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

_id	5e85
authors	Heylighen, Ann and Neuckermans, Herman
year	1999
title	Learning from Experience: Promises, Problems and Side-effects of CBD in Architecture
doi	https://doi.org/10.52842/conf.ecaade.1999.567
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 567-575
summary	Learning from design experience is the essence of Case-Based Design (CBD). Because architects are said to learn design by experience, CBD seems to hold great promises for architectural design, which have inspired various CBD tools. Learning from the experience of developing and using these tools is the objective of this paper. On the one hand, the original expectations seem far from being accomplished today. Reasons for this limited success can be found at three different levels. Level one is the cognitive model underlying CBD, which raises some specific difficulties within the field of architecture. At the level of implementation, few tools manage to draw the full consequences of this view, thus leading to an oversimplification of CBD and/or architectural design. Level three has to do with introducing CBD tools in design education and assessing the effects of this introduction. On the other hand, CBD seems to have caused some interesting side effects, such as an increased interest in creativity and copyright, and the recent re-discovery of the key-role cases play inside and outside the field of CAAD. Thus, although its promises may not be fulfilled, CBD definitely can contribute to design education, be it sometimes without the support of computer technology.
keywords	Case-Based Design, Design Education
series	eCAADe
email
last changed	2022/06/07 07:50

_id	73e2
authors	Tokman, Leyla Y. and Yamacli, Rusen
year	1999
title	Imagining the Ideal Design Studio: Technology, People and Environment in Architectural Education
doi	https://doi.org/10.52842/conf.acadia.1999.006
source	ACADIA Quarterly, vol. 18, no. 2, pp. 6-10
summary	Architectural education is strongly related to technology and people-environment. While architecture has its own history and traditions, new knowledge is incorporated from other fields such as the basic sciences and engineering, behavioral sciences and the humanities. This paper refers to an ideal study which aims to integrate a range of computer-based multimedia technologies. This ideal study has the overall goal of enhancing the processes of architectural education in the design studio. In case of the design process, the development of advanced design systems has a twofold role, to provide for design students, with experience and understanding of the role of advanced design systems in the architectural education. Architectural design must meet a wide range of design objectives. Each objective has its own technological, people- environmental, social, economic and other requirements, and each has been the subject of intensive study, and even specialization. These individual objectives, however, are not independent of each other. Our paper asserts that they are combined in an ideal design studio imagination of the built environment and design decisions that are intended to meet one objective in an interactive design studio of the future. As we approach the 21st century, the need for creativity in the design studio becomes more important. The model motivates students achieves results and can also be applied at an individual personal and professional level.
keywords	Interactive Architectural Education; Design Studio; Computer Technology and People-environment
series	ACADIA
email
last changed	2022/06/07 07:58

_id	8735
authors	James, Stephen
year	1999
title	An Allegorical Architecture: A Proposed Interpretive Center for the Bonneville Salt Flats
doi	https://doi.org/10.52842/conf.acadia.1999.018
source	ACADIA Quarterly, vol. 18, no. 1, pp. 18-19
summary	Architecture is the physical expression of man's relationship to the landscape- an emblem of our heritage. Such a noble statement sounds silly into today's context, because civilized society has largely disassociated itself from raw nature. We have tamed the elements with our environmental controls and turned the deserts into pasture. I find much of the built environment distracting. Current architecture is trite, compared to geologic form and order. I visited the Bonneville Salt Flats- (Utah's anti-landscape) in the summer of 1997. The experience of arriving at the flats exceeded my expectations. I was overpowered by a sense of personal insignificance - a small spot floating on a sea of salt. The horizon seemed to swallow up the sky. Off in the distance I noticed a dark fleck. It looked as foreign as I felt on this pure white plane. I drove across the sticky salt toward it, only to discover an old rusty oil barrel half submerged in salt. In my mind, the barrel has a history. It tells the story of a man's attempt at achieving a goal, or maybe it represents a broken dream left to corrode in the alkali flats. The barrel remains planted in the salt as a relic for those who venture into the white wilderness. This experience left me to ponder whether or not architecture can serve the same purpose - telling the story of a place through its relationship to a landscape, and connection to events.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	dfa1
authors	Laiserin, Jerry
year	1999
title	CAD in Practice Profile: R.M. Kliment and Frances Halsband Architects
doi	https://doi.org/10.52842/conf.acadia.1999.015.2
source	ACADIA Quarterly, vol. 18, no. 1, pp. 15-18
summary	R.M. Kliment and Frances Halsband Architects (KHA) is a firm recognized—among many outstanding achievements— for designing award-winning computer science centers at major universities (e.g., Columbia, Dartmouth, Princeton). With that design experience, it is no surprise that the firm has adopted an aggressive stance towards its own use of information technology (IT). One indication of this proactive approach to technology is that KHA, with a total staff of 33, carries a full-time CAD/systems manager position, as contrasted with the A/E-firm industry-wide average of one such full-time equivalent staff position for every 40 total employees. In effect, the firm has set its investment in and commitment to the role of IT at a rate twenty percent higher than the industry average. Such above-average investment in IT is consistent with other high-profile design firms that have won the prestigious Firm Award of the American Institute of Architects. (1)
series	ACADIA
email
last changed	2022/06/07 07:52

_id	046b
authors	Martens, Bob
year	1999
title	Education in Computer Aided Architectural Design in Europe
doi	https://doi.org/10.52842/conf.ecaade.1999.761
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 761-769
summary	The aim and object of this account is to elaborate on the role of eCAADe within the present worldwide "CAAD-activities". Each of the associations dedicated to the field of CAAD has taken its very own course of development, many cases of overlap and interaction have resulted, some of them, however, merely based on personal contacts. The purpose of eCAADe is to promote the sharing of ideas and collaboration in matters relating to Computer Aided Architectural Design. This, jointly drafted paper outlines these global aims within a worldwide context. The eCAADe umbrella covers both Europe and its periphery. Including the Middle East and North Africa. Though this does not apply as a kind of "territorial claim ", the primary affiliation of regions to at least one of the current international associations is sought. Historically, the early eighties are to be regarded as the period of first encounters with computers of larger proportions of people involved in architecture, simultaneously with the rise of personal computers. Thus various university sites acted as the forerunners in this field. Implementation of CAAD in teaching and research soon called for channeling the exchanges of experience via a suitable platform. The founding of ACADIA (the North American Organisation) in 1981, however, seems to have set the stage, as shortly thereafter the foundations for a European movement were laid.
series	eCAADe
email
more	http:www.ecaade.org
last changed	2022/06/07 07:59

_id	170f
authors	Mora Padrón, Víctor Manuel
year	1999
title	Integration and Application of Technologies CAD in a Regional Reality - Methodological and Formative Experience in Industrial Design and Products Development
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 295-297
summary	The experience to present is begun and developed during the academic year 1998, together to the course of IV pupils level of the Industrial Design career in the Universidad del Bío-Bío, labor that I have continued assuming during the present year, with a new youths generation. We have accomplished our academic work taking as original of study and base, the industrial and economic situation of the VIII Region, context in the one which we outline and we commit our needs formative as well as methodological to the teaching of the discipline of the Industrial Design. Consequently, we have defined a high-priority factor among pupils and teachers to reach the objectives and activities program of the course, the one which envisages first of all a commitment of attitude and integrative reflection among our academic activity and the territorial human context in the one which we inhabit. In Chile the activity of the industrial designer, his knowledge and by so much his capacity of producing innovation, it has been something practically unknown in the industrial productive area. However, the current national development challenges and the search by widening our markets, they have created and established a conscience of the fact that the Chilean industrial product must have a modern and effective competitiveness if wants be made participates in segments of the international marketing. It is in this new vision where the design provides in decisive form to consider and add a commercial and cultural value in our products. To the university corresponds the role of transmitting the knowledge generated in his classrooms toward the society, for thus to promote a development in the widest sense of the word. Under this prism the small and median regional industry in their various areas, have not integrated in the national arrangement in what concerns to the design and development of new and integral products. The design and the innovation as motor concept for a competitiveness and permanency in new markets, it has not entered yet in the entrepreneurial culture. If we want to save this situation, it is necessary that the regional entrepreneur knows the importance of the Design with new models development and examples of application, through concrete cases and with demands, that serve of base to demonstrate that the alliance among Designer and Industry, opens new perspectives of growth upon offering innovation and value added factors as new competitiveness tools. Today the communication and the managing of the information is a strategic weapon, to the moment of making changes in a social dynamics, so much at local level as global. It is with this look that our efforts and objective are centered in forming to our pupils with an integration speech and direct application toward the industrial community of our region, using the communication and the technological information as a tool validates and effective to solve the receipt in the visualization of our projects, designs and solutions of products. As complement to the development of the proposed topic will be exhibited a series of projects accomplished by the pupils for some regional industries, in which the three dimensional modeling and the use of programs vectoriales demonstrate the efficiency of communication and comprehension of the proposals, its complexity and constructive possibilities.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	1d79
authors	Ofer, Kurt
year	1999
title	1:1 SIMULATION IN ARCHITECTURAL PRACTICE
source	Full-scale Modeling and the Simulation of Light [Proceedings of the 7th European Full-scale Modeling Association Conference / ISBN 3-85437-167-5] Florence (Italy) 18-20 February 1999, pp. 57-66
summary	Full-scale mock ups have a long and successful history within the architectural profession. There is consensus that future users as well as professionals are better able to make design decisions in full-scale and in real time. Full-scale analogue simulation must be implemented as part of a typical design process for the sake of our clients as well as the sake of the profession: the cost of doing anything less is enormous. Altonview believes it is possible to develop an economical, flexible and utilitarian architectural environmental system (AES) which can be used, with modifications, by all professionals. Additionally, the media needs to take an interest in the AES movement, which will change their focus from the building image to the user. American architectural schools need to increase their interest in AES as well. The AES movement can be closely linked with the zeitgeist that will define the next century as seen in further examples and references from the popular press.
keywords	Full-scale Modeling, Architectural Profession, Education, Spatial Experience, Architectural Environmental System, Model Simulation, Real Environments
series	other
type	normal paper
email
more	http://info.tuwien.ac.at/efa
last changed	2004/05/04 11:28

_id	ee92
authors	Papanikolaou Maria and Tuncer, Bige
year	1999
title	The Fake.Space Experience - Exploring New Spaces
doi	https://doi.org/10.52842/conf.ecaade.1999.395
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 395-402
summary	Fake.space is an elective CAAD course in which teachers and students form an online community. It is a Web-based communication environment for the exchange of ideas on the concept of space. Fake.space is also a narrative structure consisting of threads of nodes created by students. These nodes present different aspects of space. Fake.space represents our current generation of teaching environments. In this paper we describe and analyse its latest incarnation and discuss our aims and thoughts for further development. We believe that fake.space reflects on a future where online environments entice the students in a playful way to work with computers and CAD and consider the role of networked environments in architectural space.
keywords	Online Community, Learning Environment, Identity, Transparency, Visualisation
series	eCAADe
email
more	http://space.arch.ethz.ch/ws98/
last changed	2022/06/07 08:00

_id	ecaade03_059_29_russel
id	ecaade03_059_29_russel
authors	Russell, P., Stachelhaus, T. and Elger, D.
year	2003
title	CSNCW: Computer Supported Non-Cooperative Work Barriers to Successful Virtual Design Studios
doi	https://doi.org/10.52842/conf.ecaade.2003.059
source	Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6] Graz (Austria) 17-20 September 2003, pp. 59-66
summary	The paper describes a design studio jointly undertaken by four Universities. With respect given to the groundbreaking work carried out by [Wojtowicz and Butelski (1998)] and [Donath et al 1999] and some of the problems described therein, the majority of the Studio partners had all had positive, if not exemplary experiences with co-operative studio projects carried out over the internet. The positive experience and development of concepts have been well documented in numerous publications over the last 5 years. A platform developed by one of the partners for this type of collaboration is in its third generation and has had well over 1000 students from 12 different universities in over 40 Projects. With this amount of experience, the four partners entered into the joint studio project with high expectations and little fear of failure. This experimental aspect of the studio, combined with the “well trodden” path of previous virtual design studios, lent an air of exploration to an otherwise well-worn format. Everything looked good, or so we thought. This is not to say that previous experiments were without tribulations, but the problems encountered earlier were usually spread over the studio partners and thus, the levels and distribution of frustration were more or less balanced. This raised a (theoretically) well-founded expectation of success. In execution, it was quite the opposite. In this case, the difficulties tended to be concentrated towards one or two of the partners. The partners spoke the same language, but came from different sets of goals, and hence, interpreted the agreements to suit their goals. This was not done maliciously, however the results were devastating to the project and most importantly, the student groups. The differing pedagogical methods of the various institutes played a strong role in steering the design critique at each school. Alongside these difficulties, the flexibility (or lack thereof) of each university’s calendar as well as national and university level holidays led to additional problems in coordination. And of course, (as if this was all not enough), the technical infrastructure, local capabilities and willingness to tackle technological problems were heterogeneous (to put it lightly).
keywords	CSCW: Virtual Design Studio; Mistakes in Pedagogy
series	eCAADe
email
more	http://caad.arch.rwth-aachen.de
last changed	2022/06/07 07:56

_id	642a
authors	Stacey, Michael
year	1999
title	Digital Design and the Architecture of Brookes Stacey Randall
doi	https://doi.org/10.52842/conf.acadia.1999.001.2
source	ACADIA Quarterly, vol. 18, no. 1, pp. 1-9
summary	I am an architect who has the experience of using computers. A user and not an expert in digital design, therefore what follows is a foot soldier's report from my practice over the past 10 to 11 years, including the role of computers in our approach to creating architecture. I began my working life tending IBM mainframes for the British Shoe Corporation. The two IBM mainframe computers were state of the art computer technology of the mid 1970's. There were two as one was used, and the other we needed for backup. The developments in computing in terms of size, increase in storage capacity and faster processing speed over the past 30 years, is a technological acceleration which is difficult to visualize. The IBM historian in the UK suggested "that if cars had developed in the same way they would be given away free with corn flakes". A frightening thought as our cities grind under the pressure of increased car ownership. British Shoe Corporation also had a reserve system some sixty miles away and a halon extinguishing system in case of fire - such was the capital and commercial value of the system. We carried out transitional computing for a number of European countries. The CAD was limited - pen potters drawing shoes, drawing them less well than an average A level or high school student! My interest was primarily in art and not computers; my aim to earn enough to tour Europe to see key work 'in the flesh' not just in reproduction.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	85ab
authors	Corrao, Rossella and Fulantelli, Giovanni
year	1999
title	Architects in the Information Society: The Role of New Technologies
doi	https://doi.org/10.52842/conf.ecaade.1999.665
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 665-671
summary	New Technologies (NTs) offer us tools with which to deal with the new challenges that a changing society or workplace presents. In particular, new design strategies and approaches are required by the emerging Information Society, and NTs offer effective solutions to the designers in the different stages of their professional life, and in different working situations. In this paper some meaningful scenarios of the use of the NTs in Architecture and Urban Design are introduced; the scenarios have been selected in order to understand how the role of architects in the Information Society is changing, and what new opportunities NTs offer them. It will be underlined how the telematic networks play an essential role in the activation of virtual studios that are able to compete in an increasingly global market; examples will be given of the use of the Web to support activities related to Urban Planning and Management; it will be shown how the Internet may be used to access strategic resources for education and training, and sustain lifelong learning. The aforesaid considerations derive from a Web-Based Instruction system we have developed to support University students in the definition of projects that can concern either single buildings or whole parts of a city. The system can easily be adopted in the other scenarios introduced.
keywords	Architecture, Urban Planning , New Technologies, World Wide Web, Education
series	eCAADe
email
last changed	2022/06/07 07:56

_id	7082
authors	Dawood, N.
year	1999
title	A proposed system for integrating design and production in the precast building industry
source	The Int. Journal of Construction IT 7(1), pp. 72-83
summary	The UK construction industry is going through a major re-appraisal, with the objective of reducing construction costs by at least 30% by the end of the millennium. Precast and off-site construction are set to play a major role in improving construction productivity, reducing costs and improving working conditions. In a survey of current practices in the prefabrication industry, it was concluded that the industry is far behind other manufacturing-based industries in terms of the utilisation of IT in production planning and scheduling and other technical and managerial operations. It is suggested that a systematic, integrated, computer-aided, approach to presenting and processing information is needed. The objective of this paper is to introduce and discuss the specifications of an integrated intelligent computer-based information system for the precast concrete industry. The system should facilitate: the integration of design and manufacturing operations; automatic generation of production schedules directly from design data and factory attributes; and generation of erection schedules from site information, factory attributes and design data. It is hypothesised that the introduction of such a system would reduce the total cost of precasting by 10% and encourage clients to choose precast components more often.
series	journal paper
last changed	2003/05/15 21:45

_id	d14b
authors	Lin, Cheng-Yuan
year	1999
title	The Representing Capacity of Physical Models and Digital Models
doi	https://doi.org/10.52842/conf.caadria.1999.053
source	CAADRIA '99 [Proceedings of The Fourth Conference on Computer Aided Architectural Design Research in Asia / ISBN 7-5439-1233-3] Shanghai (China) 5-7 May 1999, pp. 53-62
summary	Physical models are used in order to elucidate the lack of clarity found in the two-dimensional representations of design, and digital models have provided a more effective way of differentiating curvature and space with greater accuracy. What are the fundamental differences of these two approaches that plays the most significant role in modern design? This research attempts to analyze in depth the differences by operating an experiment that would determine the factors play a relevant role and describe some of the relevant phenomenon and establish criteria to aid this analysis.
series	CAADRIA
email
last changed	2022/06/07 07:59

_id	504a
authors	Rodrigo Alvarado, García
year	1999
title	Design-Based on VR-Modeling of Environemntal Conditions
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 126-129
summary	The research on CAD has been looking for a long time a creative contribution to architectural design, including recently the use of virtual-reality as an immersive modeling system, but without much practical results. However, contemporary architecture is increasingly including digital characteristics based more on cultural influences than on the use of electronic tools. This shows an evolution of the discipline in relation to digital media and apparently distant from environmental concerns. But the works and reflexions reveal a common convergence in the role of body in architecture as a pivot between virtual and local dimension of design. Based on that relationship we propose to take advantage of virtual-reality for modeling environmental conditions of the location in order to guide architectural design, using for example the potential of representing characteristics not visible in reality or to simulate time cycles. Sun displacement, wind direction, temperature ranges, topography and landscape are specific conditions in design that define energy consumption and human comfort. Such characteristics can establish optimal shapes crossing the different variables with timelines. VR-modeling and interactive control allow an spatial evaluation of environmentally efficient forms. That is showed through an exercise of housing in different locations of Chile. This merger between digital media and ecological concerns represents a crossing of contemporary cultural trends to motivate exploration of new geometries, supported on the potential of technology and on sustainable human development
series	SIGRADI
email
last changed	2016/03/10 09:59

_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	avocaad_2001_17
id	avocaad_2001_17
authors	Ying-Hsiu Huang, Yu-Tung Liu, Cheng-Yuan Lin, Yi-Ting Cheng, Yu-Chen Chiu
year	2001
title	The comparison of animation, virtual reality, and scenario scripting in design process
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	Design media is a fundamental tool, which can incubate concrete ideas from ambiguous concepts. Evolved from freehand sketches, physical models to computerized drafting, modeling (Dave, 2000), animations (Woo, et al., 1999), and virtual reality (Chiu, 1999; Klercker, 1999; Emdanat, 1999), different media are used to communicate to designers or users with different conceptual levels¡@during the design process. Extensively employed in design process, physical models help designers in managing forms and spaces more precisely and more freely (Millon, 1994; Liu, 1996).Computerized drafting, models, animations, and VR have gradually replaced conventional media, freehand sketches and physical models. Diversely used in the design process, computerized media allow designers to handle more divergent levels of space than conventional media do. The rapid emergence of computers in design process has ushered in efforts to the visual impact of this media, particularly (Rahman, 1992). He also emphasized the use of computerized media: modeling and animations. Moreover, based on Rahman's study, Bai and Liu (1998) applied a new design media¡Xvirtual reality, to the design process. In doing so, they proposed an evaluation process to examine the visual impact of this new media in the design process. That same investigation pointed towards the facilitative role of the computerized media in enhancing topical comprehension, concept realization, and development of ideas.Computer technology fosters the growth of emerging media. A new computerized media, scenario scripting (Sasada, 2000; Jozen, 2000), markedly enhances computer animations and, in doing so, positively impacts design processes. For the three latest media, i.e., computerized animation, virtual reality, and scenario scripting, the following question arises: What role does visual impact play in different design phases of these media. Moreover, what is the origin of such an impact? Furthermore, what are the similarities and variances of computing techniques, principles of interaction, and practical applications among these computerized media?This study investigates the similarities and variances among computing techniques, interacting principles, and their applications in the above three media. Different computerized media in the design process are also adopted to explore related phenomenon by using these three media in two projects. First, a renewal planning project of the old district of Hsinchu City is inspected, in which animations and scenario scripting are used. Second, the renewal project is compared with a progressive design project for the Hsinchu Digital Museum, as designed by Peter Eisenman. Finally, similarity and variance among these computerized media are discussed.This study also examines the visual impact of these three computerized media in the design process. In computerized animation, although other designers can realize the spatial concept in design, users cannot fully comprehend the concept. On the other hand, other media such as virtual reality and scenario scripting enable users to more directly comprehend what the designer's presentation.Future studies should more closely examine how these three media impact the design process. This study not only provides further insight into the fundamental characteristics of the three computerized media discussed herein, but also enables designers to adopt different media in the design stages. Both designers and users can more fully understand design-related concepts.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	avocaad_2001_09
id	avocaad_2001_09
authors	Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year	2001
title	Digital Architecture in CAD studio and Internet-based competition
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	9dfa
authors	Ries, R. and Mahdavi, A.
year	1999
title	Environmental Life Cycle Assessment in an Integrated CAD Environment: The Ecologue Approach
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 351-363
summary	Construction and operation of buildings is a major cause of resource depletion and environmental pollution. Computational performance evaluation tools could support the decision making process in environmentally responsive building design and play an important role in environmental impact assessment, especially when a life cycle assessment (LCA) approach is used. The building domain, however, presents notable challenges to the application of LCA methods. For comprehensive environmental impact analysis to be realized in a computational support tool for the building design domain, such tools must a) have an analysis method that considers the life cycle of building construction, operation, and decommissioning, b) have a representation that is able to accommodate the data and computability requirements of the analysis method and the analysis tool, and c) be seamlessly integrated within a multi-aspect design analysis environment that can provide data on environmentally relevant building operation criteria. This paper reviews the current state of assessment methods and computational support tools for LCA, and their application to building design. Then, the implementation of an application (ECOLOGUE) for comprehensive computational assessment of environmental impact indicators over the building life cycle is presented. The application is a component in a multi-aspect space-based CAD and evaluation environment (SEMPER). The paper describes the use and typical results of ECOLOGUE system via illustrative examples.
keywords	Life Cycle Assessment, Integrated Computational Environmental Analysis
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	bacd
authors	Abadí Abbo, Isaac
year	1999
title	APPLICATION OF SPATIAL DESIGN ABILITY IN A POSTGRADUATE COURSE
source	Full-scale Modeling and the Simulation of Light [Proceedings of the 7th European Full-scale Modeling Association Conference / ISBN 3-85437-167-5] Florence (Italy) 18-20 February 1999, pp. 75-82
summary	Spatial Design Ability (SDA) has been defined by the author (1983) as the capacity to anticipate the effects (psychological impressions) that architectural spaces or its components produce in observers or users. This concept, which requires the evaluation of spaces by the people that uses it, was proposed as a guideline to a Masters Degree Course in Architectural Design at the Universidad Autonoma de Aguascalientes in Mexico. The theory and the exercises required for the experience needed a model that could simulate spaces in terms of all the variables involved. Full-scale modeling as has been tested in previous research, offered the most effective mean to experiment with space. A simple, primitive model was designed and built: an articulated ceiling that allows variation in height and shape, and a series of wooden panels for the walls and structure. Several exercises were carried out, mainly to experience cause -effect relationships between space and the psychological impressions they produce. Students researched into spatial taxonomy, intentional sequences of space and spatial character. Results showed that students achieved the expected anticipation of space and that full-scale modeling, even with a simple model, proved to be an effective tool for this purpose. The low cost of the model and the short time it took to be built, opens an important possibility for Institutions involved in architectural studies, both as a research and as a learning tool.
keywords	Spatial Design Ability, Architectural Space, User Evaluation, Learning, Model Simulation, Real Environments
series	other
type	normal paper
email
more	http://info.tuwien.ac.at/efa
last changed	2004/05/04 11:27

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