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	e35f
authors	Monedero, Javier
year	1998
title	The Role of the Architect in the Age of Automatic Reproduction
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 158-163
doi	https://doi.org/10.52842/conf.ecaade.1998.158
summary	This paper is a general reflection on the relationship between computer architectural education and professional practice or, in other words, the social role of architects. This reflection is grounded on the experience of the author as director of a Master program on computerized architectural projects and as professor of two general school courses: one consisting on a theoretical review of computer applications in architecture, the other consisting on a practical development of modeling and visualization techniques. The main argument is that little attention is being given in recent publications and CAAD conferences to the actual role of architect in society and that a big gap is growing between what is currently taught in architectural schools and what happens in real life. This gap has as one pole what is loosely called the "star system" of famous architects that create singular buildings and that constitute the main reference of our architectural culture and, as another pole, the rigid laws of the market that dictate the types of most residential buildings. This lack of attention manifests itself in the unbalanced weight of papers on multimedia, historical modeling or visualization techniques and papers on housing or architectural current elements analysis. Some very interesting lines of research, perhaps distorted due to an insufficient analysis of the general notion of type in architecture, have been abandoned without much comment. The conclusion is that a discussion on this line would perhaps help to define better the distance between computer craftsmanship and architectural education.
series	eCAADe
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/33monedero/index.htm
last changed	2022/06/07 07:58

_id	40
authors	Prieto, Carlos and Serrentino, Roberto
year	1998
title	Configuraciones Urbanas Recursivas (Recursive Urban Configurations)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 300-309
summary	A method to develop skills using digital techniques in architectural and design fields is proposed. Recursive procedures in successive cycles of abstraction are used applied for the urban layout design process. Each configurational cycle (master plan, urban modules, buildings, habitational units) is separated and exaggerated to face the process with pedagogical goals. Urban factors that conform the city are identified in order to classify repetitive urban problems. A patch of the city, in which a master plan is developed, is isolated and is submitted the measurable tests related to the Architectural and Design projecting process, enfatizating the following aspects., its systemic structures, its geometry and its growing. Alometric concepts and growing form analogies are used as scale control method in transformations and in recursive cycles. Based in two potentially recursive theories, fractals and tessellation's theories, a pedagogic procedure oriented to the use of tessellations is proposed using CAD systems tools.
series	SIGRADI
email
last changed	2016/03/10 09:58

_id	d414
authors	Zalewski, Waclaw and Allen, Edward
year	1998
title	Shaping Structures
source	New York: John Wiley and Sons
summary	In Shaping Structures, an engineer and an architect, both longtime teachers of structures at major American universities, collaborate to present an inspired synthesis of the creative and the technical, explicating both the principles of statics and their application to the fascinating task of finding good form for structures. This richly visual volume features: * An easily understood development of the fundamentals of statics * Step-by-step demonstrations, using both numerical and graphical techniques, of simple yet powerful methods for finding form and forces for arched structures, suspended structures, cable-stayed structures, and highly efficient trusses * 120 photographs and more than 300 crisp drawings that illustrate and explain the magnificent structural triumphs of master architects and engineers -including Gustave Eiffel's famous tower, Robert Maillart's soaring bridges, Pier Luigi Nervi's landmark Turin Exhibition Hall, and many others * Calculations in both SI metric and conventional units throughout the book Requiring only the most rudimentary mathematical background yet accurate and fully functional, Shaping Structures provides an inviting point of entry to the study of structural design for engineering and architecture students -proving that the science of statics doesn't have to be lifeless, simplistic, or dull.
series	other
last changed	2003/04/23 15:14

_id	c373
authors	Baldwin, A.N., Austin, S.A., Hassan, T.M. and Thorpe, A.
year	1998
title	Planning building design by simulating information flow
source	Automation in Construction 8 (2) (1998) pp. 149-163
summary	Successful project management requires the effective control of the design teams and the exchange of information between them for successful design management. This paper describes a methodology involving discrete event simulation that can help the planning and control of building design. Discipline-based information flow models of the building design process are used to define the activities of the simulation model, concentrating on the concept and schematic design stages. Factors such as task durations and resources are then allocated along with any specific constraints that are to be evaluated. The model predicts the outcomes of the specific scenario of information related events, including design schedules and resource histograms. The paper describes the development and validation of the simulation model and discusses its potential application during the planning and design phases of building projects. It is concluded that this approach could form the basis of a useful tool for design managers responsible for multidisciplinary building design work.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	57
authors	Chernobilsky, Lilia B. and Arturo F. Montagu
year	1998
title	Desarrollo de un Sistema de Informacion de Infraestructura Edilicia (Development of an Information system of Municipal Infrastructure)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 426-431
summary	The Information System of Building Components -ISBC, consists of a set of activities to control the graphic data operation procedures of building plans and its storage in a data base. The system is specially prepared to be used by architects, engineers and cad operators who are dealing with a continuous flow of design problems, regarding the permanent adaptation and modification of office's layout in a great amount of buildings around the country. These constant changes bring out several types of architectural design problems that should be taken into consideration by the proposed system, particularly the reallocation of office furniture and the modification of building components. Therefore, the principal goal of the system is based on the inquiry and permanently updating of the data base composed by: furniture, technical equipment (computers and telecommunications networks), lights, air-conditioning, sanitary equipments and any other equipment that can be inventoried. The generation and operation of great amount of graphics and alphanumerical information bring out severe data inconsistency problems, particularly when graphic data is envolved. The task of "feeding" and modifying a data base produces errors that aren't easy to solve, even when specific consistency procedures are used. The ISBC provides the computer routines for the initial task of building up the required data base of each building, allowing to use an interactive algorithm among the digitized plans of each office and the data base of the enquiry system. An additional operation included in the system allows to compute the area of each section of the building in order to calculate several types of working spaces regarding ergonomical and functional performance specifications established by law regulations.
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	852a
authors	Falabella, T., Fernández, L.R. and Goyeneche, H.
year	1998
title	Utilizacion de la Grafica Digital en la Gestion del Mantenimiento de Edificios (Use of Digital Graphics in the Management of the Maintenance of Buildings)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 446-451
summary	The study and development of an informatic application as part of the Research Project informatic application for the building maintenance action", consist on the peripheric and software surface outline, frequently used in this discipline, like the Data Base of the programs Access of Microsoft and Autocad of Autodesk. The outline of data base implies the concept of sensitive matrix, necessary for the systemic analysis of the information. This software not only let you make the initial diagnostic of the buildings, necessary for the Plan of Corrective Maintenance (PMC) and Plan of Preventive Maintenance (PMP), but also it is used as an efficient tool of the maintenance, which allow the constant up to date information, the exact on time diagnostic, to make the necessary adjustments to the PMC and PMP. Besides, a good technical documentation is necessary for an efficient maintenance action. The entail of the Data Base with the CAD Systems allows a fast access to a big volume of centralized information to consult or change. To formulate a pattern of integral maintenance action on buildings, implies the systematic conception of them and the Philosophy of the Preventive Maintenance. They are less than the Model and do not consider the former concepts. It is difficult to define and solve the matrix system (inside or outside the software) and the relations where the information run. The informatic application outline in its different steps (planning, operation, evaluation) with the elements (technical, administrative, of control) are the structural axis of a new form of the Maintenance Action.
series	SIGRADI
email
last changed	2016/03/10 09:51

_id	7560
authors	Gomez, Nestor
year	1998
title	Conceptual Structural Design Through Knowledge Hierarchies
source	Carnegie Mellon University, Department of Civil and Environmental Engineering, Pittsburgh
summary	Computer support for conceptual design still lags behind software available for analysis and detailed design. The Software Environment to Support the Early Phases in Building Design (SEED) project has the goal of providing design generation and exploration capabilities to aid in the conceptual design of buildings, from architectural programming and layout to enclosure design and structural configuration. The current work presents a component of the efforts of the SEED-Config Structure group in providing computer support for conceptual structural design. The Building Entity and Technology (BENT) approach models data about building elements in a general, hierarchical form, where design evolution is represented by the growing specificity of the design description. Two methods of system-supported design generation are provided: case-based reasoning and application of knowledge rules. The knowledge rules, termed technologies, and how they are specified and used are the primary focus of this thesis. In the BENT approach, conceptual structural engineering knowledge is modularized into technology nodes arranged in a directed 'AND/OR' graph, where OR nodes represent alternative design decisions and AND nodes represent problem decomposition. In addition, nodes in the graph may also be specified as having AND/OR incoming arcs thus reducing the duplication of nodes and enhancing the representational power of the approach. In order to facilitate the incorporation of new knowledge into the system, and verify and/or change the knowledge already in the system, the data model and the interface allow for dynamic creation, browsing, and editing of technology nodes. Design generation through the use of the knowledge hierarchy involves the conditional application of nodes according to the design context as represented by the building element(s) under consideration. Each application of a technology node expands the design of building elements by increasing the detail of the design description or by decomposing the elements into less abstract components. In addition, support for simultaneous design of multiple elements and for iteration control are also provided. An important feature of the BENT approach is that the generative knowledge (i.e., the technology hierarchy) is detached from the information repository (i.e., the database of entities which make up the building). This allows the technology hierarchies to be used in a modular fashion from building problem to building problem.
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	ddss9828
id	ddss9828
authors	Holmberg, Stig C.
year	1998
title	Anticipation in Evaluation and Assessment of Urban and Regional Plans
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 start a move toward better computer based supporting tools for the assessment of urban and regional plans, a new research and development endeavour is proposed. In so doing, anticipation andanticipatory computing, i.e. a technique applying modelling and simulation, is found to be an interesting and promising point of departure. Hence, a fuzzy cellular automata computer model (STF) for simulation and anticipation of geographical or physical space is constructed. The main idea is to map anurban plan onto the STF for its assessing. STF has a normalised and continuous, i.e. fuzzy, system variable while both the time and space dimensions take on discrete values. Further, while ordinary cellularautomata use local rules, global ones are employed in STF, i.e. there is a total interdependence among all the cells of the automata. Outcomes of STF can be interpreted more as possible future states than exact predictions. Preliminary results seem to be well in line with main characteristics of planned urban or regional geographical spaces. Further, for the managing of multi-criteria choice situations, a fuzzy procedure – the Ordered Weighted Average (OWA) procedure – with continuous control over the degree of ANDOR-ness and with independent control over the degree of tradeoff, is proposed.
keywords	Geographical space, Anticipatory Computing, Cellular Automata, Spatio Temporal Fuzzy Model (STF)
series	DDSS
last changed	2003/08/07 16:36

_id	1873
authors	Ji, Guohua and Feng, Jinlong
year	1999
title	Structural Approach to the Organization of Information: A Teaching Experiment at SEU
source	CAADRIA '99 [Proceedings of The Fourth Conference on Computer Aided Architectural Design Research in Asia / ISBN 7-5439-1233-3] Shanghai (China) 5-7 May 1999, pp. 153-159
doi	https://doi.org/10.52842/conf.caadria.1999.153
summary	Design studio still plays a very important role in architectural design education today since teachers and students can exchange their thinking directly. In the whole teaching/learning process, there are a lot of information to be exchanged between the teachers and the students. How to organize the information and record the whole teaching/learning process is very interesting to us. The increasing use of CAD raises some problems with its advantages when the amount of compute-files becomes very big and they are in different formats. In the third year design studio teaching in the academic year 1998/99 at Department of Architecture in Southeast University, we try to use WWW techniques and features to organise the design information. We try to integrate the teaching programme, the project information, the reference material and the students' work together, to record and monitor the teaching process. Since the teaching programme is clearly organised, we could use some strategies and ideas to control the organisation of file storage and presentation. It creates the basis for the further development of applying network to aid the studio teaching.
series	CAADRIA
last changed	2022/06/07 07:52

_id	b796
authors	Krishnamurthy, B.K., Tserng, H.-P., Schmitt, R.L., Russell, J.S., Bahia, H.U. and Hanna, A.S.
year	1998
title	AutoPave: towards an automated paving system for asphalt pavement compaction operations
source	Automation in Construction 8 (2) (1998) pp. 165-180
summary	Asphalt pavement density from roller compaction is a crucial factor in ensuring satisfactory pavement performance. Proper and uniform compaction of the pavement mat is essential in achieving the desired final compacted density. There is a necessity to investigate existing pavement construction practices, and provide more cost-effective modifications to the current scenario. Automation of the paving operation can increase the efficiency and quality of the operation, lead to reductions in overall project costs and time, and enhance pavement life. A system can be developed through algorithmic planning and real-time guidance strategies, and the development of a semi-automated path-planning and real-time guidance system that aims towards automating the paving operation. This system accepts relevant paving project inputs, generates appropriate path plans for the compactor, performs a graphical visualization of the generated path plan, and offers real-time guidance capabilities using Global Positioning Systems (GPS) technology. This system, named AUTOPAVE (v1.0), was developed in Microsoft Visual Basic™ programming language and offers a user-friendly and interactive graphical interface. The proposed new system will incorporate state-of-the-art GPS technology to standardize paving operations that are more amenable to rigorous quality control, and can result in considerable reductions in cost and time involved in asphalt pavement construction projects. This system was tested on several actual paving projects, and many operational issues related to the functioning of the system were successfully overcome.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_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	2b30
authors	Mejía, Ricardo Cuberos
year	1998
title	Integration of CAD on a Planning Support System Experiences in Urban Planning of Altagracia
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 53-74
summary	This paper relates to the group of strategies of information automation utilized for the development of a planning support system, conceived for the preparation of the urban plan of an intermediate city, with semi-industrial, tourist and fishing character, whish is located in the occident from Venezuela. Developed according the official methodology of urban analysis established for the national urban authorities, the planning support system incorporates different technical for the automated processing of information in innovative way, to obtaining each one of the products that constitute the urban plan. Such system bases on a model of integral management and structured control of cartographic and document information, databases, images and animations, respect to information fields so different as routes networks, census segments, building inventories, and tourist videos. For it, a CAD system was combined with analysis and information presentation tools, elaborated through GIS, word processors, image processors, spreadsheet, database systems, presentation programs and hypertext interfaces, under the administration of a local network area.
series	plCAD
last changed	1999/04/08 17:16

_id	ga9813
id	ga9813
authors	Pontecorvo, Michael Steven
year	1998
title	Designing the Undesigned: Emergence as a tool for design
source	International Conference on Generative Art
summary	Design, as an act and a result, is a natural part of the larger biological context in which we live. It is both a behavior and a tangible side effect of the organic system from which it arises. A design can be characterized as a physical exemplar of the concept of memes, the 'genetic' building blocks of ideas or units of cultural transmission. In this capacity, design has served to extend humankind's reach and ensure and enrich humankind's survival in the full range and variability of conditions the Earth has to offer. In a very real sense, design has 'evolved' its own rich ecosystem, with a robust diversity of elements, dynamics, and interrelationships rivaling that of the organic system from which it derives. In the ecology of design, designs obey laws analogous to the laws of survival and selection that organisms in nature obey. Given the recent advances in understanding and modeling of the biological and physical systems, it is not surprising that artists and designers are now turning to these models as a 'new' resource for the conceptualization and design of structured artifacts and spaces. While there are many fundamental technical issues surrounding development and application of generative models and processes, the relationship of artist to the process of creation is a central issue in the scaling up and widespread accessibility/acceptance of the generative approach. This paper will present a set of observations from the perspective of a small company of artist/ technologists trying to bridge the commercial and artistic application of generative processes. Specifically, the paper will explore some approaches to the designer/system relationship and process control metaphor, the balancing of serendipity and design convergence, the definitions and representations of design spaces, and finally, present some ideas about the future prospects and promising new techniques for generative design.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	7400
authors	Rizal, H. and Ahmad Rafi, M.E.
year	2002
title	The Impact of Internet Enabled Computer Aided Design (iCAD) in Construction Industry
source	CAADRIA 2002 [Proceedings of the 7th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 983-2473-42-X] Cyberjaya (Malaysia) 18–20 April 2002, pp. 085-92
doi	https://doi.org/10.52842/conf.caadria.2002.085
summary	The advent of the Internet has opened up and given, particularly, the developing countries and the world in general, a transformation into collective intelligence (Levy, 1998) societies linked to digital communication (Rafi, 2001). Apart from large corporations, the rapid evolution of border-less communication has also synergise between the art and science expertise to form low-cost internet-based networks that have become multi-million dollar companies within a short period of time (e.g. Linux) (Rafi, 2001). In the context of architectural designs and construction industries, the birth of Internet-based CAD (iCAD) solutions has offered a new dimension to architectural practice. The function of CAD has expanded as a tool to communicate and collaborate as well as to better control all phases of the architectural practices. This paper will review the current available iCAD tools and explore the possible utilisation of iCAD in architectural practices. The opportunities for modifying current professional practice standards to best use iCAD will be rationalised as well as the elements in ensuring the effectiveness of iCAD implementation. The final component of the paper will be an evaluation framework to measure the value of iCAD in an architectural practice. The framework will become an early platform for an architectural practice to decide and plan their future in utilising and applying iCAD in the most efficient way.
series	CAADRIA
type	normal paper
email
last changed	2022/06/07 07:56

_id	4d85
authors	Shimokawa, Y., Morozumi, M., Iki, K. and Homma, R.
year	1998
title	Replacement and Transformation as a Key to Schematic Design Thinking - 3-D Modeling System which Supports Design Thinking
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. 365-374
doi	https://doi.org/10.52842/conf.caadria.1998.365
summary	This paper analyses a prototype of a 3D modeling system that can support schematic design development and begins with very abstract representation elaborates it step by step into a detailed representation. Using Mitchell's concept of a TOPDOWN system for 2D sketches as the basis, the authors proposed a design process model and a prototype that allows both bottom up additive processes in exploring the design frame and top down processes for the design refinement of each building element. Various utilities of replacing and transforming graphic objects as well as those that can control shapes and the location of those objects with construction lines have been proposed. The authors discussed possible use of the system and topics for future study by reviewing case studies.
keywords	Replacement Operation, Modeling System, Schematic Design, Design Thinking
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:56

_id	ddss9853
id	ddss9853
authors	Sidjanin, Predrag and Gerhardt, Waltraud
year	1998
title	A design tool for analysis and visual quality control of urbanenvironments supported by object databases
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 the paper, the main concepts about a design tool supported by an object database system will be described. The design tool should improve architectural design with respect to analysis and improving existing and planned urban environments regarding several quality criteria, especially those associated with visual aspects. Preconditions for defining the design tool's purpose are the determination of the "well-situated" urban elements, their impact on cognitive mapping, and the exploitation of thisknowledge on cognitive mapping for the improvement of urban environments. Cognitive mapping is a kind of representation of schematic knowledge that a person has about familiar environments. A cognitive map is stored information or knowledge about the purpose and function of the environment. This leads to the conclusion that an urban environment design which takes of the process of cognitive mapping into consideration, will be experienced by most of the people in the same way. Investigationsof this process result in a theoretical model of elements of urban environments, their relationships and their dependencies. The theoretical platform of the tool is based on design theory, cognitive science andcomputer science. Design theory and cognitive science will be used to develop the theoretical model. This theoretical model together with computer science will be the basis for tool development. The tooluses a schematic representation of urban environment, based partly on Lynch's theory of "urban form". Lynch's theory is crucial for the tool because it explains almost all elements of urban environments. Systematic investigation of urban environments and their characteristics are important for theoretical modeling as well as for the later computational modeling of the tool. The main computational support for the tool will be provided by an object database system, which helps to represent and to handle all the urban elements with their properties and relationships, with their natural semantics. The information represented in the database will be used to analyze urban environments as well as to improve andcontrol their visual quality.
series	DDSS
email
last changed	2003/08/07 16:36

_id	ddss9863
id	ddss9863
authors	Yaakup, A., Johar, F. and Yusof, I.M.
year	1998
title	Development Control System and GIS for Local Authority in Malaysia:A Case of Kuala Lumpur City Hall
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 examines the functions of local authority particularly in the context of planning and development control. The process of development control involves a technique for the systematic compilation of expert quantitative analysis and qualitative assessment of a project's land use and development viability, including its effect on the surrounding area, andthe presentation of results in a way which enables the importance of the predicted results, and the scope for modifying or mitigating them, to be properly evaluated by the relevant decision making body before a planning application decision is rendered. Taking Kuala Lumpur as an example this paper will demonstrate the development of database and its application for development and building control. The application indicates that thefunctionality of GIS can be enhanced, i.e. by adding new model and analytical tools to existing systems and by using the GIS toolkit to best effect. Consequently it will be used to assist decision-making, taking into account among other things, the current scenarios of the proposed development, physical constraint and future impacts.
series	DDSS
last changed	2003/08/07 16:36

_id	67b0
authors	Young, Robert A.
year	1998
title	Climatic Factors in Regional Design: An Interactive Tool for Design Education
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. 188-201
doi	https://doi.org/10.52842/conf.acadia.1998.188
summary	This paper describes the development of an interactive computerized module developed as a digital resource for architectural design students that incorporates the premise of using architectural form as a primary environmental control system in a building. The first in a series of such modules, Climactic Factors in Regional Design illustrates the factors involved in regional design strategies. With the recognition that many design practices of the latter twentieth century are not environmentally sustainable, this module is to be used in a curriculum which recognizes that sustainable architecture begins by using architectural form as the primary environmental control system and the mechanical and electrical systems supplement that system not dominate it. With recent advances in recognizing sustainability issues, the country is now more willing to embrace environmental stewardship. The path to reduce environmental problems is through the integration of practices recognize architectural form as a primary environmental control system. As such, the latest generation of designers must view design comprehensively. If future building designers are to succeed, environmental control integration needs to be included pro-actively within the initial design rather than reactively appended to the end. Climatic Factors in Regional Design is designed to foster this paradigm shift and is divided into several topics and subtopic sections which include Introduction, Regional Design, Microclimate, Regional Guidelines, Design Strategies, Glossary, and Sample Examination. The module contains 260 screen displays and more than 250 illustrations, figures, and diagrams. Users can progress through the module in any sequence as their needs warrant. The module was developed using the academic version of Authorware Star by Macromedia.
series	ACADIA
email
last changed	2022/06/07 07:57

_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.
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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.
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