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	0f4c
authors	Asanowicz, Aleksander
year	1998
title	From Real to Cyber Reality
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 11-19
summary	Human activity takes place in two planes, at two levels. Practical activity is present in one of the planes, the other level is occupied by purely cognitive activity. When observing sufficiently long sequences of practical and cognitive activities, one notices transitions between them, which prove true the suspicions of their functional relationship. Because on both of these planes of human activity there is always one and the same element present - an informative element - which on the first plane functions as subordinate, and in the other as an independent one, one can search for a common characteristic for both planes. Such common characteristic for both levels of human activity can be perceived in the fact that in both situations the activity of a human is based on CREATION. Human thinking is based on transitions between what is accessible through experience and what is referred to conceptually. The human thought exists only and exclusively in the vertical motion: from the phenomenal level to the structural level direction of abstraction) and from the conceptual level to the empirical level direction of concretisation). All human activity is multilayered or, more precisely, it is an activity within many layers: the sensual one as well as the structural one. The appearance of conceptual thinking has created a qualitatively new type of a situation. This novelty can be easily seen both in the sphere of the practical cognitive activity as well as in the sphere of the pure cognitive activity. In both cases, the cognitive activity of a human is of a "double-decker" character: image and concept. It is necessary to note here that the "image" does not only mean structural, concrete, but also one which is purely visual, abstract, of no physical form. Therefore, the human experience, being the result of the cognitive activity, is being expressed, becoming objective, materialising in two different but compatible ways. Firstly, in the material structures of practical significance - this way the material culture is created. Secondly - in material structures which have no practical meaning but are solely used for expressing the spiritual contents - thus creating the spiritual culture. Humans have developed an extraordinarily strong need for spiritual activity, which is manifested by the material activity, redundant from the point of view of the material needs.
series	plCAD
email
last changed	2003/05/17 10:01

_id	473f
authors	Bartnicka, Malgorzata
year	1998
title	The Influence of Light upon the Spatial Perception of Image
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 21-26
summary	With regard to mental perception, light is one of the basic and strongest experiences influencing man. It is a phenomenon unchanged since the beginning of human kind, regardless of the fact what form or shape it was transmitted in. We are so used to light that we have stopped noticing how much we owe to it. It is the basic source and condition of our visual perception. Without light, illumination, we would not be able to see anything as it is light that transmits the shapes, distances and colours seen by us. The light which we perceive is a specific sight stimulus. It constitutes of only a small range of the spectrum of electromagnetic radiation existing in nature. The visible radiation encompasses the wave length from 400 to 800 nm. When the whole range of the visible wave spectrum enters the eye, the impression of seeing white light is produced. The light rays entering the sight receptors are subject to reflection, absorption and transmission. In the retina of the eye, the light energy is transformed into nerve impulses. The reception of light is dependent on the degree of absorption of the length of certain waves and the concentration of light. A ray of light entering the eye pupil is the proper eye stimulus which stimulates the receptors of the retina and causes visual impressions.
series	plCAD
last changed	1999/04/08 17:16

_id	f288
authors	Bille, Pia
year	1999
title	Integrating GIS and Electronic Networks In Urban Design and Planning
doi	https://doi.org/10.52842/conf.ecaade.1999.722
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 722-728
summary	In 1998 I undertook an inquiry into the use of information technology in Urban Design and Planning in Danish municipalities and among planning consultants. The aim was to find out who was working with the IT and for what purposes it was used. In education there seems to be barriers to a full integration of the new media, and I wanted to find out if that was also the case in the practise of architects and planners. Surprisingly I discovered that there was a computer on almost every desk, - but there were big differences in the use of the technology. The investigation described here is based on interviews with planners in selected municipalities and with urban planning consultants, and the results have been summarised in a publication.
keywords	Urban Planning, Electronic Collaboration, GIS, Data Bases
series	eCAADe
email
last changed	2022/06/07 07:54

_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	fb22
authors	Chien, Sheng-Fen
year	1998
title	Supporting information navigation in generative design systems
source	Camegie Mellon University, School of Architecture
summary	Generative design systems make it easier for designers to generate and explore design altematives, but the amount of information generated during a design session can become very large. Intelligent navigation aids are needed to enable designers to access the information with ease. Such aids may improve the usability of generative design systems and encourage their use in architectural practice. This dissertation presents a comprehensive approach to support navigation in generative design systems. This approach takes account of studies related to human spatial cognition, wayfinding in physical environments, and information navigation in electronic media. It contains a general model of design space, basic navigation operations, and principles for designing navigation support. The design space model describes how the space may grow and evolve along predictable dimensions. The basic operations facilitate navigation activities in this multi-dimensional design space. The design principles aim at guiding system developers in creating navigation utilities tailored to the needs of individual design systems. This approach is validated through prototype implementations and limited pilot usability studies. The validity of the design space model and basic navigation operations is examined through the development of a design space navigation framework that encapsulates the model and operations in a software environment and provides the infrastructure and mechanisms for supporting navigation. Three prototype navigation tools are implemented using this framework. These tools are subjected to usability studies. The studies show that these tools are easy to leam and are efficient in assisting designers locating desired information. In summary, it can be demonstrated that through the prototype implementations and usability studies, this approach offers sufficient support for the design and implementation of navigation aids in a generative design system. The research effort is a pioneer study on navigation support in generative design systems. It demonstrates why navigation support is necessary; how to provide the support; and what types of user interaction it can offer. This research contributes to information navigation studies not only in the specific domain of generative design system research, but also in the general field of human-computer interaction.
series	thesis:PhD
email
last changed	2003/02/12 22:37

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

_id	7f71
authors	De Landa, Manuel
year	1998
title	Meshworks, Hierarchies and Interfaces
source	Virtual Dimension Ed. Beckmann, J., Princeton Architectural Press, NewYork
summary	The world of interface design is today undergoing dramatic changes which in their impact promise to rival those brought about by the use of the point-and-click graphical interfaces popularized by the Macintosh in the early 1980's. The new concepts and metaphors which are aiming to replace the familiar desk-top metaphor all revolve around the notion of semi-autonomous, semi-intelligent software agents. To be sure, different researchers and commercial companies have divergent conceptions of what these agents should be capable of, and how they should interact with computer users. But whether one aims to give these software creatures the ability to learn about the users habits, as in the non-commercial research performed at MIT autonomous agents group, or to endow them with the ability to perform transactions in the users name, as in the commercial products pioneered by General Magic, the basic thrust seems to be in the direction of giving software programs more autonomy in their decision-making capabilities.
series	other
last changed	2003/04/23 15:50

_id	ga9803
id	ga9803
authors	Dehlinger, Hans E.
year	1998
title	The Artist´s Intentions and Genetic Coding in Algorithmically Generated Drawings
source	International Conference on Generative Art
summary	Art-work, based on line drawings, is challenging for a number of reasons. It is a very much reduced art form relying on and exploiting the calligraphic qualities of lines only. It is more related to writing than to painting and it has a transient element in it, which is attributed to the movements of the pen equipped hand. With the aid of computer programs line drawings can be produced, exhibiting very specific qualities. In asking what a single line is composed of, we may draw analogies to genetic coding and generate variations within a population of lines belonging to the same family. An artist can cast his intentions into the definition of such a genetic code and the drawings produced accordingly will populate a specific domain of the universe of machine generated drawings.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ga0021
id	ga0021
authors	Eacott, John
year	2000
title	Generative music composition in practice - a critical evaluation
source	International Conference on Generative Art
summary	This critical evaluation will discuss 4 computer based musical works which, for reasons I shall explain, I describe as non-linear or generative. The works have been constructed by me and publicly performed or exhibited during a two year period from October 1998 to October 2000. ‘In the beginning…’ interactive music installation, strangeAttraction, Morley Gallery, London. July 1999 ‘jnrtv’ live generative dance music May 1999 to Dec 2000 ‘jazz’ interactive music installation, another strangeAttraction Morley Gallery, London. July 2000-09-26 ‘the street’ architectural interactive music installation, University of Westminster Oct 2000 Introduction I have always loved the practice of composing, particularly when it means scoring a work to be played by a live ensemble. There is something about taking a fresh sheet of manuscript , ruling the bar lines, adding clefs, key and time signatures and beginning the gradual process of adding notes, one at a time to the score until it is complete that is gratifying and compensates for the enormous effort involved. The process of scoring however is actually one distinct act within the more general task of creating music. Recently, the notion of ‘composing’ has met challenges through an increased interest in non-linear compositional methods. It is actually the presence of Chaotic or uncontrolable elements which add real beauty to music and many if not all of the things we value. If we think of a sunset, waves lapping on the shore, plants, trees a human face and the sound of the human voice, these things are not perfect and more importantly perhaps, they are transient, constantly changing and evolving. Last year and again this year, I have organised an exhibition of interactive , non-linear music installations called 'strangeAttraction'. The title refers to what Edward Lorenz called a ‘strange attractor’ the phenomenon that despite vast degrees of Chaos and uncertainty within a system, there is a degree of predictability, the tendency for chaotic behaviour to ‘attract’ towards a probable set of outcomes. Composition that deals with 'attractors' or probable outcomes rather than specific details which are set in stone is an increasingly intriguing notion.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_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	46bb
authors	Gerzso, J. Michael
year	1998
title	Speculations on a Machine-Understandable Language for Architecture
doi	https://doi.org/10.52842/conf.acadia.1998.302
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. 302-314
summary	One of the objectives of research in computer-aided design in architecture has been to make computer tools or instruments for architectural design, not just drafting. There has been work presented at ACADIA and other conferences related to artificial intelligence, data bases, shape grammars, among others. In all of these cases, existence of a computer language in one form or another is implied. The purpose of this paper is to argue that the progress in the development of intelligent design systems (IDS) is closely linked to the progress of the languages used to implement such systems. In order to make the argument, we will adopt an approach of first specifying the characteristics of an IDS in terms of a conceptual framework of computer languages in a CAD system in general, and what it means to develop a machine-understandable language for architectural CAD in particular. The framework is useful for classifying research projects and for structuring a research agenda in architectural CAD.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	a959
authors	Glanville, Ranulph
year	1998
title	Cybernetic Realities
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 101-116
summary	In a meeting that focuses on the opportunities offered us by what the organisers call the "Cyber-Real", it is, perhaps, fitting to return to the root word on the so-called "CyberCulture", Cybernetics, and to reflect what the concepts and understandings it has developed and deals with offer us, especially in the light of the "Cyber-Real". To that end, I explore some features of current Cybernetic thinking in order to develop a view of Cybernetic Realities, and to use those to elucidate just what might be "Cyber-Real". The reader may well ask why this paper is called "Cybernetic Realities" when, all through, I talk of Cybernetic Reality. The reason comes from a key argument in this paper: each of us constructs our own Cybernetic Reality. The result is singularly plural.
series	plCAD
email
last changed	2003/05/17 10:01

_id	50a1
authors	Hoffman, Donald
year	1998
title	Visual Intelligence
source	Norton Publishing, New York
summary	After his stroke, Mr. P still had outstanding memory and intelligence. He could still read and talk, and mixed well with the other patients on his ward. His vision was in most respects normal---with one notable exception: He couldn't recognize the faces of people or animals. As he put it himself, "I can see the eyes, nose, and mouth quite clearly, but they just don't add up. They all seem chalked in, like on a blackboard ... I have to tell by the clothes or by the voice whether it is a man or a woman ...The hair may help a lot, or if there is a mustache ... ." Even his own face, seen in a mirror, looked to him strange and unfamiliar. Mr. P had lost a critical aspect of his visual intelligence. We have long known about IQ and rational intelligence. And, due in part to recent advances in neuroscience and psychology, we have begun to appreciate the importance of emotional intelligence. But we are largely ignorant that there is even such a thing as visual intelligence---that is, until it is severely impaired, as in the case of Mr. P, by a stroke or other insult to visual cortex. The culprit in our ignorance is visual intelligence itself. Vision is normally so swift and sure, so dependable and informative, and apparently so effortless that we naturally assume that it is, indeed, effortless. But the swift ease of vision, like the graceful ease of an Olympic ice skater, is deceptive. Behind the graceful ease of the skater are years of rigorous training, and behind the swift ease of vision is an intelligence so great that it occupies nearly half of the brain's cortex. Our visual intelligence richly interacts with, and in many cases precedes and drives, our rational and emotional intelligence. To understand visual intelligence is to understand, in large part, who we are. It is also to understand much about our highly visual culture in which, as the saying goes, image is everything. Consider, for instance, our entertainment. Visual effects lure us into theaters, and propel films like Star Wars and Jurassic Park to record sales. Music videos usher us before surreal visual worlds, and spawn TV stations like MTV and VH-1. Video games swallow kids (and adults) for hours on end, and swell the bottom lines of companies like Sega and Nintendo. Virtual reality, popularized in movies like Disclosure and Lawnmower Man, can immerse us in visual worlds of unprecedented realism, and promises to transform not only entertainment but also architecture, education, manufacturing, and medicine. As a culture we vote with our time and wallets and, in the case of entertainment, our vote is clear. Just as we enjoy rich literature that stimulates our rational intelligence, or a moving story that engages our emotional intelligence, so we also seek out and enjoy new media that challenge our visual intelligence. Or consider marketing and advertisement, which daily manipulate our buying habits with sophisticated images. Corporations spend millions each year on billboards, packaging, magazine ads, and television commercials. Their images can so powerfully influence our behavior that they sometimes generate controversy---witness the uproar over Joe Camel. If you're out to sell something, understanding visual intelligence is, without question, critical to the design of effective visual marketing. And if you're out to buy something, understanding visual intelligence can help clue you in to what is being done to you as a consumer, and how it's being done. This book is a highly illustrated and accessible introduction to visual intelligence, informed by the latest breakthroughs in vision research. Perhaps the most surprising insight that has emerged from vision research is this: Vision is not merely a matter of passive perception, it is an intelligent process of active construction. What you see is, invariably, what your visual intelligence constructs. Just as scientists intelligently construct useful theories based on experimental evidence, so vision intelligently constructs useful visual worlds based on images at the eyes. The main difference is that the constructions of scientists are done consciously, but those of vision are done, for the most part, unconsciously.
series	other
last changed	2003/04/23 15:14

_id	6cfc
authors	Johnson Brian R. and Millet, Marietta S.
year	1998
title	Development of a Case Study "Multi-Site" on the World Wide Web
doi	https://doi.org/10.52842/conf.caadria.1998.223
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. 223-232
summary	Seeking to enhance the availability and quality of architectural case studies, we examine the web, believing that it may help to simplify authorship, distribution, and navigation of a catalog of case studies. A disk-based multi-media prototype from an earlier effort has been converted to the web and generalized to create a template. Warehousing and navigation of multiple case studies forms the main focus of the current project. Two existing models, monolithic web sites and web rings, are considered and rejected. A third approach is developed which promises to provide a low-budget low-overhead infrastructure within which to house an indefinite number of case studies, while permitting free-form browsing of the collection. The approach which we have developed creates what we call a "multi-site".
keywords	Information Delivery Systems for Design, Cooperative Authorship, World Wide Web
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:52

_id	4ea3
authors	Johnson, S.
year	1998
title	What's in a representation, why do we care, and what does it mean? Examining evidence from psychology
source	Automation in Construction 8 (1) (1998) pp. 15-24
summary	This paper examines psychological evidence on the nature and role of representations in cognition. Both internal (mental) and external (physical or digital) representations are considered. It is discovered that both types of representation are deeply linked to thought processes. They are linked to learning, the ability to use existing knowledge, and problem solving strategies. The links between representations, thought processes, and behavior are so deep that even eye movements are partly governed by representations. Choice of representations can affect limited cognitive resources like attention and short-term memory by forcing a person to try to utilize poorly organized information or perform 'translations' from one representation to another. The implications of this evidence are discussed. Based on these findings, a set of guidelines are presented, for digital representations which minimize drain of cognitive resources. These guidelines describe what sorts of characteristics and behaviors a representation should exhibit, and what sorts of information it should contain in order to accommodate and facilitate design. Current attempts to implement such representations are discussed.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_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	15
authors	Kensek, Karen
year	1998
title	Reconstruccion Digital de Arquitectura: Un Metodo de EnseÒanza en Modelaje, Rendering, y Animacion (Digital Reconstruction of Architecture: A Method of Training in Modelling, Rendering and Animation)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 132-139
summary	Throughout time, scholars have been resurrecting the architecture of past ages, Sir Arthur Evans with the Palace of Knossos in Crete, Heinrich Schliemann with the ruins of Troy, and Thor Hyerdahl with the Kontiki and Ra ship reconstructions. Digital reconstruction provides a powerful means to portray architecture and environments that no longer exist; structures that exist in a decayed form can be restored to an appearance of their former condition; and artist's visions that never existed can be reinterpreted in three-dimensions. These types of projects are highly suitable for teaching students, especially in advanced classes, how to use computer graphics for modeling, rendering, and animation. It is often difficult to gather accurate geometric and texture data and the information that is available is often ambiguous or even contradictory. The ambiguity of the information forces the students to truly study and attempt to comprehend what they are trying to model. Indeed, working with incomplete and contradictory graphical information is a normal part of architectural practice that one often has to deal with in the early stages of design
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	6875
authors	Kosco, I., Tucny, J. and Dobson, A.
year	1998
title	Around the Table on the Net: Intranet and Internet Design Studios and Teaching
doi	https://doi.org/10.52842/conf.ecaade.1998.083
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 83-89
summary	New technologies like Computer Aided Design and network facilities are affecting the building procurement, design and construction processes very rapidly, in the education, design studio teaching as well as in the practice. Network technologies are giving us a variety of possibilities: quick and simple access to information, quick and easy communication, exchange of data in different formats (texts, data, drawings, images, animations, hypertext or multimedia products, etc.) or access to differently located computer and work on it. As the result the communication or collaboration in a design and construction process and management could be used not only in the CAD based design studio but, what is more important, between geographically dispersed members of design teams (dispersed in different places, towns, regions, countries or even continents). There is a lot of advantages: quick and easy communication and exchange of information, free choice of a team, easy revisions of a documentation, collaborative work on the same drawings, costs savings in travelling, issuing, copying and shipping, etc. On the other hand the long-distance education on an international base appears like a modern teaching tool. Paper reflects the experiences from International collaborative studio work via computer network, Internet and World Wide Web.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:51

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

_id	acadia03_047
id	acadia03_047
authors	Martens, B., Brown, A. and Turk, Z.
year	2003
title	Automated Classification of CAAD-related Publications: Conditions for Setting-Up a Keywording System
doi	https://doi.org/10.52842/conf.acadia.2003.365
source	Connecting >> Crossroads of Digital Discourse [Proceedings of the 2003 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-12-8] Indianapolis (Indiana) 24-27 October 2003, pp. 365-371
summary	This paper deals with the CUMINCAD-repository (Cumulative Index on CAD), which was set up in 1998 and has served the CAAD-community since then as an important source of archived domain related information. CUMINCAD contains over 5,000 entries in the form of publications in the field of Computer Aided Architectural Design. The number has been growing steadily over the years. To date only advanced search mechanisms have been provided to access these works. This may work out well for a just-in-time location of a reference, but is inadequate for just in case browsing through the history of CAAD. For such applications, a hierarchical browsing interface, like one in Yahoo or DMOZ.org is envisioned. This paper describes how the keyword categories were defined and how a moderate, distributed effort in defining the categories will allow machine-identified classification of the entire data set. The aim of the paper is to contribute to building up a wide spread consensus on what the appropriate keyword categories in CAAD are, and what sub-topics should sit below the main keyword categories.
keywords	Web-based Bibliographic Database; Searchable Index; CAAD Research; Classification
series	ACADIA
email
last changed	2022/06/07 07:59

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