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

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Reformat results as: short short into frame detailed detailed into frame

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

_id	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	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	eea1
authors	Achten, Henri
year	1997
title	Generic Representations - Typical Design without the Use of Types
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 117-133
summary	The building type is a (knowledge) structure that is both recognised as a constitutive cognitive element of human thought and as a constitutive computational element in CAAD systems. Questions that seem unresolved up to now about computational approaches to building types are the relationship between the various instances that are generally recognised as belonging to a particular building type, the way a type can deal with varying briefs (or with mixed functional 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. It is proposed in this research not to focus on a definition of 'type,' but rather to investigate the role of knowledge connected to building types in the design process. The basic proposition is that the graphic representations used to represent the state of the design object throughout the design process can be used as a medium to encode knowledge of the building type. This proposition claims that graphic representations consistently encode the things they represent, that it is possible to derive the knowledge content of graphic representations, and that there is enough diversity within graphic representations to support a design process of a building belonging to a type. In order to substantiate these claims, it is necessary to analyse graphic representations. In the research work, an approach based on the notion of 'graphic units' is developed. The graphic unit is defined and the analysis of graphic representations on the basis of the graphic unit is demonstrated. This analysis brings forward the knowledge content of single graphic representations. Such knowledge content is declarative knowledge. The graphic unit also provides the means to articulate the transition from one graphic representation to another graphic representation. Such transitions encode procedural knowledge. The principles of a sequence of generic representations are discussed and it is demonstrated how a particular type - the office building type - is implemented in the theoretical work. Computational work on implementation part of a sequence of generic representations of the office building type is discussed. The paper ends with a summary and future work.
series	CAAD Futures
email
last changed	2003/11/21 15:15

_id	88fa
authors	Alkhoven, P.
year	1997
title	Computer Visualisation as a Tool in Architectural Historical Research
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 historical city has been represented over time using various ways of drawing, modelling and simulation. Using different kinds of visual information as a basis, computer visualisation techniques are used in this presentation to reconstruct the urban development in the twentieth century of the town of Heusden and other towns. The resulting visualisation provides us with a tool for a better understanding of the dynamics of urban transformation processes, typologies and morphological changes. Though for most of these rather specific research questions the computer images proved adequate and useful, some morphological studies can well be carried out using more traditional techniques.
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	a93b
authors	Anders, Peter
year	1997
title	Cybrids: Integrating Cognitive and Physical Space in Architecture
doi	https://doi.org/10.52842/conf.acadia.1997.017
source	Design and Representation [ACADIA ‘97 Conference Proceedings / ISBN 1-880250-06-3] Cincinatti, Ohio (USA) 3-5 October 1997, pp. 17-34
summary	People regularly use non-physical, cognitive spaces to navigate and think. These spaces are important to architects in the design and planning of physical buildings. Cognitive spaces inform design - often underlying principles of architectural composition. They include zones of privacy, territory and the space of memory and visual thought. They let us to map our environment, model or plan projects, even imagine places like Heaven or Hell. Cyberspace is an electronic extension of this cognitive space. Designers of virtual environments already know the power these spaces have on the imagination. Computers are no longer just tools for projecting buildings. They change the very substance of design. Cyberspace is itself a subject for design. With computers architects can design space both for physical and non-physical media. A conscious integration of cognitive and physical space in architecture can affect construction and maintenance costs, and the impact on natural and urban environments. This paper is about the convergence of physical and electronic space and its potential effects on architecture. The first part of the paper will define cognitive space and its relationship to cyberspace. The second part will relate cyberspace to the production of architecture. Finally, a recent project done at the University of Michigan Graduate School of Architecture will illustrate the integration of physical and cyberspaces.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	eb53
authors	Asanowicz, K. and Bartnicka, M.
year	1997
title	Computer analysis of visual perception - endoscopy without endoscope
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	This paper presents a method of using computer animation techniques in order to solve problems of visual pollution of city environment. It is our observation that human-inducted degradation of city environmental results from well - intentioned but inappropriate preservation actions by uninformed designers and local administration. Very often, a local municipality administration permits to build bad-fitting surroundings houses. It is usually connected with lack of visual information's about housing areas of a city, its features and characteristics. The CAMUS system (Computer Aided Management of Urban Structure) is being created at the Faculty of Architecture of Bialystok Technical University. One of its integral parts is VIA - Visual Impact of Architecture. The basic element of this system is a geometrical model of the housing areas of Bialystok. This model can be enhanced using rendering packages as they create the basis to check our perception of a given area. An inspiration of this approach was the digital endoscopy presented by J. Breen and M. Stellingwerff at the 2nd EAEA Conferences in Vienna. We are presenting the possibilities of using simple computer programs for analysis of spatial model. This contribution presents those factors of computer presentation which can demonstrate that computers achieve such effects as endoscope and often their use be much more efficient and effective.
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	sigradi2006_e131c
id	sigradi2006_e131c
authors	Ataman, Osman
year	2006
title	Toward New Wall Systems: Lighter, Stronger, Versatile
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 248-253
summary	Recent developments in digital technologies and smart materials have created new opportunities and are suggesting significant changes in the way we design and build architecture. Traditionally, however, there has always been a gap between the new technologies and their applications into other areas. Even though, most technological innovations hold the promise to transform the building industry and the architecture within, and although, there have been some limited attempts in this area recently; to date architecture has failed to utilize the vast amount of accumulated technological knowledge and innovations to significantly transform the industry. Consequently, the applications of new technologies to architecture remain remote and inadequate. One of the main reasons of this problem is economical. Architecture is still seen and operated as a sub-service to the Construction industry and it does not seem to be feasible to apply recent innovations in Building Technology area. Another reason lies at the heart of architectural education. Architectural education does not follow technological innovations (Watson 1997), and that “design and technology issues are trivialized by their segregation from one another” (Fernandez 2004). The final reason is practicality and this one is partially related to the previous reasons. The history of architecture is full of visions for revolutionizing building technology, ideas that failed to achieve commercial practicality. Although, there have been some adaptations in this area recently, the improvements in architecture reflect only incremental progress, not the significant discoveries needed to transform the industry. However, architectural innovations and movements have often been generated by the advances of building materials, such as the impact of steel in the last and reinforced concrete in this century. There have been some scattered attempts of the creation of new materials and systems but currently they are mainly used for limited remote applications and mostly for aesthetic purposes. We believe a new architectural material class is needed which will merge digital and material technologies, embedded in architectural spaces and play a significant role in the way we use and experience architecture. As a principle element of architecture, technology has allowed for the wall to become an increasingly dynamic component of the built environment. The traditional connotations and objectives related to the wall are being redefined: static becomes fluid, opaque becomes transparent, barrier becomes filter and boundary becomes borderless. Combining smart materials, intelligent systems, engineering, and art can create a component that does not just support and define but significantly enhances the architectural space. This paper presents an ongoing research project about the development of new class of architectural wall system by incorporating distributed sensors and macroelectronics directly into the building environment. This type of composite, which is a representative example of an even broader class of smart architectural material, has the potential to change the design and function of an architectural structure or living environment. As of today, this kind of composite does not exist. Once completed, this will be the first technology on its own. We believe this study will lay the fundamental groundwork for a new paradigm in surface engineering that may be of considerable significance in architecture, building and construction industry, and materials science.
keywords	Digital; Material; Wall; Electronics
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	4e1c
authors	Berdinski, D.
year	1997
title	Combining different kinds of perspective images in architectural practice.
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	This paper is about combining photo-, video-, endoscope captured images with handmade or computer generated ones. Practically all optical systems are known to produce more or less curved perspective (spherical or cylindrical) which depends of angle-of-view, and a computer as a rule (as handmade) constructs linear perspective images. To combine them on any media correctly, an operator has to be professional painter or designer, because there is no mathematically determined way to combine them. The author's-made demo-computer program is able to generate spherical perspective of simple spatial constructions. It allows to illustrate mathematically and visually the principles of optical curved perspective, laws of their combination with linear ones and helps to feel how to achieve the accordance with natural visual architectural images.
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	127c
authors	Bhavnani, S.K. and John, B.E.
year	1997
title	From Sufficient to Efficient Usage: An Analysis of Strategic Knowledge
source	Proceedings of CHI'97 (1997), 91-98
summary	Can good design guarantee the eflicient use of computer tools? Can experience guarantee it? We raise these questions to explore why empirical studies of real-world usage show even experienced users under-utilizing the capabilities of computer applications. By analyzing the use of everyday devices and computer applications, as well as reviewing empirical studies, we conclude that neither good design nor experience may be able to guarantee efficient usage. Efficient use requires task decomposition strategies that exploit capabilities offered by computer applications such as the ability to aggregute objects, and to manipulate the aggregates with powerful operators. To understand the effects that strategies can have on performance, we present results from a GOMS analysis of a CAD task. Furthermore, we identify some key aggregation strategies that appear to generalize across applications. Such strategies may provide a framework to enable users to move from a sufficient to a more ef)icient use of computer tools.
keywords	Strategies; Task Decomposition; Aggregation
series	other
email
last changed	2003/11/21 15:16

_id	536e
authors	Bouman, Ole
year	1997
title	RealSpace in QuickTimes: architecture and digitization
source	Rotterdam: Nai Publishers
summary	Time and space, drastically compressed by the computer, have become interchangeable. Time is compressed in that once everything has been reduced to 'bits' of information, it becomes simultaneously accessible. Space is compressed in that once everything has been reduced to 'bits' of information, it can be conveyed from A to B with the speed of light. As a result of digitization, everything is in the here and now. Before very long, the whole world will be on disk. Salvation is but a modem away. The digitization process is often seen in terms of (information) technology. That is to say, one hears a lot of talk about the digital media, about computer hardware, about the modem, mobile phone, dictaphone, remote control, buzzer, data glove and the cable or satellite links in between. Besides, our heads are spinning from the progress made in the field of software, in which multimedia applications, with their integration of text, image and sound, especially attract our attention. But digitization is not just a question of technology, it also involves a cultural reorganization. The question is not just what the cultural implications of digitization will be, but also why our culture should give rise to digitization in the first place. Culture is not simply a function of technology; the reverse is surely also true. Anyone who thinks about cultural implications, is interested in the effects of the computer. And indeed, those effects are overwhelming, providing enough material for endless speculation. The digital paradigm will entail a new image of humankind and a further dilution of the notion of social perfectibility; it will create new notions of time and space, a new concept of cause and effect and of hierarchy, a different sort of public sphere, a new view of matter, and so on. In the process it will indubitably alter our environment. Offices, shopping centres, dockyards, schools, hospitals, prisons, cultural institutions, even the private domain of the home: all the familiar design types will be up for review. Fascinated, we watch how the new wave accelerates the process of social change. The most popular sport nowadays is 'surfing' - because everyone is keen to display their grasp of dirty realism. But there is another way of looking at it: under what sort of circumstances is the process of digitization actually taking place? What conditions do we provide that enable technology to exert the influence it does? This is a perspective that leaves room for individual and collective responsibility. Technology is not some inevitable process sweeping history along in a dynamics of its own. Rather, it is the result of choices we ourselves make and these choices can be debated in a way that is rarely done at present: digitization thanks to or in spite of human culture, that is the question. In addition to the distinction between culture as the cause or the effect of digitization, there are a number of other distinctions that are accentuated by the computer. The best known and most widely reported is the generation gap. It is certainly stretching things a bit to write off everybody over the age of 35, as sometimes happens, but there is no getting around the fact that for a large group of people digitization simply does not exist. Anyone who has been in the bit business for a few years can't help noticing that mum and dad are living in a different place altogether. (But they, at least, still have a sense of place!) In addition to this, it is gradually becoming clear that the age-old distinction between market and individual interests are still relevant in the digital era. On the one hand, the advance of cybernetics is determined by the laws of the marketplace which this capital-intensive industry must satisfy. Increased efficiency, labour productivity and cost-effectiveness play a leading role. The consumer market is chiefly interested in what is 'marketable': info- and edutainment. On the other hand, an increasing number of people are not prepared to wait for what the market has to offer them. They set to work on their own, appropriate networks and software programs, create their own domains in cyberspace, domains that are free from the principle whereby the computer simply reproduces the old world, only faster and better. Here it is possible to create a different world, one that has never existed before. One, in which the Other finds a place. The computer works out a new paradigm for these creative spirits. In all these distinctions, architecture plays a key role. Owing to its many-sidedness, it excludes nothing and no one in advance. It is faced with the prospect of historic changes yet it has also created the preconditions for a digital culture. It is geared to the future, but has had plenty of experience with eternity. Owing to its status as the most expensive of arts, it is bound hand and foot to the laws of the marketplace. Yet it retains its capacity to provide scope for creativity and innovation, a margin of action that is free from standardization and regulation. The aim of RealSpace in QuickTimes is to show that the discipline of designing buildings, cities and landscapes is not only a exemplary illustration of the digital era but that it also provides scope for both collective and individual activity. It is not just architecture's charter that has been changed by the computer, but also its mandate. RealSpace in QuickTimes consists of an exhibition and an essay.
series	other
email
last changed	2003/04/23 15:14

_id	20
authors	Cabezas, M., Mariano, C., MÌtolo, S., MuÒoz, P., Oliva, S. and Ortiz, M.
year	1998
title	Aportes a la EnseÒanza de la ComunicaciÛn Visual (Contributions to the Teaching of Visual Communication)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 168-173
summary	Going back to the proposal for the incorporation of multimid oriented towards the study of visual communication in 1st year of Architecture and Industrial Design which was presented on the 1st Seminary of Digital Graph that was held in 1997, in the FAU of UBA,it is being developed an educative programme of hypermedial character. Referring to Monge System development, it is though for the students so that they can consul and have a first contact with theoretical concepts. Through direct experience, starting from the studentís pre-existence of a lineal path from general to specific, proposing transversal perspective to start in depth conceptual contents according. Completing the traditional view of drawing by enlarging the iconicity and comprehension of a complex topic like geometry of the space.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	d60a
authors	Casti, J.C.
year	1997
title	Would be Worlds: How simulation is changing the frontiers of science
source	John Wiley & Sons, Inc., New York.
summary	Five Golden Rules is caviar for the inquiring reader. Anyone who enjoyed solving math problems in high school will be able to follow the author's explanations, even if high school was a long time ago. There is joy here in watching the unfolding of these intricate and beautiful techniques. Casti's gift is to be able to let the nonmathematical reader share in his understanding of the beauty of a good theory.-Christian Science Monitor "[Five Golden Rules] ranges into exotic fields such as game theory (which played a role in the Cuban Missile Crisis) and topology (which explains how to turn a doughnut into a coffee cup, or vice versa). If you'd like to have fun while giving your brain a first-class workout, then check this book out."-San Francisco Examiner "Unlike many popularizations, [this book] is more than a tour d'horizon: it has the power to change the way you think. Merely knowing about the existence of some of these golden rules may spark new, interesting-maybe even revolutionary-ideas in your mind. And what more could you ask from a book?"-New Scientist "This book has meat! It is solid fare, food for thought . . . makes math less forbidding, and much more interesting."-Ben Bova, The Hartford Courant "This book turns math into beauty."-Colorado Daily "John Casti is one of the great science writers of the 1990s."-San Francisco Examiner In the ever-changing world of science, new instruments often lead to momentous discoveries that dramatically transform our understanding. Today, with the aid of a bold new instrument, scientists are embarking on a scientific revolution as profound as that inspired by Galileo's telescope. Out of the bits and bytes of computer memory, researchers are fashioning silicon surrogates of the real world-elaborate "artificial worlds"-that allow them to perform experiments that are too impractical, too costly, or, in some cases, too dangerous to do "in the flesh." From simulated tests of new drugs to models of the birth of planetary systems and galaxies to computerized petri dishes growing digital life forms, these laboratories of the future are the essential tools of a controversial new scientific method. This new method is founded not on direct observation and experiment but on the mapping of the universe from real space into cyberspace. There is a whole new science happening here-the science of simulation. The most exciting territory being mapped by artificial worlds is the exotic new frontier of "complex, adaptive systems." These systems involve living "agents" that continuously change their behavior in ways that make prediction and measurement by the old rules of science impossible-from environmental ecosystems to the system of a marketplace economy. Their exploration represents the horizon for discovery in the twenty-first century, and simulated worlds are charting the course. In Would-Be Worlds, acclaimed author John Casti takes readers on a fascinating excursion through a number of remarkable silicon microworlds and shows us how they are being used to formulate important new theories and to solve a host of practical problems. We visit Tierra, a "computerized terrarium" in which artificial life forms known as biomorphs grow and mutate, revealing new insights into natural selection and evolution. We play a game of Balance of Power, a simulation of the complex forces shaping geopolitics. And we take a drive through TRANSIMS, a model of the city of Albuquerque, New Mexico, to discover the root causes of events like traffic jams and accidents. Along the way, Casti probes the answers to a host of profound questions these "would-be worlds" raise about the new science of simulation. If we can create worlds inside our computers at will, how real can we say they are? Will they unlock the most intractable secrets of our universe? Or will they reveal instead only the laws of an alternate reality? How "real" do these models need to be? And how real can they be? The answers to these questions are likely to change the face of scientific research forever.
series	other
last changed	2003/04/23 15:14

_id	d869
authors	Chu, C.-C., Dani, T.H. and Gadh, R.
year	1997
title	Multi-sensory user interface for a virtual-reality-based computer-aided design system
source	Computer-Aided Design, Vol. 29 (10) (1997) pp. 709-725
summary	The generation of geometric shapes called `geometric concept designs' via the multi-sensory user interface of a virtual reality (VR) based system motivates the currentresearch. In this new VR-based system, geometric designs can be more effectively inputted into the computer in a physically intuitive way. The interaction mechanism issimilar to the way in which industrial designers sit and discuss concept design shapes across a table from each other, prior to making a final decision about the productdetails. By using different sensory modalities, such as voice, hand motions and gestures, product designers can convey design ideas through the VR-basedcomputer-aided design (CAD) system. In this scenario, the multi-sensory interface between human and computer plays a central role with respect to usability, usefulnessand accuracy. The current paper focuses on determining the requirements for the multi-sensory user interface and assessing the applications of different input and outputmechanisms in the virtual environment (VE). In order to evaluate this multi-sensory user interface, this paper formulates the typical activities in product shape design intoa set of requirements for the VR-CAD system. On the basis of these requirements, we interviewed typical CAD users about the effectiveness of using different sensoryinput and output interaction mechanisms such as visual, auditory and tactile. According to the results of these investigations, a nodal network of design activity thatdefines the multi-sensory user interface of the VR-CAD system is determined in the current research. The VR-CAD system is still being developed. However, voicecommand input, hand motion input, three-dimensional visual output and auditory output have been successfully integrated into the current system. Moreover, severalmechanical parts have been successfully created through the VR interface. Once designers use the VR-CAD system that we are currently developing, the interfacerequirements determined in the current paper may be verified or refined. The objectives of the current research are to expand the frontiers of product design and establisha new paradigm for the VR-based conceptual shape design system.
keywords	Virtual Reality, Multi-Sensory User Interface, Conceptual Shape Design, Sensory Interaction Mechanism
series	journal paper
last changed	2003/05/15 21:33

_id	4864
authors	Daru, R. and Venemans, P.
year	1997
title	Goal compliant visual simulation; towards effective and selective methods and techniques of visualisation and simulation.
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	Visualisation, simulation and communication were always intimately interconnected. Visualisations and simulations impersonate existing or virtual realities. Without those tools it is arduous to communicate mental depictions about virtual objects and events. A communication model is presented to contribute to a better theoretical foundation of the meaning and relevance of simulations of different types.
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	cebb
authors	Do, Ellen Yi-Luen and Gross, Mark D.
year	1997
title	Tools for Visual and Spatial Analysis of CAD Models - Implementing Computer Tools as a Means to Thinking about Architecture
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 189-202
summary	The paper describes a suite of spatial analysis programs to support architectural design. Building these computational tools not only supports the task of spatial analysis for designers but it also helps us think about the spatial perception. We argue that building design software is an important vehicle for understanding architecture, using our efforts to build various visual and spatial analysis tools as examples.
series	CAAD Futures
email
last changed	2004/10/04 07:49

_id	e22d
authors	Emprin, G., Girotto, E., Gotta, A., Livi, T. and Luigia, M.Priore
year	1997
title	Virtual Studio of Design and Technology on Internet (II): Student's experience
doi	https://doi.org/10.52842/conf.ecaade.1997.x.u9k
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
summary	For about a year the members of our group have been working on their degree thesis focused on the project of the new intermodal node of Porta Susa in Turin. The theses are concerned with complex urban and architectural problems in the light of the innovations brought by computers and networks. The experience, up to now, makes us conscious that telematics is, and will be, more and more able to offer new tools and different methodologies to approach architectural design. Collaboration across computer networks has improved our design experience with systematic contributions from various skills and methodologies. The presentation of our still on-going didactic experience has been subdivided into phases, strictly interrelated The first one, almost over, is concerned with the analysis of the area and the representation of the collected data.
keywords	CAAD, Teaching of Architectural Design, Shared Virtual Reality, Virtual Design Studio
series	eCAADe
more	http://info.tuwien.ac.at/ecaade/proc/lvi_i&ii/gotta.html
last changed	2022/06/07 07:50

_id	c4a6
authors	Haapasalo, Harri
year	1997
title	The Role of CAD In Creative Architectural Sketching
doi	https://doi.org/10.52842/conf.ecaade.1997.x.o2b
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
summary	The history of computers in architectural design is very short; only a few decades; when compared to the development of methods in practical design (Gero 1983). However, the development of the user interfaces has been very fast. According to the practical observations of over one hundred architects, user interfaces are at present inflexible in sketching, although computers can make drafts and the creation of alternatives quicker and more effective in the final stages of designing (Haapasalo 1997). Based on our research in the field of practical design we would wish to stimulate a wider debate about the theory of design. More profound perusal compels us to examine human modes, pre-eminently different levels of thinking and manners of inference. What is the meaning of subconscious and conscious thinking in design? What is the role of intuition in practical design? Do the computer aided design programs apply to creative architectural sketching? To answer such questions, distinct, profound and broad understanding from different disciplines is required. Even then, in spite of such specialist knowledge we cannot hope to unambiguously and definitively answer such questions.
keywords	Creativity, Design Process, Architectural Design, Sketching, Computer Aided Design
series	eCAADe
email
more	http://info.tuwien.ac.at/ecaade/proc/haapas/haapas.htm
last changed	2022/06/07 07:50

_id	618f
authors	Homma, R., Matsumoto, M., Morozumi, M. and Iki, K.
year	1997
title	The Development of a Psychological Evaluation System for Natural and Rural Landscapes
doi	https://doi.org/10.52842/conf.caadria.1997.229
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. 229-236
summary	In recent years, the importance of preservation of the view in natural and rural landscapes has been emphasized. In order to preserve the grassland view in the Aso area (which is a representative grassland view in Japan), the authors participated in the research about the relevancy of social structures in a rural area and the landscape by examining the view along a major line road that passes through this area.
series	CAADRIA
email
last changed	2022/06/07 07:50

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