Cumincad : CUMINCAD Papers : Search Results

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	696e
authors	Helfand, J.
year	1997
title	Six (+2) essays on design and new media
source	William Drenttel, New York
summary	Designer and critic Jessica Helfand has emerged as a leading voice of a new generation of designers. Her essays--at once pithy, polemical, and precise--appear in places as diverse as Eye, Print, ID, The New Republic, and the LA Times. __ The essays collected here decode the technologies, trends, themes, and personalities that define design today, especially "the new media," and provide a road map of things to come. Her first two chapbooks--Paul Rand: American Modernist and Six (+2) Essays on Design and New Media--became instant classics. This new compilation brings together essays from the earlier publications along with more than twenty others on a variety of topics including avatars, "the cult of the scratchy," television, sex on the screen, and more. __ Designers, students, educators, visual literati, and everyone looking for an entertaining and insightful guide to the world of design today will not find a better or more approachable book on the subject. __ Jessica Helfand is partner with William Drenttel in Jessica Helfand, William Drenttel, a design consultancy.
series	other
last changed	2003/04/23 15:14

_id	ecaade2012_86
id	ecaade2012_86
authors	QaQish ; Ra’Ed K.
year	2012
title	15 Years of CAD Teaching in Jordan: How Much Has Been Accomplished? A Comparative Analysis of the Use of CAD in Architectural Schools Between 1997 and 2012
doi	https://doi.org/10.52842/conf.ecaade.2012.2.023
source	Achten, Henri; Pavlicek, Jiri; Hulin, Jaroslav; Matejovska, Dana (eds.), Digital Physicality - Proceedings of the 30th eCAADe Conference - Volume 2 / ISBN 978-9-4912070-3-7, Czech Technical University in Prague, Faculty of Architecture (Czech Republic) 12-14 September 2012, pp. 23-32
summary	The paper reports on a study which examines the evolution in architectural education trends arising from the changes brought about by both Socioeconomic Factors and the implications of CAAD in the last 15 years in Jordanian universities. The findings reflect the views of thirteen (13) architecture faculties/schools through a nation-wide questionnaire survey conducted in the spring of 2012. The survey was structured to cover both private and public universities in Jordan, represented by faculties of engineering, architecture and design. Structurally, the main fi ndings of this study are summarized under six areas, namely: 1) General Students’ Information, 2) Demographic and Socioeconomic Factors, 3) CAD Competences amongst both Staff and Students, 4) Program of Study and CAD Courses, 5) Overall Satisfaction of CAD Courses and Training , 6) CAD and Social Networks. The majority of student respondents were females (144) (53.3%). The top laptop brands used were HP (17%) Toshiba (12.2%) and Dell (7.8%). The CAD packages found to be most highly used throughout universities were AutoCAD, 3D Max, Sketch-up, and Adobe Suite. The importance of new technologies, electronic book, and the social network aspects in enhancing CAD and 3D modeling software integration with the design studio was affi rmed yet no relationship to the gender was noted.
wos	WOS:000330320600001
keywords	CAD Integration, Socioeconomic Factors
series	eCAADe
email
last changed	2022/06/07 07:58

_id	c61f
authors	Stellingwerff, M.C.
year	1997
title	Changing approaches to the Real World
source	Published in the book : 'CAAD - Towards New Design Conventions', Technical University of Bialystok, Poland, Edited by Aleksander Asanowicz and Adam Jakimowicz. ISBN83-86272-63-5.
summary	Different kinds of design media change the designers approach to the 'real world' and have an important impact on the design process and its results. Six main directions are described and evaluated: design through contemplation, design by means of traditional media, design using desktop computers, design within a virtual reality environment, design with ubiquitous computers and design through augmented interaction. A number of these directions are still developing in unexpected ways, other directions are established and seem to become less interesting for research and in design. The goal of this paper is to value and characterise each above mentioned direction, relate each direction to 'reality', 'mind' and 'media' and place each of them in a historical / futurological sequence.
keywords	design, computers, interaction, reality, mind, media, future
series	other
email
more	http://www.bk.tudelft.nl/media/papers/approaches.html
last changed	1998/07/08 13:08

_id	0024
authors	Breen, J. and Dijk, T. van
year	1997
title	Modelling for eye level composition; design media experiments in an educational setting.
source	Architectural and Urban Simulation Techniques in Research and Education [Proceedings of the 3rd European Architectural Endoscopy Association Conference / ISBN 90-407-1669-2]
summary	In order to simulate the visual effects of designs at eye level, it is necessary to construct models from which (sequences of) images can be taken. This holds true for both Optical Endoscopy and Computer Aided Visualisation techniques. In what ways can an eye level approach stimulate spatial awareness and create insights into the workings of a design concept? Can Endoscopic methods be used effectively as a creative environment for design decision-making and teamwork and even to stimulate the generation of new design ideas? How should modelmaking be considered if it is to be of use in an ‘impatient’ design process, and how can students be made aware of the opportunities of both direct eye level observations from design models and of the more sophisticated endoscopic imaging techniques? This paper explores the theme of eye level modelling by focusing on a number of formal exercises and educational experiments carried out by the Delft Media group in recent years. An attempt is made to describe and evaluate these experiences, in order to draw conclusions and to signal possible new opportunities for eye level composition for the benefit of both design education and practice...
keywords	Architectural Endoscopy, Endoscopy, Simulation, Visualisation, Visualization, Real Environments
series	EAEA
email
more	http://www.bk.tudelft.nl/media/eaea/eaea97.html
last changed	2005/09/09 10:43

_id	avocaad_2001_09
id	avocaad_2001_09
authors	Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year	2001
title	Digital Architecture in CAD studio and Internet-based competition
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	Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	75a8
authors	Achten, Henri H.
year	1997
title	Generic representations : an approach for modelling procedural and declarative knowledge of building types in architectural design
source	Eindhoven University of Technology
summary	The building type is a knowledge structure that is recognised as an important element in the architectural design process. For an architect, the type provides information about norms, layout, appearance, etc. of the kind of building that is being designed. Questions that seem unresolved about (computational) approaches to building types are the relationship between the many kinds of instances that are generally recognised as belonging to a particular building type, the way a type can deal with varying briefs (or with mixed use), and how a type can accommodate different sites. Approaches that aim to model building types as data structures of interrelated variables (so-called ‘prototypes’) face problems clarifying these questions. The research work at hand proposes to investigate the role of knowledge associated with building types in the design process.Knowledge of the building type must be represented during the design process. Therefore, it is necessary to find a representation which supports design decisions, supports the changes and transformations of the design during the design process, encompasses knowledge of the design task, and which relates to the way architects design. It is proposed in the research work that graphic representations can be used as a medium to encode knowledge of the building type. This is possible if they consistently encode the things they represent; if their knowledge content can be derived, and if they are versatile enough to support a design process of a building belonging to a type.A graphic representation consists of graphic entities such as vertices, lines, planes, shapes, symbols, etc. Establishing a graphic representation implies making design decisions with respect to these entities. Therefore it is necessary to identify the elements of the graphic representation that play a role in decision making. An approach based on the concept of ‘graphic units’ is developed. A graphic unit is a particular set of graphic entities that has some constant meaning. Examples are: zone, circulation scheme, axial system, and contour. Each graphic unit implies a particular kind of design decision (e.g. functional areas, system of circulation, spatial organisation, and layout of the building). By differentiating between appearance and meaning, it is possible to define the graphic unit relatively shape-independent.If a number of graphic representations have the same graphic units, they deal with the same kind of design decisions. Graphic representations that have such a specifically defined knowledge content are called ‘generic representations.’ An analysis of over 220 graphic representations in the literature on architecture results in 24 graphic units and 50 generic representations. For each generic representation the design decisions are identified. These decisions are informed by the nature of the design task at hand. If the design task is a building belonging to a building type, then knowledge of the building type is required. In a single generic representation knowledge of norms, rules, and principles associated with the building type are used. Therefore, a single generic representation encodes declarative knowledge of the building type. A sequence of generic representations encodes a series of design decisions which are informed by the design task. If the design task is a building type, then procedural knowledge of the building type is used.By means of the graphic unit and generic representation, it is possible to identify a number of relations that determine sequences of generic representations. These relations are: additional graphic units, themes of generic representations, and successive graphic units. Additional graphic units defines subsequent generic representations by adding a new graphic unit. Themes of generic representations defines groups of generic representations that deal with the same kind of design decisions. Successive graphic units defines preconditions for subsequent or previous generic representations. On the basis of themes it is possible to define six general sequences of generic representations. On the basis of additional and successive graphic units it is possible to define sequences of generic representations in themes. On the basis of these sequences, one particular sequence of 23 generic representations is defined.The particular sequence of generic representations structures the decision process of a building type. In order to test this assertion, the particular sequence is applied to the office building type. For each generic representation, it is possible to establish a graphic representation that follows the definition of the graphic units and to apply the required statements from the office building knowledge base. The application results in a sequence of graphic representations that particularises an office building design.Implementation of seven generic representations in a computer aided design system demonstrates the use of generic representations for design support. The set is large enough to provide additional weight to the conclusion that generic representations map declarative and procedural knowledge of the building type.
series	thesis:PhD
email
more	http://alexandria.tue.nl/extra2/9703788.pdf
last changed	2003/11/21 15:15

_id	b188
authors	Kuohsiang, Chen and Owen, Charles L.
year	1997
title	Form Language and Style Description
source	Design Studies 18, 3, pp. 249-274
summary	This paper presents a `style description framework' for the analysis of style as it is exhibited by objects, artifacts and, particularly, products. The framework equips a designer with both the ability to analyse existing styles and to describe new styles for target markets. A `style profile' consists of a set of polar adjective scales and associated weighting mechanisms. Within the profile, stylistic attributes -- in the form of values given on the scales -- are grouped into six categories: form elements, joining relationships, detail treatments, materials, colour treatments and textures. Two weighting mechanisms, an importance index and confidence factor, fine-tune the description. The style profile can be used not only to communicate styles between designers and computers, but also to accumulate formal style knowledge.
series	journal paper
last changed	2003/04/23 15:50

_id	76ba
authors	Bermudez, Julio
year	1997
title	Cyber(Inter)Sections: Looking into the Real Impact of The Virtual in the Architectural Profession
source	Proceedings of the Symposium on Architectural Design Education: Intersecting Perspectives, Identities and Approaches. Minneapolis, MN: College of Architecture & Landscape Architecture, pp. 57-63
summary	As both the skepticism and 'hype' surrounding cyberspace vanish under the weight of ever increasing power, demand, and use of information, the architectural discipline must prepare for significant changes. For cyberspace is remorselessly cutting through the dearest structures, rituals, roles, and modes of production in our profession. Yet, this section is not just a detached cut through the existing tissues of the discipline. Rather it is an inter-section, as cyberspace becomes also transformed in the act of piercing. This phenomenon is causing major transformations in at least three areas: 1. Cyberspace is substantially altering the way we produce and communicate architectural information. The arising new working environment suggests highly hybrid and networked conditions that will push the productive and educational landscape of the discipline towards increasing levels of fluidity, exchanges, diversity and change. 2. It has been argued that cyberspace-based human and human-data interactions present us with the opportunity to foster a more free marketplace of ideologies, cultures, preferences, values, and choices. Whether or not the in-progress cyberincisions have the potential to go deep enough to cure the many illnesses afflicting the body of our discipline need to be considered seriously. 3. Cyberspace is a new place or environment wherein new kinds of human activities demand unprecedented types of architectural services. Rather than being a passing fashion, these new architectural requirements are destined to grow exponentially. We need to consider the new modes of practice being created by cyberspace and the education required to prepare for them. This paper looks at these three intersecting territories showing that it is academia and not practice that is leading the profession in the incorporation of virtuality into architecture. Rafael Moneo's words come to mind. [2]
series	other
email
last changed	2003/11/21 15:16

_id	8030
authors	Cheng, F.
year	1997
title	Visual simulation techniques on environmental cognition systems.
source	Architectural and Urban Simulation Techniques in Research and Education [Proceedings of the 3rd European Architectural Endoscopy Association Conference / ISBN 90-407-1669-2]
summary	Findings of the simulation experiments using simple (inexpensive) simulation set-ups which were conducted by students of the fourth semester studying the course furniture design. They worked on two different examples with an emphasis on communication and orientation systems. Research findings of lightsimulation experiments at the SI with the emphasis on the miniaturization of simulation objects and optimisation of procedures.
keywords	Architectural Endoscopy, Endoscopy, Simulation, Visualisation, Visualization, Real Environments
series	EAEA
email
more	http://www.bk.tudelft.nl/media/eaea/eaea97.html
last changed	2005/09/09 10:43

_id	2698
authors	Chien, Sheng Fen and Flemming, Ulrich
year	1997
title	Information Navigation in Generative Design Systems
doi	https://doi.org/10.52842/conf.caadria.1997.355
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. 355-365
summary	Generative design systems take an active part in the generation of computational design models. They make it easier for designers to explore conceptual alternatives, but the amount of information generated during a design session can become very large. Intelligent navigation aids are needed to enable designers to access the information with ease and low cognitive loads. We present an approach to support navigation in generative design systems. Our approach takes account of studies related to navigation in physical environments as well as information navigation in electronic media. Results of studies from the physical environment and electronic media reveal that 1) people exhibit similar cognitive behaviours (spatial cognition and the use of spatial knowledge) while navigating in physical and information spaces; and 2) the information space lacks legibility and imageability. The proposed information navigation model take these findings into account.
series	CAADRIA
email
last changed	2022/06/07 07:55

_id	2a5e
authors	Does, J. van der and Giró, H.
year	1997
title	Design communication and image processing
source	Architectural and Urban Simulation Techniques in Research and Education [Proceedings of the 3rd European Architectural Endoscopy Association Conference / ISBN 90-407-1669-2]
summary	In the proceedings of the first EAEA conference, 1993, I mentioned our first study focused on refining endoscopic video images of a detailed architectural model and drawings. The study was based on work with 900 subjects, of which 200 were professional architects. It has led to a number of technical improvements. In the second study we compared computer-aided design techniques with two techniques from the first study, endoscopic video recordings and coloured and black and white elevations and perspective drawings. Four different groups of 50 subjects took part in this research. We found that computer images are invariably judged to be of moderate value, while drawings yielded consistently high scores. Endoscopic video recordings of the scale model received high scores as far as emotional response is concerned, and moderate scores when the participants were questioned on the actual content of the recordings.
keywords	Architectural Endoscopy, Endoscopy, Simulation, Visualisation, Visualization, Real Environments
series	EAEA
email
more	http://www.bk.tudelft.nl/media/eaea/eaea97.html
last changed	2005/09/09 10:43

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

_id	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	aa79
authors	Kardos, K.
year	1997
title	Laboratorial verification of ideas for urban space compositional design completion
source	Architectural and Urban Simulation Techniques in Research and Education [Proceedings of the 3rd European Architectural Endoscopy Association Conference / ISBN 90-407-1669-2]
summary	The subject-matter of the contribution is presentation of the non-conventional didactical methods application in architectural education and research at the Faculty of Architecture of the Slovak Technical University in Bratislava. It is an application of a laboratorial method of architectural endoscopy based on a model urban space simulation principle and on the acquirement of an electrooptical visual display image information from a recording periscope unit interaction in the real time and the real model space, with the option of spontaneous semantic evaluation of the output on a video-monitor and of a synchronic timing process recording on a magnetoscope. Application of a consequential powerful PC-configuration with creative software enables further digital sequential processing both on the graphical output and for multimedial presentation.
keywords	Architectural Endoscopy, Endoscopy, Simulation, Visualisation, Visualization, Real Environments
series	EAEA
email
more	http://www.bk.tudelft.nl/media/eaea/eaea97.html
last changed	2005/09/09 10:43

_id	aecc
authors	Kosco, Igor
year	1997
title	CAAD and Network Technologies - Reflexions From Education and Practice.
doi	https://doi.org/10.52842/conf.ecaade.1997.x.x2j
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
summary	New technologies like Computer Aided Design and network facilities are affecting the building procurement, design and construction processes very rapidly. Network technologies are giving us a variety of possibilities : quick and simple access to information, quick and easy communication, exchange of datas in different formats ( texts, data, drawings, images, animations, hypertext or multimedia products, etc.) or access to differently located computer and work on it. As the result the communication or collaboration in a design and construction process and management could be used not only at the Level 1. (in one office), Level 2. (between different offices) or Level 3. (different participants and users) but, what is more important, between geographically dispersed members of design and construction teams (dispersed offices or communities in different places, towns, regions, countries or even continents). There are a lot of advantages : quick and easy communication and exchange of information, free choice of a team, easy revisions of a documentation, collaborative work on the same drawings, costs savings in travelling, issuing, copying and shipping of a documentation and finally possible use of the cheaper labour or more skilled professionals in a different region or country.
keywords	Remote Communication, Collaboration, Internet, Network,Videoconference, Architectural Design, Project Management
series	eCAADe
email
more	http://info.tuwien.ac.at/ecaade/proc/kosco/kosco.htm
last changed	2022/06/07 07:50

_id	8c02
authors	Martens, B.
year	1997
title	High-end developments within the framework of dynamic-endoscopic viewing of models.
source	Architectural and Urban Simulation Techniques in Research and Education [Proceedings of the 3rd European Architectural Endoscopy Association Conference / ISBN 90-407-1669-2]
summary	As far back as the seventies the first experiences with endoscopic viewing of models were made in the field of architecture and urban construction by introducing an endoscope into the model of the planned architectural and urban space. The monitor shows an approximation of real view of the new portion of building or city, resp. The endoscopic picture provides the viewer with the usual height of viewing and roughly the perspective of a pedestrian, whereas very often planning models of houses and city quarters are evaluated predominantly by means of the bird's eye view. Meanwhile, mechanical installations of relatively limited means have been installed at several university sites making for a simulation of spatial experience by means of endoscopic rides through a construction model such as from the view of a car driver. This paper presents a sketch for a research proposal which is aimed at anticipating high-end-developments based on the experience acquired so far using low-cost-simulations.
keywords	Architectural Endoscopy, Endoscopy, Simulation, Visualisation, Visualization, Real Environments
series	EAEA
email
more	http://www.bk.tudelft.nl/media/eaea/eaea97.html
last changed	2005/09/09 10:43

_id	8804
authors	QaQish, R. and Hanna, R.
year	1997
title	A World-wide Questionnaire Survey on the Use of Computers in Architectural Education
doi	https://doi.org/10.52842/conf.ecaade.1997.x.c8o
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
summary	The paper reports on a study which examines the impact on architectural education needs arising from the changes brought about by the implications of CAD teaching/learning (CAI/CAL). The findings reflect the views of fifty-one (51) architecture schools through a world-wide questionnaire survey conducted in mid 1996. The survey was structured to cover four continents represented by seven countries, namely the USA, UK, Israel, Australia, Canada, Sweden and the Netherlands. Structurally the main findings of this study are summarised under five areas, namely: 1) General Information, 2) Program of Study (curriculum) and CAD course, 3) CAD Laboratories: Hardware, Software, 4) Departmental Current and Future Policies, 5) Multi-media and Virtual Reality. Principally, there were three main objectives for using the computers survey. Firstly, to accommodate a prevalent comprehension of CAD integration into the curriculum of architecture schools world wide. Secondly, to identify the main key factors that control the extent of association between CAD and architectural curriculum. Thirdly, to identify common trends of CAD teaching in Architecture schools world-wide and across the seven countries to establish whether there are any association between them. Several variables and factors that were found to have an impact on AE were examined, namely: the response rate, the conventional methods users and the CAD methods users amongst students, CAD course employment in the curriculum, age of CAD employment, the role of CAD in the curriculum, CAD training time in the Curriculum, CAD laboratories/Hardware & Software, computing staff and technicians, department policies, Multi-Media (MM) and Virtual-Reality (VR). The statistical analysis of the study revealed significant findings, one of which indicates that 35% of the total population of students at the surveyed architecture schools are reported as being CAD users. Out of the 51 architecture schools who participated in this survey, 47 have introduced CAD courses into the curriculum. The impact of CAD on the curriculum was noted to be significant in several areas, namely: architectural design, architectural presentation, structural engineering, facilities management, thesis project and urban design. The top five CAD packages found to be most highly used across universities were, namely, AutoCAD (46), 3DStudio (34), Microstation (23), Form Z (17), ArchiCAD (17). The findings of this study suggest some effective and efficient future directions in adopting some form of effective CAD strategies in the curriculum of architecture. The study also serves as an evaluation tool for computing teaching in the design studio and the curriculum.
keywords	CAD Integration, Employment, Users and Effectiveness
series	eCAADe
email
more	http://info.tuwien.ac.at/ecaade/proc/qaqish/qaqish.htm
last changed	2022/06/07 07:50

_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.
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more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	avocaad_2001_19
id	avocaad_2001_19
authors	Shen-Kai Tang, Yu-Tung Liu, Yu-Sheng Chung, Chi-Seng Chung
year	2001
title	The visual harmony between new and old materials in the restoration of historical architecture: A study of computer simulation
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 the research of historical architecture restoration, scholars respectively focus on the field of architectural context and architectural archeology (Shi, 1988, 1990, 1991, 1992, 1995; Fu, 1995, 1997; Chiu, 2000) or on architecture construction and the procedure of restoration (Shi, 1988, 1989; Chiu, 1990). How to choose materials and cope with their durability becomes an important issue in the restoration of historical architecture (Dasser, 1990; Wang, 1998).In the related research of the usage and durability of materials, some scholars deem that, instead of continuing the traditional ways that last for hundreds of years (that is to replace new materials with old ones), it might be better to keep the original materials (Dasser, 1990). However, unavoidably, some of the originals are much worn. Thus we have to first establish the standard of eliminating components, and secondly to replace identical or similar materials with the old components (Lee, 1990). After accomplishing the restoration, we often unexpectedly find out that the renewed historical building is too new that the sense of history is eliminated (Dasser, 1990; Fu, 1997). Actually this is the important factor that determines the accomplishment of restoration. In the past, some scholars find out that the contrast and conflict between new and old materials are contributed to the different time of manufacture and different coating, such as antiseptic, pattern, etc., which result in the discrepancy of the sense of visual perception (Lee, 1990; Fu, 1997; Dasser, 1990).In recent years, a number of researches and practice of computer technology have been done in the field of architectural design. We are able to proceed design communication more exactly by the application of some systematic softwares, such as image processing, computer graphic, computer modeling/rendering, animation, multimedia, virtual reality and so on (Lawson, 1995; Liu, 1996). The application of computer technology to the research of the preservation of historical architecture is comparatively late. Continually some researchers explore the procedure of restoration by computer simulation technology (Potier, 2000), or establish digital database of the investigation of historical architecture (Sasada, 2000; Wang, 1998). How to choose materials by the technology of computer simulation influences the sense of visual perception. Liu (2000) has a more complete result on visual impact analysis and assessment (VIAA) about the research of urban design projection. The main subjects of this research paper focuses on whether the technology of computer simulation can extenuate the conflict between new and old materials that imposed on visual perception.The objective of this paper is to propose a standard method of visual harmony effects for materials in historical architecture (taking the Gigi Train Station destroyed by the earthquake in last September as the operating example).There are five steps in this research: 1.Categorize the materials of historical architecture and establish the information in digital database. 2.Get new materials of historical architecture and establish the information in digital database. 3.According to the mixing amount of new and old materials, determinate their proportion of the building; mixing new and old materials in a certain way. 4.Assign the mixed materials to the computer model and proceed the simulation of lighting. 5.Make experts and the citizens to evaluate the accomplished computer model in order to propose the expected standard method.According to the experiment mentioned above, we first address a procedure of material simulation of the historical architecture restoration and then offer some suggestions of how to mix new and old materials.By this procedure of simulation, we offer a better view to control the restoration of historical architecture. And, the discrepancy and discordance by new and old materials can be released. Moreover, we thus avoid to reconstructing ¡§too new¡¨ historical architecture.
series	AVOCAAD
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last changed	2005/09/09 10:48

_id	d549
authors	Shih, N.
year	1997
title	Modelling wall finishes
source	Automation in Construction 6 (2) (1997) pp. 139-146
summary	The purpose of this paper is to present a method to apply finishes to walls to meet the different modelling requirements in a computer-aided environment for architectural design. The method is applicable to wall finishes which are directly applied. The method considers wall and finish as two architectural components, instead of one. Advantages and disadvantages of integrated and differentiated approaches are compared based on the definition of building components, the number of the combinative variety of walls and finishes, the possibility of design inspection, the availability of applications, the stages involved in design, the management of the database, the process regarding drawing production, and the working process of creating and joining new types of walls at the same location. Although both components are usually applied in an integrated manner in most applications, this paper concludes that the number of combinations may become so large that finish and wall have to be defined separately in order to provide flexibility in assigning different depths and applying various materials. An application method is illustrated.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:23

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