Cumincad : CUMINCAD Papers : Search Results

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

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_id	ac21
id	ac21
authors	Giddings B, Horne M
year	2008
title	The Changing Patterns of Architectural Design Education
source	Architecture and Modern Information Technologies, Vol. 3, No. 4. ISSN-1998-4839
summary	Digital technologies have been introduced to students of architecture for over two decades and at present it could be argued that students are producing some of the highest quality designs, and some of the most interesting forms ever to come from University Schools. The value of computer aided design (CAD) is also being demonstrated in architectural practice, with high profile, large budget, bespoke and iconic buildings designed by internationally renowned architects. This paper reviews the changing patterns of architectural design education and considers the contribution digital technologies could make to buildings with more commonplace uses. The study offers a perspective on different kinds of buildings and considers the influence that emerging technologies are having on building form. It outlines digital technologies, alongside students’ application for architectural design and considers the role they could play in the future, in developing a shared architectural language. It is suggested that some of the biggest opportunities for future research will be in the design of external spaces, often a neglected part of architectural design education.
keywords	architectural design education, digital technologies
series	other
type	normal paper
email
more	http://www.marhi.ru/AMIT
last changed	2008/11/02 20:38

_id	0a31
authors	Johnson, Scott
year	1998
title	Toward Making the Language of CAAD Match the Language of Architecture: A Protean Elements Approach
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 93-100
doi	https://doi.org/10.52842/conf.ecaade.1998.093
summary	Both in education and in practice, architecture is experiencing a division between designers and "CAD specialists." One reason for the division may be the inherent division between design concepts and CAD concepts. In a very real sense, computer use and design utilize different languages. Becoming an expert in the "craft" of CAD means having to learn to recognize and manipulate a different set of conceptual elements than is used in design. The set of concepts we use affects our thought and behavior incredibly deeply, and translation from one set of concepts to another has significant cognitive cost. This paper discusses the mismatch between architectural and CAD concepts, and proposes protean elements as a solution to the problem. Protean elements are CAD system elements which correspond to architectural elements and have attributes appropriate for the elements they represent. They can be gradually refined in a top-down manner, without demands for certain pieces of missing data, or requirements for "correctness." The goal is to help CAD systems come closer to speaking the same language as architects. A test implementation of a system based on protean elements is currently underway, and aspects of this implementation are discussed.
series	eCAADe
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/02johnson/index.htm
last changed	2022/06/07 07:52

_id	e184
authors	Popov, V., Popova, L. and De Paoli, G.
year	1998
title	Towards an Object-Oriented Language for the Declarative Design of Scenes
source	Digital Design Studios: Do Computers Make a Difference? [ACADIA Conference Proceedings / ISBN 1-880250-07-1] Québec City (Canada) October 22-25, 1998, pp. 316-353
doi	https://doi.org/10.52842/conf.acadia.1998.316
summary	We propose a prototype “kernel” of an object-oriented language, SOML (Scene Objects Modeling Language), intended to assist in the declarative design of scenes in image synthesis. This language is an attempt to provide the designer with a tool to facilitate the rapid prototyping of 3D scenes. It can also serve as a tool for knowledge acquisition and representation , and for communication and exchange of data with other tools in a design environment. Advantages offered by the implementation of SOML are: (a) from user’s viewpoint: the possibility of declarative description of the initial concept associated with the target scene in terms of properties and constraint vocabulary, the possibility of quantitative and qualitative reasoning on these properties, the modification of the intermediate solutions to different levels of detail, the utilisation of previous solutions; and (b) from the implementation viewpoint: the structuring of the properties and methods in the form of domain knowledge, the optimal solution generation according to heuristic causal-probabilistic criteria, the transformation of the semantic concept description of the scene in generic entry code for a geometrical CSG modeler or for rendering and visualization software, the integration of functionality for parameter generation and modification, the compilation of a scene from components of other final scenes and operations of geometrical transformations acting on groups of scenes. We present the architecture of the object-based implantation of the language and its interpreter, in the unified notation formalism UML. The utilization of the SOML language is illustrated by some examples.
series	ACADIA
email
last changed	2022/06/07 08:00

_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	ecaade03_059_29_russel
id	ecaade03_059_29_russel
authors	Russell, P., Stachelhaus, T. and Elger, D.
year	2003
title	CSNCW: Computer Supported Non-Cooperative Work Barriers to Successful Virtual Design Studios
source	Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6] Graz (Austria) 17-20 September 2003, pp. 59-66
doi	https://doi.org/10.52842/conf.ecaade.2003.059
summary	The paper describes a design studio jointly undertaken by four Universities. With respect given to the groundbreaking work carried out by [Wojtowicz and Butelski (1998)] and [Donath et al 1999] and some of the problems described therein, the majority of the Studio partners had all had positive, if not exemplary experiences with co-operative studio projects carried out over the internet. The positive experience and development of concepts have been well documented in numerous publications over the last 5 years. A platform developed by one of the partners for this type of collaboration is in its third generation and has had well over 1000 students from 12 different universities in over 40 Projects. With this amount of experience, the four partners entered into the joint studio project with high expectations and little fear of failure. This experimental aspect of the studio, combined with the “well trodden” path of previous virtual design studios, lent an air of exploration to an otherwise well-worn format. Everything looked good, or so we thought. This is not to say that previous experiments were without tribulations, but the problems encountered earlier were usually spread over the studio partners and thus, the levels and distribution of frustration were more or less balanced. This raised a (theoretically) well-founded expectation of success. In execution, it was quite the opposite. In this case, the difficulties tended to be concentrated towards one or two of the partners. The partners spoke the same language, but came from different sets of goals, and hence, interpreted the agreements to suit their goals. This was not done maliciously, however the results were devastating to the project and most importantly, the student groups. The differing pedagogical methods of the various institutes played a strong role in steering the design critique at each school. Alongside these difficulties, the flexibility (or lack thereof) of each university’s calendar as well as national and university level holidays led to additional problems in coordination. And of course, (as if this was all not enough), the technical infrastructure, local capabilities and willingness to tackle technological problems were heterogeneous (to put it lightly).
keywords	CSCW: Virtual Design Studio; Mistakes in Pedagogy
series	eCAADe
email
more	http://caad.arch.rwth-aachen.de
last changed	2022/06/07 07:56

_id	253a
authors	Snyder, James Daniel
year	1998
title	Conceptual modeling and application integration in CAD: the essential elements
source	Camegie Mellon University, School of Architecture, Pittsburgh
summary	A research focus in design research has been the exchange of information between different participants in the design process. While information system automation has occurred in various areas, known as islands of informafion, significant software integration has yet to emerge. A current belief among researchers in this area is that support for information sharing will require shared resources, and more specifically, shared descriptions of the information to be exchanged. If buildings are viewed as a product, the notion of a product and process modeling system ought to support the electronic exchange of information between various design process participants. While significant research has been done, no consensus has emerged as to a satisfactory solution to design information exchange. Many important contributions have been discovered, however, no overall strategy has emerged that embraces both the research issues as well as the practical issues surrounding information exchange. To address the above issues in a specific context, a series of experiments were conducted utilizing a prototype modeling framework that supports product modeling via the Object Model Language (Om). The results of these experiments along with a literature survey allowed for a comprehensive set of product/process modeling requirements. The resulting requirements were then formalized into a product /process modeling environment that includes a modeling language called SPROUT (supported by a compiler) and an associated software architecture that can be targeted toward many different hardware and software platforms. A particularly unique capability supported in this environment is formal support for integrating existing software systems. Given a schematic description in SPROUT, a formal specification can be used to generate computer programs that provably map data to and from the application program.
series	thesis:PhD
last changed	2003/02/12 22:37

_id	avocaad_2001_16
id	avocaad_2001_16
authors	Yu-Ying Chang, Yu-Tung Liu, Chien-Hui Wong
year	2001
title	Some Phenomena of Spatial Characteristics of Cyberspace
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	"Space," which has long been an important concept in architecture (Bloomer & Moore, 1977; Mitchell, 1995, 1999), has attracted interest of researchers from various academic disciplines in recent years (Agnew, 1993; Benko & Strohmayer, 1996; Chang, 1999; Foucault, 1982; Gould, 1998). Researchers from disciplines such as anthropology, geography, sociology, philosophy, and linguistics regard it as the basis of the discussion of various theories in social sciences and humanities (Chen, 1999). On the other hand, since the invention of Internet, Internet users have been experiencing a new and magic "world." According to the definitions in traditional architecture theories, "space" is generated whenever people define a finite void by some physical elements (Zevi, 1985). However, although Internet is a virtual, immense, invisible and intangible world, navigating in it, we can still sense the very presence of ourselves and others in a wonderland. This sense could be testified by our naming of Internet as Cyberspace -- an exotic kind of space. Therefore, as people nowadays rely more and more on the Internet in their daily life, and as more and more architectural scholars and designers begin to invest their efforts in the design of virtual places online (e.g., Maher, 1999; Li & Maher, 2000), we cannot help but ask whether there are indeed sensible spaces in Internet. And if yes, these spaces exist in terms of what forms and created by what ways?To join the current interdisciplinary discussion on the issue of space, and to obtain new definition as well as insightful understanding of "space", this study explores the spatial phenomena in Internet. We hope that our findings would ultimately be also useful for contemporary architectural designers and scholars in their designs in the real world.As a preliminary exploration, the main objective of this study is to discover the elements involved in the creation/construction of Internet spaces and to examine the relationship between human participants and Internet spaces. In addition, this study also attempts to investigate whether participants from different academic disciplines define or experience Internet spaces in different ways, and to find what spatial elements of Internet they emphasize the most.In order to achieve a more comprehensive understanding of the spatial phenomena in Internet and to overcome the subjectivity of the members of the research team, the research design of this study was divided into two stages. At the first stage, we conducted literature review to study existing theories of space (which are based on observations and investigations of the physical world). At the second stage of this study, we recruited 8 Internet regular users to approach this topic from different point of views, and to see whether people with different academic training would define and experience Internet spaces differently.The results of this study reveal that the relationship between human participants and Internet spaces is different from that between human participants and physical spaces. In the physical world, physical elements of space must be established first; it then begins to be regarded as a place after interaction between/among human participants or interaction between human participants and the physical environment. In contrast, in Internet, a sense of place is first created through human interactions (or activities), Internet participants then begin to sense the existence of a space. Therefore, it seems that, among the many spatial elements of Internet we found, "interaction/reciprocity" Ñ either between/among human participants or between human participants and the computer interface Ð seems to be the most crucial element.In addition, another interesting result of this study is that verbal (linguistic) elements could provoke a sense of space in a degree higher than 2D visual representation and no less than 3D visual simulations. Nevertheless, verbal and 3D visual elements seem to work in different ways in terms of cognitive behaviors: Verbal elements provoke visual imagery and other sensory perceptions by "imagining" and then excite personal experiences of space; visual elements, on the other hand, provoke and excite visual experiences of space directly by "mapping".Finally, it was found that participants with different academic training did experience and define space differently. For example, when experiencing and analyzing Internet spaces, architecture designers, the creators of the physical world, emphasize the design of circulation and orientation, while participants with linguistics training focus more on subtle language usage. Visual designers tend to analyze the graphical elements of virtual spaces based on traditional painting theories; industrial designers, on the other hand, tend to treat these spaces as industrial products, emphasizing concept of user-center and the control of the computer interface.The findings of this study seem to add new information to our understanding of virtual space. It would be interesting for future studies to investigate how this information influences architectural designers in their real-world practices in this digital age. In addition, to obtain a fuller picture of Internet space, further research is needed to study the same issue by examining more Internet participants who have no formal linguistics and graphical training.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	de77
authors	Ahmad Rafi, M.E.
year	1998
title	Computer animation for architectural visualisation
source	University of Strathclyde
summary	This thesis critically reviews the state of architectural animation, and relates this specific field to the more general motion-based representations, particularly traditional film-making techniques. It identifies key elements from traditional filmmaking and shows how these elements can improve computer-based architectural animation. The process of identification of the key elements from traditional film-making starts with a critical survey of the use of motion-based representation in local architectural practices and an empirical analysis of several architectural-based documentary films and past and present computer animations. All of the key ideas are illustrated on video by comparing real shooting clips to digital sequences focusing on production and post-production works. Some of these were implemented in two live projects ( Ministry of Finance, Malaysia and Damansara Parade ) for architects to understand the real problems and potentials in each process. These sets of illustrations expand the architect ideas to make full use of the motion-based process to improve the skill of combining architectural information in a good animation. The overall production process becomes more efficient when the motion-based footage is edited using a non-linear editing platform as it enhances the professional appearance as well as vastly saving most of the production time. The thesis concludes with specific recommendations relative to the stage at which the animation is produced. This technology can be best utilised with the right skills (a gained from film-making) and an understanding of each stage that requires a different level of input and gives a certain impact to the viewers.
series	thesis:PhD
email
last changed	2003/11/21 15:15

_id	0f09
authors	Ando, H., Kubota, A. and Kiriyama, T.
year	1998
title	Study on the collaborative design process over the internet: A case study on VRML 2.0 specification design
source	Design Studies 19, pp. 289-308
summary	In this paper, we analyze the process of VRML 2.0 (Virtual Reality Modeling Language, Version 2.0) specification design for the deeper understanding of Internet-based collaboration. The VRML design process has the characteristics of being open to the public, geographically distributed, long-term, large-scale, and diverse. First, we examine the overall features of the design process by analyzing the VRML mailing list archive statistically. Secondly, we extract prototyping vocabulary (operational patterns) from the document change log. Thirdly, we analyze the process of proposing and agreeing with the PROTO node in detail. The results of analysis provide us with a guidance for facilitating innovation in the Internet-based collaboration.
series	journal paper
last changed	2003/11/21 15:15

_id	ascaad2006_paper19
id	ascaad2006_paper19
authors	Arjun, G. and J. Plume
year	2006
title	Collaborative Architectural Design as a reflective Conversation: an agent facilitated system to support collaborative conceptual design
source	Computing in Architecture / Re-Thinking the Discourse: The Second International Conference of the Arab Society for Computer Aided Architectural Design (ASCAAD 2006), 25-27 April 2006, Sharjah, United Arab Emirates
summary	In this paper, definitions of collaborative design are discussed and understood in terms of a designer’s cognitive collaborations to explore his/her experiential memory for remote idea associations. Based on Schon’s reflective practice theory, Valkenburg and Dorst’s (1998) description of collaborative team designing is adopted as a model for a proposed design conversation system. The design conversation system is aimed at triggering the experiential memory of the designer by associating significant ideas from different design domains to provide different perspectives of a design situation. The paper describes a proposed framework for the design conversation system incorporating computational agents in a blackboard architecture environment.
series	ASCAAD
email
last changed	2007/04/08 19:47

_id	0f4c
authors	Asanowicz, Aleksander
year	1998
title	From Real to Cyber Reality
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 11-19
summary	Human activity takes place in two planes, at two levels. Practical activity is present in one of the planes, the other level is occupied by purely cognitive activity. When observing sufficiently long sequences of practical and cognitive activities, one notices transitions between them, which prove true the suspicions of their functional relationship. Because on both of these planes of human activity there is always one and the same element present - an informative element - which on the first plane functions as subordinate, and in the other as an independent one, one can search for a common characteristic for both planes. Such common characteristic for both levels of human activity can be perceived in the fact that in both situations the activity of a human is based on CREATION. Human thinking is based on transitions between what is accessible through experience and what is referred to conceptually. The human thought exists only and exclusively in the vertical motion: from the phenomenal level to the structural level direction of abstraction) and from the conceptual level to the empirical level direction of concretisation). All human activity is multilayered or, more precisely, it is an activity within many layers: the sensual one as well as the structural one. The appearance of conceptual thinking has created a qualitatively new type of a situation. This novelty can be easily seen both in the sphere of the practical cognitive activity as well as in the sphere of the pure cognitive activity. In both cases, the cognitive activity of a human is of a "double-decker" character: image and concept. It is necessary to note here that the "image" does not only mean structural, concrete, but also one which is purely visual, abstract, of no physical form. Therefore, the human experience, being the result of the cognitive activity, is being expressed, becoming objective, materialising in two different but compatible ways. Firstly, in the material structures of practical significance - this way the material culture is created. Secondly - in material structures which have no practical meaning but are solely used for expressing the spiritual contents - thus creating the spiritual culture. Humans have developed an extraordinarily strong need for spiritual activity, which is manifested by the material activity, redundant from the point of view of the material needs.
series	plCAD
email
last changed	2003/05/17 10:01

_id	ddss9804
id	ddss9804
authors	Assaf, S.
year	1998
title	A Decision Support System (DSS) for Forward Housing Planning
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	This paper presents a specification of a Local Housing Strategy Decision Support System (LHS-DSS) (Conceptual and Physical model design). Emphasis throughout the design process is laid on the techniques that provide housing planners with accurate rapid assistance during the preparation process of local housing strategy. Relevant knowledge (descriptive, procedural, reasoning) and data about each step of the process, options for each situation as it arises, and a record of decisions made with underlying reasons are provided to system users. Three main components are identified to shape up the LHS-DSS: the language system for addressing housing problems; knowledge system which is responsible for gathering and accumulating the housing knowledge required; and problem processing system (an inquiry system) which produces suitable and effective recommendations to support the strategy preparation process.
series	DDSS
last changed	2003/11/21 15:16

_id	c304
authors	Barber, T.and Hanna, R.
year	1998
title	Appraisal of Design Studio Methodologies
source	CAADRIA ‘98 [Proceedings of The Third Conference on Computer Aided Architectural Design Research in Asia / ISBN 4-907662-009] Osaka (Japan) 22-24 April 1998, pp. 21-30
doi	https://doi.org/10.52842/conf.caadria.1998.021
summary	This paper investigates the relationship between different design approaches and their effectiveness in the formulation of design concepts. This inquiry will focus on the computer as the sole design and developmental tool. The research employs a short design programme, a small building with a given urban site, as its investigative vehicle. Nineteen second year students of the Mackintosh School of Architecture were monitored and their design progress evaluated. They were split into two groups: one used CAD and AEC as the only drawing and modelling tool, tutorial and review, and another used conventional tools of drawing and model making (mixed media). Structured interviews and personal observations were used as a means for data collection. Questionnaires were administered to students and their response was analysed using the statistical programme SPSS (Statistical Package for the Social Sciences). The Mann-Whitney test was used to test the Null Hypothesis that different design approaches will not produce different design outcomes. Correlation, Regression and the X2 test of independence were also employed to screen data and identify patterns of relationships.
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:54

_id	b335
authors	Bayle, E., Bellamy, R., Casaday, G., Erickson, T., Fincher, S., Grinter, B., Gross, B., Lehder, D., Marmolin, H., Moore, B., Potts, C., Skousen, G. and Thomas, T.
year	1998
title	Putting It All Together: Towards a Pattern Language for Interaction Design Reports
source	ACM SIGCHI Bulletin 1998 v.30 n.1 pp.17-23
summary	Pattern languages are representations that have been used in architecture and urban design for about twenty years. They focus on the interaction between physical form and social behavior, and express design solutions in an understandable and generalizable form. But pattern languages are not simply set of patterns intended to be universally applied; instead, they are actually meta-languages which, when used in a particular situations, generate situated design languages. This report describes a CHI 97 workshop which explored the utility of pattern languages for interaction design. We discuss the workshop's rationale, the structure and process of the workshop, and some of the workshop's results. In particular, we describe some patterns developed as part of the workshop, and our consequent reflections on the use of patterns and pattern languages as lingua franca for interaction design. This report concludes with a bibliography on pattern languages and related matters that spans architecture, software design, and organizational design.
series	other
last changed	2002/07/07 16:01

_id	487c
authors	Blazquez, Oscar and Hardin, Mary
year	1998
title	Balancing Computer Use and Design Content in Studio Projects
source	Digital Design Studios: Do Computers Make a Difference? [ACADIA Conference Proceedings / ISBN 1-880250-07-1] Québec City (Canada) October 22-25, 1998, pp. 36-43
doi	https://doi.org/10.52842/conf.acadia.1998.036
summary	Particular design approaches must be taught in order to take advantage of the strengths of computers in design rather than attempting to make computers conform to methods developed as by-products of manual design techniques. For the last three years our team of faculty teaching the second year design studio has been trying different approaches to the use of computers in design, in order to find the advantages and opportunities especially suited to electronic media. There are several projects during the semester which use computers at different stages of the design process. One of these projects, called “A Spatial Sequence,” uses information from a previous project as well as the knowledge from the computer class in parallel to design studio. The project asked students to create spatial archetypes based on the work of well-known architects. They explore the following topics as represented in the work of one particular architect: relationships of major spaces/minor spaces, approach/entry, and transition/threshold. Following the analysis, they create digital models to explore the spaces formed by their archetypes. Before committing to a physical study model, they look at the transitions between spaces by creating a sequence using the digital model and producing a series of shots through the digital model to show the flow of spaces. The use of computer through the process accelerates the options available to explore a sequence of elements, while simultaneously giving them a window to look into the spaces they have created. This hybridized approach of precedent analysis, digital modeling, and physical modeling was uniquely suited to the studio problem.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	ddss9807
id	ddss9807
authors	Boelen, A.J. and Lugt, Hermen J. van der
year	1998
title	Communication of design parameters within groups
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	This paper discusses the facilitation of worldwide concurrent design within the domains involved in environmental planning, urban design and civil engineering. Typical projects in these domains require the collaboration of many experts. Each of these has his reference framework for the taskat hand and for the variables used. The amount of variables makes it impossible for each project participant to take account for all possible impacts of proposed or planned actions. The typical project demands for a concurrent design process that enables all participants to concentrate ontheir domain of expertise. On the other hand the design process should enable them to have insight in the problems, within the domains of other experts. The system should provide a generic environment with the ability to attach domain specific knowledge. By providing this support thesystem integrates knowledge specific to various expert domains.In the PortPlan project within the LWI organization a system is being developed that supports the integration of various reference frameworks involved in environmental planning. We no longer need to develop a common language for the users. The system contains a dynamic set of scalebound reference objects for the domains involved. The system facilitates the communication of object characteristics. It also supports the presentation of these objects, in legends for each participant involved.We achieve the communication between participants using a dynamic legend. We also enable all participants to become informed on the interests of other participants. We achieve the technical communication using the exchange of interventions. We do not exchange results. This leads to alow "network traffic load" and thus enables the system to operate within the current Internet infrastructure. In this paper we present the problem area of concurrent design in environmental planning. We present this describing the background of our project, describing the overall architecture of the system and presenting the first findings of user studies.
keywords	Concurrent Design, Interfaces, Legends
series	DDSS
last changed	2003/11/21 15:16

_id	32
authors	Bogado, Sandra Daniela
year	1998
title	La Idea de Realizar Una Base de Datos de la Ciudad de Resistencia (The Idea to Develop a Data Base of the City of Resistencia)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 244-249
summary	The idea of making a Data Base of Resistencia City, came through the evaluation of the potential educational, touristic and commercial value that this sort of information has. The fragmented state of the information and its nonsystematic registration up to now emphasize the real value of this project. The different subjects are grouped in the following headings: Sculpture, Architecture, Places and Cultural Events. They are presented to the user as multimedia data in CD. The information available could be printed.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	4
authors	Bollinger, Elizabeth and Alvarado, Rodrigo Garcia
year	1998
title	Archetypes as Precedent of Virtual Architectures
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 32-35
summary	Archetypes are psychological concepts described by the renowned Swiss psychologist Cari Jung. It is possible identify archetypal forms in eminent buildings of different regions and ages, recognizing archetypes as a multi-cultural liaison for various architectures. These concepts function as basic precedents of spatial design in different geographical and historical contexts. The emerging digital culture is establishing a plethora of virtual environments, through web-pages of the Internet, global TV, multimedia CD, video games and immersive devices. These virtual environments offer electronic activities and tools for architectural practice. In both senses, virtual architectures conforms to the visual and spatial characteristics of technologies. Thus, electronic capabilities establish digital habitats and references to contemporary architecture. Since virtual architectures are immaterial constructions, perceptual properties guide the spatial and formal design. In that sense, archetypes allow a basic vocabulary for the design of virtual architectures, linking them to cultural history and giving them a human orientation.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	2873
authors	Brin, S. and Page, L.
year	1998
title	The Anatomy of a Large-Scale Hypertextual Web Search Engine
source	Computer Science Department, Stanford University, Stanford, CA
summary	In this paper, we present Google, a prototype of a large-scale search engine which makes heavy use of the structure present in hypertext. Google is designed to crawl and index the Web efficiently and produce much more satisfying search results than existing systems. The prototype with a full text and hyperlink database of at least 24 million pages is available at http://google.stanford.edu/ To engineer a search engine is a challenging task. Search engines index tens to hundreds of millions of web pages involving a comparable number of distinct terms. They answer tens of millions of queries every day. Despite the importance of large-scale search engines on the web, very little academic research has been done on them. Furthermore, due to rapid advance in technology and web proliferation, creating a web search engine today is very different from three years ago. This paper provides an in-depth description of our large-scale web search engine -- the first such detailed public description we know of to date. Apart from the problems of scaling traditional search techniques to data of this magnitude, there are new technical challenges involved with using the additional information present in hypertext to produce better search results. This paper addresses this question of how to build a practical large-scale system which can exploit the additional information present in hypertext. Also we look at the problem of how to effectively deal with uncontrolled hypertext collections where anyone can publish anything they want.
series	other
email
last changed	2003/11/21 15:16

_id	ddss9809
id	ddss9809
authors	Brondino, Nair Cristina Margarido and Da Silva, Antônio Nélson Rodrigues
year	1998
title	A comparison of land valuation methods supported by GIS
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	The purpose of this work was to study three different strategies for the appraisal of urban land. The first, a theoretical strategy created by the authors of this study to reproduce the common conditions of Brazilian cities, uses increments and reductions in the value of a square meter of land according to each lot’s individual features. The second method, based on Multiple Regression techniques, is widely used for valuation purposes. Finally, the effectiveness of Artificial Neural Networks to deal with thiskind of problem is studied. A sample of 157 lots was collected from several neighbourhoods of a small Brazilian city for the case study. The lot features recorded were area, width, shape, distance to the downtown district of the city through the street network, existence of fences and paved sidewalks, and market price. Prediction errors have been estimated for each of the three methods in order to compare their results. Predicted and error values, added to Geographical Information Systems, may be used to build thematic maps and to check how each strategy applies to different areas of the city. The analyses of error values conducted in this study showed that Artificial Neural Networks presented the best performance as a land appraisal method for the case studied.
series	DDSS
email
last changed	2003/11/21 15:16

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