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CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
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_id	ga0026
id	ga0026
authors	Ransen, Owen F.
year	2000
title	Possible Futures in Computer Art Generation
source	International Conference on Generative Art
summary	Years of trying to create an "Image Idea Generator" program have convinced me that the perfect solution would be to have an artificial artistic person, a design slave. This paper describes how I came to that conclusion, realistic alternatives, and briefly, how it could possibly happen. 1. The history of Repligator and Gliftic 1.1 Repligator In 1996 I had the idea of creating an “image idea generator”. I wanted something which would create images out of nothing, but guided by the user. The biggest conceptual problem I had was “out of nothing”. What does that mean? So I put aside that problem and forced the user to give the program a starting image. This program eventually turned into Repligator, commercially described as an “easy to use graphical effects program”, but actually, to my mind, an Image Idea Generator. The first release came out in October 1997. In December 1998 I described Repligator V4 [1] and how I thought it could be developed away from simply being an effects program. In July 1999 Repligator V4 won the Shareware Industry Awards Foundation prize for "Best Graphics Program of 1999". Prize winners are never told why they won, but I am sure that it was because of two things: 1) Easy of use 2) Ease of experimentation "Ease of experimentation" means that Repligator does in fact come up with new graphics ideas. Once you have input your original image you can generate new versions of that image simply by pushing a single key. Repligator is currently at version 6, but, apart from adding many new effects and a few new features, is basically the same program as version 4. Following on from the ideas in [1] I started to develop Gliftic, which is closer to my original thoughts of an image idea generator which "starts from nothing". The Gliftic model of images was that they are composed of three components: 1. Layout or form, for example the outline of a mandala is a form. 2. Color scheme, for example colors selected from autumn leaves from an oak tree. 3. Interpretation, for example Van Gogh would paint a mandala with oak tree colors in a different way to Andy Warhol. There is a Van Gogh interpretation and an Andy Warhol interpretation. Further I wanted to be able to genetically breed images, for example crossing two layouts to produce a child layout. And the same with interpretations and color schemes. If I could achieve this then the program would be very powerful. 1.2 Getting to Gliftic Programming has an amazing way of crystalising ideas. If you want to put an idea into practice via a computer program you really have to understand the idea not only globally, but just as importantly, in detail. You have to make hard design decisions, there can be no vagueness, and so implementing what I had decribed above turned out to be a considerable challenge. I soon found out that the hardest thing to do would be the breeding of forms. What are the "genes" of a form? What are the genes of a circle, say, and how do they compare to the genes of the outline of the UK? I wanted the genotype representation (inside the computer program's data) to be directly linked to the phenotype representation (on the computer screen). This seemed to be the best way of making sure that bred-forms would bare some visual relationship to their parents. I also wanted symmetry to be preserved. For example if two symmetrical objects were bred then their children should be symmetrical. I decided to represent shapes as simply closed polygonal shapes, and the "genes" of these shapes were simply the list of points defining the polygon. Thus a circle would have to be represented by a regular polygon of, say, 100 sides. The outline of the UK could easily be represented as a list of points every 10 Kilometers along the coast line. Now for the important question: what do you get when you cross a circle with the outline of the UK? I tried various ways of combining the "genes" (i.e. coordinates) of the shapes, but none of them really ended up producing interesting shapes. And of the methods I used, many of them, applied over several "generations" simply resulted in amorphous blobs, with no distinct family characteristics. Or rather maybe I should say that no single method of breeding shapes gave decent results for all types of images. Figure 1 shows an example of breeding a mandala with 6 regular polygons: Figure 1 Mandala bred with array of regular polygons I did not try out all my ideas, and maybe in the future I will return to the problem, but it was clear to me that it is a non-trivial problem. And if the breeding of shapes is a non-trivial problem, then what about the breeding of interpretations? I abandoned the genetic (breeding) model of generating designs but retained the idea of the three components (form, color scheme, interpretation). 1.3 Gliftic today Gliftic Version 1.0 was released in May 2000. It allows the user to change a form, a color scheme and an interpretation. The user can experiment with combining different components together and can thus home in on an personally pleasing image. Just as in Repligator, pushing the F7 key make the program choose all the options. Unlike Repligator however the user can also easily experiment with the form (only) by pushing F4, the color scheme (only) by pushing F5 and the interpretation (only) by pushing F6. Figures 2, 3 and 4 show some example images created by Gliftic. Figure 2 Mandala interpreted with arabesques Figure 3 Trellis interpreted with "graphic ivy" Figure 4 Regular dots interpreted as "sparks" 1.4 Forms in Gliftic V1 Forms are simply collections of graphics primitives (points, lines, ellipses and polygons). The program generates these collections according to the user's instructions. Currently the forms are: Mandala, Regular Polygon, Random Dots, Random Sticks, Random Shapes, Grid Of Polygons, Trellis, Flying Leap, Sticks And Waves, Spoked Wheel, Biological Growth, Chequer Squares, Regular Dots, Single Line, Paisley, Random Circles, Chevrons. 1.5 Color Schemes in Gliftic V1 When combining a form with an interpretation (described later) the program needs to know what colors it can use. The range of colors is called a color scheme. Gliftic has three color scheme types: 1. Random colors: Colors for the various parts of the image are chosen purely at random. 2. Hue Saturation Value (HSV) colors: The user can choose the main hue (e.g. red or yellow), the saturation (purity) of the color scheme and the value (brightness/darkness) . The user also has to choose how much variation is allowed in the color scheme. A wide variation allows the various colors of the final image to depart a long way from the HSV settings. A smaller variation results in the final image using almost a single color. 3. Colors chosen from an image: The user can choose an image (for example a JPG file of a famous painting, or a digital photograph he took while on holiday in Greece) and Gliftic will select colors from that image. Only colors from the selected image will appear in the output image. 1.6 Interpretations in Gliftic V1 Interpretation in Gliftic is best decribed with a few examples. A pure geometric line could be interpreted as: 1) the branch of a tree 2) a long thin arabesque 3) a sequence of disks 4) a chain, 5) a row of diamonds. An pure geometric ellipse could be interpreted as 1) a lake, 2) a planet, 3) an eye. Gliftic V1 has the following interpretations: Standard, Circles, Flying Leap, Graphic Ivy, Diamond Bar, Sparkz, Ess Disk, Ribbons, George Haite, Arabesque, ZigZag. 1.7 Applications of Gliftic Currently Gliftic is mostly used for creating WEB graphics, often backgrounds as it has an option to enable "tiling" of the generated images. There is also a possibility that it will be used in the custom textile business sometime within the next year or two. The real application of Gliftic is that of generating new graphics ideas, and I suspect that, like Repligator, many users will only understand this later. 2. The future of Gliftic, 3 possibilties Completing Gliftic V1 gave me the experience to understand what problems and opportunities there will be in future development of the program. Here I divide my many ideas into three oversimplified possibilities, and the real result may be a mix of two or all three of them. 2.1 Continue the current development "linearly" Gliftic could grow simply by the addition of more forms and interpretations. In fact I am sure that initially it will grow like this. However this limits the possibilities to what is inside the program itself. These limits can be mitigated by allowing the user to add forms (as vector files). The user can already add color schemes (as images). The biggest problem with leaving the program in its current state is that there is no easy way to add interpretations. 2.2 Allow the artist to program Gliftic It would be interesting to add a language to Gliftic which allows the user to program his own form generators and interpreters. In this way Gliftic becomes a "platform" for the development of dynamic graphics styles by the artist. The advantage of not having to deal with the complexities of Windows programming could attract the more adventurous artists and designers. The choice of programming language of course needs to take into account the fact that the "programmer" is probably not be an expert computer scientist. I have seen how LISP (an not exactly easy artificial intelligence language) has become very popular among non programming users of AutoCAD. If, to complete a job which you do manually and repeatedly, you can write a LISP macro of only 5 lines, then you may be tempted to learn enough LISP to write those 5 lines. Imagine also the ability to publish (and/or sell) "style generators". An artist could develop a particular interpretation function, it creates images of a given character which others find appealing. The interpretation (which runs inside Gliftic as a routine) could be offered to interior designers (for example) to unify carpets, wallpaper, furniture coverings for single projects. As Adrian Ward [3] says on his WEB site: "Programming is no less an artform than painting is a technical process." Learning a computer language to create a single image is overkill and impractical. Learning a computer language to create your own artistic style which generates an infinite series of images in that style may well be attractive. 2.3 Add an artificial conciousness to Gliftic This is a wild science fiction idea which comes into my head regularly. Gliftic manages to surprise the users with the images it makes, but, currently, is limited by what gets programmed into it or by pure chance. How about adding a real artifical conciousness to the program? Creating an intelligent artificial designer? According to Igor Aleksander [1] conciousness is required for programs (computers) to really become usefully intelligent. Aleksander thinks that "the line has been drawn under the philosophical discussion of conciousness, and the way is open to sound scientific investigation". Without going into the details, and with great over-simplification, there are roughly two sorts of artificial intelligence: 1) Programmed intelligence, where, to all intents and purposes, the programmer is the "intelligence". The program may perform well (but often, in practice, doesn't) and any learning which is done is simply statistical and pre-programmed. There is no way that this type of program could become concious. 2) Neural network intelligence, where the programs are based roughly on a simple model of the brain, and the network learns how to do specific tasks. It is this sort of program which, according to Aleksander, could, in the future, become concious, and thus usefully intelligent. What could the advantages of an artificial artist be? 1) There would be no need for programming. Presumbably the human artist would dialog with the artificial artist, directing its development. 2) The artificial artist could be used as an apprentice, doing the "drudge" work of art, which needs intelligence, but is, anyway, monotonous for the human artist. 3) The human artist imagines "concepts", the artificial artist makes them concrete. 4) An concious artificial artist may come up with ideas of its own. Is this science fiction? Arthur C. Clarke's 1st Law: "If a famous scientist says that something can be done, then he is in all probability correct. If a famous scientist says that something cannot be done, then he is in all probability wrong". Arthur C Clarke's 2nd Law: "Only by trying to go beyond the current limits can you find out what the real limits are." One of Bertrand Russell's 10 commandments: "Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric" 3. References 1. "From Ramon Llull to Image Idea Generation". Ransen, Owen. Proceedings of the 1998 Milan First International Conference on Generative Art. 2. "How To Build A Mind" Aleksander, Igor. Wiedenfeld and Nicolson, 1999 3. "How I Drew One of My Pictures: or, The Authorship of Generative Art" by Adrian Ward and Geof Cox. Proceedings of the 1999 Milan 2nd International Conference on Generative Art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	3db8
authors	Clarke, Keith
year	1999
title	Getting Started with GIS
source	2nd ed., Prentice Hall Series in Geographic Information Science, ed. Kieth Clarke. Upper Saddle River, NJ: Prentice Hall, 1999, 2-3
summary	This best-selling non-technical, reader-friendly introduction to GIS makes the complexity of this rapidly growing high-tech field accessible to beginners. It uses a "learn-by-seeing" approach that features clear, simple explanations, an abundance of illustrations and photos, and generic practice labs for use with any GIS software. What Is a GIS? GIS's Roots in Cartography. Maps as Numbers. Getting the Map into the Computer. What Is Where? Why Is It There? Making Maps with GIS. How to Pick a GIS. GIS in Action. The Future of GIS. For anyone interested in a hands-on introduction to Geographic Information Systems.
series	other
last changed	2003/04/23 15:14

_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	d9d0
authors	Cohen Egler, Tamara Tania
year	1999
title	Río Digital (Digital Rio)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 478-481
summary	RioDigital is a text situated on new forms of expression of knowledge over the city. It is a written multimedia whose objective is to place in disposability for the society the complexity of urban space on its multiple historical determinations, of its space, social and cultural forms. It is a research over the potentials of digital art to express the processes of constitution of social forms and constructions of urban space. The motion of works was in the sense of using this language to reconstitute and vivify the history of Rio de Janeiro city in the XX century. The city is an ensemble of symbols that encounters the language in its best form of presentation. The research identified visual documents as films, photos and maps that made possible to reconstruct processes of transformation, worked through the use of digital images technology that allows expression and turns move perceptible the transmission of this history. The digital image is certainly a possibility to represent urban reality. Through movement, illumination of image and of writing it was possible to express to process of construction and reconstruction of space building and social changes. We understand that the condition of citizen is associated with the feeling of belonging, which urban process every time move complex and difficult to understand, that new technologies can through synthesis, connectivity and interactivity expand the capacity of indivils to know the city and act positively with it. It is an intention to amplify the sense of belonging and encourage the action of transform.
series	SIGRADI
email
last changed	2016/03/10 09:49

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

_id	2995
authors	Gabriel, Gerard Cesar and Maher, Mary Lou
year	1999
title	Coding and Modelling Communication in Architectural Collaborative Design
doi	https://doi.org/10.52842/conf.acadia.1999.152
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 152-166
summary	Although there has been some research done on collaborative face-to-face (FTF) and video-conferencing sessions involving architects, little is know about the effects these different mediums have on collaborative design in general and collaborative communication and design representation in particular. In this paper we argue that successful computer-mediated collaborative design (CMCD) does not necessarily mean emulating close proximity environments. In order to investigate this view, we carried out experiments examining the effect and significance of different communication channels in collaborative sessions between architects. The experiments were conducted in different environments and classified into three categories. The first category is FTF. The second computer mediated collaborative design sessions with full communication channels CMCD-a. The third category was conducted also through computer mediated collaborative design sessions but with limited communication channels CMCD-b. A custom coding scheme is developed using data, external and theoretically derived coding categories as a base. Examples of how the proposed coding scheme works are given from all three categories of experiments. The coding scheme provides the basis for modeling and understanding communication in collaborative design.
series	ACADIA
email
last changed	2022/06/07 07:50

_id	6e9f
authors	Muñoz, Patricia Laura and López Coronel, Juan
year	1999
title	About the Need of Stopping in the Road: the Fruitful Pause in a Fertile Course
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 93-97
summary	Our burdened end of the century seems to demand vertiginous progress, without pauses, frequently without even asking where this course leads. What is most important is to go further, is not to be left behind. In this view, computer science offers more alternatives in less time. However, its greatest risk is to make us covet more, without even trying to inquire what is its value or sense. After working in some researches on generation of forms, we were specially attracted by some of them. Instead of going further in the study of the new generative methods available, we decided to make a pause to look back at those forms we had already obtained. We decided to use computer instruments to understand more deeply forms that we apparently knew. This technology offered us the possibility of visualizing extraordinary forms, of exploring multiple series of curves hidden in their surface. By means of this work, we promote the need of making a pause in our work, in order to try to know intensively the object of our troubles and inquiries, giving it the indispensable time to enjoy it completely.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	ga9902
id	ga9902
authors	Soddu, Celestino
year	1999
title	Recognizability of designer imprinting in Generative artwork
source	International Conference on Generative Art
summary	Design lives within two fundamental stages, the creative and the evolutionary. The first is that of producing the idea: this approach is built activating a logical jump between the existing and possible worlds that represent our wishes and thoughts. A design idea is the identification of a set of possibilities that goes beyond specific "solutions" but identifies the sense or the attainable quality. The field involved in this design stage is "how" the world may be transformed, not what the possible scenario may be. The second is the evolutionary stage, that of the development of the idea. This approach runs inside paths of refinement and increases in complexity of the projects. It involves the management of the project to reach the desired quality.Generative design is founded on the possibility to clearly separate the creative and the evolutionary stages of the idea. And the first is reserved for man (because creative processes, being activated from subjective interpretations and being abduptive paths and not deductive, inductive or analytical ones, can not be emulated by machines) and the second may be carried out using artificial devices able to emulate logical procedures. The emulation of evolutionary logics is useful for a very simple reason: for getting the best operative design control on complexity. Designers know very well that the quality of a project depends, very importantly, on the time spent designing. If the time is limited, the project can not evolve enough to attain the desired quality. If the available time is increased, the project acquires a higher quality due to the possibility of crossing various parallel evolutionary paths, to develop these and to verify their relative potential running through the cycle idea/evolution more times and in progress. (scheme1) This is not all. In a time-limited design activity, the architect is pressed into facing the formalization of performance requirements in terms of answering directly specific questions. He is pressed into analytically systematizing the requirements before him to quickly work on the evolution of the project. The design solution can be effective but absolutely not flexible. If the real need of the user is, even slightly, different to the hypothesized requirement, the quality of the project, as its ability to respond to needs, breaks down. Projects approached in this way, which we could call "analytical", are quickly obsolete, being tied up to the flow of fashion. A more "creative" approach, where we don't try to accelerate (therby simplifying) the design development path "deducting" from the requirements the formalization choices but we develop our idea using the requirements and the constraints as opportunities of increasing the complexity of the idea, enriching the design development path to reach a higher quality, needs, without doubt, more time. As well as being, of course, a creative and non-analytical approach. This design approach, which is "the" design path, is a voyage of discovery that is comparable to that of scientific research. The fundamental structure is the idea as a "not deducted" hypothesis concerning a quality and recognizability of attainable artwork, according to the architect's "subjective" point of view. The needs and the constraints, identified as fields of possible development of the project, are opportunities for the idea to develop and acquire a specific identity and complexity. Once possible scenarios of a project are formed, the same requirements and constraints will take part, as "verification of congruity", of the increase in quality. Then the cycle, once more, will be run again to reach more satisfactory results. It is, without doubt, an approach that requires time.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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

_id	8802
authors	Burry, Mark, Dawson, Tony and Woodbury, Robert
year	1999
title	Learning about Architecture with the Computer, and Learning about the Computer in Architecture
doi	https://doi.org/10.52842/conf.ecaade.1999.374
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 374-382
summary	Most students commencing their university studies in architecture must confront and master two new modes of thought. The first, widely known as reflection-in-action, is a continuous cycle of self-criticism and creation that produces both learning and improved work. The second, which we call here design making, is a process which considers building construction as an integral part of architectural designing. Beginning students in Australia tend to do neither very well; their largely analytic secondary education leaves the majority ill-prepared for these new forms of learning and working. Computers have both complicated and offered opportunities to improve this situation. An increasing number of entering students have significant computing skill, yet university architecture programs do little in developing such skill into sound and extensible knowledge. Computing offers new ways to engage both reflection-in-action and design making. The collaboration between two Schools in Australia described in detail here pools computer-based learning resources to provide a wider scope for the education in each institution, which we capture in the phrase: Learn to use computers in architecture (not use computers to learn architecture). The two shared learning resources are Form Making Games (Adelaide University), aimed at reflection-in-action and The Construction Primer (Deakin University and Victoria University of Wellington), aimed at design making. Through contributing to and customising the resources themselves, students learn how designing and computing relate. This paper outlines the collaborative project in detail and locates the initiative at a time when the computer seems to have become less self-consciously assimilated within the wider architectural program.
keywords	Reflection-In-Action, Design Making, Customising Computers
series	eCAADe
email
last changed	2022/06/07 07:54

_id	f610
authors	Duarte, D.L. and Snyder , N.T. (ed.)
year	1999
title	Mastering Virtual Teams
source	Jossy-Bass Publishers
summary	The original edition of Mastering Virtual Teams offered a first-of-its-kind tool kit for leaders and members of virtual teams. Now, this revised and expanded second edition includes a CD-ROM packed with useful resources that allow virtual teams to access and use the book's many checklists, assessments, and other practical tools quickly and easily. The authors provide updated guidelines, strategies, and best practices for working cross-culturally and cross-functionally, across time and distance, to see a project through. The useful tools, exercises, and real-life examples show how anyone can master the unique dynamics of virtual team participation in an environment where the old rules no longer apply.
series	other
last changed	2003/04/23 15:14

_id	36dc
authors	Reffat, Rabee M. and Gero, John S.
year	1999
title	Situatedness: A New Dimension for Learning Systems in Design
doi	https://doi.org/10.52842/conf.ecaade.1999.252
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 252-261
summary	In this paper we adopt the approach that designing is a series of situated acts, ie designing cannot be pre-planned to completion. This is based on ideas from situated cognition theory that claims that what people perceive, how they conceive and what they do develop together and are adapted to the environment. For a system to be useful for human designers it must have the ability to associate what is learned to its environment. In order for a system to do that such a system must be able to acquire knowledge of the environment that a design constructs. Therefore, acknowledging the notion of situatedness is of importance to provide a system with such capability and add on a new dimension to existing learning systems in design. We will call such a learning system within the design domain a Situated Learning Design System (SLDS). A SLDS should be able to create its own situational categories from its perceptual experiences and modify them if encountered again to link the learned knowledge to its corresponding situation. We have chosen architectural shapes as the vehicle to demonstrate our ideas and used multiple representations to build a platform for a SLDS to learn from. In this paper the notion of situatedness and its role in both designing and learning is discussed. The overall architecture of a SLDS is introduced and how the potential outcome of such a system will support human designers while designing is discussed.
keywords	Designing, Situated Knowledge, Multiple Representations, Situated Learning
series	eCAADe
email
last changed	2022/06/07 08:00

_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	840e
authors	Ceccato, C.
year	1999
title	Microgenesis. The Architect as Toolmaker: Computer-Based GenerativeDesign Tools and Methods
source	Soddu, C. (ed.): The Proceedings of the First International Generative Art Conference. Generative Design Lab at DiAP, Politecnico di Milano University
summary	The purpose of this paper is to illustrate the results of various stages of research into the development of generative design methods and tools, conducted at the Architectural Association School of Architecture (London), Imperial College of Science, Technology and Medicine (London), and independently. A brief introduction explains the philosophy behind generative design methods and their basic principles. A number of computer software tools and projects developed by the author are then used to illustrate the methodology, techniques and features of generative design and its organisation of information.
series	other
last changed	2003/04/23 15:14

_id	3815
authors	Qaqish, Ra’ed
year	2001
title	VDS/DDS Practice Hinges on Interventions and Simplicity - A Case Study of Hard Realism vs. Distorted Idealism
doi	https://doi.org/10.52842/conf.ecaade.2001.249
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 249-255
summary	This paper reports on a contemporary and laborious ongoing experimental work initiated during the establishment of a new Virtual/Digital design studio “VDS” in Sept. 1999 by CAAD tutors at University of Petra “UOP”. The new VDS/DDS now works as an experimental laboratory to explore several solutions to problems of efficiency in design teaching as a new digital design studio paradigm, in tandem with CAD/Design staff, DS environment, materials and facilities. Two groups of graduating level students participated as volunteers in this experiment. The first group was comprised of three fifth-year architectural design students while the second group was comprised of two fourth-year interior design students. The media currently in use are ArchiCAD 6.5 as a design tool along with CorelDraw 9 as a presentational tool, running on Pentium III computers. The series of experiments evaluated the impression on architectural design studio tuition requirements arising from the changes brought about by the implementation of the new CAD pedagogical approach (VDS/DDS) at UOP. The findings echo several important key issues in tandem with CAAD, such as: the changes brought about by the new design strategies, adaptation in problem solving decision-making techniques, studio employment in terms of environment, means and methods. Other issues are VDS/DDS integration schemes carried out by both students and staff as one team in design studio practice on one hand and the curriculum on the other. Finally, the paper discusses the negative impact of conventional design studio hardliner teaching advocates and students alike whose outlook and impressions undermine and deplete effective CAAD integration and obstruct, in many instances, the improvement of such experiments in a VDS environment.
keywords	Design Studio Strategies, Problem Solving Decisions, Transformation And Integration Policies
series	eCAADe
email
last changed	2022/06/07 08:00

_id	ad51
authors	Chastain, Th., Kalay, Y.E. and Peri, Ch.
year	1999
title	Square Peg in a Round Hole or Horseless Carriage? Reflections on the Use of Computing in Architecture
doi	https://doi.org/10.52842/conf.acadia.1999.004
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 4-15
summary	We start with two paradigms that have been used to describe the relationship of computation methods and tools to the production of architecture. The first is that of forcing a square peg into a round hole — implying that the use of a tool is mis-directed, or at least poorly fits the processes that have traditionally been part of an architectural design practice. In doing so, the design practice suffers from the use of new technology. The other paradigm describes a state of transformation in relation-ship to new technology as a horseless carriage in which the process is described in obsolete and ‘backward’ terms. The impli-cation is that there is a lack of appreciation for the emerging potentials of technology to change our relationship with the task. The paper demonstrates these two paradigms through the invention of drawings in the 14th century, which helped to define the profession of Architecture. It then goes on to argue that modern computational tools follow the same paradigms, and like draw-ings, stand to bring profound changes to the profession of architecture as we know it.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	f02b
authors	Mitchell, W.
year	1999
title	E-topia: urban life, Jim –but not as we know it
source	MIT press
summary	The global digital network is not just a delivery system for email, Web pages, and digital television. It is a whole new urban infrastructure--one that will change the forms of our cities as dramatically as railroads, highways, electric power supply, and telephone networks did in the past. In this lucid, invigorating book, William J. Mitchell examines this new infrastructure and its implications for our future daily lives. Picking up where his best-selling City of Bits left off, Mitchell argues that we must extend the definitions of architecture and urban design to encompass virtual places as well as physical ones, and interconnection by means of telecommunication links as well as by pedestrian circulation and mechanized transportation systems. He proposes strategies for the creation of cities that not only will be sustainable but will make economic, social, and cultural sense in an electronically interconnected and global world. The new settlement patterns of the twenty-first century will be characterized by live/work dwellings, 24-hour pedestrian-scale neighborhoods rich in social relationships, and vigorous local community life, complemented by far-flung configurations of electronic meeting places and decentralized production, marketing, and distribution systems. Neither digiphile nor digiphobe, Mitchell advocates the creation of e-topias--cities that work smarter, not harder.
series	other
last changed	2003/04/23 15:14

_id	1570
authors	Sowizral, H.A. and Deering, M.F.
year	1999
title	The Java 3D API and Virtual Reality
source	IEEE Computer Graphics and Applications, May/June
summary	Java 3D proves a natural choice for any Java programmer wanting to write an interactive 3D graphics program. A programmer constructs a scene graph containing graphic objects, lights, sounds, environmental effects objects, and behavior objects that handle interactions or modify other objects in the scene graph. The programmer then hands that scene graph to Java 3D for execution. Java 3D starts rendering objects and executing behaviors in the scene graph. Virtual reality applications go through an identical writing process. However, before a user can use such an application, Java 3D must additionally know about the user's physical characteristics (height, eye separation, and so forth) and physical environment (number of displays, their location, trackers, and so on). Not surprisingly, such information varies from installation to installation and from user to user. So Java 3D lets application developers separate their application's operation from the vagaries of the user's final display environment. The Java 3D application programmer's interface (API) provides a very flexible platform for building a broad range of graphics applications. Developers have already used Java 3D to build applications in a variety of domains including mechanical CAD, molecular visualization, scientific visualization, animation previews, geographic information systems, business graphics, 3D logos, and educational offerings. Virtual reality applications have included immersive workbench applications, headtracked shutter-glass-based desktop applications, and portals (a cave-like room with multiple back-projected walls).
series	journal paper
last changed	2003/04/23 15:50

_id	f11d
authors	Brown, K. and Petersen, D.
year	1999
title	Ready-to-Run Java 3D
source	Wiley Computer Publishing
summary	Written for the intermediate Java programmer and Web site designer, Ready-to-Run Java 3D provides sample Java applets and code using Sun's new Java 3D API. This book provides a worthy jump-start for Java 3D that goes well beyond the documentation provided by Sun. Coverage includes downloading the Java 2 plug-in (needed by Java 3D) and basic Java 3D classes for storing shapes, matrices, and scenes. A listing of all Java 3D classes shows off its considerable richness. Generally, this book tries to cover basic 3D concepts and how they are implemented in Java 3D. (It assumes a certain knowledge of math, particularly with matrices, which are a staple of 3D graphics). Well-commented source code is printed throughout (though there is little additional commentary). An applet for orbiting planets provides an entertaining demonstration of transforming objects onscreen. You'll learn to add processing for fog effects and texture mapping and get material on 3D sound effects and several public domain tools for working with 3D artwork (including converting VRML [Virtual Reality Markup Language] files for use with Java 3D). In all, this book largely succeeds at being accessible for HTML designers while being useful to Java programmers. With Java 3D, Sun is betting that 3D graphics shouldn't require a degree in computer science. This book reflects that philosophy, though advanced Java developers will probably want more detail on this exciting new graphics package. --Richard Dragan Topics covered: Individual applets for morphing, translation, rotation, and scaling; support for light and transparency; adding motion and interaction to 3D objects (with Java 3D classes for behaviors and interpolators); and Java 3D classes used for event handling.
series	other
last changed	2003/04/23 15:14

_id	ga9913
id	ga9913
authors	Ceccato, Cristiano and Liauw, Laurence
year	1999
title	Parametric Urbanism: Explorations in Generative Urban Design
source	International Conference on Generative Art
summary	This paper is the result of several years of research by the Authors into the new field of generative design, as applied to urbanism. Its purpose is to formulate a concept of parametric urbanism and data-driven urban design, and how it departs from existing concepts of urban analysis and resulting design methods. This paper first gives a definition and description of the notion of generative urban design, and its relevance to current the practice of architecture and global political, sociological and economic developments. The difference between dogmatic forms of urban design and new parametric research methods is explained, and the Authors argue the fundamental relevance of using examples of post-colonial large-scale projects. In support of this, the Authors explore the widening field of research into parametric and data-driven architecture and urban design and the history of rule-based and evolutionary design methodologies. The paper illustrates examples of successful research in the field of parametric and rule-based urban design, by the Authors as well as colleagues within the field. It surveys the Authors’ work done at the Architectural Association School of Architecture, at the Hong Kong Polytechnic University School of Design, as well as in practice and research-oriented consultancy. The projects illustrated support the thesis of parametric urbanism by showing its power and versatility when applied to very large-scale projects, in particular within the People’s Republic of China.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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