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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Hits 1 to 20 of 514

_id c5ff
authors Hellgardt, Michael and Kundu, Sourav
year 1997
title Spatium - A System for the Definition and Design of Shape Grammars
source CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 83-96
summary It is shown how Augmented Transition Networks (ATN) can be gradually programmed with shape grammar structures. This work is inspired by natural language parsing. Another major reference is the space-between or spatium assumption. An application is given with a simulation of Palladio villas. Then is shown that ATN frames can be encoded in a way that allows their use without specific knowledge of computer modeling. Connections between human and machine learning are touched on.
series CAAD Futures
email
last changed 1999/04/06 09:19

_id 841a
authors Bartnicka, Malgorzata
year 1997
title The Animal, Full Blood maybe, but Untamed
source AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 103-108
summary So far yet, even the most advanced technology has not been able to substitute a human, his thoughts, feelings, dreams, longings, visions. It can though, removing need for all kind of effort from our everyday life, surrounding a human with unprecedented comfort, create feeling of peace and security. Task of a computer is to provide assistance, helping in calculations, forming of refined solids, It contains a compendium of knowledge and memory - but not creative skills. So far it's only a machine, with help of which a possibility of creative expression is expanded. It only can solve problems for a human faster and more efficient way, does not have the ability to describe (formulate) problems. Even while providing a support, does it do that honestly? It means, does it support us in those of our doings where we truly need it? Computers have enormous possibilities of use that are not exploited sufficiently and all the time new generations of yet quicker machines with unbelievable power are being created. Every new type of computer appears to be obsolete and insufficient within a few months. Insufficient for what?
series AVOCAAD
last changed 2005/09/09 10:48

_id acadia06_150
id acadia06_150
authors Boza, Luis Eduardo
year 2006
title (Un) Intended Discoveries Crafting the Design Process
source Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 150-157
doi https://doi.org/10.52842/conf.acadia.2006.150
summary Computer Numeric Controlled (CNC) fabrication machineries are changing the way we design and build. These technologies have increased productivity through greater efficiencies and have helped to create new forms of practice, including increased specializations and broader collaborative approaches. (Kieran Timberlake 2003: 31). However, some argue that these technologies can have a de-humanizing effect, stripping the human touch away from the production of objects and redistributing the associated skills to machines. (Dormer 1997: 103). The (Digital) Craft studio explored the notions of technology and craft to understand how and when designers should exploit the tools employed (both the hand and the machine) during the design and production processes.
series ACADIA
email
last changed 2022/06/07 07:54

_id avocaad_2001_02
id avocaad_2001_02
authors Cheng-Yuan Lin, Yu-Tung Liu
year 2001
title A digital Procedure of Building Construction: A practical project
source AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series AVOCAAD
email
last changed 2005/09/09 10:48

_id 123c
authors Coomans, M.K.D. and Timmermans, H.J.P.
year 1997
title Towards a Taxonomy of Virtual Reality User Interfaces
source Proceedings of the International Conference on Information Visualisation (IV97), pp. 17-29
summary Virtual reality based user interfaces (VRUIs) are expected to bring about a revolution in computing. VR can potentially communicate large amounts of data in an easily understandable format. VR looks very promising, but it is still a very new interface technology for which very little application oriented knowledge is available. As a basis for such a future VRUI design theory, a taxonomy of VRUIs is required. A general model of human computer communication is formulated. This model constitutes a frame for the integration of partial taxonomies of human computer interaction that are found in the literature. The whole model constitutes a general user interface taxonomy. The field of VRUIs is described and delimited with respect to this taxonomy.
series other
last changed 2003/04/23 15:50

_id 6112
authors Daru, Roel and Snijder, H.P.S.
year 1997
title GACAAD or AVOCAAD? CAAD and Genetic Algorithms for an Evolutionary Design Paradigm
source AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 145-161
summary One of the dominant paradigms in architecture is about its creation: it is done by human designers supported by tools like sketching, drawing or modelling and evaluation tools. The Darwinistic paradigm demands a paradigmatic switch from drawing, modelling and evaluation to the breeding of forms with a much more integrated generation and selecting process embedded in the computer machinery. This means a paradigm switch from a designer as the performer of (sketch, draw or modelling) work to a machine driven creation and selection process of forms with the designer as the supervisor, fully entitled to steer the process in some preferred directions. The designer creates by establishing the evolutionary rules and making choices among the architectural creatures emerging in rapid fire modethrough the synthesis performed by the machine. Natural selection is a Metaphor: in fact the designer plays Nature (or God). The creatures allowed to flourish are not adequate according to laws of Nature, but to the judgement of the designer (or to the designing team).
series AVOCAAD
last changed 2005/09/09 10:48

_id c557
authors Fuchs, W. and Martinico, A.
year 1997
title The V.C.net--A digital study in architecture
source Automation in Construction 6 (4) (1997) pp. 335-339
summary The V.C.net project is an Internet-based educational and communication tool for the architectural community. Its goal is to encourage students from architecture programs across the country and around the world to examine problems and collaborate in the exploration of ideas through the World Wide Web. The central concept of the project involves the creation of a simulated, vital urban environment constructed from various forms of digital data. This `virtual city' will be comprised of projects executed by students of architecture and urban design in US and abroad. Projects will be proposed for specific sites and will reflect real-world questions as they are mirrored in the virtual world. The city exists as a heuristic tool and is not intended as a copy of any existing human habitat. The ultimate goal of the project is to create a dynamic platform to study the interrelationship of various forces effecting urban development: architecture, planning, civil engineering, economics, social sciences, etc. The project originates at the School of Architecture of the University of Detroit Mercy and is intended to be truly interdisciplinary.
series journal paper
more http://www.elsevier.com/locate/autcon
last changed 2003/05/15 21:22

_id a51c
authors Gero, John S.
year 1997
title What Are We Learning from Designers and its Role in Future CAAD Tools
source CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 61-70
summary Recent research into the activity and behaviour of human designers as they design has provide an impetus to carry out research which underpins the development of new CAAD support tools. However, there are computational processes of interest in designing which are not modeled on human design processes. This paper outlines some of the design processes which are being researched based on our understanding of human designers and provides examples from some early implementations.
series CAAD Futures
email
last changed 1999/04/06 09:19

_id 8c7b
authors Hellgardt, Michael, Klinkenbijl, Wouter and Kundu, Sourav
year 1997
title Objective casualty - an experiment with recognition and emergence in design practice
source AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 199-211
summary Experimentation with an algorithm in practice is presented. Pattern recognition and emergence is controlled through user dialog in this experiment. The next step is to teach the machine to clone human perceptional performances involved with that. Some basic experi- mentation in this field, which is partially inspired by Hofstadters more recent work, is reported. The transcription of the algorithm applied in practice into an ATN (Augmented Transition Network) to be evaluated exhaustively or by means of directed search is presented. Finally problems of connections between the formalisms presented and commercial software are discussed.
series AVOCAAD
last changed 2005/09/09 10:48

_id 2c17
authors Junge, Richard and Liebich, Thomas
year 1997
title Product Data Model for Interoperability in an Distributed Environment
source CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 571-589
summary This paper belongs to a suite of three interrelated papers. The two others are 'The VEGA Platform' and 'A Dynamic Product Model'. These two companion papers are also based on the VEGA project. The ESPRIT project VEGA (Virtual Enterprises using Groupware tools and distributed Architectures) has the objective to develop IT solutions enabling virtual enterprises, especially in the domain of architectural design and building engineering. VEGA shall give answers to many questions of what is needed for enabling such virtual enterprise from the IT side. The questions range from technologies for networks, communication between distributed applications, control, management of information flow to implementation and model architectures to allow distribution of information in the virtual enterprises. This paper is focused on the product model aspect of VEGA. So far modeling experts have followed a more or less centralized architecture (central or central with 4 satellites'). Is this also the architecture for the envisaged goal? What is the architecture for such a distributed model following the paradigm of modeling the , natural human' way of doing business? What is the architecture enabling most effective the filtering and translation in the communication process. Today there is some experience with 'bulk data' of the document exchange type. What is with incremental information (not data) exchange? Incremental on demand only the really needed information not a whole document. The paper is structured into three parts. First there is description of the modeling history or background. the second a vision of interoperability in an distributed environment from the users coming from architectural design and building engineering view point. Third is a description of work undertaken by the authors in previous project forming the direct basis for the VEGA model. Finally a short description of the VEGA project, especially the VEGA model architecture.
series CAAD Futures
email
last changed 1999/04/06 09:19

_id 8569
authors Kurmann, D., Elte, N. and Engeli, M.
year 1997
title Real-Time Modeling with Architectural Space
source CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 809-819
summary Space as an architectural theme has been explored in many ways over many centuries; designing the architectural space is a major issue in both architectural education and in the design process. Based on these observations, it follows that computer tools should be available that help architects manipulate and explore space and spatial configurations directly and interactively. Therefore, we have created and extended the computer tool Sculptor. This tool enables the architect to design interactively with the computer, directly in real-time and in three dimensions. We developed the concept of 'space as an element' and integrated it into Sculptor. These combinations of solid and void elements - positive and negative volumes - enable the architect to use the computer already in an early design stage for conceptual design and spatial studies. Similar to solids modeling but much simpler, more intuitive and in real-time this allows the creation of complex spatial compositions in 3D space. Additionally, several concepts, operations and functions are defined inherently. Windows and doors for example are negative volumes that connect other voids inside positive ones. Based on buildings composed with these spaces we developed agents to calculate sound atmosphere and estimate cost, and creatures to test building for fire escape reasons etc. The paper will look at the way to design with space from both an architect's point of view and a computer scientist's. Techniques, possibilities and consequences of this direct void modeling will be explained. It will elaborate on the principle of human machine interaction brought up by our research and used in Sculptor. It will present the possibility to create VRML models directly for the web and show some of the designs done by students using the tool in our CAAD courses.
series CAAD Futures
email
last changed 1999/04/06 09:19

_id 897a
authors Maver, Tom
year 1997
title A Number is Worth a Thousand Pictures
source Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
doi https://doi.org/10.52842/conf.ecaade.1997.x.a5q
summary The CAAD community is lucky indeed to be involved in a field of teaching and learning which is evolving so fast, which contributes so much to the theory and practice of that most complex and interesting human activity - design, and which clearly excites such a high level of interest and commitment from our students.

There is much upon which the CAAD community can congratulate itself; each year the proceedings of E C A A D E, A C A D I A, C A A D Futures and now C A A D R I A expose an increasingly rich diversity of applications of the information technologies to architectural education. The purpose of this paper, however, is to highlight the relative paucity of applications which lie at the very centre of design education - i.e. the "cause and effect" of how design decisions impact upon the quality of the building.

keywords Function, Performance, Integrated Appraisal, Design Decision Support
series eCAADe
email
more http://info.tuwien.ac.at/ecaade/proc/maver/maver.htm
last changed 2022/06/07 07:50

_id cf2011_p016
id cf2011_p016
authors Merrick, Kathryn; Gu Ning
year 2011
title Supporting Collective Intelligence for Design in Virtual Worlds: A Case Study of the Lego Universe
source Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 637-652.
summary Virtual worlds are multi-faceted technologies. Facets of virtual worlds include graphical simulation tools, communication, design and modelling tools, artificial intelligence, network structure, persistent object-oriented infrastructure, economy, governance and user presence and interaction. Recent studies (Merrick et al., 2010) and applications (Rosenman et al., 2006; Maher et al., 2006) have shown that the combination of design, modelling and communication tools, and artificial intelligence in virtual worlds makes them suitable platforms for supporting collaborative design, including human-human collaboration and human-computer co-creativity. Virtual worlds are also coming to be recognised as a platform for collective intelligence (Levy, 1997), a form of group intelligence that emerges from collaboration and competition among large numbers of individuals. Because of the close relationship between design, communication and virtual world technologies, there appears a strong possibility of using virtual worlds to harness collective intelligence for supporting upcoming “design challenges on a much larger scale as we become an increasingly global and technological society” (Maher et al, 2010), beyond the current support for small-scale collaborative design teams. Collaborative design is relatively well studied and is characterised by small-scale, carefully structured design teams, usually comprising design professionals with a good understanding of the design task at hand. All team members are generally motivated and have the skills required to structure the shared solution space and to complete the design task. In contrast, collective design (Maher et al, 2010) is characterised by a very large number of participants ranging from professional designers to design novices, who may need to be motivated to participate, whose contributions may not be directly utilised for design purposes, and who may need to learn some or all of the skills required to complete the task. Thus the facets of virtual worlds required to support collective design differ from those required to support collaborative design. Specifically, in addition to design, communication and artificial intelligence tools, various interpretive, mapping and educational tools together with appropriate motivational and reward systems may be required to inform, teach and motivate virtual world users to contribute and direct their inputs to desired design purposes. Many of these world facets are well understood by computer game developers, as level systems, quests or plot and achievement/reward systems. This suggests the possibility of drawing on or adapting computer gaming technologies as a basis for harnessing collective intelligence in design. Existing virtual worlds that permit open-ended design – such as Second Life and There – are not specifically game worlds as they do not have extensive level, quest and reward systems in the same way as game worlds like World of Warcraft or Ultima Online. As such, while Second Life and There demonstrate emergent design, they do not have the game-specific facets that focus users towards solving specific problems required for harnessing collective intelligence. However, a new massively multiplayer virtual world is soon to be released that combines open-ended design tools with levels, quests and achievement systems. This world is called Lego Universe (www.legouniverse.com). This paper presents technology spaces for the facets of virtual worlds that can contribute to the support of collective intelligence in design, including design and modelling tools, communication tools, artificial intelligence, level system, motivation, governance and other related facets. We discuss how these facets support the design, communication, motivational and educational requirements of collective intelligence applications. The paper concludes with a case study of Lego Universe, with reference to the technology spaces defined above. We evaluate the potential of this or similar tools to move design beyond the individual and small-scale design teams to harness large-scale collective intelligence. We also consider the types of design tasks that might best be addressed in this manner.
keywords collective intelligence, collective design, virtual worlds, computer games
series CAAD Futures
email
last changed 2012/02/11 19:21

_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 0c4a
authors Tonarelli, P., Ferries, B., Delaporte, J.L. and Tahon, C.
year 1997
title Proposal of a product model for the building trade
source Automation in Construction 5 (6) (1997) pp. 501-520
summary Like other industries, the building trade has had to face up to economic crisis. It is crucial for all the interacting parties to design and achieve new practices and methods, allowing them to improve performances as well as the quality of the object to be built, while reducing the costs of building projects. To achieve this, a multiple evolution of the building trade is necessary: a technical evolution which defines a process for improving performances, an organisational evolution which better structures the building project procedure and improves communication between the actors, and finally a human evolution which increases the practical and theoretical background of the parties involved. The research of Laboratoire d'Automatique et de Mécanique Industrielle et Humaine, Université de Valenciennes, particularly concerns the last two points, and aims to define a complete methodology to apply a concurrent engineering approach to the building trade. This methodology includes three stages: the definition of a building project procedure which integrates a concurrent approach, the establishment of a product model; and the design of an integrated computer system for the building trade.
series journal paper
more http://www.elsevier.com/locate/autcon
last changed 2003/05/15 21:23

_id cce1
authors Tsai, Daniel E. and Kim, Sungah
year 1997
title Human - Machine - Design Matrix: A Model for Web-based Design Interaction
source CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 417-430
summary A model of human-machine design interaction is presented. The model is based on synchrony of actions as it relates to designing, presenting, and discussing a design object over an electronic medium. The model descriptively accommodates existing technologies and areas of CAD research. The model prescriptively illuminates future CAD vis. the Web. The model is based on 3 factors : synchrony, presence, activity; and 2 players : human and machine. Future technologies are considered in terms of the a shifting role of the machine (the computer and the net) from server to agent to actor.
series CAAD Futures
email
last changed 1999/04/06 09:19

_id c1ad
authors Cheng, Nancy Yen-wen
year 1997
title Teaching CAD with Language Learning Methods
source Design and Representation [ACADIA ‘97 Conference Proceedings / ISBN 1-880250-06-3] Cincinatti, Ohio (USA) 3-5 October 1997, pp. 173-188
doi https://doi.org/10.52842/conf.acadia.1997.173
summary By looking at computer aided design as design communication we can use pedagogical methods from the well-developed discipline of language learning. Language learning breaks down a complex field into attainable steps, showing how learning strategies and attitudes can enhance mastery. Balancing the linguistic emphases of organizational analysis, communicative intent and contextual application can address different learning styles. Guiding students in learning approaches from language study will equip them to deal with constantly changing technology.

From overall curriculum planning to specific exercises, language study provides a model for building a learner-centered education. Educating students about the learning process, such as the variety of metacognitive, cognitive and social/affective strategies can improve learning. At an introductory level, providing a conceptual framework and enhancing resource-finding, brainstorming and coping abilities can lead to threshold competence. Using kit-of-parts problems helps students to focus on technique and content in successive steps, with mimetic and generative work appealing to different learning styles.

Practicing learning strategies on realistic projects hones the ability to connect concepts to actual situations, drawing on resource-usage, task management, and problem management skills. Including collaborative aspects in these projects provides the motivation of a real audience and while linking academic study to practical concerns. Examples from architectural education illustrate how the approach can be implemented.

series ACADIA
email
last changed 2022/06/07 07:55

_id 567d
authors Farrag, C., Pinna Braga, F. and Teixeira, P.
year 2000
title Investigação de Metodologia de Ensino de Informática Aplicada à Arquitetura (Research on the Methodology for Teaching Computer Applications in Architecture)
source SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 347-349
summary Description of class research from 1997-2 to 2000-1 in “Applied Computing in Architecture” conducted in the sixth semester of the Architecture Program at Faculdade de Belas Artes de São Paulo. The study is intended to analyze, evaluate and discover new paradigms in the introduction/application of class methodologies of teaching the use of computer in the design process. Our intention is to verify the students natural understanding of the principles of 3D digital modeling by introducing new tools for defining space and form, using the computer as a communication/representation system, and not only as a mimetized production tool. The challenge was to find a natural syntony between the digital projectual process and the learning process. At the end of each semester we evaluated the results and redirected the class proposals.
series SIGRADI
email
last changed 2016/03/10 09:51

_id 873a
authors Ng, Edward
year 1997
title An Evaluative Approach to Architectural Visualization
source CAADRIA ‘97 [Proceedings of the Second Conference on Computer Aided Architectural Design Research in Asia / ISBN 957-575-057-8] Taiwan 17-19 April 1997, pp. 449-463
doi https://doi.org/10.52842/conf.caadria.1997.449
summary In the forthcoming globalization and virtual almost everything, we are indeed reliving a moment of history when, at the turn of the century, machines replace craftsman in mass-producing goods quicker, cheaper, ‘better’ and faster for the mass market regardless of the appropriateness in using the machine. So much so that the recent proliferation of computer graphics has reached a stage where many are questioning their validity and usefulness in the advancement of architectural discourse. This paper argues that the pedagogy of the use of the new tools should be effective communication in vision and in representation. In short, saying what you do and doing what you say, no more and no less, or to be ‘true’ and ‘honest’. The paper tries to provide a hypothetical framework whereby the rationale of drawing could be more systematically understood and criticised, and it reports ways the framework is introduced in the teaching of design studio. The focus of the experimental studio (Active Studio 1.6 beta) is to enable the substantiation of ideas and feelings through a critical manipulation of medium and techniques. The results are narratives whereby the expression of intention as well as the drawings are both on trial.
series CAADRIA
last changed 2022/06/07 07:58

_id eb24
authors Strauss, Wolfgang and Fleischmann, Monika
year 1997
title The House of Illusion: Extending the Boundaries of Space
source AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 57-66
summary The article presents projects on spatial research and Interface Design. The interdisciplinary work was done at ART+COM and the German National Research Center for Information Technology GMD. The work focuses on new notions of space as they emerge from the use of information and communication technologies. As new forms of perception and experience of time and space emerge, new fields of architecture appear. By using the computer as a media our architects office has changed into a Media Space Lab.
keywords Man-Machine Communication, Unsharp/Intuitive Interfaces, Interactive Storytelling
series AVOCAAD
last changed 2005/09/09 10:48

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