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CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
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_id	4a1a
authors	Laird, J.E.
year	2001
title	Using Computer Game to Develop Advanced AI
source	Computer, 34 (7), July pp. 70-75
summary	Although computer and video games have existed for fewer than 40 years, they are already serious business. Entertainment software, the entertainment industry's fastest growing segment, currently generates sales surpassing the film industry's gross revenues. Computer games have significantly affected personal computer sales, providing the initial application for CD-ROMs, driving advancements in graphics technology, and motivating the purchase of ever faster machines. Next-generation computer game consoles are extending this trend, with Sony and Toshiba spending $2 billion to develop the Playstation 2 and Microsoft planning to spend more than $500 million just to market its Xbox console [1]. These investments have paid off. In the past five years, the quality and complexity of computer games have advanced significantly. Computer graphics have shown the most noticeable improvement, with the number of polygons rendered in a scene increasing almost exponentially each year, significantly enhancing the games' realism. For example, the original Playstation, released in 1995, renders 300,000 polygons per second, while Sega's Dreamcast, released in 1999, renders 3 million polygons per second. The Playstation 2 sets the current standard, rendering 66 million polygons per second, while projections indicate the Xbox will render more than lOO million polygons per second. Thus, the images on today's $300 game consoles rival or surpass those available on the previous decade's $50,000 computers. The impact of these improvements is evident in the complexity and realism of the environments underlying today's games, from detailed indoor rooms and corridors to vast outdoor landscapes. These games populate the environments with both human and computer controlled characters, making them a rich laboratory for artificial intelligence research into developing intelligent and social autonomous agents. Indeed, computer games offer a fitting subject for serious academic study, undergraduate education, and graduate student and faculty research. Creating and efficiently rendering these environments touches on every topic in a computer science curriculum. The "Teaching Game Design " sidebar describes the benefits and challenges of developing computer game design courses, an increasingly popular field of study
series	journal paper
last changed	2003/04/23 15:50

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_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	cf6b
authors	Smith, S.
year	1999
title	Document Management: Solutions for AutoCAD Workgroups
source	Cadalyst, vol 16, No.4, April, 42-50
summary	The volume of documents handled by companies today is about twice what it was ten years ago. Electronic files, plus the sea of paper you wade through on a daily basis, reach Mt. Everest proportions for everyone in a company. Productivity suffers from this overload-often documents are overwritten or lost just because there are so many of them. Also, when companies downsize to become more efficient, they may lose key people who manage the ever-growing mountain of information. Business cycles are shorter, technology keeps changing, and all this is managed by a smaller staff.
series	journal paper
last changed	2003/04/23 15:14

_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	7436
authors	Barría Chateau, H., Muñoz Viveros, C. and Cerda Brintrup, G.
year	1999
title	Virtual Tour Through Modern Architecture in Conception
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 475-477
summary	This paper describes the development of a project that was selected and sponsoured by the Regional Competition FONDART 1998 (Funds for the Development of Arts of the Regional Secretary of Education) that follows the aim of cultural diffusion. Towards the middle of the 30s, the city of Concepción developed an architecture distinctly colonial, neoclassical and eclectic. An earthquake in 1939 abruptly interrupted this scene, destroying the enterity of its most important buildings. The reconstruction of the city followed the manifestoes of Modern Architecture, consolidating the urban importance of buildings such us the Law Courts, the Railway Station and the Regional Government, that emerged as the new architectural and cultural heritage of the city. The project consisted on the modeling of eleven buildings of the modern architectural heritage, and on the generation of 42 virtual tours through the buildings that were finally edited on a 16' video. This video allows the spectator to make a virtual tour through the original modern heritage of the city, nowadays demolished, altered, and sometimes, even forgotten. This project pretends to widen the ways of comprehension of our cultural identity by using computer modelling and animation as a tool for the conservation of the architectural heritage; and creating a record that can be used as a reference and as an instrument of cultural difussion.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	aef9
id	aef9
authors	Brown, A., Knight, M. and Berridge, P. (Eds.)
year	1999
title	Architectural Computing from Turing to 2000 [Conference Proceedings]
source	eCAADe Conference Proceedings / ISBN 0-9523687-5-7 / Liverpool (UK) 15-17 September 1999, 773 p.
doi	https://doi.org/10.52842/conf.ecaade.1999
summary	The core theme of this book is the idea of looking forward to where research and development in Computer Aided Architectural Design might be heading. The contention is that we can do so most effectively by using the developments that have taken place over the past three or four decades in Computing and Architectural Computing as our reference point; the past informing the future. The genesis of this theme is the fact that a new millennium is about to arrive. If we are ruthlessly objective the year 2000 holds no more significance than any other year; perhaps we should, instead, be preparing for the year 2048 (2k). In fact, whatever the justification, it is now timely to review where we stand in terms of the development of Architectural Computing. This book aims to do that. It is salutary to look back at what writers and researchers have said in the past about where they thought that the developments in computing were taking us. One of the common themes picked up in the sections of this book is the developments that have been spawned by the global linkup that the worldwide web offers us. In the past decade the scale and application of this new medium of communication has grown at a remarkable rate. There are few technological developments that have become so ubiquitous, so quickly. As a consequence there are particular sections in this book on Communication and the Virtual Design Studio which reflect the prominence of this new area, but examples of its application are scattered throughout the book. In 'Computer-Aided Architectural Design' (1977), Bill Mitchell did suggest that computer network accessibility from expensive centralised locations to affordable common, decentralised computing facilities would become more commonplace. But most pundits have been taken by surprise by just how powerful the explosive cocktail of networks, email and hypertext has proven to be. Each of the ingredients is interesting in its own right but together they have presented us with genuinely new ways of working. Perhaps, with foresight we can see what the next new explosive cocktail might be.
series	eCAADe
email
more	http://www.ecaade.org
last changed	2022/06/07 07:49

_id	1206
authors	Cabezas, M., Mariano, C., Mitolo, S. and Oliva, S.
year	1999
title	Transformaciones en el Proceso Enseñanza-Aprendizaje de la Geometría Descriptiva con la Apliacación de los Medios Digitales (Transformations in the Teaching/Learning Process of Descriptive Geometry with the Aplplication of Digital Media)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 347-348
summary	The insert of the digital technologies in the atmosphere Áulico has left generalizing in a significant way. An example constitutes it the high percentage of students that they manifested general knowledge in the software handling in the introductory course of visual communication, as well as the voluntary presentation of practical works developed with digital means. The necessity of an answer to the requirements that arise of the students sinks to the certainty of a pedagogic compatibility among the matter to try and the teaching attended by the personal computer that would increase the Iconidad and the understanding of a topic of certain complexity like it is the geometry of the space. An educational program designed for the teaching of the Sistema Monge whose general characteristics were presented in the II Ibero-American Seminar of Digital Graph and that it will be applied as experience pilot in the course 2000, it will allow us to respond to the following queries: what place it will be given to the educational program in the formation process in connection with the other pedagogic means.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	3017
authors	Carson, J. and Clark, A.
year	1999
title	Multicast Shared Virtual Worlds Using VRML 97
source	Proceedings of VRML 99 Fourth Symposium on the Virtual Reality Modeling language, The Association for Computing Machinery, Inc. New York, pp. 133-140
summary	This paper describes a system for authoring and executing shared virtual worlds within existing VRML97 viewers such as Cosmo Player. As VRML97 does not contain any direct support for the construction of virtual worlds containing multiple users extensions are presented to provide support for shared behaviours, avatars and objects that can be manipulated and carried by participants in the world; these extensions are pre-processed into standard VRML97 and Java. A system infrastructure is described which allows worlds to be authored and executed within the context of the World Wide Web and the MBone. CR Categories and Subject Descriptors: C.2.2 [Computer Communication Networks]: Network Protocols - Applications; C.2.4 [Computer Communication Networks]: Distributed Sys- tems - Distributed Applications; H.5.1 [Information Interfaces and Presentation] Multimedia Information Systems - Artificial, Aug- mented and Virtual Realities; 1.3.2 [Computer Graphics]: Graphics Systems - Distributed/network graphics: 1.3.6 [Computer Graph- ics]: Methodology and Techniques - Interaction Techniques; 1.3.7 [Computer Graphics]: Three Dimensional Graphics and Realism - Virtual Reality.
series	other
last changed	2003/04/23 15:50

_id	2c1d
authors	Castañé, D., Tessier, C., Álvarez, J. and Deho, C.
year	1999
title	Patterns for Volumetric Recognition - Guidelines for the Creation of 3D-Models
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 171-175
summary	This piece proposes new strategies and pedagogic methodologies applied to the recognition and study of the subjacent measurements of the architectural projects to be created. This proposal is the product of pedagogic experience, which stems from this instructional team of the department of tri-dimensional models of electronic models. This program constitutes an elective track for the architectural major at the college of architecture, design, and urbanism of the University of Buenos Aires and housed at the CAO center. One of the requirements that the students must complete, after doing research and analytical experimentation through the knowledge that they acquired through this course, is to practice the attained skills through exercises proposed by the department in this case, the student would be required to virtually rebuild a paradigmatic architectonic piece of several sample architects. Usually at this point, students experience some difficulties when they analyze the existing documents on the plants, views, picture, details, texts, etc., That they have obtained from magazines, books, and other sources. Afterwards, when they digitally begin to generate basic measurements of the architectural work to be modeled, they realize that there are great limitations in the comprehension of the tri-dimensional understanding of the work. This issue has brought us to investigate and develop proposals of volumetric understanding of patterns through examples of work already analyzed and digitalized tri-dimensionally in the department. Through a careful study of the existent documentation for that particular work, it is evaluated which would be the paths and basis to adopt through utilizing alternative technologies to arrive at a clear reconstruction of the projected architectural work, the study gets completed by implementing the proposal at the internet site http://www.datarq.fadu.uba.ar/catedra/dorcas
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	5f9c
authors	Castello, Regina
year	1999
title	GIS and the Investigation of the Environmental Heritage
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 219-224
summary	This paper presents an investigation on the architectural, natural, and cultural resources in the southern part of the state of Rio Grande do Sul, according to their historical or environmental value, identifying natural and cultural elements known and valued by local communities, regardless their experts’ classification. Resources are identified by means of geographical information systems, combined with field information. The area comprises the coastal strip and the plains located in the last frontier of the Brazilian territory and the water system dominated by the lakes Patos, Mangueira and Mirim. The inventory of the environmental, sociocultural and economic heritage provides the necessary insight for issuing new development alternatives based on local resources. Research activities will include: the ellaboration of general and thematic maps, based on LANDSAT 5 [bands 3, 4 and 5] images; aerial photographs; DSG/SGE and municipal maps [scales 1:250.000, 1:50.000 and 1:25.000]; field work for the recognition of remarkable elements; interviews with residents for assessing their perception of local values; and community and institutional statements. These informations, comprising the elements valued by their architectural and urban quality, historical relevance and environmental significance, organised in a database, will provide contextual guidelines for the planning of a tourist route. This route, delineated by the preservation, recovery and use of representative local resources, valued as expressions of a native culture, evocates the initial occupation of the gaúcho territory, and may be touristically promoted as "The Gaúcho’s Way". The project also aims at showing the potential offered by GIS for identifying and evaluating specific spatial characteristics.
keywords	Environmental Planning, Historical Preservation
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	9cf4
authors	Chan, C., Hill, L. and Cruz-Neira, C.
year	1999
title	Is it Possible to Design in Full Scale? A CAD Tool in a Synthetic Environment
source	CAADRIA '99 [Proceedings of The Fourth Conference on Computer Aided Architectural Design Research in Asia / ISBN 7-5439-1233-3] Shanghai (China) 5-7 May 1999, pp. 43-52
doi	https://doi.org/10.52842/conf.caadria.1999.043
summary	This project developed a Virtual Architectural Design Tool (VADeT) executed in the C2 Virtual Reality (VR) space. C2 is a synthetic CAVE environment providing a full-scale setting for image projection and perception. Applying this tool for design offers four advantages over other CAD systems. First, it enables navigation performing in full scale to create the sense of immersion and reflection of the seeing-as. Second, it allows the creation, modification, and editing of three-dimensional objects in a virtual space. Third, designs can be modified and viewed simultaneously inside or outside of the generated model to obtain the best design products. Fourth, the entire design process can be recorded and played back. Collectively, this tool serves the purposes of: (1) a three-dimensional sketching tool for manipulating 3-D objects, (2) a design study tool for transparently displaying the design processes, and (3) a design teaching tool to demonstrate the processes by which designers do design. Thus, design in a full-scale representation not only is possible but also is a new and unconventional mode that will heavily influence design thinking.
series	CAADRIA
last changed	2022/06/07 07:56

_id	69f5
authors	Chan, C., Maves, J. and Cruz-Neira, C.
year	1999
title	An Electronic Library for Teaching Architectural History
source	CAADRIA '99 [Proceedings of The Fourth Conference on Computer Aided Architectural Design Research in Asia / ISBN 7-5439-1233-3] Shanghai (China) 5-7 May 1999, pp. 335-344
doi	https://doi.org/10.52842/conf.caadria.1999.335
summary	This research project developed an electronic library of significant buildings chosen to represent seven selected periods of Western architectural history: Egyptian (Mortuary temple of Queen Hatshepsut), Greek (Parthenon), Roman (Pantheon), Romanesque (Speyer Cathedral), Gothic (Notre Dame Cathedral), Renaissance (Tempietto), and Modern (Des Moines Art Center). All buildings were reconstructed in their original or intended forms based on plans, drawings, photographs, and historical texts. Two products were generated by this project: (1) materials to be displayed on the World Wide Web, including rendered still images for perception, movies for a visual guide, and Virtual Reality Modeling Language (VRML) models for user navigation; and (2) virtual reality (VR) models to be displayed in the C2 (an improved version of the Cave Automatic Virtual Environment or CAVE facility). The benefits of these VR models displayed on the Web and in the C2 are their easy accessibility at any time from various geographic locations and the immersive experience that enhances viewersÌ understanding of the effects of spatial proportions on form and of colors on materials.
series	CAADRIA
more	http://archvr.design.iastate.edu/miller
last changed	2022/06/07 07:56

_id	90dc
authors	Chen, C.
year	1999
title	Information Visualisation and Virtual Environments
source	Springer
summary	Information Visualisation is a fast growing research field and an industry with tremendous potential. Virtual environments provide a unique medium for people to communicate and interact over computer networks. Information Visualisation and Virtual Environments links the two areas together and presents the latest research and development, highlighting the potential of information visualisation as an enabling technology in the design of new generations of virtual environments. This book will be an invaluable source of reference for courses in Information Visualisation, User Interface Design, Virtual Environments, HCI, and Information Retrieval, as well as being a useful resource for consultants and practitioners. The book contains 144 wonderful colour images of intriguing and influential works in information visualisation.
series	other
last changed	2003/04/23 15:14

_id	84e8
authors	Cohen, J.M., Markosian, L., Zeleznik, R.C., Hughes, J.F. and Barzel, R.
year	1999
title	An Interface for Sketching 3D Curves
source	ACM Symposium on Interactive 3D Graphics, pp. 17-22 (April 1999). ACM SIGGRAPH. Edited by Jessica Hodgins and James D. Foley
summary	The ability to specify nonplanar 3D curves is of fundamental importance in 3D modeling and animation systems. Effective techniques for specifying such curves using 2D input devices are desirable, but existing methods typically require the user to edit the curve from several viewpoints. We present a novel method for specifying 3D curves with 2D input from a single viewpoint. The user rst draws the curve as it appears from the current viewpoint, and then draws its shadow on the oor plane. The system correlates the curve with its shadow to compute the curve's 3D shape. This method is more natural than existing methods in that it leverages skills that many artists and designers have developed from work with pencil and paper.
series	other
last changed	2003/04/23 15:14

_id	d0aa
authors	Colajanni, Benedetto, Concialdi, Salvatore and Pellitteri, Giuseppe
year	1999
title	CoCoMa: a Collaborative Constraint Management System for the Collaborative Design
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 364-369
doi	https://doi.org/10.52842/conf.ecaade.1999.364
summary	Collaborative Design is a topic of particular current interest. Existing software allows a multiplicity of designers to work on the same project. What the software really allows is accessing to a part of the information of the project and changing it. Sometimes there is a hierarchical distribution of the power of change: some participants can be permitted to operate only on some limited layers of the object representation. In this case the changes they propose are to be accepted by a general manager of the design process. What is lacking in this kind of software is the explicit management on the reciprocal constraints posed by different participants. In this paper, an elementary Collaborative Design System is presented whose main concern is just the management of constraints. Each participant designs the part of the project of his/her concern instantiating objects comprised of geometric description, alphanumeric variables and constraints on both. Constraints can be of two types: absolute or defined by a range of allowed values of the constrained variable. A participant intervening later can accept the constraint, choosing a value in the permitted range, or decide to violate it. In this case the proposed violation is signalled to whom posed it.
keywords	Collaborative Design, Design Process, Management System, Participant Designs, Constraints Violation
series	eCAADe
email
last changed	2022/06/07 07:56

_id	7dcd
authors	Cotton B. and Oliver, R.
year	1999
title	Understanding Hypermedia
source	Phaidon Press Ltd, London
summary	Understanding Hypermedia 2,000 is a wonderful read. It takes you on a journey tracing the origins of hypermedia from its very early beginings way back in the 1700's with the birth of print, all the way through to the modern new media revolution. It charts the developments in technology, culture, science and the arts to give you a very broad understanding of just what hypermedia is and where it came from. Looking to the future, Understanding Hypermedia looks at the components of hypermedia - interface design, typography, text, animation, video, vrml, etc -, the processes of designing and building new media projects - including examples from the web, cdrom and kiosks - and the future of the medium. From the hypermedia innovators to the visionaries of cyberspace. This book is a wonderful, rich and fasinating source of information and inspiration for anyone interested in or working with new media today.
series	other
last changed	2003/04/23 15:14

_id	26e4
authors	Da Rosa Sampaio, Andrea
year	1999
title	Design Thinking Proces and New Paradigms of Graphic Expression (Design Thinking Proces and New Paradigms of Graphic Expression)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 68-73
summary	It is undeniable that infotechnology has brought significant changes into architectural representation. Whether these changes has altered design conception proccess or are only media matters, is a discussion concerned with the role of graphic expression in architects designs. Is it just a language, or a design thinking tool, fully engaged with the formal solution? Thus, the investigation of the role of represententional systems in the design thinking proccess and the analysis of their intrinsic relationship will approach traditional methods facing the widespread use of Computer Aided Design. There are polemics about the issue: on the one hand, seductive simulations and a plethora of rendering choices available, on the other hand, impersonal expression, to name a few arguments for and against CAD use. Computers have not replaced the straight reciprocity between the acts of conceiving and drawing, between mind and image, which results in manual sketches, quite effective in embodying a design idea. Yet, we have to admit that manipulating complex forms such as Gehry's Guggenheim Museum quickly would not be feasible before CAD advent. We have been faced with new paradigms challenging the graphic expression of architects and urban designers. Besides the consequences of this new reality to design thinking, a crucial point to be stressed at this discussion is the possibility of achieving a balance between the cherished mind-hand intimacy and the available technological resources.
keywords	Traditional Representation, Design Thinking, CAD
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	2f1a
authors	Dabney, M.K., Wright, J.C. and Sanders, D.H.
year	1999
title	Virtual Reality and the Future of Publishing Archaeological Excavations: the multimedia publication of the prehistoric settlement on Tsoungiza at Ancient Nemea
source	New York: The Metropolitan Museum of Art
summary	The Nemea Valley Archaeological Project is a study of settlement and land use in a regional valley system in Greece extending from the Upper Paleolithic until the present. Active field research was conducted by four teams between 1981 and 1990. The first component was a regional archaeological survey. Second, and closely related to the first, was a social anthropological study of modern settlement and land use. Next was a team assigned to excavate the succession of prehistoric settlements of Ancient Nemea on Tsoungiza. Last, historical ecologists, a palynologist, and a geologist formed the environmental component of the research. As a result of advances in electronic publishing, plans for the final publication of the Nemea Valley Archaeological Project have evolved. Complete publication of the excavation of the prehistoric settlements of Ancient Nemea on Tsoungiza will appear in an interactive multimedia format on CD/DVD in Fall 2000. This project is planned to be the first electronic publication of the American School of Classical Studies at Athens. We have chosen to publish in electronic format because it will meet the needs and interests of a wider audience, including avocational archaeologists, advanced high school and college students, graduate students, and professional archaeologists. The multimedia format on CD/DVD will permit the inclusion of text, databases, color and black-and-white images, two and three-dimensional graphics, and videos. This publication is being developed in cooperation with Learning Sites, Inc., which specializes in interactive three-dimensional reconstructions of ancient worlds http://www.learningsites.com. The Nemea Valley Archaeological Project is particularly well prepared for the shift towards electronic publishing because the project's field records were designed for and entered in computer databases from the inception of the project. Attention to recording precise locational information for all excavated objects enables us to place reconstructions of objects in their reconstructed architectural settings. Three-dimensional images of architectural remains and associated features will appear both as excavated and as reconstructed. Viewers will be able to navigate these images through the use of virtual reality. Viewers will also be able to reference all original drawings, photographs, and descriptions of the reconstructed architecture and objects. In this way a large audience will be able to view architectural remains, artifacts, and information that are otherwise inaccessible.
series	other
last changed	2003/04/23 15:14

_id	ecaade2014_146
id	ecaade2014_146
authors	Davide Ventura and Matteo Baldassari
year	2014
title	Grow: Generative Responsive Object for Web-based design - Methodology for generative design and interactive prototyping
source	Thompson, Emine Mine (ed.), Fusion - Proceedings of the 32nd eCAADe Conference - Volume 2, Department of Architecture and Built Environment, Faculty of Engineering and Environment, Newcastle upon Tyne, England, UK, 10-12 September 2014, pp. 587-594
doi	https://doi.org/10.52842/conf.ecaade.2014.2.587
wos	WOS:000361385100061
summary	This paper is part of the research on Generative Design and is inspired by the ideas spread by the following paradigms: the Internet of Things (Auto-ID Center, 1999) and the Pervasive/Ubiquitous Computing (Weiser, 1993). Particularly, the research describes a number of case studies and, in detail, the experimental prototype of an interactive-design object: “Grow-1”. The general assumptions of the study are as follows: a) Developing the experimental prototype of a smart-design object (Figure 1) in terms of interaction with man, with regard to the specific conditions of the indoor environment as well as in relation to the internet/web platforms. b) Setting up a project research based on the principles of Generative Design.c) Formulating and adopting a methodology where computational design techniques and interactive prototyping ones converge, in line with the principles spread by the new paradigms like the Internet of Things.
keywords	Responsive environments and smart spaces; ubiquitous pervasive computing; internet of things; generative design; parametric modelling
series	eCAADe
email
last changed	2022/06/07 07:55

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