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

_id	6433
authors	Agranovich-Ponomarieva, E. and Litvinova, A.
year	1998
title	The "Real Space - Cyberspace" Paradigm
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 141-145
summary	In a chain of "real - perceived - imagined space" the computer reduces to a uniform model of only real and imagined space. It cannot undertake man's function or it cannot build the perception model. However, perception assumes physiological perception, psychological estimation and understanding, and emotional ho-experience. For a person the seizing of space during perception is constructing temporary spatial images and their development. The communicative relations of the person with environment are established during revealing internal and external structural communications and the interior represents the message, unwrapped in space and perceived in time. The real space is formed under influence of the sum of conceptual restrictions. The character of these restrictions depends on a super idea, a type of an initial situation, character of installations and on social-cultural stereotypes of the author. Without this stage transition to real architectural object is impossible. Result of activity of an architect at this stage becomes creation hypothetical cyberspace, with its own peculiarities and laws.
series	plCAD
last changed	1999/04/08 17:16

_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	21
authors	Barroso, Jorge
year	1998
title	Reflexiones Sobre la EnseÒanza de la Arquitectura, la Informatica e Internet (Reflections on the Teaching of the Architecture, Computing and the Internet)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 174-179
summary	This paper proposes a reflection upon the teaching of architecture as seen from the actual practice of the profession within the context of the changes caused by the widespread use of computers and Internet in recent years. This proposal designates the present time as "semic revolution", superseding denominations like post industrial" or information revolution", emphasizing that the "mental prosthesis" created by man represents the highest degree of exploitation of his innerness as a "semic subject". A brief epistemological framework serves to lay the foundation for the concepts of imagination, creation, and design, differentiating the creator by his characteristic of requiring or not, semic mediation in order to reach his goals. The dominant use of new instruments which serve to represent and operate the "primary virtual object" giving priority to the comprehension and function of the new tool over the acquisition of information and ability to use it, is proposed when carried over to the field of application. The integration of internal networks through email strives not only to facilitate document transmission, exercises, group work, etc. but to understand the new dimension in the intellectual activities of man.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	a114
authors	Faucher, Didier and Nivet, Marie-Laure
year	1998
title	Playing with Design Intent: Integration of Physical and Urban Constraints in CAD
doi	https://doi.org/10.52842/conf.acadia.1998.118
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. 118-137
summary	Our work deals with the exploration of a universe of forms that satisfy some design intents. That is, we substitute a “generate and test” approach for a declarative approach in which an object is created from its properties. In this paper we present an original method that takes into account design intents relative to sunlight, visibility and urban regulation. First of all we study how current CAD tools have considered these properties until now. Our conclusion is that the classical design / simulation / analysis process does not suit design practices, especially in the early stages. We think that an improved CAD system should offer the architect the option of manipulating abstract information such as design intents. We define an intent as a conceptual expression of constraints having an influence on the project. For instance, a visual intent will be stated with no reference to vision geometry: “ from this place, I want to see the front of the new building”. We show how to represent each of these constraints with a 3D volume associated to some characteristics. If some solutions exist, we are sure that they are included in these volumes. For physical phenomena we compute the volume geometry using the principles of inverse simulation. In the case of urban regulation we apply deduction rules. Design intents are solved by means of geometrical entities that represent openings or obstructions in the project. Computing constraint volumes is a way of guiding the architect in his exploration of solutions. Constraint volumes are new spaces that can restore the link between form and phenomenon in a CAD tool. Our approach offers the designer the possibility of manipulating design intents.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	ga9811
id	ga9811
authors	Feuerstein, Penny L.
year	1998
title	Collage, Technology, and Creative Process
source	International Conference on Generative Art
summary	Since the turn of the twentieth century artists have been using collage to suggest new realities and changing concepts of time. Appropriation and simulation can be found in the earliest recycled scraps in Cubist collages. Picasso and Braque liberated the art world with cubism, which integrated all planes and surfaces of the artists' subjects and combined them into a new, radical form. The computer is a natural extension of their work on collage. The identifying characteristics of the computer are integration, simultaneity and evolution which are inherent in collage. Further, the computer is about "converting information". There is something very facinating about scanning an object into the computer, creating a texture brush and drawing with the object's texture. It is as if the computer not only integrates information but different levels of awareness as well. In the act of converting the object from atoms to bits the object is portrayed at the same conscious level as the spiritual act of drawing. The speed and malleability of transforming an image on the computer can be compared to the speed and malleability of thought processes of the mind. David Salle said, "one of the impulses in new art is the desire to be a mutant, whether it involves artificial intelligence, gender or robotic parts. It is about the desire to get outside the self and the desire to trandscend one's place." I use the computer to transcend, to work in different levels of awareness at the same time - the spiritual and the physical. In the creative process of working with computer, many new images are generated from previous ones. An image can be processed in unlimited ways without degradation of information. There is no concept of original and copy. The computer alters the image and changes it back to its original in seconds. Each image is not a fixed object in time, but the result of dynamic aspects which are acquired from previous works and each new moment. In this way, using the computer to assist the mind in the creative processes of making art mirrors the changing concepts of time, space, and reality that have evolved as the twentieth century has progressed. Nineteenth-century concepts of the monolithic truth have been replaced with dualism and pluralism. In other words, the objective world independent of the observer, that assumes the mind is separate from the body, has been replaced with the mind and body as inseparable, connected to the objective world through our perception and awareness. Marshall Mcluhan said, "All media as extensions of ourselves serve to provide new transforming vision and awareness." The computer can bring such complexities and at the same time be very calming because it can be ultrafocused, promoting a higher level of awareness where life can be experienced more vividly. Nicholas Negroponte pointed out that "we are passing into a post information age, often having an audience of just one." By using the computer to juxtapose disparate elements, I create an impossible coherence, a hodgepodge of imagery not wholly illusory. Interestingly, what separates the elements also joins them. Clement Greenberg states that "the collage medium has played a pivotal role in twentieth century painting and sculpture"(1) Perspective, developed by the renaissance archetect Alberti, echoed the optically perceived world as reality was replaced with Cubism. Cubism brought about the destruction of the illusionist means and effects that had characterized Western painting since the fifteenth century.(2) Clement Greenberg describes the way in which physical and spiritual realities are combined in cubist collages. "By pasting a piece of newspaper lettering to the canvas one called attention to the physical reality of the work of art and made that reality the same as the art."(3) Before I discuss some of the concepts that relate collage to working with computer, I would like to define some of the theories behind them. The French word collage means pasting, or gluing. Today the concept may include all forms of composite art and processes of photomontage and assemblage. In the Foreword on Katherine Hoffman's book on Collage Kim Levin writes: "This technique - which takes bits and pieces out of context to patch them into new contexts keeps changeng, adapting to various styles and concerns. And it's perfectly apt that interpretations of collage have varied according to the intellectual inquiries of the time. From our vantage point near the end of the century we can now begin to see that collage has all along carried postmodern genes."(4) Computer, on the other hand is not another medium. It is a visual tool that may be used in the creative process. Patrick D. Prince's views are," Computer art is not concrete. There is no artifact in digital art. The images exist in the computer's memory and can be viewed on a monitor: they are pure visual information."(5) In this way it relates more to conceptual art such as performance art. Timothy Binkley explains that,"I believe we will find the concept of the computer as a medium to be more misleading than useful. Computer art will be better understood and more readily accepted by a skeptical artworld if we acknowledge how different it is from traditional tools. The computer is an extension of the mind, not of the hand or eye,and ,unlike cinema or photography, it does not simply add a new medium to the artist's repertoire, based on a new technology.(6) Conceptual art marked a watershed between the progress of modern art and the pluralism of postmodernism(7) " Once the art is comes out of the computer, it can take a variety of forms or be used with many different media. The artist does not have to write his/her own program to be creative with the computer. The work may have the thumbprint of a specific program, but the creative possibilities are up to the artist. Computer artist John Pearson feels that,"One cannot overlook the fact that no matter how technically interesting the artwork is it has to withstand analysis. Only the creative imagination of the artist, cultivated from a solid conceptual base and tempered by a sophisticsated visual sensitivity, can develop and resolve the problems of art."(8) The artist has to be even more focused and selective by using the computer in the creative process because of the multitude of options it creates and its generative qualities.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	f448
authors	Hermann, M., Kohler, N., Koenig, H. and Luetzkendorf, T.
year	1998
title	CAAD System with Integrated Quantity Surveying, Energy Calculation, and LCA
source	Proceedings: Green Building Challenge 98, Vancouver, Canada. Vol. 2, 68 - 75
summary	In the framework of the German LEGOE project, an integrated tool is developed for computer aided architectural design (CAAD), quantity surveying (catalogue of building elements), life cycle cost calculation and estimation (construction and refurbishment), direct energy consumption (heating, hot-water, electri-city) and environmental impact assessment (mass flows and effect oriented evaluation). During the design process the architect works in his usual CAAD environment with building elements (e.g. one m2 of outer wall) which in turn are composed of detailed construction specifications, energy and mass flow coefficients and cost data. These elements are part of an independent catalogue of elements with all their relevant data. The different application programs use the same basic data and write the specific results into a project-specific database called a PDB which allows the comparison of these data to reference data from other projects. Evaluation and visualisation programs refer to the PDB only.
series	other
last changed	2003/04/23 15:50

_id	50a1
authors	Hoffman, Donald
year	1998
title	Visual Intelligence
source	Norton Publishing, New York
summary	After his stroke, Mr. P still had outstanding memory and intelligence. He could still read and talk, and mixed well with the other patients on his ward. His vision was in most respects normal---with one notable exception: He couldn't recognize the faces of people or animals. As he put it himself, "I can see the eyes, nose, and mouth quite clearly, but they just don't add up. They all seem chalked in, like on a blackboard ... I have to tell by the clothes or by the voice whether it is a man or a woman ...The hair may help a lot, or if there is a mustache ... ." Even his own face, seen in a mirror, looked to him strange and unfamiliar. Mr. P had lost a critical aspect of his visual intelligence. We have long known about IQ and rational intelligence. And, due in part to recent advances in neuroscience and psychology, we have begun to appreciate the importance of emotional intelligence. But we are largely ignorant that there is even such a thing as visual intelligence---that is, until it is severely impaired, as in the case of Mr. P, by a stroke or other insult to visual cortex. The culprit in our ignorance is visual intelligence itself. Vision is normally so swift and sure, so dependable and informative, and apparently so effortless that we naturally assume that it is, indeed, effortless. But the swift ease of vision, like the graceful ease of an Olympic ice skater, is deceptive. Behind the graceful ease of the skater are years of rigorous training, and behind the swift ease of vision is an intelligence so great that it occupies nearly half of the brain's cortex. Our visual intelligence richly interacts with, and in many cases precedes and drives, our rational and emotional intelligence. To understand visual intelligence is to understand, in large part, who we are. It is also to understand much about our highly visual culture in which, as the saying goes, image is everything. Consider, for instance, our entertainment. Visual effects lure us into theaters, and propel films like Star Wars and Jurassic Park to record sales. Music videos usher us before surreal visual worlds, and spawn TV stations like MTV and VH-1. Video games swallow kids (and adults) for hours on end, and swell the bottom lines of companies like Sega and Nintendo. Virtual reality, popularized in movies like Disclosure and Lawnmower Man, can immerse us in visual worlds of unprecedented realism, and promises to transform not only entertainment but also architecture, education, manufacturing, and medicine. As a culture we vote with our time and wallets and, in the case of entertainment, our vote is clear. Just as we enjoy rich literature that stimulates our rational intelligence, or a moving story that engages our emotional intelligence, so we also seek out and enjoy new media that challenge our visual intelligence. Or consider marketing and advertisement, which daily manipulate our buying habits with sophisticated images. Corporations spend millions each year on billboards, packaging, magazine ads, and television commercials. Their images can so powerfully influence our behavior that they sometimes generate controversy---witness the uproar over Joe Camel. If you're out to sell something, understanding visual intelligence is, without question, critical to the design of effective visual marketing. And if you're out to buy something, understanding visual intelligence can help clue you in to what is being done to you as a consumer, and how it's being done. This book is a highly illustrated and accessible introduction to visual intelligence, informed by the latest breakthroughs in vision research. Perhaps the most surprising insight that has emerged from vision research is this: Vision is not merely a matter of passive perception, it is an intelligent process of active construction. What you see is, invariably, what your visual intelligence constructs. Just as scientists intelligently construct useful theories based on experimental evidence, so vision intelligently constructs useful visual worlds based on images at the eyes. The main difference is that the constructions of scientists are done consciously, but those of vision are done, for the most part, unconsciously.
series	other
last changed	2003/04/23 15:14

_id	ca7b
authors	Howes, Jaki
year	1999
title	IT or not IT? An Examination of IT Use in an Experimental Multi-disciplinary Teamwork Situation
doi	https://doi.org/10.52842/conf.ecaade.1999.370
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 370-373
summary	Leeds Metropolitan University is well placed to carry out research into multi-disciplinary team-working, as all the design and construction disciplines are housed in one faculty. Staff have set up an experimental project, TIME IT (Team-working in Multi-disciplinary Environments using IT) which examines ways of working in the design/construction process and how IT is used when there is no commercial pressure. Four groups of four students, one graduate diploma architect, and one final year student from each of Civil Engineering, Construction Management and Quantity Surveying have been working on feasibility studies for projects that are based on completed schemes or have been devised by collaborators in the Construction Industry. Students have been asked to produce a PowerPoint presentation, in up to five working days, of a design scheme, with costs, structural analysis and construction programme. The students are not assessed on the quality of the product, but on their own ability to monitor the process and use of IT. Despite this, aggressive competition evolved between the teams to produce the 'best' design. Five projects were run in the 1998/99 session. A dedicated IT suite has been provided; each group of students had exclusive use of a machine. They were not told how to approach the projects nor when to use the available technology, but were asked to keep the use of paper to a minimum and to keep all their work on the server, so that it could be monitored externally. Not so. They plotted the AO drawings of an existing building that had been provided on the server. They like paper - they can scribble on it, fold it, tear it and throw it at one another.
keywords	IT, Multi-disciplinary, Teamwork
series	eCAADe
email
last changed	2022/06/07 07:50

_id	0483
authors	Porada, Mikhael
year	1998
title	Information Technology and Architectural Space
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 147-153
summary	Information Technology, IT, has already submerged all human activities. The last three decades architectural design has been in the continuous whirlpool of technological innovation. Philosophers and researchers have wrote about the influence of IT on our everyday space perception. Architectural space, mainly changed on a social, technical, and phenomenological levels. It is great time to take a halt, and have an architect's look on how far all these information megabytes, megahertz, giga systems, world web, etc. have influenced architectural design and space production.
series	plCAD
last changed	1999/04/08 17:16

_id	650c
authors	Porada, S.
year	1998
title	Ouvoir - Of the Potential Architecture
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 155-161
summary	Calculations are used to forecast urban flows of population, development of various activities, demography, and many other architectural programme constrains, and have been spontaneously the first field of computer intervention in urban and architectural project design. By analogy to engineering where computation is the base of decision making, architectural design process is seen as a problem solving process. <> constrains computer aided computation is seen as Computer Aided Architectural Design, CAAD. This way, a technological utopia called CAD in architecture is born. Nevertheless, the review of architectural design methods has clearly shown that programmatic models, since they are only used to evaluate spatial hypothesis, and do not have in themselves space production potentialities. In spite of the powerful methodological movement of the sixties, that have established this design constellation, the misunderstanding persists until now. Architect is a gestural and visual being. By using simultaneously metaphor, gesture and calculation, he calls for all his experiences and sensibility to realise plastic and poetic synthesis of form. To remedy to the major problem of the form synthesis, graphical instruments have been proposed. Why not utilise tools used in the field of engineering as computer aided drafting ? And so, computer aided drafting triumphaly entered the architectural design process. But, computer aided drafting is commonly seen as an instrument used on the - projection - stage, where drawings are produced for an already designed object. A new myth that assimilate architectural design to the drawing production activity arrives with the <>, containing thousands of drawings. All this aimed to facilitate, as it is proclaimed, communication between all the intervening in the project.
series	plCAD
last changed	1999/04/08 17:16

_id	e679
authors	Seichter, H., Donath, D. and Petzold, F.
year	2002
title	TAP – The Architectural Playground - C++ framework for scalable distributed collaborative architectural virtual environments
doi	https://doi.org/10.52842/conf.ecaade.2002.422
source	Connecting the Real and the Virtual - design e-ducation [20th eCAADe Conference Proceedings / ISBN 0-9541183-0-8] Warsaw (Poland) 18-20 September 2002, pp. 422-426
summary	Architecture is built information (Schmitt, 1999). Architects have the task of restructuring and translating information into buildable designs. The beginning of the design process where the briefing is transformed into an idea is a crucial phase in the design process. It is where the architect makes decisions which influence the rest of the design development process (Vries et al., 1998). It is at this stage where most information is unstructured but has to be integrated into a broad context. This is where TAP is positioned – to support the architect in finding solutions through the creation of spatially structured information sets without impairing thereby the creative development. We want to enrich the inspiration of an architect with a new kind of information design. A further aspect is workflow in a distributed process where the architect’s work becomes one aspect of a decentralised working patterns. The software supports collaborative work with models, sketches and text messages within an uniform surface. The representations of the various media are connected and combined with each other and the user is free to combine them according to his or her needs.
series	eCAADe
email
last changed	2022/06/07 07:59

_id	ae1b
authors	Zarnowiecka, Jadwiga C.
year	1998
title	Chaos, Databases and Fractal Dimension of Regional Architecture
doi	https://doi.org/10.52842/conf.ecaade.1998.267
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 267-270
summary	Modern research on chaos started in the 60's from an incredible finding that simple mathematical equations can model systems as complicated as waterfalls. In the 70's some scientists in the USA and in Europe started to find their way through the chaos. They were dealing with different spheres of science: mathematics, physics, biology, chemistry, physiology, ecology, economy. In the next 10 years? time the term 'chaos' has become generally known in science. Scientists gather in research groups according to their interests as to chaos and secondly according to their scientific specialities. (Gleick 1996) Objects that described chaos were irregular in shape, ripped. In 1975 Benoit Mandelbrot called them fractals. Fractal dimension that described fractal objects was also his invention. Fractal dimension is a way to measure quality: the degree of harshness, uneveness, irregularity of a given object. Carl Bovill (1996) showed how one can use fractal geometry in architecture and designing. This very fact made me try to use fractal geometry to deal with regional architecture. What or who is the degree of regionality of a given object to be for? A specially qualified person is able to state it nearly automatically. However, regionality is in some sense an unmeasurable feature. While dealing with data basis or checking particular projects, creation of procedures of automatic acquiring information concerning regionality is becoming a necessity.
series	eCAADe
email
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/20zarnowiecka/index.htm
last changed	2022/06/07 07:57

_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	487c
authors	Blazquez, Oscar and Hardin, Mary
year	1998
title	Balancing Computer Use and Design Content in Studio Projects
doi	https://doi.org/10.52842/conf.acadia.1998.036
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
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	bb72
authors	Bourdot, P., Krus, M., Gherbi, R.
year	1998
title	Cooperation Between Reactive 3D Objects and a Multimodal X Window Kernel for CAD
source	Bunt, H., Beun, R.J., Borghuis, T. (Eds.). Multimodal Human-Computer Communication : Systems, Techniques, and Experiments. Berlin : Springer
summary	From the early steps of sketching to final engineering, a frequent and very important activity in designing objects is to perform graphical and spatial simulations to solve the constraints on the objects which are being designed. But when we analyse work situations involving the use of CAD systems, it is today an acknowledged fact that these tools are not helpful to perform these types of simulations. While knowledge modeling based on form feature concepts already offers some possibilities for attaching behaviour to objects, the simulation activity requires in addition a `real time' and `intelligent' management of the interactions between the 3D virtual objects and the CAD user. Our general purpose is to study how future CAD systems could be improved to achieve the simulation steps of object design. In this context we present some issues concerning the cooperation between a model of reactive 3D objects and a multimodal X Window kernel. We have developed a prototype of a system where objects with reactive behaviour can be built, and with which the user can interact with a combination of graphical actions and vocal commands. This prototype is used to evaluate the feasability and the usefulness of the integration of such techniques in futur applications that would be used by object designers in a real working context. We describe the current state of this system and the planned improvements.
series	other
last changed	2003/11/21 15:16

_id	10
authors	Bund, Elizabeth and Barros, Diana Rodriguez
year	1998
title	Imagen Digital: Proceso Proyectual Confluyente (Digital Image: Confluyent Design Process)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 84-93
summary	The introduction of new technologies in architectural projects causes, in first place, their adaptation as an operative and instrumental resource, without considering the deep changes that their use generates. The digital image, understood as a reference of this process, is spreading and conquering new fields on ideation, representation and communication. The absence of theoretical support, that would offered another point of view is evident, so consequently we believe that is necessary to consider approaches qualitatively new, from epistemologic, methodologic, perceptive and aesthetic fields, in order to transfer them into professional an teaching practice. Today, the annulment of universal validity rules, and the different and contradictory interpretations, oblige to center our view in the interrelationships and,connections, rather than in the definition of each entity. This work develops synthetically a study which confronts and compares traditional project process - composition and heuristic design supported by linear proceeding and analogic media, with confluent project process, based on digital data and hypermedia links, generated simultaneously. The variants of the topics analyzed are at the same time the project itself, the underlying thinking model, and the project communication strategies.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	caadria2003_a1-2
id	caadria2003_a1-2
authors	Bunyavipakul, Monchai and Charoensilp, Ekasidh
year	2003
title	Designing the Virtual Design Studio System for Collaborative Work on Pda Collaborative Works Anytime, Anywhere
doi	https://doi.org/10.52842/conf.caadria.2003.043
source	CAADRIA 2003 [Proceedings of the 8th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 974-9584-13-9] Bangkok Thailand 18-20 October 2003, pp. 43-54
summary	This research presents the collaboration in the VDS system through a microcomputer technology- a PDA (Personal Digital Assistants). Architect can collaborate anytime anyplace via VDS, a substitution to an old system that requires a specific location to work on. This research has studied and analyzed the format and the limitation of collaboration between PDA and Personal Computer, the wireless communication technology, and the Web Service technology, which enable different devices to share information through the Internet Network. The work process and the studied information have been used to develop a Web Application, a collaboration tool for a team of architect and designer. This Web Application has been tested in a renovation project, a clubhouse for a scuba diving place The objective of this research is to become a guideline of collaboration in architectural design work through Smart Object in order to serve the coming Ubiquitous era (Weiser, 1998)
series	CAADRIA
email
last changed	2022/06/07 07:54

_id	2a12
authors	Burry, Mark and More, Gregory
year	1998
title	Representation, Realism and Computer Generated Architectural Animation
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 241-249
summary	This paper documents a simple architectural form which, but for computer generated animation, has no ready alternative explanatory process for its complex generation. The subject is a column in the nave of the Sagrada Familia Church in Barcelona conceived by Gaudí at the beginning of this century without the contemporary opportunities for animated design exploration. The column is based on a set of counter-rotating mutually interfering profiles. As the column gains height, the profiles increase in interference with each other resulting in an increasingly fluted cross section, a tendency towards the Doric Order. For most, however, there is no easy access to a plausible explanation of the inherent rationale for the column. Animating the generation of the column reveals a unique and concealed sublimation of natural patterns of growth. Animation aids an understanding of the effect of the fourth dimension on design itself by releasing a meaning of time from an otherwise inanimate object. Here animation is used to decipher one aspect of the mystery of Gaudí's design while strengthening another: the source and conceptual power of Gaudí to anticipate this phenomenon. Rather than trivialising this design mystery, the explanatory role of the animation enriches comprehension of the formal concept of mutation through displacement or an evolutionary design paradigm. The paper discuss the implications of this ability to show transition, translation and dislocation without delving too deeply into how the animation was made, nor indeed the subject which, after all, requires animation to fully represent its less tangible qualities.
series	plCAD
email
last changed	2003/05/17 10:01

_id	c11a
authors	Campbell, D.A.
year	1998
title	VRML In Architectural Construction Documents: A Case Study
source	VRML 98 Monterey - Proceedings of the 1998 VRML Conference, pp. 115-120
summary	The Virtual Reality Modeling Language (VRML) and the World Wide Web (WWW) offer new opportunities to communicate an architect's design intent throughout the design process. We have investigated the use of VRML in the production and communication of construction documents, the final phase of architectural building design. A prototype, experimental Web site was set up and used to disseminate design data as VRML models and HTML text to the design client, contractor, and fabricators. In this paper, we discuss the way our construction documents were developed in VRML, the issues we faced implementing it, and critical feedback from the users of the Web space/site. Finally, we suggest ways to enhance the VRML specification which would enable its widespread use as a communication tool in the design and construction industries. CR Categories and Subject Descriptors: 1.3.5 [Computer Graphics]: Computational Geometry and Object Modeling - Curve, surface, solid, and object representations; 1.3.7 [Computer Graphics]: Three-Dimensional Graphics and Realism - Virtual Reality; J-6. [Computer Applications]: Computer-aided Engineering - Computer-aided design (CAD), Computer-aided manufacturing (CAM). Additional Keywords: architecture, construction, AEC, design, construction documentation, specifications, Internet, extranet, World Wide Web, VRML, virtual worlds, virtual environments
series	other
email
last changed	2003/04/23 15:50

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