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	650c
authors	Porada, S.
year	1998
title	Ouvoir - Of the Potential Architecture
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 155-161
summary	Calculations are used to forecast urban flows of population, development of various activities, demography, and many other architectural programme constrains, and have been spontaneously the first field of computer intervention in urban and architectural project design. By analogy to engineering where computation is the base of decision making, architectural design process is seen as a problem solving process. <> constrains computer aided computation is seen as Computer Aided Architectural Design, CAAD. This way, a technological utopia called CAD in architecture is born. Nevertheless, the review of architectural design methods has clearly shown that programmatic models, since they are only used to evaluate spatial hypothesis, and do not have in themselves space production potentialities. In spite of the powerful methodological movement of the sixties, that have established this design constellation, the misunderstanding persists until now. Architect is a gestural and visual being. By using simultaneously metaphor, gesture and calculation, he calls for all his experiences and sensibility to realise plastic and poetic synthesis of form. To remedy to the major problem of the form synthesis, graphical instruments have been proposed. Why not utilise tools used in the field of engineering as computer aided drafting ? And so, computer aided drafting triumphaly entered the architectural design process. But, computer aided drafting is commonly seen as an instrument used on the - projection - stage, where drawings are produced for an already designed object. A new myth that assimilate architectural design to the drawing production activity arrives with the <>, containing thousands of drawings. All this aimed to facilitate, as it is proclaimed, communication between all the intervening in the project.
series	plCAD
last changed	1999/04/08 17:16

_id	ddss9803
id	ddss9803
authors	Arentze, T., Borgers, A. and Timmermans, H.
year	1998
title	Extending spatial DSS with spatial choice models of multipurpose shopping trip behaviour
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	Spatial choice or interaction models have been widely used in spatial DSS or customised GIS for analysing the impacts of retail location plans. The models typically used, however, do not account for spatial agglomeration effects on spatial choice behaviour. This study develops a model system for analysing the impacts of retail plans based on a choice model of multipurpose behaviour developed in earlier work. The model system is implemented in the spatial DSS called Location Planner. An empirical study demonstrates the empirical estimation and use of the model for analysing the impacts of an expansion of floor space in the major shopping centre of a middle-sized city in The Netherlands. The results indicate that agglomeration effects as predicted by the model can have substantial impacts on the performance of retail systems. Therefore, it is argued that when incorporated in a spatial DSS, the more complex models have the potential to improve the use of these systems for impact analysis.
series	DDSS
last changed	2003/11/21 15:16

_id	2796
authors	Brown, Andy and Lee, Hwa, Ryong
year	1998
title	A Mental Space Model
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 27-42
summary	The architectural design process is often characterised a series of evolving ideas, and involving a cyclical process between design and visualisation. However, the nature of the internal representation still remains unclear. What is actually represented in a designers mental space and what drives and influences the mental design process? If we wish to programme a computer to mimic or work in tandem with the mental processes involved we need to make that representation and the associated cognitive processes explicit. The ways that designers form mental representations are so diverse, personal, and often transient that it is not easy to externalise and articulate them in explicit terms. In order to propose a mental model, we can take in a particular I psychological research approach; that of introspective observation from design drawing . In doing so, we posit an assumption that the designer's drawing can be seen as an extension of the internal mental feature, and hence internal representation could be inferred from the analysis of external representation - the drawing or sketch. This approach contrasts with the protocol analysis approach where mental operations are inferred from words, what could be termed thinking aloud.
series	plCAD
email
last changed	2003/05/17 10:01

_id	c11a
authors	Campbell, D.A.
year	1998
title	VRML In Architectural Construction Documents: A Case Study
source	VRML 98 Monterey - Proceedings of the 1998 VRML Conference, pp. 115-120
summary	The Virtual Reality Modeling Language (VRML) and the World Wide Web (WWW) offer new opportunities to communicate an architect's design intent throughout the design process. We have investigated the use of VRML in the production and communication of construction documents, the final phase of architectural building design. A prototype, experimental Web site was set up and used to disseminate design data as VRML models and HTML text to the design client, contractor, and fabricators. In this paper, we discuss the way our construction documents were developed in VRML, the issues we faced implementing it, and critical feedback from the users of the Web space/site. Finally, we suggest ways to enhance the VRML specification which would enable its widespread use as a communication tool in the design and construction industries. CR Categories and Subject Descriptors: 1.3.5 [Computer Graphics]: Computational Geometry and Object Modeling - Curve, surface, solid, and object representations; 1.3.7 [Computer Graphics]: Three-Dimensional Graphics and Realism - Virtual Reality; J-6. [Computer Applications]: Computer-aided Engineering - Computer-aided design (CAD), Computer-aided manufacturing (CAM). Additional Keywords: architecture, construction, AEC, design, construction documentation, specifications, Internet, extranet, World Wide Web, VRML, virtual worlds, virtual environments
series	other
email
last changed	2003/04/23 15:50

_id	c0e0
authors	Campbell, Dace
year	1998
title	Architectural Construction Documents on the Web: VRML as a Case Study
doi	https://doi.org/10.52842/conf.acadia.1998.266
source	Digital Design Studios: Do Computers Make a Difference? [ACADIA Conference Proceedings / ISBN 1-880250-07-1] Québec City (Canada) October 22-25, 1998, pp. 266-275
summary	The Virtual Reality Modeling Language (VRML) and the World Wide Web (WWW) offer new opportunities to communicate an architect’s design intent throughout the design process. We have investigated the use of VRML in the production and communication of construction documents, the final phase of architectural building design. A prototype, experimental Web site was set up and used to disseminate design data as VRML models and HTML text to the design client, contractor, and fabricators. In this paper, we discuss the way our construction documents were developed in VRML, the issues we faced implementing it, and critical feedback from the users of the Web space/site. We analyze the usefulness of VRML as a communication tool for the design and construction industries. Finally, we discuss technical, social, and legal issues the AEC industry faces as it shifts to embrace widespread use of a “paperless” Web-based communications infrastructure for design documentation.
series	ACADIA
email
last changed	2022/06/07 07:54

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

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	ad5b
authors	Chu, K.
year	1998
title	Genetic Space
source	A.D.: Architects in Cyberspace II, vol.68, no.11-12, pp.68-73
summary	The twentieth century is the century of convergence. No other century has witnessed the development and profusion of new ideas as the twentieth century, and no other century has experienced the range and scope of events that transpired globally to the extent as this century. Various historical formations and discoveries, unleashed by the Enlightenment, have profoundly changed and transformed the course of human civilization and lead to the maturation of the idea of modernity in this century. With two years left to the start of the next millennium, we are experiencing the effects of modernity that have channeled powerful innovations into the dawn of a new era that could lead, potentially, beyond modernity. More than anything, it signals one of the major premises of the enlightenment to radicalize the substance of nature through the substance of reason and, thereby, altering the modality of the cultural universe of humanity into a genuine cosmopolitical concept. The synthesis of energy, matter and information into a three-parameter system of explanation has created conditions that allow us to think the unthinkable and extend our imagination to the limits of the conceivable. Modernity, from a metaphysical standpoint, brings to light the concept of a transcendental reason that aims to clarify the conditions of possibility for reason as an apriori given. As a consequence, it paved the way for a systemic constitution of a cosmic concept of reason that partakes in the arrival of alien intelligence and one that seems destined to project itself into an ontological domain of its own making. If modernity is an unfinished project, as claimed by some, its program is, nonetheless, being transformed into a cosmogenetic principle where synthesis is the pre-eminent outcome of a return to a second nature, i.e., a transcendent concept of nature. Even though the transcendental dialectic of critical reason is directed towards the timeless unity of the unconditioned, the genitive logic implicit within cosmic reason, itself a form of recursive self-propelling intelligence, appears to be animated by a projective force capable of engendering and pro-creating in the evolutionary sense of the term.
series	other
last changed	2003/04/23 15:50

_id	ddss9815
id	ddss9815
authors	Cutler, Lorraine M.
year	1998
title	Prototypical Laboratory Design to Support Learning and Teaching
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	Collaboration between designers and scientists is an unusual combination to undertake the prototypical design of a teaching laboratory funded by Howard Hughes Medical Institute. The zoologists are developing a cooperative learning and interactive teaching pedagogy to make learningscience a process of critical inquiry and discovery. The industrial and interior designers are paying attention to the design issues of function and environmental support for teaching and doing the work required in a three-hour, hands-on beginning science learning space. Using both qualitative andquantitative research methods, the designers are able to determine a framework for making design decisions in prototypical beginning science environments. This framework is being developed as a guideline for designing similar environments at other institutions of higher learning. Videotape analysis precedes the research to uncover the underlying problems of the existing space and to formulate the questions for the research. Elements of a case study and an evaluative study integratewith the design process to form the basis of an intensive investigation of design issues for a beginning science teaching laboratory. Using two pretests as a baseline, the posttest data evaluates the success orfailure of the prototypical design. Both the pretests and the posttest evaluate the physical attributes of the old and new learning environment related to a beginning laboratory course in Zoology at Arizona State University.
series	DDSS
last changed	2003/08/07 16:36

_id	27
authors	De Gregorio, R., Carmena, S., Morelli, R.D., AvendaÒo, C. and Lioi, C.
year	1998
title	La Construccion del Espacio del Poder. Museo de la Casa Rosada (The Construction of the Space of Power. Museum of the "Casa Rosada" (Argentinean Presidential House))
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 212-217
summary	The present work is part of the exposition "Francesco Tamburini, La ConstrucciÛn del Espacio del Poder I", exhibited in Rivadavia Cultural Center ( Rosario city), and in Casa Rosada Museum during 1997. The Exposition is based on an investigation program of the space that involves Casa Rosada, determining this space as the first piece of its collection. In 1995, when a group of argentines where visiting the picture gallery Pianetti (Jesi, Italy) there have been found some watercolours of Francesco Tamburini (1846-1890), planner of the main faÁades of the Government and author of many works. These watercolours have great value for architecture, and unknown by public, they have been the starting point of the Exposition. Among these argentines was Roberto De Gregorio architect, historian teacher of this school of architecture, and in charge of the historical investigation. C.I.A.D.'s specific work consists in converting in digital data Casa Rosada's faÁades. The two first stages, already completed, finished on the digital data conversion of facades, in front of Plaza de Mayo and Rivadavia street, with presidential access esplanade. Actually the work is centred on the two facades left and on the elaboration of an electronic model for the edition of a CD-ROM containing the information of the exposition.
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	2de0
authors	Dobson, Adrian
year	1998
title	Exploring Conceptual Design using CAD Visualisation and Virtual Reality Modelling
doi	https://doi.org/10.52842/conf.ecaade.1998.068
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 68-71
summary	This paper evaluates the possibilities for the use of computer aided design and desktop virtual reality technologies as tools for architectural composition. An experimental teaching programme involving undergraduate architectural students at the University of Luton, in which aspects of compositional theory are explored through the direct creation of architectural form and space in digital formats is described. In the programme principles of architectural composition, based upon the ordering and organisation of typological architectural elements according to established rules of composition are introduced to the students through the study of recognised works of design theory. CAD and desktop virtual reality are then used to define and manipulate architectural elements, and to make formal and spatial evaluations of the environments created. The paper describes the theoretical context of the work, assesses the suitability of the software used for performing compositional manipulations, and evaluates the qualities of immersion and intuitive feedback which virtual reality based modelling can offer in the design visualisation process. The teaching programme utilises standard software packages, including AutoCAD, and 3D Studio, as well as Superscape VRT, a PC based desktop VR package.
series	eCAADe
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/13dobson/index.htm
last changed	2022/06/07 07:55

_id	e72f
authors	Dorta, Tomás and LaLande, Philippe
year	1998
title	The Impact of Virtual Reality on the Design Process
doi	https://doi.org/10.52842/conf.acadia.1998.138
source	Digital Design Studios: Do Computers Make a Difference? [ACADIA Conference Proceedings / ISBN 1-880250-07-1] Québec City (Canada) October 22-25, 1998, pp. 138-163
summary	Sketching, either hand or computer generated, along with other traditional visualization tools such as perspective drawing have difficulty in correctly representing three dimensional objects. Even physical models, in architecture, suffer in this regard because of inevitable scaling. The designer finds himself cut off from the reality of the object and is prone to misinterpretations of the object and its surrounding space and to resulting design errors. These are sometimes not perceived until too late, once the object has been constructed. Traditional tools use 2D media to represent 3D objects and only manage to introduce the third dimension in a limited manner (perspectives, not only tedious to construct, are static). This scenario affects the design process, particularly the cycle of proposal, verification and correction of design hypotheses as well as the cognitive aspects that condition the designer’s visualization of the designed object. In most cases, computer graphics mimic, through its interface, the traditional way of doing things. The architectural model is parametricized with little regard for visualization. No allowance is made for the change in the medium of graphic representation. Moreover, effort is not made to capitalize on the advantages of numerical calculation to propose new interfaces and new dimensions in object visualization. Virtual Reality (VR), seen not only as technology but as experience, brings the 3D object, abstractly viewed by traditional means, into clearer focus and provides us with these new dimensions. Errors due to abstracted representation are reduced since the interface is always three dimensional and the interactions intuitively made in real time thus allowing the designer to experience the presence of the designed object very quickly. At the École de design industriel of the Faculté d’aménagement, we have run tests using non-immersive VR–one passive (comprehension) and another active (design). This project, involving a group of 72 students during a period of six weeks (6h/week), aimed at analyzing the impact of VR as a visualization tool on the design process versus traditional tools. The results, described in this presentation, shed light on the effect of VR on the creative process as such, as well as on the quality of the results produced by that process.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	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	7ad1
authors	Giordano, Rubén F. and Tosello, María Elena
year	1999
title	Laberinto: Una Biblioteca para la Virtualidad. Reflexiones y Acontecimientos en el Cyberespacio (Labyrinth: A Library for Virtuality. Reflections and Events in Cyberspace)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 83-86
summary	This project investigates in the limits of the word like only means of structuring of the thought, before the appearance of new paradigms: the multimedias and the ciber-space that have transformed so much the language written as the architectural one causing unpublished situations: 1.) The transformation of a concrete container to other virtual. 2.) The transformation of the design object, of one static material to another that is a process. 3.) The transformation in the traditional ways of thinking (reversible as the formal logic of the mathematics) to new imaginarys epistemologicals. // These non alone events have caused changes in the forms of to know and to communicate the reality but rather the same one suffers a dilation process. We present for their exploration, a road synthesized in some hypotheses that were elaborated with reason of the International Competition of ACADIA 1998: 1.) The new communication systems (cibercomunication) they generate a new territory that should be colonized. This territory this conformed by objects related by infinite bonds (hipertext). 2.) The topographical form is not lineal and sequential, this it is multidirectional and multiradial. The phenomenon of the blow-up and the dilation are the mechanisms with those that the new objects are generated. 3.) These related fields generate interstitial empty spaces where it appears the desire. The interstice like existential space.
series	SIGRADI
email
last changed	2016/03/10 09:52

_id	2d0a
authors	Hirschberg, Urs
year	1998
title	Fake.Space - An Online Caad Community and a Joint Enquiry into the Nature of Space
doi	https://doi.org/10.52842/conf.caadria.1998.281
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. 281-290
summary	fake.space was an elective CAAD course in which the (over 120) participating students were an online community. They jointly built up the fake.space node system, a database in which the individual contributions were linked and could be viewed and navigated through in various ways. The topics of the nodes were different aspects and concepts of space. The paper describes the conceptual as well as some technical aspects of this teaching experiment and evaluates its outcome.
keywords	CAAD education, Collaborative Work, Database-Support, On-Line Community, Virtual Space, Narrative Structures
series	CAADRIA
email
more	http://space.arch.ethz.ch/ss97/
last changed	2022/06/07 07:50

_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	ee96
authors	Johnson, Scott
year	1998
title	Making Models Architectural: Protean Representations to Fit Architects’ Minds
doi	https://doi.org/10.52842/conf.acadia.1998.354
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. 354-365
summary	A rich vocabulary has evolved for describing architecture. It serves not only as a means of communication, but also as an embodiment of concepts relating to form, space, structure, function, mood, and symbolism. We architects not only speak in terms of walls, rooms, roofs, arches, etc., we see in terms of them and think in terms of them, as well. Such concepts are integral to our ability to design. Typical CAD representations, however, are based on geometric/mathematical elements like points, lines, planes, and symbols. Even more experimental approaches like parametric shapes or procedural assemblies correspond poorly to architectural elements, and seldom lend themselves well to making conceptual changes that would allow exploration of design alternatives. Small wonder some architecture schools experience a division between computer and studio courses, or even between computer and studio faculty. Different ways of talking and thinking are involved. The concepts involved are often mutually exclusive. This paper discusses an attempt to address this conceptual mismatch, using what are termed “protean” (meaning “very changeable”) elements. These are high-level elements corresponding to architectural concepts like “wall,” or “dome.” They each have parameters appropriate for the particular type of element they represent, and produce the polyhedra necessary for graphics based on these parameters. A system is being implemented to allow models to be constructed using these elements. The protean elements form a loosely structured model, in which some elements hierarchically contain others, and some elements are essentially freestanding, being created and manipulated independently of other elements. Characteristics of protean element are discussed, including the underlying object-oriented structure, the relationship between elements and graphics, and functions associated with the objects. A scheme is explained whereby all parts of a design can be represented even when the design includes extremely unusual forms not conforming to predictable classes of elements. The necessary support framework is also discussed; general flow of the system and mechanisms for viewing the model and editing subcomponents are explained. The current status of the project, and intentions for future work are discussed. The project has been partially implemented, and the necessary framework to support the system is mostly complete.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	42
authors	Kos, Jose Ripper
year	1998
title	Analisis de la Evolucion de la Ciudad a Traves de un Multimedia Interactivo (Analisis of the Evolution of the City by Means of Interactive Multimedia)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 316-323
summary	The purpose of this work is the discussion of issues related to the use of interactive multimedia for the documentation of buildings and cities. These issues emerged from the analysis of the cities of Havana and Rio de Janeiro, as researched at PROURB, the Graduate Program of Urban Design of the School of Architecture and Urbanism, Federal University of Rio de Janeiro. Interactive multimedia applications have been developed through many years. Some areas presented mature works, other are still researching specific forms to employ the available resources of this new media. In this situation are the interpretations of buildings and cities, which still hasn't found a proper language for it's complexly and scale. Interactive multimedia has many resources which are adequate for buildings and cities' analysis and representation. Two questions may be considered crucial for the use of hyperdocuments in architecture and urban planning and design: the first allows us a glimpse of a technique which can document the bridge between the architectís space imagining and this space experienced by it's users. The second issue is the proximity between the role of the architect and those of the author of interactive multimedia.
series	SIGRADI
email
last changed	2016/03/10 09:54

_id	cfad
authors	Kurmann, David
year	1998
title	Sculptor - How to Design Space?
doi	https://doi.org/10.52842/conf.caadria.1998.317
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. 317-326
summary	Architects face a significant lack of computer tools that truly support them in the early, conceptual stages of design. In this paper, we take a look at the reasons for that and propose some solutions. We introduce new human-machine interaction methods that do differ from construction based approaches. We define new spatial interface paradigms as well as new objects and their behavior. Finally we present their implementation in ‘Sculptor’ - a modeling prototype to enable designing in space with space.
keywords	Spatial Modeling, Human Computer Interface, Cooperative Design
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:52

_id	a616
authors	Mallot - Hanspeter, A. and Gillner, S.
year	1998
title	Navigation and acquisition of spatial knowledge in a virtual maze
source	Journal of Cognitive Neuro-Science, 10, pp. 445-463
summary	Spatial behavior in humans and animals includes a wide variety of behavioral competences and makes use of a large number of sensory cues. Here we studied the ability of human subjects to search locations, to find shortcuts and novel paths, to estimate distances between remembered places, and to draw sketch maps of the explored environment; these competences are related to goal-independent memory of space, or cognitive maps. Information on spatial relations was restricted to two types: a visual motion sequence generated by simulated movements in a virtual maze and the subject's own movement decisions defining the path through the maze. Visual information was local (i.e., no global landmarks or compass information was provided). Other position and movement information (vestibular or proprioceptive) was excluded. The amount of visual information provided was varied over four experimental conditions. The results indicate that human subjects are able to learn a virtual maze from sequences of local views and movements. The information acquired is local, consisting of recognized positions and movement decisions associated to them. Although simple associations of this type can be shown to be present in some subjects, more complete configurational knowledge is acquired as well. The results are discussed in a view-based framework of navigation and the representation of spatial knowledge by means of a view graph.
series	journal paper
last changed	2003/04/23 15:50

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