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

PDF papers
References

Hits 1 to 20 of 479

_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 20ff
id 20ff
authors Derix, Christian
year 2004
title Building a Synthetic Cognizer
source Design Computation Cognition conference 2004, MIT
summary Understanding ‘space’ as a structured and dynamic system can provide us with insight into the central concept in the architectural discourse that so far has proven to withstand theoretical framing (McLuhan 1964). The basis for this theoretical assumption is that space is not a void left by solid matter but instead an emergent quality of action and interaction between individuals and groups with a physical environment (Hillier 1996). In this way it can be described as a parallel distributed system, a self-organising entity. Extrapolating from Luhmann’s theory of social systems (Luhmann 1984), a spatial system is autonomous from its progenitors, people, but remains intangible to a human observer due to its abstract nature and therefore has to be analysed by computed entities, synthetic cognisers, with the capacity to perceive. This poster shows an attempt to use another complex system, a distributed connected algorithm based on Kohonen’s self-organising feature maps – SOM (Kohonen 1997), as a “perceptual aid” for creating geometric mappings of these spatial systems that will shed light on our understanding of space by not representing space through our usual mechanics but by constructing artificial spatial cognisers with abilities to make spatial representations of their own. This allows us to be shown novel representations that can help us to see new differences and similarities in spatial configurations.
keywords architectural design, neural networks, cognition, representation
series other
type poster
email
more http://www.springer.com/computer/ai/book/978-1-4020-2392-7
last changed 2012/09/17 21:13

_id 39fb
authors Langton, C.G.
year 1996
title Artificial Life
source Boden, M. A. (1996). The Philosophy of Artificial Life, 39-94.New York and Oxford: Oxford University Press
summary Artificial Life contains a selection of articles from the first three issues of the journal of the same name, chosen so as to give an overview of the field, its connections with other disciplines, and its philosophical foundations. It is aimed at those with a general background in the sciences: some of the articles assume a mathematical background, or basic biology and computer science. I found it an informative and thought-provoking survey of a field around whose edges I have skirted for years. Many of the articles take biology as their starting point. Charles Taylor and David Jefferson provide a brief overview of the uses of artificial life as a tool in biology. Others look at more specific topics: Kristian Lindgren and Mats G. Nordahl use the iterated Prisoner's Dilemma to model cooperation and community structure in artificial ecosystems; Peter Schuster writes about molecular evolution in simplified test tube systems and its spin-off, evolutionary biotechnology; Przemyslaw Prusinkiewicz presents some examples of visual modelling of morphogenesis, illustrated with colour photographs; and Michael G. Dyer surveys different kinds of cooperative animal behaviour and some of the problems synthesising neural networks which exhibit similar behaviours. Other articles highlight the connections of artificial life with artificial intelligence. A review article by Luc Steels covers the relationship between the two fields, while another by Pattie Maes covers work on adaptive autonomous agents. Thomas S. Ray takes a synthetic approach to artificial life, with the goal of instantiating life rather than simulating it; he manages an awkward compromise between respecting the "physics and chemistry" of the digital medium and transplanting features of biological life. Kunihiko Kaneko looks to the mathematics of chaos theory to help understand the origins of complexity in evolution. In "Beyond Digital Naturalism", Walter Fontana, Guenter Wagner and Leo Buss argue that the test of artificial life is to solve conceptual problems of biology and that "there exists a logical deep structure of which carbon chemistry-based life is a manifestation"; they use lambda calculus to try and build a theory of organisation.
series other
last changed 2003/04/23 15:14

_id eb51
authors Coyne, Richard
year 1996
title CAAD, Curriculum and Controversy
source Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 121-130
doi https://doi.org/10.52842/conf.ecaade.1996.121
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 ab45
authors Gu, Jingwen
year 1996
title Natural Results from Advances in Computer Techniques - CAAD Teaching in China Yesterday, Today and Tomorrow
source CAADRIA ‘96 [Proceedings of The First Conference on Computer Aided Architectural Design Research in Asia / ISBN 9627-75-703-9] Hong Kong (Hong Kong) 25-27 April 1996, pp. 21-26
doi https://doi.org/10.52842/conf.caadria.1996.021
summary The computer science has been becoming one of the most rapidly developed science areas in the world since 1970s. Many new and powerful solutions to engineering and scientific problems are based on computers. Now the applications and teaching of computer techniques are quickly towards almost all of the fields including architecture and urban planning. Of course, the advances of application of computers in particular fields and teachings are very different for some reasons. CAAD is one of few fields in which the teaching states, teaching ways and level are obviously different from university to university and from one area or country to another. In this paper the history of CAD and CAAD applications in China is first briefly reviewed. Then the CAAD activities including teaching and research work at Tongji University are introduced, and the social, economical, functional, technical and physical factors that have effects on CAAD teaching are discussed. What is currently included in our CAAD program is also discussed. As the further advances in computer technology including both software and hardware, What CAAD will include and in what way CAAD will be taught and the CAAD collaborative research projects will be taken remotely are shown finally.
series CAADRIA
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 29bf
authors Shields, R. (ed.)
year 1996
title Cultures of Internet: Virtual Spaces, Real Histories, Living Bodies
source Sage, London
summary The Internet is here but have we caught up with all its implications for culture and everyday life? This collection of original articles on the development of computer-mediated communications brings together many of the most accomplished writers on the Net and cyberspace. Cultures of Internet examines the arrival of e-mail and online discussion groups, and considers the prospect of an `online world' - a playground for virtual bodies in which identities are flexible, swappable and disconnected from real-world bodies. The book traces the rise of virtual conviviality and how it supplements the physical encounters between actors in public spaces that are abandoned to the homeless. The book is distinguished by a critical and social tone. For the first time, it presents systematic descriptions of the development of the Internet, its history in the military-industrial complex, the role of state policies leading, for example, to the creation of Minitel, and the building of information `superhighways'. It also explores the development of this technology as a commercialized leisure form and a forum for underground political organization and critique. Accessible and lively, the book draws in contributions from Europe, North America and developing countries. It will appeal to students of sociology, cultural studies and computer studies.
series other
last changed 2003/04/23 15:14

_id ddssar9627
id ddssar9627
authors Sariyildiz, S., Schwenck, M. and Jander, E.
year 1996
title Multimedia Teachware in the Field of Architectural Design
source Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Spa, Belgium), August 18-21, 1996
summary Software systems for educational purposes have been developed and used in many application areas. In this paper we will describe a development in the field of building science. ClAD is a teachware system directed to be used in the education of students of architecture as well as a tool that gives a survey to architects and engineers in the practice. In the first place it provides information about the use of computer science technologies in the building design process. Furthermore, information about the architectural design process itself is included. Based on an analysis of general requirements and specific demands of the application field we describe our solution concept. Very important conclusions are that the system has to integrate the use of all media which are usually used by architects by offering a flexible and well-designed user interface and allowing a high degree of interactive work. After covering the development process as a combination of top down and bottom up strategies we describe the overall structure of ClAD as a modular system which can be extended and updated easily. Finally, we give an overview about some parts of the system to demonstrate the implementation of the concepts mentioned above.
series DDSS
last changed 2003/08/07 16:36

_id a899
authors Stuart, Rory
year 1996
title The design of virtual environments
source McGraw-Hill, New York
summary Virtual reality (VR) is a highly interdisciplinary field involving computer science; perceptual psychology; human factors engineering; signal processing; and electrical, mechanical, and optical engineering. This unique book brings together vital information from all of these fields, providing both the theoretical and practical knowledge required to design VR systems capable of solving real-world problems. A serious treatment fo VR written specifically for engineers, researchers, and designers in industry and the military, this advanced-level handbook is up to date in every respect. Author and VR expert Rory Stuart describes each stage of the VR design process in detail, explaining a rigorous methodology for the planning, design, and testing of VR systems.
series other
last changed 2003/04/23 15:14

_id d610
authors Burdea, G.C.
year 1996
title Force and Touch Feedback for Virtual Reality
source New York: John Wiley & Sons
summary Could weight, temperature, and texture combine to bring simulated objects to life? Describing cutting-edge technology that will influence the way we interact with computers for years to come, this pioneering book answers yes: not only is it possible, but devices capable of providing force and tactile sensory feedback already exist. Force and Touch Feedback for Virtual Reality is the first comprehensive source of information on the design, modeling, and applications of force and tactile interfaces for VR. It is a must have for scientists, engineers, psychologists, and developers involved in VR, and for anyone who would like to gain a deeper understanding of this exciting and fast-growing field. Complete with hundreds of tables, figures, and color illustrations, Force and Touch Feedback for Virtual Reality offers * Basic information on human tactile sensing and control and feedback actuator technology * A worldwide survey of force and tactile interface devices, from the simple joystick to full-body instrumented suits based on human factor tests * Step-by-step instructions for realistic physical modeling of virtual object characteristics such as weight, surface smoothness, compliance, and temperature * A unified treatment of the benefits of the new haptic interface technology for simulation and training based on human factor tests * A detailed analysis of optimum control requirements for force and tactile feedback devices * A review of emerging applications in areas ranging from surgical training and entertainment to telerobotics and the military
series other
last changed 2003/04/23 15:14

_id 70b1
authors Emdanat, S.S., Vakalo, E.0. and Malkawi, A.M.
year 1996
title A Conceptual Framework for Integrating Morphological and Thermal Analysis in the Generation of Orthogonal Architectural Designs
source Proceedings of the 84th ACSA Meeting; Boston, pp. 117-131
summary Digital networks are gaining importance as environments for learning and creative collaboration. Technical achievements, software enhancements, and a growing number of applicable principles make it possible to compile complex environments that satisfy many aspects necessary for creative collaboration. This paper focuses on three issues: the architecture of collaborative environments, communication in these environments and the processes inherent to creative collaboration. The information architecture of digital environments looks different from physical architecture, mainly because the material that it is made out of is information and not stone, wood or metal and the goal is to provide appropriate paths and views to information. Nonetheless, many analogies can be drawn between information architecture and physical architecture, including the need for useability, aesthetics, and consistency. To communicate is important for creative collaboration. Digital networks request and enable new strategies for communicating. Regarding the collaborative creative process we have been able to detect principles and features that enhance this process, but there are still many unanswered questions. For example, the environment can enable and improve the frequency of surprise and coincidence, two factors that often play decisive roles in the creative processes but cannot be planned for in advance. Freedom and transparency within the environment are other important factors that foster creative collaboration. The following findings are based on numerous courses, which we have taught using networked environments and some associated, research projects that helped to verify their applicability for architectural practice.
series other
last changed 2003/04/23 15:50

_id d9bf
authors Goodchild, N.F., Steyaert, L.T., Parks, B.O., Johnson, C., Maidment, D., Crane, M. and Glendinning, S. (Eds.)
year 1996
title GIS and Environmental Modeling: Progress and Research Issues
source Fort Collins, CO: GIS World Books, pp.451-454
summary GIS and Environmental Modeling: Progress and Research Issues Michael F. Goodchild, Louis T. Steyaert, Bradley O. Parks, Carol Johnston, David Maidment, Michael Crane, and Sandi Glendinning, Editors With growing pressure on natural resources and landscapes there is an increasing need to predict the consequences of any changes to the environment. Modelling plays an important role in this by helping our understanding of the environment and by forecasting likely impacts. In recent years moves have been made to link models to Geographical Information Systems to provide a means of analysing changes over an area as well as over time. GIS and Environmental Modeling explores the progress made to date in integrating these two software systems. Approaches to the subject are made from theoretical, technical as well as data stand points. The existing capabilities of current systems are described along with important issues of data availability, accuracy and error. Various case studies illustrate this and highlight the common concepts and issues that exist between researchers in different environmental fields. The future needs and prospects for integrating GIS and environmental models are also explored with developments in both data handling and modelling discussed. The book brings together the knowledge and experience of over 100 researchers from academic, commercial and government backgrounds who work in a wide range of disciplines. The themes followed in the text provide a fund of knowledge and guidance for those involved in environmental modelling and GIS. The book is easily accessible for readers with a basic GIS knowledge and the ideas and results of the research are clearly illustrated with both colour and black and white graphics.
series other
last changed 2003/04/23 15:14

_id dba1
authors Hirschberg, Urs and Wenz, Florian
year 2000
title Phase(x) - memetic engineering for architecture
source Automation in Construction 9 (4) (2000) pp. 387-392
summary Phase(x) was a successful teaching experiment we made in our entry level CAAD course in the Wintersemester 1996/1997. The course was entirely organized by means of a central database that managed all the students' works through different learning phases. This set-up allowed that the results of one phase and one author be taken as the starting point for the work in the next phase by a different author. As students could choose which model they wanted to work with, the whole of Phase(x) could be viewed as an organism where, as in a genetic system, only the "fittest" works survived. While some discussion of the technical set-up is necessary as a background, the main topics addressed in this paper will be the structuring in phases of the course, the experiences we had with collective authorship, and the observations we made about the memes2 that developed and spread in the students' works. Finally we'll draw some conclusions in how far Phase(x) is relevant also in a larger context, which is not limited to teaching CAAD. Since this paper was first published in 1997, we have continued to explore the issues described here in various projects3 together with a growing number of other interested institutions worldwide. While leaving the paper essentially in its original form, we added a section at the end, in which we outline some of these recent developments.
series journal paper
more http://www.elsevier.com/locate/autcon
last changed 2003/05/15 21:22

_id 04ad
authors Koutamanis, Alexander
year 1996
title CAAD Teaching in the Electronic Era
source Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 239-242
doi https://doi.org/10.52842/conf.ecaade.1996.239
summary The popularization and wide acceptance of computer technologies is changing the position and role of CAAD in architectural education and practice. The changing profile of architectural students with respect to computing leads to a reconsideration of priorities and structure in CAAD education. These are evident in the growing acceptance of the computer as part of the standard design instrumentation and in the shift from theoretical issues to hands-on experience in CAAD courses and exercises. As such changes can only continue to occur, probably at a faster pace, CAAD has to re-evaluate its position so as to anticipate the emerging patterns of computing in architecture and design. We can distinguish between three possible outcomes. The first is decentralization of CAAD and distribution of CAAD specialists to the other specializations in architecture and building. The second is concentration on theory and methodology and use of the computer as an instrument for verifying insights and hypotheses. The third option -the worst case scenario- is degradation to a supporting role, subordinate to the designer and the theorist.

series eCAADe
email
more http://caad.bk.tudelft.nl/koutamanis/
last changed 2022/06/07 07:51

_id 44cc
authors Martens, Bob (ed.)
year 1996
title Full-scale Modeling in the Age of Virtual Reality
source Proceedings of the 6th European Full-scale Modeling Association Conference / ISBN 3-85437-132-2 / Vienna (Austria) 4-6 September 1996, 140 p.
summary In times characterized by the growing "architectural criticism"; to the same extent as by the helplessness of the anonymous user the communication process between contractors, planner and users gains in importance. If communication is successful will not only depend on the quality of the project but also on the means of conveyance, e.g. visualizing or model representation. Can planning evaluation be effectively supported by virtual reality (VR)?

The principal item of a full-scale lab preferably features a court-like facility where the 1:1 simulations are performed. Such lab facilities can be found at various architecture education centers throughout Europe. In the early eighties the European Full-scale Modeling Association (abrev. EFA, full-scale standing for 1:1 or simulation in full-scale) was founded acting as the patron of a conference every two years. In line with the conference title "Full-scale Modeling in the Age of Virtual Reality" the participants were particularly concerned with the relationship of physical 1:1 simulations and VR. The assumption that those creating architecture provide of a higher degree of affinity to physical than to virtual models and prototypes was subject of vivid discussions.

Furthermore, the participants devoted some time to issues such as the integration of model-like ideas and built reality thus uncovering any such synergy-effects. Thus some major considerations had to be given to the question of how the architectís model-like ideas and built reality would correspond, also dealing with user-suitability as such: what the building artist might be thrilled with might not turn out to be the residentsí and usersí everyday delight. Aspects of this nature were considered at the îArchitectural Psychology Meeting” together with specialists on environment and aesthetics. As individual space perception as well as its evaluation differ amongst various architects, and these being from various countries furnishing cultural differences, lively discussions were bound to arise.

keywords VR, Virtual Reality, Simulation in Full-scale, Model Simulation, Real Environments
series other
email
more http://info.tuwien.ac.at/efa/EFA-Proceedings.html
last changed 2003/08/25 10:12

_id ddssup9611
id ddssup9611
authors Polidori, MaurIcio Couto
year 1996
title Built Form Impact Assessment Method of Description
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 Continuous change in contemporary cities heve produced an urban space tipollogically diverse, particulary in fast growing South-American countries. As a result, the straight contextual analysis, usually used to assess the degree of innovation/permanence of new buildings in urban settings becomes ineffective, for the simple reason that frequently it is virtually impossible to establish what the context dominance actually is. The method proposed in this paper takes the issue of tipological analysis from a systems approach. This is carried out by a series of procedures, such as: a) identifying buildings'constitutive parts, which can be done at any degree of detail; b) listing them according to their attributes of repertory and formal composition. ;with this it is obtained a extensive catalogue of the entities taking part of the considered urban setting, from which the actual context can be depicted; c) listing each entity's participation in the landscape composition, or the role each one has in the landscape configuration. The software that operates the analysis does the rest, measuring the degree of innovation/permanence of each entity, in relation to the others, and defining what the context is made of.. From this, any inclusion/exclusion in the considered townscape is automatically evaluated in terms of impact on the pre-existing setting. The system can be used at any urban scale, as well as at the building scale.
series DDSS
last changed 2003/08/07 16:36

_id 21e9
authors Wurman, R.S. (ed.)
year 1996
title Information Architects
source Graphic Press Ltd., Zurich, Switzerland
summary There is a tsunami of data that is crashing onto the beaches of the civilized world. This is a tidal wave of unrelated, growing data formed in bits and bytes, coming in an unorganized, uncontrolled, incoherent cacophony of foam. None of it is easily related, none of it comes with any organization methodology. Now for the good news: There is a dune on the beach. There is a breakwater in the ocean that is clearly emerging in these last fleeting moments of the 20th century. The breakwater is indeed breaking up the tsunami of data and focusing it in a more organized way to answer our questions and concerns. There is a new breed of graphic designers, exhibition designers, illustrators and photographers, whose passion it is to make the complex clear. I call this new breed of talented thinkers Information Architects and this book was created to help celebrate and understand the importance of their work - a work which inspires hope that as we expand our capabilities to inform and communicate that we will value, with equal enthusiasm, the design of understanding.
series other
last changed 2003/04/23 15:14

_id e29d
authors Arvesen, Liv
year 1996
title LIGHT AS LANGUAGE
source Full-Scale Modeling in the Age of Virtual Reality [6th EFA-Conference Proceedings]
summary With the unlimited supply of electric light our surroundings very easily may be illuminated too strongly. Too much light is unpleasant for our eyes, and a high level of light in many cases disturbs the conception of form. Just as in a forest, we need shadows, contrasts and variation when we compose with light. If we focus on the term compose, it is natural to conceive our environment as a wholeness. In fact, this is not only aesthetically important, it is true in a physical context. Inspired by old windows several similar examples have been built in the Trondheim Full-scale Laboratory where depth is obtained by constructing shelves on each side of the opening. When daylight is fading, indirect artificial light from above gradually lightens the window. The opening is perceived as a space of light both during the day and when it is dark outside.

Another of the built examples at Trondheim University which will be presented, is a doctor's waitingroom. It is a case study of special interest because it often appears to be a neglected area. Let us start asking: What do we have in common when we are waiting to come in to a doctor? We are nervous and we feel sometimes miserable. Analysing the situation we understand the need for an interior that cares for our state of mind. The level of light is important in this situation. Light has to speak softly. Instead of the ordinary strong light in the middle of the ceiling, several spots are selected to lighten the small tables separating the seats. The separation is supposed to give a feeling of privacy. By the low row of reflected planes we experience an intimate and warming atmosphere in the room. A special place for children contributes to the total impression of calm. In this corner the inside of some shelves are lit by indirect light, an effect which puts emphasis on the small scale suitable for a child. And it also demonstrates the good results of variation. The light setting in this room shows how light is “caught” two different ways.

keywords Model Simulation, Real Environments
series other
type normal paper
more http://info.tuwien.ac.at/efa/
last changed 2004/05/04 14:34

_id f5ee
authors Erhorn, H., De Boer, J. and Dirksmueller, M.
year 1997
title ADELINE, an Integrated Approach to Lighting Simulation
source Proceedings of Right Light 4, 4th European Conference on Energy-Efficient Lighting, pp.99-103
summary The use of daylighting and artificial lighting simulation programs to calculate complex systems and models in the design practice often is impeded by the fact that the operation of these programs, especially the model input, is extremely complicated and time-consuming. Programs that are easier to use generally do not show the calculation capabilities required in practice. A second obstacle arises as the lighting calculations often do not allow any statements regarding the interactions with the energetic and thermal building performance. Both problems are mainly due to a lacking integration of the design tools of other building design practitioners as well as due to insufficient user interfaces. The program package ADELINE (Advanced Daylight and Electric Lighting Integrated New Environment) being available since May 1996 as completely revised version 2.0 presents a promising approach to solve these problems. This contribution describes the approaches and methods used within the international project IEA Task 21 for a further development of the ADELINE system. Aim of this work is a further improvement of user interfaces based on the inclusion of new dialogs and on a portation of the program system from MS-DOS to the Windows NT platform. Additional focus is laid on the use of recent developments in the field of information technology and experiences gained in other projects on integrated building design systems, like for example EU-COMBINE, in a pragmatical way. An integrated building design system with open standardized interfaces is to be achieved inter alia by using ISOSTEP formats, database technologies and a consequent, object-oriented design.
series other
last changed 2003/04/23 15:50

_id 4fc4
authors Jakimowicz, Adam
year 1996
title Towards Affective Architectural Computing: An Additional Element in CAAD
source CAD Creativeness [Conference Proceedings / ISBN 83-905377-0-2] Bialystock (Poland), 25-27 April 1996 pp. 121-135
summary The sphere of computing, in general, is the sphere of confusion. First, computers', thanks to (or because o) the indirect way of communicating "with" them, have not become yet the obvious and natural extension of human abilities - as TV set, radio or cars already have. It is probably because of the feeling, that they are, more or less, for specialists and that they require special knowledge or skills. In a way it is true, but surely it will change within a few years, when they become everyday tools of education at schools or just toys for children. Second, there is also the feeling or wish, that every computer is able to do everything we want - from, lets say, writing a letter, washing the dishes to very complex things as, for example, designing architecture. This is the dream of universal artificial intelligence, which should be a perfect servant, which not only listens to, but also predicts our wishes.
series plCAD
email
last changed 2003/05/17 10:01

For more results click below:

this is page 0show page 1show page 2show page 3show page 4show page 5... show page 23HOMELOGIN (you are user _anon_169827 from group guest) CUMINCAD Papers Powered by SciX Open Publishing Services 1.002