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	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	86d6
authors	Roberts, Andrew and Forster, Wayne
year	1998
title	From CAAD Lab to Studio: Integration of CAAD with Studio in a ‘Linear’ Based Scheme of Study
doi	https://doi.org/10.52842/conf.ecaade.1998.131
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 131-138
summary	This paper traces the relationship of CAAD with creative studio work within a ‘year based’ school of architecture where the curriculum is founded on a series of ‘Core Projects’. These ‘Core Projects’ are structured so that undergraduates undertake a structured study of the essentials of architecture in an orderly progression. Within this pattern CAAD is not a stand-alone subject or module and as students do not work in units, it is difficult to run specialist CAAD options. The subject is regarded as another skill in communication and tuition in CAAD is provided as part of the acquisition of central architectural skills. CAAD, therefore is regarded as one of the components of skills and knowledge needed to support and the ‘Core Projects’ which account for about 70% of the course assessment. The paper will analyse the evolution of CAAD education within this kind of course in Architecture, reflecting on some of the tensions that have arisen through this and use student work to illustrate some of the lessons learnt over this period
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:56

_id	e78b
authors	Akin, O. and Akin, C.
year	1998
title	On the process of creativity in puzzles, inventions, and designs
source	Automation in Construction 7 (2-3) (1998) pp. 123-138
summary	The most common means of identifying creativity has been through its products. In architecture, music, writing, art, even puzzle solving and scientific discovery, the prerequisite for considering creativity has been the presence of a creative product. Alternatively, anecdotal descriptions have been used to identify processes that are considered creative. Many scientific discoveries have been linked to a sudden realization or unexplainable revelation punctuated with the AHA! response. Outside of the creative product itself and the AHA! response, the kinds of concrete evidence that point to the process of creativity are precious few. Our purpose here is to further examine these phenomena and develop hypotheses about the nature of the creative process. Our ultimate aim is to develop a general theory of creativity. We intend to base this theory on a set of conditions that are necessary for the creative process to take place in a number of domains: puzzles, scientific discoveries, and design, with special emphasis on architectural design.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	e513
authors	Chaikin, George
year	1998
title	The Computer and the Studio
doi	https://doi.org/10.52842/conf.ecaade.1998.051
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 51-54
summary	The studio is the primary place of architectural education - the place where the warp of representation and the weft of technique are woven together. Architecture is taught as a domain of ideas, ideas about how and why buildings are built, about the dialectic between concept and materiality. To the architectural student, the drawing is the exemplar of the quality of work he or she will expect in the final construction process. As such, it is very important that the student appreciate the "materiality" of the work to be realized, and this is best done through the education of the whole person, of the entire cognitive mechanism, which most certainly includes the hands. We feel strongly that the student must engage in the creative process in a profoundly physical way, must learn the art and joy of making things, and only then can she or he appreciate the representational abstraction offered by the computer.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:55

_id	caadria2007_659
id	caadria2007_659
authors	Chen, Zi-Ru
year	2007
title	The Combination of Design Media and Design Creativity _ Conventional and Digital Media
doi	https://doi.org/10.52842/conf.caadria.2007.x.w5x
source	CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
summary	Creativity is always interested in many fields, in particular, creativity and design creativity have many interpretations (Boden, 1991; Gero and Maher, 1992, 1993; Kim, 1990; Sternberg, 1988; Weisberg, 1986). In early conceptual design process, designers used large number of sketches and drawings (Purcell and Gero, 1998). The sketch can inspire the designer to increase the creativity of the designer’s creations(Schenk, 1991; Goldschmidt, 1994; Suwa and Tversky, 1997). The freehand sketches by conventional media have been believed to play important roles in processes of the creative design thinking(Goldschmidt, 1991; Schon and Wiggins, 1992; Goel, 1995; Suwa et al., 2000; Verstijnen et al., 1998; Elsas van and Vergeest, 1998). Recently, there are many researches on inspiration of the design creativity by digital media(Liu, 2001; Sasada, 1999). The digital media have been used to apply the creative activities and that caused the occurrenssce of unexpected discovery in early design processes(Gero and Maher, 1993; Mitchell, 1993; Schmitt, 1994; Gero, 1996, 2000; Coyne and Subrahmanian, 1993; Boden, 1998; Huang, 2001; Chen, 2001; Manolya et al. 1998; Verstijinen et al., 1998; Lynn, 2001). In addition, there are many applications by combination of conventional and digital media in the sketches conceptual process. However, previous works only discussed that the individual media were related to the design creativity. The cognitive research about the application of conceptual sketches design by integrating both conventional and digital media simultaneously is absent.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	4d6f
authors	Chodorowski, Franciszek
year	1998
title	From Inversive Perspective to Virtual Space
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 43-52
summary	Looking back at history, considering the proportions taken up by the particular developments of the future vision of an architectural work, one observes that the main method used was based on a form of drawing in the perpendicular projection in the form of "planes", cross sections and elevations. However, the research considering the threedimensional approach of the design solution, took into consideration a model made of wood, plaster or paper. The supplementary works in the form of an axonometric or a perspective drawing were not usually the domain of architects. Such way of presenting space was used by artists: painters and sculptors. The rapid development taking place in the use of computers in preparing architectural design documentation makes one reflect on many issues. Modern software, apart from making it possible to develop projections, cross sections and elevations, allows the presentation of a three dimensional vision of an architectural solution on the basis of axonometry, perspective and a study of virtual space. Despite the obvious progress facilitating the graphic editing process of design work, the initial design phase is an unchanged process, similar to past times ' It is based on transferring the creative invention onto paper by means of handmade sketches, similarly to making an inventory measurement note.
series	plCAD
last changed	1999/04/08 17:16

_id	04c9
authors	Crandall, N.F. and Wallace , M.J. (ed.)
year	1998
title	Work & Rewards in The Virtual Workplace
source	Amacom
summary	By now, telecommuting is a well-defined word in the corporate U.S. But how about frontline workplace? Or cyberlink workplace? Consultants Crandall and Wallace make convincing arguments about the efficacies of virtual work, and they outline detailed processes and qualifications for any organization contemplating such a move. In a very logical, almost scholarly, fashion, they define terms, explain implementation, demolish perceived and real obstacles, and prove their points via a few case histories. Yet this is not a cut-and-dried book, for the excitement of dramatic changes to our collective workplaces is captured in the descriptions. Chiat/Day assigns its employees a cell phone and a laptop, period. And at Ross Operating Valve, customers actually lead the creative design process. Job satisfaction? You bet. And a much more productive group of employees. Most important for companies interested in these virtual ideas will be the economics chapter, describing in black and white (and sometimes red) the costs involved.
series	other
last changed	2003/04/23 15:14

_id	c3e0
authors	Dorsey, J. and McMillan, L.
year	1998
title	Computer Graphics and Architecture: State of the Art and Outlook for the Future
source	Computer Graphics, Vol 32, No 1, Feb 1998. pp. 45-48
summary	During the three decades since Ivan Sutherland introduced the Sketchpad system, there has been an outpouring of computer graphics systems for use in architecture. In response to this development, most of the major architectural firms around the world have embraced the idea that computer literacy is mandatory for success. We would argue, however, that most of these recent developments have failed to tap the potential of the computer as a design tool. Instead, computers have been relegated largely to the status of drafting instruments, so that the "D" in CAD stands for drafting rather than design. It is important that future architectural design systems consider design as a continuous process rather than an eventual outcome.The advent of computer graphics technology has had an impact on the architectural profession. Computer graphics has revolutionized the drafting process, enabling the rapid entry and modification of designs. In addition, modeling and rendering systems have proven to be invaluable aids in the visualization process, allowing designers to walk through their designs with photorealistic imagery. Computer graphics systems have also demonstrated utility for capturing engineering information, greatly simplifying the analysis and construction of proposed designs. However, it is important to consider that all of these tasks occur near the conclusion of a larger design process. In fact, most of the artistic and intellectual challenges of an architectural design have already been resolved by the time the designer sits down in front of a computer. In seeking insight into the design process, it is generally of little use to revisit the various computer archives and backups. Instead, it is best to explore the reams of sketches and crude balsa models that fill the trash cans of any architectural studio.In architecture, as in most other fields, the initial success of computerization has been in areas where it frees humans from tedious and mundane tasks. This includes the redrawing of floor plans after minor modifications, the generation of largely redundant, yet subtly different engineering drawings and the generation of perspective renderings.We believe that there is a largely untapped potential for computer graphics as a tool in the earlier phases of the design process. In this essay, we argue that computer graphics might play a larger role via applications that aid and amplify the creative process.
series	journal paper
last changed	2003/04/23 15:50

_id	e72f
authors	Dorta, Tomás and LaLande, Philippe
year	1998
title	The Impact of Virtual Reality on the Design Process
doi	https://doi.org/10.52842/conf.acadia.1998.138
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. 138-163
summary	Sketching, either hand or computer generated, along with other traditional visualization tools such as perspective drawing have difficulty in correctly representing three dimensional objects. Even physical models, in architecture, suffer in this regard because of inevitable scaling. The designer finds himself cut off from the reality of the object and is prone to misinterpretations of the object and its surrounding space and to resulting design errors. These are sometimes not perceived until too late, once the object has been constructed. Traditional tools use 2D media to represent 3D objects and only manage to introduce the third dimension in a limited manner (perspectives, not only tedious to construct, are static). This scenario affects the design process, particularly the cycle of proposal, verification and correction of design hypotheses as well as the cognitive aspects that condition the designer’s visualization of the designed object. In most cases, computer graphics mimic, through its interface, the traditional way of doing things. The architectural model is parametricized with little regard for visualization. No allowance is made for the change in the medium of graphic representation. Moreover, effort is not made to capitalize on the advantages of numerical calculation to propose new interfaces and new dimensions in object visualization. Virtual Reality (VR), seen not only as technology but as experience, brings the 3D object, abstractly viewed by traditional means, into clearer focus and provides us with these new dimensions. Errors due to abstracted representation are reduced since the interface is always three dimensional and the interactions intuitively made in real time thus allowing the designer to experience the presence of the designed object very quickly. At the École de design industriel of the Faculté d’aménagement, we have run tests using non-immersive VR–one passive (comprehension) and another active (design). This project, involving a group of 72 students during a period of six weeks (6h/week), aimed at analyzing the impact of VR as a visualization tool on the design process versus traditional tools. The results, described in this presentation, shed light on the effect of VR on the creative process as such, as well as on the quality of the results produced by that process.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	8ad1
authors	Elsas, P.A. and Vergeest, J.S.M.
year	1998
title	New functionality for computer-aided conceptual design: the displacement feature
source	Design Studies 19 (1), pp. 81-102
summary	Conceptual design using conventional 3D CAD systems is a controversial issue among industrial designers. Although one can produce complex, accurate, finished 3D models using these CAD systems, it is still difficult to use them during early, creative product design. In this paper, a method is described that allows the design of protrusions and depressions in sculptured surfaces in a flexible and interactive manner. Through interviews with industrial designers, the basic requirements for support of such functionality during conceptual design have been formulated. An implemented method based upon these requirements has been extensively evaluated by industrial designers, and these evaluations show that industrial designers find this functionality extremely useful during conceptual shape design.
series	journal paper
last changed	2003/04/23 15:50

_id	4942
authors	Gardner, Brian M.
year	1998
title	The Grid Sketcher: An AutoCAD Based Tool for Conceptual Design Processes
doi	https://doi.org/10.52842/conf.acadia.1998.222
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. 222-237
summary	Sketching with pencil and paper is reminiscent of the varied, rich, and loosely defined formal processes associated with conceptual design. Architects actively engage such creative paradigms in their exploration and development of conceptual design solutions. The Grid Sketcher, as a conceptual sketching tool, presents one possible computer implementation for enhancing and supporting these processes. It effectively demonstrates the facility with which current technology and the computing environment can enhance and simulate sketching intents and expectations. One pervasive and troubling undercurrent, however, is the conceptual barrier between the variable processes of human thought and those indigenous to computing. Typically with respect to design, the position taken is that the two are virtually void of any fundamental commonality. A designer’s thoughts are intuitive, at times irrational, and rarely follow consistently identifiable patterns. Conversely, computing requires predictability in just these endeavors. Computing is strictly an algorithmic process while thought is not always so predictable. Given these dichotomous relationships, the computing environment, as commonly defined, cannot reasonably expect to mimic the typically human domain of creative design. In this context, this thesis accentuates the computer’s role as a form generator as opposed to a form evaluator. The computer, under the influence of certain contextual parameters can, however, provide the designer with a rich and elegant set of forms that respond through algorithmics to the designer’s creative intents. The software presented in this thesis is written in AutoLISP and exploits AutoCAD’s capacious 3D environment. Designs and productions respond to a bounded framework where user selected parametric variables of size, scale, proportion, and proximity, all which reflect contextual issues, determine the characteristics of a unit form. Designer selected growth algorithms then arbitrate the spatial relationships between the unit forms and their propagation through the developing design. While the Sketcher implements only the GRID as an organizational discipline, many other paradigms are possible. Within this grid structure a robust set of editing features, supported by the computer’s inherent speed, allows the designer to analyze successive productions while refining ever more complex solutions. Through creative manipulation of these algorithmic structures ideas eventually coalesce to formalize images that represent a given design problem’s solution set.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	ga9814
id	ga9814
authors	Gatarski, Richard
year	1998
title	Evolutionary Banners, exploring a generative design approach
source	International Conference on Generative Art
summary	This working paper reports pre-mature findings from an ongoing research project that uses Genetic Algorithms (GAs) to automate the design of objects in the World Wide Web (WWW). Digital communications technology has on the business side been conceptualized as electronic commerce (E-commerce). Digitization implies a new cost structure for message design, test and implementation. One important problem regards the use and effectiveness of different means for E-commerce market communications. The purpose with the research presented here is to experiment with a particular use of GAs in E-commerce retailing. It is not to look for an optimal algorithm or fine-tune its parameters. This paper contributes with findings and a discussion of a new E-commerce possibility – evolutionary banner design The scientific aim is to explore the value of such an approach. As well as identify important issues. In a soon-to-be-realized implementation, the commercial aim will be to increase the sales volume for a specific product. In a sense the evolutionary banner works as an artificial art director. Still, a human director is needed to design the banner organism, its genetic code and related parameters. And of course to develop more creative uses of the approach presented below.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	sigradi2009_903
id	sigradi2009_903
authors	Harris, Ana Lúcia Nogueira de Camargo
year	2009
title	O Uso da Técnica dos "Planos em Série" com o Desenvolvimento da Computação Gráfica - Uma Experência Didática [The Use of the 'Serial Plan' Technique with the Development of the Computer Graphic - A Teaching Experience]
source	SIGraDi 2009 - Proceedings of the 13th Congress of the Iberoamerican Society of Digital Graphics, Sao Paulo, Brazil, November 16-18, 2009
summary	This paper is about comparative didactic experiences where the “Serial plan Technique” defined by Wong (1998), was applied in 2001 and 2008 which computer resources from that time. In 2001 this technique was applied with the help of AutoCAD for generation of the planifications, but in 2008 the appliances of AutoCAd and Sketch Up were used for the virtual construction of objects. The quality of the results showed a didactic potential and an increasement in the possible creative rhythm, mainly because the facility of the three-dimensional virtual visualization and because the speed in the physical execution of the created project.
keywords	didactic experiences; serial plan technique; CAD; AutoCAD; Skecht Up
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	ga9817
id	ga9817
authors	Hartwell, David
year	1998
title	Design Methodology in Higher Education and the Role of Generative Approach to Problem-Solving
source	International Conference on Generative Art
summary	The Design Process - inherent conflicts? It is frequently stated that the activity of design is an iterative one; ie that it is a process whereby ideas are refined through constant change and development; if one also considers that designing is also very difficult: Hartwell and Holland (1) describe design "as an activity which attempts to reach an effective compromise between conflicting, complex and often apparently irreconcilable criteria"; then the key question arises: how can there be an effective interface between the obviously creative (generative?) elements of the design process and the (often) very functional / technical requirements of a typical design outcome.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ddss9826
id	ddss9826
authors	Hendricx, A., Geebelen, B., Geeraerts, B. and Neuckermans, H.
year	1998
title	A methodological approach to object modelling in the architectural designprocess
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 paper describes a first prototype constructed in search for a central object model. It presents all possible data, concepts and operations concerning the architectural design process in the early phases.A central model of the process of design is essential: going from one design phase into another, the model describes geometrical shapes, abstract concepts like space and activity, concrete physical building elements and the basic operations all these entities undertake. Emphasis is put on combining all these different viewpoints, thus enabling the designer to use a broad range of design strategies. The aim is to help him and not steer or even hamper his creative process. Information necessary toassist the user of the system concerning energy calculation, stability checks etc can be extracted. By means of appropriate interfaces not only those tests built on top of the system but also existing software packages can make use of the model’s object structure. The implemented object model is one of the cornerstones of the IDEA+ project, aiming to provide an Integrated Design Environment for Architecture.
keywords	object model, building model, CAAD, IDEA+, MERODE
series	DDSS
last changed	2003/08/07 16:36

_id	ga9809
id	ga9809
authors	Kälviäinen, Mirja
year	1998
title	The ideological basis of generative expression in design
source	International Conference on Generative Art
summary	This paper will discuss issues concerning the design ideology supporting the use and development of generative design. This design ideology is based on the unique qualities of craft production and on the forms or ideas from nature or the natural characteristics of materials. The main ideology presented here is the ideology of the 1980´s art craft production in Finland. It is connected with the general Finnish design ideology and with the design ideology of other western countries. The ideology for these professions is based on the common background of design principles stated in 19th century England. The early principles developed through the Arts and Crafts tradition which had a great impact on design thinking in Europe and in the United States. The strong continuity of this design ideology from 19th century England to the present computerized age can be detected. The application of these design principles through different eras shows the difference in the interpretations and in the permission of natural decorative forms. The ideology of the 1980ïs art craft in Finland supports the ideas and fulfilment of generative design in many ways. The reasons often given as the basis for making generative design with computers are in very many respects the same as the ideology for art craft. In Finland there is a strong connection between art craft and design ideology. The characteristics of craft have often been seen as the basis for industrial design skills. The main themes in the ideology of the 1980´s art craft in Finland can be compared to the ideas of generative design. The main issues in which the generative approach reflects a distinctive ideological thinking are: Way of Life: The work is the communication of the maker´s inner ideas. The concrete relationship with the environment, personality, uniqueness, communication, visionary qualities, development and growth of the maker are important. The experiments serve as a media for learning. Taste and Aesthetic Education: The real love affair is created by the non living object with the help of memories and thought. At their best objects create the basis in their stability and communication for durable human relationships. People have warm relationships especially with handmade products in which they can detect unique qualities and the feeling that the product has been made solely for them. Counter-culture: The aim of the work is to produce alternatives for technoburocracy and mechanical production and to bring subjective and unique experiences into the customerïs monotonious life. This ideology rejects the usual standardized mass production of our times. Mythical character: There is a metamorphosis in the birth of the product. In many ways the design process is about birth and growth. The creative process is a development story of the maker. The complexity of communication is the expression of the moments that have been lived. If you can sense the process of making in the product it makes it more real and nearer to life. Each piece of wood has its own beauty. Before you can work with it you must find the deep soul of its quality. The distinctive traits of the material, technique and the object are an essential part of the metamorphosis which brings the product into life. The form is not only for formïs sake but for other purposes, too. You cannot find loose forms in nature. Products have their beginnings in the material and are a part of the nature. This art craft ideology that supports the ideas of generative design can be applied either to the hand made crafts production or to the production exploiting new technology. The unique characteristics of craft and the expression of the material based development are a way to broaden the expression and forms of industrial products. However, for a crafts person it is not meaningful to fill the world with objects. In generative, computer based production this is possible. But maybe the production of unique pieces is still slower and makes the industrial production in that sense more ecological. People will be more attached to personal and unique objects, and thus the life cycle of the objects produced will be longer.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	88f5
authors	Matalasow, M.E.
year	1998
title	Once More on the Role of Different Methods and Means of the Analysis
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 127-140
summary	The correct evaluation of design proposals both by experts and future users, demands their presentation with regard to the real environment and real conditions of observation. It is interesting when analysing designs in complicated town planning situations, and becomes especially important in CIVILIZED SOCIETIES, when it concerns historic territories. Analytical works, connected with preparation of the information, corresponding in the greatest degree to the real conditions and previous scientific investigations, are carried out in a number of European educational institutions (Technical universities in Delft, Tampere, Stuttgart, etc.), corresponding to the Laboratory of videosystems of the Moscow Architectural Institute (State Academy). Their results are periodically reported at conferences of the European Architectural Endoscopy Association, which in keeping with its name and status is occupied with problems of the most real reflection of the designed space. I suppose that due to the objective necessity at our future conference (the 4th conference of the EAEA) we shall discuss not tools, but methods and ways ensuring correct vision of the designed space. Because of this and the present state of the technique of presentation and also recollecting my words at the previous conferences, that technical means are only tools but not an ideology of the creative activities in designing, it is reasonable once more (or maybe not once) to return to the "accompanying" means, which sometimes, and in a historical environment, i want to underline again, in a CIVILIZED SOCIETY, can and must become decisive. And it is especially important for the simulation means to take into consideration spatial and temporal factors.
series	EAEA
more	http://info.tuwien.ac.at/eaea
last changed	2005/09/09 10:43

_id	791e
id	791e
authors	Monreal, Amadeo; Jacas, Joan
year	2004
title	COMPUTER AIDED GENERATION OF ARCHITECTURAL TYPOLOGIES
source	Proceedings of the Fourth International Conference of Mathematics & Design, Special Edition of the Journal of Mathematics & Design, Volume 4, No.1, pp. 73-82.
summary	The work we present may be considered as the consolidation of a methodology that was already outlined in the paper presented in the second M&D congress held in San Sebastian (1998). We establish that, in architectural design, the computer is only used in the last step in order to achieve the traditional Euclidean design in a more precise and comfortable way and to improve the quality of the handmade designs. Our proposal consists in modifying the process from the very beginning of the creative act. That is, when the design conception is born. If we want to obtain the maximum benefit of the computer possibilities, we ought to support this conception by means of a language tuned with the mentioned tool. Due to the fact that the internal language used by the computer for producing graphics is mathematical, we must incorporate, in some way, this language in the codification of the creative process. In accordance with this setting, we propose a mathematical grammar for the design based on the construction of modulated standard mathematical functions. This grammar is developed independently from the graphical software and it is specified only when a particular computer program for the effective generation on the graphical objects is selected.
series	other
type	normal paper
email
last changed	2005/04/07 12:49

_id	20f7
authors	Moorhouse, John
year	1998
title	Categorisation of Computer-Aide-Design Actions Through Visual Exemplification
doi	https://doi.org/10.52842/conf.ecaade.1998.164
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 164-171
summary	This paper summarises, in a preliminary announcement, some outcomes arising from the author?s research ?A Developed Methodology for Recording, Evaluating and Presenting CAAD as a Vehicle for Designing?, in which a methodology for making visually explicit the design actions of architects has been designed, developed and tested. Specifically it describes the categorisation of computer-aided design actions through visual exemplification, whereby ?Categories of Action? of creative computer activity are constructed from, and defined by, grouped visual records of ?Design Moves? which exhibit similarity in character. The value of examining design actions as a means to stimulate and enhance creativity for other designers is explained, and the methodology developed and employed in order to construct a resource to do this is outlined. The main body of the paper focuses on descriptions of selected, constructed ?Categories of Action? which are outcomes from analysis of material collected as part of this research. Conclusions are drawn on their relevance to the designer and suggestions for further synthesis of the Categories of Action are offered.
series	eCAADe
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/06moorhouse/index.htm
last changed	2022/06/07 07:58

_id	ac3a
authors	Roberts, Andrew
year	1998
title	Teaching of Transferable Skills in Architectural Education - The Quartet Project
doi	https://doi.org/10.52842/conf.ecaade.1998.218
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 218-223
summary	The quartet project is a four-week programme undertaken by all first year B.Sc Architecture students at the Welsh School of Architecture. It takes place early in the first semester and is designed to encourage students to develop a series of transferable skills. The cohort is divided into four groups, and the groups rotate around four different activities on a weekly basis. One of these activities is CAD/IT and aims to equip students with the necessary understanding of the potential and limitations of using computers as part of their studies, with emphasis on the creative use of the technology. Throughout the week links with the other three activities are heavily stressed and students use computers within all four activities to some extent. Using examples of students' work from the past two years, this paper aims to assess the CAD/IT element of the project, and how it connects with the other activities. It then looks at how the skills developed during the week are utilised by the students during the remainder of their time in the school.
series	eCAADe
email
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/43roberts/index.htm
last changed	2022/06/07 07:56

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