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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	c7e9
authors	Maver, T.W.
year	2002
title	Predicting the Past, Remembering the Future
source	SIGraDi 2002 - [Proceedings of the 6th Iberoamerican Congress of Digital Graphics] Caracas (Venezuela) 27-29 november 2002, pp. 2-3
summary	Charlas Magistrales 2There never has been such an exciting moment in time in the extraordinary 30 year history of our subject area, as NOW,when the philosophical theoretical and practical issues of virtuality are taking centre stage.The PastThere have, of course, been other defining moments during these exciting 30 years:• the first algorithms for generating building layouts (circa 1965).• the first use of Computer graphics for building appraisal (circa 1966).• the first integrated package for building performance appraisal (circa 1972).• the first computer generated perspective drawings (circa 1973).• the first robust drafting systems (circa 1975).• the first dynamic energy models (circa 1982).• the first photorealistic colour imaging (circa 1986).• the first animations (circa 1988)• the first multimedia systems (circa 1995), and• the first convincing demonstrations of virtual reality (circa 1996).Whereas the CAAD community has been hugely inventive in the development of ICT applications to building design, it hasbeen woefully remiss in its attempts to evaluate the contribution of those developments to the quality of the built environmentor to the efficiency of the design process. In the absence of any real evidence, one can only conjecture regarding the realbenefits which fall, it is suggested, under the following headings:• Verisimilitude: The extraordinary quality of still and animated images of the formal qualities of the interiors and exteriorsof individual buildings and of whole neighborhoods must surely give great comfort to practitioners and their clients thatwhat is intended, formally, is what will be delivered, i.e. WYSIWYG - what you see is what you get.• Sustainability: The power of «first-principle» models of the dynamic energetic behaviour of buildings in response tochanging diurnal and seasonal conditions has the potential to save millions of dollars and dramatically to reduce thedamaging environmental pollution created by badly designed and managed buildings.• Productivity: CAD is now a multi-billion dollar business which offers design decision support systems which operate,effectively, across continents, time-zones, professions and companies.• Communication: Multi-media technology - cheap to deliver but high in value - is changing the way in which we canexplain and understand the past and, envisage and anticipate the future; virtual past and virtual future!MacromyopiaThe late John Lansdown offered the view, in his wonderfully prophetic way, that ...”the future will be just like the past, onlymore so...”So what can we expect the extraordinary trajectory of our subject area to be?To have any chance of being accurate we have to have an understanding of the phenomenon of macromyopia: thephenomenon exhibitted by society of greatly exaggerating the immediate short-term impact of new technologies (particularlythe information technologies) but, more importantly, seriously underestimating their sustained long-term impacts - socially,economically and intellectually . Examples of flawed predictions regarding the the future application of information technologiesinclude:• The British Government in 1880 declined to support the idea of a national telephonic system, backed by the argumentthat there were sufficient small boys in the countryside to run with messages.• Alexander Bell was modest enough to say that: «I am not boasting or exaggerating but I believe, one day, there will bea telephone in every American city».• Tom Watson, in 1943 said: «I think there is a world market for about 5 computers».• In 1977, Ken Olssop of Digital said: «There is no reason for any individuals to have a computer in their home».The FutureJust as the ascent of woman/man-kind can be attributed to her/his capacity to discover amplifiers of the modest humancapability, so we shall discover how best to exploit our most important amplifier - that of the intellect. The more we know themore we can figure; the more we can figure the more we understand; the more we understand the more we can appraise;the more we can appraise the more we can decide; the more we can decide the more we can act; the more we can act themore we can shape; and the more we can shape, the better the chance that we can leave for future generations a trulysustainable built environment which is fit-for-purpose, cost-beneficial, environmentally friendly and culturally significactCentral to this aspiration will be our understanding of the relationship between real and virtual worlds and how to moveeffortlessly between them. We need to be able to design, from within the virtual world, environments which may be real ormay remain virtual or, perhaps, be part real and part virtual.What is certain is that the next 30 years will be every bit as exciting and challenging as the first 30 years.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	890b
authors	Jakimowicz, Adam
year	1995
title	Architecture not Aided – Architecture Transformed
source	CAD Space [Proceedings of the III International Conference Computer in Architectural Design] Bialystock 27-29 April 1995, pp. 193-207
summary	Permeating of new technologies (computer aided design) into architectural design causes essential changes in its structure. It is the process, set of mutually interrelated different social, political, cultural occurrences, which happen in the present time. Everything what is new, brings either fear or unreliable expectations. The reflection is needed to name what we will have to deal with in architecture. Architecture is not a stable sphere, and as other disciplines is subject to processes of change, which result from the specificity of the time. We need to be aware of the consequences these processes could cause. I located them in six general fields: 1.) Transformation of the tool traditional tools - set of singular, autonomous, mono-functional devices, which together make the environment; computer - one tool consisting of non-autonomous internal and external units, multifunctional; itself it is the environment, system; 2.) Transformation of the medium. As the medium is the message (M.McLuhan), so the essence of media is transmission. Traditional transmission in architectural design is direct (transmission is equivalent to recording, notation), computer based transmission is indirect (transmission is not equivalent to recording); 3.) Transformation of perception, imagination and thinking. Perception - in the process of design directly relates to media Indirect transmission - causes also rupture in direct relation between record and perception (mainly in modelling); simulated object is a stage in the process. Imagination, thinking - influenced with perception, with data transmitted from the medium - can be seen as inspiration; 4.) Transformation of cooperation and communication. It is to be done by elimination of some of intermediate stages in the design process and use of multimedial communication systems (Internet); 5.) Transformation of methodology. Same as in 4 with the possibility of simultaneous shifting in the hierarchy of design stages - almost full reversal of the process possible (regardless of individual methodology) - if needed of course; 6. Transformation of architecture itself. This concerns very deeply point 3 - and it rooms that natural consequences of the changes in perception, imagination and thinking should result in the new understanding of architecture - not as electronic methaphone, but as a sphere relevant (?!) to the vision of the world, which, as we see, is dramatically changing. The basic issue to accept is that this vision of the world should be interpreted individually. Personally.
series	plCAD
email
last changed	2000/01/24 10:08

_id	ab9c
authors	Kvan, Thomas and Kvan, Erik
year	1999
title	Is Design Really Social
source	International Journal of Virtual Reality, 4:1
summary	There are many who will readily agree with Mitchell's assertion that "the most interesting new directions (for computer-aided design) are suggested by the growing convergence of computation and telecommunication. This allows us to treat designing not just as a technical process... but also as a social process." [Mitchell 1995]. The assumption is that design was a social process until users of computer-aided design systems were distracted into treating it as a merely technical process. Most readers will assume that this convergence must and will lead to increased communication between design participants, that better social interaction leads to be better design. The unspoken assumption appears to be that putting the participants into an environment with maximal communication channels will result in design collaboration. The tools provided, therefore, must permit the best communication and the best social interaction. We see a danger here, a pattern being repeated which may lead us into less than useful activities. As with several (popular) architectural design or modelling systems already available, however, computer system implementations all too often are poor imitations manual systems. For example, few in the field will argue with the statement that the storage of data in layers in a computer-aided drafting system is an dispensable approach. Layers derive from manual overlay drafting technology [Stitt 1984] which was regarded as an advanced (manual) production concept at the time many software engineers were specifying CAD software designs. Early implementations of CAD systems (such as RUCAPS, GDS, Computervision) avoided such data organisation, the software engineers recognising that object-based structures are more flexible, permitting greater control of data editing and display. Layer-based systems, however, are easier to implement in software, more familiar to the user and hence easier to explain, initially easier to use but more limiting for an experienced and thoughtful user, leading in the end to a lesser quality in resultant drawings and significant problems in output control (see Richens [1990], pp. 31-40 for a detailed analysis of such features and constraints). Here then we see the design for architectural software faithfully but inappropriately following manual methods. So too is there a danger of assuming that the best social interaction is that done face-to-face, therefore all collaborative design communications environments must mimic face-to-face.
series	journal paper
email
last changed	2003/05/15 10:29

_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	a91e
authors	Deering, M.
year	1995
title	Holosketch: A virtual reality sketching/animation tool
source	ACM Transactions on Computer-Human Interaction, 2(3), pp. 220-238
summary	This article describes HoloSketch, a virtual reality-based 3D geometry creation and manipulation tool. HoloSketch is aimed at providing nonprogrammers with an easy-to-use 3D “What-You-See-Is-What-You-Get” environment. Using head-tracked stereo shutter glasses and a desktop CRT display configuration, virtual objects can be created with a 3D wand manipulator directly in front of the user, at very high accuracy and much more rapidly than with traditional 3D drawing systems. HoloSketch also supports simple animation and audio control for virtual objects. This article describes the functions of the HoloSketch system, as well as our experience so far with more-general issues of head-tracked stereo 3D user interface design.
series	journal paper
last changed	2003/04/23 15:50

_id	5e49
authors	Deering, Michael F.
year	1996
title	HoloSketch: A Virtual Reality Sketching/Animation Tool Special Issue on Virtual Reality Software and Technology
source	Transactions on Computer-Human Interaction 1995 v.2 n.3 pp. 220-238
summary	This article describes HoloSketch, a virtual reality-based 3D geometry creation and manipulation tool. HoloSketch is aimed at providing nonprogrammers with an easy-to-use 3D "What-You-See-Is-What-You-Get" environment. Using head-tracked stereo shutter glasses and a desktop CRT display configuration, virtual objects can be created with a 3D wand manipulator directly in front of the user, at very high accuracy and much more rapidly than with traditional 3D drawing systems. HoloSketch also supports simple animation and audio control for virtual objects. This article describes the functions of the HoloSketch system, as well as our experience so far with more-general issues of head-tracked stereo 3D user interface design.
keywords	Computer Graphics; Picture/Image Generation; Display Algorithms; Computer Graphics; Three-Dimensional Graphics and Realism; Human Factors; 3D Animation; 3D Graphics; Graphics Drawing Systems; Graphics Painting Systems; Man-Machine Interface; Virtual Reality
series	other
last changed	2002/07/07 16:01

_id	2115
authors	Ingram, R. and Benford, S.
year	1995
title	Improving the legibility of virtual environments
source	Second Euro graphics Workshop on Virtual Environments
summary	Years of research into hyper-media systems have shown that finding one's way through large electronic information systems can be a difficult task. Our experiences with virtual reality suggest that users will also suffer from the commonly experienced "lost in hyperspace" problem when trying to navigate virtual environments. The goal of this paper is to propose and demonstrate a technique which is currently under development with the aim of overcoming this problem. Our approach is based upon the concept of legibility, adapted from the discipline of city planning. The legibility of an urban environment refers to the ease with which its inhabitants can develop a cognitive map over a period of time and so orientate themselves within it and navigate through it [Lynch60]. Research into this topic since the 1960s has argued that, by carefully designing key features of urban environments planners can significantly influence their legibility. We propose that these legibility features might be adapted and applied to the design of a wide variety of virtual environments and that, when combined with other navigational aids such as the trails, tours and signposts of the hyper-media world, might greatly enhance people's ability to navigate them. In particular, the primary role of legibility would be to help users to navigate more easily as a result of experiencing a world for some time (hence the idea of building a cognitive map). Thus, we would see our technique being of most benefit when applied to long term, persistent and slowly evolving virtual environments. Furthermore, we are particularly interested in the automatic application of legibility techniques to information visualisations as opposed to their relatively straight forward application to simulations of the real-word. Thus, a typical future application of our work might be in enhancing visualisations of large information systems such the World Wide Web. Section 2 of this paper summarises the concept of legibility as used in the domain of city planning and introduces some of the key features that have been adapted and applied in our work. Section 3 then describes in detail the set of algorithms and techniques which are being developed for the automatic creation or enhancement of these features within virtual data spaces. Next, section 4 presents two example applications based on two different kinds of virtual data space. Finally, section 5 presents some initial reflections on this work and discusses the next steps in its evolution.
series	other
last changed	2003/04/23 15:50

_id	ec17
authors	Shelden, D., Bharwani, S., Mitchell, W.J. and Williams, J.
year	1995
title	Requirements for Virtual Design Review
source	Architectural Research Quarterly 1(2), December
summary	Requirements for Virtual Design Review: Fundamental Argument: This article deals primarily with the actual physical components of a virtual design review, and the difficulties associated with their integration. It is a rather refreshing approach to the problem of the virtual studio, in that it provides an empirical model of how the virtual and the real interact. Needless to say, there were numerous difficulties. 1. The reviewers and the students had to adapt to a new system of design review. Thus, traditional protocols and procedures may or may not work when dealing with a project in the virtual realm. The jurors and the students did become more comfortable as the jury progressed, but it is safe to say that those who went first most likely had a difficult and rather unhelpful session. 2. The technology itself was limited in what it could accomplish. The rate of transmissions across the line often hindered the review. Those students who used analog display, such as drawings or sketches, were not able to present these items effectively to remote viewers. The article does state that the virtual design review drew heavily upon the model of tradition review for its procedures. Was this the correct way of conducting the jury? With the introduction of technology into the process, one would think that there would be a significant shift in the model. Though the traditional model may be useful as a point of departure, we must critically engage the unique qualities that technology brings to the review. I would argue that a new model would need to be developed, whether it is a radical departure, a hybrid, or a modest adjustment to the existing model. For a traditional review, all one might need are a few push pins, a table for model display, and a surface upon which to pin his or her drawings. For the digital review, one requires monitors, computers, special lighting, video cameras, electrical outlets and phone jacks, and whatever else might be required to conduct a successful jury. It is in fact more akin to a television production than a traditional jury. The sheer complexity that technology inserts into the process can seem almost overwhelming. Yet if we can narrow our focus, find the essentials, by critically engaging those areas that will be affected by its introduction, then we can begin to imagine a true digital review.
series	journal paper
last changed	2003/04/23 15:14

_id	cf2011_p024
id	cf2011_p024
authors	Tidafi, Temy; Charbonneau Nathalie, Khalili-Araghi Salman
year	2011
title	Backtracking Decisions within a Design Process: a Way of Enhancing the Designer's Thought Process and Creativity
source	Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 573-587.
summary	This paper proposes a way computer sciences could contribute to stimulate the designer‚Äôs reflexive thought. We explore the possibility of making use of backtracking devices in order to formalize the designer‚Äôs thought process. Design, as a process of creating an object, cannot be represented by means of a linear timeline. Accordingly, the backtracking processes we are discussing here are not based on a linear model but rather on a non-linear structure. Beyond the notion of undoing and redoing commands within CAD packages, the backtracking process is seen as a way to explore and record several alternate options. The branches of the non-linear model can be seen as pathways made of sequential decisions. The designer creates and explores these pathways while making tentative moves towards an architectural solution. Within the design process, backtracking enables the designer to establish and act on a network of interrelated decisions. This notion is fundamental. It is quite obvious that information, in order to be meaningful, must occupy a specific place within an informational network. A data, separated from its context, is devoid of interest. By the same token, a decision takes on significance solely in combination with other decisions. In this paper, we examine what kinds of decisions are involved within a design process, how they are connected, and what could be the best ways to formalize the relationships. Our goal is to experiment ways that could enable the designer and his/her collaborators to get a clearer mental picture of the network of decisions aforementioned. The non-linear model can be seen as a graph structure. The user moves wherever he/she wants through the branches of the structure to establish the network of decisions or to get reacquainted with a previous design process. As a matter of fact, it can act in both ways: to reassess or to confirm a decision. On the one hand, the designer can go back to previous states, reconsider past choices, and eventually modify them. On the other hand, he/she can move forward and revisit a given sequence of decisions, so as to recapture the essence of a previous design process. It goes without saying that knowledge regarding the design process is constructed by the designer from his/her own experiences. Since the designer‚Äôs perception evolves as time goes by, the network of decisions constitutes a model that is continuously questioned and restructured. The designer does not elaborate solely an architectural object, but also an evolving model formalizing the way he/she achieved his/her aim. As Le Moigne (1995) pointed out, the model itself produces knowledge; afterwards, the designer can examine it so as to get a clearer mental picture of his/her own cognitive processes. Furthermore, it can be used by his/her collaborators in order to understand which thread of ideas led the designer to a given visual result, and eventually resume or reorient the design process. In addition to reflecting on the ideological implications inherent to this questioning, we take into account the feasibility of such a research project. From a more technical point of view, in this paper we will describe how we plane to take up the challenge of elaborating a digital environment enabling backtracking processes within graph structures. Furthermore, we will explain how we plane to test the first trial version of the new environment with potential users so as to observe how they respond to it. These experiments will be conducted in order to verify to what extend the methods we are proposing are able to i) enhance the designer‚Äôs creativity and ii) increase our understanding of designer‚Äôs thought process.
keywords	backtracking, design process, digital environments, problem space, network of decisions, graph structure.
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	30d7
authors	Bartnicka, Malgorzata
year	1995
title	Childishly Honest Associate of the Trickery
source	CAD Space [Proceedings of the III International Conference Computer in Architectural Design] Bialystock 27-29 April 1995, pp. 209-219
summary	Perspective is a method of presentation of 3- dimensional space on the 2-dimensional surface. It can only approximately express the complexity of the authentic perception of reality. During the centuries canons of presentation varied in different epochs. It is quite possible that conventions of presentation considered today as exact expressions of reality may seem for the future generations as untrue as the ancient Egypt paintings seem for us. Our mind plays the major role in all kinds of presentation. During the whole life we learn to perceive the surrounding reality. We have formed also ability to ,see" the perspective. The linear perspective is not so easy in perception without factors of colour and light. These factors play a very important role in perception of the distance. The perception of perspective is not always unmistakable. Introduction of light and shadow is one of the measures to limit the ambiguity. Objects shown in perspective with appropriately chosen colouring and light-and-shade effects reveal impression of the distance inside the flat picture. Illusions of perspective are most astonishing when one can assume deep-rooted expectations and suppositions of the addressee. The computer monitor, like the picture, has only one plane on which our project can be presented. The major feature of architecture programs is both the possibility of creating various architecture spaces and the possibility to examine how (in our opinion) the created space would affect the addressee. By means of computer programs we are able to generate drawings and objects of two kinds: first - being the ideal projection of reality (at least in the same measure as the photograph), and the second - being the total negation of perspective rules. By means of CAD programs enabling 3-dimensional job we can check how all sorts of perspective tricks and artifices affect our imagination. The program cooperates with us trying to cheat the imperfect sense of sight. The trickeries can be of various type, starting from play of lights, through the elements changing the perception of perspective, and terminating with objects totally negating the rules of sound construction of solids. The knowledge contained in these programs is an encyclopaedic recapitulation of all sorts of achievements in the field of perspective and application of colour and light effects. All that remains to the users is to exploit this tremendous variety of capabilities.
series	plCAD
last changed	2000/01/24 10:08

_id	c19c
authors	Beliveau, Y.J.
year	1996
title	What can real-time positioning do for construction?
source	Automation in Construction 5 (2) (1996) pp. 79-89
summary	New technologies are now available that can rapidly measure three-dimensional coordinates of objects. The integration of these fast 3-D Real-time Position Measurement (D-RtPM) devices and CAD (3D-RtPM/CAD) technologies can be viewed as a better tool for surveyors or as a means to change the most fundamental concepts of the construction industry. 3D-RtPM/CAD is a better surveying tool; however, 3D-RtPM/CAD as the basis for fundamental change within the construction industry is the issue.There are several potential technologies that can provide real-time position measurement. This paper will limit presentation to two of these. The first is based on recent developments in Global Positioning Systems. The second is a new laser-based product, OdysseyTM (Odyssey is a trademark of Spatial Positioning Systems, Inc.). Odyssey received the NOVA award in March, 1995 because of its recognized performance enhancement to the construction industry. These positioning systems provide the capability for equipment and crafts people to view the project from a graphical representation in which they see their position interactively updated. Potential benefits to the construction industry are presented. The research needed achieving maximum benefits of these systems is also presented.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_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	6fc9
authors	Ponomareva, E., Litvinova A., and Kozakova, R.
year	1995
title	Multimedia and Special Architectural Disciplines
doi	https://doi.org/10.52842/conf.ecaade.1995.169
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. 169-176
summary	A person is a wonderful creature. His high organization helps him not only to see and to hear the world around him, but to feel and understand, to condole and pity. A person is a sacramental creature too. His complex organization helps him to see day as light and darkness, as delivery and death, as delight and grief. Every human reaction has biological, physiological and sensitive components. That is why environment is able to call up physical an emotional associations. A human being can "see" sound and "hear" colours. All history of human culture shows that the art can affect man in different ways: unconscious effects, spontaneous associations, general symbolic or specific conventional meanings. That is why architecture can not only protect (a safeguarded aspect), but give knowledge ( an informational aspect) and set up mood (an emotional aspect). And that is why we speak about ambiguity of sense and about multiartistic works. Such as Skriabin's symphony 'Prometheus'. Two scores - musical and colouristic - are connected in this masterpiece. Let us look through two architectural disciplines—from this point of view. The programmes of these disciplines are examples of such embedment. Any architectural discipline demands computer graphics. Any architectural discipline demands multimedia aided teaching, because multimedia in computer designing is a result of human being's complexity and ambivalence.
series	eCAADe
more	http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_22.htm
last changed	2022/06/07 08:00

_id	1bb0
authors	Russell, S. and Norvig, P.
year	1995
title	Artificial Intelligence: A Modern Approach
source	Prentice Hall, Englewood Cliffs, NJ
summary	Humankind has given itself the scientific name homo sapiens--man the wise--because our mental capacities are so important to our everyday lives and our sense of self. The field of artificial intelligence, or AI, attempts to understand intelligent entities. Thus, one reason to study it is to learn more about ourselves. But unlike philosophy and psychology, which are also concerned with AI strives to build intelligent entities as well as understand them. Another reason to study AI is that these constructed intelligent entities are interesting and useful in their own right. AI has produced many significant and impressive products even at this early stage in its development. Although no one can predict the future in detail, it is clear that computers with human-level intelligence (or better) would have a huge impact on our everyday lives and on the future course of civilization. AI addresses one of the ultimate puzzles. How is it possible for a slow, tiny brain{brain}, whether biological or electronic, to perceive, understand, predict, and manipulate a world far larger and more complicated than itself? How do we go about making something with those properties? These are hard questions, but unlike the search for faster-than-light travel or an antigravity device, the researcher in AI has solid evidence that the quest is possible. All the researcher has to do is look in the mirror to see an example of an intelligent system. AI is one of the newest disciplines. It was formally initiated in 1956, when the name was coined, although at that point work had been under way for about five years. Along with modern genetics, it is regularly cited as the ``field I would most like to be in'' by scientists in other disciplines. A student in physics might reasonably feel that all the good ideas have already been taken by Galileo, Newton, Einstein, and the rest, and that it takes many years of study before one can contribute new ideas. AI, on the other hand, still has openings for a full-time Einstein. The study of intelligence is also one of the oldest disciplines. For over 2000 years, philosophers have tried to understand how seeing, learning, remembering, and reasoning could, or should, be done. The advent of usable computers in the early 1950s turned the learned but armchair speculation concerning these mental faculties into a real experimental and theoretical discipline. Many felt that the new ``Electronic Super-Brains'' had unlimited potential for intelligence. ``Faster Than Einstein'' was a typical headline. But as well as providing a vehicle for creating artificially intelligent entities, the computer provides a tool for testing theories of intelligence, and many theories failed to withstand the test--a case of ``out of the armchair, into the fire.'' AI has turned out to be more difficult than many at first imagined, and modern ideas are much richer, more subtle, and more interesting as a result. AI currently encompasses a huge variety of subfields, from general-purpose areas such as perception and logical reasoning, to specific tasks such as playing chess, proving mathematical theorems, writing poetry{poetry}, and diagnosing diseases. Often, scientists in other fields move gradually into artificial intelligence, where they find the tools and vocabulary to systematize and automate the intellectual tasks on which they have been working all their lives. Similarly, workers in AI can choose to apply their methods to any area of human intellectual endeavor. In this sense, it is truly a universal field.
series	other
last changed	2003/04/23 15:14

_id	47c1
authors	Selles Cantos, P. and Mas Llorens, V.
year	1995
title	Digital Modelling Tools at the Design Studio: Methodology
doi	https://doi.org/10.52842/conf.ecaade.1995.061
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. 61-70
summary	This research work is being financed by the "Instituto de Ciencias de la Educacion, I. CE., Universidad Politécnica de Valencia, U.P.V. and currently taking place at the "Taller2 de Proyectos Arquitectdnicos." We have placed CAD systems on drafting tables, so students can learn to apply different media and tools, both digital and traditional, in their design processes. To integrate CAD systems into the design studio we have developed a methodology upon which to relate the "Mechanics of the digital tool," with the often elusive and seldom explicit, "Mechanics of designing". We see architectural design as a process that can benefit from the use of computer systems through modelling (representation), and rendering (static or dynamic visualization). Digital modelling tools are powerful instruments to simulate and visualize (perceive) formal and spatial arrangements, under certain conditions of superficial appearance and light. Geometry composition, texture, light projection, rendering and animation, are the keys to understanding a digital modelling system as an extension of our design process. We introduce and explain each one of these categories, as it applies to architectural design and to three dimensional CAD systems. We present samples of student work following this method.
series	eCAADe
more	http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_8.htm
last changed	2022/06/07 07:56

_id	07da
authors	Wohlers, T.
year	1995
title	3D Digitizers for Engineering
source	Computer Graphics World, (March 1995), p. 112-115
summary	3D digitizing systems permit you to create a digital model from a physical part. The process is appealing because it can be difficult to create models of complex objects using computer tools without the aid of a 3D input device. Recreating an existing part from scratch, even with a computer, is like copying a printed page by retyping it. Although 3D digitizers are not as straightforward as a photocopy machine, the intent is the same. You can render and print a digitized model to communicate shape information, extract dimensions from it to show size information, and use the 3D database to manufacture a replica using rapid prototyping (RP) and CNC machines. You can also include the 3D model in multimedia or animation software as a learning or assembly aid. The challenge of the digitization process in manufacturing is to capture adequate detail and resolution. Adding a digitized model to a Hollywood film is often much easier than reverse engineering a part for prototyping or manufacturing. The only criteria for a movie or TV commercial is whether or not it looks good. No one from the audience measures the object to see if it meets a given tolerance. In manufacturing, RP and CNC machines require clean, complete, and accurate information. If areas on the model are incomplete or missing, it may be difficult or impossible to build the part. If edges, grooves, and features of the part are not fine and crisp, the results may be less than satisfactory. Most 3D digitizing systems are best at digitizing organic shapes such as free-form sculpted surfaces. When you see an advertisement or a catalog from companies offering digitized models, often you see objects such as human anatomy, animals, bones, skeletons, and so on. You may also see cars, trucks, motorcycles and airplanes, although they can be more difficult to digitize. Highly engineered parts, such as enclosures for electronic devices are usually the most difficult for 3D digitizers. That's why these systems aren't used widely for the reverse engineering of precision mechanical parts.
series	journal paper
last changed	2003/04/23 15:50

_id	df4b
authors	Angulo Mendivil, Antonieta Humbelina
year	1995
title	On the Conceptual Feasibility of a CAAD-CAAI Integrated Decision Support System: A Computer Aided Environment for Technical Decision Making in Architecture
source	Delft University of Technology
summary	This document addresses two questions: What are the ultimate means of design support we can offer to the architect, and how can we devise them? We are not the first ones to address these questions, neither the first ones to point our finger in the direction of Decision Support Systems for such purposes. Nevertheless, we may be among those scholars that understanding 'Decision Support" in terms of "Learning Support", are willing to explore the implications that such an understanding assumes for the concept of Decision Support Systems. Our exploration in such regards has shown us that knowledge application and knowledge acquisition cycles describe a continuum, and that such cycles, encapsulated in our "Practice Based Learning" and "Continuing Professional Development" dynamics are present in both our instructional and professional environments. From such a perspective, our scope regarding feasible Decision Support Systems is not restricted to the use of CAAD instrumental resources, but expanded into a context of CAAD-CAAI integration. Throughout this document we conceive a system that blends CAAD and CAAI resources looking forward to the creation of a Support Environment that seeks to motivate a reflective attitude during design, in such a way, upgrade our capability for acquiring as well as applying knowledge in design. In instrumental terms, this document explains how mainstream CAAD developments in the field of "Intelligent Front End Technology" and CAAI developments in the field of "Knowledge-based Curricular Networks" can complement each other in the establishment of a Decision Support System of trans-environmental relevancy. As an application framework for the concept and instrumental base described above, this document presents an image of the kind of decision-making model that it will intend to support, the kind of task support model it will look forward to implement, and the kind of general instrumental layout it will require. On the basis of such an instrumental layout, the system that is hereby outlined can be regarded as a "CAAD-CAAI Integrated", "Intelligent", and "User-Oriented" Interface System.
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	00ae
id	00ae
authors	Ataman, Osman
year	1995
title	Building A Computer Aid for Teaching Architectural Design Concepts
doi	https://doi.org/10.52842/conf.acadia.1995.187
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. 187-208
summary	Building an aid for teaching architectural design concepts is the process of elaborating topics, defining problems and suggesting to the students strategies for solving those problems. I believe students in Environment and Behavior (E&B) courses at Georgia Tech can benefit greatly from a computer based educational tool designed to provide them with experiences they currently do not possess. In particular, little time in the course (outside lectures) is devoted to applying concepts taught in the course to the studio projects. The tool I am proposing provides students with an opportunity to critique architectural environments (both simple examples and previous projects) using a single concept, "affordances". This paper describes my current progress toward realizing the goal of designing a tool that will help the students to understand particular concepts and to integrate them into their designs. It is my claim that an integrative and interactive approach - creating a learning environment and making both the students and the environment mutually supportive- is fundamentally more powerful than traditional educational methods.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	eb51
authors	Coyne, Richard
year	1996
title	CAAD, Curriculum and Controversy
doi	https://doi.org/10.52842/conf.ecaade.1996.121
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 121-130
summary	This paper brings some of the debate within educational theory to bear on CAAD teaching, outlining the contributions of conservatism, critical theory, radical hermeneutics and pragmatism. The paper concludes by recommending that CAAD teaching move away from conservative concepts of teaching, design and technology to integrate it into the studio. In a highly illuminating book on education theory, Shaun Gallagher (1991) outlines four current views on education that correspond to four major positions in contemporary social theory and philosophy. I will extend these categories to a consideration of attitudes to information technology, and the teaching of computing in architecture. These four positions are conservatism, critical theory, radical hermeneutics, and pragmatism. I will show how certain issues cluster around them, how each position provides the focus of various discursive practices, or intellectual conversations in contemporary thinking, and how information technology is caught up in those conversations. These four positions are not "cognitive styles," but vigorously argued domains of debate involving writers such as Gadamer, Habermas and Derrida about the theory of interpretation. The field of interpretation is known as hermeneutics, which is concerned less with epistemology and knowledge than with understanding. Interpretation theory applies to reading texts, interpreting the law, and appreciating art, but also to the application of any practical task, such as making art, drawing, defining and solving problems, and design (Coyne and Snodgrass, 1995). Hermeneutics provides a coherent focus for considering many contemporary issues and many domains of practice. I outline what these positions in education mean in terms of CAAD (computer-aided architectural design) in the curriculum.
series	eCAADe
email
more	http://www.caad.ac.uk/~richard
last changed	2022/06/07 07:56

_id	ecaade2022_398
id	ecaade2022_398
authors	Dzurilla, Dalibor and Achten, Henri
year	2022
title	What’s Happening to Architectural Sketching? - Interviewing architects about transformation from traditional to digital architectural sketching as a communicational tool with clients
doi	https://doi.org/10.52842/conf.ecaade.2022.1.389
source	Pak, B, Wurzer, G and Stouffs, R (eds.), Co-creating the Future: Inclusion in and through Design - Proceedings of the 40th Conference on Education and Research in Computer Aided Architectural Design in Europe (eCAADe 2022) - Volume 1, Ghent, 13-16 September 2022, pp. 389–398
summary	The paper discusses 23 interviewed architects in practice about the role of traditional and digital sketching (human-computer interaction) in communication with the client. They were selected from 1995 to 2018 (the interval of graduation) from three different countries: the Czech Republic (CR), Slovakia (SR), Netherland (NR). To realize three blending areas that impact the approach to sketching: (I) Traditional hand and physical model studies (1995-2003). (II)Transition form - designing by hand and PC (2004–2017). (III) Mainly digital and remote forms of designing (2018–now). Interviews helped transform 31 “parameters of tools use” from the previous theoretical framework narrowed down into six main areas: (1) Implementation; (2)Affordability; (3)Timesaving; (4) Drawing support; (5) Representativeness; (6) Transportability. Paper discusses findings from interviewees: (A) Implementation issues are above time and price. (B) Strongly different understanding of what digital sketching is. From drawing in Google Slides by mouse to sketching in Metaverse. (C) Substantial reduction of traditional sketching (down to a total of 3% of the time) at the expense of growing responsibilities. (D) 80% of respondents do not recommend sketching in front of the client. Also, other interesting findings are further described in the discussion.
keywords	Architectural Sketch, Digital Sketch, Effective Visual Communication
series	eCAADe
email
last changed	2024/04/22 07:10

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