CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
supported by the sibling associations ACADIA, CAADRIA, eCAADe, SIGraDi, ASCAAD and CAAD futures

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Hits 1 to 14 of 14

_id ga9922
id ga9922
authors Annunziato, M. and Pierucci, P.
year 1999
title The Art of Emergence
source International Conference on Generative Art
summary Since several years, the term emergence is mentioned in the paradigm of chaos and complexity. Following this approach, complex system constituted by multitude of individual develop global behavioral properties on the base of local chaotic interactions (self-organization). These theories, developed in scientific and philosophical milieus are rapidly spreading as a "way of thinking" in the several fields of cognitive activities. According to this "way of thinking" it is possible revise some fundamental themes as the economic systems, the cultural systems, the scientific paths, the communication nets under a new approach where nothing is pre-determined, but the global evolution is determined by specific mechanisms of interaction and fundamental events (bifurcation). With a jump in scale of the life, also other basic concepts related to the individuals as intelligence, consciousness, psyche can be revised as self-organizing phenomena. Such a conceptual fertility has been the base for the revision of the artistic activities as flexible instruments for the investigation of imaginary worlds, metaphor of related real worlds. In this sense we claim to the artist a role of "researcher". Through the free exploration of new concepts, he can evoke qualities, configurations and hypothesis which have an esthetical and expressive value and in the most significant cases, they can induce nucleation of cultural and scientific bifurcation. Our vision of the art-science relation is of cooperative type instead of the conflict of the past decades. In this paper we describe some of the most significant realized artworks in order to make explicit the concepts and basic themes. One of the fundamental topics is the way to generate and think to the artwork. Our characterization is to see the artwork not as a static finished product, but as an instance or a dynamic sequence of instances of a creative process which continuously evolves. In this sense, the attention is focused on the "generative idea" which constitutes the envelop of the artworks generable by the process. In this approach the role of technology (computers, synthesizers) is fundamental to create the dimension of the generative environment. Another characterizing aspect of our artworks is derived by the previous approach and specifically related to the interactive installations. The classical relation between artist, artwork and observers is viewed as an unidirectional flux of messages from the artist to the observer through the artwork. In our approach artist, artwork and observer are autonomous entities provided with own personality which jointly intervene to determine the creative paths. The artist which generate the environment in not longer the "owner" of the artwork; simply he dialectically bring the generative environment (provided by a certain degree of autonomy) towards cultural and creative "void" spaces (not still discovered). The observers start from these platforms to generate other creative paths, sometimes absolutely unexpected , developing their new dialectical relations with the artwork itself. The results derived by these positions characterize the expressive elements of the artworks (images, sequences and sounds) as the outcomes of emergent behavior or dynamics both in the sense of esthetical shapes emergent from fertile generative environments, either in terms of emergent relations between artist, artwork and observer, either in terms of concepts which emerge by the metaphor of artificial worlds to produce imaginary hypothesis for the real worlds.
series other
last changed 2003/08/07 15:25

_id ga9901
id ga9901
authors Dehlinger, H.E.
year 1999
title Minimial generative principles for large scale drawings: an experimental approach and its results
source International Conference on Generative Art
summary The line as an element or linear structures as such can be observed in many circumstances and in many places of our daily life´s. Lines have poly semantic characteristics and the word line is denoting much more than a long thin mark made by a pencil. The concept of a line is a very rich concept, and it seems, each epoch of art is developing its own codes for lines to deposit its world views within them. The emergence of generative approaches is characteristic of our epoch, and it is lines as elements of drawings generated by algorithms, executed on machines, and drawn with a pen equipped plotter on which this work is based.
series other
last changed 2003/08/07 15:25

_id 1b4d
authors Ding, Lan
year 1999
title An Evolutionary Model for Style Representation Emergence in Design
source University of Sydney, Key Centre of Design Computing and Cognition
summary This thesis is concerned with the development of an evolutionary process model for style representation emergence in design. It explores issues involved in the interpretation of style, the concept and process of style representation emergence, an evolutionary approach based on genetic engineering, and its computational implementation. Style is a complex phenomenon in design. Interpreting and formulating design style is a difficult task. This thesis proposes a language model which interprets style space utilising hierarchical levels that map onto syntax and semantics. The style space is then formulated using a genetic description. Current studies have discussed shape semantics emergence in design, but none has been proposed for the emergence of style representation. This thesis provides the concept of style representation emergence with the emphasis on the interpretative aspect of style as well as the emergence process. It explores the emergence process of style representation through an evolutionary approach. Simulation of biological evolution appears to be very useful for design problems. This thesis develops style representation emergence through evolutionary simulation based on genetic engineering. A hierarchical evolutionary process encompassing competition as well as discovery and an evolutionary combination is proposed and developed. A computational representation of style can then be derived by the computer system through the use of this evolutionary process. This model of style representation emergence is applied to traditional Chinese architecture. An evolutionary system is implemented and presented with some examples of traditional Chinese architectural facades. The results from the implementation of the system are analysed and the utility of this model is investigated. The implementation is developed in a Unix environment using the C language. The AutoCAD package is used for the graphic representation.

series thesis:PhD
last changed 2003/05/15 05:25

_id acadia06_426
id acadia06_426
authors Garber, R., Robertson, N.
year 2006
title The Pleated Cape: From the Mass-Standardization of Levittown to Mass Customization Today
source Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 426-439
summary In the 1950’s, the Levitts put mass-production and the reverse assembly line into use in the building of thousands of single-family houses. However, the lack of variation that made their construction process so successful ultimately produced a mundane suburban landscape of sameness. While there were many attempts to differentiate these Levitt Cape Cods, none matched the ingenuity of their original construction process. The notion of mass-customization has been heavily theorized since the 1990’s, first appearing in the field of management and ultimately finding its way into the field of architecture. Greg Lynn used mass-customization in his design for the Embryological House in which thousands of unique houses could be generated using biological rules of differentiation (Lynn 1999). Other industries have embraced the premise that computer-numerically-controlled technologies allow for the production of variation, though it has not been thoroughly studied in architecture. While digital fabrication has been integral in the realization of several high-profile projects, the notion of large-scale mass-customization in the spec-housing market has yet to become a reality. Through the execution of an addition to a Cape Cod-style house, we examine the intersection between prefabricated standardized panels and digital fabrication to produce a mass-customized approach to housing design. Through illustrations and a detailed description of our design process, we will show how digital fabrication technologies allow for customization of mass produced products.
series ACADIA
last changed 2006/09/22 06:22

_id be33
authors Gero, John S.
year 1999
title Constructive Memory in Design Thinking
source Architectural Science Review 42: 3-5
summary This paper introduces the concept of constructive memory as a framework for the modeling of design thinking. It describes some recent results from empirical studies of designing to show a gap exists between our models of designing and these results. The paper presents constructive memory and its associated concept of situatedness as potential foundations for increasing our understanding of design thinking.
keywords Constructive Memory; Emergence; Situatedness; Models of Designing; Design Theory
series journal paper
last changed 2003/03/31 06:34

_id 30c8
authors Koutamanis, A., Barendse, P.B74 and Kempenaar, J.W.
year 1999
title Web-based CAAD Instruction: The Delft Experience
source Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 159-168
summary In the early 1990s, the introduction of an extensive CAAD component in the compulsory curriculum of the Faculty of Architecture, Delft University of Technology, stimulated experimentation with computer-based instruction systems. The emergence of the World Wide Web presented new possibilities. Nevertheless, the reasons for investing in Web-based CAAD instruction were mostly pragmatic, i.e. a reaction to necessity, rather than an intention to explore, experiment and revolutionize. One of the problems addressed in our Web-based CAAD instruction is CAAD literacy. Help files and manuals that accompany software have proven to be unsuitable for introductory courses in design computing. This led to the development of a series of dynamic Web-based tutorials, in the form of interactive slide shows. The implementation of the tutorials is based on a cooperative framework that allows teachers and students to contribute at different levels of technical and methodical complexity. The use of the Web in CAAD education also stimulated a more active attitude among students. Despite the limited support and incentives offered by the Faculty, the Web-based CAAD courses became an invitation to intelligent and meaningful use of Web technologies by students for design presentation and communication. This is not only a useful addition to the opportunities offered by CAAD systems but also a prerequisite to new design communities.
keywords WWW Technologies, Teaching
series eCAADe
last changed 1999/10/10 12:52

_id 5c07
authors Lee, H.-L., Liu, Y.-T., Chen, S.-C., Tang, S.-K. and Huang, C.-P., Huang, C.-H., Chang, Y.-L., Chang, K.-W. and Chen, K.-Y.
year 2002
title A Comparative study of protocol analysis for - Spatiality of a Text-based Cyberspace
source Connecting the Real and the Virtual - design e-ducation [20th eCAADe Conference Proceedings / ISBN 0-9541183-0-8] Warsaw (Poland) 18-20 September 2002, pp. 262-266
summary Graduate Institute of Architecture, National Chiao Tung University, Hsinchu, 30050, TAIWAN The adaptation of the word cyberspace (Gibson, 1984) following the emergence of the World Wide Web Internet not only succinctly revolutionized the correlation of time and space but also poised to challenge how we view the existing spatial concept. This research tries to use protocol analysis to examine text-based cyberspace, such as bulletin board, chart rooms and so forth, and the objective of this research is to realize the spatiality of cyberspace through the cognitive point of view, and to compare the differences of the definitions and perception ways of spatiality between people with general domain and in design fields. Finally, we validate the existence of cyberspace, where the process not only allows further categorization of spatial elements concluded from the earlier study, but discover that varied backgrounds can affect how a user defines and perceives cyberspace (Strate, 1999).
series eCAADe
last changed 2002/09/09 17:19

_id ga9910
id ga9910
authors Mottram, Chiron and Penn, Alan
year 1999
title Slugfest
source International Conference on Generative Art
summary This paper describes the creation of interactive and responsive digital art. By adding a message handling interpreter to SGI's Performer software we have created a medium within which interactions between virtual objects and interactions with the user are made possible. By making objects within the medium responsive to each other it is possible to create emergent effects. By making the medium responsive to the user the viewer is more intimately involved in the artwork. However, at the same time this requires the artist to work with the intrinsic properties of emergence in the system to and to develop the audience relationship by means of involvement in a manner more akin to performance than the plastic arts.The use of virtual reality allows the creation of a profusion of different forms and behaviours not possible in conventional plastic media. The aesthetic of these forms can be governed in two ways, either by in built rules or by direct intervention by the artist/audience persona. The built in rules can be changed dynamically as can the objects' actions as mediated by the viewer's intervention. Underlying this is the aesthetic produced by the machinery of the computer, which can both impede and improve this process, this is the illusion of 3D provided by the Performer libraries in conjuction with the SGI box, and the many constraints implied by this. As such we are also limited by the input devices, though the mouse has now almost become synonymous with the pen, as a means by which our interaction with computer is governed. The paper describes a series of pieces which explore the boundaries of generated and evolving artworks in which kinetics and morphogenesis are integral to investigations of social interaction between virtual performers.
series other
last changed 2003/08/07 15:25

_id 3033
authors Oxman, R., Golan, E., Nir, E. and Brainin, D.
year 1999
title Schema Emergence in Collaborative Design
source CAADRIA '99 [Proceedings of The Fourth Conference on Computer Aided Architectural Design Research in Asia / ISBN 7-5439-1233-3] Shanghai (China) 5-7 May 1999, pp. 215-224
summary In this paper, we report on work in which media environments are developed to support schema emergence in collaborative design. We present a conceptual framework to support the cognitive phenomena of emergence in CAAD environment. First, we introduce and present a cognitive conception of schema emergence in design. We then discuss our computational model of schema emergence. Based upon this model we propose a conceptual framework to support emergence in collaborative design. Finally, the potential of the present implementation and the computational tools which support the approach are discussed .
series CAADRIA
last changed 2003/05/17 07:54

_id 0e79
authors Oxman, Rivka
year 1999
title Visual Emergence in Creative Collaboration
source Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 357-363
summary A conceptual framework to support creative collaboration in a Web-based design environment is proposed and discussed. We demonstrated this approach in our work on visual emergence. First, our model of visual emergence of design schema is presented. Following, a conceptual framework to support this model in CAAD environment is developed and introduced. Finally, a web-based computational environment is presented. One that may support visual emergence as part of a creative collaboration process.
keywords Web Design, Collaborative Design, Visual Design, Design Thinking, Visual Emergence
series eCAADe
last changed 1999/10/10 12:53

_id c05b
authors Senagala, M.
year 1999
title An Epistemological and Systems Approach to Digital Technology Integration in Architectural Curriculum
source Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 16-26
summary Architectural institutions around the world have been faced with the question of digital technology integration for the last one decade. Numerous attempts have been made by those institutions to utilize and harness the new technology by trial and error methods. Although much has been said and done about the computer as a tool and a medium, there is a great paucity of well-considered and holistic theoretical frameworks that have been successfully applied in architectural curricula. The emergence of digital technology as an environment and as an overarching system has NOT been a much understood or acknowledged fact. This lack of systemic wisdom, in the digital technology integration process, is always punished by the system. In this paper, I intend to 1.) Outline the epistemological, philosophical, pedagogical and operational issues of digital technology integration efforts undertaken at Kansas State University. 2.) Meditate a systemic and holistic framework of principles, paradigms, proposals and strategies from a systems point of view that could be applied at other educational institutions. In contradistinction to the analytical, hierarchical and prosthetic approaches frequently adapted by the architectural institutions, I propose a systems approach and an ecological paradigm to understand and comprehensively integrate digital technology with architectural curricula. While many of the ideas brought under the framework may not be new, the framework itself is a new proposition. The framework draws heavily from Jean-François Lyotard’s postmodern pedagogical work, Deleuze and Guattari’s post-structural notions of “rhizome”, and Gregory Bateson’s expositions of ecological and systems approach.
series ACADIA
last changed 1999/12/02 07:48

_id ascaad2007_025
id ascaad2007_025
authors Speed, C.
year 2007
title A Social Dimension to Digital Architectural Practice
source Em‘body’ing Virtual Architecture: The Third International Conference of the Arab Society for Computer Aided Architectural Design (ASCAAD 2007), 28-30 November 2007, Alexandria, Egypt, pp. 291-304
summary In 1995 the first in a series of three books were published by Academy Editions, that have since become a vivid handbook that documents how designers responded to the development of architectural drawing applications and the growth of the internet, to establish a form of digital architecture. Offering dramatic images and emotive texts, many of the architects and designers featured in these books deeply affected the perception of digital architecture’s mission by students and elements of the design community. Concentrating upon how to resolve the view that time and space are separate dimensions, and the immersive and dematerial potentials of cyberspace, the developments of this ‘cyberromanticism’ (Coyne 1999) ultimately were not used to sustain digital architectural activity. This paper uses the Academy Editions series to understand how such a vivid aspect of digital architecture failed to fulfil its aspirations. The paper begins by establishing the premise for digital architecture through a link with mainstream architectures interest in the concept of shelter. Through a summary of the practical and theoretical methods outlined by the early designers within the series of publications, the paper demonstrates the critical potential of the field. However a summary of how the proliferation of early imagery fuelled a visual mannerism traces how the third Architects in Cyberspace publication represented a crisis in both identity and practice. The paper then identifies an opportunity for recovering the theoretical imperatives within digital architecture by reflecting upon the emergence of ‘interactive architectures’ use of a ‘social’ dimension that was previously hindered by the use of computer applications in early digital architecture. The paper closes with a reference to two of the authors practical projects that use social data to inform the generation of digital architecture.
series ASCAAD
last changed 2008/01/21 21:00

_id 9fd8
authors Wojtowicz Jerzy and Butelski, Kazimierz
year 1999
title Lessons from Distributed Design Practice
source Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 482-487
summary Parallel to the expansion of the internet, the acceptance of computerization in architectural practice is clearly evident. This paper signals the emergence of long-distance design collaborations over networks as a pragmatic condition of contemporary design practice, and reports on several successful design projects conceived under these new circumstances. Experiences from these projects were important in formulating both the limits and opportunities derived from the distributed design condition.
keywords Design Collaboration, VDS, Networks
series eCAADe
last changed 1999/10/10 12:53

_id avocaad_2001_17
id avocaad_2001_17
authors Ying-Hsiu Huang, Yu-Tung Liu, Cheng-Yuan Lin, Yi-Ting Cheng, Yu-Chen Chiu
year 2001
title The comparison of animation, virtual reality, and scenario scripting in design process
source AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary Design media is a fundamental tool, which can incubate concrete ideas from ambiguous concepts. Evolved from freehand sketches, physical models to computerized drafting, modeling (Dave, 2000), animations (Woo, et al., 1999), and virtual reality (Chiu, 1999; Klercker, 1999; Emdanat, 1999), different media are used to communicate to designers or users with different conceptual levels¡@during the design process. Extensively employed in design process, physical models help designers in managing forms and spaces more precisely and more freely (Millon, 1994; Liu, 1996).Computerized drafting, models, animations, and VR have gradually replaced conventional media, freehand sketches and physical models. Diversely used in the design process, computerized media allow designers to handle more divergent levels of space than conventional media do. The rapid emergence of computers in design process has ushered in efforts to the visual impact of this media, particularly (Rahman, 1992). He also emphasized the use of computerized media: modeling and animations. Moreover, based on Rahman's study, Bai and Liu (1998) applied a new design media¡Xvirtual reality, to the design process. In doing so, they proposed an evaluation process to examine the visual impact of this new media in the design process. That same investigation pointed towards the facilitative role of the computerized media in enhancing topical comprehension, concept realization, and development of ideas.Computer technology fosters the growth of emerging media. A new computerized media, scenario scripting (Sasada, 2000; Jozen, 2000), markedly enhances computer animations and, in doing so, positively impacts design processes. For the three latest media, i.e., computerized animation, virtual reality, and scenario scripting, the following question arises: What role does visual impact play in different design phases of these media. Moreover, what is the origin of such an impact? Furthermore, what are the similarities and variances of computing techniques, principles of interaction, and practical applications among these computerized media?This study investigates the similarities and variances among computing techniques, interacting principles, and their applications in the above three media. Different computerized media in the design process are also adopted to explore related phenomenon by using these three media in two projects. First, a renewal planning project of the old district of Hsinchu City is inspected, in which animations and scenario scripting are used. Second, the renewal project is compared with a progressive design project for the Hsinchu Digital Museum, as designed by Peter Eisenman. Finally, similarity and variance among these computerized media are discussed.This study also examines the visual impact of these three computerized media in the design process. In computerized animation, although other designers can realize the spatial concept in design, users cannot fully comprehend the concept. On the other hand, other media such as virtual reality and scenario scripting enable users to more directly comprehend what the designer's presentation.Future studies should more closely examine how these three media impact the design process. This study not only provides further insight into the fundamental characteristics of the three computerized media discussed herein, but also enables designers to adopt different media in the design stages. Both designers and users can more fully understand design-related concepts.
series AVOCAAD
last changed 2005/09/09 08:48

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