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	1d83
authors	Dodge, M., Doyle, S. and Smith, A.
year	1998
title	Visual Communication in Urban Planning and Urban Design
source	Working Paper 2; Centre for Advanced Spatial Analysis Working Papers; London; June 1998
summary	This Case Study documents the current status of visual communication in urban design and planning. Visual communication is examined through discussion of standalone and network media, specifically concentrating on visualisation on the World Wide Web (WWW). First, we examine the use of Solid and Geometric Modelling for visualising urban planning and urban design. This report documents and compares examples of the use of Virtual Reality Modelling Language (VRML) and proprietary WWW based Virtual Reality modelling software. Examples include the modelling of Bath and Glasgow using both VRML 1.0 and 2.0. The use of Virtual Worlds and their role in visualising urban form within multi-user environments is reviewed. The use of Virtual Worlds is developed into a study of the possibilities and limitations of Virtual Internet Design Arena's (ViDA's), an initiative undertaken at the Centre for Advanced Spatial Analysis, University College London. The use of Virtual Worlds and their development towards ViDA's is seen as one of the most important developments in visual communication for urban planning and urban design since the development plan. Secondly, the role of photorealistic media in the process of communicating plans is examined. The process of creating photorealistic media is documented, and examples of the Virtual Streetscape and Wired Whitehall Virtual Urban Interface System are provided. The conclusion is that, although the use of photo-realistic media on the WWW provides a way to visually communicate planning information, its use is limited. The merging of photorealistic media and solid geometric modelling in the creation of Augmented Reality is reviewed. Augmented Reality is seen to provide an important step forward in the ability quickly and easily to visualise urban planning and urban design information. Third, the role of visual communication of planning data through GIS is examined in terms of desktop, three dimensional, and Internet based GIS. The evolution to Internet GIS is seen as a critical component in the development of virtual cities that will allow urban planners and urban designers to visualise and model the complexity of the built environment in networked virtual reality. Finally, a viewpoint is put forward of the Virtual City, linking Internet GIS with photorealistic multi-user Virtual Worlds. At present there are constraints on how far virtual cities can be developed, but a view is provided on how these networked virtual worlds are developing to aid visual communication in urban planning and urban design.
series	other
last changed	2003/04/23 15:50

_id	1c6b
authors	Mase, K., Sumi, Y. and Nishimoto, K.
year	1998
title	Informal conversation environment for collaborative concept formation
source	Community Computing: Collaboration over Global Information Networks, eds. T. Ishida. John Wiley & Sons
summary	This chapter focuses on facilitating the early stages of community formation. We spend a great deal of time every day in informal conversations, which are very important for the early stages of forming various kinds of communities. People engaged in conversation will not only share information, but also try to listen to and understand others, and as well as work together to find common objectives. In the early stages of forming the communities, agreement on a common concept through such a process is an essential element in the bonding of the group. Conversation environments on networked computers, e.g., via e-mail, online chat, and news groups, eliminate the spatial and temporal constraints of forming these communities but allow for the reuse of accumulated dialogs from previous interactions. Moreover, a computerized environment can directly support information sharing and mutual understanding. Conventional computerized conversation support systems, however, often force their users to follow some predetermined conversation model, prepared by designers beforehand. Thus, it can be difficult to apply these systems to informal conversations. We are developing a system called AIDE (Augmented Informative Discussion Environment) that facilitates our informal daily conversations. It does not require users to provide additional information in designated forms during a conversation, but rather it provides functionality to enhance and support the informal conversation. AIDE features three main functions: the discussion viewer, the conversationalist agent and the personal desktop. Using these functions, the participants can attain mutual understanding, crystallize ideas, and share common concepts. AIDE is considered to be not only a tool for supporting informal conversation but also useful Communityware, especially for facilitating the initial stage of community formation. This chapter first discusses a model of the group thinking process and applies it to community formation. Then, the structure of the AIDE system is presented using a few example conversations to illustrate how the AIDE system can support communication between people. AIDE displays potential as communityware.
series	other
last changed	2003/04/23 15:14

_id	a136
authors	Blaise, J.Y., Dudek, I. and Drap, P.
year	1998
title	Java collaborative interface for architectural simulations A case study on wooden ceilings of Krakow
source	International Conference On Conservation - Krakow 2000, 23-24 November 1998, Krakow, Poland
summary	Concern for the architectural and urban preservation problems has been considerably increasing in the past decades, and with it the necessity to investigate the consequences and opportunities opened for the conservation discipline by the development of computer-based systems. Architectural interventions on historical edifices or in preserved urban fabric face conservationists and architects with specific problems related to the handling and exchange of a variety of historical documents and representations. The recent development of information technologies offers opportunities to favour a better access to such data, as well as means to represent architectural hypothesis or design. Developing applications for the Internet also introduces a greater capacity to exchange experiences or ideas and to invest on low-cost collaborative working platforms. In the field of the architectural heritage, our research addresses two problems: historical data and documentation of the edifice, methods of representation (knowledge modelling and visualisation) of the edifice. This research is connected with the ARKIW POLONIUM co-operation program that links the MAP-GAMSAU CNRS laboratory (Marseilles, France) and the Institute HAiKZ of Kraków's Faculty of Architecture. The ARKIW programme deals with questions related to the use of information technologies in the recording, protection and studying of the architectural heritage. Case studies are chosen in order to experience and validate a technical platform dedicated to the formalisation and exchange of knowledge related to the architectural heritage (architectural data management, representation and simulation tools, survey methods, ...). A special focus is put on the evolution of the urban fabric and on the simulation of reconstructional hypothesis. Our contribution will introduce current ARKIW internet applications and experiences: The ARPENTEUR architectural survey experiment on Wie¿a Ratuszowa (a photogrammetrical survey based on an architectural model). A Gothic and Renaissance reconstruction of the Ratusz Krakowski using a commercial modelisation and animation software (MAYA). The SOL on line documentation interface for Kraków's Rynek G_ówny. Internet analytical approach in the presentation of morphological informations about Kraków's Kramy Bogate Rynku Krakowskiego. Object-Orientation approach in the modelling of the architectural corpus. The VALIDEUR and HUBLOT Virtual Reality modellers for the simulation and representation of reconstructional hypothesis and corpus analysis.
series	other
last changed	2003/04/23 15:14

_id	40db
authors	Chambers, Tom and Wood, John B.
year	1998
title	Information Technology in the Building Design Engineering Studio
doi	https://doi.org/10.52842/conf.ecaade.1998.026
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 26-30
summary	This paper reports on the activities of CADET in the design studio environment and in a variety of community contexts with the objective of developing a strategy for teaching design within the context of design, art, architecture and engineering. It begins with an outline of earlier design projects, in a variety of traditional media and in CAAD at several levels within the Undergraduate programme at the University of Strathclyde together with community organisations. It then outlines a model with a number of strands that explore the principles of visual communication which are fundamental to both the development and communication of design ideas. The report will place these activities in the context of developments in education and the wider sphere of cultural heritage, which ultimately inform understanding and knowledge of our architectural and design heritage. It will highlight and explore some important ideas that inform our judgment of aesthetic forms and refer students to relevant texts and precedents in art, design, engineering and architecture.
series	eCAADe
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/29chambers/index.htm
last changed	2022/06/07 07:56

_id	2d75
authors	Entous, Marc
year	1998
title	Developments in 3D Scanning and Digitizing: New Strategies for an Evolving Design Process
doi	https://doi.org/10.52842/conf.acadia.1998.212
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. 212-220
summary	The computer is now a widely accepted tool in architecture as a production and business tool. Acceptance of digital technology as a design aid has been much slower, but continuing developments in ease of use, capabilities, and lower costs are encouraging the use of three-dimensional design modeling. As the demand for 3D design computing grows, peripheral digital technologies are also developing and being integrated. This paper describes on-going research into how current and near-future developments in three-dimensional scanning and digitizing technology that have the potential to substantially change processes of architectural design. Scanners, or digitizers, assist in transforming physical objects and models into digital representations. The capabilities of 3D scanners in architectural design have only begun to be explored. Existing and emerging 3D scanning technologies are briefly described followed by a discussion of sample existing, new, and potential uses of these capabilities as a design tool. An experiment is conducted to contrast the differences between stylus-based and laser-based digitizers in an architectural design environment.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	ff7d
authors	Hastak, M.
year	1998
title	Advanced automation or conventional construction process?
source	Automation in Construction 7 (4) (1998) pp. 299-314
summary	The rapidly developing area of construction automation leads construction managers to critically evaluate the feasibility of replacing conventional construction processes by automated systems. This decision requires careful analysis of tangible and intangible factors such as need-based criteria, economic criteria, technological criteria, project specific criteria, and safety/risk criteria. This paper presents a decision making model and a decision support system (DSS) to assist construction managers in systematically evaluating whether to opt for a conventional construction process or an automated system for a given project. The proposed DSS, called AUTOCOP (AUTomation Option evaluation for COnstruction Processes), utilizes the Analytical Hierarchy Method (AHP) to analyze the tangible and the intangible set of criteria involved in the decision problem.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	8
authors	Hermanson, Robert D.
year	1998
title	Re-Presentations: Media Inquiries Regarding Architecture
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 66-75
summary	Within the framework of architectural practice as the academy, media supported worldwide interdependence and transient cultural waves are essential forces activating the current globalization phenomenon. Schools that have always engaged themselves in international dialogue, are now increasingly immersed in the rapidly developing media arena and global information networks. In this paper I propose a theoretical and pedagogical framework in which the concept of migration provides a useful model with which to investigate the transitory natures permeating cultures. These involve not only the literal moving from one physical world into another, but also the more abstract - from that of the so called "real" world into that of the "virtual". Through what I call re-presentations an experimental studio was conducted at the Universidad Nacional del Litorat in Santa Fe, Argentina involving multicultures (the USA and Argentina) and multi-disciplines (film/video and architecture). The conclusion suggests however, that such re-presentations posit paradoxical questions.
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	0272
authors	Kokosalakis, Jen
year	1998
title	Remote File Sharing for Community-led Local Agenda 21 Sustainability with Internet, Intranets and VideoConferencing
doi	https://doi.org/10.52842/conf.ecaade.1998.116
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 116-122
summary	This paper considers new opportunities for ease of remote file sharing through the Internet, Intranets and VideoConferencing, as facilitating opportunities for informed consumer intervention and greater accountability of the design. A remote file sharing experiment, [through a VideoConference link], of a 3D CAD estate model, collaboratively developed with a local resident?s association, is discussed. A different example looks at use of the Internet route by a small practice in the North West, developing QuickTime and QuickTimeVirtual Reality files for remote distribution and collaboration. The value of the full building object-orientated, data based model, [incorporating all related data and decisions from conception, client participation, project and facilities and life time management], is seen to offer an excellent vehicle for illustrating, negotiating and recording decisions. New international CAD standards for remote transfer and file sharing bring ease of use into the arena. Associated peripherals for remote file sharing through both Internet and video/teleconferencing, point to a transformation in the way we collaborate in the future. Signs from a broad band of businesses indicate that there is a clear understanding [in some circles] of the potential and the specific orientation of Web targeting, people-networking and dialogue. The key change is that those who understand this, build on the particular opportunity to contact and relate with any community of interest and to develop dialogue in a deeper, closer manner. So, we can see a strange phenomenon that the remoteness can actually bring a closeness of a new kind, as communities explore common interests. The paper considers how this may be the key to involving thousands of residents in a well-recorded dialogue, so bringing improved opportunities for meeting European standards in public accountability and community involvement in the development of Local Agenda 21 sustainability strategies.
series	eCAADe
email
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/39kokosalakis/index.htm
last changed	2022/06/07 07:51

_id	25a3
authors	Martini, K.
year	1998
title	Ancient structures and modern analysis: investigating damage and reconstruction at Pompeii
source	Automation in Construction 8 (1) (1998) pp. 125-137
summary	The paper describes the application of non-linear structural analysis methods to address archaeological questions concerning the reconstruction of the ancient city of Pompeii after a major earthquake that occurred 17 yr prior to the famous eruption of Mt. Vesuvius in 79 AD. It presents preliminary findings in an effort to develop an approach to modelling the two-way out-of-plane behavior of unreinforced masonry walls, including comparison studies with published analytic and experimental results for one-way loaded walls, plus a trial analysis for a two-way span condition. The approach requires the application of computationally intensive non-linear analysis techniques, since the linear analysis methods used in conventional design and education are inadequate to model the behavior of unreinforced masonry. Developing an understanding of the two-way behavior of unreinforced masonry has implications not only for archaeological investigation of ancient structures, but also for modern renovation of historic structures.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	280e
authors	Park, Taeyeol and Miranda, Valerian
year	1998
title	Development of a Computer-Assisted Instruction System for Information Communication in Design Studio
doi	https://doi.org/10.52842/conf.caadria.1998.047
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. 47-56
summary	Design studio is the core of architectural education. An essential part of designing is using information and knowledge obtained from non-studio courses. However, as the complexity of buildings increases, the amount of this information increases and there is a danger that essential design information may be ruined and overlooked because of time and place constraints. As a means to bridge the gap between non-studio courses and design studios, some architectural educators suggest that design studios should bring knowledge to students in the process of designing so that they can apply this knowledge to their design. Most architectural studios, however, do not do enough to bring knowledge systematically into design projects when appropriate. Design projects generate need for additional knowledge about a number of topics, but too few studios systematically make knowledge available. Design studios should consider ways in which knowledge for design projects is integrally made available at the appropriate time. This paper describes a model for the delivery of design studio information which can be integral with any design projects. The model is demonstrated by a computer-assisted instruction (CAI) system designed and placed on the Web to introduce basic structural concepts and to teach an in-depth concept of spatial composition in a design studio and reports on its development, implementation, and testing. The system relies on many issues, such as access to relevant information, links between lessons for different subjects, representation of various design concepts, effective instructional methods for learning concepts, etc., which might be critical elements of designing an information communication system for design studio instruction. This paper tests the effectiveness of the system based on the results from responses of design studio students and observations of the researcher and the studio instructor, and concludes with the information that we hope will be useful in developing CAI materials for reflecting and acquiring information on a number of different subjects that have relevance to architectural design.
keywords	Computer-assisted Instruction (CAI), Design Studio Teaching, Information Delivery System
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:59

_id	c5bc
authors	Popova, Mina
year	1998
title	Model of Design Parts and its Use to the Design Team
doi	https://doi.org/10.52842/conf.caadria.1998.233
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. 233-242
summary	This paper discusses the impact of the choice of representation on the final result in design and construction projects. Representation is an integrated part of the design process used by architects as a communication tool to help them present a concept to their clients and other consultants. The representation choice, in addition, reflects the professional’s perception of the design process and the architectural artefact. Architects’ offices work with a wide range of problems - aesthetic and spatial issues, detailing, choice of materials, and systems design. The multiplicity of representations enriches the understanding of these issues. Today, the model-oriented approach in design is common among both architects and leading software producers for the construction industry. While STEP (Standard for the Exchange of Product Data) aims at developing very comprehensive product models, we examine the possibility of building up a small-scale model responding to the information needs of a design team. In our research work, we view a model of design parts as a suitable carrier of information allowing the designers to store data reflecting their accumulated and refined professional knowledge and experience. Besides, the team of architects can later easily retrieve information needed for future design reuse from the model. To reuse design solutions and learn from previous work is an essential part of the professional culture. The construction industry as a whole has been slow in implementing information technology to improve the work methods. Neither have architects’ offices used the full potential of this technology to structure information and rationalize the design process. The objective of this study is to examine whether information technology makes it possible to organize all the design information in an office archive. The proposed model of design parts relates to national standards and universal models for product data representation and exchange, such as STEP. Today, the construction sector is becoming increasingly aware of the potential of the model-oriented approach both to rationalize the design and construction process and offer designers new options to store, broaden and reuse professional knowledge. We have used the information modelling language EXPRESS to describe our concept.
keywords	Design and Construction Process, Model-oriented Approach, Representation, Information Technology, STEP
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 08:00

_id	48db
authors	Proctor, George
year	2001
title	CADD Curriculum - The Issue of Visual Acuity
doi	https://doi.org/10.52842/conf.ecaade.2001.192
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 192-200
summary	Design educators attempt to train the eyes and minds of students to see and comprehend the world around them with the intention of preparing those students to become good designers, critical thinkers and ultimately responsible architects. Over the last eight years we have been developing the digital media curriculum of our architecture program with these fundamental values. We have built digital media use and instruction on the foundation of our program which has historically been based in physical model making. Digital modeling has gradually replaced the capacity of physical models as an analytical and thinking tool, and as a communication and presentation device. The first year of our program provides a foundation and introduction to 2d and 3d design and composition, the second year explores larger buildings and history, the third year explores building systems and structure through design studies of public buildings, fourth year explores urbanism, theory and technology through topic studios and, during the fifth year students complete a capstone project. Digital media and CADD have and are being synchronized with the existing NAAB accredited regimen while also allowing for alternative career options for students. Given our location in the Los Angeles region, many students with a strong background in digital media have gone on to jobs in video game design and the movie industry. Clearly there is much a student of architecture must learn to attain a level of professional competency. A capacity to think visually is one of those skills and is arguably a skill that distinguishes members of the visual arts (including Architecture) from other disciplines. From a web search of information posted by the American Academy of Opthamology, Visual Acuity is defined as an ability to discriminate fine details when looking at something and is often measured with the Snellen Eye Chart (the 20/20 eye test). In the context of this paper visual acuity refers to a subject’s capacity to discriminate useful abstractions in a visual field for the purposes of Visual Thinking- problem solving through seeing (Arnheim, 1969, Laseau 1980, Hoffman 1998). The growing use of digital media and the expanding ability to assemble design ideas and images through point-and-click methods makes the cultivation and development of visual skills all the more important to today’s crop of young architects. The advent of digital media also brings into question the traditional, static 2d methods used to build visual skills in a design education instead of promoting active 3d methods for teaching, learning and developing visual skills. Interactive digital movies provide an excellent platform for promoting visual acuity, and correlating the innate mechanisms of visual perception with the abstractions and notational systems used in professional discourse. In the context of this paper, pedagogy for building visual acuity is being considered with regard to perception of the real world, for example the visual survey of an environment, a site or a street scene and how that visual survey works in conjunction with practice.
keywords	Curriculum, Seeing, Abstracting, Notation
series	eCAADe
email
last changed	2022/06/07 08:00

_id	ddss9852
id	ddss9852
authors	Shalaby, Tarek, Scutt, Tom and Palmer, Diane
year	1998
title	The ‘Intelligent Map’ as A Decision Support System for UrbanPlanners in Nottingham Using GIS Technology
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	Location is often considered as the most important factor leading to the success of public or private services. Location is the key in maximising accessibility and keeping operating cost low. A collaborative research project between ‘Nottingham University’ and the ‘Environmental ServicesDepartment of Nottingham City Council’ is developing an ‘Intelligent Map’ for identifying optimum locations for the recycling centres in the city. The object is to develop a new decision support system for urban planners, to be used as a management and analytical tool for improving locational decisionmaking. This paper discusses the technique of the Intelligent Map, and its concept. The paper includes three main sections. The first discusses the introduction of the mini-recycling centres in Nottingham, theproblems associated with their spatial distribution, and the need for a new decision support system using GIS technology. The second examines traditional techniques using GIS for identifying optimum locations and calculating catchment areas. The third explains the concept of the Intelligent Map; discussion takes the form of an initial analysis of the likely method to be applied, and then briefly outlines some of the prototyping work that is currently taking place at Nottingham.
series	DDSS
last changed	2003/08/07 16:36

_id	avocaad_2001_09
id	avocaad_2001_09
authors	Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year	2001
title	Digital Architecture in CAD studio and Internet-based competition
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	Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	ddss9801
id	ddss9801
authors	Achten, Henri and Leeuwen, Jos van
year	1998
title	A Feature-Based Description Technique for Design Processes: A Case Study
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	In order to develop appropriate tools for decision support in design processes, it is necessary to found them on an understanding of design. Analytical techniques of design processes that have a direct relationship with tool development can enhance design support systems development. The paper focuses on a design support system in the VR-DIS research program. The aim of this research program is to develop insight in the architectural design process and to establish design tools for architectsworking in Virtual Reality. The basic approach for data modelling in VR in this research is based on an extension of the Feature Based Modelling paradigm taken from design in mechanical engineering. The computer model of the design in the system is a Feature-based model. This paper describes design processes in terms of changes in the Feature-based model of the design. For this purpose, a case of a house design is used. Drawings in the conceptual design phase up to the preliminary design phase arestudied. Each state of the drawings is described in terms of a Feature-model. Particular design actions such as creation of spaces, definition of architectural elements, and changes during the design process can be expressed in terms of changes in the Feature-model. Because of the use of Features, the changes can be formalised in the VR-DIS system. The description in terms of Features offers an analytical toolthat leads to a functional brief for design support tools. The paper ends with a discussion of implications and future work.
series	DDSS
last changed	2003/11/21 15:15

_id	9951
authors	Johnson, R.E. and Clayton, M.J.
year	1998
title	The impact of information technology in design and construction: the owner's perspective
source	Automation in Construction 8 (1) (1998) pp. 3-14
summary	This paper reports on findings of a November 1996 exploratory survey of architecture–engineering clients (Fortune 500 corporate facility managers). This research investigated how the practices of corporate facility managers are being influenced by rapid changes in information technology. The conceptual model that served as a guide for this research hypothesized that information technology acts as both an enabler (that is, information technology provides an effective mechanism for managers to implement desired changes), as well as a source of innovation (that is, new information technology innovations create new facility management opportunities). The underlying assumption of this research is that information technology is evolving from a tool that incrementally improves `back-office' productivity to an essential component of strategic positioning that may alter the basic economics, organizational structure and operational practices of facility management organizations and their interactions with service providers (architects, engineers, and constructors). The paper concludes with a discussion of researchable issues.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	220b
authors	Potier, S., Malret, J.-L-. and Zoller, J.
year	1998
title	Computer Graphics: Assistance for Archaeological Hypotheses
doi	https://doi.org/10.52842/conf.acadia.1998.366
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. 366-383
summary	This paper is a contribution to the domain of computer tools for architectural and archeological restitution of ancient buildings. We describe an application of these tools to the modeling of the 14th century AD. Thermae of Constantin in Arles, south of France. It was a diploma project in School of Architecture of MarseilleLuminy, and took place in a context defined in the European ARELATE project. The general objective of this project is to emphasize the archeological and architectural heritage of the city of Arles; it aims, in particular, to equip the museum of ancient Arles with a computer tool enabling the storage and consultation of archaeological archives, the communication of information and exchange by specialized networks, and the creation of a virtual museum allowing a redescription of the monuments and a “virtual” visit of ancient Arles. Our approach involves a multidisciplinary approach, calling on architecture, archeology and computer science. The archeologist’s work is to collect information and interpret it; this is the starting point of the architect’s work who, using these elements, suggests an architectural reconstruction. This synthesis contains the functioning analysis of the structure and building. The potential provided by the computer as a tool (in this case, the POV-Ray software) with access to several three-dimensional visualizations, according to hypotheses formulated by the architect and archaeologists, necessitates the use of evolutive models which, thanks to the parametrization of dimensions of a building and its elements, can be adapted to all the changes desired by the architect. The specific contribution of POV-Ray in architectural reconstruction of thermae finds its expression in four forms of this modeling program, which correspond to the objectives set by the architect in agreement with archeologists: (a) The parametrization of dimensions, which contributes significantly in simplifying the reintervention process of the architectural data base; (b) Hierarchy and links between variables, allowing “grouped” modifications of modelized elements in order to preserve the consistency of the architectural building’s morphology; (c) The levels of modeling (with or without facing, for example), which admit of the exploration of all structural and architectural trails (relationship form/ function); and, (d) The “model-type,” facilitating the setting up of hypotheses by simple scaling and transformation of these models (e.g., roofing models) on an already modelled structure. The methodological validation of this modeling software’s particular use in architectural formulation of hypotheses shows that the software is the principal graphical medium of discussion between architect and archaeologist, thus confirming the hypotheses formulated at the beginning of this project.
series	ACADIA
email
last changed	2022/06/07 08:00

_id	ga0026
id	ga0026
authors	Ransen, Owen F.
year	2000
title	Possible Futures in Computer Art Generation
source	International Conference on Generative Art
summary	Years of trying to create an "Image Idea Generator" program have convinced me that the perfect solution would be to have an artificial artistic person, a design slave. This paper describes how I came to that conclusion, realistic alternatives, and briefly, how it could possibly happen. 1. The history of Repligator and Gliftic 1.1 Repligator In 1996 I had the idea of creating an “image idea generator”. I wanted something which would create images out of nothing, but guided by the user. The biggest conceptual problem I had was “out of nothing”. What does that mean? So I put aside that problem and forced the user to give the program a starting image. This program eventually turned into Repligator, commercially described as an “easy to use graphical effects program”, but actually, to my mind, an Image Idea Generator. The first release came out in October 1997. In December 1998 I described Repligator V4 [1] and how I thought it could be developed away from simply being an effects program. In July 1999 Repligator V4 won the Shareware Industry Awards Foundation prize for "Best Graphics Program of 1999". Prize winners are never told why they won, but I am sure that it was because of two things: 1) Easy of use 2) Ease of experimentation "Ease of experimentation" means that Repligator does in fact come up with new graphics ideas. Once you have input your original image you can generate new versions of that image simply by pushing a single key. Repligator is currently at version 6, but, apart from adding many new effects and a few new features, is basically the same program as version 4. Following on from the ideas in [1] I started to develop Gliftic, which is closer to my original thoughts of an image idea generator which "starts from nothing". The Gliftic model of images was that they are composed of three components: 1. Layout or form, for example the outline of a mandala is a form. 2. Color scheme, for example colors selected from autumn leaves from an oak tree. 3. Interpretation, for example Van Gogh would paint a mandala with oak tree colors in a different way to Andy Warhol. There is a Van Gogh interpretation and an Andy Warhol interpretation. Further I wanted to be able to genetically breed images, for example crossing two layouts to produce a child layout. And the same with interpretations and color schemes. If I could achieve this then the program would be very powerful. 1.2 Getting to Gliftic Programming has an amazing way of crystalising ideas. If you want to put an idea into practice via a computer program you really have to understand the idea not only globally, but just as importantly, in detail. You have to make hard design decisions, there can be no vagueness, and so implementing what I had decribed above turned out to be a considerable challenge. I soon found out that the hardest thing to do would be the breeding of forms. What are the "genes" of a form? What are the genes of a circle, say, and how do they compare to the genes of the outline of the UK? I wanted the genotype representation (inside the computer program's data) to be directly linked to the phenotype representation (on the computer screen). This seemed to be the best way of making sure that bred-forms would bare some visual relationship to their parents. I also wanted symmetry to be preserved. For example if two symmetrical objects were bred then their children should be symmetrical. I decided to represent shapes as simply closed polygonal shapes, and the "genes" of these shapes were simply the list of points defining the polygon. Thus a circle would have to be represented by a regular polygon of, say, 100 sides. The outline of the UK could easily be represented as a list of points every 10 Kilometers along the coast line. Now for the important question: what do you get when you cross a circle with the outline of the UK? I tried various ways of combining the "genes" (i.e. coordinates) of the shapes, but none of them really ended up producing interesting shapes. And of the methods I used, many of them, applied over several "generations" simply resulted in amorphous blobs, with no distinct family characteristics. Or rather maybe I should say that no single method of breeding shapes gave decent results for all types of images. Figure 1 shows an example of breeding a mandala with 6 regular polygons: Figure 1 Mandala bred with array of regular polygons I did not try out all my ideas, and maybe in the future I will return to the problem, but it was clear to me that it is a non-trivial problem. And if the breeding of shapes is a non-trivial problem, then what about the breeding of interpretations? I abandoned the genetic (breeding) model of generating designs but retained the idea of the three components (form, color scheme, interpretation). 1.3 Gliftic today Gliftic Version 1.0 was released in May 2000. It allows the user to change a form, a color scheme and an interpretation. The user can experiment with combining different components together and can thus home in on an personally pleasing image. Just as in Repligator, pushing the F7 key make the program choose all the options. Unlike Repligator however the user can also easily experiment with the form (only) by pushing F4, the color scheme (only) by pushing F5 and the interpretation (only) by pushing F6. Figures 2, 3 and 4 show some example images created by Gliftic. Figure 2 Mandala interpreted with arabesques Figure 3 Trellis interpreted with "graphic ivy" Figure 4 Regular dots interpreted as "sparks" 1.4 Forms in Gliftic V1 Forms are simply collections of graphics primitives (points, lines, ellipses and polygons). The program generates these collections according to the user's instructions. Currently the forms are: Mandala, Regular Polygon, Random Dots, Random Sticks, Random Shapes, Grid Of Polygons, Trellis, Flying Leap, Sticks And Waves, Spoked Wheel, Biological Growth, Chequer Squares, Regular Dots, Single Line, Paisley, Random Circles, Chevrons. 1.5 Color Schemes in Gliftic V1 When combining a form with an interpretation (described later) the program needs to know what colors it can use. The range of colors is called a color scheme. Gliftic has three color scheme types: 1. Random colors: Colors for the various parts of the image are chosen purely at random. 2. Hue Saturation Value (HSV) colors: The user can choose the main hue (e.g. red or yellow), the saturation (purity) of the color scheme and the value (brightness/darkness) . The user also has to choose how much variation is allowed in the color scheme. A wide variation allows the various colors of the final image to depart a long way from the HSV settings. A smaller variation results in the final image using almost a single color. 3. Colors chosen from an image: The user can choose an image (for example a JPG file of a famous painting, or a digital photograph he took while on holiday in Greece) and Gliftic will select colors from that image. Only colors from the selected image will appear in the output image. 1.6 Interpretations in Gliftic V1 Interpretation in Gliftic is best decribed with a few examples. A pure geometric line could be interpreted as: 1) the branch of a tree 2) a long thin arabesque 3) a sequence of disks 4) a chain, 5) a row of diamonds. An pure geometric ellipse could be interpreted as 1) a lake, 2) a planet, 3) an eye. Gliftic V1 has the following interpretations: Standard, Circles, Flying Leap, Graphic Ivy, Diamond Bar, Sparkz, Ess Disk, Ribbons, George Haite, Arabesque, ZigZag. 1.7 Applications of Gliftic Currently Gliftic is mostly used for creating WEB graphics, often backgrounds as it has an option to enable "tiling" of the generated images. There is also a possibility that it will be used in the custom textile business sometime within the next year or two. The real application of Gliftic is that of generating new graphics ideas, and I suspect that, like Repligator, many users will only understand this later. 2. The future of Gliftic, 3 possibilties Completing Gliftic V1 gave me the experience to understand what problems and opportunities there will be in future development of the program. Here I divide my many ideas into three oversimplified possibilities, and the real result may be a mix of two or all three of them. 2.1 Continue the current development "linearly" Gliftic could grow simply by the addition of more forms and interpretations. In fact I am sure that initially it will grow like this. However this limits the possibilities to what is inside the program itself. These limits can be mitigated by allowing the user to add forms (as vector files). The user can already add color schemes (as images). The biggest problem with leaving the program in its current state is that there is no easy way to add interpretations. 2.2 Allow the artist to program Gliftic It would be interesting to add a language to Gliftic which allows the user to program his own form generators and interpreters. In this way Gliftic becomes a "platform" for the development of dynamic graphics styles by the artist. The advantage of not having to deal with the complexities of Windows programming could attract the more adventurous artists and designers. The choice of programming language of course needs to take into account the fact that the "programmer" is probably not be an expert computer scientist. I have seen how LISP (an not exactly easy artificial intelligence language) has become very popular among non programming users of AutoCAD. If, to complete a job which you do manually and repeatedly, you can write a LISP macro of only 5 lines, then you may be tempted to learn enough LISP to write those 5 lines. Imagine also the ability to publish (and/or sell) "style generators". An artist could develop a particular interpretation function, it creates images of a given character which others find appealing. The interpretation (which runs inside Gliftic as a routine) could be offered to interior designers (for example) to unify carpets, wallpaper, furniture coverings for single projects. As Adrian Ward [3] says on his WEB site: "Programming is no less an artform than painting is a technical process." Learning a computer language to create a single image is overkill and impractical. Learning a computer language to create your own artistic style which generates an infinite series of images in that style may well be attractive. 2.3 Add an artificial conciousness to Gliftic This is a wild science fiction idea which comes into my head regularly. Gliftic manages to surprise the users with the images it makes, but, currently, is limited by what gets programmed into it or by pure chance. How about adding a real artifical conciousness to the program? Creating an intelligent artificial designer? According to Igor Aleksander [1] conciousness is required for programs (computers) to really become usefully intelligent. Aleksander thinks that "the line has been drawn under the philosophical discussion of conciousness, and the way is open to sound scientific investigation". Without going into the details, and with great over-simplification, there are roughly two sorts of artificial intelligence: 1) Programmed intelligence, where, to all intents and purposes, the programmer is the "intelligence". The program may perform well (but often, in practice, doesn't) and any learning which is done is simply statistical and pre-programmed. There is no way that this type of program could become concious. 2) Neural network intelligence, where the programs are based roughly on a simple model of the brain, and the network learns how to do specific tasks. It is this sort of program which, according to Aleksander, could, in the future, become concious, and thus usefully intelligent. What could the advantages of an artificial artist be? 1) There would be no need for programming. Presumbably the human artist would dialog with the artificial artist, directing its development. 2) The artificial artist could be used as an apprentice, doing the "drudge" work of art, which needs intelligence, but is, anyway, monotonous for the human artist. 3) The human artist imagines "concepts", the artificial artist makes them concrete. 4) An concious artificial artist may come up with ideas of its own. Is this science fiction? Arthur C. Clarke's 1st Law: "If a famous scientist says that something can be done, then he is in all probability correct. If a famous scientist says that something cannot be done, then he is in all probability wrong". Arthur C Clarke's 2nd Law: "Only by trying to go beyond the current limits can you find out what the real limits are." One of Bertrand Russell's 10 commandments: "Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric" 3. References 1. "From Ramon Llull to Image Idea Generation". Ransen, Owen. Proceedings of the 1998 Milan First International Conference on Generative Art. 2. "How To Build A Mind" Aleksander, Igor. Wiedenfeld and Nicolson, 1999 3. "How I Drew One of My Pictures: or, The Authorship of Generative Art" by Adrian Ward and Geof Cox. Proceedings of the 1999 Milan 2nd International Conference on Generative Art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	0e42
authors	Rouse, W., Geddes, N. and Curry, R.
year	1998
title	An Architecture for Intelligent Interfaces: Outline of an Approach to Supporting Operators of Complex Systems Articles
source	Human-Computer Interaction 1987-1988 v.3 n.2 pp. 87-122
summary	The conceptual design of a comprehensive support system for operators of complex systems is presented. Key functions within the support system architecture include information management, error monitoring, and adaptive aiding. One of the central knowledge sources underlying this functionality is an operator model that involves a combination of algorithmic and symbolic models for assessing and predicting an operator's activities, awareness, intentions, resources, and performance. Functional block diagrams are presented for the overall architecture as well as the key elements within this architecture. A variety of difficult design issues are discussed, and ongoing efforts aimed at resolving these issues are noted.
series	other
last changed	2002/07/07 16:01

_id	ddss9866
id	ddss9866
authors	Zacharias, John
year	1998
title	Virtual Shopping Centre Models and Path Choice
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	A three-dimensional computer model of a shopping center was navigated by participants who were unfamiliar with it. In the first experiment, an orthogonal and equally spaced grid was used. It was found that the great majority of the itineraries made simple and similar patterns which were remembered by the participants, although they often mistook theprecise path choices. In a second experiment, the width of the corridors was varied. Participants showed a distinct preference for wider corridors over narrow ones, resulting in a significantly different distribution of itineraries when compared with the results of the first experiment. Dimensional variation did not improve the ability of the participants toremember their itineraries, however. Also, individuals preferred to continue moving straight-ahead over turning. They also preferred to circumnavigate the shopping center, traveling along the outer edges, rather than head first into its center. The computer-based model is a low-cost way of testing preference in a dynamic way and could be mounted on multiple stations in computer laboratories as a way of increasing sample size. Thereremain some interface problems, however, that diminish somewhat the sensation of moving in real time. Further work will include refinements to the model and other variations in geometry and visual stimuli in the virtual shopping center, in addition to its validation in real environments.
series	DDSS
last changed	2003/08/07 16:36

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