Cumincad : CUMINCAD Papers : Search Results

CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
supported by the sibling associations ACADIA, CAADRIA, eCAADe, SIGraDi, ASCAAD and CAAD futures

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_id	41d4
authors	Medjdoub, Benachir
year	1999
title	Interactive 2D Constraint-Based Geometric Construction System
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 197-212
summary	This paper presents a 2D Constraint-Based Geometric Construction System where positioning and manipulating geometry is very precise. An unusually simple interface makes this system particularly interactive and easy to use. In our approach, the geometry types supported are: points, lines, circles, ellipses, circular arcs and b-spline curves. All the fundamental topologic constraints, i.e. tangent, parallel, perpendicular, coincident and concentric, are provided. Metric constraints, i.e. dividing the shapes into equal parts or fixing the geometric parameters, are also provided. These constraints are automatically applied by the application in response to the implied intentions of the end- user. Dynamic modifications of partially dimensioned models are supported, whereby the design is modified while enforcing the constraints. A graph-constructive approach is used to solve the model. As we are dealing with partial modifications, this resolution technique is quite sufficient, and makes our system stable and flexible. Our approach focuses highly on interactivity. Positioning a shape constrained to another is made directly through the graphic interface. Constraint relaxation is also done by direct manipulations. Modifications are made by dragging the geometry, or by typing into a numerical panel displaying the free shape parameters. Again, existing constraints are maintained as those numbers are applied. Well -constrained and under-constrained problems are discussed. This approach was developed in Java, JDK 3.0.1 of SGI's Java software.
keywords	Sketching, Geometric Constraints, Interactivity, Geometric construction, Dynamic Modifications
series	CAAD Futures
email
last changed	2006/11/07 07:22

_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	b687
authors	Tapia, M.
year	1999
title	A visual implementation of a shape grammar system
source	Environment and planning B: planning & design, 26, pp. 59–73
summary	Shape grammars specify a mechanism for performing recursive shape computations. A general paradigm is established for a computer implementation supporting this computation in the algebras of points and lines in 2-d (U0 2 and U1 2). The guiding principles and the actual implementation are described.
series	journal paper
last changed	2003/04/23 15:50

_id	8fe9
authors	Terzidis, Kostas
year	1999
title	Experiments on Morphing Systems
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 149-151
summary	This paper presents recent experiments on 3D morphing of buildings. A genealogical tree is created out of cross-morphing buildings showing their children and grandchildren. The resulting children-buildings share characteristics of the formal properties of their parents. There are two methods used here to morph buildings: face-to-face mapping and object-to-object mapping. All morphed buildings are shown as real-time animation. A series of experiments will be presented. Some experiments investigate the implementation of architecture or art theories. For example, how would it look like to morph a Hedjuk building into a Le Corbusier building? How would the resulting child look like in a cubist world? Or how would a building look like as it is extrapolated beyond its target and instead of lines and points it is represented as letters and colors? The computer system that was developed by the author for this paper is called "zhapes" and is a Java-based 3D-experimentation system. It resides at the address http://www.cda.ucla.edu/caad/java/x/formProj2/formB.html where it can be downloaded for explorations.
series	SIGRADI
email
last changed	2016/03/10 10:01

_id	alqawasmi
id	alqawasmi
authors	Al-Qawasmi, J., Clayton, M.J., Tassinary, L.G. and Johnson, R..
year	1999
title	Observations on Collaborative Design and Multimedia Usage in Virtual Design Studio
source	J. Woosely and T. Adair (eds.), Learning virtually: Proceedings of the 6th annual distance education conference, San Antonio, Texas, pp. 1-9
summary	The virtual design studio (VDS) points to a new way of practicing and teaching architectural design. As a new phenomenon, little research has been done to evaluate design collaboration and multimedia usage in a distributed workplace like the virtual design studio. Our research provides empirical data on how students actually use multiple media during architectural collaborative design.
series	other
email
last changed	2003/12/06 09:55

_id	3cde
authors	Alik, B.
year	1999
title	A topology construction from line drawings using a uniform plane subdivision technique
source	Computer-Aided Design, Vol. 31 (5) (1999) pp. 335-348
summary	The paper describes an algorithm for constructing the topology from a set of line segments or polylines. The problem appears for example at land-maps that have been drawnby general-purpose drawing packages or captured from blue-prints by digitalisation. The solution comprises two steps; in the first step inconsistencies in the input data aredetected and removed, and in the second step the topology is constructed. The algorithm for topology construction consists of two phases: determination of a concave hull,and generation of polygons. It is shown that the running-time of the presented algorithm is better than O(n2), where n is the number of input points. Because of a largenumber of geometric elements being expected, the geometric search needed at the first step of the algorithm is speeded up by an acceleration techniquea uniform planesubdivision.
keywords	Computational Geometry, Topology Construction, Uniform Space Subdivision
series	journal paper
email
last changed	2003/05/15 21:33

_id	ecc5
authors	Bassanino, May Nahab
year	1999
title	The perception of computer generated architectural images
source	Liverpool University
summary	The broad aim of the research is to examine the role of computer generated architectural images on the way different people perceive architecture, and within this field of interest I have established a list of specific tasks to define the specific points of interest to examine. The following list of the main research objectives served as a guide in designing the experimental tests undertaken as part of this research: () Study the effect of both representation techniques and the used media on perceiving architecture. () Establish the differences (if there are any) of perception between different groups of people; principally architects and non-architects, but also subsets of each of these two groups. () To suggest the appropriate technique for presenting architecture for a particular group in a particular stage in the design process. () To investigate the influence of CAAD in architectural education on the students’ perception for architectural images.
series	thesis:PhD
last changed	2003/11/21 15:16

_id	875c
authors	Bonta, Pedro
year	1999
title	CAO - Centro Asistido Por Ordenador
doi	https://doi.org/10.52842/conf.acadia.1999.012
source	ACADIA Quarterly, vol. 18, no. 1, pp. 12-12
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	b78f
authors	Clayton, M.J., Warden, Robert B., Parker, Th.W.
year	1999
title	Virtual Construction of Architecture Using 3D CAD and Simulation
doi	https://doi.org/10.52842/conf.acadia.1999.316
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 316-324
summary	3D modeling and computer simulations provide new ways for architecture students to study the relationship between the design and construction of buildings. Digital media help to integrate and expand the content of courses in drafting, construction and design. This paper describes computer-based exercises that intensify the students’ experience of construction in several courses from sophomore to senior level. The courses integrate content from drafting and design communication, construction, CAD, and design. Several techniques are used to strengthen students’ awareness and ability in construction. These include: · Virtual design - build projects in which students construct 3D CAD models that include all elements that are used in construction. · Virtual office in which several students must collaborate under the supervision of a student acting as project architect to create a 3D CAD model and design development documents. · Virtual sub-contracting in which each student builds a trade specific 3D CAD model of a building and all of the trade specific models must be combined into a single model. · Construction simulations (4D CAD) in which students build 3D CAD models showing all components and then animate them to illustrate the assembly process. · Cost estimating using spreadsheets. These techniques are applied and reapplied at several points in the curriculum in both technical laboratory courses and design studios. This paper compares virtual construction methods to physical design – build projects and provides our pedagogical arguments for the use of digital media for understanding construction.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	1ead
authors	Dinand, Munevver Ozgur and Ozersay, Fevzi
year	1999
title	CAAD Education under the Lens of Critical Communication Theories and Critical Pedagogy: Towards a Critical Computer Aided Architectural Design Education (CCAADE)
doi	https://doi.org/10.52842/conf.ecaade.1999.086
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 86-93
summary	Understanding the dominant ethos of our age is imperative but not easy. However it is quite evident that new technologies have altered our times. Every discipline is now forced to be critical in developing new concepts according to the realities of our times. Implementing a critical worldview and consciousness is now more essential than ever. Latest changes in information technology are creating pressure on change both in societal and cultural terms. With its direct relation to these technologies, computer aided architectural design education, is obviously an outstanding / prominent case within contemporary debate. This paper aims to name some critical points related to computer aided architectural design education (CAADE) from the perspective of critical communication studies and critical education theories. It tries to relate these three areas, by introducing their common concepts to each other. In this way, it hopes to open a path for a language of critique. A critique that supports and promotes experimentation, negotiation, creativity, social consciousness and active participation in architectural education in general, and CAADE in specific. It suggests that CAADE might become critical and produce meta-discourses [1 ] in two ways. Firstly, by being critical about the context it exists in, that is to say, its relationships to the existing institutional and social structures and secondly by being critical about the content it handles; in other words by questioning its ideological dimensions. This study considers that analysing the role of CAADE in this scheme can provide architectural education with the opportunity to make healthy projections for the future.
keywords	Critical Theories, Critical Pedagogy, Critical CAADE
series	eCAADe
email
last changed	2022/06/07 07:55

_id	e4a7
authors	Espina B., Jane J.
year	2001
title	La tecnologia digital en las edificaciones arquitectonicas de la modernidad [The Digital Tecnology In Modern Architectural Constructions]
source	2da Conferencia Venezolana sobre Aplicación de Computadores en Arquitectura, Maracaibo (Venezuela) december 2001, pp. 136-145
summary	This paper gives an overview of the experience developed by Computer Graphics II course of department of Communication in School of Architecture and Design of University of Zulia which was initiated since 1999.The work describes the methodology used by two groups of objectives: general of the course and those generated by experiences in two levels: one as analysis instruments and the other one during process of design. Course is looking for trainning in CAD system uses by 3D representation of modern buildings, so at the end of the experience students were succeed : 1) analysis of projects of modern architecture, 2) quick visualization and efficient volumetric representation, 3) make a digital format library of differents buildings of the city and 4) comprehension and historic knowledge of city. CAD systems used for representation of 2d and 3D drawings offer to architects tools as color, textures, shadows, plus generation of different points of view as isometrics, perspectives and realistic representations. The digital format of the selected buildings gives to drafts an additional value.
keywords	Modern Architecture; Three-Dimensional; Realistic Representation; CAD Systems; Digital Format
series	other
email
last changed	2003/02/14 08:29

_id	79fb
authors	Fencott, Clive
year	1999
title	Towards a Design Methodology for Virtual Environments
source	Virtual Reality Applications Centre, University of Teeside
summary	Virtual Reality (VR) is currently the subject of much academic research and virtual environments, particularly in the form of 3D computer games, are the subject of much commercial activity. However, the development process for VEs is not well documented or fully researched. In this paper the available literature relating to VE design is briefly reviewed prior to the presentation of a possible design methodology for VEs. The paper then goes on to discuss the weak points in the methodology and problems with inter-relating the various stages. Finally, future areas of research are identified.
series	other
last changed	2003/04/23 15:50

_id	ba93
authors	Hendricx, Ann and Neuckermans, Herman
year	1999
title	About Objects and Approaches - A Conceptual View on Building Models
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 133-148
summary	Considering integrated CAAD environments for architectural design, a number of different approaches are possible. This paper presents the policy of the CADLAB at the KU Leuven University, where design support right from the first design phases is a basic consideration. After a short introduction on the theoretical framework and additional design tests, we will discuss the core object model that forms the cornerstone for the contemplated design environment. This object model describes all possible data, concepts and operations connected with the architectural design process. For its development, we used the object-oriented analysis method MERODE. The starting-points and main aspects of the model will be discussed, illustrated with examples of implemented prototypes. The architect's point of view and the specific nature of the architectural design process were always kept in mind, thus leading to a model that hopes to make a valuable contribution to the research area of integrated design environments.
keywords	CAAD, Integrated Design Environment, Building Models, Conceptual Modelling, MERODE
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	caadria2007_549
id	caadria2007_549
authors	Huang, Chuang-Yu
year	2007
title	The Role of Physical Models in Digital Design Processes
doi	https://doi.org/10.52842/conf.caadria.2007.x.d1s
source	CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
summary	In recent years, designers have used digital media at various points of the design process, which helps expand architectural possibilities. Digital media has changed not only the architectural style, but also the design process (Lynn, 1999). In earlier times, some researchers of design thinking have looked at how the role of physical models played in traditional design processes (Millon, 1994). However, the design process has been changed when media designers used to adjust from traditional to digital. Therefore, visual thinking and cognitive behavior of designers also change while using physical models in design processes. From the synthesis of the two aforementioned disciplines, we can find that there exists a point of deficiency. That is the cognitive research about designers who use physical models in digital design processes is absent. This is discussed in the current paper.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	9480
authors	Kan, J.W.T., Chow, B.K.M. and Tsou, J.-Y.
year	1999
title	Visual Impact Evaluation of Electricity Substation Architecture
doi	https://doi.org/10.52842/conf.caadria.1999.081
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. 81-87
summary	This paper presents a case study of the application of computer techniques for design communication and visual impact analysis. We were sponsored by China Light & Power Company Ltd. To simulate the design of a proposed electricity substation and its it is setting in a residential neighborhood. During a five-week intensive study, we took nearly one thousand photographs of the existing site. We also created a three-dimensional CAD model of the proposed substation, and produced perspectives from points of view analogous to the photographs. We applied Apple Quicktime VR technology to document the site environment with 360-degree panoramas. We then montaged the computer-generated panoramas with those taken from the real environment. A navigable virtual environment, architectural animation and set of still images were presented to the public in September 1998. The reactions from the regional council members and local residents nearby were recorded to provide evidence to measure the effectiveness of digital architectural design communication.
series	CAADRIA
email
last changed	2022/06/07 07:52

_id	221d
authors	Lee, Sanghyun
year	1999
title	Internet-based collaborative design evaluation : an architect's perspective
source	Harvard University
summary	This research aims at developing a design evaluation system that employs a Product Model as the logical basis for integrating building design and construction processes. The system is implemented with Java language, which allows the system to work over the Internet. Accordingly, the system helps architects to collaborate with remote participants. Thus, this design evaluation system is a building performance evaluator like DOE-2, RADIANCE, HVAC, and the Automated Building Code Checker. This research, however, is mainly concerned with an architect's view during the schematic design and design development stage, while the existing design evaluation systems cover other special consultants' views such as those of HVAC designers, structural engineers, and contractors. From an architect's view, this evaluation system checks the compliance of design objects represented by means of physical objects such as walls and windows and conceptual objects such as rooms as well, to the design criteria focused on accommodating human behavior, rather than other building performances such as sustaining building structures and maintaining indoor livability. As such, the system helps designers analyze and evaluate design solutions according to their original intent. The innovative points of this research lie in the following: (1) Unlike other inquiries, it addresses a systematic evaluation of building design from an architect's view focusing on the experiential quality of the built environment. This research demonstrates that such an evaluation becomes available by introducing human activity-based evaluation. (2) It can take a multi-agenda for several groups of different interests by providing an Aspect Model based on human activity-centered systematic translation of their design considerations and 3D model-based graphical representations into system readable ones. (3) As a result, it addresses the possibility of expanding the capability of the design evaluator from a mere code checker to a general design evaluator while simultaneously, enhancing the availability from stand alone to Internet based networking.
keywords	Architectural Rendering; Data Processing; Evaluation; Buildings; Performance; World Wide Web; Internet
series	thesis:PhD
last changed	2003/02/12 22:37

_id	c937
authors	Liebowitz, D., Criminisi, A. and Zisserman, A.
year	1999
title	Creating architectural models from images
source	EUROGRAPHICS'99
summary	We present methods for creating 3D graphical models of scenes from a limited numbers of images, i.e. one or two, in situations where no scene co-ordinate measurements are available. The methods employ constraints available from geometric relationships that are common in architectural scenes - such as parallelism and orthogonality - together with constraints available from the camera. In particular, by using the circular points of a plane simple, linear algorithms are given for computing plane rectification, plane orientation and camera calibration from a single image. Examples of image based 3D modelling are given for both single images and image pairs.
series	other
last changed	2003/04/23 15:14

_id	94b4
authors	Matalasov, M. and Lapshina, Je.
year	1999
title	Modelling (Simulation) and Reality
source	Simulation of Architectural Space - Color and Light, Methods and Effects [Proceedings of the 4rd European Architectural Endoscopy Association Conference / ISBN 3-86005-267-5] Dresden (Germany), 29 September - 1 October 1999, pp. 32-35
summary	In a terms of studying and practical design a sufficient experience of analytic work of our lab shows, that the view of suggesting scheme on the same kind of process development is accompanied by sadden mistakes or conscious inaccuracies.Traditional conventions of architectural models same times with no paying attention to scale and size may drive to cause of distortion from the points of view to them. Power and possibilities of modern CAD initiates same sort of temptations and errors. For our point of view, solving the above problems is having same restrictions, one of which, may be – providing a visual coincidence of the videoframes of building site and it’s model done whether by small scale modelling or CAD. According to our practice a different methods of superimposing of real and designing spaces are shown in this article.
series	EAEA
more	http://info.tuwien.ac.at/eaea
last changed	2005/09/09 10:43

_id	3fb8
authors	Monedero, Javier
year	1999
title	Can a Machine Design? A Disturbing Recreation of Turing's Test for the Use of Architects
doi	https://doi.org/10.52842/conf.ecaade.1999.589
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 589-594
summary	In 1950, fifty years ago, Alan Turing published a much-quoted paper that has given rise to a long list of articles and books. It presented, perhaps for the first time, in a clever and somehow sarcastic way, what has become one of the main big questions raised by the use of computers in human societies. The title of that paper was "Computing Machinery and Intelligence" (Mind, Vol. LIX, No. 236, October 1950) and the game proposed in it, called by Turing "the imitation game" has come to be known as "Turing's Test". The paper presented here is a rather simple adaptation of Turing's Test. It may, I hope, present in a, perhaps, not too serious a way, some central points related to the way that computers have integrated themselves in architect's, engineer's and building enterprises and, through them, in the way that architecture evolves in our times and adapts itself to modern societies.
series	eCAADe
email
last changed	2022/06/07 07:58

_id	ga9927
id	ga9927
authors	Neagu, Mariana
year	1999
title	On Linguistic Aspects from a Cross-cultural Perspective
source	International Conference on Generative Art
summary	The goal of this paper is to discuss the issue of culture and its relationship to language and cognition by dealing with a number of lexical concepts, grammatical concepts and cultural scripts. Taking a moderate view, I reconcile universalism and ethnocentrism and argue that the study of culture-specific aspects of language has both a theoretical and practical importance. The role of universal semantic primes is obvious in culture-specific words such as the Japanese amae (a peculiarly Japanese emotion) which, though unique and untranslatable, can be accurately and intelligibly defined in terms of semantic primes (Wierzbicka, 1996). The view that meanings cannot be fully transferred from one language to another is supported by the difference in meaning manifested in the different range of use of the word happy (a common, everyday word in modern English) and joyful (a more literally and stylistically marked term.). A cross-linguistic analysis of the concept ‘happy’in English, Romanian, German, French, Italian, points to the so-called ‘traditional Anglo-Saxon distate for extreme emotions’. As far as aspects of grammar connected with culture are concerned, I compare expressive grammatical devices like intensifiers in English, Romanian and Italian. The question the paper addresses is whether constructions like syntactic reduplication(e.g. bella bella) and the absolute superlative (e.g. bellissimo) are indeed linked with what has been called ‘the theatrical quality’ of Italian life (Barzini, 1964) or not. Relative to Romanian, I assume that the idea of intensity of a state or action is conveyed, in certain registers, by terms and expressions pertaining to basic element source domains such as fire (e.g. frumoasa foc ‘fire-beautiful’) and earth (e.g. frumusetea pamantului ‘beauty of the earth’) and also by syntactic reduplication (e.g. frumoasa-frumoaselor ’beauty of the beauties’). Finally, I approach aspects of pragmatics which are culturally determined in the sense that they express cultural norms, values, ideals, attitudes. For instance, preferences are expressed directly in English while in Japanese this manner is contrary to the ideal of enryo ’restraint, reserve’.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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