Cumincad : CUMINCAD Papers : Search Results

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

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Reformat results as: short short into frame detailed detailed into frame

_id	64c5
authors	De Mesa, A., Monedero, J., Redondo, E. and Regot, J.
year	1994
title	From Image Space to Model Space and Back Again
source	The Virtual Studio [Proceedings of the 12th European Conference on Education in Computer Aided Architectural Design / ISBN 0-9523687-0-6] Glasgow (Scotland) 7-10 September 1994, pp. 60-68
doi	https://doi.org/10.52842/conf.ecaade.1994.060
summary	The paper describes in detail a process of work consisting of merging a virtual model into a real image. This process implies three different kinds of operations: geometric restoration of the real scene, in 3D, from a photograph, rendering a virtual model under similar conditions as the photograph, and merging of the rendered image with the original image. The paper empasises quality and visual precision of results together with a semiautomatization of the entire process. It also refers critically these three different groups of operations to their theoretical background. It concludes with an evaluation of the work from the point of view of architectural visual analysis and from the point of view of architectural visual analysis and from the point of view of a general design methodology.
series	eCAADe
last changed	2022/06/07 07:56

_id	a743
authors	Laing, L. and Kraria, H.
year	1994
title	CAD as an Interface for Integrated Collaborative Design
source	The Virtual Studio [Proceedings of the 12th European Conference on Education in Computer Aided Architectural Design / ISBN 0-9523687-0-6] Glasgow (Scotland) 7-10 September 1994, p. 235
doi	https://doi.org/10.52842/conf.ecaade.1994.x.w5h
summary	In the traditional approach to building design, the designer (usually the architect) produces a design (often quite detailed)in blueprint before handing this to the next member of the design team (engineer) to superimpose the structure, services etc. Often this proves so impractical that the initial proposal has to be referred back to the architect for revision, and the process repeated - and this cycle may be repeated many times. Such routines arise in building design because designers find collaboration among themselves difficult to control, the task of design integration ultimately falling upon the construction manager or the contractor. This is the most common cause of problems arising during the execution of the project on site, causing a delays in the construction process, and building failures which might only be detected after occupancy. As a test-bed for addressing this problem, a system of coordinated files is proposed for use by design-students (with a working knowledge of AutoCAD) during a design project. The aim is to related data (CAD information) across all students working on the same project but developing different aspects. Participating students will be drawn from a range of design specialisms. Each member accessing the same information while developing different aspects (e.g. structure, services, and cost modelling). This goes beyond the conventional use of 'XREF' (cross-referenced drawings) and involves each member accessing and working with the same dataset - e.g. using different layers, co-ordination is easier and the data better integrated - there is thereby a reduction of the amount of repetition as the need to redraw information is eliminated. References or an initial data-set is set up by the tutor and available for reference at any stage of design project. The technological aspects to support collaborative work (and in particular the interaction process in design) is the main thrust of the undergraduate degree in Building Design Engineering at the University of Strathclyde.
series	eCAADe
email
last changed	2022/06/07 07:50

_id	da35
authors	Liu, Y.T.
year	1994
title	Some Phenomena of seeing shapes in design
source	Design Studies, v 16, n 3, pp. 367-385
summary	This paper is a look at some of the pyschological results that suggest how shape emergence manifest itself in the human mind. The first interesting result goes back to top down expectation guiding recognition. Some experimental suggest that it is easier (quicker) to recognize shapes which we have some alternate mental familiarity. (I.E. verbal, structural descriptions). So if we can easily say a shape then we can easily discern it as an emergent shape. The paper then goes on to discuss the definition of emergent subshapes and gives various authors definitions of what makes up and emergent shape. One interesting classification is the difference between explicit and implicit emergent shapes made by Mitchell. This difference amounts to a fine line between imagination and emergence. The results of an experiment between experienced and in-experienced designers is discussed. The results suggest that experienced designers are able to find more emergent shape than non experienced designers. From these results and from the opinions of others, the author goes on to specify 3 phenomena related to emergent recognition. The first is as above that it is easier to see shapes with which we are familiar. Second from this, the harder shapes are found after the initial period. Third, from the first two, time is required to find more subshapes. The author then searches for an explanation of this phenomena. He suggests that the underlying cause is related to an experience person having a lower threshold of what it is to be a member of a shape. When seeing an L shape the experienced design is likely to consider it also a square, because his requirement for the set of features which must be present for some object to be a considered a square is a smaller set than the inexperienced. While the author suggests that this is a phenomena it is actually an hypothesis. An alternate hypothesis may be that top down inhibitions effect the bottom up performance of the inexperienced design more because of different representation.
series	journal paper
email
last changed	2003/04/23 15:14

_id	de3b
authors	Welch, W. and Witkin, A.
year	1994
title	Free-Form Shape Design Using Triangulated Surfaces
source	Computer Graphics, no. 28, pp. 247-256
summary	We present an approach to modeling with truly mutable yet completely controllable free-form surfaces of arbitrary topology. Surfaces may be pinned down at points and along curves, cut up and smoothly welded back together, and faired and reshaped in the large. This style of control is formulated as a constrained shape optimization, with minimization of squared principal curvatures yielding graceful shapes that are free of the parameterization worries accompanying many patch-based approaches. Triangulated point sets are used to approximate these smooth variational surfaces, bridging the gap between patch-based and particle-based representations. Automatic refinement, mesh smoothing, and re-triangulation maintain a good computational mesh as the surface shape evolves, and give sample points and surface features much of the freedom to slide around in the surface that oriented particles enjoy. The resulting surface triangulations are constructed and maintained in real time.
series	journal paper
last changed	2003/04/23 15:50

_id	1262
authors	Alshawi, M.
year	1994
title	A run time exchange of component information between CAD and object models: A standard interface
source	The Int. Journal of Construction IT 2(2), pp. 37-52
summary	Integrated computer aided design could only occur in engineering once CAD systems could represent physical features and components rather than graphical primitives. In most dedicated CAD systems, the knowledge of a complete component exists only for the duration of each drawing command and the data stored in the database is simply a set of graphic primitives. This paper proposes an approach for real time information transfer from and to CAD systems based on a high level object representation of the design drawing. Drawing components are automatically identified and represented in an object hierarchy that reflects the 'part-of' relation between the various components including building spaces. Such hierarchies transfer an industry standard CAD system i.e. AutoCAD, into a high level object oriented system that can communicate with external applications with relative ease.
series	journal paper
last changed	2003/05/15 21:45

_id	ddss9410
id	ddss9410
authors	Bodum, Lars
year	1994
title	Hypermedia-aided GIS in Urban Planning
source	Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary	Town planning in Denmark is undergoing major changes from a planning approach focusing on regulation and individual frameworks for town districts, to a planning approach emphasizing the urban characteristics and drawing overall guidelines for planning. At the same time, attention has shifted to urban renewal and urban remodelling. This means that more qualitative data are needed.These new data types such as digital film, are to form part of a future GIS for the town. The digital film will change the impression of what data can profitably be used in a GIS. Even animations and 3D models, which were previously processed with considerable data power can beplayed as digital films. In the course of the next few years, the most ordinary applications will be able to play digital films and together with the progress made in other media, a development towards hypermedia will be a possibility. The paper will give some examples of how this integration may be carried out. In continuation of the preparation of a municipality atlas and in connection with an EC-subsidized urban renewal project, the municipality of Aalborg has chosen to work outa digital catalog which will in time replace the present local planning regulations.
series	DDSS
email
last changed	2003/08/07 16:36

_id	e751
id	e751
authors	Clayton, M.J., Kunz, J.C., Fischer, M.A. and Teicholz, P.
year	1994
title	First Drawings, Then Semantics
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 13-26
doi	https://doi.org/10.52842/conf.acadia.1994.013
summary	The Semantic Modeling Extension (SME) prototype implements a unique approach to integrated architectural CAD that places the drawing act first in the design process. After drawing a design idea using a computer graphic system, the designer interprets the design, providing semantic content to the graphic entities. An interpretation expresses the meaning of the design with respect to a particular issue, such as structural sufficiency, energy consumption, or requirements for egress, and provides reasoning to evaluate the design addressing that issue. A design may have many interpretations to express the multiple issues that are relevant in a design project. The designer may add or delete interpretations of the design as issues change during the course of the project. Underlying the SME prototype are the concepts of form, function and behavior. In the prototype, evaluation of a design is done by deriving behavior from the graphically represented forms and relating the behavior to stated functions or requirements. The concepts of interpretations and form, function and behavior together establish a virtual product model for design. In contrast to component based approaches to product modeling that tightly bind form representations to their behavior and function, a virtual product model allows the designer to manipulate the relations among these three descriptors of a design, and thus manipulate the semantics of the design entities. By distinguishing between the act of proposing a design by drawing the conceived form and the act of assigning meaning to the form, the virtual product model approach supports both graphic thinking for design synthesis and symbolic reasoning for design evaluation. This paper presents a scenario of the use of the SME prototype in building design; provides an analysis of the design process and computational support described in the scenario; contrasts a virtual product model approach with a component-oriented product model approach; describes the software implementation of SME; and presents implications and conclusions regarding design process and technical integration.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	412e
authors	Gross, M.D., Do, E. and McCall, R.J.
year	1997
title	Collaboration and Coordination in Architectural Design: approaches to computer mediated team work
source	TeamCAD 97, 17-23
summary	In 1993 and 1994, instructors and students of architecture at several universities around the world* collaborated briefly on two "virtual design studio" projects. Using off-the-shelf technology of the time-email, CU-See-Me internet video, international conference calls, and exchange of CAD drawings, images, and Quicktime animations-this ambitious project explored the possibility of bringing together diverse members of an international design team together to collaborate on a short term (two week) project. Central to the "Virtual Design Studio" was a 'digital pinup board', an area where participating designers could post and view drawings and textual comments; video links and email exchange provided the media for direct communication media about designs. A report on the project [21] makes clear that the process was not without technical difficulties: a significant amount of communication concerned scheduling and coordinating file formats; disappointingly little was devoted to discussions of design issues. Although it's clear that many of the minor technical problems that inevitably plague a forward-looking effort like the Virtual Design Studio will be solved in the near term, the project also reveals the need for research on software and design practices to make computer mediated design collaboration realize its attractive promise.
series	journal paper
email
last changed	2003/04/23 15:50

_id	a163
authors	Gross, Mark D.
year	1994
title	The Fat Pencil, the Cocktail Napkin, and the Slide Library
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 103-113
doi	https://doi.org/10.52842/conf.acadia.1994.103
summary	The paper describes recent explorations in sketch recognition and management to support architectural design. The exploration and decisionmaking of early, conceptual design is better suited to freehand drawing, sketching, and diagramming than to the hard-line drawing and construction kit approaches of traditional CAD. However, current sketch programs that simulate paper and pencil fail to take advantage of symbolic manipulation and interactive editing offered by computational environments. The paper presents a computer as cocktail napkin' program, which recognizes and interprets hand-drawn diagrams and provides a graphical search facility, simulated tracing paper, and a multi-user shared drawing surface. The cocktail napkin is the basis of Stretch-A-Sketch, a constraint-based draw program that maintains spatial relations initially specified by a diagram. The cocktail napkin program is also the basis for a query-by-diagram scheme to access a case-based design aid as well as a small collection of images of famous buildings. The paper briefly reviews these extensions of the cocktail napkin program.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	26b4
authors	Harfman, Anton and Frazer, Michael J. (Eds.)
year	1994
title	Reconnecting [Conference Proceedings]
source	ACADIA Conference Proceedings / ISBN 1-880250-03-9 / Washington University (Saint Louis / USA) 1994, 232 p.
doi	https://doi.org/10.52842/conf.acadia.1994
summary	This book captures and binds disparate streams of information in a single volume and attempts to reconnect us to the experience of architecture through holding a book in our hands. Just as architecture uses the connections among the dissimilar as the sites for design intervention and invention, the content of this book attempts to connect the objective processes that are characteristic of computers with the subjective processes that are characteristic of creativity. The chosen format juxtaposes technical work in the first half with pedagogical explorations in the second half. By recognizing their differences and separating them from each other, the process of reconnecting can occur. Within both the technical and pedagogical sections, a continuous stream of information connects the papers across the bottom of the page. Against the technical papers, we have placed the keynote paper by Professor Paul Laseau. Against the pedagogical papers, we have placed a drawing done by Trent Tesch that is a visual interpretation of cyberspace based on the novel, Neuromancer, by William Gibson. While turning these pages, consider the accidents that take place through the juxtaposition of streams of thought sharing a single page.
series	ACADIA
email
more	http://www.acadia.org
last changed	2022/06/07 07:49

_id	0726
authors	Kadysz, Andrzej
year	1994
title	CAD the Tool
source	The Virtual Studio [Proceedings of the 12th European Conference on Education in Computer Aided Architectural Design / ISBN 0-9523687-0-6] Glasgow (Scotland) 7-10 September 1994, p. 212
doi	https://doi.org/10.52842/conf.ecaade.1994.x.k7r
summary	What is the role of CAAD as a tool of architectural form creation ? We used to over-estimate the role of computer as significant factor of design process. In fact it serves only to produce technical documentation and to visualise designed buildings. We usually use CAAD to record ideas, not to create designs. We use it like more complex pencil. But it is unsuitable for conceptual design , with imperceptible influence on idea definition. Its practical usefulnes is limited. I would like to consider and find out reasons of that state, present some conclusions and ideas on computer aided architectural form creation. Many tools were invented to extend posibilities of human body or intellect. Microscop and telescop are extensions of human eye. Which organ is extended by computer (especially by CAAD)? CAAD with high developed function of visualising of the object beeing designed seems to be an extension of architect's imagination. It is beeing used to foresee visual efects, to check designed forms, to see something what we are not able to imagine. It performes the role of electronic modeler. Real model and virtual model - the medium of presentation is diferent but ways of using them are similar . Dislocation of place where we build model is not a big achievement, but potential possbilities of CAAD in modeling are almost unlimited (?). What are special features of CAAD as a modeling tool? First we have to consider what is indispensible when building a model: to embody idea. To do this we need space, substance and tools. In architectural design practice space is a real site with definite climate, neigbourhood, orientation. Substance that we shape is an archiectural form composed of many difrent elements: walls, windows, roof, entry, ... , proportions, rhythm, emotions, impresions... The tool is: our knowledge, imagination, talent, experience, norms, law and drawing equipment. Working with the computer, making virtual model, we have many of mentioned elements given in structure of CAAD program and interpreted by it. But many of them have different character. Making traditional dummy of building we operate on reality which is manually accessible. In case of computer model we operate on information. Space, substance and tool (- program) are informations, data. Human being is not an abstract data processor, but creature that lives non stop in close, direct, sensual contact with nature. By this contact with enviroment collects experiences. Computer can operate on digital data that is optionally selected and given by user, independent upon enviromental conditions. Usually architecture was created on basis of enviroment, climate, gravity. But these do not exist in CAAD programs or exist in the symbolic form. Character of these conditions is not obvious. We can watch demeanour of objects in gravity but it can be also antigravity. In theory of systems everything is considered as a part of biger system. In "virtual" reality (in computer space) we deal with accurences which are reduced to abstract level, free upon terms or connections. We work with our CAAD software using geometric space whithout any other principle.
series	eCAADe
last changed	2022/06/07 07:50

_id	ddss9457
id	ddss9457
authors	Kubota, Y., Yoshikawa, M. and Masaki, E.
year	1994
title	Development of an Expert Cad System for Visual Design of a Bridge in a Landscape
source	Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary	Architects, landscape architects and urban designers are often required to be involved in the process of bridge design from an aesthetic point of view. The authors have been developing a comprehensive CAD system to support such visual design works, especially at an early stage of design. Conventional complicated technical standards and guidelines tend to discourage creative design. In order to support free conception and creation of bridge forms, this system includes a visual design core system as a workshop, even enabling freehand sketch drawing on existing landscape images of the site. This is supported by a landscape simulation subsystem. The system can also provide initial design ideas with several different types of bridge form, derived from knowledge based subsystems on design guidelines and precedent examples which can be quoted also to examine the physical possibility of sketch drawn alternatives in terms of structural dimensions and construction costs. Created design alternatives will be analyzed by a visual impact analysis subsystem to assess their influences on surrounding environments from a visual geometri-cal standpoint. This system is intended to enable architects, landscape architects or urban designers to create and examine design alternatives on a real-time basis.
series	DDSS
last changed	2003/08/07 16:36

_id	e3ac
authors	Kvan, Thomas
year	1994
title	Reflections on Computer Mediated Architectural Design
source	IEEE Transactions on Professional Communication, Vol 37 number 4, December 1994, pp. 226-230
summary	The application of computer tools to mediating and promoting collaborative design efforts between mutually distant parties has become feasible. Technology is again ahead of practice and problems of assimilation have only begun to be explored. This paper postulates some requirements of environments for computer mediated collaborative design in architectural practice; drawing upon experiences of design collaboration between schools of architecture in three continents; supplementing these with enquiries into design excellence in practice
keywords	CSCW; Professional Practice; Architectural Design; Computer-Aided Design
series	other
email
last changed	2002/11/15 18:29

_id	ddss9460
id	ddss9460
authors	Lee, Bing-Huei
year	1994
title	Graphic Data Comprehension In Design Thinking
source	Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary	There exist several kinds of data qualities when we see a graphic. In such a procedure, we rarely describe all the qualities by language. This is an interesting phenomenon. We are doing something that we understand but we cannot tell when we are thinking or drawing a graphic. A problem like this touches the central point related to the understanding of drawing in design. It is the purpose of this study. A series of experiments is conducted to compare two sets of data: design by drawing and design without drawing. The major result of this experiment is that the type without drawing contains less design contents and is easy to reassemble. The drawing type contains much richer design contents which easily disappeared when reassembled through the descriptions. We believe there exist two major characters of visual data: nameable and unnameable. Nameable data may be designed and communicated without drawing. For the unnameable one, we may proceed when its qualities show out. According to this study, we conclude that the mental representation of visual data is basically prepositional rather than picture-like. But, in design procedures, the picture-like one may appear when the figure comes out of the mental world, with lots of unnameable qualities.
series	DDSS
last changed	2003/08/07 16:36

_id	ddss9471
id	ddss9471
authors	Oxman, Robert
year	1994
title	The Reflective Eye: Visual Reasoning in the Sketch
source	Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary	Despite recent advances in our understanding of design thinking, we still lack a comprehensive theoretical approach to cognitive processes in design and particularly to visual reasoning. Of scientific interest in its own right, understanding non-verbal reasoning is also relevant to a wide range of subjects in the area of visual data resources for designers. This paper presents research into visual reasoning through the study of cognitive acts and processes associated with design drawing. Employing case studies in the design sketch, a vocabulary is defined for describing phenomena of visual reasoning in design as they are revealed in the sketch. Classes of reasoning processes are proposed as strings of graphic acts of state transformation. A theoretical schema is developed which relates the individual act of visual reasoning manifested in the sketch, of sketch sequences, with larger global cognitive phenomena such as analogical or associative reasoning in design. Based upon this schema, a symbol system for these acts and processes is proposed as a coding technique in the observation, analysis and recording of non-verbal processes in design.
series	DDSS
email
last changed	2003/08/07 16:36

_id	61a4
authors	Parsons, Peter W.
year	1994
title	Craft and Geometry in Architecture: An Experimental Design Studio Using the Computer
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 171-176
doi	https://doi.org/10.52842/conf.acadia.1994.171
summary	Craft is one of the main aspects of architecture that accounts for its strong corporeal presence. The Computer used as a geometry machine lacks such tectonics. The predominant means for bringing a sense of materiality to its geometric constructions is through rendering, and in this respect the computer is not significantly different from geometric drawing. One need only recall the beautifully rendered drawings of the Beaux-Arts for a comparison. With the rise of modern architecture such 'paper' architecture was voraciously denounced in the cause of relating architectural production more closely with crafted production. Even now the interest in craft has persisted despite postmodern criticism. Therefore, a means for bringing a greater sense of craft to computer-aided design seems desirable. The architectural studio discussed in this paper was initiated partly for this purpose by intentionally confronting the computer's proclivity to move its users away from craft toward geometry, while at the same time taking advantage of its capabilities as a geometry machine. Craft can best be understood by practicing it. Consider, for example, the use of a chisel in woodwork. As one applies force with it, one can feel the resistance of the material. Carving with the grain feels differently than carving against or across it. Carving a piece of maple feels differently than carving a piece of pine. If one presses too hard on the chisel or does not hold it at the precise angle, there is a great risk of creating an unwanted gouge. Gradually with practice the tool feels as if it is an extension of the hand that holds it. it becomes an extension of the body. One can feel the physical qualities of the wood through it. Like a limb of the body its presence can become transparent and one can learn about what one feels through it. It can imprint a memory in the mind that comes to the brain, not through the eyes alone, but through the tactile senses. On the other hand it is tiring to use a chisel for an extended period of time. One's body begins to ache and, as the body tires, the risks of making an unwanted mistake increase. Furthermore, because a tool becomes wedded to the body, it is almost impossible to use more than one tool at a time unless they are being used in conjunction with one another as one might use two limbs of the body together. On a computer one can never 'feel' an object, the image of which is on the screen, in the same manner that one can feel with a chisel the material upon which one is working. One becomes particularly aware of this when creating a 3D computer model of a hand tool. One wants to hold it, not just look at it. Thus the artifice of the object created by means of the computer becomes very apparent, because the 'tool' has not yet taken on the qualities of a tool, although it has taken on the appearance of one.
series	ACADIA
last changed	2022/06/07 07:59

_id	db56
authors	Robbins, E.
year	1994
title	Why Architects Draw
source	The MIT Press, Cambridge, Massachusetts
summary	For nearly twenty years Edward Robbins, an anthropologist, has been studying and writing about the system of architectural education and practice in the United States and abroad. In this book he examines the social uses of architectural drawing: how drawing acts to direct both the conception and the production of architecture; how it helps architects set an agenda, define what is important about a design, and communicate with their colleagues and clients; and how it embodies claims about the architect's role, status, and authority. The centerpiece of Robbins's provocative investigation consists of case study narratives based on interviews with nine architects, a developer-architect, and an architectural engineer. The narratives are illustrated by the architects' drawings from projects in Japan, England, Italy, Germany, Spain, Portugal, and the United States, from conception through realization. Included are orthographic and axonometric projections, perspectives, elevations, plans, sections, working drawings, sketches, schematics, construction, and finished drawings. Drawings and interviews with: Edward Cullinan, Spencer de Grey, Jorge Silvetti, Renzo Piano, Alvaro Siza, John Young, Itsuko Hasegawa, William Pedersen, Rafael Moneo, Rod Hackney, Peter Rice.
series	other
last changed	2003/04/23 15:14

_id	aca9
authors	Saund, E. and Moran, T.P.
year	1994
title	A Perceptually- Supported Sketch Editor
source	Proc. UIST 94, Marina del Rey, CA 175-184
summary	The human visual system makes a great deal more of images than the elemental marks on a surface. In the course of viewing, creating, or editing a picture, we actively construct a host of visual structures and relationships as components of sensible interpretations. This paper shows how some of these computational processes can be incorporated into peneptuallysupported image editing tools, enabling machines to better engage users at the level of their own percepts. We focus on the domain of freehand sketch editors, such as an electronic whiteboard application for a pen-based computer. By using computer vision techniques to perform covert recognition of visual structure as it emerges during the course of a drawingkditing session, a perceptually supported image editor gives users access to visual objects as they are perceived by the human visual system. We present a flexible image interpretation architecture based on token grouping in a multiscale blackboard data structure. This organization supports multiple perceptual interpretations of line drawing data, domain-specific knowledge bases for interpretable visual structures, and gesture-based selection of visual objects. A system implementing these ideas, called Per-Sketch, begins to explore a new space of WYPIWYG (What Your Perceive Is What You Get) image editing tools.
series	other
last changed	2003/04/23 15:50

_id	ddss9482
id	ddss9482
authors	Schmitt, Gerhard N.
year	1994
title	Interaction with Architectural Cases in a Virtual Design Environment
source	Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary	The prime business of architecture is change through design. While most architects will welcome any tool which supports this activity with minimal effort, they will not embrace a tool which either seems to automate design or requires major efforts to understand and use. Conventional databases - be it in the form of books or computer applications - are normally in a serving function to support the activity of design and to provide reference. Visual databases have a long history in architecture in the form of drawings, photographs and, more recently, computer-captu-red or computer-generated images. Whereas the first computer-based image libraries closely followed the existing paradigm of existing paper-based libraries, new developments both in software and in computing media offer different opportunities. Knowledge-based and case-based descriptions of architectural features increasingly replace the traditional, passive representations. While in the past these images were subject to more or less random interpretations, the new computer-based images are only one representation of a model which includes many other aspects. The visual aspects of a building are thus no longer restricted to the finished drawing, but new representations of the abstractions of a building become possible. True and direct interaction with visually presented objects thus becomes a reality. The paper presents a prototype of a visual database in a virtual design environment in its critical aspects: (i) the architectural content and representation of such a database and the criteria for the cases in it, (ii) the enabling computing and software environment, and (iii) three practical applications. The prototype is presently being implemented in the Architectural Space Laboratory (ASL) in the Department of Architecture at ETh Zurich.
series	DDSS
email
last changed	2003/08/07 16:36

_id	9b9e
authors	Schofield , Simon
year	1994
title	Non-photorealistic rendering : A critical examination and proposed system
source	Middlesex University
summary	In the first part of the program the emergent field of Non-Photorealistic Rendering is explored from a cultural perspective. This is to establish a clear understanding of what Non-Photorealistic Rendering (NPR) ought to be in its mature form in order to provide goals and an overall infrastructure for future development. This thesis claims that unless we understand and clarify NPR's relationship with other media (photography, photorealistic computer graphics and traditional media) we will continue to manufacture "new solutions" to computer based imaging which are confused and naive in their goals. Such solutions will be rejected by the art and design community, generally condemned as novelties of little cultural worth ( i.e. they will not sell). This is achieved by critically reviewing published systems that are naively described as Non-photorealistic or "painterly" systems. Current practices and techniques are criticised in terms of their low ability to articulate meaning in images; solutions to this problem are given. A further argument claims that NPR, while being similar to traditional "natural media" techniques in certain aspects, is fundamentally different in other ways. This similarity has lead NPR to be sometimes proposed as "painting simulation" - something it can never be. Methods for avoiding this position are proposed. The similarities and differences to painting and drawing are presented and NPR's relationship to its other counterpart, Photorealistic Rendering (PR), is then delineated. It is shown that NPR is paradigmatically different to other forms of representation - i.e. it is not an "effect", but rather something basically different. The benefits of NPR in its mature form are discussed in the context of Architectural Representation and Design in general. This is done in conjunction with consultations with designers and architects. From this consultation a "wish-list" of capabilities is compiled by way of a requirements capture for a proposed system. A series of computer-based experiments resulting in the systems "Expressive Marks" and "Magic Painter" are carried out; these practical experiments add further understanding to the problems of NPR. The exploration concludes with a prototype system "Piranesi" which is submitted as a good overall solution to the problem of NPR. In support of this written thesis are : - * The Expressive Marks system * Magic Painter system * The Piranesi system (which includes the EPixel and Sketcher systems) * A large portfolio of images generated throughout the exploration
keywords	Computer Graphics; Visual Representation; Non-photorealistic Rendering; Natural Media Simulations Rendering; Post-processing
series	thesis:PhD
last changed	2003/02/12 22:37

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