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

_id	62fa
authors	Vasquez de Velasco, Guillermo P. and Clayton, Mark J.
year	1998
title	Integrating Introductory CAAD Courses and Upper Level Electronic Design Studios
doi	https://doi.org/10.52842/conf.ecaade.1998.157
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 157-164
summary	Although the use of computers has become widespread among architecture students, their use in design studios often lacks integration. To gain maximum advantage from computers, design students must acquire a breadth and depth of knowledge that allows them to choose the right tools, integrate multiple technologies, and apply knowledge to new situations. It is not possible for students to gain all of this knowledge in an ad hoc way as part of a design studio. Thus, an introductory CAAD course is a necessary prerequisite for participation in design studios that employ computer methods. The paper presents the experience of two faculty members currently working on the integration of their second year introductory CAAD courses and their fourth year Electronic Design Studios. The paper describes the pedagogical methods used in the introductory CAAD courses, and shows how they serve as the foundation for exercises in upper level electronic design studios. The paper also presents plans for the implementation of distance education methodologies in the delivery of computing and studio courses. The paper ends by providing conclusions that address how the use of computer technology permits the addition of instructional objectives that go beyond those of conventional design studios.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:58

_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	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	634d
authors	Seebohm, Thomas and Van Wyk, Skip (Eds.)
year	1998
title	Digital Design Studios: Do Computers Make a Difference? [Conference Proceedings]
doi	https://doi.org/10.52842/conf.acadia.1998
source	ACADIA Conference Proceedings / ISBN 1-880250-07-1 / Québec City (Canada) October 22-25, 1998, 383 p.
summary	With an inevitability that is the beyond the control of architecture faculty everywhere, computers are being increasingly used in design studios. As student ownership of computers proliferates and architectural firms begin to use computers for design as well as drafting, the momentum will accelerate. The question is whether the use of computers in design studios makes a difference and what sort. Moreover, if it does make a difference, should it just be allowed to happen or should the momentum be guided by studio teachers skilled in computing. Does the use of computers in studios demand a special pedagogy that goes beyond teaching the use of the software and hardware? Are there design approaches that need to be taught in order to take advantage of the strengths of computers in design rather than attempt to make computers follow the paths trodden by manual design techniques? The question is critical because, as yet, we know very little about how computers can truly enable design, how computers can help us conceive design hypotheses, structure alternatives and simulations, and evaluate alternatives. As yet we have no body of recorded evidence to demonstrate how computer-based design studios produce work that is different from or better than traditional design, except, perhaps, in slickness of the images. Is it only in modeling and rendering final images that computers are useful or are there advantages in the use of computers through all stages design. If so what are they? In recent years many non-ACADIANS have become involved in using computers in design studios. Do we use design computing differently? Do we judge our successes differently? Do we have different expectations than these colleagues. And, even more interesting , what do they perceive as our experience and direction?
series	ACADIA
email
more	http://www.acadia.org
last changed	2022/06/07 07:49

_id	2623
authors	Sheth, A. and Klas, W.
year	1998
title	Multimedia Data Management
source	New York: McGraw-Hill
summary	Here is the authoritative handbook on multimedia metadata and data management. In one volume, it gathers a wealth of information from the field's leading international experts in this emerging specialty. Multimedia data-text, image, voice, and video-poses unique challenges to product developers and database professionals in midsized to giant organizations. They need to know how multimedia can be effectively stored, accessed, and integrated into applications. The key is "metadata," which acts as an umbrella for multimedia data and allows it to be modeled and managed. In this invaluable guide, well-known contributors from the U.S., Japan, and Europe examine the metadata concept, present relevant standards, and discuss its global use in video databases, speech documents, satellite and medical imaging, and other applications.
series	other
last changed	2003/04/23 15:14

_id	3
authors	Andia, Alfredo
year	1998
title	Computadoras y Arquitectura en la Era Digital (Computers and Architecture in the Digital Era)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 22-31
summary	It seems that when architects think, and talk about computers, they only reflect on very narrow images of the phenomenon. Architects think that the impact of computers in their profession is only related to how PCs, CAD/CAM, networks, software, peripherals, can improve the way they work today. Architects, by enlarge, are unable to reflect beyond the screen of their computers and the wall of their offices when it comes to recognize the real consequences resulting from the new technological advances. In this paper we argue that we should think differently. We must recognize that computers are having much more profound impact on the profession. Computers - the technology of the fantastic, par excellence - are changing the city! They are fundamentally transforming the way we use space, and buildings! Computers are beginning to create new kinds of urban cultures and infrastructures. Building types such as offices, banks, retail spaces, and museums are being transformed into virtual workplaces, telecommuting centers, networks of automated teller machines, home banking, smart stores and multimedia experiences. Computers are transforming the concept of working, the concept of banking, the concept of shopping, etc. In the end, something fundamental about the architecture of these activities.
series	SIGRADI
email
last changed	2016/03/10 09:47

_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	744f
authors	Conforti, Frank and Grabowski, Ralph
year	1998
title	Microstation for AutoCad Users : A Bi-Directional Handbook
source	Delmar Publishers Publishers Inc.
summary	This book provides the last word on feature-by-feature comparisons of AutoCAD and MicroStation from the user's perspective. Each chapter presents a quick summary of a specific feature in AutoCAD, followed by the related feature in MicroStation. AutoCAD software users will find the book to be a great asset in transitioning from the AutoCAD environment to the MicroStation design environment. Conversely, the book is equally valuable for the MicroStation product user who needs to make the transition to AutoCAD. Thorough coverage of translating drawings between AutoCAD and MicroStation provides vital information for users working with both platforms. For the user who works with both products and for the user who wants to know more about the "other" software package, this is the book for you. An Online Companion™ allows users to access the Autodesk Press web site for information on job resources, professional organizations, updates and more.
series	other
last changed	2003/02/26 18:58

_id	ca7b
authors	Howes, Jaki
year	1999
title	IT or not IT? An Examination of IT Use in an Experimental Multi-disciplinary Teamwork Situation
doi	https://doi.org/10.52842/conf.ecaade.1999.370
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 370-373
summary	Leeds Metropolitan University is well placed to carry out research into multi-disciplinary team-working, as all the design and construction disciplines are housed in one faculty. Staff have set up an experimental project, TIME IT (Team-working in Multi-disciplinary Environments using IT) which examines ways of working in the design/construction process and how IT is used when there is no commercial pressure. Four groups of four students, one graduate diploma architect, and one final year student from each of Civil Engineering, Construction Management and Quantity Surveying have been working on feasibility studies for projects that are based on completed schemes or have been devised by collaborators in the Construction Industry. Students have been asked to produce a PowerPoint presentation, in up to five working days, of a design scheme, with costs, structural analysis and construction programme. The students are not assessed on the quality of the product, but on their own ability to monitor the process and use of IT. Despite this, aggressive competition evolved between the teams to produce the 'best' design. Five projects were run in the 1998/99 session. A dedicated IT suite has been provided; each group of students had exclusive use of a machine. They were not told how to approach the projects nor when to use the available technology, but were asked to keep the use of paper to a minimum and to keep all their work on the server, so that it could be monitored externally. Not so. They plotted the AO drawings of an existing building that had been provided on the server. They like paper - they can scribble on it, fold it, tear it and throw it at one another.
keywords	IT, Multi-disciplinary, Teamwork
series	eCAADe
email
last changed	2022/06/07 07:50

_id	146a
authors	Johnson, Robert E.
year	2000
title	The Impact of E-Commerce on the Design and Construction Industry
doi	https://doi.org/10.52842/conf.acadia.2000.075
source	Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 75-83
summary	Historically, the design and construction industry has been slow to innovate. As a result, productivity in the construction industry has declined substantially compared to other industries. Inefficiencies in this industry are well documented. However, the potential for cost savings and increased efficiency through the use of the Internet and e-commerce may not only increase the efficiency of the design and construction industry, but it may also significantly change the structure and composition of the industry. This is suggested because effective implementations of e-commerce technologies are not limited to one aspect of one industry. E-commerce may be most effective when it is thought of and applied to multi-industry enterprises and in a global context. This paper continues the exploration of a concept that we have been working on for several years, namely that “…information technology is evolving from a tool that incrementally improves ‘backoffice’ productivity to an essential component of strategic positioning that may alter the basic economics, organizational structure and operational practices of facility management organizations and their interactions with service providers (architects, engineers and constructors).” (Johnson and Clayton 1998) This paper will utilize the case study methodology to explore these issues as they are affecting the AEC/FM industry.
series	ACADIA
last changed	2022/06/07 07:52

_id	4b60
authors	Mortola, E., Giangrande, A., Mirabelli, P. and Fortuzzi, A.
year	1998
title	Introducing Hypermedia Tools in Community Planning and Design
doi	https://doi.org/10.52842/conf.ecaade.1998.172
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 172-177
summary	IT in Europe tends to become a passive reflection of American commercial interests instead of a mean of the production of European culture and society. A change of paradigm is needed from the passive, what we "can" do, towards the active way, what we want to do, deciding what is good and bad, to give an answer to needs and wishes of the society we are building. In the late years the research and teaching activity of CAAD Laboratory at DiPSA concentrate on sustainable planning, community planning and interactive design, developing computer based tools aimed at aiding the process and improving its effectiveness. The research work has been going on rapidly and successfully (some CDs and web sites were edited) but coming at real-life application we faced completely different problems and needed a completely different approach. We were not free anymore to run with "advanced" technology following a vision of the future thus avoiding any form of verification, but we found ourselves obliged to evaluate the present utility of the technology used. This caused a dramatic shift of focus from the technology itself to people who could take advantage of it and the target to reach. In other words working not to create gaps between people who can buy the latest equipment and knows how to use it and people who cannot. Our intention was to increase social participation not reduce it, by selecting people to be involved in building the environment. This meant not only lowering "technological le
series	eCAADe
email
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/34mortola/index.htm
last changed	2022/06/07 07:58

_id	ddss9811
id	ddss9811
authors	Barbanente, A., Conte, E. and Monno, V.
year	1998
title	Changing trends and approaches in human and computer modelling for social housing policies
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 paper discusses conceptual issues, goals and preliminary results of an on-going research which aims at building a Decision Support System for public housing environmental oriented maintenance and management in a city in Southern Italy, Bari. Traditional post-war Italian housing policies are compared with more recent approaches in the field, pointing out the change from quantitative, aggregated, more simple building problems and relatedapproaches to qualitative, differentiated, complex ones integrating social, economic and environmental dimensions with the aim of regenerating deteriorated residential areas. The paper claims for the need shift, both in the human and computer areas, from traditional quantitative models to new approaches able to manage also qualitative variables, temporal dynamics, emergencies, and intentionality, since they appear key aspects of the real world to be modelled. The housing estate of Bari and its needs of maintenance and management are examined, eliciting essential related knowledge using the interview technique. The clear orientation towards sustainable policies for urban regeneration, at a local, national, and Community level, is also considered. The innovative and collaborative nature of such policies and the attention to be paid to the social aspects ofthe problem require a complex DSS, integrating various kind of hypertexts, information systems and case-based fuzzy expert systems, whose main aims, functions, software and general organisation are outlined in the paper.
series	DDSS
last changed	2003/11/21 15:16

_id	7a20
id	7a20
authors	Carrara, G., Fioravanti, A.
year	2002
title	SHARED SPACE’ AND ‘PUBLIC SPACE’ DIALECTICS IN COLLABORATIVE ARCHITECTURAL DESIGN.
source	Proceedings of Collaborative Decision-Support Systems Focus Symposium, 30th July, 2002; under the auspices of InterSymp-2002, 14° International Conference on Systems Research, Informatics and Cybernetics, 2002, Baden-Baden, pg. 27-44.
summary	The present paper describes on-going research on Collaborative Design. The proposed model, the resulting system and its implementation refer mainly to architectural and building design in the modes and forms in which it is carried on in advanced design firms. The model may actually be used effectively also in other environments. The research simultaneously pursues an integrated model of the: a) structure of the networked architectural design process (operators, activities, phases and resources); b) required knowledge (distributed and functional to the operators and the process phases). The article focuses on the first aspect of the model: the relationship that exists among the various ‘actors’ in the design process (according to the STEP-ISO definition, Wix, 1997) during the various stages of its development (McKinney and Fischer, 1998). In Collaborative Design support systems this aspect touches on a number of different problems: database structure, homogeneity of the knowledge bases, the creation of knowledge bases (Galle, 1995), the representation of the IT datum (Carrara et al., 1994; Pohl and Myers, 1994; Papamichael et al., 1996; Rosenmann and Gero, 1996; Eastman et al., 1997; Eastman, 1998; Kim, et al., 1997; Kavakli, 2001). Decision-making support and the relationship between ‘private’ design space (involving the decisions of the individual design team) and the ‘shared’ design space (involving the decisions of all the design teams, Zang and Norman, 1994) are the specific topic of the present article. Decisions taken in the ‘private design space’ of the design team or ‘actor’ are closely related to the type of support that can be provided by a Collaborative Design system: automatic checks performed by activating procedures and methods, reporting of 'local' conflicts, methods and knowledge for the resolution of ‘local’ conflicts, creation of new IT objects/ building components, who the objects must refer to (the ‘owner’), 'situated' aspects (Gero and Reffat, 2001) of the IT objects/building components. Decisions taken in the ‘shared design space’ involve aspects that are typical of networked design and that are partially present in the ‘private’ design space. Cross-checking, reporting of ‘global’ conflicts to all those concerned, even those who are unaware they are concerned, methods for their resolution, the modification of data structure and interface according to the actors interacting with it and the design phase, the definition of a 'dominus' for every IT object (i.e. the decision-maker, according to the design phase and the creation of the object). All this is made possible both by the model for representing the building (Carrara and Fioravanti, 2001), and by the type of IT representation of the individual building components, using the methods and techniques of Knowledge Engineering through a structured set of Knowledge Bases, Inference Engines and Databases. The aim is to develop suitable tools for supporting integrated Process/Product design activity by means of a effective and innovative representation of building entities (technical components, constraints, methods) in order to manage and resolve conflicts generated during the design activity.
keywords	Collaborative Design, Architectural Design, Distributed Knowledge Bases, ‘Situated’ Object, Process/Product Model, Private/Shared ‘Design Space’, Conflict Reduction.
series	other
type	symposium
email
last changed	2005/03/30 16:25

_id	6279
id	6279
authors	Carrara, G.; Fioravanti, A.
year	2002
title	Private Space' and ‘Shared Space’ Dialectics in Collaborative Architectural Design
source	InterSymp 2002 - 14th International Conference on Systems Research, Informatics and Cybernetics (July 29 - August 3, 2002), pp 28-44.
summary	The present paper describes on-going research on Collaborative Design. The proposed model, the resulting system and its implementation refer mainly to architectural and building design in the modes and forms in which it is carried on in advanced design firms. The model may actually be used effectively also in other environments. The research simultaneously pursues an integrated model of the: a) structure of the networked architectural design process (operators, activities, phases and resources); b) required knowledge (distributed and functional to the operators and the process phases). The article focuses on the first aspect of the model: the relationship that exists among the various ‘actors’ in the design process (according to the STEP-ISO definition, Wix, 1997) during the various stages of its development (McKinney and Fischer, 1998). In Collaborative Design support systems this aspect touches on a number of different problems: database structure, homogeneity of the knowledge bases, the creation of knowledge bases (Galle, 1995), the representation of the IT datum (Carrara et al., 1994; Pohl and Myers, 1994; Papamichael et al., 1996; Rosenmann and Gero, 1996; Eastman et al., 1997; Eastman, 1998; Kim, et al., 1997; Kavakli, 2001). Decision-making support and the relationship between ‘private’ design space (involving the decisions of the individual design team) and the ‘shared’ design space (involving the decisions of all the design teams, Zang and Norman, 1994) are the specific topic of the present article. Decisions taken in the ‘private design space’ of the design team or ‘actor’ are closely related to the type of support that can be provided by a Collaborative Design system: automatic checks performed by activating procedures and methods, reporting of 'local' conflicts, methods and knowledge for the resolution of ‘local’ conflicts, creation of new IT objects/ building components, who the objects must refer to (the ‘owner’), 'situated' aspects (Gero and Reffat, 2001) of the IT objects/building components. Decisions taken in the ‘shared design space’ involve aspects that are typical of networked design and that are partially present in the ‘private’ design space. Cross-checking, reporting of ‘global’ conflicts to all those concerned, even those who are unaware they are concerned, methods for their resolution, the modification of data structure and interface according to the actors interacting with it and the design phase, the definition of a 'dominus' for every IT object (i.e. the decision-maker, according to the design phase and the creation of the object). All this is made possible both by the model for representing the building (Carrara and Fioravanti, 2001), and by the type of IT representation of the individual building components, using the methods and techniques of Knowledge Engineering through a structured set of Knowledge Bases, Inference Engines and Databases. The aim is to develop suitable tools for supporting integrated Process/Product design activity by means of a effective and innovative representation of building entities (technical components, constraints, methods) in order to manage and resolve conflicts generated during the design activity.
keywords	Collaborative Design, Architectural Design, Distributed Knowledge Bases, ‘Situated’ Object, Process/Product Model, Private/Shared ‘Design Space’, Conflict Reduction.
series	other
type	symposium
email
last changed	2012/12/04 07:53

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

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

_id	ddss9841
id	ddss9841
authors	Malkawi, Ali
year	1998
title	Representing Collaborative Multi- Knowledge Agents as Generic Rules
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	This paper discusses the internal representation of a multi-knowledge agent decision support system that was developed for building thermal design. The system is able to provide designers with specific problem detection in thermal design without the use of rules of thumb. The paper describes how generic rules can be used as virtual agents and how these agents can interact using a blackboard model. The generic rules utilized use logical variables as a strategy to capture generality. This allows the rules todeal with variables that can be replaced by any possible term. In addition, it allows the rules to be equivalent to the infinite set of rules that could be obtained if the variables were replaced in all possible ways by terms. In the system, these terms include the building elements and systems that affect the thermal behavior of the building. Problems associated with agent conflicts and how they were resolved in such a model are described.
series	DDSS
last changed	2003/08/07 16:36

_id	170f
authors	Mora Padrón, Víctor Manuel
year	1999
title	Integration and Application of Technologies CAD in a Regional Reality - Methodological and Formative Experience in Industrial Design and Products Development
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 295-297
summary	The experience to present is begun and developed during the academic year 1998, together to the course of IV pupils level of the Industrial Design career in the Universidad del Bío-Bío, labor that I have continued assuming during the present year, with a new youths generation. We have accomplished our academic work taking as original of study and base, the industrial and economic situation of the VIII Region, context in the one which we outline and we commit our needs formative as well as methodological to the teaching of the discipline of the Industrial Design. Consequently, we have defined a high-priority factor among pupils and teachers to reach the objectives and activities program of the course, the one which envisages first of all a commitment of attitude and integrative reflection among our academic activity and the territorial human context in the one which we inhabit. In Chile the activity of the industrial designer, his knowledge and by so much his capacity of producing innovation, it has been something practically unknown in the industrial productive area. However, the current national development challenges and the search by widening our markets, they have created and established a conscience of the fact that the Chilean industrial product must have a modern and effective competitiveness if wants be made participates in segments of the international marketing. It is in this new vision where the design provides in decisive form to consider and add a commercial and cultural value in our products. To the university corresponds the role of transmitting the knowledge generated in his classrooms toward the society, for thus to promote a development in the widest sense of the word. Under this prism the small and median regional industry in their various areas, have not integrated in the national arrangement in what concerns to the design and development of new and integral products. The design and the innovation as motor concept for a competitiveness and permanency in new markets, it has not entered yet in the entrepreneurial culture. If we want to save this situation, it is necessary that the regional entrepreneur knows the importance of the Design with new models development and examples of application, through concrete cases and with demands, that serve of base to demonstrate that the alliance among Designer and Industry, opens new perspectives of growth upon offering innovation and value added factors as new competitiveness tools. Today the communication and the managing of the information is a strategic weapon, to the moment of making changes in a social dynamics, so much at local level as global. It is with this look that our efforts and objective are centered in forming to our pupils with an integration speech and direct application toward the industrial community of our region, using the communication and the technological information as a tool validates and effective to solve the receipt in the visualization of our projects, designs and solutions of products. As complement to the development of the proposed topic will be exhibited a series of projects accomplished by the pupils for some regional industries, in which the three dimensional modeling and the use of programs vectoriales demonstrate the efficiency of communication and comprehension of the proposals, its complexity and constructive possibilities.
series	SIGRADI
email
last changed	2016/03/10 09:55

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