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

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_id	5fc4
authors	Fruchter, R.
year	1996
title	Conceptual Collaborative Building Design Through Shared Graphics
source	IEEE Expert special issue on Al in Civil Engineering, June vol. 33-41
summary	The Interdisciplinary Communication Medium computer environment integrates a shared graphic modeling environment with network-based services to accommodate many perspectives in an architecture/engineering/construction team. Communication is critical for achieving better cooperation and coordination among professionals in a multidisciplinary building team. The complexity of large construction projects, the specialization of the project participants, and the different forms of synchronous and asynchronous collaborative work increase the need for intensive information sharing and exchange. Architecture/engineering/construction (A/E/C) professionals use computers to perform a specific discipline's tasks, but they still exchange design decisions and data using paper drawings and documents. Each project participant investigates and communicates alternative solutions through representational idioms that are private to that member's profession. Other project participants must then interpret, extract, and reenter the relevant information using the conventional idioms of their disciplines and in the format required by their tools. The resulting communication difficulties often affect the quality of the final building and the time required to achieve design consensus. This article describes a computer environment, the Interdisciplinary Communication Medium (ICM), that supports conceptual, collaborative building design. The objective is to help improve communication among professionals in a multidisciplinary team. Collaborative teamwork is an iterative process of reaching a shared understanding of the design and construction domains, the requirements, the building to be built, and the necessary commitments. The understanding emerges over time, as team members begin to grasp their own part of the project, and as they provide information that lets others progress. The fundamental concepts incorporated in ICM include A communication cycle for collaborative teamwork that comprises propose-interpret-critique-explain-change notifications. An open system-integration architecture. A shared graphic modeling environment for design exploration and communication. A Semantic Modeling Extension (SME), which introduces a structured way to capture design intent. A change-notification mechanism that documents notes on design changes linked to the graphic models, and routes change notifications. Thus, the process involves communication, negotiation, and team learning.
series	journal paper
last changed	2003/04/23 15:14

_id	c6dd
authors	Fruchter, Renate
year	1996
title	COMPUTER INTEGRATED ARCHITECTURE/ENGINEERING/CONSTRUCTION PROJECT-CENTERED LEARNING ENVIRONMENT
doi	https://doi.org/10.52842/conf.acadia.1996.227
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 227-234
summary	This paper describes an on-going effort, initiated at Stanford's Civil Engineering Department, to develop, implement, and test a new and innovative "Computer Integrated Architecture./Engineering/Construction" (A/E/C) course. The course takes a multi-site, cross- disciplinary, project-centered, team-oriented approach to teaching. The paper presents the motivation, methodology, computational infrastructure, and initial observations in the experimental A/E/C course. The course is sponsored by NSF Synthesis Coalition and is the result of the collaborative effort of faculty and researchers from Civil Engineering Department at Stanford University, and Architecture Department and Civil Engineering Department, at UC Berkeley. In this computer integrated A/EIC environment a new generation of architecture, engineering, construction students learns how to team up with other disciplines and the advantage of the emerging information technologies for collaborative work in order to design and build higher quality buildings faster.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:50

_id	8b8d
authors	Martens, B., Voigt, A. and Linzer, H.
year	1996
title	Information Technologies within Academic Context: Remote Teamwork – A Challenge for the Future
doi	https://doi.org/10.52842/conf.caadria.1996.227
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. 227-232
summary	"Remote Teamwork”, i.e. the substance-related cooperation of people over spatial distances in decision-situations relies on "CIVIC” (Computer-Integrated Video-Conferencing-audio-visual communication at spatial distances integrating interactively digital, spatial computer models) and "CISP” (Computer-Integrated Spatial Planning) aiming at the elaboration of suited remote-working structures of research, project transactions and teaching preferably on the basis of "ATM” (a technology of broad band telecommunications). The generation and manipulation of digital spatial models and their virtual transportation within large spatial distances represent the main research objectives. The efficient use of teaching resources calls for the integration of new teaching possibilities within the framework of "Remote Teamwork”, e.g. Distributed and Shared Modelling, Distant Learning and Remote Teaching. The Faculty of Architecture, Urban and Regional Planning therefore is stressing information technologies within academic context. The following contribution is dedicated to the focal field of research and teaching "Remote Teamwork” of the Vienna University of Technology. This project is carried out in cooperation with the Institute of Spatial Interaction and Simulation (IRIS-ISIS), Vienna and the Research Institute for Symbolic Computation (RISC Linz-Hagenberg). Teaching experience relevant for "Remote Teamwork” is derived from various experiments of cooperative teamwork.
series	CAADRIA
email
last changed	2022/06/07 07:59

_id	aa13
authors	Oxman, Rivka
year	1996
title	Shared Design-Web-Space in Internet-Based Design
doi	https://doi.org/10.52842/conf.ecaade.1996.301
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 301-312
summary	The introduction of the computer into architectural studies has resulted in innovative pedagogical approaches to design education. In recent years we have employed a teaching approach in which the student models the formalization of design knowledge in a computerized environment and experiments with the formal processing of this knowledge in the generation of designs. Interacting with the computer in the generation of designs requires making design knowledge explicit and formalized. Knowledge modeling is an approach to design and education in which the designer models the design thinking involved in the making of the object. In this process appropriate computational technology is essential to support and enhance certain phenomena of reasoning. From the pedagogical point of view such computational design environment appear also to enhance design learning and performance through the capability gained in computer modelling. In this respect, there is an analogous impact on the potential of design knowledge environments which can support design performance in practice. In this paper we consider the Internetas a potential design knowledge environment. The nature of the Net as a medium for the representation, storage and accessing of design knowledge is presented and various research issues are introduced. The potential of this new medium as a resource for design learning, design practice and design collaboration derives from the attributes of the technology. We elaborate on the appropriateness of certain attributes of the medium as a potential design environment. Future possibilities of the Net as a shared design resource are proposed. Considerations of the Net as a collaboratively constructed design resource as well as a medium for collaborative design are introduced.
series	eCAADe
email
more	http://arrivka@technion.ac.il/~rivka
last changed	2022/06/07 08:00

_id	82ff
authors	Bhavnani, S.K., Flemming, U., Forsythe, D.E., Garrett, J.H., Shaw, D.S. and Tsai, A.
year	1996
title	CAD usage in an architectural office: from observations to active assistance
source	Automation in Construction 5 (3) (1996) pp. 243-255
summary	The functionality and resources provided by CAD systems have been increasing rapidly, but productivity growth expected from their use has been difficult to achieve. Although many surveys describe this productivity puzzle, few studies have been conducted on actual CAD users to understand its causes. In an effort to arrive at such an understanding, the first author visited a federal architectural office and observed CAD users in their natural setting. This paper describes preliminary results obtained from the study, which used ethnographic techniques developed by cultural anthropologists. The study revealed that users had leveled-off in their learning and experimentation and were using the CAD system in suboptimal ways. By asking why users were not using many resources available to them to improve performance, the observer uncovered issues of communication and management that needed to be addressed. Based on this understanding, the authors provide explicit recommendations to CAD users and vendors. In addition, they hypothesize that users might benefit from a system that provides active assistance, that is, intervenes spontaneously with advice, assistance, and relevant information while the user interacts with the CAD system. They conclude with some issues revealed by the study that should be considered when developing such active assistance.
series	journal paper
email
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_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	6063
authors	Cheng, Nancy Yen-Wen
year	1996
title	Teaching CAD as a Foreign Language
doi	https://doi.org/10.52842/conf.caadria.1996.011
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. 11-20
summary	By looking at the well-developed discipline of language teaching, we can improve instruction of computer aided design communication. Language teaching not only breaks down a complex field into attainable steps, but also shows how learning strategies and attitudes can enhance mastery. Guiding students in learning approaches will equip them to deal with constantly changing technology. Even at an introductory level, awareness of the learning process can heighten learning. Thus, giving a conceptual framework and enhancing resource-finding, brainstorming and coping abilities will lead to threshold competence. Practicing these strategies on realistic projects hones the ability to connect concepts to actual situations. Both design or research projects exercise resource-usage, task management, crisis management, but specifically, collaboration exercises which engage the students with a real audience can provide strong motivation and link academic study to practical concerns. Ideas about teaching techniques are documented with examples from the University of Hong Kong.
series	CAADRIA
email
last changed	2022/06/07 07:55

_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	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	bd19
authors	Harrison, Steve and Dourish, Paul
year	1996
title	Re-Place-ing Space: The Roles of Place and Space in Collaborative Systems Learning from Space and Place
source	Proceedings of ACM CSCW'96 Conferenc on Computer-Supported Cooperative Work 1996 p.10
summary	Many collaborative and communicative environments use notions of "space" and spatial organisation to facilitate and structure interaction. We argue that a focus on spatial models is misplaced. Drawing on understandings from architecture and urban design, as well as from our own research findings, we highlight the critical distinction between "space" and "place". While designers use spatial models to support interaction, we show how it is actually a notion of "place" which frames interactive behaviour. This leads us to re-evaluate spatial systems, and discuss how "place", rather than "space", can support CSCW design.
keywords	Space; Place; Media Space; Virtual Reality; MUDs; Metaphor
series	other
last changed	2002/07/07 16:01

_id	8832
authors	MacCallum, C. and Hanna, R.
year	1996
title	DEFLECT: A Computer Aided Learning Package For Teaching Structural Design
doi	https://doi.org/10.52842/conf.ecaade.1996.253
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 253-262
summary	The teaching of structures and its integration with design teaching has been seen as one of the major problems in design education in schools of architecture world-wide. A number of suggestions have been put forward to improve the quality of teaching in structures in architecture. These include the production of computer based learning materials, and the use of the computer as a ‘substitute’ tutor. This paper reports on a SHEFC funded project jointly carried out by the Department of Civil Engineering, University of Paisley, the Mackintosh School of Architecture, and Lamp Software. The project aims to build a computer-assisted learning package on the response of structures to load. The software will be used as an interactive teaching tool for both architectural and engineering students. The package has three levels: Beginners (Level 1), Intermediate (Level 2) and Advanced (Level 3). The first two levels have been completed after continuous feedback from both institutions. Level 1 is geared towards architectural and engineering students to help them understand structural behaviour of building components, such as deflection. Level 2 is a graphical editor that enables students to draw precisely the structure of their designs, investigate the deflection of structural members and identify areas of tension and compression. Level 3 is a design tool aimed at architectural and civil engineering students where they can design and analyse realistic structures by choosing structural members from a library, and specify materials and multiple loads. Prior to its final release, the software package was appraised by students from both institutions. Analysis of results from questionnaires revealed that students expressed a great deal of 'satisfaction' with many of its teaching and learning attributes. The outcome of this project will promote and enhance students’ understanding of the response of structures to load; it will also help students grasp the impact of varying building materials and cross sectional properties on the structural form.
series	eCAADe
email
last changed	2022/06/07 07:59

_id	4b22
authors	Moorhouse, J.
year	1996
title	Teach a Man to Catch a Fish
doi	https://doi.org/10.52842/conf.ecaade.1996.281
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 281-286
summary	An international charity outlined the following principle recently in an advertisement. “Give a man a fish and he will feed himself for a day, teach a man how to catch a fish and he will feed himself for a lifetime.” In education, the same principle may be applied to learning. To the student of architecture, skills in the use of commercial software may be advantageouus in the search for future employment and can prove for be a useful springboard for exploring the potential of CAAD in a broader sense. However, software (and hardware) is continually being upgraded and developed, and it is apparent that such software does not fully meet the need of the designer. Exploring the possibilities of CAADesigning as an integral part of learning to design will equip the student with the CAAD literacy necessary for working in practice, but more importantly will provide the student with a rich and diverse understanding of design approaches. Traditionally design tutors have taught (by example) how individual architects design. Providing a library of architects CAADesigning in different ways can be used to establish precedents and examples, demystify the activities to both students and tutors and provide a rich set of methodologies as a working context for students to draw inspiration from. As part of an ongoing research study, a new direction has been taken gathering, comparing, contrasting and grouping live records of architects CAADesigning. This paper will outline the benefits of recording and creating such a library and will describe examples of recent findings.
series	eCAADe
email
last changed	2022/06/07 07:58

_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	c37f
authors	Resnick, M., Bruckman, A. and Martin, F.
year	1996
title	Pianos Not Stereos: Creating Computational Construction Kits
source	Interactions, 3 (6)
summary	The stereo has many attractions: it is easier to play and it provides immediate access to a wide range of music. But "ease of use" should not be the only criterion. Playing the piano can be a much richer experience. By learning to play the piano, you can become a creator (not just a consumer) of music, expressing yourself musically in ever-more complex ways. As a result, you can develop a much deeper relationship with (and deeper understanding of) music. So too with computers. In the field of educational technology, there has been too much emphasis on the equivalent of stereos and CDs, and not enough emphasis on computational pianos. In our research group at the MIT Media Lab, we are developing a new generation of "computational construction kits" that, like pianos, enable people to express themselves in ever-more complex ways, deepening their relationships with new domains of knowledge.
series	journal paper
last changed	2003/04/23 15:50

_id	6e46
authors	Wenz, Florian and Hirschberg, Urs
year	1997
title	Phase(x) - Memetic Engineering for ArchitectureArchitecture
doi	https://doi.org/10.52842/conf.ecaade.1997.x.b1e
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
summary	Phase(x) was a successful teaching experiment we made in our entry level CAAD course in the Wintersemester 1996/97. The course was entirely organized by means of a central database that managed all the students' works through different learning phases. This setup 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 memes hat 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, that is not limited to teaching CAAD.
keywords	memetic process, collaborative creative work, collective authorship, caad education
series	eCAADe
email
more	http://info.tuwien.ac.at/ecaade/proc/wenz/wenz.htm
last changed	2022/06/07 07:50

_id	63e6
authors	Af Klercker, Jonas
year	1996
title	Visualisation for Clients - One Example of Educating CAAD for Practice
doi	https://doi.org/10.52842/conf.ecaade.1996.017
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 17-24
summary	During the spring term 1996, 13 students of the 3rd and 4th year at the School of Architecture at Lund University had the opportunity to make a one semester CAAD project. 11 students chose the individual exercise to use computer media for developing a small architectural design in interaction with a client. The focus was set more on visualization and the process of communicating ideas, feelings and practical solutions between architect and client and visa versa rather than concentrated on the final product. This paper describes the process of the project and the reflections of the participants. It will discuss problems from the teachers point of view.
series	eCAADe
email
more	http://www.caad.lth.se/ECAADE/
last changed	2022/06/07 07:54

_id	452d
authors	Arlati, E., Bottelli, V. and Fogh, C.
year	1996
title	Applying CBR to the Teaching of Architectural Design
doi	https://doi.org/10.52842/conf.ecaade.1996.041
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 41-50
summary	This paper presents an approach to the analysis and description of the nature of process knowledge in architectural design, the development of a conceptual model for Galathea, a case-based navigation tool for its support, and the application of this theoretical foundation to the teaching of design to a group of about 100 second-year architecture students. Design is assumed as a globally coherent information, memory and experience-intensive process in which professional skill is the capability to govern a large number of continually evolving variables in the direction of desired change. This viewpoint on design has guided the development of Galathea, the model of a tool aimed at describing architectural design through the description, mapping and management of the complete decision-making path of projects by means of the dynamic representation of the relationship between goals, constraints and the decisions/actions adopted at specific nodes and through the creation of a case-base aimed at the storage, retrieval and adaptation of relevant design moves in similar project contexts. This conceptual model is applied to educational activity at the faculty of Architecture of Milan, with the aim of teaching how to govern a project from the outset considering it as an evolving but coherent map of design moves, which allow the adoption of the correct decisions involving the most disparate types of information, experience and memory, and which altogether conduct to the desired goal. The resolution paths of the students, all applied to the same architecture problem, result in a design move case-base, the further utilisation and interest of which is open to collegial discussion.
keywords	knowledge-based design; case-based reasoning; design process control, design moves
series	eCAADe
email
last changed	2022/06/07 07:54

_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	d7eb
authors	Bharwani, Seraj
year	1996
title	The MIT Design Studio of the Future: Virtual Design Review Video Program
source	Proceedings of ACM CSCW'96 Conference on Computer-Supported Cooperative Work 1996 p.10
summary	The MIT Design Studio of the Future is an interdisciplinary effort to focus on geographically distributed electronic design and work group collaboration issues. The physical elements of this virtual studio comprise networked computer and videoconferencing connections among electronic design studios at MIT in Civil and Environmental Engineering, Architecture and Planning, Mechanical Engineering, the Lab for Computer Science, and the Rapid Prototyping Lab, with WAN and other electronic connections to industry partners and sponsors to take advantage of non-local expertise and to introduce real design and construction and manufacturing problems into the equation. This prototype collaborative design network is known as StudioNet. The project is looking at aspects of the design process to determine how advanced technologies impact the process. The first experiment within the electronic studio setting was the "virtual design review", wherein jurors for the final design review were located in geographically distributed sites. The video captures the results of that project, as does a paper recently published in the journal Architectural Research Quarterly (Cambridge, UK; Vol. 1, No. 2; Dec. 1995).
series	other
last changed	2002/07/07 16:01

_id	e2c4
authors	Comair, C., Kaga, A. and Sasada, T.
year	1996
title	Collaborative Design System with Network Technologies in Design Projects
doi	https://doi.org/10.52842/conf.caadria.1996.269
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. 269-286
summary	This paper depicts the work of the team of researchers at the Sasada Laboratory in the area of collaborative design and the integration of global area network such as the Internet in order to extend the architectural studio into cyber-space. The Sasada Laboratory is located at the University of Osaka, Faculty of Engineering, Department of Environmental engineering, Japan. The portfolio of the Laboratory is extensive and impressive. The projects which were produced by the men and women of the Laboratory range from the production of databases and computer simulation of several segments of different cities throughout the world to specific studies of architectural monuments. The work performed on the databases was varied and included simulation of past, present, and future events. These databases were often huge and very complex to build. They presented challenges that sometimes seemed impossible to overcome. Often, specialised software, and in some cases hardware, had to be designed on the "fly” for the task. In this paper, we describe the advances of our research and how our work led us to the development of hardware and software. Most importantly, it depicts the methodology of work which our lab undertook. This research led to the birth of what we call the "Open Development Environment” (ODE) and later to the networked version of ODE (NODE). The main purpose of NODE is to allow various people, usually separated by great distances, to work together on a given project and to introduce computer simulation into the working environment. Today, our laboratory is no longer limited to the physical location of our lab. Thanks to global area networks, such as the Internet, our office has been extended into the virtual space of the web. Today, we exchange ideas and collaborate on projects using the network with people that are spread over the five continents.
series	CAADRIA
email
last changed	2022/06/07 07:56

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