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_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	acadia08_278
id	acadia08_278
authors	Paz Gutierrez, Maria
year	2008
title	Material Bio-Intelligibility
source	Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 278-285
doi	https://doi.org/10.52842/conf.acadia.2008.278
summary	Through the formation of bio-chemical information networks natural materials possess efficient processes of self-organization, adaptability, regeneration and decomposition. This performative excellence has lead science to draw behavioral models from nature implementing biomimmicry (Benyus 1998) in the pursuit of material systems optimization. Design disciplines influenced by this course are integrating living organisms as models of efficiency through bionic systems ever more into their discourse. Architecture, influenced by this tendency, is becoming progressively more aware of the vast benefits that biomimetics can yield particularly in the development of ecologically sensitive systems. Yet, the emerging incorporation of bionics into architecture is differing largely to that within the sciences by centering almost exclusively in form (geometrical pattern) generation. This paper analyzes a rising material design research methodology implementing biomimetics: matter-form parametrics based on bio-physical properties’ data. Specific study of the incorporation of broad-scalar scientific imaging into the formulation of explorative parametric grammar for the development of material systems is analyzed through a bio-synthetic polymer based wall system (SugarWall, Gensler+Gutierrez 2006b). The incorporation of broad scalar imaging and material interdependencies is propelling the emergence of new programming tactics that will affect bio-material systems architectural research.
keywords	Behavior; Biomimetics; Material; System; Visualization
series	ACADIA
last changed	2022/06/07 07:59

_id	a15e
authors	Dijkstra, J. and Timmermans, H.J.P.
year	1998
title	Conjoint Analysis and Virtual Reality - A Review
source	Timmermans (ed.), 4 Ih Design and Decision Support Systems in Architecture and Urban Planning Conference.
summary	This paper describes a review of an ongoing research project which aims to develop a conjoint analysis and virtual reality (CA&VR) system as part of a design information system in virtual reality. The research project aims to develop a design system that can be used for interactive design and evaluation of design alternatives. A virtual environment model and dynamic virtual objects representing the different design aspects of interest can present a design. The different design aspects are called attributes. Each attribute level is a different state of the concerned virtual object. In the case of a virtual walk through a building design, the system can be viewed as a visual simulation of the environment. The CA&VR system has the potential advantage that individuals' preferences can be measured in designed hypothetical choice situations. As part of the ongoing research project, principles underlying the CA&VR system will be illustrated by simple examples. The status of this research project, both in retrospect and in prospect will be described.
series	other
last changed	2003/04/23 15:50

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

_id	64c9
authors	Dannettel, Mark E. and Bertin, Vito
year	1998
title	Integrating Electronic Media into the Architecture Studio -A Teaching Development Grant at the Chinese University of Hong Kong.
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. 31-38
doi	https://doi.org/10.52842/conf.caadria.1998.031
summary	Increasingly, architecture students and instructors are exposed to a widening array of softwares, hardwares, and strategies for the production and representation of architectural work. In an effort to promote the effective use of these tools within design education, instructors need to develop strategies for implementing them into the design studios. A teaching development grant which has been received by the Department of Architecture at CUHK is entitled Integrated Media Design Studio. This investigation involves multiple instructors, and levels of design studios. It provides an environment of a wide range of available equipment for producing, evaluating, documenting, and communicating architectural work in the studio. In addition to increasing the effective use of technology resources, and also raising the quality of studio instruction, this teaching development grant aims to create opportunities to further integrate other courses within the studio environment.
keywords	Multimedia, Architecture, Studio, Education
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:55

_id	aac0
authors	Garcia, Renato
year	1998
title	Structural Feel or Feelings for Structure? - Stirring Emotions through the Computer Interface in Behaviour Analysis of Building Structures
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. 163-171
doi	https://doi.org/10.52842/conf.caadria.1998.163
summary	The use of computers in the analysis of architectural structures has at present become indispensable and fairly routine. Researchers & professionals in architecture and engineering have taken advantage of current computer technology to develop richer and more comprehensive interactive interfaces in systems designed to analyse structural behaviour. This paper discusses a research project which attempts to further enrich such computer interfaces by embodying emotion or mood (affective) components into them and assessing the effects of incorporating these into multimodal learning modules for students of architecture at the University of Hong Kong. Computer structural analysis is most often used to determine the final state of a structure after full loading, but can also be used very ably to depict the time-history behaviour of a structure. The time-dependent nature of this process of behaviour provides an excellent opportunity to incorporate emotion cues for added emphasis and reinforcement. Studying time-history behaviour of structures is a vital part of classroom learning in structures and this why such emotion cues can have significant impact in such an environment. This is in contrast to the confines of professional engineering practices where these cues may not be as useful or desirable because oftentimes intermediate time history data is bypassed as a blackbox and focus is placed primarily on bottomline analysis results. The paper will discuss the fundamental basis for the establishment of emotional cues in this project as well as it's implementation-which consists mainly of two parts. The first involves 'personifying' the structure by putting in place a structure monitoring system analogous to human vital signs. The second involves setting up a 'ladder' of emotion states (which vary from feelings of serenity to those of extreme anxiety) mapped to the various states of a structures stability or condition. The paper will further elaborate on how this is achieved through the use of percussion, musical motifs, and chord progression in resonance with relevant graphical animations. Initially in this project, emotion cues were used to reinforce two structural behaviour tutoring systems developed by this author (3D Catenary Stuctures module & Plastic Behaviour of Semi-rigid Steel Frames module). These modules were ideal for implementing these cues because both depicted nonlinear structural behaviour in a mainly time-history oriented presentation. A brief demonstration of the actual learning modules used in the project study will also be presented together with a discussion of the assessment of it's effectiveness in actual classroom teaching.
keywords	Affective Interfaces, Human-Computer Interaction, Computer-Aided-Engineering
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:50

_id	c5bc
authors	Popova, Mina
year	1998
title	Model of Design Parts and its Use to the Design Team
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
doi	https://doi.org/10.52842/conf.caadria.1998.233
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	4f8e
authors	Yeung, C., Kan, C., Bradford, J. and Wong, R.
year	1998
title	Campus Guided Tour VR System for the University of Hong Kong
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. 77-82
doi	https://doi.org/10.52842/conf.caadria.1998.077
summary	Virtual Reality has been an ideal environment for visualizing three-dimensional models as well as implementing simulation systems such as flight training and surgery preparation. In such a system, the user can be familiar himself/herself with a particular environment or the procedure of a task even before going into the real site or actually performing a task. In this project, we are trying to implement a Guided Tour System inside a Virtual Reality Environment. Basically, a three-dimensional model of the campus of the University of Hong Kong will be built in the Virtual Reality Modeling Language (VRML). It is now possible to have a 3D visualization of the model in any Web browser. A non-directed graph can be built based on the 3D model with every branch representing a path, and every node represents a specific location inside the campus. Based on this graph, we can calculate all possible routes between any two nodes and deduce the shortest path between them. The guided tour system is designed in such a way that whenever the user attempts to move to a new place inside the campus, he/she will be brought to there in the quickest way automatically with just a few “mouse-click”. In this project, the Cosmo VRML player will be used as the browser’s plugin, and other associated tasks are developed in Javascript.
keywords	Virtual Reality, Guided Tour
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:57

_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	ddss9806
id	ddss9806
authors	Besio, M., Frixione, M. and Pedemonte, O.
year	1998
title	GIS technologies in the transfer of theknowledge project to the plan projectmultiple representation of the environmental spaces
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	An analysis is made of the relation between the conceptualand paradigmatic level of GIS technologies and the new forms of plan, whichmake environment the center of attention. The intention is to study newcriteria for zoning able to give contextual representations of theterritorial, environmental and landscape aspects of the geographical space,and also to study new legislative principles, able to establish integratedrules for theprojecting of soil uses, the safeguarding and recovery ofenvironmental systems and the tutelage and boosting of the landscape. The experimentation of GIS (Geographical Information System)technologies aims at the construction of systems helping to make decisionsfor the control of the environmental and landscape aspects of theterritory. An analysis is made of the ways in which there are formulated thedescriptions of the various aspects of the environment: the conceptsthrough which knowledge is expressed, the languages used forrepresentations, the cognitive models adopted. GIS technologies have made it possible to represent in an explicitmanner the paradigms underlying the various models of knowledge.Specifically, the following cognitive models have been developed:- ecological models of nature- ecological models of human settlement- ecological models of inhabitants’ mental perceptions
series	DDSS
last changed	2003/11/21 15:16

_id	a841
authors	Brady, Darlene A.
year	1998
title	Premise & Process: The Pedagogical Implications of Computing in Design
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 31-39
doi	https://doi.org/10.52842/conf.ecaade.1998.031.2
summary	Form is capable of communicating a profound idea only when it is linked to a more essential metaphorical intention. The design studio is a forum for addressing this relationship of idea and the means of expression. Computing offers the potential to enhance the design enquiry, but issues of how and when to integrate computer applications in the studio have significant pedagogical implications. It not only has an impact on the size, complexity and number of design projects, but also on whether architectural ideas or computer technology is the content of the studio. It is important to distinguish between the computer image and the process used to achieve the final result. Many computer-based studios focus on the final product which encourages technology to drive design. This paper addresses how design issues can determine the use of technology so that design ideas and computing can reinforce each other, rather than be competing issues. It examines how the unique strengths of computer modeling and animation is used to explore the relationship between visual expression and intention via the issues of metaphor, tectonic color, context and kinetics in several of my graduate and upper-level undergraduate computer-based design studios in the School of Architecture at the University of Illinois at Urbana-Champaign (UI-UC). The studio topics are diverse in nature and include Normative Studio: Prototype as Formgiver; Urban Issues: Context, Color & Kinetics; and Virtual Metaphors: Literature as Formgiver.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:54

_id	873d
authors	Chiu, Mao-Lin and Lan, Ju-Hung
year	1998
title	Discovery of Historical Tainan: A Digital Approach
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. 113-122
doi	https://doi.org/10.52842/conf.caadria.1998.113
summary	This paper depicts the use of computers in the urban studies, and provides a digital way of understanding historical buildings. "Discovery of Historical Tainan" is a joint project among historians and CAD researchers to use a digital approach to preserve historical evidences of the central city of Tainan. The importance of historical scenes is revealed by the efforts of integration with digital information and models. Furthermore, the level of abstraction and accuracy in the large-scale urban models are examined. The result demonstrates that the ability of foreseeing the future changes can be enhanced by the digital approach.
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:56

_id	aa52
authors	Chiu, Mao-Lin
year	1998
title	The Design Guidance of CSCW - Learning from Collaborative Design Studios
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. 261-270
doi	https://doi.org/10.52842/conf.caadria.1998.261
summary	Computer supported collaborative work (CSCW) becomes important for the architectural practice and design education in recent years. Design guidance on design operations facilitates design studios to achieve their educational and research purposes. This study depicts the experience of computer-supported collaborative design learned from three collaborative design studios. Design guidance can advise participants to understand the purpose of communication in CSCW, anticipate design collaboration, and formulate design operations by the process model. Based on the observations of CDS, the discussion focuses on how to develop guidance on design operations according to the following factors: (1) structured framework, (2) the kind of technology, (3) the level of communication, and (4) the process model of CSCW.
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:56

_id	ddss9818
id	ddss9818
authors	Dijkstra, Jan and Timmermans, Harry J.P.
year	1998
title	Conjoint Analysis and Virtual Reality – a Review
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	This paper describes a review of an ongoing research project which aims to develop a conjoint analysis and virtual reality (CA&VR) system as part of a design information system in virtual reality. The research project aims to develop a design system that can be used for interactive design and evaluation of design alternatives. A virtual environment model and dynamic virtual objects representing the different design aspects of interest can present a design. The different design aspects are called attributes. Each attribute level is a different state of the concerned virtual object. In the case of a virtual walk through a building design, the system can be viewed as a visual simulation of the environment. The CA&VR system has the potential advantage that individuals’ preferences can be measured indesigned hypothetical choice situations. As part of the ongoing research project, principles underlying the CA&VR system will be illustrated by simple examples. The status of this research project, both in retrospect and in prospect will be described.
series	DDSS
last changed	2003/08/07 16:36

_id	dd16
authors	Gibson, Kathleen
year	1999
title	STUDIO @ CORNELL
source	ACADIA Quarterly, vol. 18, no. 2, pp. 18-21
doi	https://doi.org/10.52842/conf.acadia.1999.018.2
summary	Unique to the interior design program at Cornell University is a planned pedagogical approach requiring equal emphasis toward manual and digital graphic communication at the freshman level. Prior to 1998, computer-based instruction only occurred at the junior year of study. Recognizing that cultural and symbolic biases against digital media were formally being instituted by curriculum policy, faculty searched for a new perspective. Central to success was the removal of illogically placed boundaries, both mental and physical. In response, students are now encouraged to cultivate a fluid dexterity between traditional and digital methods, at times using various skills concurrently for design analysis and representation (Figures 1, 2, 3, 4, 5, 6, 7). Course content for DEA115 ranges from basic orthographic drafting, paraline projection, and perspective drawing to color rendering and composition. Students utilize a full range of media: pencil, ink, marker, pastel, AutoCAD, 3DS/ MAX, and Photoshop in this graphics studio. Course meetings total six contact hours per week, constituting a three credit hour class. Assignments are purposefully created to shatter digital myths. For example, instead of a standard, rote drafting exercise, AutoCAD is used to explore design ideas through systemic object manipulation (Figures 8, 9).
series	ACADIA
last changed	2022/06/07 07:51

_id	ddss9835
id	ddss9835
authors	Langelaan, J. Willem R.
year	1998
title	Criteria for an object oriented library system of high–level parametric CADelements
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 subject of this paper is the development of criteria and specifications for an object oriented library system of high–level parametric elements that have an integrated 2D and 3D representation. High–levelelements are virtual representations of architectural elements such as windows, doors, etc. High–level parametric elements need few components to be flexible and easily customizable. The generalization ofeach element by its characteristic parts results in a substantial reduction in the number of polygons that must be processed by the computer during the 3D transformation, graphically clean 3D images and low demandon user intervention. Gestalt theory emphasizes the importance of contour lines for the perception of an element. The “minimalist” symbolic representation will simplify contour lines that enhance perception. Theinherent flexibility and functionality of object oriented elements are augmented when the elements are rigorously developed as an object oriented library system, with classes and sub-classes of elements whichinherit characteristics of the parent–class. Attribute values of a parent–class give the user global control over all instances of that class and its sub–classes in the model’s database. The concepts which SystemsTheory uses for making an abstraction of reality are analogous to the concepts used in object oriented programming. This paper describes how Systems Theory is used as tool to develop high–level parametric elements as a functionally and computationally efficient library system.
series	DDSS
last changed	2003/08/07 16:36

_id	b570
authors	Ozel, F.
year	1998
title	Object oriented representation of design decisions
source	Automation in Construction 8 (1) (1998) pp. 87-98
summary	During the course of a design project numerous design decisions are made, usually with little attention paid to documenting them or keeping track of them. Systematic documentation and representation of design decisions can not only be invaluable in learning from past design experiences, but can also be good tools in teaching architectural design. By using abstraction and analogy to analyze a design precedent, a problem/sub-problem hierarchy can be built where similarities and differences between the precedent problem and the target problem, goals, constraints and solutions are identified for each level of the hierarchy. Each one of these can be represented as objects in an object oriented programming environment, allowing the construction of a hierarchic structure. This model was incorporated into a computer assisted learning system called `DesignRep' which was created by using Toolbook® (Asymetrix) object oriented development environment.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:23

_id	48db
authors	Proctor, George
year	2001
title	CADD Curriculum - The Issue of Visual Acuity
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 192-200
doi	https://doi.org/10.52842/conf.ecaade.2001.192
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	diss_prothero
id	diss_prothero
authors	Prothero, Jerrold D.
year	1998
title	The Role of Rest Frames in Vection, Presence and Motion Sickness
source	University of Washington, HIT-Lab
summary	A framework is presented for comprehending partly participants' spatial percep- tion in virtual environments. Speci c hypotheses derived from that framework in- clude: simulator sickness should be reducible through visual background manipula- tions; and the sense of presence, or of \being in" a virtual environment, should be increased by manipulations that facilitate perception of a virtual scene as a perceptual rest frame. Experiments to assess the simulator sickness reduction hypothesis demon- strated that congruence between the visual background and inertial cues decreased reported simulator sickness and per-exposure postural instability. Experiments to assess the presence hypothesis used two measures: self-reported presence and visual- inertial nulling. Results indicated that a meaningful virtual scene, as opposed to a random one, increased both reported presence and the level of inertial motion re- quired to overcome perceived self-motion elicited by scene motion. The simulator sickness research implies that visual background manipulations may be a means to reduce the prevalent unwanted side-e ects of simulators. The presence research intro- duces a procedure, possibly based on brain-stem level neural processing, to measure the salience of virtual environments. Both lines of research are central to developing e ective virtual interfaces which have the potential to increase the human-computer bandwidth, and thus to partially address the information explosion.
series	thesis:MSc
more	http://www.hitl.washington.edu/publications/r-98-11/
last changed	2003/11/28 07:35

_id	0e00
authors	Vásquez de Velasco, Guillermo P.
year	1999
title	La Red Digital de Investigación ""Las Américas"": Una herramienta de colaboración (The Digital Research Network "Las Américas": A Tool for Collaboration)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 384-388
summary	In 1998, thanks to the support of the Program to Enhance Scholarly and Creative Activities of Texas A&M University, the author was able to establish a digital research network that promotes and coordinates collaborative research and development projects at inter-continental level. The original objective was to establish a network of 5 schools of Architecture. This objective was largely surpassed. At the time of editing this paper, the Las Américas Digital Research Network brings together 17 schools of Architecture (from Canada to Argentina). See http://taz.tamu.edu/~americas/ In this collaborative framework, we have been able to identify a number of research and development opportunities. This paper reports on some of the on-going initiatives of the network, namely: a) The Las Americas Virtual Design Studio, b) The Las Americas Virtual Gallery of Visual Arts, c) The Las Americas Research Journal "Archi-Forum" and, d) The Las Americas Curriculum Harmonization Initiative. In addition to a report on current activities, this paper aims to promote new initiatives and identify potential sources of research & development funding. The paper ends with conclusions and a call for widespread participation.
series	SIGRADI
email
last changed	2016/03/10 10:02

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