OBJECT-ORIENTED COMPUTER-AIDED DESIGN SYSTEMS FOR THE PRELIMINARY DESIGN

OF AUDITORIA
Author(s): Ganapathy Mahalingam
Source: Journal of Architectural and Planning Research , Autumn, 1996, Vol. 13, No. 3,
Theme Issue: Design and Decision Support Research (Autumn, 1996), pp. 214-229
Published by: Locke Science Publishing Company, Inc.

Stable URL: https://www.jstor.org/stable/43029217

REFERENCES
Linked references are available on JSTOR for this article:
https://www.jstor.org/stable/43029217?seq=1&cid=pdf-
reference#references_tab_contents
You may need to log in to JSTOR to access the linked references.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide
range of content in a trusted digital archive. We use information technology and tools to increase productivity and
facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at
https://about.jstor.org/terms

is collaborating with JSTOR to digitize, preserve and extend access to Journal of Architectural
and Planning Research

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 214

OBJECT-ORIENTED COMPUTER-AIDED DESIGN

SYSTEMS FOR THE PRELIMINARY DESIGN OF
AUDITORIA

Ganapathy Mahalingam

This paper presents the synthesis of two distinct ideas . The first idea is that arch
like spatial enclosures can be modeled as computational objects . The second idea i
forms of auditoria can be generated from acoustical functional , and programma
The method used to synthesize these ideas is the application of the concept of ac
in the development of design systems for auditoria . As a practical demonstration
computer-aided design systems for the preliminary spatial design of fan- shaped
proscenium-type auditoria were developed. In the systems , the concept of acous
used to convert acoustical , functional cmd programmatic parameters int
parameters used in the spatial design of the auditoria . Statistical analytical a
methods are used to generate the spatial forms of the auditoria based on the var
The auditoria are modeled as parametric computational objects . The sy
computer-aided design systems because they involve the creation of spatial infor
non-spatial information . The paper concludes with a projection of how the
computing paradigm can benefit the creation of computer-aided design systems in

Copyright © 1996, Locke Science Publishing Company, In

Chicago, IL, USA All Rights Reserved

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 215

INTRODUCTION

Computer-aided design systems should by definition aid the process of design th

decision making process. This paper describes the development of computer-a
tems for the preliminary design of fan-shaped and rectangular proscenium-type
systems were developed using the Visual Works M object-oriented programming
These systems are decision support systems because they help to make initi
decisions about proscenium-type auditoria. Two concepts were synthesized in this
two concepts are represented by the ideas of spatial enclosure as a parametri
object and acoustic sculpting.

Let us first reflect on some fundamental questions as a foundation to further disc

What do architects do?

Architects are involved in the task of designing the built environment from the scale of a single
room to that of a city. When architects design, they make decisions about the form and spatial
arrangement of building materials and products that define physical structures and spatial en-
vironments. These decisions are made using both intuitive and rational methods. The physical
structures and spatial environments that architects design create a complex synthesis of visual,
aural, and kinesthetic experiences. The goal of many architects is to create interesting, lively,
and safe environments that facilitate a wide range of positive human experiences.

What do architects create when they design?

The simple answer to this question is that architects create representations - representations of
physical structures that are to be built and spatial environments that are to be created. These
representations traditionally include drawings, physical scale models, and written specifications.
They are a mix of graphical, physical, and verbal representations. The development of computer
technology in the last three decades has enabled computer-based drawings and models to be
included in the architect's range of representations. All these representations define a virtual
world in which analogues of physical structures and spatial environments to be realized can be
manipulated as desired. Architects dwell in the virtual world of their representations.

From the answers to the preceding two questions, it becomes clear that when architects design,
they make decisions about the form and spatial arrangement of building materials and products
that define physical structures and spatial environments, and create various representations to
depict the physical structures and the spatial environments. The relatively active part of the
design process is the making of the decisions, and the passive part is the making of the repre-
sentations. The decisions create the designs, the representations communicate the designs. A
true computer-aided design system should assist in the activity called design. This assistance
should preferably be for the active part of the design process, i.e., decision making. Systems that
assist the passive part of the design process, i.e., making representations, are second-order com-
puter-aided design systems. These ideas on true computer-aided design systems were voiced ear-
lier by Yessios (1986).

Most commercial systems like AutoCAD, VersaCAD, DesignCAD, etc., are predominantly draft-
ing systems. A computer-aided drafting system is one that enables you to create drawings that
are representations of designs. The relatively passive act of creating a representation of a design
has often been confused with the active process of making design decisions. For example, a

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 216

computer-aided drafting system can help you draw the plan for a h
determine what the shape of the plan should be. Design is the activi
of the plan. Commercial systems are touted as computer-aided de
modeling facility, specifically solid modeling. Solid modeling sy
senting three dimensional geometric entities and performing transf
operations on them. State-of-the-art solid modeling systems can dep
true perspective and full color with almost photographic realism. Su
a visualization tool that enables the architect to visualize some
designed. It does not help the making of initial design decisions.
activity of design development which follows the process of initial
is because the visualization offers insight that can modify subsequen
cial systems are excellent for the creation of representations and are
aided design systems.

True computer-aided design systems that help to make initial spatia

cenium-type auditoria have been implemented in this project. In
emerging object-oriented computing paradigm is used that offer
development of computer-aided design systems in architecture.

OBJECT-ORIENTED COMPUTING

Object-oriented computing is a relatively new paradigm in software design and development

has the potential of rapidly replacing structured procedural programming that became de rigu
in the 1970s. Its increasing popularity points to a paradigm shift as characterized by K
(1962) in the field of computation.

The goal of the developers of object-oriented computing was to provide maximum natural in
action with the computer. To achieve this, they developed a computer abstraction called an "
ject." Before this, the main computer abstractions being used were data structures and proce
dures. It was felt that people involved in computation would interact more naturally with ob
than with data structures or procedures. The object is at a higher level of abstraction than d
structures or procedures. This abstraction allows the analysis and creation of systems at a co
and more natural level of granularity. It is more natural to decompose systems into ob
(physical and conceptual) than it is to decompose them into data and procedures.

In object-oriented computing, the conceptual or physical entities in the world are modeled a
encapsulation (an object) of data and operations that can be performed on that data. The
concept on which encapsulation is based is the notion of abstraction. A collection of dat
operations normally performed on the data are closely related, so they are treated as a s
entity (rather than separate) for purposes of abstraction. Each object can be thought of
virtual computer with its own private memory (its data) and instruction set (its operations).
reference to objects as virtual computers was made by Alan Kay (1977). He envisaged a
computer being broken down into thousands of virtual computers, each having the capabilit
the whole, and exhibiting a certain behavior when sent a message that is a part of its instru
set. He called these virtual computers "activities." According to him, object-oriented sys
should be nothing but dynamically communicating "activities." As such, they form an interest
model with which to simulate the design process. In another interesting perspective, objects
been likened to integrated circuits by Ledbetter and Cox (1985).

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 217

FIGURE 1. Model of an object showing context-based access modes.

Computation in an object-oriented system is achieved by objects com

by sending messages that simulate actual interaction between the ob
in such a process as it is in all complex communication systems.
likened to a sociological system of communicating human beings (Go
By mimicking human communication in the computation process, ob
user interaction with the systems more natural.

An object is dynamic and useful unlike a data structure that is static

a few things with an object. You can either query the state of i
message. You can change the state of the data with an externally sup
an argument for a message), or you can ask the object to comput
then change the state of its data with its own operations or it can req
to do it. This capacity to link to other objects when necessary increase

The data of an object is private and cannot be accessed directly. This

tion hiding. The only way that you interact with an object is by
interaction is controlled by an interface. The interface is made u
understands. Related messages are grouped into protocols. When
it invokes the appropriate method (procedure, operation) associated w
face controls the aspects of the object with which you can intera
device for abstraction. It can provide several selective modes of inte
is an important concept. Selective interfaces to the object can cou
object's data structure with different operations to provide different
An object can behave differently in different modes (see Figure 1).
object-oriented computing to the next plateau envisaged by Kay, the
guages," where computational objects behave differently based on
1977).

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 218

Objects belong to classes for specification. A class is a concept

object. A class is an implementation of an abstract entity. Each
system is an instance of a class, just as an auditorium is an instance
class comprises data and operations that define the type of object it
class "Building" would have structural components, bill of materials
heating load, cooling load, etc., as data, and compute cost, compute
ing load, etc., as operations. Class data and operations belong to
class inherits this general definition. Classes may be hierarchically
A sub-class inherits the data and operations of its parent class. It ca
data and operations at its level to create a specialized version of the
the class "Building" can be decomposed into "Auditorium" and "G
hierarchial structure allows generalization and specialization in t
object-oriented systems allow sub-classes to inherit from more
called multiple inheritance. Multiple inheritance facilitates the model
in architectural design. The class structure in object-oriented s
software components and also facilitates programming by extension
resenting particular architectural objects can be re-used through the

A conceptual architectural object can be made up of many phy

semble." An ensemble can be a design. Objects that are unlike ea
ensembles that can themselves be modeled as classes. The behavior of ensembles can be
abstracted and modeled. Alternatively, "frameworks" can also be implemented for th
ing of certain types of designs. Classes used frequently together for certain kinds of
can be grouped together in frameworks that can be re-used. The design of framewor
the design of the interaction between the classes that make up each framework. A fr
can model design strategy. Ensembles and frameworks are discussed elaborately by W
and Johnson (1990).

Additional information on the object-oriented computing paradigm can be obtained f

(1991) and LaLonde and Pugh (1990). Some of the key ideas of object-oriented
along with the concept of acoustic sculpting have been used in this project to dev
oriented, computer-aided design systems.

ACOUSTIC SCULPTING

Acoustic sculpting is the creation of architectural shapes and forms based prima
parameters. It can be likened to sculpting, not with a chisel, but with abstract e
acoustical parameters. Acoustical parameters become special abstract tools th
vironment in their own characteristic way, hence the term acoustic sculpting.

In this context, it will be interesting to introduce the concept of a "locus." In p

loci are lines traced by points according to certain rules or conditions. A circle i
point that is always equidistant from a given point. An ellipse is the locus of a p
of distances from two given points is always equal. From these examples, it can
particular rule or condition can trace a particular locus. The scope of application
of a locus can be dramatically widened by realizing that the word "locus" in Lati
"Architecture involves the creation of places and spaces." A question can be

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 219

the locus of an acoustical parameter? In answering that question, arch

parameters can be created. Acoustics can become a form-giver for arc

Acoustical parameters are often measured to assess the acoustical quali

architectural model. They are indicators of the acoustical quality of t
measured. However, it is important to realize certain facts about acou
cal parameters are location specific. For a given sound source in a room
vary systematically at different locations in the room. Acoustical par
Sound source is varied. Hence, a set of acoustical parameters at a given
sound source, can be used only to generate the general features of th
that location. This, to stay within the metaphor of sculpting, will
Different sets of acoustical parameters from different locations can fur
the architectural space encompassing those locations. It has been foun
least 10 to 12 sets of acoustical parameters are required to derive the
parameters in an auditorium (Bradley and Halliwell, 1989). If architect
be created from acoustical parameters, then a rational basis can be est
acoustical environments.

Currently, the creation of acoustical environments is a trial-and-error process that tries to match
the acoustical parameters of the space being created, probably in the form of a physical model,
with acoustical parameters that have been observed in other well-liked spaces. The manipula-
tions of the space's shape and form to achieve the match, are done in an arbitrary fashion, with
no explicit understanding of the relationships between the shape and form of the space and the
corresponding acoustical parameters. There has been extensive research conducted in the 1960s,
1970s, and 1980s by Ando (1985), Barron (1988), Barron and Lee (1988), Beranek (1962), Brad-
ley (1986, 1990), Cremer (1978), Hawkes (1971), and Sabine (1964) to establish those aspects of
the auditory experience that are important in the perception of the acoustical quality of a space
and how they relate to objectively measured acoustical parameters in that space. There has not
been much research conducted except by Gade (1986, 1989) and Chiang (1994) regarding the
relationships between acoustical parameters and the shapes and forms of the spaces in which they
are generated.

Acoustic sculpting attempts to define the latter relationships and uses them to create a system that
generates spatial forms of auditoria based on acoustical parameters. This generative system is
used as a tool for creating preliminary designs of proscenium-type auditoria.

METHODS OF ACOUSTIC SCULPTING

The process of generation of the spatial forms of the auditoria is related to a se

parameters both statistically and theoretically. The acoustical parameters for th
tem are drawn from, but are not limited to, the set presented in the following
the set is extensive, not all of the parameters are used in the design generation st

Acoustical Parameters
1. Reverberation time
2. Early decay time
3. Room constant
4. Overall loudness or strength of sound source
5. Initial time delay gap

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 220

6. Temporal energy ratios:

a. Early/Total energy ratio - Deutlichkeit
b. Early/Late energy ratio - Clarity
7. Center time
8. Lateral energy fraction and spatial impression
9. Bass ratio, Bass level balance, Early decay time ratio, and Cente
10. Useful/Detrimental ratio, Speech transmission index, and the R
index

The different acoustical parameters cited above resolve into relate

ing subjective perception characteristics. These subjective perc
sified as:

1. Reverberance
2. Loudness
3. Clarity
4. Balance
5. Envelopment

A limited set of acoustical parameters related to these subjective perceptions are incorporated in a
system (both statistical and theoretical) that derives architectural parameters from the acoustical
parameters. It must be remembered that, in the generation stage, acoustical parameters are not
the only factors determining the shapes and forms of the auditoria. Other factors like seating
requirements, visual constraints, and other programmatic requirements, along with the acoustical
parameters, determine the spatial forms of the auditoria. The values of the acoustical parameters
for use in the generative system are drawn from a database of objectively measured readings in
different architectural settings that have been subjectively evaluated as desirable. Based on
studies done so far, a generative system based on macrostatic statistical relationships1 and some
analytical theory has been developed by the author. (Details of this system are to be found in
Mahalingam, 1992.)

THE OBJECT-ORIENTED COMPUTER-AIDED DESIGN SYSTEMS FOR THE

PRELIMINARY DESIGN OF AUDITORIA

The design systems used to generate the preliminary designs of fan-shaped and re
cenium-type auditoria are based on acoustical, functional, and programmatic p
computer model of each auditorium is a parametric object. The various acousti
and programmatic parameters aie its data. Procedures that compute the spatial par
auditorium and create its graphic representation are its operations.

The generative system involves an algorithmic procedure for the design of the au
constants, user input of independent variables, and derived variables. These consta
ables are used to generate sets of vertices in 3-D space that are linked to form wir
shaded plane images of the auditoria. The topology of the auditorium is base
cenium-type auditorium typology. It is a variant topology with the introduction of
when necessary (see Figure 2). The vertices are parametrically controlled and
changing parametric inputs.

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 221

The algorithmic procedure is im

plemented in the Smalltalk™ o
ject-oriented programming lan
guage. The software uses the
"model-view-controller" paradigm
(Krasner and Pope, 1988) and h
a user-friendly menu and graph
interface with which to input
acoustical, functional, and
programmatic parameters. The
"model-view-controller" is a
framework (Wirfs-Brock and
Johnson, 1990) of three computa-
tional objects that are the model,
the view, and the controller. A
model is any computational object.
FIGURE 2. Diagram of the auditorium In the
showing this variant
case, it is the computer
topology.
model of the auditorium. A view
is an object that is a particular representation of the model. Many views can be linked to a single
model to represent different aspects of the model. The views in the implemented systems are the
graphic images of the auditorium and text images of the various parameters. Each view has a
controller that allows interactive manipulation of the aspects of the model related to that view.
The controllers in the implemented systems are the sliders, dialogue boxes, or the pop-up menus
associated with each of the views. When the model is changed, the various views related to the
model are updated. A "model-view-controller" system is used in this project to provide a
dynamic design environment. In the systems, the model changes in real time with changing input
of acoustical parameters. The auditorium is depicted in true perspective. Once the model is
generated, it can be viewed from any angle and from any distance. The systems can be used to
rapidly generate alternate designs based on the various parameters.

The mechanism of inheritance is used to derive the design system for rectangular proscenium-
type auditoria from the design system for the fan-shaped proscenium-type auditoria. This is done
with minimum effort by forcing the wall splay angle (one of the derived variables) to zero in the
rectangular proscenium-type auditorium model.

To limit the scope of the software design to manageable limits, the initial version of the genera-
tive system has a limited set of 21 independent variables. However, the total number of variables
(both independent and derived) in the system is large, indicating a complex system. The incor-
poration of adjacent lobby and lounge areas in the model has not been implemented at this stage
of software development, however, it is to be included in the next stage of development. An
interface is currently being developed that can transfer the computer model generated by this
system in a format readily acceptable by commercial CAD packages (DXF format) for design
development. An interface is also being developed to link this system to acoustical simulation
software to predict what an auditorium based on the computer model will sound like if built.

These systems involve a reversal of the process of acoustical simulation achieved by Stettner
(1989) where acoustical parameters of spaces are derived through simulation of sound propaga-
tion. A diagram showing the relationships among the different variables of the auditorium object
is shown in Figure 3. Compare this figure to the layout of an integrated circuit. This reinforces
the argument that objects are like software integrated circuits. The key objects in the systems

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 222

b
n 1 ; ^ 1 -

_ auditori
s auditorium *' 1^- f

capacity ~v

; ' /; '
(

- area/seat -
v
f

_ perform
lmode
I v J

_ eyepoint | latitude "IT

■- lightpoint « "" ^OPg^n

distance .J v
v

- reverberation time v

I --^surface area
absorption coefficients I
V ; I

~ - ■ r op
FIGURE 3

Object Object

Visual Component Model

Visual Part .. " Application Model

¿

Dependent Part
l y I ^-J
w Auditorium
w T View

^ Auditorium Plane View j ^ Auditorium Frame View ^

f
/" "N Z- "X A ">

Object >■ Plane LightPoint EyePoint

'

FIGU

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 223

FIGURE 5. View of the computer screen showing the design of a fan-shaped proscenium-ty

FIGURE 6. View of the computer screen showing the design of a rectangular proscenium-t

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 224

FIGURE 7. Design by the synthesizing interaction of conceptual and physical arc

along with their class hierarchies are shown in Figure 4. The views o
running the software are shown in Figures 5 and 6. The software fo
is run on a 486 PC using the Visual Works™ programming environm

HOW CAN THE OBJECT-ORIENTED APPROACH IMPROVE COMPUTER-AIDED

DESIGN SYSTEMS IN ARCHITECTURE?

There are many benefits in using an object-oriented approach to improve comput

systems in architecture. Actually, the object-oriented approach can provide t
creation of new types of computer-aided design systems that are based on m
decision making as synthesizing interaction. This model has fundamentally differ
for the design of computer-aided design systems in architecture. It proposes the cr
puter-aided design systems that generate architectural designs by the dynamic syn
action of physical and conceptual entities (see Figure 7). This leads to a model
thesis by interaction. It is more common for architectural designs to result from a
action of physical and conceptual entities than it is from an explicit problem-solvin

Architectural design has been characterized in many different ways. In whatever

tural design may be characterized, it still involves the synthesis of physical and
tities. Physical entities such as building components (materials and products)
entities such as architectural space, circulatory systems, structural systems, and or
are synthesized in architectural designs. These physical and conceptual entities ca
as objects in an object-oriented system. These objects can compute their form aki
a shape based on design rules as in shape grammar, display their image in dif

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 225

representations, provide context-based abstractions of themselves for a

siderations, and they can also propagate changes to their different re
tions when modified. The benefits of the object-oriented appro
categories.

The Object-Oriented Perspective

An object-oriented approach forces the architect to think in terms o

their characteristics. The object-oriented analysis of architectural des
into how architects manipulate architectural objects. The definition o
architectural objects explicates design knowledge. Architects are
decision making processes when they synthesize architectural obje
aspects of architectural objects can be modeled in an object-orient
designer a holistic perspective. These factors can improve the quality
systems in architecture. The new knowledge aids future design d
oriented analysis of conceptual objects in architecture has great prom
search.

Abstraction

The object-oriented approach allows the architect to model architectural objects as true abstrac-
tions. A column can be modeled as an object that supports. A beam object can be modeled as
an object that transfers vertical loads horizontally. This allows semantic manipulation of those
objects. The interface of the column object can prescribe how it links to a beam object. Both
objects can have internal representations of their spatial location and their dimensions that can be
calculated based on the loads applied on them. Intelligent architectural objects can be developed
that can compute their own shape and form. The class system in object-oriented computing can
be used to create a hierarchy of beam objects or column objects that vary in form and function.
This allows generalization and specialization in the abstraction of architectural objects.

Conventional systems force architects to model architectural elements as combinations and trans-
formations of primitive three dimensional geometric entities such as cubes, spheres, pyramids,
wedges, or as surfaces. These entities are manipulated as data structures consisting of a collection
of vertices that define them. They cannot be manipulated semantically, i.e. as beams or columns.
The building blocks in conventional systems are data structures that represent geometric entities.
The object-oriented approach can help create architectural objects that are abstractions at a higher
level than geometric entities and are more naturally manipulated by architects.

Fuzzy Definitions

Fuzzy definitions of architectural elements in design decision making allow the sharing of
responsibility between different participants in the design process. During the design process,
architects collaborate with many specialists who help to design various parts of the project. For
example, structural engineers help design the structural systems and mechanical engineers help
design the air-conditioning systems. In the object-oriented approach, the architect can create
objects that represent the parts to be designed by others, develop the interface to those objects,
specify constraints, and leave it to the specialists to develop the object in detail. The architect
working on the main design is not bothered by the details of subordinate architectural objects.
This facility allows the smoother coordination of the design process when there is a team of
designers. A similar need for fuzzy definitions was expressed earlier by Eastman (1987).

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 226

Context Sensitive Design Decision Making

Architectural objects are polymorphic. They have different function

wall (which is an architectural object) can be an element of enclos
acoustical surface, a structural component, and a visual object tha
among other things. Depending on the context, an architect is intere
based on considering the wall in any one of those forms. By mapping
an architectural object into context related groups (Figure 1), a conte
developed for those objects. This kind of context-based abstraction is
ject-oriented approach. Context-based abstraction also helps the an
chitectural objects in a particular context mode. For example, all
analyzed in the structural mode to perform structural analysis.

Multiple Representations

In the object-oriented approach, frameworks of objects such as the "m

Smalltalk can be created to provide a system of multiple represen
an architect makes a design decision, he should be aware of its ramific
If he moves a wall, he should be aware of the structural condition
change in the acoustical properties of the room, the change in the day
change in the aesthetic proportions of related walls, the change in th
An object-oriented computer-aided design system can provide the mu
represent all those changes based on context specific information
ferent representations are linked to one object, so when that object is
representations are revised. This feature helps create a dynamic desig
integrated design decision making. This system also helps the arc
representations into a self-consistent whole. Conventional CAD sy
context-based multiple representations.

The Use of Precedent

There is a wealth of exemplary architectural works existing in the w

can be defined based on those exemplary works. Subsequently created
inherit the state and behavior of those exemplar objects and modify th
The concepts of class hierarchies and inheritance in the object-orient
use of precedent in architectural design. The use of precedent is p
profession. In a conventional system, representations of architectura
are re-usable only in the same form, e.g., symbol libraries.

Unlimited Design Formulation

In the object-oriented approach, unlimited numbers of architectural

interaction can be structured in unlimited ways. In conventional CAD
limited number of geometric entities that can be manipulated in a lim
create designs, so the number of designs that you can formulate is li
world of graphical, physical, and verbal representations, the arch
uniform virtual world of objects.

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 227

Integrated Design and Analysis

Computer-aided design systems based on problem-solving and constr

involve modules that are used to represent candidate solutions and allo
modules that test those solutions to determine if they are satisfacto
aided design systems provide only the representational medium. The a
representations involves the use of additional software. Separate
monitor the search process and administer the constraints. Since the r
limited descriptive data, all other required information is stored
coordination between the different modules and the relational datab
The object-oriented approach with encapsulated state and behavi
solve this problem.

The seamless integration of the analysis, design, and implementa

Gregor, 1990) in the object-oriented approach helps the rapid develop
puter-aided design systems. Inheritance and polymorphism help the
puter-aided design systems.

The main tasks of the designers and implementors of object-oriented

tems are the definition of architectural objects and the structuri
modular approach of using objects allows the designers and imple
computer-aided design systems to concentrate on each object and
havior of architectural objects based on their interaction with other o
has to be modeled. This is a very complex task initially, but it has its
ing of the interaction of architectural objects involves the formulatio
lished design strategies can be organized into frameworks that can b
will clearly reflect how architects synthesize designs. Formulation o
explicate the decision making part of the design process. This will le
true computer-aided design systems in architecture.

NOTES

1. A macrostatic study of the variation of sound energy at a location in the auditorium (the variation is reflec
energy impulse response graph) involves examining the relationships of acoustical parameters (which are deriv
energy impulse response graph) as aggregate measurements and relating them statistically to architectura
This is opposed to the microdynamic interpretation of the sound energy variation at a location that requires a
model.

REFERENCES

Ando Y (1985) Concert hall acoustics. Berlin: Springer-Verlag.

Barron M (1988) Subjective study of British symphony concert halls. Acustica 66(1

Barron M, Lee J (1988) Energy relations in concert auditoriums. Journal of

Society of America 84(2):618-628.

Beranek LL (1962) Music, acoustics and architecture. New York: John Wiley & Son

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 228

Bradley JS (1986) Auditorium acoustics measures from pistol shots.

Society of America 80(1): 199-205.

Bradley JS (1990) The evolution of newer auditorium acoustics mea

18(4):13-23.

Bradley JS, Halliwell RE (1989) Making auditorium acoustics more

Vibration (February): 16-23.

Chiang WH (1994) Effects of various architectural parameters on six

in auditoria. Unpublished Ph.D. dissertation, University of Flor

Cremer L (1978) Principles and applications of room acoustics Vol. 1. (Tr

London: Applied Science Publishers.

Eastman CM (1987) Fundamental problems in the development of compu

design models. In YE Kalay (Ed.), Computability of design. New
& Sons.

Gade AC (1986) Relationships between objective room acoustic parameters and concert hall
design. Proceedings of the 12th International Congress on Acoustics Vol./Band D-
G, E4-8. Toronto.

Gade AC (1989) Acoustical survey of eleven European concert halls, Report No. 44. The Acous-
tics Laboratory, Technical University of Denmark, Lyngby.

Goldberg A, Robson D (1989) Smalltalk-80: The language. Menlo Park, CA: Addison- Wesley.

Hawkes RJ (1971) Experience in concert auditoria. Acustica 24:236-250.

Kay AC (1977) Microelectronics and the personal computer. Scientific American (Septem-
ber):230-244.

Korson T, McGregor JD (1990) Understanding object-oriented: A unifying paradigm. Com-

munications of the ACM 33(9):40-60.

Krasner GE, Pope ST (1988) A cookbook for using the model-view-controller user interface
paradigm in Smalltalk-80. Journal of Object-Oriented Programming (August/Sep-
tember):26-29.

Kuhn T (1962) The structure of scientific revolutions. Chicago: University of Chicago Press.

LaLonde WR, Pugh JR (1990) Inside Smalltalk Vols. 1 & 2. Englewood Cliffs, NJ: Prentice-Hall.

Ledbetter L, Cox B (1985) Software-ICs. Byte (June):307-316.

Mahalingam G (1992) Designing the sound environment: Acoustic sculpting. Proceedings of the
ACSA Technology Conference. San Diego, CA.

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms
 Journal of Architectural and Planning Research
13:3 (Autumn, 1996) 229

Sabine WC (1964) Collected papers on acoustics . Cambridge, MA:

Reprinted by Dover Publications.

Smith DN (1991) Concepts of object-oriented programming . New Yor

Stettner A (1989) Computer graphics for acoustic simulation and

master's thesis, Cornell University, Ithaca, NY.

Wirfs-Brock RJ, Johnson RE (1990) Surveying current research in ob

munications of the ACM (September):104-124.

Yessios CI (1986) What has yet to be CAD. ACADIA Workshop *8

(October):29-36.

Additional information may be obtained by writing directly to the a

Architecture and Landscape Architecture, North Dakota State Uni
Station, Fargo, North Dakota 58105, USA.

AUTOBIOGRAPHICAL SKETCH

Ganapathy Mahalingam was born in Madras, India. He pursued an undergraduate education there in architec
School of Architecture and Planning, 1978-1983. In 1984, he received a professional degree of Bachelor of A
from the University of Madras after completing a year of practical training in Madras at the architectural firm
and Associates. He was employed by Kharche and Associates as an architect until 1985. There he desi
residential Buildings, commercial buildings, and educational institutions. In 1986, he obtained a post-profess
of Architecture degree from Iowa State University and taught for a year in the Department of Architecture. H
to private practice in India in 1987. He again returned to the U.S. for study and received a Ph.D. in architecture
University of Florida in 1995. Dr. Mahalingam has presented papers at numerous national and international
He was part of the research team that won the First Annual Award for Architectural Research presented by th
sive Architecture magazine in 1994 for the project "Listening to Buildings." Dr. Mahalingam is currently
Professor in the Department of Architecture and Landscape Architecture at North Dakota State University.

This content downloaded from

77.215.170.203 on Wed, 29 Sep 2021 13:46:57 UTC
All use subject to https://about.jstor.org/terms