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

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_id	ga9921
id	ga9921
authors	Coates, P.S. and Hazarika, L.
year	1999
title	The use of genetic programming for applications in the field of spatial composition
source	International Conference on Generative Art
summary	Architectural design teaching using computers has been a preoccupation of CECA since 1991. All design tutors provide their students with a set of models and ways to form, and we have explored a set of approaches including cellular automata, genetic programming ,agent based modelling and shape grammars as additional tools with which to explore architectural ( and architectonic) ideas.This paper discusses the use of genetic programming (G.P.) for applications in the field of spatial composition. CECA has been developing the use of Genetic Programming for some time ( see references ) and has covered the evolution of L-Systems production rules( coates 1997, 1999b), and the evolution of generative grammars of form (Coates 1998 1999a). The G.P. was used to generate three-dimensional spatial forms from a set of geometrical structures .The approach uses genetic programming with a Genetic Library (G.Lib) .G.P. provides a way to genetically breed a computer program to solve a problem.G. Lib. enables genetic programming to define potentially useful subroutines dynamically during a run .* Exploring a shape grammar consisting of simple solid primitives and transformations. * Applying a simple fitness function to the solid breeding G.P.* Exploring a shape grammar of composite surface objects. * Developing grammarsfor existing buildings, and creating hybrids. * Exploring the shape grammar of abuilding within a G.P.We will report on new work using a range of different morphologies ( boolean operations, surface operations and grammars of style ) and describe the use of objective functions ( natural selection) and the "eyeball test" ( artificial selection) as ways of controlling and exploring the design spaces thus defined.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 15:25

_id	ecaade2007_167
id	ecaade2007_167
authors	Dokonal, Wolfgang; Knight, Michael
year	2007
title	Digital Design Tools vs. Sketching in Design
source	Predicting the Future [25th eCAADe Conference Proceedings / ISBN 978-0-9541183-6-5] Frankfurt am Main (Germany) 26-29 September 2007, pp. 843-848
summary	This paper reports on and updates a research project which seeks to address two fundamental questions. Does the current breed of user friendly 3D CAAD software really enhance our design abilities when compared to more traditional techniques like sketching and how might the use of such software inform how we teach the new generation of architectural students. It furthermore summarizes the results of a web questionnaire that tries to find out the current main tools in the early design phases amongst architectural practitioners in two European countries.
keywords	Digital design, practice, early design stages
series	eCAADe
email	dokonal@tugraz.at, m.w.knight@liverpool.ac.uk
last changed	2007/09/16 15:55

_id	caadria2014_108
id	caadria2014_108
authors	Gokmen, Sabri
year	2014
title	"Tangle Jungle": An Experimental Project to Combine Collaboration and Craftsmanship in Digital Design Pedagogy
source	Rethinking Comprehensive Design: Speculative Counterculture, Proceedings of the 19th International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA 2014) / Kyoto 14-16 May 2014, pp. 13–22
summary	Tangle Jungle was an experiment in an alternative method of design and making for the digital age. The aim of the project was to interpret and reenact traditional craftmanship through today's digital tools. For a particular study on the subject, we looked at the theory and works of William Morris. Morris had an exceptional taste for medieval art and produced, among other things, hand-woven carpets that are still studied today. Morris reinvented the art of his time by reviving pre-industrial modes of production and designs. Today, the digital age is experiencing a similar paradigm shift. Digital tools already work, in many instances, as a direct extension of the hands of a new breed of digital artisan makers. It is possible to assess that the digital is getting closer to Morris's notion of craftsmanship. Tangle Jungle became a testing ground for this historical connection, bringing forth the question, can we redefine our own digital craftsmanship as a form of digitally reenacted Gothic revival?
keywords	William Morris; Craft, Fabrication; Digital Design; Gothic.
series	CAADRIA
email	sabrigokmen@gatech.edu
last changed	2014/04/22 08:23

_id	7e68
authors	Holland, J.
year	1992
title	Genetic Algorithms
source	Scientific America, July 1992
summary	Living organisms are consummate problem solvers. They exhibit a versatility that puts the best computer programs to shame. This observation is especially galling for computer scientists, who may spend months or years of intellectual effort on an algorithm, whereas organisms come by their abilities through the apparently undirected mechanism of evolution and natural selection. Pragmatic researchers see evolution's remarkable power as something to be emulated rather than envied. Natural selection eliminates one of the greatest hurdles in software design: specifying in advance all the features of a problem and the actions a program should take to deal with them. By harnessing the mechanisms of evolution, researchers may be able to "breed" programs that solve problems even when no person can fully understand their structure. Indeed, these so-called genetic algorithms have already demonstrated the ability to made breakthroughs in the design of such complex systems as jet engines. Genetic algorithms make it possible to explore a far greater range of potential solutions to a problem than do conventional programs. Furthermore, as researchers probe the natural selection of programs under controlled an well-understood conditions, the practical results they achieve may yield some insight into the details of how life and intelligence evolve in the natural world.
series	journal paper
last changed	2003/04/23 13:50

_id	62ad
authors	Kuan, L.P. and Hinds, John K.
year	1975
title	A New Breed of Geometry for Numerical Control-Surfaces Through General Curves
source	pp. 133- 169 : ill. (pp.144-169)
summary	Recent geometric developments in the CAM-I Sculptured Surface project show promising applications to the perplexing problems of describing blends and fillets for conventional geometric parts, as well as providing greatly increased capability in the expression of pure sculptured shapes. The new geometry -- named 'Surfaces Through General Curves' -- is integrated into both the APT processor and the CASPA preprocessor. The CASPA (acronym for Computer-Aided Sculptures Pre-APT) processor is discussed briefly. All graphics material for this presentation was prepared through the use of this preprocessor. The original purpose of this talk was to discuss a preprocessor to the APT system. This preprocessor -- CASPA -- was first released in July of 1975 and contains the majority of sculptured geometry combined with a graphics processor. The preprocessor has been a great success as a development tool and has also been used by a number of sponsors in design and manufacturing applications. The system has been so successful that the main theme of this talk had to be changed to cover the new geometric developments in Sculptured Surfaces which were made possible by having a development tool such as CASPA. So the first part of this talk will sketch an outline of CASPA and the second part will describe the concepts and applications for some of these new geometric developments. Briefly, the CASPA system was developed in response to a single critical requirement: the need to have a system, simpler and more flexible then the full APT system, for implementing and testing new developments in Sculptured Geometry. The CASPA system today contains all of the Sculptured Geometric capability together with an integrated and extensive 3-dimensional graphics capability. It is a single-pass processor with a very simple, fixed-format input and interfaces with APT by punching APT- readable canonical forms. it is also capable of generating APT readable 'GOTO' cards to accomplish numerical control pattern machining of geometric models
keywords	curves, curved surfaces, representation, computational geometry, CAM, mechanical engineering
series	CADline
last changed	2003/06/02 11:58

_id	caadria2016_755
id	caadria2016_755
authors	Loh, Paul; David Leggett and Timothy Cameron
year	2016
title	Smart assembly in digital fabrication: designing workflow
source	Living Systems and Micro-Utopias: Towards Continuous Designing, Proceedings of the 21st International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA 2016) / Melbourne 30 March–2 April 2016, pp. 755-764
summary	Digital fabrication project in academia has produced many grounds for experimentation. In recent years, techniques have also been tested extensively in practice within commercial project setting. This gives rise to an emerging breed of architectural practices whose work is increasingly centred on resolution of complex geometry to re- alizable projects. The resolution of parametrically driven design to production projects requires a different workflow, as often the com- pressed timeframe and budget requires the parametric model to cope with multiple streams of construction output as well as utilize the model in concurrent design processes. This paper examines a com- mercial project as case study to explore the abstraction, reduction and dissemination of information within a digital fabrication workflow. In this project, digital fabrication is deployed to reduce risk; mainly in manufacturing and its lead time. The research reveals how metadesign process at an early stage of the project can contribute to increase effi- ciency of the parametric model as well as delivering multiple streams of information for all the collaborators: architects, fabricators and builders. The team designed the assembly procedure into the paramet- ric workflow to facilitate off-site and on-site assembly. This is possi- ble through imbedding ‘smart’ detailing and structuring information with the workflow. The paper concludes by reflecting on the work- flow and asks if a metadesign driven fabrication workflow can create a more holistic approach to digital fabrication. The outcome of the case study is just one instance of the parametric machine that is devel- oped from an understanding of assembly process. This paper responds to the theme of continuous designing, through looking at digital fabri- cation as co-emergence of design procedure and practice.
keywords	Digital fabrication; construction; design workflow
series	CAADRIA
email	paul.loh@unimelb.edu.au
last changed	2016/03/11 09:21

_id	mourshedp503final
id	mourshedp503final
authors	Monjur M Mourshed, Denis Kelliher, Marcus Keane
year	2003
title	ArDOT: A tool to optimise environmental design of buildings
source	Building Simulation 2003 (Eighth IBPSA Conference). Eindhoven, Netherlands
summary	Environmental design of buildings involves ‘finding the optimum’ solution satisfying predefined objective(s) (e.g., reduction in operating/capital cost, maximisation of daylighting etc.). A number of computer based simulation models exist to assist professionals in finding this optimum through building performance assessment. Contemporary practices involving building simulation require enormous effort to prepare input, extract output, and visualize data, which restricts designers from realizing the full potentials offered. In most cases, rules of thumb are applied and experienced guesses are made; simulation software is used only to validate the assumptions, which do not necessarily lead to the intended optimum. Moreover, these tools have been developed as simulation engines, which is inadequate to visualize the compounded and interdependent effect of a large number of design variables. The authors believe that to realize the potential offered by building simulation software, a new breed of DBSs (Decision Based Systems) is needed coupling existing simulation engines with formal optimisation methods through neutral data standards (BPM – building product models) for seamless integration. This paper first elaborates on the previous attempts at solving integration issues related to the design process and simulation; also attempts at finding the limitations. Secondly, formulation of design problems as optimisation has been discussed with reference to the different stages of design. Thirdly, for effective integration of activities among stakeholders and processes, the use of client/ server oriented building product model has been proposed to overcome the limitations of file-based prototypes. Analysis and discussions based on the above aspects form as justification for ArDOT, an Architectural Design Optimisation Tool under development at IRUSE, National University of Ireland, Cork. Combining all three aspects into one makes ArDOT unique, which is essentially an enhanced decision making tool for the design of energy efficient buildings.
keywords	ArDOT, Architectural Design Optimisation, Building Energy Simulation, EnergyPlus
series	other
email	monjur@ecaad.com
last changed	2003/08/27 09:57

_id	1f6d
authors	Mourshed, M. M., Kelliher, D., Keane, M.
year	2003
title	Integrating building energy simulation in the design process
source	IBPSA News, Vol. 13, No. 1, pp. 21-26.
summary	To significantly increase building energy performance, the use of building simulation software at the earliest has been emphasized. Inherent complexity in data representation, I/O (Input and Output) and Visualization of available software requires specialist knowledge to leverage the potentials offered. Early stages of design are characterized by unstructured and incomplete data which is insufficient as inputs to software based on detailed representations of the systems in the building. Existing simulation software, developed in research organizations are targeted to be used by building services engineers at detailed stages and does not suit the purposes of design community. This article attempts at identifying the reasons behind unpopularity of simulation software in the early stages of design and also argues that a new breed of decision support systems is needed for energy efficient building design.
keywords	ArDOT; Energy Simulation; Integration; Environmental Design; Design Process
series	other
email	monjur@ecaad.com
last changed	2003/05/27 15:19

_id	lasg_whitepapers_2019_221
id	lasg_whitepapers_2019_221
authors	Oomen, Paul; Poul Holleman and Salvador Breed
year	2019
title	Integrating Sound in Living Architecture Systems; Application of 4DSOUND in Kinetic Sculpture and Architectural Design
source	Living Architecture Systems Group White Papers 2019 [ISBN 978-1-988366-18-0] Riverside Architectural Press: Toronto, Canada 2019. pp.221 - 234
summary	We elaborate on results of our collaborations with Philip Beesley and the Living Architecture Systems Group over the past year. Instead of additional layers of material, spatial sound interweaves meaningful fabric to sculptural form and living architecture. An architectural design now can be embedded within a sonic field (exterior), or spatial sound can form itself inside sculptural objects (interior). 4DSOUND has evolved in implementing irregular speaker setups to enhance sound projection and create applied instrumental possibilities of composing with spatial sound in the sculptural realm. We will further discuss developments regarding the integration of the 4DSOUND Engine to control other media like light, kinetics, and sensor interfaces. The paper will conclude with future research and objectives.
keywords	living architecture systems group, organicism, intelligent systems, design methods, engineering and art, new media art, interactive art, dissipative systems, technology, cognition, responsiveness, biomaterials, artificial natures, 4DSOUND, materials, virtual projections,
email	paul@4dsound.net
last changed	2019/07/29 12:02

_id	cd2e
authors	O’Reilly, T.
year	1999
title	Hardware, Software and Infoware
source	Di Bona, C., Ockman, S. Stone, M.: Open Sources. Voices from the Open Source Revolution, First Edition, Sebastopol, CA: O’Reilly Publishers
summary	I was talking with some friends recently, friends who don't own a computer. They were thinking of getting one so they could use Amazon.com to buy books and CDs. Not to use ``the Internet,'' not to use ``the Web,'' but to use Amazon.com. Now, that's the classic definition of a ``killer application'': one that makes someone go out and buy a computer. What's interesting is that the killer application is no longer a desktop productivity application or even a back-office enterprise software system, but an individual web site. And once you start thinking of web sites as applications, you soon come to realize that they represent an entirely new breed, something you might call an ``information application,'' or perhaps even ``infoware.'' Information applications are used to computerize tasks that just couldn't be handled in the old computing model. A few years ago, if you wanted to search a database of a million books, you talked to a librarian, who knew the arcane search syntax of the available computerized search tools and might be able to find what you wanted. If you wanted to buy a book, you went to a bookstore, and looked through its relatively small selection. Now, tens of thousands of people with no specialized training find and buy books online from that million-record database every day. The secret is that computers have come one step closer to the way that people communicate with each other. Web-based applications use plain English to build their interface -- words and pictures, not specialized little controls that acquire meaning only as you learn the software. Traditional software embeds small amounts of information in a lot of software; infoware embeds small amounts of software in a lot of information. The ``actions'' in an infoware product are generally fairly simple: make a choice, buy or sell, enter a small amount of data, and get back a customized result.
series	other
last changed	2003/04/23 13:50

_id	ga0026
id	ga0026
authors	Ransen, Owen F.
year	2000
title	Possible Futures in Computer Art Generation
source	International Conference on Generative Art
summary	Years of trying to create an "Image Idea Generator" program have convinced me that the perfect solution would be to have an artificial artistic person, a design slave. This paper describes how I came to that conclusion, realistic alternatives, and briefly, how it could possibly happen. 1. The history of Repligator and Gliftic 1.1 Repligator In 1996 I had the idea of creating an “image idea generator”. I wanted something which would create images out of nothing, but guided by the user. The biggest conceptual problem I had was “out of nothing”. What does that mean? So I put aside that problem and forced the user to give the program a starting image. This program eventually turned into Repligator, commercially described as an “easy to use graphical effects program”, but actually, to my mind, an Image Idea Generator. The first release came out in October 1997. In December 1998 I described Repligator V4 [1] and how I thought it could be developed away from simply being an effects program. In July 1999 Repligator V4 won the Shareware Industry Awards Foundation prize for "Best Graphics Program of 1999". Prize winners are never told why they won, but I am sure that it was because of two things: 1) Easy of use 2) Ease of experimentation "Ease of experimentation" means that Repligator does in fact come up with new graphics ideas. Once you have input your original image you can generate new versions of that image simply by pushing a single key. Repligator is currently at version 6, but, apart from adding many new effects and a few new features, is basically the same program as version 4. Following on from the ideas in [1] I started to develop Gliftic, which is closer to my original thoughts of an image idea generator which "starts from nothing". The Gliftic model of images was that they are composed of three components: 1. Layout or form, for example the outline of a mandala is a form. 2. Color scheme, for example colors selected from autumn leaves from an oak tree. 3. Interpretation, for example Van Gogh would paint a mandala with oak tree colors in a different way to Andy Warhol. There is a Van Gogh interpretation and an Andy Warhol interpretation. Further I wanted to be able to genetically breed images, for example crossing two layouts to produce a child layout. And the same with interpretations and color schemes. If I could achieve this then the program would be very powerful. 1.2 Getting to Gliftic Programming has an amazing way of crystalising ideas. If you want to put an idea into practice via a computer program you really have to understand the idea not only globally, but just as importantly, in detail. You have to make hard design decisions, there can be no vagueness, and so implementing what I had decribed above turned out to be a considerable challenge. I soon found out that the hardest thing to do would be the breeding of forms. What are the "genes" of a form? What are the genes of a circle, say, and how do they compare to the genes of the outline of the UK? I wanted the genotype representation (inside the computer program's data) to be directly linked to the phenotype representation (on the computer screen). This seemed to be the best way of making sure that bred-forms would bare some visual relationship to their parents. I also wanted symmetry to be preserved. For example if two symmetrical objects were bred then their children should be symmetrical. I decided to represent shapes as simply closed polygonal shapes, and the "genes" of these shapes were simply the list of points defining the polygon. Thus a circle would have to be represented by a regular polygon of, say, 100 sides. The outline of the UK could easily be represented as a list of points every 10 Kilometers along the coast line. Now for the important question: what do you get when you cross a circle with the outline of the UK? I tried various ways of combining the "genes" (i.e. coordinates) of the shapes, but none of them really ended up producing interesting shapes. And of the methods I used, many of them, applied over several "generations" simply resulted in amorphous blobs, with no distinct family characteristics. Or rather maybe I should say that no single method of breeding shapes gave decent results for all types of images. Figure 1 shows an example of breeding a mandala with 6 regular polygons: Figure 1 Mandala bred with array of regular polygons I did not try out all my ideas, and maybe in the future I will return to the problem, but it was clear to me that it is a non-trivial problem. And if the breeding of shapes is a non-trivial problem, then what about the breeding of interpretations? I abandoned the genetic (breeding) model of generating designs but retained the idea of the three components (form, color scheme, interpretation). 1.3 Gliftic today Gliftic Version 1.0 was released in May 2000. It allows the user to change a form, a color scheme and an interpretation. The user can experiment with combining different components together and can thus home in on an personally pleasing image. Just as in Repligator, pushing the F7 key make the program choose all the options. Unlike Repligator however the user can also easily experiment with the form (only) by pushing F4, the color scheme (only) by pushing F5 and the interpretation (only) by pushing F6. Figures 2, 3 and 4 show some example images created by Gliftic. Figure 2 Mandala interpreted with arabesques Figure 3 Trellis interpreted with "graphic ivy" Figure 4 Regular dots interpreted as "sparks" 1.4 Forms in Gliftic V1 Forms are simply collections of graphics primitives (points, lines, ellipses and polygons). The program generates these collections according to the user's instructions. Currently the forms are: Mandala, Regular Polygon, Random Dots, Random Sticks, Random Shapes, Grid Of Polygons, Trellis, Flying Leap, Sticks And Waves, Spoked Wheel, Biological Growth, Chequer Squares, Regular Dots, Single Line, Paisley, Random Circles, Chevrons. 1.5 Color Schemes in Gliftic V1 When combining a form with an interpretation (described later) the program needs to know what colors it can use. The range of colors is called a color scheme. Gliftic has three color scheme types: 1. Random colors: Colors for the various parts of the image are chosen purely at random. 2. Hue Saturation Value (HSV) colors: The user can choose the main hue (e.g. red or yellow), the saturation (purity) of the color scheme and the value (brightness/darkness) . The user also has to choose how much variation is allowed in the color scheme. A wide variation allows the various colors of the final image to depart a long way from the HSV settings. A smaller variation results in the final image using almost a single color. 3. Colors chosen from an image: The user can choose an image (for example a JPG file of a famous painting, or a digital photograph he took while on holiday in Greece) and Gliftic will select colors from that image. Only colors from the selected image will appear in the output image. 1.6 Interpretations in Gliftic V1 Interpretation in Gliftic is best decribed with a few examples. A pure geometric line could be interpreted as: 1) the branch of a tree 2) a long thin arabesque 3) a sequence of disks 4) a chain, 5) a row of diamonds. An pure geometric ellipse could be interpreted as 1) a lake, 2) a planet, 3) an eye. Gliftic V1 has the following interpretations: Standard, Circles, Flying Leap, Graphic Ivy, Diamond Bar, Sparkz, Ess Disk, Ribbons, George Haite, Arabesque, ZigZag. 1.7 Applications of Gliftic Currently Gliftic is mostly used for creating WEB graphics, often backgrounds as it has an option to enable "tiling" of the generated images. There is also a possibility that it will be used in the custom textile business sometime within the next year or two. The real application of Gliftic is that of generating new graphics ideas, and I suspect that, like Repligator, many users will only understand this later. 2. The future of Gliftic, 3 possibilties Completing Gliftic V1 gave me the experience to understand what problems and opportunities there will be in future development of the program. Here I divide my many ideas into three oversimplified possibilities, and the real result may be a mix of two or all three of them. 2.1 Continue the current development "linearly" Gliftic could grow simply by the addition of more forms and interpretations. In fact I am sure that initially it will grow like this. However this limits the possibilities to what is inside the program itself. These limits can be mitigated by allowing the user to add forms (as vector files). The user can already add color schemes (as images). The biggest problem with leaving the program in its current state is that there is no easy way to add interpretations. 2.2 Allow the artist to program Gliftic It would be interesting to add a language to Gliftic which allows the user to program his own form generators and interpreters. In this way Gliftic becomes a "platform" for the development of dynamic graphics styles by the artist. The advantage of not having to deal with the complexities of Windows programming could attract the more adventurous artists and designers. The choice of programming language of course needs to take into account the fact that the "programmer" is probably not be an expert computer scientist. I have seen how LISP (an not exactly easy artificial intelligence language) has become very popular among non programming users of AutoCAD. If, to complete a job which you do manually and repeatedly, you can write a LISP macro of only 5 lines, then you may be tempted to learn enough LISP to write those 5 lines. Imagine also the ability to publish (and/or sell) "style generators". An artist could develop a particular interpretation function, it creates images of a given character which others find appealing. The interpretation (which runs inside Gliftic as a routine) could be offered to interior designers (for example) to unify carpets, wallpaper, furniture coverings for single projects. As Adrian Ward [3] says on his WEB site: "Programming is no less an artform than painting is a technical process." Learning a computer language to create a single image is overkill and impractical. Learning a computer language to create your own artistic style which generates an infinite series of images in that style may well be attractive. 2.3 Add an artificial conciousness to Gliftic This is a wild science fiction idea which comes into my head regularly. Gliftic manages to surprise the users with the images it makes, but, currently, is limited by what gets programmed into it or by pure chance. How about adding a real artifical conciousness to the program? Creating an intelligent artificial designer? According to Igor Aleksander [1] conciousness is required for programs (computers) to really become usefully intelligent. Aleksander thinks that "the line has been drawn under the philosophical discussion of conciousness, and the way is open to sound scientific investigation". Without going into the details, and with great over-simplification, there are roughly two sorts of artificial intelligence: 1) Programmed intelligence, where, to all intents and purposes, the programmer is the "intelligence". The program may perform well (but often, in practice, doesn't) and any learning which is done is simply statistical and pre-programmed. There is no way that this type of program could become concious. 2) Neural network intelligence, where the programs are based roughly on a simple model of the brain, and the network learns how to do specific tasks. It is this sort of program which, according to Aleksander, could, in the future, become concious, and thus usefully intelligent. What could the advantages of an artificial artist be? 1) There would be no need for programming. Presumbably the human artist would dialog with the artificial artist, directing its development. 2) The artificial artist could be used as an apprentice, doing the "drudge" work of art, which needs intelligence, but is, anyway, monotonous for the human artist. 3) The human artist imagines "concepts", the artificial artist makes them concrete. 4) An concious artificial artist may come up with ideas of its own. Is this science fiction? Arthur C. Clarke's 1st Law: "If a famous scientist says that something can be done, then he is in all probability correct. If a famous scientist says that something cannot be done, then he is in all probability wrong". Arthur C Clarke's 2nd Law: "Only by trying to go beyond the current limits can you find out what the real limits are." One of Bertrand Russell's 10 commandments: "Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric" 3. References 1. "From Ramon Llull to Image Idea Generation". Ransen, Owen. Proceedings of the 1998 Milan First International Conference on Generative Art. 2. "How To Build A Mind" Aleksander, Igor. Wiedenfeld and Nicolson, 1999 3. "How I Drew One of My Pictures: or, The Authorship of Generative Art" by Adrian Ward and Geof Cox. Proceedings of the 1999 Milan 2nd International Conference on Generative Art.
series	other
email	owen@ransen.com
more	http://www.generativeart.com/
last changed	2003/08/07 15:25

_id	sigradi2009_1195
id	sigradi2009_1195
authors	Stewart, Tonya; Kevin Sweet
year	2009
title	Advanced Praxis: Synthesizing Digital and Craft in Design
source	SIGraDi 2009 - Proceedings of the 13th Congress of the Iberoamerican Society of Digital Graphics, Sao Paulo, Brazil, November 16-18, 2009
summary	Digital fabrication practices have allowed for a level of exactitude and precision unattainable by the designer’s hand. While the design community has benefited tremendously from developments in technology, certain qualities reflective of craft have been lost as a result of the overwhelming dependency on computer-based processes. In order to reinvigorate a sense of craft and personal expression into design, modalities of education must evolve to incorporate these characteristics with contemporary digital techniques. By combining craft, digital tools and collaborative efforts a new breed of designer will emerge – one that finds a personal voice in a globalized world. This paper outlines these issues as they were explored in an experimental design studio that focused on the integration of craft with digital fabrication methods that included both students of graphic design and architecture.
keywords	digital fabrication; cross-disciplinary; design pedagogy
series	SIGRADI
email	tstewart@aus.edu
last changed	2016/03/10 09:01

_id	21e9
authors	Wurman, R.S. (ed.)
year	1996
title	Information Architects
source	Graphic Press Ltd., Zurich, Switzerland
summary	There is a tsunami of data that is crashing onto the beaches of the civilized world. This is a tidal wave of unrelated, growing data formed in bits and bytes, coming in an unorganized, uncontrolled, incoherent cacophony of foam. None of it is easily related, none of it comes with any organization methodology. Now for the good news: There is a dune on the beach. There is a breakwater in the ocean that is clearly emerging in these last fleeting moments of the 20th century. The breakwater is indeed breaking up the tsunami of data and focusing it in a more organized way to answer our questions and concerns. There is a new breed of graphic designers, exhibition designers, illustrators and photographers, whose passion it is to make the complex clear. I call this new breed of talented thinkers Information Architects and this book was created to help celebrate and understand the importance of their work - a work which inspires hope that as we expand our capabilities to inform and communicate that we will value, with equal enthusiasm, the design of understanding.
series	other
last changed	2003/04/23 13:14

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