Cumincad : CUMINCAD Papers : Search Results

CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
supported by the sibling associations ACADIA, CAADRIA, eCAADe, SIGraDi, ASCAAD and CAAD futures

PDF papers
References

Hits 1 to 20 of 55

Reformat results as: short short into frame detailed detailed into frame

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

_id	ga9926
id	ga9926
authors	Antonini, Riccardo
year	1999
title	Let's Improvise Together
source	International Conference on Generative Art
summary	The creators of ‘Let's-Improvise-Together’ adhere to the idea that while there is a multitude of online games now available in cyberspace, it appears that relatively few are focused on providing a positive, friendly and productive experience for the user. Producing this kind of experience is one the goals of our Amusement Project.To this end, the creation of ‘Let's Improvise Together’ has been guided by dedication to the importance of three themes:* the importance of cooperation,* the importance of creativity, and* the importance of emotion.Description of the GameThe avatar arrives in a certain area where there are many sound-blocks/objects. Or he may add sound "property" to existing ones. He can add new objects at will. Each object may represents a different sound, they do not have to though. The avatar walks around and chooses which objects he likes. Makes copies of these and add sounds or change the sounds on existing ones, then with all of the sound-blocks combined make his personalized "instrument". Now any player can make sounds on the instrument by approaching or bumping into a sound-block. The way that the avatar makes sounds on the instrument can vary. At the end of the improvising session, the ‘composition’ will be saved on the instrument site, along with the personalized instrument. In this way, each user of the Amusement Center will leave behind him a unique instrumental creation, that others who visit the Center later will be able to play on and listen to. The fully creative experience of making a new instrument can be obtained connecting to Active Worlds world ‘Amuse’ and ‘Amuse2’.Animated colorful sounding objects can be assembled by the user in the Virtual Environment as a sort of sounding instrument. We refrain here deliberately from using the word musical instrument, because the level of control we have on the sound in terms of rythm and melody, among other parameters, is very limited. It resembles instead, very closely, to the primitive instruments used by humans in some civilizations or to the experience made by children making sound out of ordinary objects. The dimension of cooperation is of paramount importance in the process of building and using the virtual sounding instrument. The instrument can be built on ones own effort but preferably by a team of cooperating users. The cooperation has as an important corolary: the sharing of the experience. The shared experience finds its permanence in the collective memory of the sounding instruments built. The sounding instrument can be seen also as a virtual sculpture, indeed this sculpture is a multimedial one. The objects have properties that ranges from video animation to sound to virtual physical properties like solidity. The role of the user representation in the Virtual World, called avatar, is important because it conveys, among other things, the user’s emotions. It is worth pointing out that the Avatar has no emotions on its own but it simply expresses the emotions of the user behind it. In a way it could be considered a sort of actor performing the script that the user gives it in real-time while playing.The other important element of the integration is related to the memory of the experience left by the user into the Virtual World. The new layout is explored and experienced. The layout is a permanent editable memory. The generative aspects of Let's improvise together are the following.The multi-media virtual sculpture left behind any participating avatar is not the creation of a single author/artist. The outcome of the sinergic interaction of various authors is not deterministic, nor predictable. The authors can indeed use generative algorythm in order to create the texture to be used on the objects. Usually, in our experience, the visitors of the Amuse worlds use shareware programs in order to generate their texture. In most cases the shareware programs are simple fractals generators. In principle, it is possible to generate also the shape of the object in a generative way. Taking into account the usual audience of our world, we expected visitors to use very simple algorythm that could generate shapes as .rwx files. Indeed, noone has attempted to do so insofar. As far as the music is concerned, the availability of shareware programs that allow simple generation of sounds sequences has made possible, for some users, to generate sounds sequences to be put in our world. In conclusion, the Let's improvise section of the Amuse worlds could be open for experimentation on generative art as a very simple entry point platform. We will be very happy to help anybody that for educational purposes would try to use our platform in order to create and exhibit generative forms of art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	c3c6
authors	Bonetti, Máximo
year	1999
title	Inventario Digital del Patrimonio Arquitectónico y Urbano Marplatense (Digital Inventory of the Architectural and Urban Patrimony of Mar del Plata)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 458-461
summary	Assisting to the urgent necessity of documenting buildings, urban and rural spaces of our district and keeping in mind that, this patrimonial values represent a considerable proportion of the creative and constructive effort of the pioneers of this region and of our memory and identity, you urgent restitution the report of the examples that are still conserved. As well as the reconstruction, in the cases that it was necessary, of the missing patrimony that still stays in the collective memory. The construction of the digital inventory outlines, in a principle; to divide to the city in sectors of different urban-architectural importance the hills of. Santa Cecilia Stala Maris and Divino Rostro, those that still conserve numerous examples of architecture of the past, are an example of it. This documentation is carried out from the entity of culture of the municipality of the district of general Pueyrredón, in function of the activity developed in the area of patrimonial preservation. In what concerns to this work, previous antecedents don't exist in our means, being this the first time that is intruded in the land of the digital graph applied to the investigation and historical documentation.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	6ae4
authors	Borde, A., Miyamoto, J., Barki, J., and Conde, M.
year	1999
title	New Trends In Graphic Representation
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 501-506
summary	In terms of graphic representation, architectural & urban study drawings present some fuzziness related to the multiplicity of scales, to the representation of the urban dynamic and to the means of communicating the contents of these studies for different publics, clearly divided among lay and specialists. Since the 16th century there have been certain stimulating propositions to this theme that have had an enormous, often unacknowleged, impact on the perception and construction of the built environment. Recent experiences in Rio, due to the series of urban projects that are being accomplished, is showing that some architecture offices are adopting new graphic trends in drawings conceived for preliminary studies, diagnoses and inventories. Due to the new possibilities offered by graphic computing they are developing, with diferent softwares, a sort of "patchwork” or "collage” and "sampling” technique for morphological analysis and representantion of places and buildings. This use of graphic computing, as an alternative to the usual realistic depictions that attempts to deal with prosaic simulations of an everyday experience, results in a different type of graphic expression that transcend literalism and appealls to the imagination of the general viewer. It is important to highlight that the analysis of these graphic solutions that attempts to turn visible design problems, could result in the development of new graphic tools that will help the creative design process.
keywords	Graphic Representation, Architecture, Urbanism
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	ga9915
id	ga9915
authors	Calio, F. and Marchetti, E.
year	1999
title	Linear algebra and creative process
source	International Conference on Generative Art
summary	Mathematical methods providing metamorphosis of three-dimensional objects are considered. Linear algebra is the basic tool : precisely linear transformations depending on a parameter are the way to produce the basic surface, moreover logic rules of manipulation of its parametric equations allow the realization of the generative process. We think that mathematical methods introduced into a generative approach can increase the performances in the designing evolution. This paper illustrates an example realized by modifying mathematically a three-dimensional form, whose initial idea is recognisable at every step.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	caadria2007_659
id	caadria2007_659
authors	Chen, Zi-Ru
year	2007
title	The Combination of Design Media and Design Creativity _ Conventional and Digital Media
source	CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
doi	https://doi.org/10.52842/conf.caadria.2007.x.w5x
summary	Creativity is always interested in many fields, in particular, creativity and design creativity have many interpretations (Boden, 1991; Gero and Maher, 1992, 1993; Kim, 1990; Sternberg, 1988; Weisberg, 1986). In early conceptual design process, designers used large number of sketches and drawings (Purcell and Gero, 1998). The sketch can inspire the designer to increase the creativity of the designer’s creations(Schenk, 1991; Goldschmidt, 1994; Suwa and Tversky, 1997). The freehand sketches by conventional media have been believed to play important roles in processes of the creative design thinking(Goldschmidt, 1991; Schon and Wiggins, 1992; Goel, 1995; Suwa et al., 2000; Verstijnen et al., 1998; Elsas van and Vergeest, 1998). Recently, there are many researches on inspiration of the design creativity by digital media(Liu, 2001; Sasada, 1999). The digital media have been used to apply the creative activities and that caused the occurrenssce of unexpected discovery in early design processes(Gero and Maher, 1993; Mitchell, 1993; Schmitt, 1994; Gero, 1996, 2000; Coyne and Subrahmanian, 1993; Boden, 1998; Huang, 2001; Chen, 2001; Manolya et al. 1998; Verstijinen et al., 1998; Lynn, 2001). In addition, there are many applications by combination of conventional and digital media in the sketches conceptual process. However, previous works only discussed that the individual media were related to the design creativity. The cognitive research about the application of conceptual sketches design by integrating both conventional and digital media simultaneously is absent.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	5a48
authors	Combes, L. and Bellomio, A.
year	1999
title	Creativity and Modularity in Architecture
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 169-179
summary	The Modern Movement in Architecture put forward industrialization, mass production and standardization among its most important banners. At the end of the century those principles are partially applied. However, the overwhelming growing of exchanges and the purchase of artifacts coming from all over the world to be assembled in order to create new artifacts, determines that in the short span, a world wide standardization becomes unavoidable. Designers should be aware about this imminent issue. Working with standard objects means modular thinking. If modules are conceived as sort of constraining entities framing the mind, creative thinking is facing a gloomy prospect. Creativity and freedom seem to be jeopardized by ready made objects. In fact, from the beginning of design as a form- giving activity it exists a dialectic between creativity and feasibility. It is not surprising since designing is essentially the transformation of ideas into real world objects. Nonetheless, the increasing standardization and the indispensable use of computers are exasperating that dialectics. In this paper is argued that if the characteristics of modular procedures are used in the early stage of the design process to prompt the form for further adjustment, creative thinking is released from excessive awareness about dimensional constraints. The first part of the paper is devoted to the description of the contextural trends that make modular thinking relevant. In the second part some propositions about the use of computer systems to generate "modular freedom" are exposed together with examples illustrating the proposed process.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	37d1
authors	Corona Martíne, Alfonso and Vigo, Libertad
year	1999
title	Before the Digital Design Studio
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 247-252
summary	This paper contains some observations which derive from our work as Studio Professors . In the last years, studios are in a transition phase with the progressive introduction of computers in later stages of the design process. The initiative generally belongs to students rather than to studio masters, since the former are aware that a knowledge of CAD systems will make them able to get work in architects offices. It is the first few Studios that will guide the student in forming a conception of what is architecture . Therefore, we have observer more attentively the way in which he establishes his first competence as a designer. We believe it is useful to clarify design training before we can integrate computers into it. The ways we all learn to design and which we transmit in the Studio were obviously created a long time ago, when Architecture became a subject taught in Schools, no longer a craft to be acquired under a master. The conception of architecture that the student forms in his mind is largely dependent on a long tradition of Beaux-Arts training which survives (under different forms) in Modern Architecture. The methods he or she acquires will become the basis of his creative design process also in professional life. Computer programmes are designed to adapt into the stages of this design process simply as time saving tools. We are interested in finding out how they can become an active part in the creative process and how to control this integration in teaching. Therefore, our work deals mainly with the tradition of the Studio and the conditioning it produces. The next step will be to explore the possiblities and restrictions that will inevitably issue from the introduction of new media.
series	SIGRADI
email
last changed	2016/03/10 09:49

_id	2524
authors	Corrao, R. and Fulantelli, G.
year	1999
title	The Web to Support Creative Design in Architecture
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 275-283
summary	The use of the web in a didactic context appears to be extremely meaningful and effective. In Architecture, the web has huge potential: among others, it has the ability to gather an enormous amount of information, and the ability to create an active learning environment, one which affords the learner opportunities to engage and think. The paper reports on a Web Based Instruction (WBI) system developed at the Italian National Research Council -Institute for Educational and Training Technologies- to support design activities for students of the Italian Faculty of Architecture and Civil Engineering. Original features of the system allow students to study and design in an effective way. Specifically, a particular set of "virtual stationery items" has been implemented and integrated in the system to help students, enrolled on on-line courses, to mimic important traditional study activities, still gaining all the advantages of using the Web. These tools are integrated with communication tools in the same learning environment. A very important feature of the WBI system is that authorised users can enrich the information network in the system, by adding new pages and new links. In the paper we report on the structure of the system, with particular focus on the information domain. Some of the "working tools" which allow users to simulate traditional study activities and the hypertext extension mechanism are also described.
series	AVOCAAD
last changed	2005/09/09 10:48

_id	5c7d
authors	Couwenbergh, J.P., Croegaert, A., Gallez, B., Petit, P. and Tilman, M.
year	1999
title	The Architect, CAD and Teaching The Pedagogical Point of View at Tournai's ISA Saint-Luc
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 221-228
summary	Object-oriented approach to software development is discussed as a conceptual framework and working computational model for creative architectural design. Two modes of obejct orientation in design are elaborated. The more conservative mode is static, based on class- type/object-instance hierarchies. The other mode is dynamic, based on a modern view of computation as multi-threaded evolution of interacting objects.
series	AVOCAAD
last changed	2005/09/09 10:48

_id	ga0015
id	ga0015
authors	Daru, R., Vreedenburgh, E. and Scha, R.
year	2000
title	Architectural Innovation as an evolutionary process
source	International Conference on Generative Art
summary	Traditionally in art and architectural history, innovation is treated as a history of ideas of individuals (pioneers), movements and schools. The monograph is in that context one of the most used forms of scientific exercise. History of architecture is then mostly seen as a succession of dominant architectural paradigms imposed by great architectural creators fighting at the beginning against mainstream establishment until they themselves come to be recognised. However, there have been attempts to place architectural innovation and creativity in an evolutionary perspective. Charles Jencks for example, has described the evolution of architectural and art movements according to a diagram inspired by ecological models. Philip Steadman, in his book "The Evolution of Designs. Biological analogy in architecture and the applied arts" (1979), sketches the history of various biological analogies and their impact on architectural theory: the organic, classificatory, anatomical, ecological and Darwinian or evolutionary analogies. This last analogy "explains the design of useful objects and buildings, particularly in primitive society and in the craft tradition, in terms of a sequence of repeated copyings (corresponding to inheritance), with small changes made at each stage ('variations'), which are then subjected to a testing process when the object is put into use ('selection')." However, Steadman has confined his study to a literature survey as the basis of a history of ideas. Since this pioneering work, new developments like Dawkins' concept of memes allow further steps in the field of cultural evolution of architectural innovation. The application of the concept of memes to architectural design has been put forward in a preceding "Generative Art" conference (Daru, 1999), showing its application in a pilot study on the analysis of projects of and by architectural students. This first empirical study is now followed by a study of 'real life' architectural practice. The case taken has a double implication for the evolutionary analogy. It takes a specific architectural innovative concept as a 'meme' and develops the analysis of the trajectory of this meme in the individual context of the designer and at large. At the same time, the architect involved (Eric Vreedenburgh, Archipel Ontwerpers) is knowledgeable about the theory of memetic evolution and is applying a computer tool (called 'Artificial') together with Remko Scha, the authoring computer scientist of the program who collaborates frequently with artists and architects. This case study (the penthouse in Dutch town planning and the application of 'Artificial') shall be discussed in the paper as presented. The theoretical and methodological problems of various models of diffusion of memes shall be discussed and a preliminary model shall be presented as a framework to account for not only Darwinian but also Lamarckian processes, and for individual as well as collective transmission, consumption and creative transformation of memes.
keywords	evolutionary design, architectural innovation, memetic diffusion, CAAD, penthouses, Dutch design, creativity, Darwinian and Lamarckian processes
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	f51a
authors	Del Pup, Claudio
year	1999
title	Carbon Pencil, Brush and Mouse, Three Tools in the Learning Process of New University Art Designers
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 420-425
summary	This article develops the introduction of computer technologies in the fine arts environment the use of these new tools, sharing the process of creation and interacting at the same level with older technics, breaks the myth of technology and tries to reach the right place according to current or modern advances. As an introduction, it explains the insertion in the current courses of study of the "computer languages area", its implementation, present situation and future stages. An important point we have developed is the teaching methodology, to solve the transition of those who, challenging their investigations in different areas, like fire arts, graphic arts, film or video, need the support of computers. The first steps consist in designing sample courses, which allow the measurement of results, the definition of concepts like extension, capacities, teaching hours and the most important, a methodology to share the enthusiasm of creation with the difficulties of learning a new technique it is necessary to discover limits, to avoid easy results as a creative tool one of the most important problems we have faced is the necessity of coordinating the process of creation with the individual time of a plastic artist, finding the right way that allows the integration of all the group, minimizing desertion and losing of motivation. Two years later, the first results in the field of digital image investigations and assistance in form design. Volume as a challenge and solutions supported in techniques of modeling in 3D (experiences of modeling a virtual volume from a revolution profile, its particular facts and the parallelism with potter's lathe the handling of image as the most important element, as an work of art itself, but also as a support in the transmission of knowledge (design of a CD as a tool for the department of embryology of medical school with the participation of people from the medical school, engineering school and school of fine arts). Time as a variable, movement, animation and its techniques, multimedia (design of short videos for the 150th anniversary of the Republic University). Conclusions, good hits, adjustments, new areas to include, problems to solve, the way of facing a constantly evolving technology.
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	3ac3
authors	Devetakovic, Mirjana and Radojevic, Milan
year	1999
title	The Electronic Communication as a Part of CAAD Educational Process
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 265-273
summary	Considering demands of contemporary architectural practice to shift spatial and cultural barriers and became more global and more creative, this paper analyses the role of electronic communication within the process of CAAD (Computer Aided Architectural Design) education. After explaining Virtual Design Studio phenomena, represented by several worldwide university projects, this paper focuses on the reflection of those projects in rethinking the CAAD education approach at the Faculty of Architecture, University of Belgrade. The case illustrating the problem is The Virtual Group activity within the Course "The basics of Computer Application in Architecture". Some examples of student work are given as well as several conclusions based on two-year experience.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	8fd5
authors	Eastman, C., His, I. and Potts, C.
year	1999
title	Coordination in Multi-Organization Creative Design Projects
source	GVU report, College of Computing, Georgia Institute of Technology
summary	We are interested in the coordination of design and planning decisions in large, multi-organizational projects and their implications for technology support. These projects are undertaken by goal-driven "virtual organizations", involving companies of different sizes, professional traditions, cultures, as well as geographic location. We have observed several months of planning and review meetings in a multi-national architectural project and have gathered volumes of design and planning documentation in the form of memoranda, faxes, project plans and design drawings. From our observations, we outline the requirements and possible features of useful coordination support.
series	report
email
last changed	2003/04/23 15:50

_id	5007
authors	Elezkurtaj, Tomor and Franck, Georg
year	1999
title	Genetic Algorithms in Support of Creative Architectural Design
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 645-651
doi	https://doi.org/10.52842/conf.ecaade.1999.645
summary	The functions supported by commercial CAAD software are drawing, construction and presentation. Up to now few programs supporting the creative part of architectural problem solving have become available. The grand hopes of symbolic AI to program creative architectural design have been disappointing. In the meantime, methods called referred to as New AI have become available. Such methods includegenetic algorithms (GA). But GA, though successfully applied in other fields of engineering, still waits to be applied broadly in architectural design. A main problem lies in defining function in architecture. It is much harder to define the function of a building than that of a machine. Without specifying the function of the artifact, the fitness function of the design variants participating in the survival game of artificial evolution remains undetermined. It is impossible to fully specify the fitness function of architecture. The approach presented is one of circumventing a full specification through dividing labor between the GA software and its user. The fitness function of architectural ground plans is typically defined in terms only of the proportions of the room to be accommodated and certain topological relations between them. The rest is left to the human designer who interactively intervenes in the evolution game as displayed on the screen.
keywords	Genetic Algorithms, Creative Architectural Design
series	eCAADe
email
last changed	2022/06/07 07:55

_id	1d4e
authors	Engeli, Maia and Miskiewicz-Bugajski, Malgorzata
year	1999
title	A Collectively Designed Information Landscape
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 47-59
summary	Information Landscape is one of several courses in which we explore the potential of networked environments to support creative, collaborative design processes. 180 architecture students of the first semester are participating in this course. They work in pairs. The design of an "Information Landscape" is the goal, it is a virtual terrain that is formed by the participants over time and has landmarks that lead to specific information. The location and visual appearance of the more than 400 landmarks help to remember which information is connected to them. The design of the landscape happens in five steps and is related to the tasks in the architectural design class. The collectively designed product can reach qualities beyond the possible achievements of a single person. An environment that supports such design goals must provide for motivation, transparency and support. The common product has to include a tolerance towards fluctuations in the quality of the contributions.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	2145
authors	Engeli, Maia and Mueller Andre
year	1999
title	Digital Environments for Learning and Collaboration Architecture, Communication, Creativity, Media and Design Process
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 40-52
doi	https://doi.org/10.52842/conf.acadia.1999.040
summary	Digital networks are gaining importance as environments for learning and creative collaboration. Technical achievements, software enhancements, and a growing number of applicable principles make it possible to compile complex environments that satisfy many aspects necessary for creative collaboration. This paper focuses on three issues: the architecture of collaborative environments, communication in these environments and the processes inherent to creative collaboration. The information architecture of digital environments looks different from physical architecture, mainly because the material that it is made out of is information and not stone, wood or metal and the goal is to pro-vide appropriate paths and views to information. Nonetheless, many analogies can be drawn between information architecture and physical architecture, including the need for useability, aesthetics, and consistency. To communicate is important for creative collaboration. Digital networks request and enable new strategies for communicating. Regarding the collaborative creative process we have been able to detect principles and features that enhance this process, but there are still many unanswered questions. For example, the environment can enable and improve the frequency of surprise and coincidence, two factors that often play decisive roles in the creative processes but cannot be planned for in advance. Freedom and transparency within the environment are other important factors that foster creative collaboration. The following findings are based on numerous courses, which we have taught using networked environments and some associated, research projects that helped to verify their applicability for architectural practice.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:55

_id	0eae
authors	Gero, J.S. and Kazakov, V.
year	1999
title	Using analogy to extend the behaviour state space in creative design
source	J.S. Gero and M.L. Maher (Eds.), Computational Models of Creative Design IV, Key Centre of Design Computing and Cognition, University of Sydney, Sydney, Australia, pp. 113-143
summary	We propose an exploration model of design based on the extension of the space of design behaviours using analogy. The analogy is drawn on the basis of structure similarity or structure and behaviour similarity between source and target designs. New behaviours are introduced from the source design. This paper describes such a process and discusses its significance for creative design.
keywords	Creative Design, Behaviour Analogy
series	other
email
last changed	2003/04/06 09:15

_id	c91a
authors	Gero, J.S. and Kazakov, V.
year	1999
title	Adapting evolutionary computing for exploration in creative designing
source	J.S. Gero and M.L. Maher (Eds.), Computational Models of Creative Design IV, Key Centre of Design Computing and Cognition, University of Sydney, Sydney, Australia, pp. 175-186
summary	This paper introduces a modification to genetic algorithms which provides computational support to creative designing by adaptively exploring design structure spaces. This modification is based on the re-interpretation of the GA's crossover as a random sampling of interpolations and its replacement with the random sampling of direct phenotype-phenotype interpolation and phenotype-phenotype extrapolation. Examples of the process are presented
keywords	Creative Design, Evolutionary Computation
series	other
email
last changed	2003/04/06 09:11

_id	bb42
authors	Gero, John S. and Kazakov, Vladimir
year	1999
title	An Interpolation/Extrapolation Process For Creative Designing
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 263-274
summary	This paper introduces a new computational operation that provides support for creative designing by adaptively exploring design state spaces. This modification is based on the re-interpretation of the crossover operation of genetic algorithms as an interpolation and its generalization to extrapolation. Examples of the results of the application of the process are presented.
keywords	Creative design, computational exploration, design combination
series	CAAD Futures
email
last changed	2006/11/07 07:22

For more results click below: