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	93a8
authors	Anders, P.
year	1999
title	Envisioning Cyberspace: Designing 3D Electronic Spaces
source	McGraw-Hill, NY
summary	Free of the constraints of physical form and limited only by imagination, new environments spring to life daily in a fantastic realm called cyberspace. The creators of this new virtual world may be programmers, designers, architects, even children. In this invigorating exploration of the juncture between cyberspace and the physical world, architect Peter Anders brings together leading-edge cyberspace art and architecture ... inspiring new techniques and technologies ... unexpected unions of reality and virtuality ... and visions of challenges and opportunities as yet unexplored. More than an invitation to tour fantastic realms and examine powerful tools, this book is a hard-eyed look at cyberspace's impact on physical, cultural, and social reality, and the human-centered principles of its design. This is a book that will set designers and architects thinkingNand a work of importance to anyone fascinated with the fast-closing space between the real and the virtual.
series	other
email
last changed	2003/04/23 15:14

_id	becb
authors	Anders, Peter
year	1999
title	Electronic Extension: Some implications of cyberspace for the practice of architecture
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 276-289
doi	https://doi.org/10.52842/conf.acadia.1999.276
summary	This white-paper builds upon previous research to present hybrids of electronic and physical spaces as extensions of current design practice. It poses an hypothetical project - a hybrid of physical and cyberspaces - to be developed through an extrapolation of current architectural practice by fully exploiting new information technologies. The hybrid's attributes not only affect the scope of development but the very activities of the design team and client during - and after - deployment. The entire life cycle of the project is affected by its dual material and media presence. The paper concludes by discussing the effect the hybrid - here called a "cybrid" - on the occupant, and its local and global communities. It reviews the economics, administration, marketing, operation, flexibility, and extension of the project to assess its effects on these scales. The conclusions are provisional owing to the youth of the technologies. However, in laying out these issues, the author hopes to begin a discussion on effects computation will have on our built environment.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	avocaad_2001_16
id	avocaad_2001_16
authors	Yu-Ying Chang, Yu-Tung Liu, Chien-Hui Wong
year	2001
title	Some Phenomena of Spatial Characteristics of Cyberspace
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	"Space," which has long been an important concept in architecture (Bloomer & Moore, 1977; Mitchell, 1995, 1999), has attracted interest of researchers from various academic disciplines in recent years (Agnew, 1993; Benko & Strohmayer, 1996; Chang, 1999; Foucault, 1982; Gould, 1998). Researchers from disciplines such as anthropology, geography, sociology, philosophy, and linguistics regard it as the basis of the discussion of various theories in social sciences and humanities (Chen, 1999). On the other hand, since the invention of Internet, Internet users have been experiencing a new and magic "world." According to the definitions in traditional architecture theories, "space" is generated whenever people define a finite void by some physical elements (Zevi, 1985). However, although Internet is a virtual, immense, invisible and intangible world, navigating in it, we can still sense the very presence of ourselves and others in a wonderland. This sense could be testified by our naming of Internet as Cyberspace -- an exotic kind of space. Therefore, as people nowadays rely more and more on the Internet in their daily life, and as more and more architectural scholars and designers begin to invest their efforts in the design of virtual places online (e.g., Maher, 1999; Li & Maher, 2000), we cannot help but ask whether there are indeed sensible spaces in Internet. And if yes, these spaces exist in terms of what forms and created by what ways?To join the current interdisciplinary discussion on the issue of space, and to obtain new definition as well as insightful understanding of "space", this study explores the spatial phenomena in Internet. We hope that our findings would ultimately be also useful for contemporary architectural designers and scholars in their designs in the real world.As a preliminary exploration, the main objective of this study is to discover the elements involved in the creation/construction of Internet spaces and to examine the relationship between human participants and Internet spaces. In addition, this study also attempts to investigate whether participants from different academic disciplines define or experience Internet spaces in different ways, and to find what spatial elements of Internet they emphasize the most.In order to achieve a more comprehensive understanding of the spatial phenomena in Internet and to overcome the subjectivity of the members of the research team, the research design of this study was divided into two stages. At the first stage, we conducted literature review to study existing theories of space (which are based on observations and investigations of the physical world). At the second stage of this study, we recruited 8 Internet regular users to approach this topic from different point of views, and to see whether people with different academic training would define and experience Internet spaces differently.The results of this study reveal that the relationship between human participants and Internet spaces is different from that between human participants and physical spaces. In the physical world, physical elements of space must be established first; it then begins to be regarded as a place after interaction between/among human participants or interaction between human participants and the physical environment. In contrast, in Internet, a sense of place is first created through human interactions (or activities), Internet participants then begin to sense the existence of a space. Therefore, it seems that, among the many spatial elements of Internet we found, "interaction/reciprocity" Ñ either between/among human participants or between human participants and the computer interface Ð seems to be the most crucial element.In addition, another interesting result of this study is that verbal (linguistic) elements could provoke a sense of space in a degree higher than 2D visual representation and no less than 3D visual simulations. Nevertheless, verbal and 3D visual elements seem to work in different ways in terms of cognitive behaviors: Verbal elements provoke visual imagery and other sensory perceptions by "imagining" and then excite personal experiences of space; visual elements, on the other hand, provoke and excite visual experiences of space directly by "mapping".Finally, it was found that participants with different academic training did experience and define space differently. For example, when experiencing and analyzing Internet spaces, architecture designers, the creators of the physical world, emphasize the design of circulation and orientation, while participants with linguistics training focus more on subtle language usage. Visual designers tend to analyze the graphical elements of virtual spaces based on traditional painting theories; industrial designers, on the other hand, tend to treat these spaces as industrial products, emphasizing concept of user-center and the control of the computer interface.The findings of this study seem to add new information to our understanding of virtual space. It would be interesting for future studies to investigate how this information influences architectural designers in their real-world practices in this digital age. In addition, to obtain a fuller picture of Internet space, further research is needed to study the same issue by examining more Internet participants who have no formal linguistics and graphical training.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	e78e
authors	Anders, Peter
year	1999
title	Anthropic Cyberspace: Defining Eletronic Space from First Principles
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 56-62
summary	This paper proposes principles for the design of human-centered, anthropic cyberspaces. Starting with a brief examination of our cognitive use of space, it suggests that we address cyberspace as an extension of our mental space. The paper procedes with twelve concepts based on scientific and cultural observations with respect to individual cognition and social interaction. These concepts are general - not specific to any culture or technology in the accompanying arguments the author expands on these concepts illustrating them with examples taken from conventional and electronic media, space and cyberspace the author hopes with these conjectures to begin a discussion on the anthropology of space and its emulation.
keywords	Cognition, Cyberspace, Design, Internet, Simulation, Space
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	5716
authors	Cohen Egler, Tamara Tania
year	1999
title	Cyberspace: New Forms of Social Interaction
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 253-258
summary	The cyberspace becomes into news forms of communication that transform and expand interaction among men. The objective of our reflection is to understand how space-time relations are changed by the new technologies of communication and information. The starting point of this analysis is the historic dimension of production, interaction and appropriation of space-time processes, proceeding in the se of solving their contemporary forms defined by the growing technology of daily life. It is possible to notice how communication expands the interaction among companies, institutions and society because processes and procedures are publicized, reducing the disorder and uncertain. It is a way of making social complexities more accessible, more clear, being easier read by individuals so they are able to lead with the complex of opportunities and responsibilities that compound the social system. The fundamental constitution of cybernetic spaces is on its capacity of make accessible the processes of communication and information which expand the interaction eliminating intermediaries. The condition of material localization dissolves itself to give place tommunicative interaction. The essential of the question can be stated in the theory that explains that social practices are the result of a cognitive system. That statement send us to the heart of analysis over the importance of comprehending as a moment that precede the action. When societies can be read through a union of knowledge condensed all along their social and cultural development. The development of new technologies of communication and information make nations capable to produce, accumulate diffuse knowledge, conducting to an action of intelligent individuals who write the social development.
series	SIGRADI
email
last changed	2016/03/10 09:49

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

_id	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	7ad1
authors	Giordano, Rubén F. and Tosello, María Elena
year	1999
title	Laberinto: Una Biblioteca para la Virtualidad. Reflexiones y Acontecimientos en el Cyberespacio (Labyrinth: A Library for Virtuality. Reflections and Events in Cyberspace)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 83-86
summary	This project investigates in the limits of the word like only means of structuring of the thought, before the appearance of new paradigms: the multimedias and the ciber-space that have transformed so much the language written as the architectural one causing unpublished situations: 1.) The transformation of a concrete container to other virtual. 2.) The transformation of the design object, of one static material to another that is a process. 3.) The transformation in the traditional ways of thinking (reversible as the formal logic of the mathematics) to new imaginarys epistemologicals. // These non alone events have caused changes in the forms of to know and to communicate the reality but rather the same one suffers a dilation process. We present for their exploration, a road synthesized in some hypotheses that were elaborated with reason of the International Competition of ACADIA 1998: 1.) The new communication systems (cibercomunication) they generate a new territory that should be colonized. This territory this conformed by objects related by infinite bonds (hipertext). 2.) The topographical form is not lineal and sequential, this it is multidirectional and multiradial. The phenomenon of the blow-up and the dilation are the mechanisms with those that the new objects are generated. 3.) These related fields generate interstitial empty spaces where it appears the desire. The interstice like existential space.
series	SIGRADI
email
last changed	2016/03/10 09:52

_id	2fe1
authors	Arroyo, Julio and Chiarella, Mauro
year	1999
title	Infographic: Its Incorporation and Relativity in Architectural Design Process
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 313-318
summary	This paper is about an architectural design workshop regularly held at a public university in Santa Fe, Argentina. The class is about 150 students large, with different informatic capabilities and hardware facilities. The design problem of the workshop, which is one year long, is the relationship between architectural project and the construction of the urbanity. This implies both a physical intervention and a cultural expression. Pedagogy seeks students to overcome individualism, characteristic that is hardly induced by PCs, making a socialized design experience. A complementary and simultaneous use of graphic and infographic data is one of the main criteria of the workshop. The idea is to look for students to reach a wide vision by means of the use of different representation systems and means of information. Digital graphic is introduced early in the design process as an electronic model of urban context. It is considered as a one among many other graphic resources and is used together with ordinary models, geometric drawings, aerial and regular photography and hand made sketches. This paper relates the results that have been obtained when students were asked to make an analytic and sensitive approach to the relationship site - urban situation. This relationship has a great importance for the workshop since its goal is to make students to understand the the value of designing in and for the city.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	1071
authors	Asanowicz, Aleksander
year	1999
title	Evolution of Computer Aided Design: Three Generations of CAD
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 94-100
doi	https://doi.org/10.52842/conf.ecaade.1999.094
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

_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	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	ga9916
id	ga9916
authors	Elzenga, R. Neal and Pontecorvo, Michael S.
year	1999
title	Arties: Meta-Design as Evolving Colonies of Artistic Agents
source	International Conference on Generative Art
summary	Meta-design, the act of designing a system or species of design instead of a design instance, is an important concept in modern design practice and in the generative design paradigm. For meta-design to be a useful tool, the designer must have more formal support for both design species definition/expression and the abstract attributes which the designer is attempting to embody within a design. Arties is an exploration of one possible avenue for supporting meta-design. Arties is an artistic system emphasizing the co-evolution of colonies of Artificial Life design or artistic agents (called arties) and the environment they inhabit. Generative design systems have concentrated on biological genetics metaphors where a population of design instances are evolved directly from a set of ‘parent’ designs in a succession of generations. In Arties, the a-life agent which is evolved, produces the design instance as a byproduct of interacting with its environment. Arties utilize an attraction potential curve as their primary dynamic. They sense the relative attraction of entities in their environment, using multiple sensory channels. Arties then associate an attractiveness score to each entity. This attractiveness score is combined with a 'taste' function built into the artie that is sensitized to that observation channel, entity, and distance by a transfer function. Arties use this attraction to guide decisions and behaviors. A community of arties, with independent evolving attraction criteria can pass collective judgement on each point in an art space. As the Artie moves within this space it modifies the environment in reaction to what it senses. Arties support for Meta-design is in (A) the process of evolving arties, breeding their attraction potential curve parameters using a genetic algorithm and (B) their use of sensory channels to support abstract attributes geometries. Adjustment of these parameters tunes the attraction of the artie along various sensing channels. The multi-agent co-evolution of Arties is one approach to creating a system for supporting meta-design. Arties is part of an on-going exploration of how to support meta-design in computer augmented design systems. Our future work with Arties-like systems will be concerned with applications in areas such as modeling adaptive directives in Architecture, Object Structure Design, spatio-temporal behaviors design (for games and simulations), virtual ambient spaces, and representation and computation of abstract design attributes.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_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

_id	39cb
authors	Kelleners, Richard H.M.C.
year	1999
title	Constraints in object-oriented graphics
source	Eindhoven University of Technology
summary	In the area of interactive computer graphics, two important approaches to deal with the complexity of designing and implementing graphics systems are object-oriented programming and constraint-based programming. From literature, it appears that combination of these two has clear advantages but has also proven to be difficult. One of the main problems is that constraint programming infringes the information hiding principle of object-oriented programming. The goal of the research project is to combine these two approaches to benefit from the strengths of both. Two research groups at the Eindhoven University of Technology investigate the use of constraints on graphics objects. At the Architecture department, constraints are applied in a virtual reality design environment. At the Computer Science department, constraints aid in modeling 3D animations. For these two groups, a constraint system for 3D graphical objects was developed. A conceptual model, called CODE (Constraints on Objects via Data flows and Events), is presented that enables integration of constraints and objects by separating the object world from the constraint world. In the design of this model, the main aspect being considered is that the information hiding principle among objects may not be violated. Constraint solvers, however, should have direct access to an object’s internal data structure. Communication between the two worlds is done via a protocol orthogonal to the message passing mechanism of objects, namely, via events and data flows. This protocol ensures that the information hiding principle at the object-oriented programming level is not violated while constraints can directly access “hidden” data. Furthermore, CODE is built up of distinct elements, or entity types, like constraint, solver, event, data flow. This structure enables that several special purpose constraint solvers can be defined and made to cooperate to solve complex constraint problems. A prototype implementation was built to study the feasibility of CODE. Therefore, the implementation should correspond directly to the conceptual model. To this end, every entity (object, constraint, solver) of the conceptual model is represented by a separate process in the language MANIFOLD. The (concurrent) processes communicate by events and data flows. The implementation serves to validate the conceptual model and to demonstrate that it is a viable way of combining constraints and objects. After the feasibility study, the prototype was discarded. The gained experience was used to build an implementation of the conceptual model for the two research groups. This implementation encompassed a constraint system with multiple solvers and constraint types. The constraint system was built as an object-oriented library that can be linked to the applications in the respective research groups. Special constructs were designed to ensure information hiding among application objects while constraints and solvers have direct access to the object data. CODE manages the complexity of object-oriented constraint solving by defining a communication protocol to allow the two paradigms to cooperate. The prototype implementation demonstrates that CODE can be implemented into a working system. Finally, the implementation of an actual application shows that the model is suitable for the development of object-oriented software.
keywords	Computer Graphics; Object Oriented Programming; Constraint Programming
series	thesis:PhD
last changed	2003/02/12 22:37

_id	7e64
authors	Koutamanis, Alexander
year	1999
title	Approaches to the Integration of CAAD Education in the Electronic Era: Two Value Systems
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 238-243
doi	https://doi.org/10.52842/conf.ecaade.1999.238
summary	In recent years the democratization of information and communication technologies (ICT) has become the greatest influence on the structure of CAAD education. While the content of the CAAD courses simply had to absorb the new technological possibilities, the structure of the courses and in particular their relationship to the rest of the curriculum has become the subject of speculation and experimentation. Integration of CAAD education in an architectural curriculum occurs either by (a) placing emphasis on designing in CAAD courses, or by (b) integrating computing in design courses. Both approaches respond to the democratization of ICT by making design computing widely available and acceptable. Further improvement is possible if the student becomes the carrier of integration. This is based on the long-term amplification of two value systems. The first refers to personal cognition: rather than rewarding a student with the teacher's approval, educational goals should be translated into individual skills and knowledge. The second system addresses the values of the peer group: such groups support learning by comparison to other individuals and emerging communal characteristics, either as a result of competition or for reasons of assimilation.
keywords	Education, Democracy, Personal Cognition
series	eCAADe
email
last changed	2022/06/07 07:51

_id	a25e
authors	Loy, Hollis A.
year	1999
title	Foundation for a Thorough CAAD Education
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 301-308
doi	https://doi.org/10.52842/conf.ecaade.1999.301
summary	The birth and development of computing is considered by most as one of the greatest technological achievements of the twentieth century. Since the integration of computers in the built environment, over two decades ago, computing methods developed into efficient designing and calculating tools. In contrast, accelerating advancements in computing technology have created generation gaps amongst architects. There are inexperienced, novice, intermediate and advanced computer-capable architects. If each group was asked to define CAAD, some would still describe it as a computer program for technical draughting. Others may define CAAD (Computer Aided Architectural Design) as a vast array of digital media in CAD, multimedia and DTP, assisting architects in compiling visual presentations. Currently, most architectural schools are capable of instructing most, if not all, facets of CAAD (2D & 3D CAD, model rendering, photo montage, brochure layouts, etc.). However, this knowledge is accumulated at random throughout the course of study. "Computer Graphics for Architects" is the latest educational development in Europe bridging generation gaps with senior architects and serving as an introductory CAAD seminar to beginning architecture students. This book and lecture presents a gallery of recent architectural CAD, multimedia, and DTP presentations practiced in Europe´s second largest architectural firm. The terminology is user-friendly and its content concentrates on responding to the most often posed questions by CAAD beginners relating to: (1) Terminology (2) Appearance (3) Time Consumption (4) Cost Techniques introduced are independent of any platform. The goal is to summarize quickly and effectively the countless possibilities of presentations applicable in architecture practice. "Computer Graphics for Architects" provides a direction for future presentations and motivates students to excel in CAAD.
series	eCAADe
email
last changed	2022/06/07 07:59

_id	94b4
authors	Matalasov, M. and Lapshina, Je.
year	1999
title	Modelling (Simulation) and Reality
source	Simulation of Architectural Space - Color and Light, Methods and Effects [Proceedings of the 4rd European Architectural Endoscopy Association Conference / ISBN 3-86005-267-5] Dresden (Germany), 29 September - 1 October 1999, pp. 32-35
summary	In a terms of studying and practical design a sufficient experience of analytic work of our lab shows, that the view of suggesting scheme on the same kind of process development is accompanied by sadden mistakes or conscious inaccuracies.Traditional conventions of architectural models same times with no paying attention to scale and size may drive to cause of distortion from the points of view to them. Power and possibilities of modern CAD initiates same sort of temptations and errors. For our point of view, solving the above problems is having same restrictions, one of which, may be – providing a visual coincidence of the videoframes of building site and it’s model done whether by small scale modelling or CAD. According to our practice a different methods of superimposing of real and designing spaces are shown in this article.
series	EAEA
more	http://info.tuwien.ac.at/eaea
last changed	2005/09/09 10:43

_id	1a3d
authors	Willey, David
year	1999
title	Sketchpad to 2000: From Computer Systems to Digital Environments
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 526-532
doi	https://doi.org/10.52842/conf.ecaade.1999.526
summary	It can be argued that over the last thirty five years computer aided architectural design (CAAD) has made little impact in terms of aiding design. The paper provides a broadbrush review of the last 35 years of CAAD research and suggests that the SKETCHPAD notion that has dominated CAAD since 1963 is now a flawed concept. Then the discipline was replete with Modernist concepts of optimal solutions, objective design criteria and universal design standards. Now CAD needs to proceed on the basis of the Post Modern ways of thinking and designing opened up by digital techniques - the Internet, multimedia, virtual reality, electronic games, distance learning. Computers facilitate information flow and storage. In the late seventies and eighties the CAAD research community's response to the difficulties it had identified with the construction of integrated digital building models was to attempt to improve the intelligence of the computer systems to better match the understanding of designers. Now it is clear that the future could easily lie with CAAD systems that have almost no intelligence and make no attempt to aid the designer. Communication is much more central to designing than computing.
keywords	History, Intelligence, Interface, Sketchpad, Web
series	eCAADe
email
last changed	2022/06/07 07:56

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