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CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
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_id	6ae2
authors	Sutphin, J.
year	1999
title	AutoCAD 2000 VBA
source	Ed. Wro Press. Birminghan, USA
summary	While AutoCAD is not directly associated with Office 2000, the AutoCAD object model is now a powerful tool with VBA behind it, allowing graphic designers to control their environment programmatically. It is therefore to be released concurrently with the other Wrox Office 2000 Programmer References. Using VBA (Visual Basic for Applications), the user can program his or her own programs in what is essentially a subset of the Visual Basic programming languages. This allows you to automate a lot of the graphical tasks performed daily - such as performing a hundred complex graphical manipulations.
series	other
last changed	2003/04/23 15:14

_id	db00
authors	Espina, Jane J.B.
year	2002
title	Base de datos de la arquitectura moderna de la ciudad de Maracaibo 1920-1990 [Database of the Modern Architecture of the City of Maracaibo 1920-1990]
source	SIGraDi 2002 - [Proceedings of the 6th Iberoamerican Congress of Digital Graphics] Caracas (Venezuela) 27-29 november 2002, pp. 133-139
summary	Bases de datos, Sistemas y Redes 134The purpose of this report is to present the achievements obtained in the use of the technologies of information andcommunication in the architecture, by means of the construction of a database to register the information on the modernarchitecture of the city of Maracaibo from 1920 until 1990, in reference to the constructions located in 5 of Julio, Sectorand to the most outstanding planners for its work, by means of the representation of the same ones in digital format.The objective of this investigation it was to elaborate a database for the registration of the information on the modernarchitecture in the period 1920-1990 of Maracaibo, by means of the design of an automated tool to organize the it datesrelated with the buildings, parcels and planners of the city. The investigation was carried out considering three methodologicalmoments: a) Gathering and classification of the information of the buildings and planners of the modern architectureto elaborate the databases, b) Design of the databases for the organization of the information and c) Design ofthe consultations, information, reports and the beginning menu. For the prosecution of the data files were generated inprograms attended by such computer as: AutoCAD R14 and 2000, Microsoft Word, Microsoft PowerPoint and MicrosoftAccess 2000, CorelDRAW V9.0 and Corel PHOTOPAINT V9.0.The investigation is related with the work developed in the class of Graphic Calculation II, belonging to the Departmentof Communication of the School of Architecture of the Faculty of Architecture and Design of The University of the Zulia(FADLUZ), carried out from the year 1999, using part of the obtained information of the works of the students generatedby means of the CAD systems for the representation in three dimensions of constructions with historical relevance in themodern architecture of Maracaibo, which are classified in the work of The Other City, generating different types ofisometric views, perspectives, representations photorealistics, plants and facades, among others.In what concerns to the thematic of this investigation, previous antecedents are ignored in our environment, and beingthe first time that incorporates the digital graph applied to the work carried out by the architects of “The Other City, thegenesis of the oil city of Maracaibo” carried out in the year 1994; of there the value of this research the field of thearchitecture and computer science. To point out that databases exist in the architecture field fits and of the design, alsoweb sites with information has more than enough architects and architecture works (Montagu, 1999).In The University of the Zulia, specifically in the Faculty of Architecture and Design, they have been carried out twoworks related with the thematic one of database, specifically in the years 1995 and 1996, in the first one a system wasdesigned to visualize, to classify and to analyze from the architectural point of view some historical buildings of Maracaiboand in the second an automated system of documental information was generated on the goods properties built insidethe urban area of Maracaibo. In the world environment it stands out the first database developed in Argentina, it is the database of the Modern andContemporary Architecture “Datarq 2000” elaborated by the Prof. Arturo Montagú of the University of Buenos Aires. The general objective of this work it was the use of new technologies for the prosecution in Architecture and Design (MONTAGU, Ob.cit). In the database, he intends to incorporate a complementary methodology and alternative of use of the informationthat habitually is used in the teaching of the architecture. When concluding this investigation, it was achieved: 1) analysis of projects of modern architecture, of which some form part of the historical patrimony of Maracaibo; 2) organized registrations of type text: historical, formal, space and technical data, and graph: you plant, facades, perspectives, pictures, among other, of the Moments of the Architecture of the Modernity in the city, general data and more excellent characteristics of the constructions, and general data of the Planners with their more important works, besides information on the parcels where the constructions are located, 3)construction in digital format and development of representations photorealistics of architecture projects already built. It is excellent to highlight the importance in the use of the Technologies of Information and Communication in this investigation, since it will allow to incorporate to the means digital part of the information of the modern architecturalconstructions that characterized the city of Maracaibo at the end of the XX century, and that in the last decades they have suffered changes, some of them have disappeared, destroying leaves of the modern historical patrimony of the city; therefore, the necessity arises of to register and to systematize in digital format the graphic information of those constructions. Also, to demonstrate the importance of the use of the computer and of the computer science in the representation and compression of the buildings of the modern architecture, to inclination texts, images, mapping, models in 3D and information organized in databases, and the relevance of the work from the pedagogic point of view,since it will be able to be used in the dictation of computer science classes and history in the teaching of the University studies of third level, allowing the learning with the use in new ways of transmission of the knowledge starting from the visual information on the part of the students in the elaboration of models in three dimensions or electronic scalemodels, also of the modern architecture and in a future to serve as support material for virtual recoveries of some buildings that at the present time they don’t exist or they are almost destroyed. In synthesis, the investigation will allow to know and to register the architecture of Maracaibo in this last decade, which arises under the parameters of the modernity and that through its organization and visualization in digital format, it will allow to the students, professors and interested in knowing it in a quicker and more efficient way, constituting a contribution to theteaching in the history area and calculation. Also, it can be of a lot of utility for the development of future investigation projects related with the thematic one and restoration of buildings of the modernity in Maracaibo.
keywords	database, digital format, modern architecture, model, mapping
series	SIGRADI
email
last changed	2016/03/10 09:51

_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	7b68
authors	Shounai, Y., Morozumi, M., Homma , R. and Murakami, Y.
year	1999
title	On the Development of Group Work CAD for Network PC: GW-CAD III
doi	https://doi.org/10.52842/conf.ecaade.1999.473
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 473-481
summary	The number of Virtual Design Studio experiments that use a Digital Pin-up Board (WWW) and video conferencing tools is rapidly increasing. As we see that several schools have introduced group-ware to support asynchronous communication of their projects, it is possible to regard that techniques for asynchronous communication have already been developed to some extent. However, participants of those projects still have difficulty with synchronous communication. For example, though designers often desire to exchange models among members to get critical feedback and achieve fast problem solving while working at their desks, there are few CADs that can support concurrent synchronous design communication among members. The first half of this paper discusses a model of synchronous design communication that uses CAD models, and then proposes a prototype of tools that use Microsoft NetMeeting and AutoCAD R14: GW-CAD III. In the middle, a user interface system that enables designers to conveniently model and exchange separate sets of models necessary to elaborate different aspects of design is proposed: "Network Clipboard" "Modeling Space", "Plan Face", and "Section Face". Finally, this paper discusses the results of several experiments that used the prototype.
keywords	Synchronous Collaboration, Internet, CAD, Prototype, Schematic Design
series	eCAADe
email
last changed	2022/06/07 07:56

_id	728c
authors	Wilson, John E.
year	1999
title	3D Modeling in AutoCAD: Creating and Using 3D Models in AutoCAD 2000
source	Miller Freeman Publishing
summary	From drawing plans for the latest car to a dream house, AutoCAD is the drafting and drawing program of choice. If you have a working knowledge of AutoCAD, this book with CD-ROM will help you advance to the program's next level -- its remarkably powerful capabilities in 3D. Leading you step by step toward mastering 3D design and drafting with AutoCAD 2000, John E. Wilson fully explains the concepts and principles of the program's 3D features, and provides useful illustrations, examples, and hands-on exercises. The book describes every 3D command in detail, reaching beyond AutoCAD's on-screen help and program manuals to guide you through working with 3D wireframe models in 3D space; building surface models; solid modeling; 2D output and paper space; and renderings from 3D models.
series	other
last changed	2003/02/26 18:58

_id	e719
authors	Achten, Henri and Turksma, Arthur
year	1999
title	Virtual Reality in Early Design: the Design Studio Experiences
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 327-335
summary	The Design Systems group of the Eindhoven University of Technology started a new kind of design studio teaching. With the use of high-end equipment, students use Virtual Reality from the very start of the design process. Virtual Reality technology up to now was primarily used for giving presentations. We use the same technology in the design process itself by means of reducing the time span in which one gets results in Virtual Reality. The method is based on a very brief cycle of modelling in AutoCAD, assigning materials in 3DStudio Viz, and then making a walkthrough in Virtual Reality in a standard landscape. Due to this cycle, which takes about 15 seconds, the student gets immediate feedback on design decisions which facilitates evaluation of the design in three dimensions much faster than usual. Usually the learning curve of this kind of software is quite steep, but with the use of templates the number of required steps to achieve results is reduced significantly. In this way, the potential of Virtual Reality is not only explored in research projects, but also in education. This paper discusses the general set-up of the design studio and shows how, via short workshops, students acquire knowledge of the cycle in a short time. The paper focuses on the added value of using Virtual Reality technology in this manner: improved spatial reasoning, translation from two-dimensional to three-dimensional representations, and VR feedback on design decisions. It discusses the needs for new design representations in this design environment, and shows how fast feedback in Virtual Reality can improve the spatial design at an early stage of the design process.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	f58e
authors	Bugay, Edson Luiz and Ulbricht, Vania Ribas
year	1999
title	Hipermidia para Ensino de Render no AutoCad 14 (Hypermedia for the Tachinf of Render 14 AutoCad)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 280-284
summary	Hypermedia applications in education have grown very much and are nowadays available in a great variety of titles covering a major extension of topics. However most of these applications have not gathered too much pedagogic embodiment and when they do have it, it is rather nearly to the intuitive level than based on one or more pedagogic theories. This paper's objective is to provide a practical view of hypermedia directed to teaching which has formed the development basis of a prototype for teaching render in Autocad 14. The several stages' view of developing an hypermedia were considered in the process of the prototype's creation such as the theme's definition, the staffs composition, the metaphor's choice, and the pedagogic model are discussed in details, as well as the several stages that should be followed since the proposals beginning until the product's final distribution. The chosen metaphor is the one of an art study having in mind the meaning of the word "render" being "the artistic representation of a model" once defined the metaphor, the screen's graphical part were developed accordingly.
keywords	Hypermedia, Rendering, Learning, Teaching
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	1b4d
authors	Ding, Lan
year	1999
title	An Evolutionary Model for Style Representation Emergence in Design
source	University of Sydney, Key Centre of Design Computing and Cognition
summary	This thesis is concerned with the development of an evolutionary process model for style representation emergence in design. It explores issues involved in the interpretation of style, the concept and process of style representation emergence, an evolutionary approach based on genetic engineering, and its computational implementation. Style is a complex phenomenon in design. Interpreting and formulating design style is a difficult task. This thesis proposes a language model which interprets style space utilising hierarchical levels that map onto syntax and semantics. The style space is then formulated using a genetic description. Current studies have discussed shape semantics emergence in design, but none has been proposed for the emergence of style representation. This thesis provides the concept of style representation emergence with the emphasis on the interpretative aspect of style as well as the emergence process. It explores the emergence process of style representation through an evolutionary approach. Simulation of biological evolution appears to be very useful for design problems. This thesis develops style representation emergence through evolutionary simulation based on genetic engineering. A hierarchical evolutionary process encompassing competition as well as discovery and an evolutionary combination is proposed and developed. A computational representation of style can then be derived by the computer system through the use of this evolutionary process. This model of style representation emergence is applied to traditional Chinese architecture. An evolutionary system is implemented and presented with some examples of traditional Chinese architectural facades. The results from the implementation of the system are analysed and the utility of this model is investigated. The implementation is developed in a Unix environment using the C language. The AutoCAD package is used for the graphic representation.
series	thesis:PhD
email
last changed	2003/05/15 07:25

_id	dd16
authors	Gibson, Kathleen
year	1999
title	STUDIO @ CORNELL
doi	https://doi.org/10.52842/conf.acadia.1999.018.2
source	ACADIA Quarterly, vol. 18, no. 2, pp. 18-21
summary	Unique to the interior design program at Cornell University is a planned pedagogical approach requiring equal emphasis toward manual and digital graphic communication at the freshman level. Prior to 1998, computer-based instruction only occurred at the junior year of study. Recognizing that cultural and symbolic biases against digital media were formally being instituted by curriculum policy, faculty searched for a new perspective. Central to success was the removal of illogically placed boundaries, both mental and physical. In response, students are now encouraged to cultivate a fluid dexterity between traditional and digital methods, at times using various skills concurrently for design analysis and representation (Figures 1, 2, 3, 4, 5, 6, 7). Course content for DEA115 ranges from basic orthographic drafting, paraline projection, and perspective drawing to color rendering and composition. Students utilize a full range of media: pencil, ink, marker, pastel, AutoCAD, 3DS/ MAX, and Photoshop in this graphics studio. Course meetings total six contact hours per week, constituting a three credit hour class. Assignments are purposefully created to shatter digital myths. For example, instead of a standard, rote drafting exercise, AutoCAD is used to explore design ideas through systemic object manipulation (Figures 8, 9).
series	ACADIA
last changed	2022/06/07 07:51

_id	0b68
authors	Ibáñez, José Enrique and Santos, Laura
year	1999
title	Utilización de un programa didáctico para la formación de desarrolladores, arquitectos, ingenieros y diseñadores (Use of a Didactic Program for the Training of Developers, Architects, Engineers and Designers)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 352-356
summary	For those questions of the specialisation, the Informaitc engineers develop applications of digital graphic destined to designers, users that, in general, ignore with the chore of developing applications. Also, most of the designers have to fight with applications that do not contemplate their necessities neither translates their expressive intentions with clarity. This reciprocal discussion may find an adequate solution in interdisciplinary work. The fecundity, and until the possibility, of the internal dialogue of these teams will depend, between other looks, of the quantity of common concepts that they possess. In this sense, we focused our educational task opposite the future engineers. We understand that, at the same time, the actual education of the designer, in whatever of their multiple looks, should contemplate the basic training (not instrumental but if conceptual) in questions related with the code of the applications that they use. This intellectual effort would enable the digital designer to investigate the topics of personalising their user applications (AutoCAD, CorelDraw, etc.). In this ground, we should greet the admission of the languages of visual code (Delphi, Visual [basic], etc.) that they permit a friendlier development of applications. Its goal is qualify them in order to develop applications of digital graphic, providing them concepts of space understanding and visual training for the production of IT applications of digital graphic.
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	e61d
authors	Morozumi, M., Shimokawa, Y. and Homma, R.
year	1999
title	Schematic design system for flexible and multi-aspect design thinking
doi	https://doi.org/10.52842/conf.acadia.1999.238
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 238-251
summary	A designer friendly CAD for a schematic design is one of the important topics of CAD studies. There were attractive preceding studies aiming to develop a CAD that intended to enable designers to have flexible design thinking and interactively manipulate representation models. This paper has the same goals of study, but focuses on the needs to support flexible and multi-aspect design thinking. Though designers normally hope to elaborate on their ideas using separate sets of representation models suitable for respective studies, a present CAD that is designed to build a single set 3D model, has limited its ability as a tool for a schematic design. Assuming this as the base concept, authors have studied to develop a prototype of a schematic design system, customizing AutoCAD R14J: Schematic Design System 98 (SDS98). It has convenient utilities both for building separate sets of representation models and for integrating and reconciling those models to build a single consolidate model. This paper discusses, the common procedures of schematic design studies, necessary functional features for SDS, a case study of the system use, and finally, the advantages and the disadvantages of the proposed system.
series	ACADIA
email
last changed	2022/06/07 07:59

_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	3fe2
authors	Van Helvoort, Rob
year	1999
title	When Reality fills Fantasy
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 337-342
summary	After having had students in practical training for some years now, both in Belgium and in other European countries, we have discovered it does not really matter which CAD package is used in the design office they work in. Having an AutoCAD background means that most of the time it is only a matter of hours for one to be able to work with almost every other CAD program. Even better; within weeks quite a number of our students actually became responsible for the CAD-department in the office.
series	AVOCAAD
last changed	2005/09/09 10:48

_id	e978
authors	[Zupancic] Strojan, Tadeja Z.
year	1999
title	CyberUniversity
doi	https://doi.org/10.52842/conf.ecaade.1999.196
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 196-200
summary	The study of a cyberuniversity derives from an analogy between real urban space and its virtual "substitution". It represents an attempt to balance some views, which seems to be contrary, exclusive, but they are just parts of the same wholeness. Especially the notion of a cyber society is lately considered such an exaggeration, that it is possible to forget the meaning of a real life experience and interactions, which are already threatened. One should contribute to the awarness that is used in such a comparison, it is "just" an analogy, not a real similarity. At the same time it is possible to point out some limitations of a cyberspace and indicate a more realistic view of the meaning of cyber communities. Awarness of the development processes could help to find a balance between reality and virtuality, using cyberfacilities not to destroy us (our identity) but to improve the quality of our (real) life.
keywords	University, Cyberuniversity, Space, Cyberspace
series	eCAADe
type	normal paper
email
last changed	2022/06/07 07:54

_id	e336
authors	Achten, H., Roelen, W., Boekholt, J.-Th., Turksma, A. and Jessurun, J.
year	1999
title	Virtual Reality in the Design Studio: The Eindhoven Perspective
doi	https://doi.org/10.52842/conf.ecaade.1999.169
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 169-177
summary	Since 1991 Virtual Reality has been used in student projects in the Building Information Technology group. It started as an experimental tool to assess the impact of VR technology in design, using the environment of the associated Calibre Institute. The technology was further developed in Calibre to become an important presentation tool for assessing design variants and final design solutions. However, it was only sporadically used in student projects. A major shift occurred in 1997 with a number of student projects in which various computer technologies including VR were used in the whole of the design process. In 1998, the new Design Systems group started a design studio with the explicit aim to integrate VR in the whole design process. The teaching effort was combined with the research program that investigates VR as a design support environment. This has lead to increasing number of innovative student projects. The paper describes the context and history of VR in Eindhoven and presents the current set-UP of the studio. It discusses the impact of the technology on the design process and outlines pedagogical issues in the studio work.
keywords	Virtual Reality, Design Studio, Student Projects
series	eCAADe
email
last changed	2022/06/07 07:54

_id	ae61
authors	Af Klercker, Jonas
year	1999
title	CAAD - Integrated with the First Steps into Architecture
doi	https://doi.org/10.52842/conf.ecaade.1999.266
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 266-272
summary	How and when should CAAD be introduced in the curriculum of the School of Architecture? This paper begins with some arguments for starting CAAD education at the very beginning. At the School of Architecture in Lund teachers in the first year courses have tried to integrate CAAD with the introduction to architectural concepts and techniques. Traditionally the first year is divided by several subjects running courses separatly without any contact for coordination. From the academic year 96/97 the teachers of Aplied aestetics, Building Science, Architectural design and CAAD have decided to colaborate as much as possible to make the role of our different fields as clear as possible to the students. Therefore integrating CAAD was a natural step in the academic year 98/99. The computer techniques were taught one step in advance so that the students can practise their understanding of the programs in their tasks in the other subjects. The results were surprisingly good! The students have quickly learned to mix the manual and computer techniques to make expressive and interesting visual presentations of their ideas. Some students with antipaty to computers have overcome this handicap. Some interesting observations are discussed.
keywords	Curriculum, First Year Studies, Integration, CAAD, Modelling
series	eCAADe
email
last changed	2022/06/07 07:54

_id	37c2
authors	Ahmad Rafi, M.E.
year	1999
title	Visualisation of Design Using Animation for Virtual Prototyping
doi	https://doi.org/10.52842/conf.ecaade.1999.519
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 519-525
summary	Although recent technology in time-based representation has vastly improved, animation in virtual prototype design field remains the same. Some designers invest a huge amount of money in the latest visualisation and multimedia technology and yet may create even worse animation. They often cramp sequences resulting in many viewers failing to interpret the design positively as they miss a lot of vital information that explains the design. This paper basically reports the importance of film-making understanding for producing good virtual prototype animation. It will be based on a part of a research project on the use of time-based media in architectural practices. It also includes an empirical analysis of several architectural-based documentary films (including an interview with the film director) and past and present computer animation. This paper then concludes with recommendations of good techniques for making animated visualisation relative to the stage at which the animation is produced for better design decision.
keywords	Virtual Prototype, Animation, Time-Based, Film-Making
series	eCAADe
email
last changed	2022/06/07 07:54

_id	5cba
authors	Anders, Peter
year	1999
title	Beyond Y2k: A Look at Acadia's Present and Future
doi	https://doi.org/10.52842/conf.acadia.1999.x.o3r
source	ACADIA Quarterly, vol. 18, no. 1, p. 10
summary	The sky may not be falling, but it sure is getting closer. Where will you when the last three zeros of our millennial odometer click into place? Computer scientists tell us that Y2K will bring the world’s computer infrastructure to its knees. Maybe, maybe not. But it is interesting that Y2K is an issue at all. Speculating on the future is simultaneously a magnifying glass for examining our technologies and a looking glass for what we become through them. "The future" is nothing new. Orwell's vision of totalitarian mass media did come true, if only as Madison Avenue rather than Big Brother. Futureboosters of the '50s were convinced that each garage would house a private airplane by the year 2000. But world citizens of the 60's and 70's feared a nuclear catastrophe that would replace the earth with a smoking crater. Others - perhaps more optimistically -predicted that computers were going to drive all our activities by the year 2000. And, in fact, theymay not be far off... The year 2000 is symbolic marker, a point of reflection and assessment. And - as this date is approaching rapidly - this may be a good time to come to grips with who we are and where we want to be.
series	ACADIA
email
last changed	2022/06/07 07:49

_id	a35a
authors	Arponen, Matti
year	2002
title	From 2D Base Map To 3D City Model
source	UMDS '02 Proceedings, Prague (Czech Republic) 2-4 October 2002, I.17-I.28
summary	Since 1997 Helsinki City Survey Division has proceeded in experimenting and in developing the methods for converting and supplementing current digital 2D base maps in the scale 1:500 to a 3D city model. Actually since 1986 project areas have been produced in 3D for city planning and construction projects, but working with the whole map database started in 1997 because of customer demands and competitive 3D projects. 3D map database needs new data modelling and structures, map update processes need new working orders and the draftsmen need to learn a new profession; the 3D modeller. Laser-scanning and digital photogrammetry have been used in collecting 3D information on the map objects. During the years 1999-2000 laser-scanning experiments covering 45 km2 have been carried out utilizing the Swedish TopEye system. Simultaneous digital photography produces material for orto photo mosaics. These have been applied in mapping out dated map features and in vectorizing 3D buildings manually, semi automatically and automatically. In modelling we use TerraScan, TerraPhoto and TerraModeler sw, which are developed in Finland. The 3D city model project is at the same time partially a software development project. An accuracy and feasibility study was also completed and will be shortly presented. The three scales of 3D models are also presented in this paper. Some new 3D products and some usage of 3D city models in practice will be demonstrated in the actual presentation.
keywords	3D City modeling
series	other
email
more	www.udms.net
last changed	2003/11/21 15:16

_id	1071
authors	Asanowicz, Aleksander
year	1999
title	Evolution of Computer Aided Design: Three Generations of CAD
doi	https://doi.org/10.52842/conf.ecaade.1999.094
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 94-100
summary	This paper describes the three generations of CAD systems. The first generation of (primarily analytical) computer programmes really aided designing. These programmes were the tools for finding a functional solution in different areas of designing, from flat plans to the space organisation of a hospital. One of the shortcomings of these programmes was the lack of graphic interface. With time, however, this kind of interface was developed. As a result of this second generation of CAD systems the computer was transformed into a drafting machine and CAD meant Computer Aided Drafting. The main thesis of this consideration is that only now we have the chance to return to the idea of Computer Aided Design. One of the examples of these trends is the AVOCAAD programme in which Added Value of CAAD is analysed. The development of the third generation of CAD systems will be possible in the near future. Aiding the process of designing will demand the elaboration of new methods of using the computer at the early stages of this process. The computer should be used not for generating variants of functional solutions only but for also for the creation of 3D forms by 3D sketching. For this, the computer should be transformed from a tool into a medium; only then will designing become true Designing in Cyber Space.
keywords	Generations of CAAD, Design Process, Creation, Medium
series	eCAADe
email
last changed	2022/06/07 07:54

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