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CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
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_id	ga9922
id	ga9922
authors	Annunziato, M. and Pierucci, P.
year	1999
title	The Art of Emergence
source	International Conference on Generative Art
summary	Since several years, the term emergence is mentioned in the paradigm of chaos and complexity. Following this approach, complex system constituted by multitude of individual develop global behavioral properties on the base of local chaotic interactions (self-organization). These theories, developed in scientific and philosophical milieus are rapidly spreading as a "way of thinking" in the several fields of cognitive activities. According to this "way of thinking" it is possible revise some fundamental themes as the economic systems, the cultural systems, the scientific paths, the communication nets under a new approach where nothing is pre-determined, but the global evolution is determined by specific mechanisms of interaction and fundamental events (bifurcation). With a jump in scale of the life, also other basic concepts related to the individuals as intelligence, consciousness, psyche can be revised as self-organizing phenomena. Such a conceptual fertility has been the base for the revision of the artistic activities as flexible instruments for the investigation of imaginary worlds, metaphor of related real worlds. In this sense we claim to the artist a role of "researcher". Through the free exploration of new concepts, he can evoke qualities, configurations and hypothesis which have an esthetical and expressive value and in the most significant cases, they can induce nucleation of cultural and scientific bifurcation. Our vision of the art-science relation is of cooperative type instead of the conflict of the past decades. In this paper we describe some of the most significant realized artworks in order to make explicit the concepts and basic themes. One of the fundamental topics is the way to generate and think to the artwork. Our characterization is to see the artwork not as a static finished product, but as an instance or a dynamic sequence of instances of a creative process which continuously evolves. In this sense, the attention is focused on the "generative idea" which constitutes the envelop of the artworks generable by the process. In this approach the role of technology (computers, synthesizers) is fundamental to create the dimension of the generative environment. Another characterizing aspect of our artworks is derived by the previous approach and specifically related to the interactive installations. The classical relation between artist, artwork and observers is viewed as an unidirectional flux of messages from the artist to the observer through the artwork. In our approach artist, artwork and observer are autonomous entities provided with own personality which jointly intervene to determine the creative paths. The artist which generate the environment in not longer the "owner" of the artwork; simply he dialectically bring the generative environment (provided by a certain degree of autonomy) towards cultural and creative "void" spaces (not still discovered). The observers start from these platforms to generate other creative paths, sometimes absolutely unexpected , developing their new dialectical relations with the artwork itself. The results derived by these positions characterize the expressive elements of the artworks (images, sequences and sounds) as the outcomes of emergent behavior or dynamics both in the sense of esthetical shapes emergent from fertile generative environments, either in terms of emergent relations between artist, artwork and observer, either in terms of concepts which emerge by the metaphor of artificial worlds to produce imaginary hypothesis for the real worlds.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	f9c4
authors	Kvan, Thomas and Candy, Linda
year	1999
title	Designing Collaborative Environments for Strategic Knowledge in Design
source	2nd International Workshop on Strategic Knowledge and Concept Formation, Iwate Prefectural University, 20-22 October 1999, pp. 85-94
summary	This paper considers aspects of strategic knowledge in design and some implications for designing in collaborative environments. Two key questions underline the concerns. First; how can strategic knowledge for collaborative design be taught and second; what kind of computer-based collaborative designing might best support the learning of strategic knowledge? We argue that the support of learning of strategic knowledge in collaborative design by computer-mediated means must be based upon empirical evidence about the nature of learning and design practice in the real world. Examples of research by the authors that seeks to provide that evidence are described and an approach to computer system design and evaluation proposed.
keywords	Collaborative Design; Strategic Knowledge; Empirical Studies; Computer Support
series	other
email
last changed	2002/11/15 18:29

_id	ga0010
id	ga0010
authors	Moroni, A., Zuben, F. Von and Manzolli, J.
year	2000
title	ArTbitrariness in Music
source	International Conference on Generative Art
summary	Evolution is now considered not only powerful enough to bring about the biological entities as complex as humans and conciousness, but also useful in simulation to create algorithms and structures of higher levels of complexity than could easily be built by design. In the context of artistic domains, the process of human-machine interaction is analyzed as a good framework to explore creativity and to produce results that could not be obtained without this interaction. When evolutionary computation and other computational intelligence methodologies are involved, every attempt to improve aesthetic judgement we denote as ArTbitrariness, and is interpreted as an interactive iterative optimization process. ArTbitrariness is also suggested as an effective way to produce art through an efficient manipulation of information and a proper use of computational creativity to increase the complexity of the results without neglecting the aesthetic aspects [Moroni et al., 2000]. Our emphasis will be in an approach to interactive music composition. The problem of computer generation of musical material has received extensive attention and a subclass of the field of algorithmic composition includes those applications which use the computer as something in between an instrument, in which a user "plays" through the application's interface, and a compositional aid, which a user experiments with in order to generate stimulating and varying musical material. This approach was adopted in Vox Populi, a hybrid made up of an instrument and a compositional environment. Differently from other systems found in genetic algorithms or evolutionary computation, in which people have to listen to and judge the musical items, Vox Populi uses the computer and the mouse as real-time music controllers, acting as a new interactive computer-based musical instrument. The interface is designed to be flexible for the user to modify the music being generated. It explores evolutionary computation in the context of algorithmic composition and provides a graphical interface that allows to modify the tonal center and the voice range, changing the evolution of the music by using the mouse[Moroni et al., 1999]. A piece of music consists of several sets of musical material manipulated and exposed to the listener, for example pitches, harmonies, rhythms, timbres, etc. They are composed of a finite number of elements and basically, the aim of a composer is to organize those elements in an esthetic way. Modeling a piece as a dynamic system implies a view in which the composer draws trajectories or orbits using the elements of each set [Manzolli, 1991]. Nonlinear iterative mappings are associated with interface controls. In the next page two examples of nonlinear iterative mappings with their resulting musical pieces are shown.The mappings may give rise to attractors, defined as geometric figures that represent the set of stationary states of a non-linear dynamic system, or simply trajectories to which the system is attracted. The relevance of this approach goes beyond music applications per se. Computer music systems that are built on the basis of a solid theory can be coherently embedded into multimedia environments. The richness and specialty of the music domain are likely to initiate new thinking and ideas, which will have an impact on areas such as knowledge representation and planning, and on the design of visual formalisms and human-computer interfaces in general. Above and bellow, Vox Populi interface is depicted, showing two nonlinear iterative mappings with their resulting musical pieces. References [Manzolli, 1991] J. Manzolli. Harmonic Strange Attractors, CEM BULLETIN, Vol. 2, No. 2, 4 -- 7, 1991. [Moroni et al., 1999] Moroni, J. Manzolli, F. Von Zuben, R. Gudwin. Evolutionary Computation applied to Algorithmic Composition, Proceedings of CEC99 - IEEE International Conference on Evolutionary Computation, Washington D. C., p. 807 -- 811,1999. [Moroni et al., 2000] Moroni, A., Von Zuben, F. and Manzolli, J. ArTbitration, Las Vegas, USA: Proceedings of the 2000 Genetic and Evolutionary Computation Conference Workshop Program – GECCO, 143 -- 145, 2000.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	bd21
authors	Barría Chateau, H., García Alvarado, R., Lagos Vergara, R. and Parra Márquez, J.C.
year	1999
title	Evaluation of Spatial Perception in Virtual Environments
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 145-148
summary	The 3D environments created by computers can be used as a powerful simulation tool for architecture, especially with inmersive devices, but it is necessary to know properly their spatial characteristics to use it effectively. It is also important to consider their possibilities in communication networks and their implications in contemporary architecture. For this reason, the goal of this research is to evaluate the perception of virtual architectonic spaces in relation to the perception of real architectonic spaces. This research is based on the comparison of experiences of university students in a real space (Entrance Hall of Faculty of Economy) and in the same space modeled by a computer. The evaluation considers tests with stereoscopic helmets and interactive navigation, making questionnaires to characterize the sensation of dimensions, relationships and time for an specific activity. The measuring of real and virtual spaces are made through references (furniture, textures, etc.) or by proportional relations between height, width and depth, in different patterns. The experience also reveals mental schemes to perceive the dimension of architectonic space and the orientation in a real and virtual environment. Besides, the research allows to relate the different levels of complexity and information with the understanding of real architectonic space and modeled space.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	bfc2
authors	Bessone, Miriam and Mantovani, Graciela
year	1999
title	Integración del Medio Digital a la Enseñanza del Diseño Arquitectónico. Huellas de un Taller Experimental (Integration of Digital Media in the Teaching of Architectural Design. Tracks of an Experimental Studio)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 289-294
summary	This paper presents the searching of new building modes for the knowledge of design in curriculum workshops at Facultad de Arquitectura, Diseno y Urbanismo of the Universidad Nacional del Litoral the proposed “research action” program articulates longitudinally in the three cycles of the career, understanding architecture as metaknowledge within a new paradigm of subjectivity, complexity and multidimensionality. In other words, it is recognized a new scenery tending to modify didactic relations. This experimental field looks for conscientious equilibrium between “written culture/audiovisual culture”, and “analog instruments/digital media”. We focus our interest on the “machine interacting with and for men”, looking for harmonious synthesis through a new way of thinking, to allow “real progress”. For turning this idea into action, we organized an alternative and plural team-work in architecture. We called it “experimental workshop”. In this first level the students worked. On a preliminary plan of a “kindergarden”. They developed a divergent process through the 3D simulations (using the software 3DS MAX v2), scale models and sensible sketches. For conclusions, the paper addresses the characteristics of the pedagogic model used and the results achieved.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	473d
authors	Maver, Tom and Petric, Jelena
year	1999
title	Virtual Heritage: Is There a Future for the Past?
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 482-487
summary	This paper attempts an overview of the contribution which emerging information technologies - viz CAD, Multimedia, Virtual Reality and the Internet - can make to the presentation, understanding and preservation of the rich architectural heritage which exists (pro-term) in almost every cultural context. In the UK, the growing interest in sites such as Stonehenge has, through the threat of greater physical presence, increasingly kept the public at bay - a curious paradox which Virtual Reality (VR) has the potential to address. Virtual Reality (-an overly used and underly understood term-) is an information technology which can provide a convincing experience of environments which: i) exist, but are too remote, costly or hazardous, to visit. ii) don't yet exist but are planned, such as architectural designs or urban plans. iii) never will exist, other than in the imagination. iv) existed in the past and are now threatened or already lost. // This paper has its focus on the latter category, i.e. what is now becoming known as Virtual Heritage (VH), but it puts VH in the context of the broader spectrum of simulated experiences of past, present and future environments of cultural significance. The paper draws largely on the work of ABACUS, the Architecture and Building Aids Computer Unit, Strathclyde. The examples of the application of IT to VH include: i) a virtual reality experience of Historic Scotland's premier historical site: Skara Brae, the most complete neolithic settlement in Northern Europe. ii) a multimedia CD-ROM featuring some 50 of the most wonderful interiors of Glasgow's architectural treasures. iii) a computer based archive of rare and normally inaccessible 17C and 18C drawings of Scottish buildings from three seminal sources. iv) a massive 3-D model of Glasgow (some 10,000 buildings located on the hilly terrain of the city), which is now accessible on the Internet. // The paper concludes with conjectures based on the examples given of how emerging information technologies can help secure a future for the past.
series	SIGRADI
email
last changed	2016/03/10 09:55

_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

_id	6285
authors	Pratini, Edison
year	1999
title	Esboçando com Gestos: O Projeto 3D SketchMaker (Sketching with Gestures: The 3D SketchMaker Project)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 141-144
summary	The 3D SketchMaker Project has developed two prototypes for a gestural 3D sketching interface in a computer system to be used in the earliest phases of the design process. The goal of this ongoing research is to provide architects, and other designers involved in object conception, with a 3D gestural instrument that takes advantage of new virtual reality resources and is more natural than using the mouse, less difficult than learning complex software and less abstract than manipulating 2D entities on orthogonal projections. The focus of this project is on the input interface, taking into consideration two factors: First, for many architects and designers, one of the main reasons for not using 3D modeling from the very beginning of the design process is that both current computer hardware and software are hardly appropriate to do the spontaneous and quick drawings that are used to assist in conceptualizing their objects. Second, three-dimensional modeling packages use two-and-three dimensional elements, in a 3D environment, but usually employ 2D input devices that are not appropriate to work in 3D environments, such as mice or pen-and-tablets. The 3D SketchMaker was conceived to take advantage of a natural tendency most people have in using gesture as an aid to language when trying to describe the shape, form or volume of objects. The system is intended to assist or replace the first 2D drawing steps in the design process, generating rough 3D sketches that can be refined later. It is, in essence, a 3D modeling system (a prototype, at this time) directed to do sketching with hand movements and gestures in a virtual reality environment.
series	SIGRADI
email
last changed	2016/03/10 09:58

_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	2473
authors	Rivas Cruces, Alfonso
year	1999
title	El uso de la tecnología de información en el Rediseño de la práctica docente (The Use of Information Technology in the Redesign of the Teaching Practice)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 272-274
summary	The accelerated rate of change that we live nowadays, demands professionals to develop new learning skills to cope with it the rampant development of information technology opens up new horizons and challenges in the way that a human being can be formed through education. In response to the technological progress and rapid rate of change, the Tecnológico de Monterrey System has redesigned its education model, focusing on learning rather than teaching. This means not only acquiring knowledge on theory and concepts, but also learning skills, attitudes, and values that make students be committed with their community & country needs. It also means to be competitive in their area of knowledge at the international level. A central element in the new educational strategy is the technological platform where the academic courses are developed. This platform helps students and professors to do a great deal of the course activities on a lap-top through the computer the interaction between students with students, or professor with students has increased. At the Tecnológico de Monterrey System the implantation of the educational strategy has meant the creation of training programs for teachers, and technological development & support to attend over 5,000 teachers and 70,000 students.
series	SIGRADI
email
last changed	2016/03/10 09:58

_id	4b44
authors	Rodríguez, A., Barcia, J., Diron, F., Saralegui, P., Bages, M., Caetano, C. and Olagüe, C.
year	1999
title	Atlas Interactivo Electrónico de Histología y Embriología (AIH) (Electronic Interactive Atlas of Histology and Embriology (AIH))
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 369-371
summary	The technology allows to center the educative process in the student. The development of the multimedia systems and Internet facilitated this change, being tools that they make possible to create an atmosphere of interactive and colaborative learning. The remote education promotes three kinds of interactions: faculty-student, students to each other and students with other dynamic electronic resources. The Histology and the Embryology are based on the study of images. We are developing to an electronic atlas of histology and embryology with pictures of histologic material captured with a digital camera and an optical microscope. The pictures (resizables and with explanatory text) are classified by tissues or systems with optative access pages and a Link to an autoevaluation multiple option type test . There is a link to an English version. The AIH makes possible an immediate access of the images and autotesting acquired knowledgements.
series	SIGRADI
email
last changed	2016/03/10 09:59

_id	53a4
authors	Vélez Jahn, Gonzalo
year	1999
title	The MUMOVIAR (Museum for Modeling Virtual Architecture) - A Proposal for a Research Theme (The Mumoviar (For Museum Virtual Modeling Architecture) - to for Proposal to Research Theme)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 379-383
summary	One of the most interesting areas in the forefront of non-immersive virtual reality (VRML) applications to architecture is the one that concerns the design, construction and exploration of on-line multi-access worlds using the Internet-WWW. However, and despite the great proliferation of earlier single-access models built on VRML, attempts to collect, classify and provide accesibility that type of models has proved almost nil. On the other side, one of the architectural typologies that promises the greatest transformation potential in the virtual architecture area in cyberspace is the one that concerns virtual museums and galleries. This paper seeks to provide a bridge between the two aforementioned approaches by formulating a conceptual basis for the creation of a virtual, on-line, multi-access museum intended to house collections of VRML building models. Such models, initially shown at a conventional model scale, would be accessed by visitors through an interface intended to transport those visitors into the models’ environments, where changes in scale could provide navigation access to interior and exterior view of the building . Accordingly, the museum would act as a sort of "spaceport” toward different routes of exploration. This modelistic cascading seems to offer interesting possibilities as regards future virtual architecture applications.
series	SIGRADI
email
last changed	2016/03/10 10:02

_id	cf2011_p109
id	cf2011_p109
authors	Abdelmohsen, Sherif; Lee Jinkook, Eastman Chuck
year	2011
title	Automated Cost Analysis of Concept Design BIM Models
source	Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 403-418.
summary	AUTOMATED COST ANALYSIS OF CONCEPT DESIGN BIM MODELS Interoperability: BIM models and cost models This paper introduces the automated cost analysis developed for the General Services Administration (GSA) and the analysis results of a case study involving a concept design courthouse BIM model. The purpose of this study is to investigate interoperability issues related to integrating design and analysis tools; specifically BIM models and cost models. Previous efforts to generate cost estimates from BIM models have focused on developing two necessary but disjoint processes: 1) extracting accurate quantity take off data from BIM models, and 2) manipulating cost analysis results to provide informative feedback. Some recent efforts involve developing detailed definitions, enhanced IFC-based formats and in-house standards for assemblies that encompass building models (e.g. US Corps of Engineers). Some commercial applications enhance the level of detail associated to BIM objects with assembly descriptions to produce lightweight BIM models that can be used by different applications for various purposes (e.g. Autodesk for design review, Navisworks for scheduling, Innovaya for visual estimating, etc.). This study suggests the integration of design and analysis tools by means of managing all building data in one shared repository accessible to multiple domains in the AEC industry (Eastman, 1999; Eastman et al., 2008; authors, 2010). Our approach aims at providing an integrated platform that incorporates a quantity take off extraction method from IFC models, a cost analysis model, and a comprehensive cost reporting scheme, using the Solibri Model Checker (SMC) development environment. Approach As part of the effort to improve the performance of federal buildings, GSA evaluates concept design alternatives based on their compliance with specific requirements, including cost analysis. Two basic challenges emerge in the process of automating cost analysis for BIM models: 1) At this early concept design stage, only minimal information is available to produce a reliable analysis, such as space names and areas, and building gross area, 2) design alternatives share a lot of programmatic requirements such as location, functional spaces and other data. It is thus crucial to integrate other factors that contribute to substantial cost differences such as perimeter, and exterior wall and roof areas. These are extracted from BIM models using IFC data and input through XML into the Parametric Cost Engineering System (PACES, 2010) software to generate cost analysis reports. PACES uses this limited dataset at a conceptual stage and RSMeans (2010) data to infer cost assemblies at different levels of detail. Functionalities Cost model import module The cost model import module has three main functionalities: generating the input dataset necessary for the cost model, performing a semantic mapping between building type specific names and name aggregation structures in PACES known as functional space areas (FSAs), and managing cost data external to the BIM model, such as location and construction duration. The module computes building data such as footprint, gross area, perimeter, external wall and roof area and building space areas. This data is generated through SMC in the form of an XML file and imported into PACES. Reporting module The reporting module uses the cost report generated by PACES to develop a comprehensive report in the form of an excel spreadsheet. This report consists of a systems-elemental estimate that shows the main systems of the building in terms of UniFormat categories, escalation, markups, overhead and conditions, a UniFormat Level III report, and a cost breakdown that provides a summary of material, equipment, labor and total costs. Building parameters are integrated in the report to provide insight on the variations among design alternatives.
keywords	building information modeling, interoperability, cost analysis, IFC
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	9aaf
authors	Burrow, Andrew and Woodbury, Robert
year	1999
title	Pi-Resolution in Design Space Exploration
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 291-308
summary	In studying the phenomenon of design we use models to envision mechanisms by which computers might support design. In one such model we understand design as guided movement through a space of possibilities. Design space explorers embody this model as mixed-initiative environments in which designers engage in exploration via human computer interaction. Constraint resolution provides a formal framework for interaction in design space explorers. Rather than directly providing solutions to design problems, constraint resolution provides a mechanism for organizing construction. Therefore, we are less interested in the set of solutions to a constraint problem than the process by which intermediate steps are generated. Pi-resolution is one such mechanism applicable to design space explorers. It describes the solution, by recursive enumeration, of feature structure type constraints. During pi-resolution, satisfiers are constructed by the application of type constraints drawn from an inheritance hierarchy. This constructive process provides a strong model for design space exploration. The constraint solver does not do the work of the designer, but rather design efforts are situated in, and organized by, constraint resolution. Therefore, the efficiency of the recursive enumeration in finding solutions is not an issue, since non-determinism in the search is resolved by the human user as design space exploration.
keywords	Design Space Explorers, Typed Feature Structures, Functional Decomposition, Mixed Initiative
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	22b7
authors	Donath, D. and Regenbrecht, H.
year	1999
title	Der Bleistift im 21. Jahrhundert. Das architektonische Entwerfen in interaktiven VR Umgebungen. (The pencil in the 21th century. The architectural design process in Virtual Environments)
source	IAO Forum Architektur im Informationszeitalter, FhG Stuttgart, 21.-22.4.1999, proceedings, chapter 7, 10 p.
summary	In the very young discipline of Virtual Reality Applications only a few reports are available about using this technology for periods longer than in experimental setups. This paper describes experiences made during five years of usage of Virtual Reality (VR) in educational training for architects. About 100 different people were working with our systems during this period. Three programs were developed at Bauhaus University with the aim of teaching architectural students to design in three-dimesional environments. The first program called voxDesign is based on the metaphor of voxels. The second program, planeDesign, uses rectangualar planes to describe room-like situations. An other program vram for the user orientated description of flexible and own interfaces and environments is current under construction, a first verson is presented at the international computer exhibition ìCeBitî in 1999. All programs force the users to design in a 1:1 scale, that means that the design and the feedback actions are coupled in an embodied way. A real walking metaphor is used for navigation. The experiences made by users are explained too.
keywords	Virtual Reality, Interaction, Human Computer Interfaces, Digital Media
series	other
email
last changed	2003/02/26 18:58

_id	fd35
authors	Donath, Dirk
year	1999
title	Using Immersive Virtual Reality Systems for Spatial Design in Architecture
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 307-318
summary	In the very young discipline of Virtual Reality Applications only a few reports are available about using this technology for periods longer than in experimental setups. This paper describes experiences made during four years of usage of Virtual Reality (VR) in educational training for architects. About 100 different people were working with our systems during this period. Two programs were developed at Bauhaus University with the aim of teaching students in architecture in three-dimensional sketching. An other program for free and own interfaces and environments is currently under construction and will be presented at the international computer fair "CeBit" in 1999. The first program called voxDesign is based on the metaphor of voxels. The second program, planeDesign, uses rectangualar planes to describe room-like situations. All programs force the users to design in a 1:1 scale, which means that the design and the feedback actions are coupled in an embodied way. A real walking metaphor is used for navigation. The experiences made by the students are explained too.
keywords	Virtual Reality, Architecture, Design, Design Support Systems, Interaction, Research, Education, Usability, Human Computer Interfaces
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	ba93
authors	Hendricx, Ann and Neuckermans, Herman
year	1999
title	About Objects and Approaches - A Conceptual View on Building Models
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 133-148
summary	Considering integrated CAAD environments for architectural design, a number of different approaches are possible. This paper presents the policy of the CADLAB at the KU Leuven University, where design support right from the first design phases is a basic consideration. After a short introduction on the theoretical framework and additional design tests, we will discuss the core object model that forms the cornerstone for the contemplated design environment. This object model describes all possible data, concepts and operations connected with the architectural design process. For its development, we used the object-oriented analysis method MERODE. The starting-points and main aspects of the model will be discussed, illustrated with examples of implemented prototypes. The architect's point of view and the specific nature of the architectural design process were always kept in mind, thus leading to a model that hopes to make a valuable contribution to the research area of integrated design environments.
keywords	CAAD, Integrated Design Environment, Building Models, Conceptual Modelling, MERODE
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	7717
authors	Huang, Jeffrey
year	1999
title	How Do Distributed Design Organizations Act Together to Create a Meaningful Design? Towards a Process Model for Design Coordination
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 99-115
summary	This paper describes the results of a longer-term research project that looked at CAAD as an enabler of completely new collaborative processes rather than as a support for existing collaborative processes. In order to question existing design processes and invent new collaborative processes systematically, we applied a process modeling methodology that employed recent developments in coordination theory. The methodology contained four steps: (1) Decomposition, (2) Dependency Analysis, (3) Process Substitution, and (4) Recomposition. In this paper, we describe how this approach was used to redesign a sample collaborative design process in building design, and present the resulting process coordination model. We describe the implications of this model for the development of collaborative environments, and illustrate its practical application in a case study. We conclude by reiterating the contributions made.
keywords	Distributed Design, Coordination Theory, Process Modeling, Process Redesign, Collaborative Design Environments
series	CAAD Futures
last changed	2006/11/07 07:22

_id	7471
authors	Kram, Reed
year	1999
title	The Digital Sketch Workshop: a Core Course in Design with Computation
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 251-264
summary	This paper summarizes DIGITAL SKETCH, a workshop that took place over the course of two weeks in September 1998 at Designskolen Kolding, Denmark. DIGITAL SKETCH was an attempt to create a foundation course in design for the digital medium for students with strong visual design skills, but little to no computer experience. Teaching design on computers is commonly thought of as detailing the current version of the latest commercial software. As long as this is the case, design on computers will (quite rightfully) continue to get little respect from those designers using more traditional design methods. How can we find the "core" of this medium when faced with the constant onslaught of operating system upgrades and version 11.2 of software Y83? For DIGITAL SKETCH, we tried to demystify the process of controlling the computer. In this workshop we examined the meanings of the term "sketch" as it applies to the design process on the computer. Our hope was that by revealing some of the unique characteristics of the digital medium, we might develop new design processes in tune with this medium.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	290c
authors	Maher, M.L. and Simoff, S.
year	1999
title	Variations on a Virtual Design Studio in J-P. Barthes
source	Z. Lin and M. Ramos (eds) Proceedings of Fourth International Workshop on CSCW in Design, Universite de Technologie de Compiegne, pp.159-165
summary	There are numerous approaches and techniques for setting up an environment for collaborative design. The most common approach is to extend the desktop environment to include tools for meeting and sharing files. This approach takes the individual work environment and adds tools for communicating with others. An alternative approach is to create a virtual world environment in which the collaborators meet, work, and organise their projects. This approach differs conceptually because it creates a sense of place that is unique to the project, sort of a shared office space. A variation on this approach is to create a virtual world that is the model of the product being designed. This is a more obvious choice when the product is an architectural design, but it can be extended to other kinds of design. This approach is essentially collaborating within the design. We present the three approaches and comment on their strengths and weaknesses.
series	other
email
last changed	2003/04/23 15:50

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