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_id	ga0026
id	ga0026
authors	Ransen, Owen F.
year	2000
title	Possible Futures in Computer Art Generation
source	International Conference on Generative Art
summary	Years of trying to create an "Image Idea Generator" program have convinced me that the perfect solution would be to have an artificial artistic person, a design slave. This paper describes how I came to that conclusion, realistic alternatives, and briefly, how it could possibly happen. 1. The history of Repligator and Gliftic 1.1 Repligator In 1996 I had the idea of creating an “image idea generator”. I wanted something which would create images out of nothing, but guided by the user. The biggest conceptual problem I had was “out of nothing”. What does that mean? So I put aside that problem and forced the user to give the program a starting image. This program eventually turned into Repligator, commercially described as an “easy to use graphical effects program”, but actually, to my mind, an Image Idea Generator. The first release came out in October 1997. In December 1998 I described Repligator V4 [1] and how I thought it could be developed away from simply being an effects program. In July 1999 Repligator V4 won the Shareware Industry Awards Foundation prize for "Best Graphics Program of 1999". Prize winners are never told why they won, but I am sure that it was because of two things: 1) Easy of use 2) Ease of experimentation "Ease of experimentation" means that Repligator does in fact come up with new graphics ideas. Once you have input your original image you can generate new versions of that image simply by pushing a single key. Repligator is currently at version 6, but, apart from adding many new effects and a few new features, is basically the same program as version 4. Following on from the ideas in [1] I started to develop Gliftic, which is closer to my original thoughts of an image idea generator which "starts from nothing". The Gliftic model of images was that they are composed of three components: 1. Layout or form, for example the outline of a mandala is a form. 2. Color scheme, for example colors selected from autumn leaves from an oak tree. 3. Interpretation, for example Van Gogh would paint a mandala with oak tree colors in a different way to Andy Warhol. There is a Van Gogh interpretation and an Andy Warhol interpretation. Further I wanted to be able to genetically breed images, for example crossing two layouts to produce a child layout. And the same with interpretations and color schemes. If I could achieve this then the program would be very powerful. 1.2 Getting to Gliftic Programming has an amazing way of crystalising ideas. If you want to put an idea into practice via a computer program you really have to understand the idea not only globally, but just as importantly, in detail. You have to make hard design decisions, there can be no vagueness, and so implementing what I had decribed above turned out to be a considerable challenge. I soon found out that the hardest thing to do would be the breeding of forms. What are the "genes" of a form? What are the genes of a circle, say, and how do they compare to the genes of the outline of the UK? I wanted the genotype representation (inside the computer program's data) to be directly linked to the phenotype representation (on the computer screen). This seemed to be the best way of making sure that bred-forms would bare some visual relationship to their parents. I also wanted symmetry to be preserved. For example if two symmetrical objects were bred then their children should be symmetrical. I decided to represent shapes as simply closed polygonal shapes, and the "genes" of these shapes were simply the list of points defining the polygon. Thus a circle would have to be represented by a regular polygon of, say, 100 sides. The outline of the UK could easily be represented as a list of points every 10 Kilometers along the coast line. Now for the important question: what do you get when you cross a circle with the outline of the UK? I tried various ways of combining the "genes" (i.e. coordinates) of the shapes, but none of them really ended up producing interesting shapes. And of the methods I used, many of them, applied over several "generations" simply resulted in amorphous blobs, with no distinct family characteristics. Or rather maybe I should say that no single method of breeding shapes gave decent results for all types of images. Figure 1 shows an example of breeding a mandala with 6 regular polygons: Figure 1 Mandala bred with array of regular polygons I did not try out all my ideas, and maybe in the future I will return to the problem, but it was clear to me that it is a non-trivial problem. And if the breeding of shapes is a non-trivial problem, then what about the breeding of interpretations? I abandoned the genetic (breeding) model of generating designs but retained the idea of the three components (form, color scheme, interpretation). 1.3 Gliftic today Gliftic Version 1.0 was released in May 2000. It allows the user to change a form, a color scheme and an interpretation. The user can experiment with combining different components together and can thus home in on an personally pleasing image. Just as in Repligator, pushing the F7 key make the program choose all the options. Unlike Repligator however the user can also easily experiment with the form (only) by pushing F4, the color scheme (only) by pushing F5 and the interpretation (only) by pushing F6. Figures 2, 3 and 4 show some example images created by Gliftic. Figure 2 Mandala interpreted with arabesques Figure 3 Trellis interpreted with "graphic ivy" Figure 4 Regular dots interpreted as "sparks" 1.4 Forms in Gliftic V1 Forms are simply collections of graphics primitives (points, lines, ellipses and polygons). The program generates these collections according to the user's instructions. Currently the forms are: Mandala, Regular Polygon, Random Dots, Random Sticks, Random Shapes, Grid Of Polygons, Trellis, Flying Leap, Sticks And Waves, Spoked Wheel, Biological Growth, Chequer Squares, Regular Dots, Single Line, Paisley, Random Circles, Chevrons. 1.5 Color Schemes in Gliftic V1 When combining a form with an interpretation (described later) the program needs to know what colors it can use. The range of colors is called a color scheme. Gliftic has three color scheme types: 1. Random colors: Colors for the various parts of the image are chosen purely at random. 2. Hue Saturation Value (HSV) colors: The user can choose the main hue (e.g. red or yellow), the saturation (purity) of the color scheme and the value (brightness/darkness) . The user also has to choose how much variation is allowed in the color scheme. A wide variation allows the various colors of the final image to depart a long way from the HSV settings. A smaller variation results in the final image using almost a single color. 3. Colors chosen from an image: The user can choose an image (for example a JPG file of a famous painting, or a digital photograph he took while on holiday in Greece) and Gliftic will select colors from that image. Only colors from the selected image will appear in the output image. 1.6 Interpretations in Gliftic V1 Interpretation in Gliftic is best decribed with a few examples. A pure geometric line could be interpreted as: 1) the branch of a tree 2) a long thin arabesque 3) a sequence of disks 4) a chain, 5) a row of diamonds. An pure geometric ellipse could be interpreted as 1) a lake, 2) a planet, 3) an eye. Gliftic V1 has the following interpretations: Standard, Circles, Flying Leap, Graphic Ivy, Diamond Bar, Sparkz, Ess Disk, Ribbons, George Haite, Arabesque, ZigZag. 1.7 Applications of Gliftic Currently Gliftic is mostly used for creating WEB graphics, often backgrounds as it has an option to enable "tiling" of the generated images. There is also a possibility that it will be used in the custom textile business sometime within the next year or two. The real application of Gliftic is that of generating new graphics ideas, and I suspect that, like Repligator, many users will only understand this later. 2. The future of Gliftic, 3 possibilties Completing Gliftic V1 gave me the experience to understand what problems and opportunities there will be in future development of the program. Here I divide my many ideas into three oversimplified possibilities, and the real result may be a mix of two or all three of them. 2.1 Continue the current development "linearly" Gliftic could grow simply by the addition of more forms and interpretations. In fact I am sure that initially it will grow like this. However this limits the possibilities to what is inside the program itself. These limits can be mitigated by allowing the user to add forms (as vector files). The user can already add color schemes (as images). The biggest problem with leaving the program in its current state is that there is no easy way to add interpretations. 2.2 Allow the artist to program Gliftic It would be interesting to add a language to Gliftic which allows the user to program his own form generators and interpreters. In this way Gliftic becomes a "platform" for the development of dynamic graphics styles by the artist. The advantage of not having to deal with the complexities of Windows programming could attract the more adventurous artists and designers. The choice of programming language of course needs to take into account the fact that the "programmer" is probably not be an expert computer scientist. I have seen how LISP (an not exactly easy artificial intelligence language) has become very popular among non programming users of AutoCAD. If, to complete a job which you do manually and repeatedly, you can write a LISP macro of only 5 lines, then you may be tempted to learn enough LISP to write those 5 lines. Imagine also the ability to publish (and/or sell) "style generators". An artist could develop a particular interpretation function, it creates images of a given character which others find appealing. The interpretation (which runs inside Gliftic as a routine) could be offered to interior designers (for example) to unify carpets, wallpaper, furniture coverings for single projects. As Adrian Ward [3] says on his WEB site: "Programming is no less an artform than painting is a technical process." Learning a computer language to create a single image is overkill and impractical. Learning a computer language to create your own artistic style which generates an infinite series of images in that style may well be attractive. 2.3 Add an artificial conciousness to Gliftic This is a wild science fiction idea which comes into my head regularly. Gliftic manages to surprise the users with the images it makes, but, currently, is limited by what gets programmed into it or by pure chance. How about adding a real artifical conciousness to the program? Creating an intelligent artificial designer? According to Igor Aleksander [1] conciousness is required for programs (computers) to really become usefully intelligent. Aleksander thinks that "the line has been drawn under the philosophical discussion of conciousness, and the way is open to sound scientific investigation". Without going into the details, and with great over-simplification, there are roughly two sorts of artificial intelligence: 1) Programmed intelligence, where, to all intents and purposes, the programmer is the "intelligence". The program may perform well (but often, in practice, doesn't) and any learning which is done is simply statistical and pre-programmed. There is no way that this type of program could become concious. 2) Neural network intelligence, where the programs are based roughly on a simple model of the brain, and the network learns how to do specific tasks. It is this sort of program which, according to Aleksander, could, in the future, become concious, and thus usefully intelligent. What could the advantages of an artificial artist be? 1) There would be no need for programming. Presumbably the human artist would dialog with the artificial artist, directing its development. 2) The artificial artist could be used as an apprentice, doing the "drudge" work of art, which needs intelligence, but is, anyway, monotonous for the human artist. 3) The human artist imagines "concepts", the artificial artist makes them concrete. 4) An concious artificial artist may come up with ideas of its own. Is this science fiction? Arthur C. Clarke's 1st Law: "If a famous scientist says that something can be done, then he is in all probability correct. If a famous scientist says that something cannot be done, then he is in all probability wrong". Arthur C Clarke's 2nd Law: "Only by trying to go beyond the current limits can you find out what the real limits are." One of Bertrand Russell's 10 commandments: "Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric" 3. References 1. "From Ramon Llull to Image Idea Generation". Ransen, Owen. Proceedings of the 1998 Milan First International Conference on Generative Art. 2. "How To Build A Mind" Aleksander, Igor. Wiedenfeld and Nicolson, 1999 3. "How I Drew One of My Pictures: or, The Authorship of Generative Art" by Adrian Ward and Geof Cox. Proceedings of the 1999 Milan 2nd International Conference on Generative Art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_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	0ef8
authors	Völker, H., Sariyildiz, S., Schwenck, M. and Durmisevic, S.
year	1996
title	THE NEXT GENERATION OF ARCHITECTURE WITHIN COMPUTER SCIENCES
source	Full-Scale Modeling in the Age of Virtual Reality [6th EFA-Conference Proceedings]
summary	Considering architecture as a mixture of exact sciences and the art, we can state that as in all other sciences, every technical invention and development has resulted in advantages and disadvantages for the well-being and prosperity of mankind. Think about the developments in the fields of nuclear energy or space travel. Besides bringing a lot of improvements in many fields, it also has danger for the well-being of a mankind. The development of the advanced computer techniques has also influence on architecture, which is inevitable. How did the computer science influence architecture till now, and what is going to be the future of the architecture with this ongoing of computer science developments? The future developments will be both in the field of conceptual design (form aspect) and also in the area of materialization of the design process. These all are dealing with the material world, for which the tools of computer science are highly appropriate. But what will happen to the immaterial world? How can we put these immaterial values into a computers model? Or can the computer be creative as a human being? Early developments of computer science in the field of architecture involved two-dimensional applications, and subsequently the significance of the third dimension became manifest. Nowadays, however, people are already speaking of a fourth dimension, interpreting it as time or as dynamics. And what, for instance, would a fifth, sixth or X-dimension represent? In the future we will perhaps speak of the fifth dimension, comprising the tangible qualities of the building materials around us. And one day a sixth dimension might be created, when it will be possible to establish direct communication with computers, because direct exchange between the computer and the human brain has been realised. The ideas of designers can then be processed by the computer directly, and we will no longer be hampered by obstacles such as screen and keyboard. There are scientist who are working to realize bio-chips. If it will work, perhaps we can realise all these speculations. It is nearly sure that the emergence of new technologies will also affect our subject area, architecture and this will create fresh challenges, fresh concepts, and new buildings in the 21st century. The responsibility of the architects must be, to bear in mind that we are dealing with the well-being and the prosperity of mankind.
keywords	Model Simulation, Real Environments
series	other
type	normal paper
email
more	http://info.tuwien.ac.at/efa/
last changed	2004/05/04 14:43

_id	af53
authors	Boyer, E. and Mitgang, L.
year	1996
title	Building community: a new future for architecture education and practice
source	Carnegie Foundation for the Advancement of Teaching
summary	Internships, before and after graduation, are the most essential link connecting students to the world of practice. Yet, by all accounts, internship is perhaps the most troubled phase of the continuing education of architects. During this century, as architectural knowledge grew more complex, the apprenticeship system withered away and schools assumed much of the responsibility for preparing architects for practice. However, schools cannot do the whole job. It is widely acknowledged that certain kinds of technical and practical knowledge are best learned in the workplace itself, under the guidance of experienced professionals. All state accrediting boards require a minimum period of internship-usually about three years-before a person is eligible to take the licensing exam. The National Council of Architectural Registration Boards (NCARB) allows students to earn up to two years of work credit prior to acquisition of an accredited degree. The Intern Development Program (IDP), launched by NCARB and the American Institute of Architects in 1979, provides the framework for internship in some forty states. The program was designed to assure that interns receive adequate mentoring, that experiences are well-documented, and that employers and interns allocate enough time to a range of educational and vocational experiences to prepare students for eventual licensure. As the IDP Guidelines state, "The shift from school to office is not a transition from theory to pragmatism. It is a period when theory merges with pragmatism.... It's a time when you: apply your formal education to the daily realities of architectural practice; acquire comprehensive experience in basic practice areas; explore specialized areas of practice; develop professional judgment; continue your formal education in architecture; and refine your career goals." Whatever its accomplishments, however, we found broad consensus that the Intern Development Program has not, by itself, solved the problems of internship. Though we found mutually satisfying internship programs at several of the firms we visited or heard about around the country, at many others interns told us they were not receiving the continuing education and experience they needed. The truth is that architecture has serious, unsolved problems compared with other fields when it comes to supplying on-the-job learning experiences to induct students into the profession on a massive scale. Medicine has teaching hospitals. Beginning teachers work in actual classrooms, supported by school taxes. Law offices are, for the most part, in a better financial position to support young lawyers and pay them living wages. The architecture profession, by contrast, must support a required system of internship prior to licensure in an industry that has neither the financial resources of law or medicine, the stability and public support of teaching, nor a network of locations like hospitals or schools where education and practice can be seamlessly connected. And many employers acknowledged those problems. "The profession has all but undermined the traditional relationship between the profession and the academy," said Neil Frankel, FAIA, executive vice president of Perkins & Will, a multinational firm with offices in New York, Chicago, Washington, and London. "Historically, until the advent of the computer, the profession said, 'Okay, go to school, then we in the profession will teach you what the real world is like.' With the coming of the computer, the profession needed a skill that students had, and has left behind the other responsibilities." One intern told us she had been stuck for months doing relatively menial tasks such as toilet elevations. Another intern at a medium-sized firm told us he had been working sixty to seventy hours per week for a year and a half. "Then my wife had a baby and I 'slacked off' to fifty hours. The partner called me in and I got called on the carpet for not working hard enough." "The whole process of internship is being outmoded by economics," one frustrated intern told us. "There's not the time or the money. There's no conception of people being groomed for careers. The younger staff are chosen for their value as productive workers." "We just don't have the best structure here to use an intern's abilities to their best," said a Mississippi architect. "The people who come out of school are really problems. I lost patience with one intern who was demanding that I switch him to another section so that he could learn what he needed for his IDP. I told him, 'It's not my job to teach you. You are here to produce.'" What steps might help students gain more satisfying work opportunities, both during and after graduation?
series	other
last changed	2003/04/23 15:14

_id	ab1e
authors	Coyne, R., McLaughlin, S., Newton, S., Sudweeks, F., Haynes, D. and Jumani, A.
year	1996
title	Report on Computers in Practice: A survey of computers in architectural practice
source	UK: University of Edinburgh
summary	This is a report on the dynamic relationship between information technology (IT) and architectural practice. The report summarises the attitudes and opinions of practitioners gathered through extensive recorded interviews, and compares these attitudes and opinions with the findings of other studies. The report is compiled from the point of view of an understanding of appropriating as preceding as the model for understanding. We thereby connect what is going on in IT with concepts currently under discussion in postmodern thought and in the tradition of philosophical pragmatism. We identify several of the major options identified by practitioners in their use of IT, including practicing without computers, substituting computers for traditional tasks, delivering traditional services in an innovative way through IT, and developing new services with IT. We also demonstrate how firms are changing and are being shaped by the market for architectural services. One of the major areas of change is in how IT and related resources are managed. We also consider how the role of the practitioner as an individual in a firm is changing along with changes in IT, and how different prognoses about the future of IT in practice are influenced by certain dominant metaphors. Our conclusion is that IT is best understood and appropriated when it is seen as fitting into a dynamic field or constellation of technologies and practices. Such an orientation enables the reflective practitioner to confront what is really going on as IT interacts with practice. praxis- practice theory
series	report
last changed	2003/04/23 15:50

_id	db00
authors	Espina, Jane J.B.
year	2002
title	Base de datos de la arquitectura moderna de la ciudad de Maracaibo 1920-1990 [Database of the Modern Architecture of the City of Maracaibo 1920-1990]
source	SIGraDi 2002 - [Proceedings of the 6th Iberoamerican Congress of Digital Graphics] Caracas (Venezuela) 27-29 november 2002, pp. 133-139
summary	Bases de datos, Sistemas y Redes 134The purpose of this report is to present the achievements obtained in the use of the technologies of information andcommunication in the architecture, by means of the construction of a database to register the information on the modernarchitecture of the city of Maracaibo from 1920 until 1990, in reference to the constructions located in 5 of Julio, Sectorand to the most outstanding planners for its work, by means of the representation of the same ones in digital format.The objective of this investigation it was to elaborate a database for the registration of the information on the modernarchitecture in the period 1920-1990 of Maracaibo, by means of the design of an automated tool to organize the it datesrelated with the buildings, parcels and planners of the city. The investigation was carried out considering three methodologicalmoments: a) Gathering and classification of the information of the buildings and planners of the modern architectureto elaborate the databases, b) Design of the databases for the organization of the information and c) Design ofthe consultations, information, reports and the beginning menu. For the prosecution of the data files were generated inprograms attended by such computer as: AutoCAD R14 and 2000, Microsoft Word, Microsoft PowerPoint and MicrosoftAccess 2000, CorelDRAW V9.0 and Corel PHOTOPAINT V9.0.The investigation is related with the work developed in the class of Graphic Calculation II, belonging to the Departmentof Communication of the School of Architecture of the Faculty of Architecture and Design of The University of the Zulia(FADLUZ), carried out from the year 1999, using part of the obtained information of the works of the students generatedby means of the CAD systems for the representation in three dimensions of constructions with historical relevance in themodern architecture of Maracaibo, which are classified in the work of The Other City, generating different types ofisometric views, perspectives, representations photorealistics, plants and facades, among others.In what concerns to the thematic of this investigation, previous antecedents are ignored in our environment, and beingthe first time that incorporates the digital graph applied to the work carried out by the architects of “The Other City, thegenesis of the oil city of Maracaibo” carried out in the year 1994; of there the value of this research the field of thearchitecture and computer science. To point out that databases exist in the architecture field fits and of the design, alsoweb sites with information has more than enough architects and architecture works (Montagu, 1999).In The University of the Zulia, specifically in the Faculty of Architecture and Design, they have been carried out twoworks related with the thematic one of database, specifically in the years 1995 and 1996, in the first one a system wasdesigned to visualize, to classify and to analyze from the architectural point of view some historical buildings of Maracaiboand in the second an automated system of documental information was generated on the goods properties built insidethe urban area of Maracaibo. In the world environment it stands out the first database developed in Argentina, it is the database of the Modern andContemporary Architecture “Datarq 2000” elaborated by the Prof. Arturo Montagú of the University of Buenos Aires. The general objective of this work it was the use of new technologies for the prosecution in Architecture and Design (MONTAGU, Ob.cit). In the database, he intends to incorporate a complementary methodology and alternative of use of the informationthat habitually is used in the teaching of the architecture. When concluding this investigation, it was achieved: 1) analysis of projects of modern architecture, of which some form part of the historical patrimony of Maracaibo; 2) organized registrations of type text: historical, formal, space and technical data, and graph: you plant, facades, perspectives, pictures, among other, of the Moments of the Architecture of the Modernity in the city, general data and more excellent characteristics of the constructions, and general data of the Planners with their more important works, besides information on the parcels where the constructions are located, 3)construction in digital format and development of representations photorealistics of architecture projects already built. It is excellent to highlight the importance in the use of the Technologies of Information and Communication in this investigation, since it will allow to incorporate to the means digital part of the information of the modern architecturalconstructions that characterized the city of Maracaibo at the end of the XX century, and that in the last decades they have suffered changes, some of them have disappeared, destroying leaves of the modern historical patrimony of the city; therefore, the necessity arises of to register and to systematize in digital format the graphic information of those constructions. Also, to demonstrate the importance of the use of the computer and of the computer science in the representation and compression of the buildings of the modern architecture, to inclination texts, images, mapping, models in 3D and information organized in databases, and the relevance of the work from the pedagogic point of view,since it will be able to be used in the dictation of computer science classes and history in the teaching of the University studies of third level, allowing the learning with the use in new ways of transmission of the knowledge starting from the visual information on the part of the students in the elaboration of models in three dimensions or electronic scalemodels, also of the modern architecture and in a future to serve as support material for virtual recoveries of some buildings that at the present time they don’t exist or they are almost destroyed. In synthesis, the investigation will allow to know and to register the architecture of Maracaibo in this last decade, which arises under the parameters of the modernity and that through its organization and visualization in digital format, it will allow to the students, professors and interested in knowing it in a quicker and more efficient way, constituting a contribution to theteaching in the history area and calculation. Also, it can be of a lot of utility for the development of future investigation projects related with the thematic one and restoration of buildings of the modernity in Maracaibo.
keywords	database, digital format, modern architecture, model, mapping
series	SIGRADI
email
last changed	2016/03/10 09:51

_id	aff6
authors	Ferrar, Steve
year	1996
title	Back to the Drawing Board?
doi	https://doi.org/10.52842/conf.ecaade.1996.155
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 155-162
summary	I am starting my presentation with some slides of architecture as a reminder that above all else we are involved in the education of future architects. Such is the enthusiasm of many of us for our specialist subject that computers dominate any discussion of architecture. We must not lose sight of the fact that we are using computers to assist in the manipulation of space, form, light, texture and colour, and in communicating our ideas. They should also be helping us and our students to understand and deal with the relationship of built form to its environment, its users and other buildings. The use of computers should not get in the way of this. In the final analysis the image on a computer screen is only that - an image, a representation of a building. It is not the building itself. It is a means to an end and not an end in itself. The image must not be a substitute for the physical building. We must remember that we use most of our other senses when experiencing a building and it is just as important to be able to touch, hear and smell a piece of architecture as well as being able to see it. Who knows, perhaps even taste is important. How much does the use of computers affect the design process and the final appearance of the building? Would these buildings have been substantially different if a system of working in three dimensions, similar to computer aided design, had been available to these architects. To what degree has the design process and method of working shaped the architecture of designers like Frank Lloyd Wright, Carlo Scarpa, Louis Sullivan, Charles Rennie Mackintosh or Alvar Aalto.
series	eCAADe
email
last changed	2022/06/07 07:50

_id	diss_fox
id	diss_fox
authors	Fox, M.A.
year	1996
title	Novel Affordances of Computation to the Design Process of Kinetic Structures
source	Massachusetts Institute of Technology, Cambridge, MA
summary	This paper is a discourse into the relationship between the process, computational tools and the role which symbolic structure can play in both. I argue the relationship of the process and tools is dialectic, whereby the tools we utilize in design develop new heuristics, the methodologies in turn, if reflectively understood, can be more aptly facilitated through the development of novel tools. The tools and the process then evolve together. A theory is laid out exploring the human visual information processing systems pertinence to the limitations in mental three-dimensional imaging and transformation operations as relevant to the operations of drawing and mental visualization within the architectural design processes, substantiating the designers necessity to draw (by traditional means, but more importantly here, through the inclusive integration of CAD within the process). The necessity to draw is explored as a representational process to the visual system as predicated upon the existence of a structured internal library of diagram-like representations in our heads. I argue that the ways we utilize such idiosyncratic libraries is predicated upon the ways in which we go about structuring the perceived experienced world around us into symbol systems. And finally, the ways we utilize our reflective understanding of the heuristic transformations of these symbols within the design process in the context of a CAD environment are explored as a means to an enhanced understanding of that which is being designed and consequently as a vehicle for the development of future CAD systems to better facilitate such methodologies of designing. A personal design process of several kinetic structures is carried out in order to arrive at a localized process analysis within computer-aided design environment. Through an interactive, reflective process analysis, conclusions are drawn as to the affordances and limitations of such tools as suggestive of the operations a CAD environment might perform so as to better foster future methodologies of designing. The design experiments are utilized as a vehicle to understand the process. Specifically three kinetic projects are exploited for the prototypical operations they display. When difficulties or mental limitations are encountered with the operations, specific tools are developed to facilitate the limitation or to overcome the problem.
series	thesis:MSc
more	http://www.mafox.net/sm_thesis/Thesis11.pdf
last changed	2003/11/28 07:35

_id	6598
authors	Goldman, Glenn
year	1996
title	Reconstructions, Remakes and Sequels: Architecture and Motion Pictures
doi	https://doi.org/10.52842/conf.acadia.1996.011
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 11-21
summary	Motion pictures can illustrate worlds that have never been. They may show fantastic depictions of the future or an interpretation of the past. In either case, they have the power to reach millions of people across cultures, generations, and educational backgrounds with visions of our environment that do not exist in our everyday world. The study of imaginary worlds in this design studio case study is limited to motion pictures that postulate unique, or new environments rather than those films that faithfully attempt to document or reconstruct reality. In this sense, the movies used for study have a lineage traceable to Georges Melies "who came to film from illusionism and the "heater," rather than to the reality of the Lumiere brothers who came from photography which ultimately would lead to "cinema-verite." Discussions, assignments and presentations in the studio are organized to provide students with an opportunity to gain a different awareness of architecture and use varying stimuli as source material for design. The study of architectural history, art, formal principles of design, visual perception, and media are required in order to complete the reconstructions and creations of proposed environments. All student work throughout the entire semester is created with electronic media and the computer is used as an integral component of the studio enabling analysis and study, design, model creation, and animation. The available capabilities of computer graphics in the studio enables students to explore analytic and synthetic issues of design in motion pictures in a manner not readily available when restricted to traditional media. Through the use of digital media we have an opportunity to better understand the imaginary worlds for what they communicate and the ideas they contain, and therefore create an opportunity to modify our own concept of architecture.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	06e1
authors	Keul, Alexander
year	1996
title	LOST IN SPACE? ARCHITECTURAL PSYCHOLOGY - PAST, PRESENT, FUTURE
source	Full-Scale Modeling in the Age of Virtual Reality [6th EFA-Conference Proceedings]
summary	A methodological review by Kaminski (1995) summed up five perspectives in environmental psychology - patterns of spatial distribution, everyday “jigsaw puzzles”, functional everyday action systems, sociocultural change and evolution of competence. Architectural psychology (named so at the Strathclyde conference 1969; Canter, 1973) as psychology of built environments is one leg of environmental psychology, the second one being psychology of environmental protection. Architectural psychology has come of age and passed its 25th birthday. Thus, a triangulation of its position, especially in Central Europe, seems interesting and necessary. A recent survey mainly on university projects in German-speaking countries (Kruse & Trimpin, 1995) found a marked decrease of studies in psychology of built environments. 1994, 25% of all projects were reported in this category, which in 1975 had made up 40% (Kruse, 1975). Guenther, in an unpublished survey of BDP (association of professional German psychologists) members, encountered only a handful active in architectural psychology - mostly part-time, not full-time. 1996, Austria has two full-time university specialists. The discrepancy between the general interest displayed by planners and a still low institutionalization is noticeable. How is the research situation? Using several standard research data banks, the author collected articles and book(chapter)s on architectural psychology in German- and English-language countries from 1990 to 1996. Studies on main architecture-psychology interface problems such as user needs, housing quality evaluations, participatory planning and spatial simulation / virtual reality did not outline an “old, settled” discipline, but rather the sketchy, random surface of a field “always starting anew”. E.g., discussions at the 1995 EAEA-Conference showed that several architectural simulation studies since 1973 caused no major impact on planner's opinions (Keul&Martens, 1996). “Re-inventions of the wheel” are caused by a lack of meetings (except this one!) and of interdisciplinary infrastructure in German-language countries (contrary to Sweden or the United States). Social pressures building up on architecture nowadays by inter-European competition, budget cuts and citizen activities for informed consent in most urban projects are a new challenge for planners to cooperate efficiently with social scientists. At Salzburg, the author currently manages the Corporate Design-process for the Chamber of Architecture, Division for Upper Austria and Salzburg. A “working group for architectural psychology” (Keul-Martens-Maderthaner) has been active since 1994.
keywords	Model Simulation, Real Environments
series	EAEA
type	normal paper
email
more	http://info.tuwien.ac.at/efa/
last changed	2005/09/09 10:43

_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	49d6
authors	Rubinowicz, P.
year	1996
title	Computer Parametric Modeling as a New Design Strategy
source	CAD Creativeness [Conference Proceedings / ISBN 83-905377-0-2] Bialystock (Poland), 25-27 April 1996 pp. 205-214
summary	Computer Aided Design means not only aiding the preparation of technical documentation for building purposes or for the presentation of architectural design. The application of computer technology has a deeper meaning, when used for the creative modelling of designed objects and spaces. This article will help to define and describe Computer Parametric Modelling as an example of creative computer use. All conclusions presented in this article are based on a four year long working experience using the computer program MODEL; utilising parametric modelling in architectural and town-planning design by the author of this article. This program was created by the author and he is the only user at the present time, but it is hoped that it will be available for general use in the future.
series	plCAD
last changed	1999/04/09 15:30

_id	05c4
authors	Sliwinski, Jacek
year	1996
title	CAAD - To Teach, or not to Teach?
doi	https://doi.org/10.52842/conf.ecaade.1996.403
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 403-406
summary	Usefulness of CAAD in architectural practice is not a matter to discuss. Probably it is very hard nowadays to find an architect practitioner who really believes, that CAAD isn't a useful tool in architectural office. Finding a job after finishing the studies at faculty of architecture isn't easy without knowledge of computer. For us as teachers it is a great challenge. We want our students to be as well as possible prepared for their work. So problem, how to put CAAD into amount of their knowledge is a very important point. However, computers are nowadays probably the fastest changing element of our reality. Differences between software and hardware used a few years ago and now are sometimes colossal. In spite of the fact, that in the field of using computers in design we are usually ahead of most architects practitioners, I think we are sentenced to be backward contemporary demands. Program of teaching CAAD prepared even with great care and accuracy is obsolete even when it starts. It is impossible to catch up with future. Which is a right place for CAAD in architectural education? Is it not true, that sometimes we try to teach CAAD by architecture instead of teaching architecture by CAAD? For many students CAAD is the most natural tool for design, a tool which has replaced pencil and a sheet of paper. Is it our success? I am not so sure. Limitations of CAAD systems are much bigger than pencil's one. Like every sophisticated tool it limits amount of possible solutions. CAAD should not be a fetish! I think maybe it is not such a stupid idea not to teach CAAD, but let our students find a right place for it like for any other useful tools?
series	eCAADe
email
last changed	2022/06/07 07:56

_id	ascaad2004_paper11
id	ascaad2004_paper11
authors	Abdelfattah, Hesham Khairy and Ali A. Raouf
year	2004
title	No More Fear or Doubt: Electronic Architecture in Architectural Education
source	eDesign in Architecture: ASCAAD's First International Conference on Computer Aided Architectural Design, 7-9 December 2004, KFUPM, Saudi Arabia
summary	Operating electronic and Internet worked tools for Architectural education is an important, and merely a prerequisite step toward creating powerful tele-collabortion and tele-research in our Architectural studios. The design studio, as physical place and pedagogical method, is the core of architectural education. The Carnegie Endowment report on architectural education, published in 1996, identified a comparably central role for studios in schools today. Advances in CAD and visualization, combined with technologies to communicate images, data, and “live” action, now enable virtual dimensions of studio experience. Students no longer need to gather at the same time and place to tackle the same design problem. Critics can comment over the network or by e-mail, and distinguished jurors can make virtual visits without being in the same room as the pin-up—if there is a pin-up (or a room). Virtual design studios (VDS) have the potential to support collaboration over competition, diversify student experiences, and redistribute the intellectual resources of architectural education across geographic and socioeconomic divisions. The challenge is to predict whether VDS will isolate students from a sense of place and materiality, or if it will provide future architects the tools to reconcile communication environments and physical space.
series	ASCAAD
email
last changed	2007/04/08 19:47

_id	765f
authors	Adam, Holger
year	2002
title	Reinterpretation or replacement? The effects of the information and communication technologies on urban space
source	CORP 2002, Vienna, pp. 345-349
summary	The timid question “Virtual spaces or real places?” forms the core of many debates within the spatial sciences addressing theconsequences of the rapid development of information and communication technologies1 on existing spatial structures. So far several opinions rival each other for the interpretation of current and the prediction of future spatial developments. The spacelessness ofcomputer networks and the possibility to transmit data in real-time have lead visionaries to predict a far-reaching devaluation of timeand space, so questioning the future importance of traditional spatial structures: The “annihilation of distance and time constraints [incomputer networks] could undermine the very rationale for the existence of the city by dissolving the need for physical proximity”(Graham and Marvin 1996: 318). The disappearance of the city into the net, therefore, seems to become a distinct possibility.
series	other
email
more	www.corp.at
last changed	2003/11/21 15:15

_id	438d
authors	Bartnicka, Malgorzata
year	1996
title	Who Uses Whom
source	CAD Creativeness [Conference Proceedings / ISBN 83-905377-0-2] Bialystock (Poland), 25-27 April 1996 pp. 21-26
summary	For many years architects have been improving their tools in order to make their visions most comprehensible to the future customers - investor and building contractor. Not everyone is able to read the technical drawings of the designed building as it requires the spatial imagination to be developed. For such non-professional persons and also because of the innate need of convenience architect has decided to use a machine called computer. With the help of computer technical drawings, axonometries, perspectives and colourful pictures are being created. They show reality in a more or less precise way. Architects eagerly use such methods of presentation as perspective views, that is photographic images of objects which do not yet exist. All of these measures taken are just a kind of advertising. The architect wants to sell his vision in the most accessible way to beat the competition.
series	plCAD
last changed	1999/04/09 15:30

_id	a04a
authors	Bhavnani, S.K. and John, B.E.
year	1996
title	Exploring the Unrealized Potential of Computer-Aided Drafting
source	Proceedings of CHI'96 (1996), 332-339
summary	Despite huge investments by vendors and users, CAD productivity remains disappointing. Our analysis of real- world CAD usage shows that even after many years of experience, users tend to use suboptimal strategies to perform complex CAD tasks. Additionally, some of these strategies have a marked resemblance to manual drafting techniques. Although this phenomenon has been previously reported, this paper explores explanations for its causes and persistence. We argue that the strategic knowledge to use CAD effectively is neither defined nor explicitly taught. In the absence of a well-formed strategy, users often develop a synthetic mental model of CAD containing a mixture of manual and CAD methods. As these suboptimal strategies do not necessarily prevent users from producing clean, accurate drawings, the inefficiencies tend to remain unrecognized and users have little motivation to develop better strategies. To reverse this situation we recommend that the strategic knowledge to use CAD effectively should be made explicit and provided early in training. We use our analysis to begin the process of making this strategic knowledge explicit. We conclude by discussing the ramifications of this research in training as well as in the development of future computer aids for drawing and design.
keywords	Task Decomposition; Learning
series	other
email
last changed	2003/11/21 15:16

_id	ddssup9604
id	ddssup9604
authors	Boelen, A.J.
year	1996
title	Impact-Analysis of Urban Design Realtime impact-analysis models for urban designers
source	Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part two: Urban Planning Proceedings (Spa, Belgium), August 18-21, 1996
summary	The past five years Prof Dr Jr T.M. de Jong, professor in environmental planning and sustainability at the Technical University of Delft, has developed a theoretical foundation for the analysis of urban design on the ecological, technical, economical, cultural and political impacts of morphologic interventions on different levels of scale. From september 1994 Jr AJ. Boelen (Urban Design Scientist and Knowledge Engineer) started a research project at the same university to further explore the possibilities of these theories and to develop impact evaluation models for urban design and development with the theoretical work of De Jong as a starting point. The paper discusses the development of a design and decision support system based on these theories. For the development of this system, techniques like object-orientation, genetic algorithms and knowledge engineering are used. The user interface, the relation between the real world, paper maps and virtual maps and the presentation of design-interventions and impacts caused by the interventions are important issues. The development-process is an interactive step by step process. It consists of the making of a prototype of the system, testing the theory and hypothe-sisses the system is based on, by applying tests end adjusting the theory and hypothesisses where needed. Eventually the system must be able to act as an integrator of many different models already developed or still to be developed. The structure of the system will allow easy future expansion and adjustment to changing insights. The logic used to develop the basic theory on which this system is founded makes it possible to even introduce and maintain rather subjective aspects like quality or appraisal as impacts that can be evaluated. In a previously developed system "Momentum" this was proved to work effectively for the national level. In this project we will - amongst other things - try to prove the effectiveness of impact-evaluation for other levels of scale.
series	DDSS
email
last changed	2003/11/21 15:16

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
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	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	e9e4
authors	Chevrier, C.
year	1996
title	Handling interactions between real and virtual worlds
source	Proceedings of the International Conference Computer Graphics International’96, pp. 115-125
summary	When compositing computer generated images and photographs or video images, interactions between real and virtual worlds must be taken into account in order to have a good visual result. These interactions are of three kinds: occluding object determination, specular inter-reflection and shadow computation. We first determine which real objects need to be geometrically and/or photometrically modelled for the three sets of interactions. Indeed, not all real surfaces need to be kept for the simulation and rendering steps. The unuseful real surfaces would just increase the rendering time. A rough photometric model can be sufficient for the surface properties, but colour computation has to be made in a particular colour model. Then for each kind of interactions, we take the real surfaces into account in a view-independent illumination step or in the rendering step.
series	other
last changed	2003/04/23 15:14

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