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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	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	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	5cba
authors	Anders, Peter
year	1999
title	Beyond Y2k: A Look at Acadia's Present and Future
doi	https://doi.org/10.52842/conf.acadia.1999.x.o3r
source	ACADIA Quarterly, vol. 18, no. 1, p. 10
summary	The sky may not be falling, but it sure is getting closer. Where will you when the last three zeros of our millennial odometer click into place? Computer scientists tell us that Y2K will bring the world’s computer infrastructure to its knees. Maybe, maybe not. But it is interesting that Y2K is an issue at all. Speculating on the future is simultaneously a magnifying glass for examining our technologies and a looking glass for what we become through them. "The future" is nothing new. Orwell's vision of totalitarian mass media did come true, if only as Madison Avenue rather than Big Brother. Futureboosters of the '50s were convinced that each garage would house a private airplane by the year 2000. But world citizens of the 60's and 70's feared a nuclear catastrophe that would replace the earth with a smoking crater. Others - perhaps more optimistically -predicted that computers were going to drive all our activities by the year 2000. And, in fact, theymay not be far off... The year 2000 is symbolic marker, a point of reflection and assessment. And - as this date is approaching rapidly - this may be a good time to come to grips with who we are and where we want to be.
series	ACADIA
email
last changed	2022/06/07 07:49

_id	5a10
authors	Cheng, Nancy Yen-Wen
year	1999
title	Playing with Digital Media: Enlivening Computer Graphics Teaching
doi	https://doi.org/10.52842/conf.acadia.1999.096
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 96-109
summary	Are there better ways of getting a student to learn? Getting students to play at learning can encourage comprehension by engaging their attention. Rather than having students' fascination with video games and entertainment limited to competing against learning, we can direct this interest towards learning computer graphics. We hypothesize that topics having a recreational component increase the learning curve for digital media instruction. To test this, we have offered design media projects with a playful element as a counterpart to more step-by-step descriptive exercises. Four kinds of problems, increasing in difficulty, are discussed in the context of computer aided architectural design education: 1) geometry play, 2) kit of parts, 3) dreams from childhood and 4) transformations. The problems engage the students in different ways: through playing with form, by capturing their imagination and by encouraging interaction. Each type of problem exercises specific design skills while providing practice with geometric modeling and rendering. The problems are sequenced from most constrained to most free, providing achievable milestones with focused objectives. Compared to descriptive assignments and more serious architectural problems, these design-oriented exercises invite experimentation by lowering risk, and neutralize stylistic questions by taking design out of the traditional architectural context. Used in conjunction with the modeling of case studies, they engage a wide range of students by addressing different kinds of issues. From examining the results of the student work, we conclude that play as a theme encourages greater degree of participation and comprehension.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	cd2e
authors	O’Reilly, T.
year	1999
title	Hardware, Software and Infoware
source	Di Bona, C., Ockman, S. Stone, M.: Open Sources. Voices from the Open Source Revolution, First Edition, Sebastopol, CA: O’Reilly Publishers
summary	I was talking with some friends recently, friends who don't own a computer. They were thinking of getting one so they could use Amazon.com to buy books and CDs. Not to use ``the Internet,'' not to use ``the Web,'' but to use Amazon.com. Now, that's the classic definition of a ``killer application'': one that makes someone go out and buy a computer. What's interesting is that the killer application is no longer a desktop productivity application or even a back-office enterprise software system, but an individual web site. And once you start thinking of web sites as applications, you soon come to realize that they represent an entirely new breed, something you might call an ``information application,'' or perhaps even ``infoware.'' Information applications are used to computerize tasks that just couldn't be handled in the old computing model. A few years ago, if you wanted to search a database of a million books, you talked to a librarian, who knew the arcane search syntax of the available computerized search tools and might be able to find what you wanted. If you wanted to buy a book, you went to a bookstore, and looked through its relatively small selection. Now, tens of thousands of people with no specialized training find and buy books online from that million-record database every day. The secret is that computers have come one step closer to the way that people communicate with each other. Web-based applications use plain English to build their interface -- words and pictures, not specialized little controls that acquire meaning only as you learn the software. Traditional software embeds small amounts of information in a lot of software; infoware embeds small amounts of software in a lot of information. The ``actions'' in an infoware product are generally fairly simple: make a choice, buy or sell, enter a small amount of data, and get back a customized result.
series	other
last changed	2003/04/23 15:50

_id	0b90
authors	Serrentino, Roberto
year	1999
title	Modular Architectural Groupings from Escher Periodic Tessellations
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 205-219
summary	One of the more interesting design techniques developed by Dutch graphic artist M.C. Escher consists in covering the plane with tiles containing patterns that repeats periodically. Modularity within shape grouping is extensively used, expressed by natural figures from the living world, and also from worlds of fantasy. This paper attempts to use Eschers's ideas as a source of inspiration to obtain modular shapes to conform groups with architectural issues. The task is to satisfy design requirements and to get repeatable unitary shapes, whose geometric description is modularly manipulated within area as well as perimeter. This should be done by two procedures: 1. from the components to the whole (from the tiles to the tiling): once the designer has defined a modular constructive unit (solving a particular situation), it is possible to repeat the unit to generate modular groups, knowing that they will fit perfectly among them, without gaps nor overlaps. 2. from the whole to the components (from the tiling to the tiles): defining a tessellation with the particular rules that drives close to the architectural solution, and getting the necessary units from the tiling. There are multiple architectural themes on which this should be performed. School class-rooms, habitation buildings, shopping center sites, hotel rooms, are examples of this statement. Analyzing procedures followed by the artist, particularly those using figures that tessellate the plane periodically, we'll be able to generate tiles with architectural shape by the same way, applying different symmetry rules. Once the rules to generate shapes of tiles are known, we work within area and perimeter to satisfy modularity requirements and to convert the tiling as a geometric precise support for the insertion of architectural objects that follow predetermined dimensional patterns. In order to illustrate these ideas an example of grouping repeatable habitation units is presented.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	ga9903
id	ga9903
authors	Ward, Adrian and Cox, Geoff
year	1999
title	How I Drew One of My Pictures: * or, The Authorship of Generative Art
source	International Conference on Generative Art
summary	The concept of value is traditionally bestowed on a work of art when it is seen to be unique and irreproducible, thereby granting it authenticity. Think of a famous painting: only the original canvas commands genuinely high prices. Digital artwork is not valued in the same way. It can be copied infinitely and there is therefore a corresponding crisis of value. It has been argued that under these conditions of the dematerialised artwork, it is process that becomes valued. In this way, the process of creation and creativity is valued in place of authenticity, undermining conventional notions of authorship. It is possible to correlate many of these creative processes into instructions. However, to give precise instructions on the construction of a creative work is a complex, authentic and intricate process equivalent to conventional creative work (and is therefore not simply a question of 'the death of the author'). This paper argues that to create ‘generative’ systems is a rigorous and intricate procedure. Moreover, the output from generative systems should not be valued simply as an endless, infinite series of resources but as a system. To have a machine write poetry for ten years would not generate creative music, but the process of getting the machine to do so would certainly register an advanced form of creativity. When a programmer develops a generative system, they are engaged in a creative act. Programming is no less an artform than painting is a technical process. By analogy, the mathematical value pi can be approximated as 3.14159265, but a more thorough and accurate version can be stored as the formula used to calculate it. In the same way, it is more complete to express creativity formulated as code, which can then be executed to produce the results we desire. Rather like using Leibnitz's set of symbols to represent a mathematical formula, artists can now choose to represent creativity as computer programs (Harold Cohen’s Aaron, a computer program that creates drawings is a case in point). By programming computers to undertake creative instructions, this paper will argue that more accurate and expansive traces of creativity are being developed that suitably merge artistic subjectivity with technical form. It is no longer necessary or even desirable to be able to render art as a final tangible medium, but instead it is more important to program computers to be creative by proxy. [The paper refers to Autoshop software, available from http://autoshop.signwave.co.uk]
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_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	a35a
authors	Arponen, Matti
year	2002
title	From 2D Base Map To 3D City Model
source	UMDS '02 Proceedings, Prague (Czech Republic) 2-4 October 2002, I.17-I.28
summary	Since 1997 Helsinki City Survey Division has proceeded in experimenting and in developing the methods for converting and supplementing current digital 2D base maps in the scale 1:500 to a 3D city model. Actually since 1986 project areas have been produced in 3D for city planning and construction projects, but working with the whole map database started in 1997 because of customer demands and competitive 3D projects. 3D map database needs new data modelling and structures, map update processes need new working orders and the draftsmen need to learn a new profession; the 3D modeller. Laser-scanning and digital photogrammetry have been used in collecting 3D information on the map objects. During the years 1999-2000 laser-scanning experiments covering 45 km2 have been carried out utilizing the Swedish TopEye system. Simultaneous digital photography produces material for orto photo mosaics. These have been applied in mapping out dated map features and in vectorizing 3D buildings manually, semi automatically and automatically. In modelling we use TerraScan, TerraPhoto and TerraModeler sw, which are developed in Finland. The 3D city model project is at the same time partially a software development project. An accuracy and feasibility study was also completed and will be shortly presented. The three scales of 3D models are also presented in this paper. Some new 3D products and some usage of 3D city models in practice will be demonstrated in the actual presentation.
keywords	3D City modeling
series	other
email
more	www.udms.net
last changed	2003/11/21 15:16

_id	ec84
authors	Cote, Pierre
year	1999
title	Québec City Churches
doi	https://doi.org/10.52842/conf.acadia.1999.013
source	ACADIA Quarterly, vol. 18, no. 1, pp. 13-14
summary	The following pictures come from a work in progress at the School of Architecture of Laval University, done in collaboration with the "Centre de développement économique et urbain de la Ville Québec" (CDEU). The 3D models from which the pictures were generated, have been created by students at the School of architecture (part of this work is illustrated). The project started at the beginning of the summer 97 by the modeling competition of Notre-Dame-de-Grâce Church, located in Québec City Saint-Sauveur neighborhood. The works continued during the summers of 1997 and 1998 and will resume this summer. To date, this ongoing project has given to nine students the opportunity to model 19 churches to a level of details useful to professionals.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	687c
authors	Kosco, Igor
year	1999
title	How the World Became Smaller
doi	https://doi.org/10.52842/conf.ecaade.1999.230
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 230-237
summary	The world of computers became fruitful and independent before the new millennium started. New technologies and methods are giving us new tools and possibilities every day as well as the challenge how to use them. The advantage of architecture and namely of architects teaching at the universities or schools is remarkable: new techniques reflect the education, research and practice - and what is important - by one person. The links between practice and university from the point of view: how the computer technologies and CAAD influences methods of designing, managing and collaboration are very important in both directions. It grows with the number of students who left university with good computer skills on one side and number of architectural and engineering offices using computers on the other. Networks and Internet enables to exchange data but also experiences. Internet itself is not only a tool for surfing and enjoying or the source of information, but preferably like a powerful tool for collaboration, workgroups, virtual studios or long distance education. This paper describes experiences from research and educational projects between Slovak Technical University, IUG Grenoble, University of Newcastle and others and their influence on architectural education and practice.
keywords	Long-Distance Education, Research, Practice
series	eCAADe
email
last changed	2022/06/07 07:51

_id	81f3
authors	Martens, Bob and Turk, Ziga
year	1999
title	Working Experiences with a Cumulative Index on CAD: "CUMINCAD"
doi	https://doi.org/10.52842/conf.ecaade.1999.327
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 327-333
summary	To researchers in every discipline, Internet is quickly becoming the dominating environment to do literature studies. Commercial bibliographic databases tend to be too general, are not up-to-date and require special skills and effort to be searched. On the other hand researchers also publish on the Web and collaboratively that can create indexes of relevant publications. CUMINCAD is a bibliographic index that compiles papers related to computer aided architectural design. Implemented with a database, it allows searching and browsing in the ways usual on the Web. It provides a "historical evolution" to learn from previous efforts and draws attention to older original works that could have been ignored because they could not be found on the Web otherwise. The authors believe that CUMINCAD will help focus future CAAD research and improve the education. CUMINCAD work started in 1998 and is available at www.fagg.uni-lj.si/cumincad/. This paper focusses on the design and development of the database and presents some ideas concerning its advanced use in the analysis of research efforts.
keywords	CAAD-related Publications, Web-based Bibliographic Database, Searchable Index, Retrospective CAAD Research
series	eCAADe
email
last changed	2022/06/07 07:59

_id	4827
authors	Sasada, Tsuyoshi
year	1999
title	Computer Graphics and Design: Presentation, Design Development and Conception
doi	https://doi.org/10.52842/conf.caadria.1999.021
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. 21-29
summary	Computer graphics is a powerful medium for presentation and design. In early days of its usage, it has been used mainly for presentation. Then it was started to use computer graphics in design development stage. Even more, nowadays you can get an inspiration from it. With tracing the change, we can see a centripetal movement of usage from the fringe to the core of the design field. This paper will describe how this change occurred with what kind of effort.
series	CAADRIA
email
last changed	2022/06/07 07:57

_id	add2
authors	Won, Peng-Whai
year	1999
title	The Comparison between Visual Thinking Using Computer and Conventional Media in the Concept Generation Stages of Design
doi	https://doi.org/10.52842/conf.caadria.1999.363
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. 363-372
summary	Computer, this new kind of media, has influenced the behavior of design to some degree. Among these years, many researches have appeared for the development of computer-aided design. In recent years, such kind of computer-aided studies about the forepart of design, that is the stage of concept generation, have also started to generate. But most of these researches belonged to the kind of applied studies with the test of computer systems. On the other hand, there were many researches about the visual thinking and cognitive behavior of designers while sketching or drawing in the stage of concept generation. From the synthesis of the fore two disciplines, we can find that there existing a point of deficiency, that is the cognitive research about designers using computers as the sketching media is absent. And that is what I want to study and discuss in this research. The fundamental analytic data of this research is the visual process chronicled form the sketching of subjects, and the assistant analytic data is the verbal data from the questions that the subjects are asked after his/her sketching. These data is analyzed by three coding schema. The cognitive appearance while designers generating concepts with computers or conventional media are propounded and discussed in this research.
series	CAADRIA
last changed	2022/06/07 07:57

_id	f288
authors	Bille, Pia
year	1999
title	Integrating GIS and Electronic Networks In Urban Design and Planning
doi	https://doi.org/10.52842/conf.ecaade.1999.722
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 722-728
summary	In 1998 I undertook an inquiry into the use of information technology in Urban Design and Planning in Danish municipalities and among planning consultants. The aim was to find out who was working with the IT and for what purposes it was used. In education there seems to be barriers to a full integration of the new media, and I wanted to find out if that was also the case in the practise of architects and planners. Surprisingly I discovered that there was a computer on almost every desk, - but there were big differences in the use of the technology. The investigation described here is based on interviews with planners in selected municipalities and with urban planning consultants, and the results have been summarised in a publication.
keywords	Urban Planning, Electronic Collaboration, GIS, Data Bases
series	eCAADe
email
last changed	2022/06/07 07:54

_id	5f9c
authors	Castello, Regina
year	1999
title	GIS and the Investigation of the Environmental Heritage
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 219-224
summary	This paper presents an investigation on the architectural, natural, and cultural resources in the southern part of the state of Rio Grande do Sul, according to their historical or environmental value, identifying natural and cultural elements known and valued by local communities, regardless their experts’ classification. Resources are identified by means of geographical information systems, combined with field information. The area comprises the coastal strip and the plains located in the last frontier of the Brazilian territory and the water system dominated by the lakes Patos, Mangueira and Mirim. The inventory of the environmental, sociocultural and economic heritage provides the necessary insight for issuing new development alternatives based on local resources. Research activities will include: the ellaboration of general and thematic maps, based on LANDSAT 5 [bands 3, 4 and 5] images; aerial photographs; DSG/SGE and municipal maps [scales 1:250.000, 1:50.000 and 1:25.000]; field work for the recognition of remarkable elements; interviews with residents for assessing their perception of local values; and community and institutional statements. These informations, comprising the elements valued by their architectural and urban quality, historical relevance and environmental significance, organised in a database, will provide contextual guidelines for the planning of a tourist route. This route, delineated by the preservation, recovery and use of representative local resources, valued as expressions of a native culture, evocates the initial occupation of the gaúcho territory, and may be touristically promoted as "The Gaúcho’s Way". The project also aims at showing the potential offered by GIS for identifying and evaluating specific spatial characteristics.
keywords	Environmental Planning, Historical Preservation
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	5fee
authors	Corso Pereira, Gilberto
year	1999
title	Visualizacao de Informacoes Urbanas atraves de Multimidia (Visualization of Urban Information by Means of Multimedia)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 239-243
summary	Visualization is a tool that can aid understanding of phenomenon, process and spatial structures. Another important function is communication, in urban applications case, between planners, technicians, administrators, researchers and citizens. Recent technological development applied to visualization area increments analyze and interpretation capacity. The word visualization used here, is related with the use of computation for data exploration in a visual form, helping comprehension. It is a process of transformation of raw data in images, in information and visual communication. GIS and cartography precede computers. In it development GIS benefited from information technologies development and in this process emphasis goes from treatment of great amount of data to analyze of that data. Computer graphics make possible process and present visually great volume of data, thing that was not possible by conventional methods. Digital data are the key for the plain utilization of potential already available with geoprocessing technologies. Information that interest urban planners came from several sources and information technologies beside integration and manipulation permit visual analyze of spatial data in diverse aspects, from witch the most evident but not less effective a map, tool that let us correlate a great variety of qualitative and quantitative data, for organization, interpretation, presentation and communication. In digital cartographic basic elements of cartographic science were preserved, but through new products, each one execute one of the roles that traditional map plays in different ways. Database replace paper map as way of geographical information storage and cartographic visualization replaces a second role - understanding and explanation - that was satisfied by printed maps. Salvador is one of the most important brazilians metropolis. The project that we discuss have as targets construction of salvador database to permit understanding of urban space through use of thematic cartography. Several steps of project include data acquisition, database formation using data conversion and results visualization through interactive, hypermedia and thematic cartography.
series	SIGRADI
email
last changed	2016/03/10 09:49

_id	fd25
authors	Homma, R., Iki, K., Morozumi, M. and Morisaki, T.
year	1999
title	Geographic Information Database for Landscape Evaluation
doi	https://doi.org/10.52842/conf.caadria.1999.143
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. 143-152
summary	In a landscape evaluation of a large-scale facilities construction such as garbage disposal facilities, it is necessary to grasp landscape characteristics of the area that is able to observe object facilities. This landscape characteristic consists of both a geographical characteristic (landscape resources, public space, districts designated by various urban planing laws, etc.) and a visual characteristic (visibility / invisibility range, distance from the object). The facilities design with consideration for landscape requires a geographic information database for the landscape characteristic, which enable planners to share the geographic information in the area. Authors proposed Network-based Dynamic Evaluation Process for urban landscapes in CAADRIA98, and illustrated the need of the common place that shares geographic information in the process. The system has function to provide the information of the area with layered maps simply. However the system developed with HTML Layer Function, that has limited to update data and boolean operate of layers. For using the system for practical purposes, it should conduct a GIS lookup and report back, via HTML. On the other hand, at present, there are various analogue thematic maps, digital maps are not prepared enough for landscape evaluation. It causes that landscape design process is not efficient. Also, a potential (importance) of viewpoints for evaluating facilities design have been defined by qualitative analysis so far, therefore a quantitative comparison of viewpoints was not available. As a solution of those problems, authors are tackling the development of Geographic Information Database (GIDB) by using GIS. In this paper authors give an outline of GIDB composed of overlaying various digital thematic maps included visual characteristic of the facilities. As a case study, in construction of the garbage disposal facilities in Kumamoto city, the important viewpoints was extracted by GIDB.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	cf49
authors	Martínez, Javier Alberto
year	1999
title	Potencialidades del SIG 3D y los Modelos Urbanos Interactivos (The Potential of the SIG 3D and the Interactive Urban Models)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 225-229
summary	We are facing a constant growth in 3D GIS, and its interaction with CAD, VR and CG, influence each other more than ever. In this context, 3D urban models can interactively assist in any step of a decision making process. Urban planners can benefit from 3D urban models in a way never thought before. PC technology , free 3D interactive viewers and VRML offer low cost implementations. Data coming from cadastral updates in Argentina are an invaluable source of digital data and building height attributes are included on that. In that way, tabular or attribute data can be linked to 3D graphic data. Geographic Information Systems can add to these 3D urban models all the benefits of attribute data plus its spatial analysis capabilities. Queries of any kind, and links to hypertext, planning documents can enhance the information provided by this "virtual world". Finally, regarding communication aspects, Interactive design and decision making can be reached in a much easier way as 3D is better than 2D. If we consider that 3D urban models can easily be browsed in VRML we have then the enormous potential of collaborative design through internet and intranet.
series	SIGRADI
email
last changed	2016/03/10 09:55

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