Cumincad : CUMINCAD Papers : Search Results

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

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_id	avocaad_2001_09
id	avocaad_2001_09
authors	Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year	2001
title	Digital Architecture in CAD studio and Internet-based competition
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	Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	acadia21_530
id	acadia21_530
authors	Adel, Arash; Augustynowicz, Edyta; Wehrle, Thomas
year	2021
title	Robotic Timber Construction
doi	https://doi.org/10.52842/conf.acadia.2021.530
source	ACADIA 2021: Realignments: Toward Critical Computation [Proceedings of the 41st Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 979-8-986-08056-7]. Online and Global. 3-6 November 2021. edited by S. Parascho, J. Scott, and K. Dörfler. 530-537.
summary	Several research projects (Gramazio et al. 2014; Willmann et al. 2015; Helm et al. 2017; Adel et al. 2018; Adel Ahmadian 2020) have investigated the use of automated assembly technologies (e.g., industrial robotic arms) for the fabrication of nonstandard timber structures. Building on these projects, we present a novel and transferable process for the robotic fabrication of bespoke timber subassemblies made of off-the-shelf standard timber elements. A nonstandard timber structure (Figure 2), consisting of four bespoke subassemblies: three vertical supports and a Zollinger (Allen 1999) roof structure, acts as the case study for the research and validates the feasibility of the proposed process.
series	ACADIA
type	project
email
last changed	2023/10/22 12:06

_id	0dc3
authors	Chambers, Tom and Wood, John B.
year	1999
title	Decoding to 2000 CAD as Mediator
doi	https://doi.org/10.52842/conf.ecaade.1999.210
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 210-216
summary	This paper will present examples of current practice in the Design Studio course of the BDE, University of Strathclyde. The paper will demonstrate an integrated approach to teaching design, which includes CAD among other visual communication techniques as a means to exploring design concepts and the presentation of complex information as part of the design process. It will indicate how the theoretical dimension is used to direct the student in their areas of independent study. Projects illustrated will include design precedents that have involved students in the review and assessment of landmarks in the history of design. There will be evidence of how students integrate DTP in the presentation of site analysis, research of appropriate design precedents and presentation of their design solutions. CADET underlines the importance of considering design solutions within the context of both our European cultural context and of assessing the environmental impact of design options, for which CAD is eminently suited. As much as a critical method is essential to the development of the design process, a historical perspective and an appreciation of the sophistication of communicative media will inform the analysis of structural form and meaning in a modem urban context. Conscious of the dynamic of social and historical influences in design practice, the student is enabled "to take a critical stand against the dogmatism of the school "(Gadamer, 1988) that inevitably insinuates itself in learning institutions and professional practice.
keywords	Design Studio, Communication, Integrated Teaching
series	eCAADe
email
last changed	2022/06/07 07:56

_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	65b4
authors	Kos, Jose Ripper
year	1999
title	Architecture and Hyperdocument: Data Shaping Space
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 462-465
summary	The computer interface can't convey the hole experience of walking through a city or a building. Nevertheless, the complexity of all the aspects involved in those threedimensional spaces can be better understood through the non-linearity of the hyperdocument. Each dweller of a city and a building has many layers of relationship with both. The sequence and the extent each observer explores the space is unique. It’s not totally apprehended in a first visit. As the observer knows better that space, his experience changes. A similar situation takes place in a multimedia application. Hence, it's possible to build an analogy between the architectonic or urban structure and a hyperdocument navigation structure. We can also state that the computer is critical to create paths of architectural information through space and time. The 3D model of a city is a powerful basis to structure the hyperdocument navigation. The city can be viewed in separate parts or layers of information. One investigates the city through different aspects of its configuration and explores it in different scales and levels of detail. The images generated from this 3D model can be combined with video, photo, sound and text, organizing the information which gives form to the city. The navigation through this information, addresses the citty by its economy, housing, religion, politics, leisure, projects, symbolic buildings, and other aspects. This paper will discuss these issues through the experiments of the research done at the School of Architecture and Urbanism of the Universidade Federal do Rio de Janeiro. The research group at the "Laboratory of Urban Analysis and Digital Representation" in PROURB (Graduate Program of Urbanism) analyses the city and its buildings using CD-ROMs and websites.
keywords	3D City Modeling, Hyperdocument, Multimedia, Architecture, Urbanism
series	SIGRADI
email
last changed	2016/03/10 09:54

_id	b34d
authors	Russell, P., Kohler, N., Forgber, U., Koch, V. and Rügemer, J.
year	1999
title	Interactive Representation of Architectural Design: The Virtual Design Studio as an Architectural Graphics Laboratory
doi	https://doi.org/10.52842/conf.ecaade.1999.459
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 459-465
summary	This paper introduces the Virtual Design Studio (VDS), an internet based design studio environment established by ifib. VDS transfers lessons learned through research projects in the field of Computer Supported Co-operative Work (CSCW) being carried out at ifib into design education. By training for interdisciplinary co-operation within the design process, the students will become better prepared for the flexibility and co-operability required in planning situations. Increasing the communication and co-operation in the planning process can be achieved through the implementation of IT based virtual workspaces. In the design studio setting, this is done through the use of available internet software and technologies. The methodology of the VDS is briefly described including specific assignments intended to focus student investigations into specific areas including the representation of their work using the world wide web. The pedagogical expectations are discussed and anecdotal evidence precedes an general evaluation of the teaching method. The authors postulate that one of the unintended by-products of the studio is the evolution of an effective use of interactivity in the presentation of design concepts, ideas and solutions. A handful of student work is presented to describe the different approaches taken in using the world wide web (WWW) to display project work. A description of the local evolution (VDS specific) of graphical methods and technologies is followed by a comparison with those used in traditional settings. Representation is discussed with focus on the ability of the WWW to replace, augment or corrupt other methods of presentation. The interactive nature of web based presentations induces alterations to the narration of architectural work and can enhance the spatial perception of design space. Space Perception can be enabled through geometrically true VRML representations, the inclusion of auditory sensations, the abstraction of representation through the use of advertising techniques as well as the introduction of non-linear narrative concepts. Examples used by students are shown. A critical assessment of these new representational methods and the place of current new media within the context of architectural representation is discussed.
keywords	Virtual Design Studio, Architectural Graphics, Teaching
series	eCAADe
email
last changed	2022/06/07 07:56

_id	ga9908
id	ga9908
authors	Senagala, Mahesh
year	1999
title	Artistic Process, Cybernetics of Self and the Epistemology of Digital Technology
source	International Conference on Generative Art
summary	From the viewpoint of Batesonian cybernetics, ‘conscious purpose’ and artistic process are distinct ends of a spectrum of the functioning of self. Artistic activities— by which I mean art, poetry, play, design, etc.— involve processes that are beneath the stratum of consciousness. By definition, consciousness is selective awareness and is linear in execution and limited in its capability to synthesize complex parameters. As Heidegger pointed out, technology is a special form of knowledge (episteme). A machine is a manifestation of such a knowledge. A machine is a result of conscious purpose and is normally task-driven to accomplish a specific purpose(s). The questions this paper raises are to do with the connections between conscious purpose, artistic process and digital technology. One of the central questions of the paper is "if artistic process requires an abandonment or relinquishment of conscious purpose at the time of the generation of the work of art, and if the artistic process is a result of vast number of ‘unconscious’ forces and impulses, then could we say that the computer would ever be able to ‘generate’ or ‘create’ a work of art?" In what capacity and what role would the computer be a part of the generative process of art? Would a computer be able to ‘generate’ and ‘know’ a work of art, which, according to Bateson, requires the abandonment of conscious purpose? The ultimate goal of the paper is to unearth and examine the potential of the computers to be a part of the generative process of what Bateson has called "total self as a cybernetic model". On another plane of discourse, Deleuze and Guattari have added a critical dimension to the discourse of cybernetics and models of human mind and the global computer networks. Their notion of ‘rhizome’ has its roots in Batesonian cybernetics and the cybernetic couplings between the ‘complex systems’ such as human mind, biological and computational systems. Deleuze and Guattari call such systems as human brain and the neural networks as rhizomatic. Given the fact that the computer is the first known cybernetic machine to lay claims to artificial intelligence, the aforementioned questions become even more significant. The paper will explore how, cybernetically, the computer could be ‘coupled’ with ‘self’ and the artistic process — the ultimate expression of human condition. These philosophical and artistic explorations will take place through a series of generative artistic projects (See the figure below for an example) that aim at understanding the couplings and ‘ecology’ of digital technology and the cybernetics of self.
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	ascaad2007_025
id	ascaad2007_025
authors	Speed, C.
year	2007
title	A Social Dimension to Digital Architectural Practice
source	Em‘body’ing Virtual Architecture: The Third International Conference of the Arab Society for Computer Aided Architectural Design (ASCAAD 2007), 28-30 November 2007, Alexandria, Egypt, pp. 291-304
summary	In 1995 the first in a series of three books were published by Academy Editions, that have since become a vivid handbook that documents how designers responded to the development of architectural drawing applications and the growth of the internet, to establish a form of digital architecture. Offering dramatic images and emotive texts, many of the architects and designers featured in these books deeply affected the perception of digital architecture’s mission by students and elements of the design community. Concentrating upon how to resolve the view that time and space are separate dimensions, and the immersive and dematerial potentials of cyberspace, the developments of this ‘cyberromanticism’ (Coyne 1999) ultimately were not used to sustain digital architectural activity. This paper uses the Academy Editions series to understand how such a vivid aspect of digital architecture failed to fulfil its aspirations. The paper begins by establishing the premise for digital architecture through a link with mainstream architectures interest in the concept of shelter. Through a summary of the practical and theoretical methods outlined by the early designers within the series of publications, the paper demonstrates the critical potential of the field. However a summary of how the proliferation of early imagery fuelled a visual mannerism traces how the third Architects in Cyberspace publication represented a crisis in both identity and practice. The paper then identifies an opportunity for recovering the theoretical imperatives within digital architecture by reflecting upon the emergence of ‘interactive architectures’ use of a ‘social’ dimension that was previously hindered by the use of computer applications in early digital architecture. The paper closes with a reference to two of the authors practical projects that use social data to inform the generation of digital architecture.
series	ASCAAD
email
last changed	2008/01/21 22:00

_id	6930
authors	Cattoni, Edson Luis and Santiago, Alina Goncalves
year	1999
title	Lagoa da Conceicao - Florianópolis - Ilha de Santa Catarina: Uma Paisagem em Transformacao II (Conceicao Lagoon - Florianópolis - Ilha of Santa Catarina Island: A Landscape in Transformation II)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 157-160
summary	This work presents the study and applied assays (or simulation tests) about the ordination of urban space in the region of Lagoa da Conceição. In the region pressures placed by the growth of urban area and urban network system are in contact conflict with a fragile ecosystem, and with a sustainable development based on tourism. Analysis procedures exploited different forms of Space Syntax trying to examine effects of spatial structure in relation to movement patterns of pedestrians and vehicles. This methodology allowed the comprehension of relation between spatial configuration, transport and soil use, and reveled the interdependence and performance of built space within the restrict regional scale (Lagoa da Conceição) and the total urban structure of the island. This understanding is not limited to the present. Is also includes the study of historic urban evolution, and simulation of existing projects for the future, being an important tool to support project decision process. Consequently, the obtained results bring a new approach for the problem, which makes possible the synthesis of design proposals verifying its implications and consequences.
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	c1a4
authors	Galofaro, L.
year	1999
title	Digital Eisenman, an office of the electronic era
source	Birkhäuser Verlag, Basel
summary	How should an innovative architect react today to the electronic revolution which is taking place? This work explores the answer by looking at the work of New York architect, Peter Eisenman. It includes a selection of excepts from Eisenman's writings and an analysis of some of his projects.
series	other
last changed	2003/04/23 15:14

_id	fa7a
authors	Kokosalakis, Jen
year	1999
title	Learning to Learn Through Computing: Sensitising Surveys and Empowering Urban Stakeholder's Input to Policy
doi	https://doi.org/10.52842/conf.ecaade.1999.714
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 714-721
summary	Reflection on three decades using computing at JMU, to teach survey techniques to planners, with application to community research projects, reveals that each computing "learning" threshold/milestone enabled each protagonist (research lecturer, planning student, professional and community-stakeholder),"to learn" more broadly. This facilitated more sensitive data-gathering-so empowering respondent/residents with more control to define data to influence urban policy. The seventies' mechanical processing and limited computing experience restricted data quality/depth. Hand-processing 'edge punch cards' recorded enriched variety and depth. Learning computing from Maths lecturers enabled students to learn to control SPSS program and data files. Maths lecturers' withdrawal necessitated the authors' learning, which brought control of the whole process, so facilitating informal inductive interviews-more open to respondents' control over topics to be discussed. Planners learning 3DCAAD-modelling, learned to conceptualise spatially. Community members used CAAD with greater ease, possibly through greater Internet and games experience. Free, EU-funded, private, government, and so on training schemes for Merseysiders, may enfranchise them to define and submit their own demands regarding urban regeneration, directly, through new technological channels (opened by Local Authorities). And new partnering, with private, public and developer agencies may drive these initiatives home.
keywords	Research Methods, Community Empowerment, Learning Computing, Urban Planning, Sensitivity
series	eCAADe
email
last changed	2022/06/07 07:51

_id	7da7
authors	Benedetti, Cristina and Salvioni, Giulio
year	1999
title	The Use of Renewable Resource in Architecture: New Teaching Methodologies
doi	https://doi.org/10.52842/conf.ecaade.1999.751
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 751-756
summary	The program is organized into four parts. Each is very much connected, both logically and methodologically, so that the unit as a whole consists of a content and method of access that are not divided up. This method is not in a chronological order that simply goes in one direction, rather it allows the user to "refer back", in real time and in different directions. For the simple purpose of explanation, the sections of the program are listed as follows: (-) "Basic information" concerns the basics of bioclimatic and timber architecture. Without this knowledge, the other two sections would be difficult to understand; (-) "Actual buildings throughout the world"; give examples of architectural quality; they concretize the basics of bioclimatic and timber architecture; (-) "Students' Masters Theses", that follow on from the basic information and the learning experience "in the field", and guided by the lecturer, have a critical approach to actual buildings throughout the world. (-) A multimedia data-sheet organized to ensure a clear and straightforward presentation of information about the construction products. It relies on a tab-based navigation interface that gives users access to eight different stacked windows.
keywords	Architecture, Multimedia, Timber, Bioclimatic, Classification
series	eCAADe
email
last changed	2022/06/07 07:54

_id	ga9906
id	ga9906
authors	Caglioti, Giuseppe
year	1999
title	Ambiguity in Art and Science
source	International Conference on Generative Art
summary	Ambiguity can be defined as the coexistence and/or coalescence of two incompatible aspects in the same reality. Ambiguity manifests itself * in pathologic processes occurring in matter, e.g. at the critical state of the solid ¬ ® liquid phase transformation. * during the process of measurement of quantum structures: a process formally very similar to the process of perception. * Systematically, in our mind, during the process of perception - especially during visual perception of paintings or acoustic perception of music.Therefore ambiguity is an intrinsic feature of the process of perception and an intriguing step in the way toward the formation of thought. Ambiguity is continuosly experienced in our mind: every act of perception culminates into the critical state of a dynamic instability of the interiorized image, where the incoherent heap of sensory stimuli merges into coherent visual or auditive thinking. In turn, since perception is essential for life, we should look at ambiguity not so much as to a fastidious travel companion, but rather as to a fixed course toward perception itself, scientific thought and aesthetic emotion: ambiguity is a permanent cultural value.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	2690
authors	Chiu, Mao-Lin
year	1999
title	Design Navigation and Construction Simulation by Virtual Reality
doi	https://doi.org/10.52842/conf.caadria.1999.031
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. 31-41
summary	This paper depicts the approach of constructing a virtual reality environment for simulating architectural design and construction operations. The virtual environment is established to demonstrate the spatial performance of design and constructability of construction operations. Particularly, the functions such as navigation of construction sites, simulation of construction operations, and evaluation of construction details will be critical to construction operations. The system shell is implemented by JAVA on the web and integrated with VRML for supporting the above functions. The study focuses on the needs for the system integration and interface design. Four modes of human computer interfaces are proposed, including the user, agent, monitor, and immersion modes. Finally, this paper provides demonstration of construction simulation in an office building project to highlight the above discussion. The operations of crane towers and curtain wall installation are also studied in the construction process. In conclusion, this paper demonstrates the potential uses and limitation of virtual reality in simulation of the built environment.
series	CAADRIA
email
last changed	2022/06/07 07:56

_id	7546
authors	Coyne, R.
year	1999
title	Technoromanticism - digital narrative, holism, and the romance of the real
source	MIT Press
summary	It's no secret that contemporary culture romanticizes digital technologies. In books, articles, and movies about virtual community, virtual reality, artificial intelligence, artificial life, and other wonders of the digital age, breathless anticipation of vast and thrilling changes has become a running theme. But as Richard Coyne makes clear in Technoromanticism: Digital Narrative, Holism, and the Romance of the Real, a dense but rewarding piece of academic criticism, we also get romantic about the new technologies in a more rigorous sense of the word. Whether heralding an electronic return to village communalism or celebrating cyberspace as a realm of pure mind, today's utopian thinking about the digital, Coyne argues, essentially replays the 18th- and 19th-century cultural movement called Romanticism, with its powerful yearnings for transcendence and wholeness. And this apparently is not a good thing. Romanticism, like the more sober Enlightenment rationalism against which it rebelled, has outlived its usefulness as a way of understanding the world, Coyne argues. And so he spends the duration of the book bombarding both the romantic and the rationalist tendencies in cyberculture with every weapon in the arsenal of 20th-century critical theory: poststructuralism, Freudianism, postmodern pragmatism, Heideggerian phenomenology, surrealism--Coyne uses each in turn to whack away at conventional wisdoms about digital tech. Whether the conventional wisdoms remain standing at the end is an open question, but Coyne's tour of the contemporary intellectual landscape is a tour de force, and never before has digital technology's place in that landscape been mapped so thoroughly. --
series	other
email
last changed	2003/04/23 15:14

_id	1ead
authors	Dinand, Munevver Ozgur and Ozersay, Fevzi
year	1999
title	CAAD Education under the Lens of Critical Communication Theories and Critical Pedagogy: Towards a Critical Computer Aided Architectural Design Education (CCAADE)
doi	https://doi.org/10.52842/conf.ecaade.1999.086
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 86-93
summary	Understanding the dominant ethos of our age is imperative but not easy. However it is quite evident that new technologies have altered our times. Every discipline is now forced to be critical in developing new concepts according to the realities of our times. Implementing a critical worldview and consciousness is now more essential than ever. Latest changes in information technology are creating pressure on change both in societal and cultural terms. With its direct relation to these technologies, computer aided architectural design education, is obviously an outstanding / prominent case within contemporary debate. This paper aims to name some critical points related to computer aided architectural design education (CAADE) from the perspective of critical communication studies and critical education theories. It tries to relate these three areas, by introducing their common concepts to each other. In this way, it hopes to open a path for a language of critique. A critique that supports and promotes experimentation, negotiation, creativity, social consciousness and active participation in architectural education in general, and CAADE in specific. It suggests that CAADE might become critical and produce meta-discourses [1 ] in two ways. Firstly, by being critical about the context it exists in, that is to say, its relationships to the existing institutional and social structures and secondly by being critical about the content it handles; in other words by questioning its ideological dimensions. This study considers that analysing the role of CAADE in this scheme can provide architectural education with the opportunity to make healthy projections for the future.
keywords	Critical Theories, Critical Pedagogy, Critical CAADE
series	eCAADe
email
last changed	2022/06/07 07:55

_id	ga0021
id	ga0021
authors	Eacott, John
year	2000
title	Generative music composition in practice - a critical evaluation
source	International Conference on Generative Art
summary	This critical evaluation will discuss 4 computer based musical works which, for reasons I shall explain, I describe as non-linear or generative. The works have been constructed by me and publicly performed or exhibited during a two year period from October 1998 to October 2000. ‘In the beginning…’ interactive music installation, strangeAttraction, Morley Gallery, London. July 1999 ‘jnrtv’ live generative dance music May 1999 to Dec 2000 ‘jazz’ interactive music installation, another strangeAttraction Morley Gallery, London. July 2000-09-26 ‘the street’ architectural interactive music installation, University of Westminster Oct 2000 Introduction I have always loved the practice of composing, particularly when it means scoring a work to be played by a live ensemble. There is something about taking a fresh sheet of manuscript , ruling the bar lines, adding clefs, key and time signatures and beginning the gradual process of adding notes, one at a time to the score until it is complete that is gratifying and compensates for the enormous effort involved. The process of scoring however is actually one distinct act within the more general task of creating music. Recently, the notion of ‘composing’ has met challenges through an increased interest in non-linear compositional methods. It is actually the presence of Chaotic or uncontrolable elements which add real beauty to music and many if not all of the things we value. If we think of a sunset, waves lapping on the shore, plants, trees a human face and the sound of the human voice, these things are not perfect and more importantly perhaps, they are transient, constantly changing and evolving. Last year and again this year, I have organised an exhibition of interactive , non-linear music installations called 'strangeAttraction'. The title refers to what Edward Lorenz called a ‘strange attractor’ the phenomenon that despite vast degrees of Chaos and uncertainty within a system, there is a degree of predictability, the tendency for chaotic behaviour to ‘attract’ towards a probable set of outcomes. Composition that deals with 'attractors' or probable outcomes rather than specific details which are set in stone is an increasingly intriguing notion.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	9747
authors	Ferrar, Steve
year	1999
title	New Worlds; New Landscapes
doi	https://doi.org/10.52842/conf.ecaade.1999.424
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 424-430
summary	Evolution, said Julian Huxley, is in three different sectors. The first is organic - the cosmic process of matter. The second is biological - the evolution of plants and animals. The third is psychological and is the development of man's cultures. It is this third stage that is now critical, and if we are to survive as a species it can only be by replacing nature's controls by our own, not only birth control but our use of the whole environment. (Nan Fairbrother, New Lives, New Landscapes)
keywords	Virtual Environments, Future, Culture
series	eCAADe
email
last changed	2022/06/07 07:56

_id	9f08
authors	Hillis, K.
year	1999
title	Digital Sensations: Space, Identity, and Embodiment in Virtual Reality
source	University of Minnesota Press, Minneapolis, Minnesota
summary	Virtual reality is in the news and in the movies, on TV and in the air. Why is the technology -- or the idea -- so prevalent precisely now? What does it mean -- what does it do -- to us? Digital Sensations looks closely at the ways representational forms generated by communication technologies -- especially digital/optical virtual technologies -- affect the "lived" world. Virtual reality, or VR, is a technological reproduction of the process of perceiving the real; yet that process is "filtered" through the social realities and embedded cultural assumptions about human bodies, perception, and space held by the technology's creators. Through critical histories of the technology -- of vision, light, space, and embodiment -- Ken Hillis traces the various and often contradictory intellectual and metaphysical impulses behind the Western transcendental wish to achieve an ever more perfect copy of the real. Because virtual technologies are new, these histories also address the often unintended and underconsidered consequences -- such as alienating new forms of surveillance and commodification -- flowing from their rapid dissemination. Current and proposed virtual technologies reflect a Western desire to escape the body Hillis says. Exploring topics from VR and other, earlier visual technologies, Hillis's penetrating perspective on the cultural power of place and space broadens our view of the interplay between social relations and technology.
series	other
last changed	2003/04/23 15:14

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