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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_id	sigradi2004_493
id	sigradi2004_493
authors	Jean-Pierre Chupin
year	2004
title	The "tectonic bug" (The fall of the body in cyberspace)
source	SIGraDi 2004 - [Proceedings of the 8th Iberoamerican Congress of Digital Graphics] Porte Alegre - Brasil 10-12 november 2004
summary	Architects have been opening up onto cyberspace for more than a decade now. In terms of disciplinary issues, at stake is our ability to inhabit this new space as .designers. and not just as spectators. In the mid 90s, two theories engaged in a major confrontation. The first valued the virtual dimension of architectural space (W. J. Mitchell, City of Bits, 1995), the other valued the tectonic dimension and its constructive poiesis (K. Frampton, Studies in Tectonic Culture, 1995). Although divergent in their view of architecture.s role in the future of our technological societies, both theories revealed aspects of our relationship to the contemporary body that were, and today remain, inseparable. Where Mitchell.s book clearly intends to establish cyberspace as a new playground for architects, giving convincing examples of the programmatic mutations of modern spatiality, Kenneth Frampton.s work, Studies in Tectonic Culture, reexamines the constructive culture underlying the modern conception of space. Neither a simple history text nor a collection of technical poetry, this latter work is a manifesto developing a set of materialist ethics for the discipline of architecture. This "rappel à lordre" to resist the increasing dematerialization of architecture closes tentatively with Le Corbusier.s classic metaphor of the acrobat: The architect, he said, must not look for truth in extremes. Rather, he must struggle constantly to maintain balance. .Nobody asked him to do this. Nobody owes him any thanks. He lives in the extraordinary world of the acrobat.. Following Le Corbusier.s advice, and in consideration of current and recurrent tensions between the virtual and the tectonic, what can we say today of such a delicate equilibrium?
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	e100
authors	Bermudez, Julio and King, Kevin
year	1995
title	Architecture in Digital Space: Actual and Potential Markets
source	Computing in Design - Enabling, Capturing and Sharing Ideas [ACADIA Conference Proceedings / ISBN 1-880250-04-7] University of Washington (Seattle, Washington / USA) October 19-22, 1995, pp. 405-423
doi	https://doi.org/10.52842/conf.acadia.1995.405
summary	As both the skepticism and 'hype' surrounding electronic environments vanish under the weight of ever increasing power, knowledge, and use of information technologies, the architectural profession must prepare for significant expansion of its professional services. To address the issue, this paper offers a survey of the professional services architects and designers do and may provide in digital space, and who the potential clients are. The survey was conducted by interviews with software developers, gaming companies, programmers, investigators, practicing architects, faculty, etc. It also included reviews of actual software products and literary research of conference proceedings, journals, books and newspapers (i.e. articles, classified ads, etc.). The actual and potential markets include gaming and entertainment developments, art installations, educational applications, and research. These markets provide architects the opportunity to participate in the design of 3D gaming environments, educational software, architecture for public experience and entertainment, data representation, cyberspace and virtual reality studies, and other digital services which will be required for this new world. We will demonstrate that although the rapidly growing digital market may be seen by some to be non-architectural and thus irrelevant to our profession, it actually represents great opportunities for growth and development. Digital environments will not replace the built environment as a major architectural market, but they will significantly complement it, thus strengthening the entire architectural profession.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	c05a
authors	Bridges, Alan
year	1995
title	Design Precedents for Virtual Worlds
source	Sixth International Conference on Computer-Aided Architectural Design Futures [ISBN 9971-62-423-0] Singapore, 24-26 September 1995, pp. 293-302
summary	The usual precedents cited in relation to Cyberspace are William Gibson's book "Neuromancer" and Ridley Scott's film. "Bladerunner". This paper argues that, whilst literature and film are appropriate precedents, there are more suitable sources to refer to when designing virtual worlds. The paper discusses the use of computer modelling in exploring architectonic concepts in three-dimensional space. In doing so it draws on the philosophy of simulation and gives examples from alternative film and literature sources but concludes that one of the most appropriate metaphors is widely available in the form of the television soap opera.
keywords	Design Simulation, Space, Time, Virtual Reality
series	CAAD Futures
email
last changed	2003/11/21 15:16

_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
email
last changed	2008/01/21 22:00

_id	4d18
authors	Turkle, S.
year	1995
title	Life on the Screen: identity in the age of the Internet
source	New York: Simon & Shuster
summary	Sherry Turkle is rapidly becoming the sociologist of the Internet, and that's beginning to seem like a good thing. While her first outing, The Second Self: Computers and the Human Spirit, made groundless assertions and seemed to be carried along more by her affection for certain theories than by a careful look at our current situation, Life on the Screen is a balanced and nuanced look at some of the ways that cyberculture helps us comment upon real life (what the cybercrowd sometimes calls RL). Instead of giving in to any one theory on construction of identity, Turkle looks at the way various netizens have used the Internet, and especially MUDs (Multi-User Dimensions), to learn more about the possibilities available in apprehending the world. One of the most interesting sections deals with gender, a topic prone to rash and partisan pronouncements. Taking as her motto William James's maxim "Philosophy is the art of imagining alternatives," Turkle shows how playing with gender in cyberspace can shape a person's real-life understanding of gender. Especially telling are the examples of the man who finds it easier to be assertive when playing a woman, because he believes male assertiveness is now frowned upon while female assertiveness is considered hip, and the woman who has the opposite response, believing that it is easier to be aggressive when she plays a male, because as a woman she would be considered "bitchy." Without taking sides, Turkle points out how both have expanded their emotional range. Other topics, such as artificial life, receive an equally calm and sage response, and the first-person accounts from many Internet users provide compelling reading and good source material for readers to draw their own conclusions.
series	other
last changed	2003/04/23 15:14

_id	avocaad_2001_16
id	avocaad_2001_16
authors	Yu-Ying Chang, Yu-Tung Liu, Chien-Hui Wong
year	2001
title	Some Phenomena of Spatial Characteristics of Cyberspace
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	"Space," which has long been an important concept in architecture (Bloomer & Moore, 1977; Mitchell, 1995, 1999), has attracted interest of researchers from various academic disciplines in recent years (Agnew, 1993; Benko & Strohmayer, 1996; Chang, 1999; Foucault, 1982; Gould, 1998). Researchers from disciplines such as anthropology, geography, sociology, philosophy, and linguistics regard it as the basis of the discussion of various theories in social sciences and humanities (Chen, 1999). On the other hand, since the invention of Internet, Internet users have been experiencing a new and magic "world." According to the definitions in traditional architecture theories, "space" is generated whenever people define a finite void by some physical elements (Zevi, 1985). However, although Internet is a virtual, immense, invisible and intangible world, navigating in it, we can still sense the very presence of ourselves and others in a wonderland. This sense could be testified by our naming of Internet as Cyberspace -- an exotic kind of space. Therefore, as people nowadays rely more and more on the Internet in their daily life, and as more and more architectural scholars and designers begin to invest their efforts in the design of virtual places online (e.g., Maher, 1999; Li & Maher, 2000), we cannot help but ask whether there are indeed sensible spaces in Internet. And if yes, these spaces exist in terms of what forms and created by what ways?To join the current interdisciplinary discussion on the issue of space, and to obtain new definition as well as insightful understanding of "space", this study explores the spatial phenomena in Internet. We hope that our findings would ultimately be also useful for contemporary architectural designers and scholars in their designs in the real world.As a preliminary exploration, the main objective of this study is to discover the elements involved in the creation/construction of Internet spaces and to examine the relationship between human participants and Internet spaces. In addition, this study also attempts to investigate whether participants from different academic disciplines define or experience Internet spaces in different ways, and to find what spatial elements of Internet they emphasize the most.In order to achieve a more comprehensive understanding of the spatial phenomena in Internet and to overcome the subjectivity of the members of the research team, the research design of this study was divided into two stages. At the first stage, we conducted literature review to study existing theories of space (which are based on observations and investigations of the physical world). At the second stage of this study, we recruited 8 Internet regular users to approach this topic from different point of views, and to see whether people with different academic training would define and experience Internet spaces differently.The results of this study reveal that the relationship between human participants and Internet spaces is different from that between human participants and physical spaces. In the physical world, physical elements of space must be established first; it then begins to be regarded as a place after interaction between/among human participants or interaction between human participants and the physical environment. In contrast, in Internet, a sense of place is first created through human interactions (or activities), Internet participants then begin to sense the existence of a space. Therefore, it seems that, among the many spatial elements of Internet we found, "interaction/reciprocity" Ñ either between/among human participants or between human participants and the computer interface Ð seems to be the most crucial element.In addition, another interesting result of this study is that verbal (linguistic) elements could provoke a sense of space in a degree higher than 2D visual representation and no less than 3D visual simulations. Nevertheless, verbal and 3D visual elements seem to work in different ways in terms of cognitive behaviors: Verbal elements provoke visual imagery and other sensory perceptions by "imagining" and then excite personal experiences of space; visual elements, on the other hand, provoke and excite visual experiences of space directly by "mapping".Finally, it was found that participants with different academic training did experience and define space differently. For example, when experiencing and analyzing Internet spaces, architecture designers, the creators of the physical world, emphasize the design of circulation and orientation, while participants with linguistics training focus more on subtle language usage. Visual designers tend to analyze the graphical elements of virtual spaces based on traditional painting theories; industrial designers, on the other hand, tend to treat these spaces as industrial products, emphasizing concept of user-center and the control of the computer interface.The findings of this study seem to add new information to our understanding of virtual space. It would be interesting for future studies to investigate how this information influences architectural designers in their real-world practices in this digital age. In addition, to obtain a fuller picture of Internet space, further research is needed to study the same issue by examining more Internet participants who have no formal linguistics and graphical training.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	cf2009_673
id	cf2009_673
authors	Tamke, Martin; Thomsen, Mette, Ramsgard
year	2009
title	Digital wood craft
source	T. Tidafi and T. Dorta (eds) Joining Languages, Cultures and Visions: CAADFutures 2009, PUM, 2009, pp. 673- 686
summary	In 1995, Robin Evans points out in his book The Projective Cast how the development of techniques changed architecture and the space inhabited in times of Gothic and early Renaissance. We see a parallel phenomenon today, where the interplay of technology and tool gives shape to new design (Kolarevic 2005). Yet in opposition to the interwoven fields of design and craft of the late Gothic, today’s building sector is enormously diversified, and a growing complexity in the building process and number of used materials can be observed. This gives an opposite point of departure into a more integrated field of design and innovation in architectural design and building industry.
keywords	Digital production, CAD/CAM, parametric design, complex form, mass customization
series	CAAD Futures
email
last changed	2009/06/08 20:53

_id	c777
authors	Bach, Fr.-W., Rachkov, M., Seevers, J. and Hahn, M.
year	1995
title	High tractive power wall-climbing robot
source	Automation in Construction 4 (3) (1995) pp. 213-224
summary	There are a lot of tasks in building construction and maintenance which demand either the carriage of heavy technological equipment along vertical and sloping surfaces and/or provision for force technological operations on such surfaces For example, surface cleaning or grinding by automatic equipment, the mounting of expansion bolts and anchors by drilling or by driving in. Additionally surface inspection by heavy measuring devices and the painting of big construction areas are difficult and expensive to perform manually. It is therefore expedient to apply climbing robots to automate these tractive power operations. The climbing robot was developed for such purposes. The design of the robot with increased load capacity and improved gripper system was carefully considered. The robot has a video camera for orientation and for the monitoring of processes. A sensor-based computer control system is used. This paper contains a brief overview of the technical parameters and experimental characteristics of the robot's transport module, control system with video camera unit, and the different schemes of the robot's application.
keywords	Climbing robot; Two-staged gripper system Monitoring Sensor-based computer control system; Automatic Technological equipment
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/06/02 09:36

_id	aab6
authors	Bermudez, Julio
year	1995
title	Designing Architectural Experiences: Using Computers to Construct Temporal 3D Narratives
source	Computing in Design - Enabling, Capturing and Sharing Ideas [ACADIA Conference Proceedings / ISBN 1-880250-04-7] University of Washington (Seattle, Washington / USA) October 19-22, 1995, pp. 139-149
doi	https://doi.org/10.52842/conf.acadia.1995.139
summary	Computers are launching us into a representational revolution that fundamentally challenges the way we have hitherto conceived and practiced architecture. This paper will explore one of its fronts: the simulation of architectural experiences. Today's off-the-shelf softwares (e.g. 3D modeling, animations, multimedia) allow us for first time in history to depict and thus approach architectural design and criticism truly experientially. What is so appealing about this is the possibility of shifting our attention from the object to the experience of the object and in so doing reconceptualizing architectural design as the design of architectural experiences. Carrying forward such a phenomenological proposition requires us to know (1) how to work with non-traditional and 'quasi-immersive' (or subject-centered) representational systems, and (2) how to construct temporal assemblages of experiential events that unfold not unlike 'architectural stories'. As our discipline lacks enough knowledge on this area, importing models from other fields appears as an appropriate starting point. In this sense, the narrative arts (especially those involved with the temporal representation of audio-visual narratives) offer us the best insights. For example, principles of cinema and storytelling give us an excellent guidance for designing architectural experiences that have a structuring theme (parti), a plot (order), unfolding episodes (rhythm), and special events (details). Approaching architecture as a temporal 3D narrative does transform the design process and, consequently, its results. For instance, (1) phenomenological issues enter the decision making process in an equal footing to functional, technological, or compositional considerations; (2) orthographic representations become secondary sources of information, mostly used for later accurate dimensioning or geometrization; (3) multi-sensory qualities beyond sight are seriously considered (particularly sound, texture, and kinesthetic); etc.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	95bf
authors	Culverhouse, P.F.
year	1995
title	Constraining designers and their CAD tools
source	Design Studies 16 (1) (1995) pp. 81-101
summary	Electronics product designs can fail for technological reasons and also for human reasons. Both computer-aided design (CAD) tools and formal methods have attempted to limit the risk of product failure by logical assessment of the design and its technology. However, to improve design effectiveness and efficiency the contribution of people to a design's risk of failure must also be assessed and controlled. A method is presented of controlling and limiting human design through the application of a four-path model of design previously developed by the author. The model categorizes designs as repeat design, variant design, innovative design or strategic design. Each has its own set of pre-existent constraints that limit the capacity for unwanted innovation to the product at the outset of each development programme. This provides a mechanism by which designer creativity may be controlled. The manner in which designers are constrained may also be applied to the control of CAD tools commonly employed in the design process.
series	journal paper
last changed	2003/05/15 21:45

_id	ga0024
id	ga0024
authors	Ferrara, Paolo and Foglia, Gabriele
year	2000
title	TEAnO or the computer assisted generation of manufactured aesthetic goods seen as a constrained flux of technological unconsciousness
source	International Conference on Generative Art
summary	TEAnO (Telematica, Elettronica, Analisi nell'Opificio) was born in Florence, in 1991, at the age of 8, being the direct consequence of years of attempts by a group of computer science professionals to use the digital computers technology to find a sustainable match among creation, generation (or re-creation) and recreation, the three basic keywords underlying the concept of “Littérature potentielle” deployed by Oulipo in France and Oplepo in Italy (see “La Littérature potentielle (Créations Re-créations Récréations) published in France by Gallimard in 1973). During the last decade, TEAnO has been involving in the generation of “artistic goods” in aesthetic domains such as literature, music, theatre and painting. In all those artefacts in the computer plays a twofold role: it is often a tool to generate the good (e.g. an editor to compose palindrome sonnets of to generate antonymic music) and, sometimes it is the medium that makes the fruition of the good possible (e.g. the generator of passages of definition literature). In that sense such artefacts can actually be considered as “manufactured” goods. A great part of such creation and re-creation work has been based upon a rather small number of generation constraints borrowed from Oulipo, deeply stressed by the use of the digital computer massive combinatory power: S+n, edge extraction, phonetic manipulation, re-writing of well known masterpieces, random generation of plots, etc. Regardless this apparently simple underlying generation mechanisms, the systematic use of computer based tools, as weel the analysis of the produced results, has been the way to highlight two findings which can significantly affect the practice of computer based generation of aesthetic goods: ? the deep structure of an aesthetic work persists even through the more “desctructive” manipulations, (such as the antonymic transformation of the melody and lyrics of a music work) and become evident as a sort of profound, earliest and distinctive constraint; ? the intensive flux of computer generated “raw” material seems to confirm and to bring to our attention the existence of what Walter Benjamin indicated as the different way in which the nature talk to a camera and to our eye, and Franco Vaccari called “technological unconsciousness”. Essential references R. Campagnoli, Y. Hersant, “Oulipo La letteratura potenziale (Creazioni Ri-creazioni Ricreazioni)”, 1985 R. Campagnoli “Oupiliana”, 1995 TEAnO, “Quaderno n. 2 Antologia di letteratura potenziale”, 1996 W. Benjiamin, “Das Kunstwerk im Zeitalter seiner technischen Reprodizierbarkeit”, 1936 F. Vaccari, “Fotografia e inconscio tecnologico”, 1994
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	4684
authors	Herzog, Marcus and Kühn, Christian
year	1995
title	Technological Issues in Multimedia Applications for Architectural Design Education
source	Multimedia and Architectural Disciplines [Proceedings of the 13th European Conference on Education in Computer Aided Architectural Design in Europe / ISBN 0-9523687-1-4] Palermo (Italy) 16-18 November 1995, pp. 95-104
doi	https://doi.org/10.52842/conf.ecaade.1995.095
summary	Teaching architecture is not primarily an instructional process but rather a process of interaction and experience. In this context multimedia material can be used to provide an active educational environment where students learn by doing. To yield an effective learning system expertise from various fields have to be combined. This paper emphasizes the technological challenges of multimedia applications in architectural design education. We discuss two research prototype systems and analyze the influence of the underpinning technology on the performance of the overall system design. Finally we give technical requirements that are demanded for next generation systems and propose a framework for concerted research action.
series	eCAADe
email
more	http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_13.htm
last changed	2022/06/07 07:50

_id	01e5
authors	Negroponte, N.
year	1995
title	Being Digital
source	Alfred A. Knopf, New York
summary	As the founder of MIT's Media Lab and a popular columnist for Wired, Nicholas Negroponte has amassed a following of dedicated readers. Negroponte's fans will want to get a copy of Being Digital, which is an edited version of the 18 articles he wrote for Wired about "being digital." Negroponte's text is mostly a history of media technology rather than a set of predictions for future technologies. In the beginning, he describes the evolution of CD-ROMs, multimedia, hypermedia, HDTV (high-definition television), and more. The section on interfaces is informative, offering an up-to-date history on visual interfaces, graphics, virtual reality (VR), holograms, teleconferencing hardware, the mouse and touch-sensitive interfaces, and speech recognition. In the last chapter and the epilogue, Negroponte offers visionary insight on what "being digital" means for our future. Negroponte praises computers for their educational value but recognizes certain dangers of technological advances, such as increased software and data piracy and huge shifts in our job market that will require workers to transfer their skills to the digital medium. Overall, Being Digital provides an informative history of the rise of technology and some interesting predictions for its future.
series	other
last changed	2003/04/23 15:14

_id	ecaadesigradi2019_102
id	ecaadesigradi2019_102
authors	Passsaro, Andres Martin, Henriques, Gonçalo Castro, Sans?o, Adriana and Tebaldi, Isadora
year	2019
title	Tornado Pavilion - Simplexity, almost nothing, but human expanded abilities
source	Sousa, JP, Xavier, JP and Castro Henriques, G (eds.), Architecture in the Age of the 4th Industrial Revolution - Proceedings of the 37th eCAADe and 23rd SIGraDi Conference - Volume 1, University of Porto, Porto, Portugal, 11-13 September 2019, pp. 305-314
doi	https://doi.org/10.52842/conf.ecaade.2019.1.305
summary	In the context of the fourth industrial revolution, not all regions have the same access to technology for project development. These technological limitations do not necessarily result in worst projects and, on the contrary, can stimulate creativity and human intervention to overcome these shortcomings. We report here the design of a small pavilion with scarce budget and an ambitious goal to qualify a space through tactical urbanism. We develop the project in a multidisciplinary partnership between academy and industry, designing, manufacturing and assembling Tornado Pavilion, a complex structure using combined HIGH-LOW technologies, combining visual programming with analog manufacture and assembly. The design strategy uses SIMPLEXITY with ruled surfaces strategy to achieve a complex geometry. Due to the lack of automated mechanical cutting or assembly, we used human expanded abilities for the construction; instead of a swarm of robots, we had a motivated and synchronized swarm of students. The pavilion became a reference for local population that adopted it. This process thus shows that less or almost nothing (Sola-Morales 1995), need not to be boring (Venturi 1966) but less can be much more (Kolarevic 2017).
keywords	Simplexity; CAD-CAM; Ruled Surfaces; expanded abilities; pavilion
series	eCAADeSIGraDi
email
last changed	2022/06/07 07:59

_id	7670
authors	Sawicki, Bogumil
year	1995
title	Ray Tracing – New Chances, Possibilities and Limitations in AutoCAD
source	CAD Space [Proceedings of the III International Conference Computer in Architectural Design] Bialystock 27-29 April 1995, pp. 121-136
summary	Realistic image synthesis is nowadays widely used in engineering applications. Some of these applications, such as architectural, interior, lighting and industrial design demand accurate visualization of non-existent scenes as they would look to us, when built in reality. This can only be archived by using physically based models of light interaction with surfaces, and simulating propagation of light through an environment. Ray tracing is one of the most powerful techniques used in computer graphics, which can produce such very realistic images. Ray tracing algorithm follows the paths of light rays backwards from observer into the scene. It is very time consuming process and as such one could not be developed until proper computers appeared, In recent years the technological improvements in computer industry brought more powerful machines with bigger storage capacities and better graphic devices. Owing to increasing these hardware capabilities successful implementation of ray tracing in different CAD software became possible also on PC machines. Ray tracing in AutoCAD r.12 - the most popular CAD package in the world - is the best of that example. AccuRender and AutoVision are an AutoCAD Development System (ADS) applications that use ray tracing to create photorealistic images from 3D AutoCAD models. These ,internal"' applications let users generate synthetic images of threedimensional models and scenes entirely within AutoCAD space and show effects directly on main AutoCAD screen. Ray tracing algorithm accurately calculates and displays shadows, transparency, diffusion, reflection, and refraction from surface qualities of user-defined materials. The accurate modelling of light lets produce sophisticated effects and high-quality images, which these ray tracers always generates at 24-bit pixel depth,"providing 16,7 million colours. That results can be quite impressive for some architects and are almost acceptable for others but that coloured virtual world, which is presented by ray tracing in AutoCAD space in such convincing way, is still not exactly the same as the real world. Main limitations of realism are due to the nature of ray tracing method Classical ray tracing technique takes into account the effects of light reflection from neighbouring surfaces but, leaves out of account the ambient and global illumination arising out of complex interreflections in an environment. So models generated by ray tracing belong to an "ideal" world where real materials and environment can't find their right place. We complain about that fact and say that ray tracing shows us "too specular world", but (...) (...) there is anything better on the horizon? It should be concluded, that typical abilities of today's graphics software and hardware are far from exploited. As was observed in literature there have been various works carried along with the explicit intention of overcoming all these ray tracing limitations, These researches seem to be very promising and let us hope that their results will be seen in CAD applications soon. As it happens with modelling, perhaps the answer will come from a variety of techniques that can be combined together with ray tracing depending on the case we are dealing with. Therefore from the point of view of an architects that try to keep alive some interest on the nature of materials and their interaction with form, "ray tracing" seems to be right path of research and development that we can still a long way follow, From the point of view of the school, a critical assimilation of "ray tracing" processes is required and one that might help to determinate exactly their distortions and to indicate the correct way of its development and right place in CAAD education. I trust that ray tracing will become standard not only in AutoCAD but in all architectural space modelling CAD applications and will be established as a powerful and real tool for experimental researches in architectural design process. Will be the technological progress so significant in the nearest future as it is anticipated?
series	plCAD
last changed	2000/01/24 10:08

_id	ascaad2006_paper2
id	ascaad2006_paper2
authors	Sharji, Elyna and Ahmed Rafi
year	2006
title	The Significant Role of an Electronic Gallery to the Education Experience and Learning Environment
source	Computing in Architecture / Re-Thinking the Discourse: The Second International Conference of the Arab Society for Computer Aided Architectural Design (ASCAAD 2006), 25-27 April 2006, Sharjah, United Arab Emirates
summary	Multimedia has brought new paradigms to education where users are able to use the technology to create compelling content that truly represents a new archetype in media experience. According to Burger (1995), the synergy of digital media is becoming a way of life where new paradigms for interactive audio-visual experiences of all communicative arts to date are mandatory. It potentially mixes technology and disciplines of architecture and art. Students can learn on their own pace and they can be tested in a non-linear way while interactivity allows the curious to easily explore related topics and concepts. Fundamental assumptions, theories and practices of conventional design paradigm are constantly being challenged by digital technology and this is the current scenario in architecture and art and design schools globally. Thus schools are enhancing the methods and improvising the technology of imparting knowledge to be in consistent with recent findings and knowledge. To be able to cater the use of digital media and information technology on architectural and art design education, four criteria are required, which are; the SPACE and place to accommodate the educational activities, the TOOLS that assist imparting of knowledge, the CONTENT of syllabus and information and the acceptance and culture of the receiving end users and HUMAN PERCEPTION. There is a need for the research of realization and activating the architectural space that has been equipped with multimedia tools and upgraded with recent technology to facilitate and support the community of learners and users. Spaces are now more interactive, multi functional, flexible and intelligent to suit the trend of computing in normal everyday life of the education sector, business and management, art and leisure, corporate and technological area. While the new concept of computing in education is still in the earlier phase, the conventional analogue paradigm still dominates the architectural design discourse which acts as a barrier to the development of digital designs and architectural education. A suitable approach is in need to bridge the gap between what theory has been explored and the practice of knowledge. A digital support environment with intelligent design and planning tools is envisioned to bridge the gap and to cater for the current scenario.
series	ASCAAD
type	normal paper
email
last changed	2021/07/16 10:34

_id	2005_787
id	2005_787
authors	Veikos, Cathrine
year	2005
title	The Post-Medium Condition
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 787-794
doi	https://doi.org/10.52842/conf.ecaade.2005.787
summary	Theorists in art, architecture and visual media have described the digital world as a world of mediumlessness and proclaimed that the medium of a work, once the ontological determinant for the classification of the arts, is rendered meaningless by recent technological and cultural developments (Krauss, 2000; Negroponte, 1995; Manovich, 2001). Although indebted to specific media-based techniques and their attendant ideologies, software removes the material reality of techniques to an immaterial condition where the effects of material operations are reproduced abstractly. This paper asserts that a productive approach for digital design can be found in the acknowledgement that the importance of the digital format is not that it de-materializes media, but that it allows for the maximum intermingling of media. A re-conceptualization of media follows from this, defined now as, a set of conventions derived from the material conditions of a given technical support, conventions out of which to develop a form of expressiveness that can be both projective and mnemonic (Krauss, 2000). The paper will focus on the identification of these conventions towards the development of new forms of expressiveness in architecture. Further demonstration of the intermingling of materially-based conventions is carried out in the paper through a comparative analysis of contemporary works of art and architecture, taking installation art as a particular example. A new design approach based on the maximum intermingling of media takes account of integrative strategies towards the digital and the material and sees them as inextricably linked. In the digital “medium” different sets of conventions derived from different material conditions transfer their informational assets producing fully formed, material-digital ingenuity.
keywords	Expanded Architecture, Art Practice, Material, Information, ParametricTechniques, Evolutionary Logics
series	eCAADe
email
last changed	2022/06/07 07:58

_id	41e5
authors	Abendroth, M., Decock, J. and Mestaoui, N.
year	2000
title	O_1:// the hypertextu(r)al matrix
source	SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 75-76
summary	Founded in 1995 LAB[au], laboratory for architecture and urbanism, links theoretic research LAB[a+u] to concrete works of conception and realisations LA.BAU. LAB[au] elaborates a “hyperdesign” investigating the implications of new technologies of communication and computation in spatiotemporal and social processes and their forms of representation as architecture and urbanism. The transposition of the hypertext model to architectural and urban concepts question the mutation of the spatial and semantic construct of space. The definition of architecture as a code is based on “glocal” systems according to the processes of computation and communication.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	e75d
authors	Achten, H., Dijkstra, J., Oxman, R. and Bax, Th.
year	1995
title	Knowledge-Based Systems Programming for Knowledge Intensive Teaching
source	Multimedia and Architectural Disciplines [Proceedings of the 13th European Conference on Education in Computer Aided Architectural Design in Europe / ISBN 0-9523687-1-4] Palermo (Italy) 16-18 November 1995, pp. 139-148
doi	https://doi.org/10.52842/conf.ecaade.1995.139
summary	Typological design implies extensive knowledge of building types in order to design a building belonging to a building type. It facilitates the design process, which can be considered us a sequence of decisions. The paper gives an outline of a new approach in a course teaching typological knowledge through the medium of Knowledge-Based Systems programming. It demonstrates how Knowledge-Based Systems offer an appropriate structure for analysing the knowledge required to implement typological design. The class consists of third-year undergraduate students with no extensive previous programming experience. The implementation language is AutoLISP which operates in the AutoCAD environment. The building type used in the course is the office building. in order to become acquainted with both building type and programming in AutoLISP, information and instructions have been gathered and prestructured, including a worked out analysis and AutoLISP code. Office plans are generated through use of the Knowledge-Based System. They are encoded in the form of frames. At the end of the course the students will have learned the basics of Knowledge-Based Systems, have been introduced to programming these systems, have analysed and reflected upon the design process, and gained insight into a specific building type.
series	eCAADe
email
more	http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_18.htm
last changed	2022/06/07 07:54

_id	6cb2
authors	Af Klercker, Jonas
year	1995
title	Architects Early Sketching on Computer Using Multimedia
source	Multimedia and Architectural Disciplines [Proceedings of the 13th European Conference on Education in Computer Aided Architectural Design in Europe / ISBN 0-9523687-1-4] Palermo (Italy) 16-18 November 1995, pp. 247-256
doi	https://doi.org/10.52842/conf.ecaade.1995.247
summary	This paper presents a development work which aims at practical applications of ideas built on experiences in practise and education and the theoretical development in the BAS.CAAD project. The important difference between BAS.CAAD and CAD programs of today is the possibility to handle user organisation, building design and site in the same program. This means that design today has to be done in at least 3 separate programs with different ways of defining objects. It is then a computer technical problem to mix and study the relations between objects of separate origin. In a recent project our method to overcome this difficulty in CAAD computing was using a Multimedia program making visual simulations to analyse consequences of form etc. As the process went on and forms where more concrete it was possible to make simulations worth showing and discussing to involve colleagues, clients and users.
series	eCAADe
email
more	http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_51.htm
last changed	2022/06/07 07:54

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