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

_id	389b
authors	Do, Ellen Yi-Luen
year	2000
title	Sketch that Scene for Me: Creating Virtual Worlds by Freehand Drawing
doi	https://doi.org/10.52842/conf.ecaade.2000.265
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 265-268
summary	With the Web people can now view virtual threedimensional worlds and explore virtual space. Increasingly, novice users are interested in creating 3D Web sites. Virtual Reality Modeling Language gained ISO status in 1997, although it is being supplanted by the compatible Java3D API and alternative 3D Web technologies compete. Viewing VRML scenes is relatively straightforward on most hardware platforms and browsers, but currently there are only two ways to create 3D virtual scenes: One is to code the scene directly using VRML. The other is to use existing CAD and modeling software, and save the world in VRML format or convert to VRML from some other format. Both methods are time consuming, cumbersome, and have steep learning curves. Pen-based user interfaces, on the other hand, are for many an easy and intuitive method for graphics input. Not only are people familiar with the look and feel of paper and pencil, novice users also find it less intimidating to draw what they want, where they want it instead of using a complicated tool palette and pull-down menus. Architects and designers use sketches as a primary tool to generate design ideas and to explore alternatives, and numerous computer-based interfaces have played on the concept of "sketch". However, we restrict the notion of sketch to freehand drawing, which we believe helps people to think, to envision, and to recognize properties of the objects with which they are working. SKETCH employs a pen interface to create three-dimensional models, but it uses a simple language of gestures to control a three-dimensional modeler; it does not attempt to interpret freehand drawings. In contrast, our support of 3D world creation using freehand drawing depend on users’ traditional understanding of a floor plan representation. Igarashi et al. used a pen interface to drive browsing in a 3D world, by projecting the user’s marks on the ground plane in the virtual world. Our Sketch-3D project extends this approach, investigating an interface that allows direct interpretation of the drawing marks (what you draw is what you get) and serves as a rapid prototyping tool for creating 3D virtual scenes.
keywords	Freehand Sketching, Pen-Based User Interface, Interaction, VRML, Navigation
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:55

_id	082c
authors	Gero, John S. and Park, Soo-Hoon
year	1997
title	Computable Feature-Based Qualitative Modeling of Shape
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 821-830
summary	This paper introduces and describes a qualitative approach to the modeling of shapes applicable at the early stage of designing. The approach is based on using qualitative codes at landmarks to describe shapes. These strings of codes can be analysed to determine patterns which map onto features. An analogy with language is drawn to assist in articulating the modeling ideas. An example is presented which demonstrates the utility of the approach.
series	CAAD Futures
email
last changed	2003/08/07 14:07

_id	641c
authors	Howe, A. Scott
year	1997
title	A Network-based Kit-of-parts Virtual Building System
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 691-706
summary	This paper describes an experimental browser / modeler which will allow the user to collect and assemble virtual kit-of-parts components from "component libraries" located on the Internet (such as manufacturer's databases) and assemble them into a virtual representation of a building. The fully assembled virtual building will provide a basis for ordering and manufacturing actual components and preparing for construction. The browser will allow the designer to affect a limited degree of remote fabrication at real manufacturing facilities, and facilitate eventual interface with built in sensors and actuators. The browser will manipulate and display interactive three dimensional objects using Virtual Reality Modeling Language (VRML). Upon assembly, actual components will have sensors built into them for providing data about the real building, which could be viewed during a walkthrough of the virtual building by clicking on parts of the model. The virtual building will work as a remote facility management tool for monitoring or controlling various architectural devices attached to the real building (such as electrically driven louvers, HVAC systems, appliances, etc.).
series	CAAD Futures
email
last changed	1999/04/06 09:19

_id	1f62
authors	Kiliccote, Han
year	1997
title	A standards processing framework
source	Carnegie Mellon University, Pittsburgh
summary	Civil engineers create and employ a very large number of design standards, especially in the United States. Designing using such a large number of design standards is a tedious, laborious, and difficult task. One major research task in Computer-Aided Engineering (CAE) is the development of software tools that assist in the usage of design standards during the design process. This dissertation, a standards processing framework is presented. It is an agent-based approach to providing computer-aided support for using design standards. In this framework, modules, such as standards processing servers, are treated as agents communicating using a defined communication language. One immediate advantage of this architecture is that it allows the incorporation of a broad, powerful set of representation for use in modeling design standards.
series	thesis:PhD
email
more	http://han.ices.cmu.edu
last changed	2003/02/12 22:37

_id	eaea2005_151
id	eaea2005_151
authors	Ohno, Ruyzo
year	2006
title	Seat preference in public squares and distribution of the surrounding people: An examination of the validity of using visual simulation
source	Motion, E-Motion and Urban Space [Proceedings of the 7th European Architectural Endoscopy Association Conference / ISBN-10: 3-00-019070-8 - ISBN-13: 978-3-00-019070-4], pp. 151-163
summary	Public squares are shared by people who use them for various purposes. When people choose seats in a square, they unconsciously evaluate not only the physical characteristics of the space but also the distribution of others already present (Hall, 1966; Sommer, 1969; Whyte, 1988). Knowing the hidden rules of this behaviour will be important in designing squares that remain comfortable even in crowded situations. Most past studies of seat choice preference have reported on statistical tendencies derived from observations of subject behavior in actually existing sites (i.e., Abe, 1997; Imai, 1999; Kawamoto, 2003). However, they provide no clear theoretical model for explaining the basic mechanisms regulating such behaviour. The present study conducts a series of experiments in both real and virtual settings in order to extract quantitative relationships between subjects’ seat preferences and the presence of nearby strangers and to clarify what factors influence their seat choices.
series	EAEA
type	normal paper
email
more	http://info.tuwien.ac.at/eaea
last changed	2008/04/29 20:46

_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	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	aa2f
authors	Carrara, G., Fioravanti, A. and Novembri, G.
year	1997
title	An Intelligent Assistant for the Architectural Design Studio
doi	https://doi.org/10.52842/conf.ecaade.1997.x.a3a
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
summary	It seems by now fairly accepted by many researchers in the field of the Computer Aided Design that the way to realise support tools for the architectural design is by means of the realisation of Intelligent Assistants. This kind of computer program, based on the Knowledge Engineering and machine learning, finds his power and effectiveness by the Knowledge Base on which it is based. Moreover, it appears evident that the modalities of dialogue among architects and operators in the field of building industry, are inadequate to support the exchange of information that the use of these tools requires. In fact, many efforts at international level are in progress to define tools in order to make easier the multiple exchange of information in different fields of building design. Concerning this point, protocol and ontology of structured information interchanges constitute the first steps in this sense, e.g. those under standardisation by ISO (STEP), PDT models and Esprit project ToCEE. To model these problems it has brought forth a new research field: the collaborative design one, an evolution of distributed work and concurrent design. The CAAD Laboratory of Dipartimento di Architettura and Urbanistica per l'Ingegneria has carried out a software prototype, KAAD, based on Knowledge Engineering in the fields of hospital building and of building for aged people. This software is composed by an Interface, a Knowledge Base, a Database and Constraints. The Knowledge Base has been codified by using the formal structure of frames, and has been implemented by the Lisp language. All the elements of KB are objects
keywords	Design Studio
series	eCAADe
email
more	http://info.tuwien.ac.at/ecaade/proc/carrara/carrara.htm
last changed	2022/06/07 07:50

_id	c1ad
authors	Cheng, Nancy Yen-wen
year	1997
title	Teaching CAD with Language Learning Methods
doi	https://doi.org/10.52842/conf.acadia.1997.173
source	Design and Representation [ACADIA ‘97 Conference Proceedings / ISBN 1-880250-06-3] Cincinatti, Ohio (USA) 3-5 October 1997, pp. 173-188
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	8b09
authors	Cicognani, Anna and Maher, Mary Lou
year	1997
title	Design Speech Acts. "How To Do Things with Words" in Virtual Communities
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 707-717
summary	Cyberspace is language based, and so are Virtual Communities (VCs). We propose that VCs are ideal places to experience and enhance a language for design. Design in a VC can actually be performed using speech acts that in-real-life wouldn't perform any design. We call these acts 'design speech acts'. We present, as a starting point, a list of verbs which can be used in a VC for design and the implications of using these verbs to design cyberspace. We present a methodology for structuring and defining design speech acts, so that a language for design in a VC can be subsequently developed. We are developing a specific environment for a virtual community in which designers can articulate their needs and produce text-based design objects.
series	CAAD Futures
email
last changed	1999/04/06 09:19

_id	6a37
authors	Fowler, Thomas and Muller, Brook
year	2002
title	Physical and Digital Media Strategies For Exploring ‘Imagined’ Realities of Space, Skin and Light
doi	https://doi.org/10.52842/conf.acadia.2002.013
source	Thresholds - Design, Research, Education and Practice, in the Space Between the Physical and the Virtual [Proceedings of the 2002 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-11-X] Pomona (California) 24-27 October 2002, pp. 13-23
summary	This paper will discuss an unconventional methodology for using physical and digital media strategies ina tightly structured framework for the integration of Environmental Control Systems (ECS) principles intoa third year design studio. An interchangeable use of digital media and physical material enabledarchitectural explorations of rich tactile and luminous engagement.The principles that provide the foundation for integrative strategies between a design studio and buildingtechnology course spring from the Bauhaus tradition where a systematic approach to craftsmanship andvisual perception is emphasized. Focusing particularly on color, light, texture and materials, Josef Albersexplored the assemblage of found objects, transforming these materials into unexpected dynamiccompositions. Moholy-Nagy developed a technique called the photogram or camera-less photograph torecord the temporal movements of light. Wassily Kandinsky developed a method of analytical drawingthat breaks a still life composition into diagrammatic forces to express tension and geometry. Theseschematic diagrams provide a method for students to examine and analyze the implications of elementplacements in space (Bermudez, Neiman 1997). Gyorgy Kepes's Language of Vision provides a primerfor learning basic design principles. Kepes argued that the perception of a visual image needs aprocess of organization. According to Kepes, the experience of an image is "a creative act ofintegration". All of these principles provide the framework for the studio investigation.The quarter started with a series of intense short workshops that used an interchangeable use of digitaland physical media to focus on ECS topics such as day lighting, electric lighting, and skin vocabulary tolead students to consider these components as part of their form-making inspiration.In integrating ECS components with the design studio, an nine-step methodology was established toprovide students with a compelling and tangible framework for design:Examples of student work will be presented for the two times this course was offered (2001/02) to showhow exercises were linked to allow for a clear design progression.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	452a
id	452a
authors	Fukuda, T., Nagahama, R., Nomura, J.
year	1997
title	Networked VR System: Kitchen Layout Design for Customers
source	Proceedings of the second symposium on Virtual reality modeling language, Monterey, California, United States, pp.93-100
summary	In this paper, we present our Virtual Reality (VR) technology application, a networked VR-supported design system of a kitchen layout. This networked VR system was developed on personal computers to allow customers to design at home. With the VR system, customers can have a pseudo-experience of their “virtual kitchen”, modify the design of the kitchen, and make decisions by being provided with a good idea of their potential purchase. The VR system will also play an important role in user interface in the House Design Advisory System. This system, which we are currently developing, will give advice on house design, as well as on kitchen layout design, according tothe customers’ diversified lifestyles.
keywords	Kitchen Layout Design, Virtual Reality, VRML, VRML Browser, script, RDB, EUC
series	other
type	symposium
email
last changed	2006/08/24 07:28

_id	b5f4
authors	Gero, John S. and Ding, Lan
year	1997
title	Exploring Style Emergence in Architectural Designs
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. 287-296
summary	This paper presents an evolutionary approach to style emergence in architectural designs. Emergence is the process of making features explicit which were previously only implicit. Style is considered as a set of common characteristics of a group of designs. It is interpreted using a language model as an analogy and is represented at the genetic level. An evolutionary system based on genetic engineering is developed. It emerges style by locating the genetic structures which produce that style. Preliminary results are presented.
series	other
email
last changed	2003/04/06 09:26

_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	7e69
authors	Lea, R., Honda, Y, and Matsuda, K.
year	1997
title	Virtual Society: Collaboration in 3D Spaces on the Internet
source	Computer Supported Cooperative Work (CSCW) 6(2): 227-250; Jan 1997
summary	The Virtual Society (VS) project is a long term research initiative that is investigating the evolution of the future electronicsociety. Our vision for this electronic society is a shared 3D virtual world where users, from homes and offices, canexplore, interact and work. Our first implementation of an infrastructure to support our investigation is known asCommunityPlace and has been developed to support large-scale shared 3D spaces on the Internet using the Virtual RealityModeling Language (VRML). Obviously, such an ambitious project cuts across many different domains. In this paper weoutline the goals of the Virtual Society project, discuss the architecture and implementation of CommunityPlace withparticular emphasis on Internet related technologies such as VRML and present our views on the role of VRML and theInternet to support large-scale shared 3D spaces.
keywords	Distributed Virtual Environment; Internet; Collaboration; Consistency; VRML
series	other
email
last changed	2002/07/07 16:01

_id	982c
id	982c
authors	Woo, S., Fukuda, T., Kusama, H., Sasada, T.
year	1997
title	VRML Use in Bridge Environmental Design
source	Journal of Civil Engineering Information Processing Systems, vol.6, pp.255-262
summary	The URL (Uniformed Resource Locator) and HTML (Hyper Text Markup Language)are able to make usage of resources on WWW. The development of VRML which is capable of simulating 3 dimensional space leads to the networked collaboration in civil and architectural fields in the distributed environment. In this paper, the seamless system environment which is developed on WWW in the base of the bridge database established by using VRML is reported. The applicability of the design system is made clear through a case study of the bridge environmental design.
keywords	WWW, VRML, CGI, Virtual Space
series	journal paper
type	normal paper
email
last changed	2006/08/24 07:32

_id	ce96
authors	Yeung, Chris
year	1997
title	A Web-Based VRML Collaborative Design Tool for Architecture Studies
doi	https://doi.org/10.52842/conf.ecaade.1997.x.w6v
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
summary	This paper describes a system designed to help architecture students in designing three-dimensional objects in a collaborative way. When implementing this system, VRML (Virtual Reality Modeling Language), Java and Javascript are used. This system uses the World Wide Web, which is getting more and more popular in recent years, as the media to transfer information all over the world. The system allows many users to view three-dimensional objects, change attributes of the objects, discuss and design at the same time. These users can be located in different parts of the world. Each only needs a computer that is connected to the Internet and a web browser that can display VRML objects to use the system. The computer can be any hardware platform running any Operating System. The objective of this project is to develop a system that can run on any computer hardware and software platform. Without any limitation on hardware and software platform, people from different parts of the world can work collaboratively to design architectural objects.
keywords	Collaborative Design, VRML
series	eCAADe
type	normal paper
email
more	http://info.tuwien.ac.at/ecaade/proc/yeung1/present/index.htm
last changed	2022/06/07 07:50

_id	77bc
authors	Cohen, S., Elber, G. and Bar-Yehuda, R.
year	1997
title	Matching of freeform curves
source	Computer-Aided Design, Vol. 29 (5) (1997) pp. 369-378
summary	Freeform parametric curves are extensively employed in various fields such as computer graphics, computer vision, robotics, and geometric modeling. While manyapplications exploit and combine univariate freeform entities into more complex forms such as sculptured surfaces, the problem of a fair or even optimal relativeparameterization of freeforms, under some norm, has been rarely considered. In this work, we present a scheme that closely approximates the optimal relativematching between two or even n given freeform curves, under a user's prescribed norm that is based on differential properties of the curves. This matching iscomputed as a reparameterization of n - 1 of the curves that can be applied explicitly using composition. The proposed matching algorithm is completely automaticand has been successfully employed in different applications with several demonstrated herein: metamorphosis of freeform curves with feature preservations, keyframe interpolation for animation, self-intersection free ruled surface construction, and automatic matching of rail curves of blending surfaces.
keywords	Dynamic Programming, Tangent/Gauss Map, Feature Recognition, Fairness
series	journal paper
last changed	2003/05/15 21:33

_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

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