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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	ga0010
id	ga0010
authors	Moroni, A., Zuben, F. Von and Manzolli, J.
year	2000
title	ArTbitrariness in Music
source	International Conference on Generative Art
summary	Evolution is now considered not only powerful enough to bring about the biological entities as complex as humans and conciousness, but also useful in simulation to create algorithms and structures of higher levels of complexity than could easily be built by design. In the context of artistic domains, the process of human-machine interaction is analyzed as a good framework to explore creativity and to produce results that could not be obtained without this interaction. When evolutionary computation and other computational intelligence methodologies are involved, every attempt to improve aesthetic judgement we denote as ArTbitrariness, and is interpreted as an interactive iterative optimization process. ArTbitrariness is also suggested as an effective way to produce art through an efficient manipulation of information and a proper use of computational creativity to increase the complexity of the results without neglecting the aesthetic aspects [Moroni et al., 2000]. Our emphasis will be in an approach to interactive music composition. The problem of computer generation of musical material has received extensive attention and a subclass of the field of algorithmic composition includes those applications which use the computer as something in between an instrument, in which a user "plays" through the application's interface, and a compositional aid, which a user experiments with in order to generate stimulating and varying musical material. This approach was adopted in Vox Populi, a hybrid made up of an instrument and a compositional environment. Differently from other systems found in genetic algorithms or evolutionary computation, in which people have to listen to and judge the musical items, Vox Populi uses the computer and the mouse as real-time music controllers, acting as a new interactive computer-based musical instrument. The interface is designed to be flexible for the user to modify the music being generated. It explores evolutionary computation in the context of algorithmic composition and provides a graphical interface that allows to modify the tonal center and the voice range, changing the evolution of the music by using the mouse[Moroni et al., 1999]. A piece of music consists of several sets of musical material manipulated and exposed to the listener, for example pitches, harmonies, rhythms, timbres, etc. They are composed of a finite number of elements and basically, the aim of a composer is to organize those elements in an esthetic way. Modeling a piece as a dynamic system implies a view in which the composer draws trajectories or orbits using the elements of each set [Manzolli, 1991]. Nonlinear iterative mappings are associated with interface controls. In the next page two examples of nonlinear iterative mappings with their resulting musical pieces are shown.The mappings may give rise to attractors, defined as geometric figures that represent the set of stationary states of a non-linear dynamic system, or simply trajectories to which the system is attracted. The relevance of this approach goes beyond music applications per se. Computer music systems that are built on the basis of a solid theory can be coherently embedded into multimedia environments. The richness and specialty of the music domain are likely to initiate new thinking and ideas, which will have an impact on areas such as knowledge representation and planning, and on the design of visual formalisms and human-computer interfaces in general. Above and bellow, Vox Populi interface is depicted, showing two nonlinear iterative mappings with their resulting musical pieces. References [Manzolli, 1991] J. Manzolli. Harmonic Strange Attractors, CEM BULLETIN, Vol. 2, No. 2, 4 -- 7, 1991. [Moroni et al., 1999] Moroni, J. Manzolli, F. Von Zuben, R. Gudwin. Evolutionary Computation applied to Algorithmic Composition, Proceedings of CEC99 - IEEE International Conference on Evolutionary Computation, Washington D. C., p. 807 -- 811,1999. [Moroni et al., 2000] Moroni, A., Von Zuben, F. and Manzolli, J. ArTbitration, Las Vegas, USA: Proceedings of the 2000 Genetic and Evolutionary Computation Conference Workshop Program – GECCO, 143 -- 145, 2000.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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

_id	26e4
authors	Da Rosa Sampaio, Andrea
year	1999
title	Design Thinking Proces and New Paradigms of Graphic Expression (Design Thinking Proces and New Paradigms of Graphic Expression)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 68-73
summary	It is undeniable that infotechnology has brought significant changes into architectural representation. Whether these changes has altered design conception proccess or are only media matters, is a discussion concerned with the role of graphic expression in architects designs. Is it just a language, or a design thinking tool, fully engaged with the formal solution? Thus, the investigation of the role of represententional systems in the design thinking proccess and the analysis of their intrinsic relationship will approach traditional methods facing the widespread use of Computer Aided Design. There are polemics about the issue: on the one hand, seductive simulations and a plethora of rendering choices available, on the other hand, impersonal expression, to name a few arguments for and against CAD use. Computers have not replaced the straight reciprocity between the acts of conceiving and drawing, between mind and image, which results in manual sketches, quite effective in embodying a design idea. Yet, we have to admit that manipulating complex forms such as Gehry's Guggenheim Museum quickly would not be feasible before CAD advent. We have been faced with new paradigms challenging the graphic expression of architects and urban designers. Besides the consequences of this new reality to design thinking, a crucial point to be stressed at this discussion is the possibility of achieving a balance between the cherished mind-hand intimacy and the available technological resources.
keywords	Traditional Representation, Design Thinking, CAD
series	SIGRADI
email
last changed	2016/03/10 09:50

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

_id	54c1
authors	Pinet, Céline
year	1999
title	Facing The Millennium: Where Will CAD Lead Us?
doi	https://doi.org/10.52842/conf.acadia.1999.024
source	ACADIA Quarterly, vol. 18, no. 1, pp. 24-25
summary	It’s 1999: Yes! We are at the eve of the new century. As I plan my Quarterly Review, I am compelled to search for a site that peers into the future. Of course, the perfect site also contains fascinating graphics and mind grabbing information. Though the Internet as gained galactic proportions since its inception, sites containing both excellent graphics and cutting-edge discussions are an oasis in a desert of triviality.
series	ACADIA
email
last changed	2022/06/07 08:00

_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	caadria2006_633
id	caadria2006_633
authors	WAN-YU LIU
year	2006
title	THE EMERGING DIGITAL STYLE: Attention shift in architectural style recognition
doi	https://doi.org/10.52842/conf.caadria.2006.x.g4f
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 633-635
summary	“Style” has long been an important index to observe the design thinking of designers in architecture. Gombrich (1968) defined style as a particular selection from the alternatives when doing things; Ackerman (1963) considered that a distiguishable ensemble of certain characteristics we call a style; Schapiro (1961) pointed out that style is constant forms, and sometimes the constant elements, qualities and expression; Kirsch (1998), Cha and Gero (1999) thought of style as a form element and shape pattern. As Simon and others referred to, style emerged from the process of problem solving, Chan (1994, 2001) ever devised a serious of experiments to set up the operational definitions of style, further five factors that relate to generating styles. Owing to that the greater part of sketches and drawings in the design process couldn’t be replaced by computer-aided design systems (Eisentraut, 1997), designers must shift between different problem-solving methods while facing different design problems. The purpose in this research is to discuss the influences of computer usage on style generation and style recognition: The employment of certain procedural factors that occurred in the design processes that using conventional media is different from the ones that using computer media? Do personal styles emerge while designers shifting between different media in the design processes? Does any unusual phenomenon emerge while accustomed CAD-systems designers recognizing a style?
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	e336
authors	Achten, H., Roelen, W., Boekholt, J.-Th., Turksma, A. and Jessurun, J.
year	1999
title	Virtual Reality in the Design Studio: The Eindhoven Perspective
doi	https://doi.org/10.52842/conf.ecaade.1999.169
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 169-177
summary	Since 1991 Virtual Reality has been used in student projects in the Building Information Technology group. It started as an experimental tool to assess the impact of VR technology in design, using the environment of the associated Calibre Institute. The technology was further developed in Calibre to become an important presentation tool for assessing design variants and final design solutions. However, it was only sporadically used in student projects. A major shift occurred in 1997 with a number of student projects in which various computer technologies including VR were used in the whole of the design process. In 1998, the new Design Systems group started a design studio with the explicit aim to integrate VR in the whole design process. The teaching effort was combined with the research program that investigates VR as a design support environment. This has lead to increasing number of innovative student projects. The paper describes the context and history of VR in Eindhoven and presents the current set-UP of the studio. It discusses the impact of the technology on the design process and outlines pedagogical issues in the studio work.
keywords	Virtual Reality, Design Studio, Student Projects
series	eCAADe
email
last changed	2022/06/07 07:54

_id	e719
authors	Achten, Henri and Turksma, Arthur
year	1999
title	Virtual Reality in Early Design: the Design Studio Experiences
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 327-335
summary	The Design Systems group of the Eindhoven University of Technology started a new kind of design studio teaching. With the use of high-end equipment, students use Virtual Reality from the very start of the design process. Virtual Reality technology up to now was primarily used for giving presentations. We use the same technology in the design process itself by means of reducing the time span in which one gets results in Virtual Reality. The method is based on a very brief cycle of modelling in AutoCAD, assigning materials in 3DStudio Viz, and then making a walkthrough in Virtual Reality in a standard landscape. Due to this cycle, which takes about 15 seconds, the student gets immediate feedback on design decisions which facilitates evaluation of the design in three dimensions much faster than usual. Usually the learning curve of this kind of software is quite steep, but with the use of templates the number of required steps to achieve results is reduced significantly. In this way, the potential of Virtual Reality is not only explored in research projects, but also in education. This paper discusses the general set-up of the design studio and shows how, via short workshops, students acquire knowledge of the cycle in a short time. The paper focuses on the added value of using Virtual Reality technology in this manner: improved spatial reasoning, translation from two-dimensional to three-dimensional representations, and VR feedback on design decisions. It discusses the needs for new design representations in this design environment, and shows how fast feedback in Virtual Reality can improve the spatial design at an early stage of the design process.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	b73a
authors	Angelo,C.V., Bins Ely, V.H.M., Bueno,A.P., Ludvig C. and Trezub, D.
year	1999
title	Space Syntax and the New Transportation System in the Santa Catarina Island
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 434-437
summary	The paper reports an on-going research that aims at describing and analysing some of the syntactic characteristics of the urban space of Santa Catarina Island, in an attempt to evaluate its performance, more specifically its social and spatial integration and segregation. The research has been conducted with the aid of the Aximagic software, still in exam stage and not yet released to the public, a tool being developed by a group of researches of the Rio Grande do Sul Federal University and given up by Prof. Doctor Benamy Turkienicz. The software is part of a larger georeferenced program called CityZoom wich includes others tools to the comprehention of the urban morphology. This program works with graphic pictures in the inlet of data and also in the acquisition of results. The syntactic study of the Santa Catarina Island as a whole aims to obtain the comprehension of its global structure, relating it to the integrated public transportation system proposed to Florianópolis. These studies should allow an understanding of the impact the developments will have upon the urban morphology, and the new public transportation system.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	1c5c
authors	Balmaceda, M.A., Deiana, S.M., Quiroga, G. and Toro, M.
year	1999
title	Modelo Virtual Abierto de la Ciudad de San Juan (Open Virtual Model of the City of San Juan)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 470-474
summary	The purpose of the present work is to virtually rebuild the city of san juan that was completely destroyed by an earthquake in 1944. From an audiovisual, multimedial approach, it tries to be a contribution to the recovering of the collective memory. Through virtual reality techniques, a three dimensional model of the city central area has been built, as it was before the earthquake. It has been achieved a multidisciplinary, open model that sums up a great deal of information and allows: 1.) From a pedagogic approach: an opened window to new ways of knowledgement transmission, through visual virtual information. The virtual rebuilt has been reconsidered as a pedagogic and communicational tool; 2.) From a historic and morphologic approach: to obtain multiple readings and to revolution the way to manage categories in different analysis scales; 3.) In the future, the model would allow the possibility of an unlimited improvement by working in different scales. Furthermore it would allow to add information, an so to increase the research area or to go deeper into details not only in the phenomenological dimension of the objects but also in their logic significant dimension.
series	SIGRADI
email
last changed	2016/03/10 09:47

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

_id	4805
authors	Bentley, P.
year	1999
title	Evolutionary Design by Computers Morgan Kaufmann
source	San Francisco, CA
summary	Computers can only do what we tell them to do. They are our blind, unconscious digital slaves, bound to us by the unbreakable chains of our programs. These programs instruct computers what to do, when to do it, and how it should be done. But what happens when we loosen these chains? What happens when we tell a computer to use a process that we do not fully understand, in order to achieve something we do not fully understand? What happens when we tell a computer to evolve designs? As this book will show, what happens is that the computer gains almost human-like qualities of autonomy, innovative flair, and even creativity. These 'skills'which evolution so mysteriously endows upon our computers open up a whole new way of using computers in design. Today our former 'glorified typewriters' or 'overcomplicated drawing boards' can do everything from generating new ideas and concepts in design, to improving the performance of designs well beyond the abilities of even the most skilled human designer. Evolving designs on computers now enables us to employ computers in every stage of the design process. This is no longer computer aided design - this is becoming computer design. The pages of this book testify to the ability of today's evolutionary computer techniques in design. Flick through them and you will see designs of satellite booms, load cells, flywheels, computer networks, artistic images, sculptures, virtual creatures, house and hospital architectural plans, bridges, cranes, analogue circuits and even coffee tables. Out of all of the designs in the world, the collection you see in this book have a unique history: they were all evolved by computer, not designed by humans.
series	other
last changed	2003/04/23 15:14

_id	aef9
id	aef9
authors	Brown, A., Knight, M. and Berridge, P. (Eds.)
year	1999
title	Architectural Computing from Turing to 2000 [Conference Proceedings]
doi	https://doi.org/10.52842/conf.ecaade.1999
source	eCAADe Conference Proceedings / ISBN 0-9523687-5-7 / Liverpool (UK) 15-17 September 1999, 773 p.
summary	The core theme of this book is the idea of looking forward to where research and development in Computer Aided Architectural Design might be heading. The contention is that we can do so most effectively by using the developments that have taken place over the past three or four decades in Computing and Architectural Computing as our reference point; the past informing the future. The genesis of this theme is the fact that a new millennium is about to arrive. If we are ruthlessly objective the year 2000 holds no more significance than any other year; perhaps we should, instead, be preparing for the year 2048 (2k). In fact, whatever the justification, it is now timely to review where we stand in terms of the development of Architectural Computing. This book aims to do that. It is salutary to look back at what writers and researchers have said in the past about where they thought that the developments in computing were taking us. One of the common themes picked up in the sections of this book is the developments that have been spawned by the global linkup that the worldwide web offers us. In the past decade the scale and application of this new medium of communication has grown at a remarkable rate. There are few technological developments that have become so ubiquitous, so quickly. As a consequence there are particular sections in this book on Communication and the Virtual Design Studio which reflect the prominence of this new area, but examples of its application are scattered throughout the book. In 'Computer-Aided Architectural Design' (1977), Bill Mitchell did suggest that computer network accessibility from expensive centralised locations to affordable common, decentralised computing facilities would become more commonplace. But most pundits have been taken by surprise by just how powerful the explosive cocktail of networks, email and hypertext has proven to be. Each of the ingredients is interesting in its own right but together they have presented us with genuinely new ways of working. Perhaps, with foresight we can see what the next new explosive cocktail might be.
series	eCAADe
email
more	http://www.ecaade.org
last changed	2022/06/07 07:49

_id	ecaade2014_146
id	ecaade2014_146
authors	Davide Ventura and Matteo Baldassari
year	2014
title	Grow: Generative Responsive Object for Web-based design - Methodology for generative design and interactive prototyping
doi	https://doi.org/10.52842/conf.ecaade.2014.2.587
source	Thompson, Emine Mine (ed.), Fusion - Proceedings of the 32nd eCAADe Conference - Volume 2, Department of Architecture and Built Environment, Faculty of Engineering and Environment, Newcastle upon Tyne, England, UK, 10-12 September 2014, pp. 587-594
summary	This paper is part of the research on Generative Design and is inspired by the ideas spread by the following paradigms: the Internet of Things (Auto-ID Center, 1999) and the Pervasive/Ubiquitous Computing (Weiser, 1993). Particularly, the research describes a number of case studies and, in detail, the experimental prototype of an interactive-design object: “Grow-1”. The general assumptions of the study are as follows: a) Developing the experimental prototype of a smart-design object (Figure 1) in terms of interaction with man, with regard to the specific conditions of the indoor environment as well as in relation to the internet/web platforms. b) Setting up a project research based on the principles of Generative Design.c) Formulating and adopting a methodology where computational design techniques and interactive prototyping ones converge, in line with the principles spread by the new paradigms like the Internet of Things.
wos	WOS:000361385100061
keywords	Responsive environments and smart spaces; ubiquitous pervasive computing; internet of things; generative design; parametric modelling
series	eCAADe
email
last changed	2022/06/07 07:55

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

_id	a872
authors	Frassia, Mercedes
year	1999
title	Código Digital de la Ciudad de Buenos Aires (Digital Code of the City of Buenos Aires)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 209-212
summary	As a result of an agreement signed between the urban planning secretary depending on the Buenos Aires government and the Buenos Aires University, a software was developed. It has enough capacity to store, update and transmit the regulations that guide the development of Buenos Aires City. This application was materialized using graphic interfaces, what encourage the construction of a highly friendly program. It was constructed having the WWW in mind, to admit the consults and bring up to date in a distance environment.
series	SIGRADI
email
last changed	2016/03/10 09:52

_id	600e
authors	Gavin, Lesley
year	1999
title	Architecture of the Virtual Place
doi	https://doi.org/10.52842/conf.ecaade.1999.418
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 418-423
summary	The Bartlett School of Graduate Studies, University College London (UCL), set up the first MSc in Virtual Environments in the UK in 1995. The course aims to synthesise and build on research work undertaken in the arts, architecture, computing and biological sciences in exploring the realms of the creation of digital and virtual immersive spaces. The MSc is concerned primarily with equipping students from design backgrounds with the skills, techniques and theories necessary in the production of virtual environments. The course examines both virtual worlds as prototypes for real urban or built form and, over the last few years, has also developed an increasing interest in the the practice of architecture in purely virtual contexts. The MSc course is embedded in the UK government sponsored Virtual Reality Centre for the Built Environment which is hosted by the Bartlett School of Architecture. This centre involves the UCL departments of architecture, computer science and geography and includes industrial partners from a number of areas concerned with the built environment including architectural practice, surveying and estate management as well as some software companies and the telecoms industry. The first cohort of students graduated in 1997 and predominantly found work in companies working in the new market area of digital media. This paper aims to outline the nature of the course as it stands, examines the new and ever increasing market for designers within digital media and proposes possible future directions for the course.
keywords	Virtual Reality, Immersive Spaces, Digital Media, Education
series	eCAADe
email
more	http://www.bartlett.ucl.ac.uk/ve/
last changed	2022/06/07 07:51

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

_id	0297
authors	Maher, M-L., Simoff, J. and Cicognani, A.
year	1999
title	Understanding Virtual Design Studios
source	Springer, London
summary	Understanding Virtual Design Studios examines the issues involved in setting up and running a virtual design studio. Rather than focusing on the technology or how to apply it, the reader is presented with an interdisciplinary framework for understanding, organising, running and improving virtual design studios both in professional and educational practice. The authors assess the potential benefits, such as improved creativity and collaboration, and highlight the areas in which our understanding needs to improve; How people collaborate in an environment where interaction is mediated by shared computer resources; How to organise and manage a distributed workspace efficiently; How people represent and communicate design ideas in an electronic form. Of interest to both design professionals and researchers interested in computer-mediated collaboration, this volume will also be of interest to anyone who needs a clear picture of what this new technology can do for them
series	other
email
last changed	2003/04/23 15:14

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