the members. Both of these programs are accurate and respected, but they can be difficult to manage in this studio. As these aspects of Revit improve, it would be beneficial to the student to integrate analysis directly with a model that better assists in the decision-making required of an architecture or engineering student.

Another goal is to promote more hand overlay studies onto model views. This is quite a fast and effective technique for the students, and it ties well into hand drawing techniques that were taught in the lower division studios. We repeatedly hear from employers and students after their internships that, in addition to knowing Revit, hand drawing design explorations are highly valued, yet difficult to find in architecture graduates throughout the

country. Repetition is important to reinforcing an idea or skill, and early integration of Revit could actually improve both hand drawing and Revit competence. As faculty, the key to integrating Revit is managing its steep learning curve, showing the possibilities of customization, maneuvering around its quirks, staying flexible, and presenting it in a positive light.

References1. Autodesk, Revit, 2013..http://www.autodesk.com/products/autodesk-revit-family/overview (Accessed October 10, 2013).2. Aubin, Paul, Revit Architecture 2015 Essential Training. http://www.lynda.com/Revit-Architecture-tu tor ia ls /Revi t -Archi tec ture-2015-Essent ia l -Training/162569-2.html (Accessed May 14, 2014).Image credits of student work1. Austin Horton, 20112. Matthew Callan and Justin Rhea, 20113. Nick Prather, 20144. Margaret Cottingham, 20135. Bryan Wells, 2011 and Callan Bregenzer, 20136. Rachel Vincent, 2010 and Sara Williams, 2013



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session C1Smart Lab Using BIM and QR Code

Pavan Miadati and Mahmoodha Jagabar Sathick | Southern Polytechnic State University

AbstractThis paper discusses about developing smart lab us-ing through integration of Building Information Model (BIM) and Quick Response (QR) code technology. Due to lack of conducive learning environment currently Construction Management and Engineering students are unable to gain the required skills to solve the real world problems. A user friendly interactive knowledge reposi-tory that provides conducive learning environment is needed to enhance students learning capabilities. BIM serves as an excellent tool for data management. It facili-ties easy and fast access to the information stored in a single centralized database or in different databases held at various locations through the three dimensional (3D) model. Accessing the information using BIM is a two-step process. The first step includes the identification and selection of the appropriate 3D element from the digital model and second step includes the retrieval of the in-formation. Currently, the first step is accomplished by navigating the 3D model manually. This step becomes tedious depending upon the size and complexity of the model. Additionally manual errors in elements selection negatively affect the information retrieval process. This identification and selection process can be automated by integrating QR code technology with BIM. Integrated BIM and QR environment has the potential to serve as new teaching and learning tool. In this integrated envi-ronment, when the user reads the QR code through smart phone, the respective 3D element will be highlighted in BIM and it provides access to retrieve the information. The integrated BIM and QR code environment provides a seamless flow of information reducing manual errors and improves information retrieval efficiency. Integrat-ed BIM and QR code environment fosters conducive learning environment and allow the students to discover strengths and weaknesses of their learning practices and improve accordingly. This paper discusses the methodol-ogy used for developing integrated BIM and QR envi-ronment using Autodesks BIM software and QR code technology. The paper also presents the prototype smart lab usability results.

IntroductionStudents have different learning styles. Teaching by adapting to their individual styles is a challenging task. Traditional lecture is one of the styles which is widely used for teaching construction engineering and manage-ment (CEM) courses. Sometimes, the lecture format style is complimented by including construction site visits. This teaching style provides an auditory and vi-sual learning environment. However, inclusion of site visits within the course schedule is not always feasible due reasons such as unavailability of construction sites meeting the class needs, class schedule conflicts, and safety issues [2]. Through lecture mode teaching style, instructor faces a challenging task to engage smartphone savvy students and involve them in active learning pro-cess. Some other challenges include less interaction and personalized contact time between students and instructors; and students who miss class or who need extra review get left behind. Additionally, differences in teaching and learning styles result in problems such as disengagement of students and loss of learning apti-tude. Therefore a learning environment which helps the instructor to match the students learning styles and en-hances their engagement and learning capabilities is re-quired. Sometimes traditional lecture teaching style also falls short to serve as effective communication tool for transferring knowledge to students. Due to lack of con-ducive learning environment which provides hearing, seeing, and doing capabilities, currently CEM students are unable to gain the required skills to solve the real world problems. A user friendly smart lab that provides conducive learning environment is needed to enhance students learning capabilities. Building Information Model (BIM) has the potential to develop a smart lab which fosters conducive learning environment [6]. BIM serves as an excellent tool for data management. It facilities easy and fast access to the information stored in a single centralized database or in different databases held at various locations through the three dimensional (3D) model. Some of the BIM char-acteristics such as easy access to the information, visu-


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alization, and simulation capabilities provide auditory, visual, and kinesthetic learning environments. Access-ing the information using BIM is a two-step process. The first step includes the identification and selection of the appropriate 3D element from the digital model and second step includes the retrieval of the informa-tion. Currently, the first step is accomplished by navi-gating the model manually. This step becomes tedious depending upon the size and complexity of the model. Additionally manual errors in elements selection nega-tively affect the information retrieval process. Due to this manual selection process, the effectiveness of BIM is compromised and is not being used as an effective learning tool. This identification and selection process can be automated by integrating Quick Response (QR) code technology with BIM. The goal of the study is to develop smart lab through BIM+QR environment that promotes conducive learning environment. BIM+QR environment provides a seamless flow of information reducing manual errors and improves information re-trieval efficiency. BIM+QR environment enhances stu-dents engagement and allow them to discover strengths and weaknesses of their learning practices and improve accordingly. In this integrated environment, when the user reads the QR code through smart phone, the 3D element corresponding to the real world object will be highlighted in BIM and provides access to retrieve the information. The paper presents an overview of the BIM+QR smart lab framework and also presents users feedback on prototype implementation.

BIM + QR Smart LabA learning environment which promotes active learn-ing is needed to enhance students learning capabilities. An interactive learning environment termed as Building Information Model and Quick Response (BIM+QR) en-vironment which facilitates students to use their smart phone for learning is developed by integrating Building Information Model (BIM) and Quick Response (QR) code technology. This new teaching style which encour-ages usage of smart phones in the classroom increases the students engagement and also helps to focus on learning. BIM+QR environment facilitates more interac-tion and personalized contact time between students and instructors. It also forces students to take more respon-sibility for their own learning. Since the entire course contents are posted on web, students who miss class or who need extra review dont get left behind. It provides dynamic learning environment by synchronizing with the user input. The different components of BIM+QR smart lab framework includes: BIM knowledge reposi-tory, Object Hyperlinking, and Interactive display unit. The following sections discuss about these components and automated information flow among them.

BIM Knowledge RepositoryThe steps involved in BIM knowledge repository devel-opment include: (a) three dimensional (3D) model de-velopment and (b) integration of information to the 3D model elements. The ease of integration depends on the availability and type of parameters in the BIM software [3]. The information associated with the 3D model ele-

ments can be retrieved through parameters of the ele-ments. These parameters establish the links between respective files and elements in digital format. The in-formation needed was collected through paper format and digital format from various sources. Since BIM needs the information in digital format, the paper-based information was converted into digital format (PDF files) by scanning. Autodesks Revit software was used for developing the BIM knowledge repository. Informa-tion used to develop the knowledge repository can be classified as semi structured data files (HTML and XML files), unstructured data files (MS Word or plain text files), and unstructured multimedia files (photographs, audio, and video files) [1]. The steps involved in the integration of information with the 3D model element include creation of new parameters and association of information to these parameters. In Revit, each element is associated with predefined parameters and these are categorized into type parameters and instance parame-ters. The type parameters control properties of elements of that type while the instance parameters control the instances properties. The type and instance parameters are further categorized into different groups. The data format stored in each parameter

CHAPTER CHAPTER 03: Paper Sessions C1, C2, C3dcaconference2014.org/2014 Proceedings/4. DCA 2014...

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