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

_id	5278
authors	Méndez, Ricardo and Pimentel, Diego
year	1999
title	Ontología de la Red (Ontology of the Network)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 63-67
summary	Internet was born as a new technologic support, difference from analogous supports that shaped century xx masses' culture. Fragmentation, multiplicity, multidirectionality structure form systems foundational essence. Metaphor generated by rational thought, produce a wrong speech in the collective imaginary. Network is a long way from industrial notion,' of motorway information, to concentration a diagram that warrants security in a speed detriment. Internet is not defined by speed and instantiating values. Security and compatibility in information translation are the values that determine its configuration. Networks system organization is based on a functioning's diagram that industrial philosophy rejected as thought alternative. The most powerful intercommunication network between computer does not answer to the postindustrial line dynamism. In fact, it's alike to the labyrinthine space where Teseo emerged victorious, defeating Minotauro.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	ga9906
id	ga9906
authors	Caglioti, Giuseppe
year	1999
title	Ambiguity in Art and Science
source	International Conference on Generative Art
summary	Ambiguity can be defined as the coexistence and/or coalescence of two incompatible aspects in the same reality. Ambiguity manifests itself * in pathologic processes occurring in matter, e.g. at the critical state of the solid ¬ ® liquid phase transformation. * during the process of measurement of quantum structures: a process formally very similar to the process of perception. * Systematically, in our mind, during the process of perception - especially during visual perception of paintings or acoustic perception of music.Therefore ambiguity is an intrinsic feature of the process of perception and an intriguing step in the way toward the formation of thought. Ambiguity is continuosly experienced in our mind: every act of perception culminates into the critical state of a dynamic instability of the interiorized image, where the incoherent heap of sensory stimuli merges into coherent visual or auditive thinking. In turn, since perception is essential for life, we should look at ambiguity not so much as to a fastidious travel companion, but rather as to a fixed course toward perception itself, scientific thought and aesthetic emotion: ambiguity is a permanent cultural value.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	2fc7
authors	Forber, U. and Russell, P.
year	1999
title	Interdisciplinary Collaboration in the Virtual Design Studio Design Studio
source	Proceedings of the 17th Annual EAAE Annual Conference, Plymouth UK
summary	Drastic changes in technology and economics currently impact common working structures. Moreover, a fundamental move of western societies from industrial and service oriented societies to information oriented societies can be observed. Like others, the AEC industry is also exposed to the challenge of these fundamental changes, not only regarding an ever growing stock of information on building components and materials, but also because of new methods of collaboration to be applied by all participants. As a result, integrating domain specific knowledge into the design process and conversely, conveying design intentions to domain experts, is meaningful in a constantly growing scale. Utilising advanced technology, a twofold approach in research and education, undertaken at the Institut für Industrielle Bauproduktion (ifib), University of Karlsruhe, is the basis of efforts to create and develop integrating methods of collaboration into the design and planning process. In addition, the integration of AEC practitioners (investors, users, designers, engineers) in the education process provides both drastic changes in the fields of design and construction education of students and a promising approach for life long learning. The focus of this paper is to present the current state of work and to report on experiences gathered during several Virtual Design Studios (VDS) in which multi-disciplinary participants from various Universities and backgrounds were involved. Platforms for the activities are World Wide Web based applications as well as animations, VR, CAD and video conferencing.
series	other
email
last changed	2003/04/23 15:50

_id	642a
authors	Stacey, Michael
year	1999
title	Digital Design and the Architecture of Brookes Stacey Randall
source	ACADIA Quarterly, vol. 18, no. 1, pp. 1-9
doi	https://doi.org/10.52842/conf.acadia.1999.001.2
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	f11d
authors	Brown, K. and Petersen, D.
year	1999
title	Ready-to-Run Java 3D
source	Wiley Computer Publishing
summary	Written for the intermediate Java programmer and Web site designer, Ready-to-Run Java 3D provides sample Java applets and code using Sun's new Java 3D API. This book provides a worthy jump-start for Java 3D that goes well beyond the documentation provided by Sun. Coverage includes downloading the Java 2 plug-in (needed by Java 3D) and basic Java 3D classes for storing shapes, matrices, and scenes. A listing of all Java 3D classes shows off its considerable richness. Generally, this book tries to cover basic 3D concepts and how they are implemented in Java 3D. (It assumes a certain knowledge of math, particularly with matrices, which are a staple of 3D graphics). Well-commented source code is printed throughout (though there is little additional commentary). An applet for orbiting planets provides an entertaining demonstration of transforming objects onscreen. You'll learn to add processing for fog effects and texture mapping and get material on 3D sound effects and several public domain tools for working with 3D artwork (including converting VRML [Virtual Reality Markup Language] files for use with Java 3D). In all, this book largely succeeds at being accessible for HTML designers while being useful to Java programmers. With Java 3D, Sun is betting that 3D graphics shouldn't require a degree in computer science. This book reflects that philosophy, though advanced Java developers will probably want more detail on this exciting new graphics package. --Richard Dragan Topics covered: Individual applets for morphing, translation, rotation, and scaling; support for light and transparency; adding motion and interaction to 3D objects (with Java 3D classes for behaviors and interpolators); and Java 3D classes used for event handling.
series	other
last changed	2003/04/23 15:14

_id	5169
authors	Ceccato, Cristiano
year	1999
title	The Architect as Toolmaker: Computer-Based Generative Design Tools and Methods
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. 295-304
doi	https://doi.org/10.52842/conf.caadria.1999.295
summary	The purpose of this paper is to illustrate the results of various stages of research into the development of generative design methods and tools, conducted at the Architectural Association School of Architecture (London), Imperial College of Science, Technology and Medicine (London), and independently. A brief introduction explains the philosophy behind generative design methods and their basic principles. A number of computer software tools and projects developed by the author are then used to illustrate the methodology, techniques and features of generative design and its organisation of information.
series	CAADRIA
email
last changed	2022/06/07 07:55

_id	avocaad_2001_16
id	avocaad_2001_16
authors	Yu-Ying Chang, Yu-Tung Liu, Chien-Hui Wong
year	2001
title	Some Phenomena of Spatial Characteristics of Cyberspace
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	"Space," which has long been an important concept in architecture (Bloomer & Moore, 1977; Mitchell, 1995, 1999), has attracted interest of researchers from various academic disciplines in recent years (Agnew, 1993; Benko & Strohmayer, 1996; Chang, 1999; Foucault, 1982; Gould, 1998). Researchers from disciplines such as anthropology, geography, sociology, philosophy, and linguistics regard it as the basis of the discussion of various theories in social sciences and humanities (Chen, 1999). On the other hand, since the invention of Internet, Internet users have been experiencing a new and magic "world." According to the definitions in traditional architecture theories, "space" is generated whenever people define a finite void by some physical elements (Zevi, 1985). However, although Internet is a virtual, immense, invisible and intangible world, navigating in it, we can still sense the very presence of ourselves and others in a wonderland. This sense could be testified by our naming of Internet as Cyberspace -- an exotic kind of space. Therefore, as people nowadays rely more and more on the Internet in their daily life, and as more and more architectural scholars and designers begin to invest their efforts in the design of virtual places online (e.g., Maher, 1999; Li & Maher, 2000), we cannot help but ask whether there are indeed sensible spaces in Internet. And if yes, these spaces exist in terms of what forms and created by what ways?To join the current interdisciplinary discussion on the issue of space, and to obtain new definition as well as insightful understanding of "space", this study explores the spatial phenomena in Internet. We hope that our findings would ultimately be also useful for contemporary architectural designers and scholars in their designs in the real world.As a preliminary exploration, the main objective of this study is to discover the elements involved in the creation/construction of Internet spaces and to examine the relationship between human participants and Internet spaces. In addition, this study also attempts to investigate whether participants from different academic disciplines define or experience Internet spaces in different ways, and to find what spatial elements of Internet they emphasize the most.In order to achieve a more comprehensive understanding of the spatial phenomena in Internet and to overcome the subjectivity of the members of the research team, the research design of this study was divided into two stages. At the first stage, we conducted literature review to study existing theories of space (which are based on observations and investigations of the physical world). At the second stage of this study, we recruited 8 Internet regular users to approach this topic from different point of views, and to see whether people with different academic training would define and experience Internet spaces differently.The results of this study reveal that the relationship between human participants and Internet spaces is different from that between human participants and physical spaces. In the physical world, physical elements of space must be established first; it then begins to be regarded as a place after interaction between/among human participants or interaction between human participants and the physical environment. In contrast, in Internet, a sense of place is first created through human interactions (or activities), Internet participants then begin to sense the existence of a space. Therefore, it seems that, among the many spatial elements of Internet we found, "interaction/reciprocity" Ñ either between/among human participants or between human participants and the computer interface Ð seems to be the most crucial element.In addition, another interesting result of this study is that verbal (linguistic) elements could provoke a sense of space in a degree higher than 2D visual representation and no less than 3D visual simulations. Nevertheless, verbal and 3D visual elements seem to work in different ways in terms of cognitive behaviors: Verbal elements provoke visual imagery and other sensory perceptions by "imagining" and then excite personal experiences of space; visual elements, on the other hand, provoke and excite visual experiences of space directly by "mapping".Finally, it was found that participants with different academic training did experience and define space differently. For example, when experiencing and analyzing Internet spaces, architecture designers, the creators of the physical world, emphasize the design of circulation and orientation, while participants with linguistics training focus more on subtle language usage. Visual designers tend to analyze the graphical elements of virtual spaces based on traditional painting theories; industrial designers, on the other hand, tend to treat these spaces as industrial products, emphasizing concept of user-center and the control of the computer interface.The findings of this study seem to add new information to our understanding of virtual space. It would be interesting for future studies to investigate how this information influences architectural designers in their real-world practices in this digital age. In addition, to obtain a fuller picture of Internet space, further research is needed to study the same issue by examining more Internet participants who have no formal linguistics and graphical training.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	f500
authors	Almeida Sampaio, A.
year	1999
title	Automation of Deck Bridge Representations
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 69-79
summary	The bridge deck has a apparent simple shape, but it is the result of an adequate combination of two longitudinal geometric components: the deck shape evolution along de longitudinal section the layout of the road, that acts in simultaneous over a cross section, defining the deck exact shape. A geometric modelling computer programme was developed for box girder decks, allowing the generation of cross sections along the deck, defined with correct shape and location. In the elaboration of the deck plan drawings, the geometric information of the real deck shape is required. This information is not managed in an integrated and automatic way. On the creation of these drawings, directly executed over a graphic system, the time consumed is considerable and it is easy to comet errors. This paper describes the drawing module included in the computer program refereed. The deck plan projections are obtained, in DXF format drawing files, using the geometric information obtained from 3D-deck model. Using the drawing module it is possible to generate the usual deck drawings required in bridge design process. Then, his module is a great support for the design process within its geometric design stage.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	8171
authors	Ataman, Osman
year	1999
title	Facilitating Conceptual Change: Computers, Cognitive Processes and Architecture
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 275-279
summary	Computers have gained universal acceptance as tools that designers use. However, computers are often not used to advance the design process but just to make drawings. Many architectural schools still focus on a production orientation which puts the highest value on information management, precise representations and drafting enhancements. Mostly, computer education is limited with button pushing and training manuals. It is the contention of the author that students in Design Studio courses can benefit greatly from computer based educational pedagogy designed to provide them with experiences they currently do not possess. In particular, little time in the computer courses (outside lectures) is spent applying concepts and features of digital tools in design studio environment. In architecture, computers cannot be simply defined as a presentation and production tools. As a cognitive tool, computers provide designers with intelligible and effective representational tools of thought and communication, changes the syntactic structure of design. Consequently, the conceptual structure of computers impacts the conceptual structure of the design project, fosters the analytical processes and facilitates conceptual changes. This paper describes the use of computers in a first year architectural design studio. It attempts to address the importance of developing a design process that is redefined by the use of computing, integrating concept and perception. Furthermore, it describes the theoretical foundations and the underlying cognitive processes that contribute designers' conceptual development.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	2570
authors	Barrón, Alicia and Chiarelli, Julia
year	1999
title	Problemática de las Modelizaciones (The Issue of Modeling)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 182-185
summary	The modelization of an architectural fact, generated through a CAD program, doesn't have only the purpose of generating a virtual electronic, but a constructive scale model of geometric nature. It also implies, a conceptualization level and a posture in front of the pattern that makes thinking in other fields besides the formally constructive, such as: the descriptive and geometric patterns, the communicational and the symbolic pattern. We should understand the way the constructive thought is done the message of the model, either for the relationship with the environment and with the human scale, depends not only upon the author, but his elections will be intrinsically related with his cultural baggage, besides its geometric, graphical and technicians data. These databases condition the result of the model, for this reason we analyzed these relationships looking for a good handling of the cultural codes, to achieve a complete communication of the model. In these moments of the "global village", we should consider this problematic as a visceral topic of the architectural representation, to achieve an effective communication, among different cultures, of the models represented.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	c3c6
authors	Bonetti, Máximo
year	1999
title	Inventario Digital del Patrimonio Arquitectónico y Urbano Marplatense (Digital Inventory of the Architectural and Urban Patrimony of Mar del Plata)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 458-461
summary	Assisting to the urgent necessity of documenting buildings, urban and rural spaces of our district and keeping in mind that, this patrimonial values represent a considerable proportion of the creative and constructive effort of the pioneers of this region and of our memory and identity, you urgent restitution the report of the examples that are still conserved. As well as the reconstruction, in the cases that it was necessary, of the missing patrimony that still stays in the collective memory. The construction of the digital inventory outlines, in a principle; to divide to the city in sectors of different urban-architectural importance the hills of. Santa Cecilia Stala Maris and Divino Rostro, those that still conserve numerous examples of architecture of the past, are an example of it. This documentation is carried out from the entity of culture of the municipality of the district of general Pueyrredón, in function of the activity developed in the area of patrimonial preservation. In what concerns to this work, previous antecedents don't exist in our means, being this the first time that is intruded in the land of the digital graph applied to the investigation and historical documentation.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	875c
authors	Bonta, Pedro
year	1999
title	CAO - Centro Asistido Por Ordenador
source	ACADIA Quarterly, vol. 18, no. 1, pp. 12-12
doi	https://doi.org/10.52842/conf.acadia.1999.012
summary	The formal education of future professionals requires training in four basic skills: abstraction, systemical thought, experimentation and collaboration. The capacity of abstraction allows to understand and manage realty in different ways in order to create opportunities to reinterpret and reorganize the information. The systemical thought promotes the distinction and the interpretation, teaching how they should be interpreted and how they can be refuted. They should learn how to analyze the reality from different points of view, under different conditions, which allows imagining new alternatives and possibilities. Through the experimentation we look for different possibilities and results and verify analogies and relevant differences, comparing with previous ideas. Another relevant aspect is the capacity of collaborating, sharing troubles and solutions, building new knowledge.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	aef9
id	aef9
authors	Brown, A., Knight, M. and Berridge, P. (Eds.)
year	1999
title	Architectural Computing from Turing to 2000 [Conference Proceedings]
source	eCAADe Conference Proceedings / ISBN 0-9523687-5-7 / Liverpool (UK) 15-17 September 1999, 773 p.
doi	https://doi.org/10.52842/conf.ecaade.1999
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	f58e
authors	Bugay, Edson Luiz and Ulbricht, Vania Ribas
year	1999
title	Hipermidia para Ensino de Render no AutoCad 14 (Hypermedia for the Tachinf of Render 14 AutoCad)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 280-284
summary	Hypermedia applications in education have grown very much and are nowadays available in a great variety of titles covering a major extension of topics. However most of these applications have not gathered too much pedagogic embodiment and when they do have it, it is rather nearly to the intuitive level than based on one or more pedagogic theories. This paper's objective is to provide a practical view of hypermedia directed to teaching which has formed the development basis of a prototype for teaching render in Autocad 14. The several stages' view of developing an hypermedia were considered in the process of the prototype's creation such as the theme's definition, the staffs composition, the metaphor's choice, and the pedagogic model are discussed in details, as well as the several stages that should be followed since the proposals beginning until the product's final distribution. The chosen metaphor is the one of an art study having in mind the meaning of the word "render" being "the artistic representation of a model" once defined the metaphor, the screen's graphical part were developed accordingly.
keywords	Hypermedia, Rendering, Learning, Teaching
series	SIGRADI
email
last changed	2016/03/10 09:47

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

_id	6e36
authors	Castañé, Dora
year	1999
title	Documentation and Patrimony. The Digital Era: A Channel for Memory Recovery
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 451-457
summary	The end of the millennium with its new digital technology is contributing important tools to the area of documentation and historical patrimony those of us who support the preservation of memories think that a very important way of personalizing and strengthening our identity is to provide to those who inhabit the city with heightened awareness towards the values of our past. The revitalization requires that the patrimony in itself be valued. At the same time, it necessitates the preparation of a great amount of information utilizing cataloguing, research databases, and other materials be accessible to all citizens. This piece of work shares the different digital data base experiences that are being developed in the CEDODAL foundation art and latinamerican architecture (center for documentation), which is under the direction of the architect Ramon Gutierrez, a research services organization, and diverse higher education institutions (universities). Four bases are introduced, each with different thought and criterion structures in the definition of fields as well as in their dynamic visualizations. Each of them possesses great quantities of digital images, blue prints, and texts. In three of those bases, the data is the output from teams of researchers in different topics through special arrangements with Santa Fe's provincial water), Fonart, and city government. At the same time, the CEDODAL catalogues its documentaries with great quantities of photographic information, blue prints, research passages, and a library.
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	c229
authors	Cavazos, María Estela Sánchez
year	2002
title	Experiencia en Digitalización de Procesos de Diseño Arquitectónico Caso Taller de Modelación Espacial, Universidad Autónoma de Aguascalientes [Experience in Digitalization Processes of Architectural Design: Study Case of Space Modeling, Independent University of Aguascalientes ]
source	SIGraDi 2002 - [Proceedings of the 6th Iberoamerican Congress of Digital Graphics] Caracas (Venezuela) 27-29 november 2002, pp. 252-256
summary	This project has been based in an experience that took time in the years 1999 and 2000 where a group of 13 students of the Architectonic Design Masters in the U.A.A. were submitted to a project that consisted in register their Architectonic Design Processing during a year with the main purpose of having the most complete material possible to be used as material for different research projects. At the end of the architectonic project the students scanned all the graphics and ordered them in the format that was established by the group using ACDSee32 as the program, which resulted very simple to manage and permitted to order the graphics and write comments to them as it was thought. The result obtained was 12 ordered texts by seven segments pefectly identifi ed and with easy manage for any investigation that you want to realice with them, in fact today exist two fi nished investigations that were realized with this information added to one formal investigation and some informal in process.
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	69f5
authors	Chan, C., Maves, J. and Cruz-Neira, C.
year	1999
title	An Electronic Library for Teaching Architectural History
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. 335-344
doi	https://doi.org/10.52842/conf.caadria.1999.335
summary	This research project developed an electronic library of significant buildings chosen to represent seven selected periods of Western architectural history: Egyptian (Mortuary temple of Queen Hatshepsut), Greek (Parthenon), Roman (Pantheon), Romanesque (Speyer Cathedral), Gothic (Notre Dame Cathedral), Renaissance (Tempietto), and Modern (Des Moines Art Center). All buildings were reconstructed in their original or intended forms based on plans, drawings, photographs, and historical texts. Two products were generated by this project: (1) materials to be displayed on the World Wide Web, including rendered still images for perception, movies for a visual guide, and Virtual Reality Modeling Language (VRML) models for user navigation; and (2) virtual reality (VR) models to be displayed in the C2 (an improved version of the Cave Automatic Virtual Environment or CAVE facility). The benefits of these VR models displayed on the Web and in the C2 are their easy accessibility at any time from various geographic locations and the immersive experience that enhances viewersÌ understanding of the effects of spatial proportions on form and of colors on materials.
series	CAADRIA
more	http://archvr.design.iastate.edu/miller
last changed	2022/06/07 07:56

_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

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