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	64b8
authors	Grabowski, M. and Barner, K.
year	1998
title	Data Visualization Methods for the Blind using Force Feedback and Sonification
source	Stein, M. (Ed.). Telemanipulator and Telepresence Technologies V. Vol. 3524
summary	Research in the field of scientific visualization has begun to articulate systematic methods for mapping data to a perceivable form. Most work in this area has focused on the visual sense. For blind people in particular, systematic visualization methods which utilize other sense need further development. In this work we develop methods for adding aural feedback to an existing haptic force feedback interface to create a multimodal visualization system. We examine some fundamental components of a visualization system which include the following: characterization of the data, definition of user directives and interpretation aims, cataloging of sensual representations of information, and finally, matching the data and user interpretation aims with the appropriate sensual representations. We focus on the last two components as they relate to the aural and haptic sensor. Cataloging of sensual representations is drawn form current research in sonification and haptics. The matching procedure can be thought of as a type of encoding which should be the inverse of the decoding mechanism of our aural and haptic systems. Topics in human perception are discussed, and issues related to the interaction between the two sensor are addressed. We have implemented a visualization system in the from of a Windows NT application using a sound card and a 3 DOF point interaction haptic interface. The system present a 2D data set primarily as a polygonal haptic surface although other capabilities of the haptic sensor are utilized such as texture discernment. In addition, real time aural feedback is presented as the user explores the surface. Parameters of sound such as pitch and spectral content are used to convey information. Evaluation of the system's effectiveness as an assistive technology for the blind reveals that combining aural and haptic feedback improves visualization over using either of the two senses alone.
series	other
last changed	2003/04/23 15:14

_id	6db8
authors	Iki, K., Shimoda, S., Miyazaki, T. and Homma, R.
year	1998
title	On the Development and the Use of Network Based Cafm System
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. 253-260
doi	https://doi.org/10.52842/conf.caadria.1998.253
summary	The purpose of this study to develop a prototype of the network based and distributed database integrated CAFM (Computer Aided Facility Management) system for spatial analysis and space planning of office building. This system developed for the FM (Facility Management) works of large company that owns many office buildings in wide spread area. This system has following characteristic capabilities; 1) data acquisition from distributed database 2) benchmark comparison among in-house offices, particular office and several outside office standards 3) analysis of POE database and spatial condition database 4) evaluation of space planning by using CAD database and POE database This paper reports these four points. 1) conceptual and functional frame work of the system 2) technical arrangement of the system development 3) case study of the system use in a FM works on spatial analysis and space planning 4) evaluation of the system
keywords	CAFM, POE, Windows, Network
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:49

_id	ddss9835
id	ddss9835
authors	Langelaan, J. Willem R.
year	1998
title	Criteria for an object oriented library system of high–level parametric CADelements
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	The subject of this paper is the development of criteria and specifications for an object oriented library system of high–level parametric elements that have an integrated 2D and 3D representation. High–levelelements are virtual representations of architectural elements such as windows, doors, etc. High–level parametric elements need few components to be flexible and easily customizable. The generalization ofeach element by its characteristic parts results in a substantial reduction in the number of polygons that must be processed by the computer during the 3D transformation, graphically clean 3D images and low demandon user intervention. Gestalt theory emphasizes the importance of contour lines for the perception of an element. The “minimalist” symbolic representation will simplify contour lines that enhance perception. Theinherent flexibility and functionality of object oriented elements are augmented when the elements are rigorously developed as an object oriented library system, with classes and sub-classes of elements whichinherit characteristics of the parent–class. Attribute values of a parent–class give the user global control over all instances of that class and its sub–classes in the model’s database. The concepts which SystemsTheory uses for making an abstraction of reality are analogous to the concepts used in object oriented programming. This paper describes how Systems Theory is used as tool to develop high–level parametric elements as a functionally and computationally efficient library system.
series	DDSS
last changed	2003/08/07 16:36

_id	8b37
authors	Massie, T.
year	1998
title	A Tangible Goal for 3D Modeling
source	IEEE Computer Graphics and Applications. pp. 62 - 65. Vol. 18, Issue: 3
summary	Although the speed of computers increases exponentially, the amount and quality of useful work that we perform on them seems to increase linearly at best. Faster processors are not enough-to significantly increase the utility of computers requires new computer interfaces. The keyboard was adequate for text-based applications, but the advent of the desktop metaphor and windows computing environment demanded a new mechanical interface-the mouse. As we progress into applications that incorporate interactive life-like 3D computer graphics, the mouse falls short as a user interface device, and it becomes obvious that 3D computer graphics could achieve much more with a more intuitive user interface mechanism. Haptic interfaces, or forcefeedback devices, promise to increase the quality of humancomputer interaction by accommodating our sense of touch. Of all the senses, only touch is bidirectional-allowing us to perceive and change objects simultaneously in the same location. Because the sense of touch is so compelling, researchers have studied it for some time.1,2 (Refer to the annual proceedings of the Symposium on Haptic Interfaces for Virtual Environment and Teleoperator Systems, published by the American Society of Mechanical Engineers, New York.) Various commercial devices are now available that can accommodate1 even seven degrees of freedom. I used the three degrees-of-freedom Phantom haptic interface for most of the interactions described in this article. Users interact with the Phantom interface with their finger in a thimble or by holding a stylus
series	journal paper
last changed	2003/04/23 15:50

_id	489a
authors	Matthews, K., Duff, S. and Corner, D.
year	1998
title	A Model for Integrated Spatial and Structural Design of Buildings
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. 123-132
doi	https://doi.org/10.52842/conf.caadria.1998.123
summary	Recent advances in computer graphics and 3D user interfaces have enabled the emergence of 3D sketch modeling as a viable approach to architectural design, especially in the early schematic phase. This paper describes how a system can be built and used which integrates the capabilities of a good structural analysis system in the user-friendly working environment of a design-oriented modeling program. The structure of a building model as seen by finite element algorithms is a schematic idealization of the building's physical structure into nodes, elements, internal releases, boundary conditions, and loads. The more familiar architectural model used for design visualization represents spatial elements such as roofs, floors, walls, and windows. Rather than treat these models independently, the structural model can be defined in relation to the architectural as a virtual model with inherited common characteristics and additional relational and attribute information, using feature-based geometry data structures to organize topological intelligence in the spatial model. This provides the basis for synchronous modification of structural and architectural aspects of the design.
keywords	Structural Design, Spatial Design, Design Integration, Human-Computer Interaction, Feature-Based Modeling, Finite Element Analysis, Geometric Inference
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:58

_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	ba1b
authors	Schnier, T. and Gero, J.S.
year	1998
title	From Frank Lloyd Wright to Mondrian: Transforming evolving representations
source	I. Parmee (Ed.), Adaptive Computing in Design and Manufacture, Springer, London, pp. 207-219
summary	If a computer is to create designs with the goal of following a certain style it has to have information about this style. Unfortunately, the most often used method of formal representations of style, shape grammars, does not lend itself to automated implementation. However, It has been shown how an evolutionary system with evolving representation can provide an alternative approach that allows a system to learn style knowledge automatically and without the need for an explicit representation. This paper shows how the applicability of evolved representation can be extended by the introduction of transformations of the representation. One such transformation allows mixing of style knowledge, similar to the cross-breeding of animals of different races, with the added possibility of controlling exactly what features are used from which source. This can be achieved through different ways of mixing representations learned from different examples and then using the new, combined representation to create new designs. In a similar manner, information learned in one application domain can be used in a different domain. To achieve this, either the representation or the genotype-phenotype transformation has to be adapted. The same operations also allow mixing of knowledge from different domains. As an example, we show how style information learned from a set of Mondrian paintings can be combined with style information from a Frank Lloyd Wright window design, to create new window designs. Also, we show how the combined style information can then be used to create three-dimensional objects, showing style features similar to the newly designed windows.
keywords	Genetic Engineering, Learning
series	other
email
last changed	2003/04/06 09:02

_id	6672
authors	Af Klercker, Jonas
year	1998
title	A CAVE-Interface in CAAD-Education
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 110-115
doi	https://doi.org/10.52842/conf.ecaade.1998.110
summary	The so called "CAVE-interface" is a very interesting and thrilling development for architects! It supports a better illusion of space by exposing almost a 270° view of a computer model than the 60° which can be viewed on an ordinary computer screen. At the Lund University we have got the possibility to experiment with a CAVE-installation, using it in research and the education of CAAD. The technique and two experiments are discribed. The possibilities are discussed and some problems and questions are put forward.
series	eCAADe
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/31af_klercker/index.htm
last changed	2022/06/07 07:54

_id	ddssar0203
id	ddssar0203
authors	Alkass, Sabah and Jrade, Ahmad
year	2002
title	A Web-Based Virtual Reality Model for Preliminary Estimates of Hi-Rise Building Projects
source	Timmermans, Harry (Ed.), Sixth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings Avegoor, the Netherlands), 2002
summary	Cost estimating of a construction project at its early stage is considered to be very important task since it will be used as a base to commit or otherwise not to commit funds to that project. Preparation of a reliableand realistic preliminary estimate to aid the decision makers to commit funds for a specific project is a complicated assignment. Traditional methods and operations produced unsatisfactory aid due to lack ofaccuracy especially in the pre-design stage of a project. This participates in the increase of percentage of bankruptcy in the construction industry, which has dramatically climbed up and ranked as 15 percent of thewhole bankruptcies claimed in Canada (Statistic Canada 1998). This paper presents a methodology for developing and a Web-based model to automate preliminary cost estimates for hi-rise buildings. This is achieved by integrating a database with design drawings in a Virtual Reality (VR) environment. The model will automatically generate preliminary estimates after modifying a 3D CAD drawing. It provides the user the option to visualize and simulate the drawing and its cost data through VR environment. Having done that, it will allow owners, architects and cost engineers to view a constructed building project, change its geometric objects and shapes, and accordingly generate a new conceptual cost estimate.
series	DDSS
last changed	2003/11/21 15:15

_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	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	cb96
authors	Buckley, E., Zarli, A., Reynolds, C. and Richaud, O.
year	1998
title	Business objects in construct IT
source	R. Amor (ed.) Product and Process Modelling in the Building Industry, Building Research Establishment, Watford, England, pp. 117-130
summary	Objective: EU Esprit Project 25.741 Wonda aims to meet the needs for Enterprise Information Systems and E-Commerce in the construction and banking industries. Wonda aims to deliver a solution suitable for contracting firms. The solution should enable take-up by SMEs, incremental value-added growth (perhaps Incremental Radicalism), mobile computing for location independent access by project managers and quick set-up of virtual enterprises reflecting both the short customer-supplier relationships in the industry and the need of construction firms to constantly re-configure and re-invent themselves. Method: Wonda will develop an open and secure framework for business objects and electronic payment. Business objects can be defined as software components, which encapsulate business rules and procedures and which can run anywhere on the network. They provide secure and sophisticated access to diverse electronic content and software applications. Indeed, just as a building can be described as a unique arrangement of standard products, a building project can be described as a unique arrangement of standard product data. Business Objects give a high level view of product data. They can be assembled into frameworks to support high-level views on industrial projects. The open framework will enable a distributed architecture through CORBA thus facilitating the interoperation of heterogeneous software components as found in legacy systems. The modular security of the framework and its support for electronic payment ensure authenication, confidentiality and non-repudiation as required for the business processes of construction virtual enterprises. Indeed the modular and incremental implemenation of security will be achieved partly through a Business Object architecture. Results will comprise o a pilot in 2 product cycles, o an open & secure framework architecture, o Commotion middleware for enabling business objects on top of Corba, o WeBuild (construction), WeBank (banking) and SILK (security) business objects o OpenDMX component to enable object orientated access to legacy databases.
series	other
last changed	2003/04/23 15:14

_id	10
authors	Bund, Elizabeth and Barros, Diana Rodriguez
year	1998
title	Imagen Digital: Proceso Proyectual Confluyente (Digital Image: Confluyent Design Process)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 84-93
summary	The introduction of new technologies in architectural projects causes, in first place, their adaptation as an operative and instrumental resource, without considering the deep changes that their use generates. The digital image, understood as a reference of this process, is spreading and conquering new fields on ideation, representation and communication. The absence of theoretical support, that would offered another point of view is evident, so consequently we believe that is necessary to consider approaches qualitatively new, from epistemologic, methodologic, perceptive and aesthetic fields, in order to transfer them into professional an teaching practice. Today, the annulment of universal validity rules, and the different and contradictory interpretations, oblige to center our view in the interrelationships and,connections, rather than in the definition of each entity. This work develops synthetically a study which confronts and compares traditional project process - composition and heuristic design supported by linear proceeding and analogic media, with confluent project process, based on digital data and hypermedia links, generated simultaneously. The variants of the topics analyzed are at the same time the project itself, the underlying thinking model, and the project communication strategies.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	20
authors	Cabezas, M., Mariano, C., MÌtolo, S., MuÒoz, P., Oliva, S. and Ortiz, M.
year	1998
title	Aportes a la EnseÒanza de la ComunicaciÛn Visual (Contributions to the Teaching of Visual Communication)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 168-173
summary	Going back to the proposal for the incorporation of multimid oriented towards the study of visual communication in 1st year of Architecture and Industrial Design which was presented on the 1st Seminary of Digital Graph that was held in 1997, in the FAU of UBA,it is being developed an educative programme of hypermedial character. Referring to Monge System development, it is though for the students so that they can consul and have a first contact with theoretical concepts. Through direct experience, starting from the studentís pre-existence of a lineal path from general to specific, proposing transversal perspective to start in depth conceptual contents according. Completing the traditional view of drawing by enlarging the iconicity and comprehension of a complex topic like geometry of the space.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	maver_089
id	maver_089
authors	Chen, Y., Fram, I. and Maver, T.W.
year	1998
title	A Virtual Studio Environment for Design Integration
source	Advances in Engineering Software, vol 29, No 10, 787-800
summary	In this paper the authors attempt to stress the social dimension of design and the role of explicit support for human-level interaction during design systems integration. A human-centred approach is proposed by taking design integration as the collaborative use of design artefacts, and a virtual studio environment (VSE) framework is presented as an integration vehicle to link the social and technical dimensions. A VSE consists of two subsystems: the VSE base system and the domain resources. While common generic facilities for human-human interaction are embedded within the VSE base system, the domain-specific resources are loosely coupled into VSE via resource agents. A VSE prototype for the domain of building design is described, and a demonstration of the use of the VSE prototype is presented. This is then followed by some discussion on related research and further work.
keywords	Design Integration, Collaborative Design, Human-Human Interaction, Virtual Design Studio, Building Design
series	journal paper
email
last changed	2003/09/03 13:23

_id	5688
authors	Conen, W. and Neumann, G. (eds.)
year	1998
title	Coordination Technology for Collaborative Applications
source	Springer
summary	Given the broad popularity of Internet technology, even in its present immature state, and also the recent progress made towards a human-centered view of information technology, the time now seems ripe to essentially extend the scope and power of enterprise information systems. This carefully arranged book concentrates on the relationships between coordination technology and business application requirements and introduces general elements of a cooperative infrastructure allowing for the construction of collaborative applications. It is essential reading for research and development professionals active in the area as well as for IT managers interested in applying this promising new technology in order to remain competitive in the future.
series	other
last changed	2003/04/23 15:14

_id	ddss9812
id	ddss9812
authors	Coomans, M.K.D. and Timmermans, H.J.P.
year	1998
title	A VR-User Interface for Design by Features
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	We present the design of a Virtual Reality based user interface (VR-UI). It is the interface for the VR-DIS system, a design application for the Building and Construction industry (VRDIS stands for Virtual Reality - Design Information System). The interface is characterised by a mixedrepresentation of the task domain: an analogue “mock-up view” is being integrated with a descriptive “feature view”. It uses a Fish Tank VR configuration which integrates the virtual objects in the designer’s normal working environment. The issues underlying the design of the feature view are discussed, as well as the choice of input devices.
series	DDSS
last changed	2003/08/07 16:36

_id	1beb
authors	Coomans, M.K.D. and Timmermans, H.J.P.
year	1998
title	A VR User Interface for Design by Features
source	Timmermans (ed.) Proceedings of the 4th Conference on Design and Decision Support Systems in Architecture and Urban Planning, Maastricht
summary	We present the design of a Virtual Reality based user interface (VR-UI). It is the interface for the VR-DIS system, a design application for the Building and Construction industry (VRDIS stands for Virtual Reality - Design Information System). The interface is characterised by a mixed representation of the task domain: an analogue "mock-up view" is being integrated with a descriptive "feature view". It uses a Fish Tank VR configuration which integrates the virtual objects in the designer's normal working environment. The issues underlying the design of the feature view are discussed, as well as the choice of input devices.
series	other
last changed	2003/04/23 15:50

_id	ddss9813
id	ddss9813
authors	Cordan, Ozge and Besgen, Asu
year	1998
title	No Times But Principles, A Case Study From Priene, Anatolia
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	To emphasise the reusing of the local identities and cultural effects on contemporary designs, this paper is believed to have an important role for architects and for further designs. In this paper design theories in 1000's BC from Priene is held. The theories in urban and architectural design took place. From the intersection point of Ancient Greek and Western Anatolia, a city named "Priene" is chosen as a point of view because of its speciallocation on the Aegean Sea Coasts; Asia Minor and its design principles on urban and housing scale which were used during 1000's and are still common. Also, in this paper, an analysis is done on urban and housing scale. The analysis has two main parts. In the first part, the important buildings in Priene and their settlement decisions take part. And in the second part, the houses of Priene are explained. The general outputs of the study can be put under two titles: urbanism and architecture. In terms of urbanism, those features of a city image reflecting onto today’s world have been examined and the city of Priene has been analysed in the content of Lynch’s elements ensuring formation of a city image. In terms of architecture, results obtained have been separately examined in the content of today’s architecture as public buildings reflecting unique characteristics of Hellenistic architecture and as settlements. In short, the result that it is wished to reach in terms of city scale of the city of Priene in this study isthe expression of the essence of the historical heritage using a modern language to ensure historical continuity.
series	DDSS
last changed	2003/08/07 16:36

_id	04c9
authors	Crandall, N.F. and Wallace , M.J. (ed.)
year	1998
title	Work & Rewards in The Virtual Workplace
source	Amacom
summary	By now, telecommuting is a well-defined word in the corporate U.S. But how about frontline workplace? Or cyberlink workplace? Consultants Crandall and Wallace make convincing arguments about the efficacies of virtual work, and they outline detailed processes and qualifications for any organization contemplating such a move. In a very logical, almost scholarly, fashion, they define terms, explain implementation, demolish perceived and real obstacles, and prove their points via a few case histories. Yet this is not a cut-and-dried book, for the excitement of dramatic changes to our collective workplaces is captured in the descriptions. Chiat/Day assigns its employees a cell phone and a laptop, period. And at Ross Operating Valve, customers actually lead the creative design process. Job satisfaction? You bet. And a much more productive group of employees. Most important for companies interested in these virtual ideas will be the economics chapter, describing in black and white (and sometimes red) the costs involved.
series	other
last changed	2003/04/23 15:14

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