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

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_id	ddss9802
id	ddss9802
authors	Akin, O., Aygen, Z., Cumming, M., Donia, M., Sen, R. and Zhang, Y.
year	1998
title	Computational Specification of Building Requirements in theEarly Stages of Design
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	We have been exploring computational techniques to help building designers to specify design requirements during the early stages of design. In the past, little has been accomplished in this area either in terms of innovative computational technologies or the improvement of design performance.The prospect of improving design productivity and creating a seamless process between requirements specification and formal design are our primary motivations. This research has been conducted as partof a larger project entitled SEED (Software Environment to Support Early Phases in Building Design). SEED features an open-ended modular architecture, where each module provides support for a design activity that takes place in early design stages. Each module is supported by a database to store and retrieve information, as well as a user interface to support the interaction with designers. The module described in this paper, SEED-Pro (the architectural programming module of SEED), is a workingprototype for building design requirements specification. It can be used by other modules in SEED or by design systems in other domains, such as mechanical engineering, civil engineering, industrial designand electrical engineering. Our approach to SEED-Pro is divided into two phases: core, and support functionalities. The core functionalities operate in an interactive mode relying on a case-based approach to retrieve and adapt complex specification records to the problem at hand. The supportfunctionalities include the case-base, the data-base, and the standards processing environment for building specification tasks. Our findings indicate that SEED-Pro: (1) is a tool that structures the unstructured domain of design requirements; (2) enables the integration of design requirements with the rest of the design process, (3) leads to the creation of complex case-bases and (4) enables the observation of their performance in the context of real world design problems.
series	DDSS
last changed	2003/11/21 15:15

_id	2edf
authors	Levy, Pierre
year	1998
title	Becoming Virtual, Reality in the Digital Age
source	Plenum Trade, New York
summary	Pierre Levy takes a fresh look at the whole idea of what is virtual. He's responding to the widespread belief, and sometimes even panic, that a digital society with emphasis on virtual interactions is necessarily depersonalizing. He takes particular exception to the notion that "virtual" and "real" are opposites. Instead, Levy argues that virtuality is one of four modes of existence, the rest of which he describes as reality, possibility, and actuality. Each is defined in terms of its relationship with its environment. In following Levy's world view, you may find that he interprets some or all of those terms in ways you're not used to, but the result is an interesting new approach to what it means to be part of an increasingly digital world. He examines the virtualization of several elements our society: the corporal body, text, the economy, language, technology, contracts, intelligence, subjects, and objects. What he finds is not a destruction of the personal so much as a transformation. Virtualization adds to, but does not replace, the real, the possible, and the actual. By understanding what virtualization means and involves, Levy believes that society will gain a greater variety of options for interaction in all areas. Becoming Virtual is a serious philosophical work, dense with ideas.
series	other
last changed	2003/04/23 15:14

_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	451d
authors	Strong, James and Woodbury, Robert F.
year	1998
title	Psyberdesign: Designing the Cognitive Spaces of Virtual Environments
doi	https://doi.org/10.52842/conf.acadia.1998.276
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. 276-288
summary	Increasingly, we find ourselves spending more time on a daily basis engaged in a variety of virtual environments, ranging from those discovered when using the stand-alone computer, to more complex distributed networks such as the World Wide Web. Virtual environments are not restricted to the popular and hyped notion of immersive Virtual Reality systems, though, in immersion, such systems provide a dimension of experience sorely lacking in most human-computer interfaces. The design of a diverse range of virtual environments, from textual through to three dimensional, would seem to require insight from those who habitually create immersive experiences, whether real or virtual. The former include architects, the latter the authors of computer games. Virtual environments such as the Internet, and the World Wide Web in particular, are becoming increasingly confusing to navigate. Exploratory behaviour in these environments requires extensive cognitive effort, and often results in disorientation and a sense of anxiety. This paper attempts to address issues of cognitive mapping in virtual environment design, and the exciting role that architects should occupy in the creation of better virtual environments. A virtual environment tool, called WOMBAT, has been developed to discover more about the relationship between real environment and virtual environment navigation and cognitive mapping, and consequently the degree to which concepts and theories from real environment design and cognitive mapping research can be translated to the virtual environment domain. Both a natural environment and an information environment are being investigated using WOMBAT, with the primary interest being the cognitive mapping and wayfinding activities that are exhibited during exploration.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	caadria2006_569
id	caadria2006_569
authors	WEI-TSANG CHANG, TENG-WEN CHANG
year	2006
title	FOLDING SPACE WITH TIME-BASED OPERATIONS
doi	https://doi.org/10.52842/conf.caadria.2006.x.j6m
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 569-571
summary	Folding is not only a design operation of shaping but also a philosophy theory from Deleuze (Deleuze 1988) which was adopted by architecture. Basically, folding constitutes to forming and topology, which often delivered a mathematical and philosophical expression in generating 3D architectural form. For instance, the work of Eisenman (Eisenman 2003), Libeskind and Lynn (Lynn 1998), they use folding as inspiration to explore the textural folding and bifurcation meaning in the process of form-making. While exploring the meaning of folding, their ideas are expressed by the form using computational tools. Therefore, if a suitable or inspirable tool like our Folding Space (FoS) could be available, such action –fold can be expressed further in the form exploration process.
series	CAADRIA
email
last changed	2022/06/07 07:50

_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	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	215e
authors	Bai, Rui-Yuan and Liu, Yu-Tung
year	1998
title	Towards a Computerized Procedure for Visual Impact Analysis and Assessment - The Hsinchu Example
doi	https://doi.org/10.52842/conf.caadria.1998.067
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. 67-76
summary	This paper examines the procedure of visual impact analysis and assessment proposed by Rahman and reviews the use of CAD applications in urban projects in the real world. A preliminary computerized procedure for visual impact analysis and assessment is proposed. An experiments was conducted in our laboratory to verify the preliminary procedure. In order to further study the revised procedure in real urban projects, it was also applied into the renew project of The Eastern Gate Plaza located in the center of city Hsinchu, Taiwan from 1996 to 1998. According to several face-to-face discussions with Hsinchu habitants, government officials, and professional designers, a final computerized procedure for visual impact analysis and assessment is concluded.
keywords	Environmental Simulation, Visual Impact Analysis and Assessment, Virtual Reality
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:54

_id	ddss9811
id	ddss9811
authors	Barbanente, A., Conte, E. and Monno, V.
year	1998
title	Changing trends and approaches in human and computer modelling for social housing policies
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 discusses conceptual issues, goals and preliminary results of an on-going research which aims at building a Decision Support System for public housing environmental oriented maintenance and management in a city in Southern Italy, Bari. Traditional post-war Italian housing policies are compared with more recent approaches in the field, pointing out the change from quantitative, aggregated, more simple building problems and relatedapproaches to qualitative, differentiated, complex ones integrating social, economic and environmental dimensions with the aim of regenerating deteriorated residential areas. The paper claims for the need shift, both in the human and computer areas, from traditional quantitative models to new approaches able to manage also qualitative variables, temporal dynamics, emergencies, and intentionality, since they appear key aspects of the real world to be modelled. The housing estate of Bari and its needs of maintenance and management are examined, eliciting essential related knowledge using the interview technique. The clear orientation towards sustainable policies for urban regeneration, at a local, national, and Community level, is also considered. The innovative and collaborative nature of such policies and the attention to be paid to the social aspects ofthe problem require a complex DSS, integrating various kind of hypertexts, information systems and case-based fuzzy expert systems, whose main aims, functions, software and general organisation are outlined in the paper.
series	DDSS
last changed	2003/11/21 15:16

_id	b9c2
authors	Bhavnani, S.K. and John, B.E.
year	1998
title	Delegation and Circumvention: Two Faces of Efficiency
source	Proceedings of CHI'98 (1998), 273-280
summary	Throughout history, inefficient methods to use devices have been replaced by more efficient ones. This shift typically occurs when users discover how to &legate work to the powers of a tool, and to circumvent its liiitations. Strategies of delegation and circumvention, therefore, appear to be the core of efficient use. To show how this approach can expiain the relationship between tools and strategies in complex computer systems, we describe five ways to perform a real-world drawing task with current as well as 5.rture tools. We then present five corresponding GOMS models that demonstrate the value of efficient strategies when compared to the observed behavior of a professional CAD user. We conclude by presenting a generalized framework to characterize efficient strategies and discuss its relevance to design and training.
keywords	Strategies; GOMS; Efficiency; Productivity
series	other
email
last changed	2003/11/21 15:16

_id	cb96
authors	Buckley, E., Zarli, A., Reynolds, C. and Richaud, O.
year	1998
title	Business objects in construct IT
source	R. Amor (ed.) Product and Process Modelling in the Building Industry, Building Research Establishment, Watford, England, pp. 117-130
summary	Objective: EU Esprit Project 25.741 Wonda aims to meet the needs for Enterprise Information Systems and E-Commerce in the construction and banking industries. Wonda aims to deliver a solution suitable for contracting firms. The solution should enable take-up by SMEs, incremental value-added growth (perhaps Incremental Radicalism), mobile computing for location independent access by project managers and quick set-up of virtual enterprises reflecting both the short customer-supplier relationships in the industry and the need of construction firms to constantly re-configure and re-invent themselves. Method: Wonda will develop an open and secure framework for business objects and electronic payment. Business objects can be defined as software components, which encapsulate business rules and procedures and which can run anywhere on the network. They provide secure and sophisticated access to diverse electronic content and software applications. Indeed, just as a building can be described as a unique arrangement of standard products, a building project can be described as a unique arrangement of standard product data. Business Objects give a high level view of product data. They can be assembled into frameworks to support high-level views on industrial projects. The open framework will enable a distributed architecture through CORBA thus facilitating the interoperation of heterogeneous software components as found in legacy systems. The modular security of the framework and its support for electronic payment ensure authenication, confidentiality and non-repudiation as required for the business processes of construction virtual enterprises. Indeed the modular and incremental implemenation of security will be achieved partly through a Business Object architecture. Results will comprise o a pilot in 2 product cycles, o an open & secure framework architecture, o Commotion middleware for enabling business objects on top of Corba, o WeBuild (construction), WeBank (banking) and SILK (security) business objects o OpenDMX component to enable object orientated access to legacy databases.
series	other
last changed	2003/04/23 15:14

_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

_id	c0e0
authors	Campbell, Dace
year	1998
title	Architectural Construction Documents on the Web: VRML as a Case Study
doi	https://doi.org/10.52842/conf.acadia.1998.266
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. 266-275
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. We analyze the usefulness of VRML as a communication tool for the design and construction industries. Finally, we discuss technical, social, and legal issues the AEC industry faces as it shifts to embrace widespread use of a “paperless” Web-based communications infrastructure for design documentation.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	a2b0
id	a2b0
authors	Charitos, Dimitrios
year	1998
title	The architectural aspect of designing space in virtual environments
source	University of Strathclyde, Dept. of Architecure and Building Science
summary	This thesis deals with the architectural aspect of virtual environment design. It aims at proposing a framework, which could inform the design of three-dimensional content for defining space in virtual environments, in order to aid navigation and wayfinding. The use of such a framework in the design of certain virtual environments is considered necessary for imposing a certain form and structure to our spatial experience in there. Firstly, this thesis looks into literature from the fields of architectural and urban design theory, philosophy, environmental cognition, perceptual psychology and geography for the purpose of identifying a taxonomy of spatial elements and their structure in the real world, on the basis of the way that humans think about and remember real environments. Consequently, the taxonomy, proposed for space in the real world is adapted to the intrinsic characteristics of space in virtual environments, on the basis of human factors aspects of virtual reality technology. As a result, the thesis proposes a hypothetical framework consisting of a taxonomy of spatial and space-establishing elements that a virtual environment may comprise and of the possible structure of these elements. Following this framework, several pilot virtual environments are designed, for the purpose of identifying key design issues for evaluation. As it was impossible to evaluate the whole framework, six specific design issues, which have important implications for the design of space in virtual environments, are investigated by experimental methods of research. Apart from providing answers to these specific design issues, the experimental phase leads to a better understanding of the nature of space in virtual environments and to several hypotheses for future empirical research.
series	thesis:PhD
email
last changed	2003/10/29 21:37

_id	ab2e
authors	Cheng, Nancy Yen-Wen
year	1998
title	Wayfinding In Cyberspace - Negotiating Connections between Sites
doi	https://doi.org/10.52842/conf.caadria.1998.083
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. 83-92
summary	As the number of 3D virtual worlds grow, the distributed nature of the Internet will juxtapose many different kinds of spatial environments. Moving between these environments can be disorienting due to the lack of structural continuity. How can we create an easily navigable experience in a realm so different from the stable, natural world that we inhabit? This paper provides background about navigating virtual worlds, discusses the boundary gaps and describes efforts in how to bridge these gaps. Using examples from an academic exercise, archetypes of negotiated connections between sites are proposed.
keywords	Electronic Design Media, Virtual Reality, Precedence and Prototypes
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:55

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
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	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	ee24
authors	Chien, S.-F., Magd, D., Snyder, J. and Tsa, W.-J.
year	1998
title	SG-Clips: A System to Support the Automatic Generation of Designs From Grammars
doi	https://doi.org/10.52842/conf.caadria.1998.445
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. 445-454
summary	SG-CLIPS is a computer tool that supports the automatic generation of designs from a predefined set of grammar rules that encapsulate the composition principles of a certain style of design. It is an open system that accepts any grammar conforming to the conventions described in this paper. We demonstrate the system through an example and discuss the relation to shape grammars and limitations.
keywords	Generative Systems, Shape Grammars, Rule-based Design Tools, CLIPS
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:55

_id	032b
authors	Cicognani, Anna
year	1998
title	A linguistic characterisation of design in text-based virtual worlds
source	University of Sydney
summary	In this research, it is suggested that design in text-based virtual worlds can be identified as a series of interactions between users and the virtual environment, and that these interactions for design can be approached using a linguistic perspective. The main assumption of this research is that a parallel can be drawn between the performance of design commands, and the one of speech acts in the physical world. Design in text-based virtual environments can then be articulated using a restricted set of speech acts, as design commands. Virtual worlds, represented as spaces, can be constructed following an architectural design metaphor. This metaphor provides a framework for the organisation of virtual entity relationships, and for the choice of words used to design. A linguistic characterisation is presented, by means of design activities, prototypes and scenarios, which derive from the architectural design metaphor. The characterisation of design is then validated by the analysis of an existing text-based virtual world.
keywords	Virtual Reality; Human-Computer Interaction; Computer-Aided Design; Programming Languages (Electronic Computers); Semantics; Programming Languages (Electronic Computers); Design
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	6602
authors	Clayton, Mark J.
year	1998
title	Computing in Civil Engineering 1998
doi	https://doi.org/10.52842/conf.acadia.1998.x.q8w
source	ACADIA Quarterly, vol. 17, no. 4, p. 7
summary	Just before our ACADIA 98 conference, a conference was held in Boston addressing similar issues in the related profession of civil engineering. Sponsored by the American Society of Civil Engineers (ASCE), the conference was titled the International Computing Congress in Civil Engineering and was the fifteenth in the Computing in Civil Engineering series. Although the interests of civil engineers include nonarchitectural subjects such as traffic engineering, bridge building, and sanitation engineering, a large number of participants at the conference identify their area of interest as building engineering. Consequently, the conference addressed many issues of interest to architects. Sessions and presentations at the Congress paralleled those at ACADIA conferences. The World Wide Web was a topic of much discussion, just as it has been at ACADIA conferences. Civil engineering researchers are also exploring how to put courses on the Web, how to use the Internet to support collaboration, and how to distribute product data across the Web.Other papers addressed case-based reasoning, applications of object-oriented programming, expert systems, design education, automated building code checking, and product modeling. Not only did the Congress include a wide range of architecturally relevant topics, it was truly international, including participants from Asia, Europe, Australia, Africa and the Americas.
series	ACADIA
email
last changed	2022/06/07 07:49

_id	ga9806
id	ga9806
authors	Colabella, Enrica
year	1998
title	Verba, Scripta et alea Generatim
source	International Conference on Generative Art
summary	We don’t know what Art is. It is certainly a vacuum, but also a space, a moment, a time. Art is the conscience ( and we try with this Conference to increase our level of conscience, in Latin cum scire, to know with ), an ethics conscience, a conscience of liberation . It is not a vacuum, if it is not a representation of our liberation, a liberation by the world, and because we try to do another world. The question is to invent, to learn a tool, the system, the artifice. Art is done also by many artifices . But it is soon clear how much intelligence is behind the artifice and when the artifice is on the contrary learnt by ear. I hope that I am inside the people of "sudate carte" ( sweaty papers ) of Leopardi. This the maxima instance.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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