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

PDF papers
References

Hits 1 to 20 of 360

Reformat results as: short short into frame detailed detailed into frame

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

_id	c38b
authors	Kunz, J.C., Christiansen, T.R., Cohen, G.P., Jin, Y. and Levitt, R.E.
year	1998
title	The Virtual Design Team
source	Communications of The ACM, Vol. 41, No. 11, November, 1998
summary	The long range goal of the Virtual Design Team" (VDT) research program is to develop computational tools to analyze decision making and communication behavior and thereby to support true organizational (re)engineering. This article introduces the underlying theory, the implementation of the theory as a computational model, and results from industrial test cases. Organization theory traditionally describes organizations only at an aggregate-level, describing and predicting the behavior of entire organizations in terms of general qualitative predictions. We define and implement a "micro" theory of the structure and behavior of components of organizations, explicitly representing activities, groups of people called "actors," and organizational structure and policies for project teams. A VDT model can be "run" by a discrete event simulation. Emergent aggregate model output behaviors include the predicted time to complete a project, the total effort to do the project, and a measure of process quality. More detailed model behaviors include the time-varying backlog of individual actors and the "exceptions" associated with activities. The results are detailed and specific, so they can guide specific managerial interventions in a project team and can support sensitivity studies of the relative impact of different organizational changes. We conclude that such a theory is tractable and predictive for complex but relatively routine, project-oriented design tasks. The application for which VDT offers unique new kinds of insights is where an organization is striving to shrink time to market dramatically for a product that is similar to ones it has previously developed. Reducing time to market dramatically almost always requires that previously sequential activities are executed more concurrently. In this situation, experienced managers can still correctly identify the required activities and estimate their durations and skill requirements; but they almost always underestimate the increased workload arising from exponentially higher coordination needs and the propagation of rework between the now highly concurrent activities. The VDT framework, which explicitly models information dependency and failure propagation between concurrent activities, has proven to be far more accurate, and to incorporate a wider range of parameters, than CPM/PERT process models for these fast-paced development projects."
series	journal paper
last changed	2003/04/23 15:50

_id	c16f
id	c16f
authors	McCall, Ray
year	1998
title	World Wide Presentation and Critique of Design Proposals with the Web-PHIDIAS System
doi	https://doi.org/10.52842/conf.acadia.1998.254
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. 254-265
summary	In this paper we describe Web-PHIDIAS, a network-centric design environment based on the PHIDIAS HyperCAD system. Web-PHIDIAS uses the backend of PHIDIAS as a hypermedia database engine to serve up VRML models, HTML pages and Java applets over the Web. In particular, it uses the Web (1) to present 3D models of design proposals using VRML; (2) to present rationale for these proposals; and (3) to get comments on the proposals and their rationale from viewers anywhere in the world. These comments are automatically stored in a server-side hypermedia database where they are linked to the models and rationale that they refer to. The proposal presenter can opt to have Web-PHIDIAS make these comments part of the public presentation so that other viewers throughout the world can comment on the comments. Perhaps most important is the fact that a Web site implemented with Web-PHIDIAS has no persistent HTML pages or forms. All presentations of data over the Web are created “on the fly” by the server-side part of Web-PHIDIAS using HTML and Java. User input is obtained using an authoring interface created in Java.
series	ACADIA
email
last changed	2022/06/07 07:59

_id	bb72
authors	Bourdot, P., Krus, M., Gherbi, R.
year	1998
title	Cooperation Between Reactive 3D Objects and a Multimodal X Window Kernel for CAD
source	Bunt, H., Beun, R.J., Borghuis, T. (Eds.). Multimodal Human-Computer Communication : Systems, Techniques, and Experiments. Berlin : Springer
summary	From the early steps of sketching to final engineering, a frequent and very important activity in designing objects is to perform graphical and spatial simulations to solve the constraints on the objects which are being designed. But when we analyse work situations involving the use of CAD systems, it is today an acknowledged fact that these tools are not helpful to perform these types of simulations. While knowledge modeling based on form feature concepts already offers some possibilities for attaching behaviour to objects, the simulation activity requires in addition a `real time' and `intelligent' management of the interactions between the 3D virtual objects and the CAD user. Our general purpose is to study how future CAD systems could be improved to achieve the simulation steps of object design. In this context we present some issues concerning the cooperation between a model of reactive 3D objects and a multimodal X Window kernel. We have developed a prototype of a system where objects with reactive behaviour can be built, and with which the user can interact with a combination of graphical actions and vocal commands. This prototype is used to evaluate the feasability and the usefulness of the integration of such techniques in futur applications that would be used by object designers in a real working context. We describe the current state of this system and the planned improvements.
series	other
last changed	2003/11/21 15:16

_id	2873
authors	Brin, S. and Page, L.
year	1998
title	The Anatomy of a Large-Scale Hypertextual Web Search Engine
source	Computer Science Department, Stanford University, Stanford, CA
summary	In this paper, we present Google, a prototype of a large-scale search engine which makes heavy use of the structure present in hypertext. Google is designed to crawl and index the Web efficiently and produce much more satisfying search results than existing systems. The prototype with a full text and hyperlink database of at least 24 million pages is available at http://google.stanford.edu/ To engineer a search engine is a challenging task. Search engines index tens to hundreds of millions of web pages involving a comparable number of distinct terms. They answer tens of millions of queries every day. Despite the importance of large-scale search engines on the web, very little academic research has been done on them. Furthermore, due to rapid advance in technology and web proliferation, creating a web search engine today is very different from three years ago. This paper provides an in-depth description of our large-scale web search engine -- the first such detailed public description we know of to date. Apart from the problems of scaling traditional search techniques to data of this magnitude, there are new technical challenges involved with using the additional information present in hypertext to produce better search results. This paper addresses this question of how to build a practical large-scale system which can exploit the additional information present in hypertext. Also we look at the problem of how to effectively deal with uncontrolled hypertext collections where anyone can publish anything they want.
series	other
email
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	b037
authors	Brusasco, P.L., Caneparo, L., Carrara, G., Fioravanti, A., Novembri, G. and Zorgno, Anna Maria
year	2000
title	Computer Supported Design Studio
source	Automation in Construction 9 (4) (2000) pp. 393-408
summary	The paper presents the ongoing experimentation of a Computer Supported Design Studio (CSDS). CSDS is part of our continuing effort to integrate computers and networks in the design studio. We recognise three corner stones to CSDS: memory, process and collaboration. They offer a framework for the interpretation of the pedagogical aspects of the teaching of architectural design in relation to the innovations produced by information and communication technologies. The theme of the 1998 CSDS is a railway station in Turin, Italy, to be incorporated in a reorganised rail transport system. The choice of this theme emphasises the realistic simulation aspects of the studio, where technical problems need to be interpreted from an architectural point of view.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_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	05d5
authors	Corrao, R. and Fulantelli, G.
year	1998
title	Cognitive accessibility to information on the Web: insights from a system for teaching and learning Architecture through the Net
source	AA VV, Towards an Accesible Web, Proceedings of the IV ERCIM Workshop “User Interfaces for All”, Långholmen-Stockholm
summary	The question of accessibility to the Web takes on a special meaning in educational settings where access to information requires cognitive elaboration of the page contents. It is, therefore, a matter of "cognitive access" to the Web. The main efforts of the designers of Web Based Instruction (WBI) environments to encourage cognitive access are usually aimed at the organisation and presentation of Web documents and at specific cues which can improve the user's interaction, orientation and navigation through the pages. However, it is possible to improve this high-level access to the information by supporting study activities through specific "Working tools" which can be implemented in the Web environment. In this paper we report on the design solutions we have adopted to provide cognitive access to a WBI environment for university students studying Architecture and Town Planning. In particular, we introduce "Working tools" that can be used to support flexible and effective study activities. The adopted design solutions provide different classes of users (not only students) with different access facilities. Finally, it should be noted that the methodologies of the design of WBI systems should deal with this kind of high level access and support it through specific solutions at interface and implementation levels.
series	other
last changed	2003/04/23 15:50

_id	8b9d
authors	Corrao, R. and Fulantelli, G.
year	1998
title	Cognitive Accessibility to Information on the Web: Insights from a System for Teaching and Learning Architecture through the Net ShortPapers: Design Methodology for Universal Access
source	Proceedings of the 4th ERCIM Workshop on "User Interfaces forAll" 1998 n.14 p.6 ERCIM
summary	The question of accessibility to the Web takes on a special meaning in educational settings where access to information requires cognitive elaboration of the page contents. It is, therefore, a matter of "cognitive access" to the Web. The main efforts of the designers of Web Based Instruction (WBI) environments to encourage cognitive access are usually aimed at the organisation and presentation of Web documents and at specific cues which can improve the user's interaction, orientation and navigation through the pages. However, it is possible to improve this high-level access to the information by supporting study activities through specific "Working tools" which can be implemented in the Web environment. In this paper we report on the design solutions we have adopted to provide cognitive access to a WBI environment for university students studying Architecture and Town Planning. In particular, we introduce "Working tools" that can be used to support flexible and effective study activities. The adopted design solutions provide different classes of users (not only students) with different access facilities. Finally, it should be noted that the methodologies of the design of WBI systems should deal with this kind of high level access and support it through specific solutions at interface and implementation levels.
series	other
last changed	2002/07/07 16:01

_id	c3e0
authors	Dorsey, J. and McMillan, L.
year	1998
title	Computer Graphics and Architecture: State of the Art and Outlook for the Future
source	Computer Graphics, Vol 32, No 1, Feb 1998. pp. 45-48
summary	During the three decades since Ivan Sutherland introduced the Sketchpad system, there has been an outpouring of computer graphics systems for use in architecture. In response to this development, most of the major architectural firms around the world have embraced the idea that computer literacy is mandatory for success. We would argue, however, that most of these recent developments have failed to tap the potential of the computer as a design tool. Instead, computers have been relegated largely to the status of drafting instruments, so that the "D" in CAD stands for drafting rather than design. It is important that future architectural design systems consider design as a continuous process rather than an eventual outcome.The advent of computer graphics technology has had an impact on the architectural profession. Computer graphics has revolutionized the drafting process, enabling the rapid entry and modification of designs. In addition, modeling and rendering systems have proven to be invaluable aids in the visualization process, allowing designers to walk through their designs with photorealistic imagery. Computer graphics systems have also demonstrated utility for capturing engineering information, greatly simplifying the analysis and construction of proposed designs. However, it is important to consider that all of these tasks occur near the conclusion of a larger design process. In fact, most of the artistic and intellectual challenges of an architectural design have already been resolved by the time the designer sits down in front of a computer. In seeking insight into the design process, it is generally of little use to revisit the various computer archives and backups. Instead, it is best to explore the reams of sketches and crude balsa models that fill the trash cans of any architectural studio.In architecture, as in most other fields, the initial success of computerization has been in areas where it frees humans from tedious and mundane tasks. This includes the redrawing of floor plans after minor modifications, the generation of largely redundant, yet subtly different engineering drawings and the generation of perspective renderings.We believe that there is a largely untapped potential for computer graphics as a tool in the earlier phases of the design process. In this essay, we argue that computer graphics might play a larger role via applications that aid and amplify the creative process.
series	journal paper
last changed	2003/04/23 15:50

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

_id	99f2
authors	Gero, J.S.
year	1998
title	Concept formation in design
source	Knowledge-Based Systems 10(7-8): 429-435
summary	This paper presents a computationally tractable view on where simple design concepts come from by proposing a paradigm for the formation of design concepts based on the emergence of patterns in the representation of designs. It is suggested that these design patterns form the basis of concepts. These design patterns once learned are then added to the repertoire of known patterns so that they do not need to be learned again. This approach uses the notion called the loosely-wired brain. The paper elaborates this idea primarily through implemented examples drawn from the genetic engineering of evolutionary systems and the qualitative representation of shapes and their multiple representations.
keywords	Concept Formation, Pattern Emergence, Representation
series	other
email
last changed	2003/04/06 09:00

_id	86d6
authors	Roberts, Andrew and Forster, Wayne
year	1998
title	From CAAD Lab to Studio: Integration of CAAD with Studio in a ‘Linear’ Based Scheme of Study
doi	https://doi.org/10.52842/conf.ecaade.1998.131
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 131-138
summary	This paper traces the relationship of CAAD with creative studio work within a ‘year based’ school of architecture where the curriculum is founded on a series of ‘Core Projects’. These ‘Core Projects’ are structured so that undergraduates undertake a structured study of the essentials of architecture in an orderly progression. Within this pattern CAAD is not a stand-alone subject or module and as students do not work in units, it is difficult to run specialist CAAD options. The subject is regarded as another skill in communication and tuition in CAAD is provided as part of the acquisition of central architectural skills. CAAD, therefore is regarded as one of the components of skills and knowledge needed to support and the ‘Core Projects’ which account for about 70% of the course assessment. The paper will analyse the evolution of CAAD education within this kind of course in Architecture, reflecting on some of the tensions that have arisen through this and use student work to illustrate some of the lessons learnt over this period
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:56

_id	7561
authors	Streitz, N. A., Gei_ler, J. and Holmer, T.
year	1998
title	Roomware for Cooperative Buildings: Integrated Design of Architectural Spaces and Information Spaces
source	N.A. Streitz, S. Konomi, and H-J Burkhardt (eds), Cooperative Buildings: Integrating Information, Organization, and Architecture, Proceedings of CoBuild‘98, Springer, pp. 4-21
summary	In this paper, we introduce the concepts of "cooperative buildings" and "roomware" and place them in the context of the integrated design of real, physical, resp. architectural spaces and virtual, resp. digital information spaces. By "roomware" we mean computer-augmented things in rooms, like doors, walls, furniture, and others. The general approach is detailed via examples from the i-LAND project where we develop several "roomware" components in order to realize an interactive information and cooperation landscape, e.g. an innovative work environment for creativity teams. We describe the current realization of i-LAND which includes an interactive electronic wall, an interactive table, computer-augmented chairs, and a mechanism for assigning physical objects as representatives of information objects in the virtual world.
series	other
last changed	2003/04/23 15:50

_id	ijac20109304
id	ijac20109304
authors	Vermisso, Emmanouil
year	2011
title	Design economies of surface: can Architects learn from the manufacturing process of industry-driven projects like auto-cross racing?
source	International Journal of Architectural Computing vol. 9 - no. 3, 259-284
summary	This paper discusses an in-house manufactured race-car body for the annual Formula SAE® Series competition. The driving parameters for the design and fabrication process are examined with regards to the assignment's ‘format’ as a joint study between architecture and engineering students. Traditionally there has been an inhibition concerning communication between architects and engineers, that is perhaps successfully exemplified through Peter Rice's example of the "Iago mentality" (Rice, 1998) where the Shakespearean confrontation between Othello and Iago is viewed as an analogy to this communication: "In the dialogue of Architecture and Engineering, the engineer is the voice of rationality and reasoni." Unless dictated by construction necessities, research between these two disciplines is not sought as regularly as we would hope for; we are therefore, interested to assess the analog and computational techniques used from a design perspective, and, by understanding the implications of working among two different but similarly geared backgrounds, describe possible improvements on real-size projects that require both technical and design input, thereby affirming Rice's belief for creative inter-disciplinary discourse. Finally, the project is a reminder of the common ground between architectural and automotive design, by examining the notion of surface from a cross-disciplinary premise.
series	journal
last changed	2019/05/24 09:55

_id	cf9d
authors	Yeung, C., Cheung, L., Yen, J. and Cheng, C.
year	1998
title	Virtual Classroom for Architecture
doi	https://doi.org/10.52842/conf.caadria.1998.093
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. 93-102
summary	Over the past few years, we have seen that the evolution of the Internet and World Wide Web technologies have significantly enhanced the global communication and collaboration. People, no matter where they are, are virtually getting closer and closer. The barriers that came from time and distance have been partially removed by the use of such technologies. Internet and WWW are not just technology, they are an environment or space. With such breakthrough in technologies, a new paradigm in education is there. The education very differently from what we have now. This paper presents an Internet-based environment to support teaching and learning in architecture education. We will discuss the design concept and how to integrate the technology and knowledge-based techniques to implement the learning environment for architecture students. Architecture is a very specific discipline which consists of the knowledge from arts, sciences, engineering, and more. One of the focuses in architecture education is to teach how to express and communicate design ideas with the multimedia or other technologies, such as, virtual reality (VR). A case study presented in this paper is about how to deliver and present the ancient Chinese temples and its bracket set systems from the server to the browsers to support distance teaching. That is, students and teachers may not be in the same location, but they are able to watch the same objects and to exchange ideas. We will discuss how to use multimedia technologies to illustrate how a temple and its bracket set differ from dynasties to dynasties and introduce its basic properties to the viewers. Moreover, we will discuss how we organize and handle 3-dimensional objects with such system. Many people are still arguing about whether Internet-based teaching or a real classroom setting is better. We are not implying that Internet-based teaching is superior or predicting that it will dominate the teaching in the near future. However, we strongly believe that it is just another alternative to express and represent architectural thinking to over some of the barriers that come from time and distance. We believe, that it is always true, that the Internet-based teaching may provide both teachers and learners greater flexibility and to support more International collaboration. That is, regardless where the students or teachers are, they can always participate in learning or teaching and make teaching and learning much more rich and interesting.
keywords	Virtual Classroom
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:57

_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	a96f
id	a96f
authors	Clayton, M., Johnson, R., Song, Y and Al-Qawasmi, J.
year	1998
title	Delivering Facility Documentation using Intranet Technology
doi	https://doi.org/10.52842/conf.acadia.1998.240
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. 240-253
summary	Intranet technologies present new opportunities for delivering facility documentation for use in facility management. After the design stage, building documentation is reused to support construction and then facility operation. However, a common perception is that construction documents and as-built drawings are less than optimal for reuse to support operations. We have conducted a study of facility management processes and the information content of facility documentation in the context of information technologies that are emerging into the marketplace. The study provides guidance for facility managers who are implementing and fielding new information technology systems. A better understanding of information needs during operations may also help designers to better structure their own documents for reuse. An analysis of documents that are used throughout the life cycle of facilities has led us to a characterization of operations documents that are distinct from design drawings, record drawings or as-built drawings. From an analysis of facility management processes, we have identified different roles for facility documentation in those processes. Facility documentation may be used as a resource, as input, or as output. Furthermore, from interviews of facility management personnel, we identified facility information that was rated high in importance and low in satisfaction that might be targeted when implementing a facility information system. We prepared software demonstrations that show how the information may be extracted from drawings, entered into databases and then retrieved via Web and CAD interfaces. We suggest that operations documents consist of a variety of information types and require several kinds of information tools, including databases, CAD drawings and hypertext. Intranet technologies, databases and CAD software can be integrated to achieve facility management systems that address shortcomings in current facility management operations. In particular, intranet technologies provide improved accessibility to information for facility management customers and occasional users of the systems. Our study has produced recommendations based upon utility and ease-of-implementation for delivery of information from the design team to the owner, and among personnel during operation of the facility.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	40d7
authors	Dalyrmple, Michael and Gerzso, Michael
year	1998
title	Executable Drawings: The Computation of Digital Architecture
doi	https://doi.org/10.52842/conf.acadia.1998.172
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. 172-187
summary	Architectural designs are principally represented by drawings. Usually, each drawing corresponds to one design or aspects of one design. On the other hand, one executable drawing corresponds to a set of designs. These drawings are the same as conventional drawings except that they have computer code or programs embedded in them. A specific design is the result of the computer executing the code in a drawing for a particular set of parameter values. If the parameters are changed, a new design or design variation is produced. With executable drawings, a CAD system is also a program editor. A designer not only designs by drawing but also programming. It fuses two activities: the first, drawing, is basic in architectural practice; and the second, progamming, or specifying the relation of outputs from inputs, is basic in computer system development. A consequence of executable drawings is that architectural form is represented by graphical entities (lines or shapes) as well as computer code or programs. This type of architecture we call digital architecture. Two simple examples are presented: first, the design of a building in terms of an executable drawing of the architects, Sangallo the Younger and Michelangelo, and second, a description of an object oriented implementation of a preliminary prototype of an executable drawing system written in 1997 which computes a simple office layout.
series	ACADIA
email
last changed	2022/06/07 07:55

For more results click below: