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	cf2009_poster_19
id	cf2009_poster_19
authors	Wang, Wie; Xiangyu Wang and (Irene) Rui Chen
year	2009
title	Spatial Faithful Display Groupware For Remote Design Collaboration
source	T. Tidafi and T. Dorta (eds) Joining Languages Cultures and Visions: CAADFutures 2009 CD-Rom
summary	Traditional remote collaboration technologies and platforms are found restrained and cumbersome for supporting geographically dispersed design activities. Based on Single Display Groupware (SDG) (Stewart, Bederson, and Druin, 1999) and Mixed Presence Groupware (MPG) (Tang, Boyle, Greenberg, 2004), a Spatial Faithful Groupware is presented in this paper to address some issues in remote collaboration. This paper discusses some of these limitations and argues how these limitations could possibly impair efficient communication among designers.
keywords	Groupware, remote collaboration, spatial faithfulness
series	CAAD Futures
type	poster
last changed	2009/07/08 22:12

_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	6024
authors	McCall, Raymond
year	1999
title	A Web-centric CAD System for Collaborative Design
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 65-79
summary	Web-PHIDIAS is a hypermedia-based, intelligent CAD system that delivers both CAD functionality and design information to anyone with Web access. This system is above all designed to facilitate collaborative architectural design. It provides both private (individual) and collaborative (group) drawing and text authoring spaces, with a variety of types of authoring and viewing privileges for groups. This enables a single designer to work in privacy on one piece of a design and later "publish" it to a supervisor or a group. It also enables a group to work in privacy and later publish its work to a different or larger group. This notion of "levels of privacy/publication" is a crucial but too- often missing component of collaborative design systems. With WebPHIDIAS, all drawings are stored in a central repository accessible from the group server. This means that they are accessible from anywhere in the world to any viewer who has the required viewing and/or authoring privileges. This enables designers to access and modify stored drawings while travelling or when out on the site, even if the site is in another country. It also enables them to create new drawings and store them in the central repository from anywhere in the world. Web-PHIDIAS consists of an interactive Web-based client that serves as an interface to the PHIDIAS hypermedia server. This client, which is implemented in Java, provides basic, 2D graphical editing functionality and as well as display of 3D views. It also provides access to multimedia information useful for whatever design task is at hand. This information includes text and graphical descriptions of design precedents as well as various issues in design of a particular type of building.
keywords	Net-Centric, Web-Centric, Hypertext, Hypermedia, CAD, HyperCAD, Knowledge-Based Critics, Collaboration, Executable Content, Argumentative Design, IBIS, PHI, Design Rationale
series	CAAD Futures
last changed	2006/11/07 07:22

_id	e61d
authors	Morozumi, M., Shimokawa, Y. and Homma, R.
year	1999
title	Schematic design system for flexible and multi-aspect design thinking
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 238-251
doi	https://doi.org/10.52842/conf.acadia.1999.238
summary	A designer friendly CAD for a schematic design is one of the important topics of CAD studies. There were attractive preceding studies aiming to develop a CAD that intended to enable designers to have flexible design thinking and interactively manipulate representation models. This paper has the same goals of study, but focuses on the needs to support flexible and multi-aspect design thinking. Though designers normally hope to elaborate on their ideas using separate sets of representation models suitable for respective studies, a present CAD that is designed to build a single set 3D model, has limited its ability as a tool for a schematic design. Assuming this as the base concept, authors have studied to develop a prototype of a schematic design system, customizing AutoCAD R14J: Schematic Design System 98 (SDS98). It has convenient utilities both for building separate sets of representation models and for integrating and reconciling those models to build a single consolidate model. This paper discusses, the common procedures of schematic design studies, necessary functional features for SDS, a case study of the system use, and finally, the advantages and the disadvantages of the proposed system.
series	ACADIA
email
last changed	2022/06/07 07:59

_id	29f3
authors	Ohno, Ryuzo and Aoki, Hirofumi
year	1999
title	Development of an Interactive Simulation System for Environment-Behavior Study
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. 36-49
summary	An important recent development in the simulation techniques was the changes in the mode of presentation: from passive mode to active one. It is now possible to present an image according to the observer’s voluntary movement of body and head by means of a head-mounted display. Such interactive simulation system, which allows people to observe what they like to see, is suitable to study environmental perception, because active attention is essential to manipulate enormous information in the environment. The present paper reports two case studies in which an interactive simulation system was developed to test psychological impact of interior and exterior spaces: the case study 1 intended to clarify the effect of the disposition of transparent and opaque surfaces of a room on the occupants’ „sense of enclosure“, the case study 2 intended to make clear some physical features along a street which are influential for changing atmosphere. In addition to the empirical research, an attempt to develop a new simulation system which uses both analogue and digital images is briefly reported, and a preliminary experiment was conducted to test the performance of the simulation system in which such movable elements as pedestrians and cars generated by real-time CG were overlaid on the video image of a scale model street.
series	EAEA
email
more	http://info.tuwien.ac.at/eaea
last changed	2005/09/09 10:43

_id	125a
authors	Dikbas, Attila
year	1999
title	An Evaluating Model for the Usage of Web-based Information Technology in Computer Aided Architectural Design and Engineering Education
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 349-352
doi	https://doi.org/10.52842/conf.ecaade.1999.349
summary	New technologies often reshape expectations, needs and Opportunities so as to develop strategic Plans for the implementation of Information Techniques in education and research. The widespread acceptance of the internet and more specifically the World Wide Web (WWW) has raised the awareness of educators to the potential for online education, virtual classrooms and even virtual universities. With the advent of computer mediated communication, especially the widespread adoption of the web as a publishing medium, educators see the advantages and potential of delivering educational material over the Internet. The Web offers an excellent medium for content delivery with full text, colour graphics support and hyperlinks. The Purpose of this paper is to present a model for the usage of web-based information technology in computer aided architectural design and engineering education. It involves the key features of a full educational system that is capable of offering the teacher and the student flexibility with which to approach their teaching and learning tasks in ways most appropriate to the architectural design and engineering education. Web-based educational system aims at creating quality in on-line educational materials taking collaboration, support, new skills, and, most of all, time. The paper concludes with a discussion of the benefits of such an education system suggesting directions for further work needed to improve the quality of architectural design and engineering education.
keywords	Web-based Information Technology, Online Education, Virtual Campus, Computer Aided Architectural Design, Engineering Education
series	eCAADe
last changed	2022/06/07 07:55

_id	55d9
authors	Martens, Bob and Oberascher, Leonhard
year	1999
title	Using the Endoscope in the Country of Lilliput
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. 22-26
summary	The present contribution focuses on the interaction of light and color in the context of spatial changes. A project study on ”Color Overlay” from the study course ”Experimental Color Design” issued the focal point for consideration. The relation between projection and original in the scale model results in incomplete but useful findings on the effects to be expected. Only in the course of the full-scale model test series the performed activities were to be clearly recognized. This contribution thus intends to disentangle the relation web between scale (endoscopic) model viewing and simulation in true size.
keywords	Color Effects, Color Overlay, Endoscopy, Simulation in Full-scale
series	EAEA
email
more	http://info.tuwien.ac.at/eaea
last changed	2005/09/09 10:43

_id	d423
authors	Arvin, Scott A. and House, Donald H.
year	1999
title	Making Designs Come Alive: Using Physically Based Modeling Techniques in Space Layout Planning
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 245-262
summary	This paper introduces the concept of responsive design. It elaborates this concept as an approach to free form, adaptable, automated design applying physically based modeling techniques to the design process. Our approach attempts to bridge the gap between totally automated design and the free form brainstorming designers normally employ. We do this by automating the initial placement and sizing of design elements, with an interactive engine that appears alive and highly responsive. We present a method for applying these techniques to architectural space layout planning, and preliminary implementation details for a prototype system for developing rectangular, two-dimensional, single- story floor plans.
keywords	Physically Based Space Layout, Physically Based Design, Responsive Design, Space Layout Planning, Computer-aided Design, Human-computer Interaction
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
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	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	b78f
authors	Clayton, M.J., Warden, Robert B., Parker, Th.W.
year	1999
title	Virtual Construction of Architecture Using 3D CAD and Simulation
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 316-324
doi	https://doi.org/10.52842/conf.acadia.1999.316
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	84e8
authors	Cohen, J.M., Markosian, L., Zeleznik, R.C., Hughes, J.F. and Barzel, R.
year	1999
title	An Interface for Sketching 3D Curves
source	ACM Symposium on Interactive 3D Graphics, pp. 17-22 (April 1999). ACM SIGGRAPH. Edited by Jessica Hodgins and James D. Foley
summary	The ability to specify nonplanar 3D curves is of fundamental importance in 3D modeling and animation systems. Effective techniques for specifying such curves using 2D input devices are desirable, but existing methods typically require the user to edit the curve from several viewpoints. We present a novel method for specifying 3D curves with 2D input from a single viewpoint. The user rst draws the curve as it appears from the current viewpoint, and then draws its shadow on the oor plane. The system correlates the curve with its shadow to compute the curve's 3D shape. This method is more natural than existing methods in that it leverages skills that many artists and designers have developed from work with pencil and paper.
series	other
last changed	2003/04/23 15:14

_id	54a6
authors	Eastman, C. and Jeng, T.S.
year	1999
title	A database supporting evolutionary product model development for design
source	Automation in Construction 8 (3) (1999) pp. 305-323
summary	This paper presents the facilities in the EDM-2 product modeling and database language that support model evolution. It reviews the need for model evolution as a system and/or language requirement to support product modeling. Four types of model evolution are considered: (1) translation between distinct models, (2) deriving views from a central model, (3) modification of an existing model, and (4) model evolution based on writable views associated with each application. While the facilities described support all for types of evolution, the last type is emphasized. The language based modeling capabilities described in EDM-2 include: (a) mapping facilities for defining derivations and views within a single model or between different models; (b) procedural language capabilities supporting model addition, deletion and modification; (c) support for object instance migration so as to partition the set of class instances into multiple classes; (d) support for managing practical deletion of portions of a model; (e) explicit specification and automatic management of integrity between a building model and various views. The rationale and language features, and in some cases, the implementation strategy for the features, are presented.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	1121
authors	Kalay, Yehuda E.
year	1999
title	The Future of CAAD: From Computer-aided Design to Computer-aided Collaboration
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 14-30
summary	The primary uses of computers in the construction industry have been shifting, over the past four decades, from the evaluation of proposed design solutions, to their graphical (and other) representation, and more recently to facilitating collaboration among the various professionals who are involved in the design process. The paper argues that what may appear to be shifts in emphasis actually represents convergence on a single, original goal: the use of computers to help designers assess the quality, desirability, and the implications of their creations. The paper shows how the formerly independent components can be joined into an integrated collaborative design environment, where they build upon and strengthen each other. Moreover, the paper argues that this convergence represents the future of CAAD research and development, providing the appropriate answer to the upcoming needs of the construction industry, whose products have become too complex and must abide by too many requirements for any one professional to handle all by himself. The paper argues that further improvements in the overall quality of the products, and the process of their design, will only accrue when the heretofore separate solutions are considered together, as integral parts of an overall solution. The paper describes the efforts that have been made by the CAD Research Group in Berkeley over the past six years in developing an integrated collaborative design environment that can facilitate multidisciplinary, a- synchronous design of buildings. The environment includes several semantically-rich, shared product representations, a network of distributed evaluators, and graphically enhanced collaboration and negotiation tools.
keywords	Collaborative Design, Distributed Design Environment, Product Modeling, Performance Modeling, Process Modeling, Negotiation, Integration
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	53a4
authors	Vélez Jahn, Gonzalo
year	1999
title	The MUMOVIAR (Museum for Modeling Virtual Architecture) - A Proposal for a Research Theme (The Mumoviar (For Museum Virtual Modeling Architecture) - to for Proposal to Research Theme)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 379-383
summary	One of the most interesting areas in the forefront of non-immersive virtual reality (VRML) applications to architecture is the one that concerns the design, construction and exploration of on-line multi-access worlds using the Internet-WWW. However, and despite the great proliferation of earlier single-access models built on VRML, attempts to collect, classify and provide accesibility that type of models has proved almost nil. On the other side, one of the architectural typologies that promises the greatest transformation potential in the virtual architecture area in cyberspace is the one that concerns virtual museums and galleries. This paper seeks to provide a bridge between the two aforementioned approaches by formulating a conceptual basis for the creation of a virtual, on-line, multi-access museum intended to house collections of VRML building models. Such models, initially shown at a conventional model scale, would be accessed by visitors through an interface intended to transport those visitors into the models’ environments, where changes in scale could provide navigation access to interior and exterior view of the building . Accordingly, the museum would act as a sort of "spaceport” toward different routes of exploration. This modelistic cascading seems to offer interesting possibilities as regards future virtual architecture applications.
series	SIGRADI
email
last changed	2016/03/10 10:02

_id	1c27
authors	Xi, F. and Shu, B.
year	1999
title	CAD-based path planning for 3-D line laser scanning
source	Computer-Aided Design, Vol. 31 (7) (1999) pp. 473-479
summary	The problem of path planning for 3-D line laser scanning is addressed in this article. The path under study is for a line, as opposed to a point in conventional CNC and CMMtoolpath planning. While the objective of the latter case is to drive a point along a curve, that of the former case is to drive a line across a surface. To solve this problem, a pathplanning method is developed. First, a slicing approach is put forward to divide a part CAD model into a number of sections, since the laser scanning line is limited by thescanning width and a single scanning pass cannot cover the whole surface. Second, for each section, a scanning pass is generated to cover the section surface. To ensure amaximum coverage for each section, the surface profile is determined, and the top of the scanning window is set along the upper boundary of the surface profile. Third,combination of scanning all the sections forms a complete scan of a surface. It is shown that with the proposed method a 3-D line laser scanning process can be effectivelyautomated.
keywords	3-D Line Laser Scanning, Path Planning Method, Tool Path Planning
series	journal paper
email
last changed	2003/05/15 21:33

_id	ab9c
authors	Kvan, Thomas and Kvan, Erik
year	1999
title	Is Design Really Social
source	International Journal of Virtual Reality, 4:1
summary	There are many who will readily agree with Mitchell's assertion that "the most interesting new directions (for computer-aided design) are suggested by the growing convergence of computation and telecommunication. This allows us to treat designing not just as a technical process... but also as a social process." [Mitchell 1995]. The assumption is that design was a social process until users of computer-aided design systems were distracted into treating it as a merely technical process. Most readers will assume that this convergence must and will lead to increased communication between design participants, that better social interaction leads to be better design. The unspoken assumption appears to be that putting the participants into an environment with maximal communication channels will result in design collaboration. The tools provided, therefore, must permit the best communication and the best social interaction. We see a danger here, a pattern being repeated which may lead us into less than useful activities. As with several (popular) architectural design or modelling systems already available, however, computer system implementations all too often are poor imitations manual systems. For example, few in the field will argue with the statement that the storage of data in layers in a computer-aided drafting system is an dispensable approach. Layers derive from manual overlay drafting technology [Stitt 1984] which was regarded as an advanced (manual) production concept at the time many software engineers were specifying CAD software designs. Early implementations of CAD systems (such as RUCAPS, GDS, Computervision) avoided such data organisation, the software engineers recognising that object-based structures are more flexible, permitting greater control of data editing and display. Layer-based systems, however, are easier to implement in software, more familiar to the user and hence easier to explain, initially easier to use but more limiting for an experienced and thoughtful user, leading in the end to a lesser quality in resultant drawings and significant problems in output control (see Richens [1990], pp. 31-40 for a detailed analysis of such features and constraints). Here then we see the design for architectural software faithfully but inappropriately following manual methods. So too is there a danger of assuming that the best social interaction is that done face-to-face, therefore all collaborative design communications environments must mimic face-to-face.
series	journal paper
email
last changed	2003/05/15 10:29

_id	caadria2005_b_4b_d
id	caadria2005_b_4b_d
authors	Martin Tamke
year	2005
title	Baking Light: Global Illumination in VR Environments as architectural design tool
source	CAADRIA 2005 [Proceedings of the 10th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 89-7141-648-3] New Delhi (India) 28-30 April 2005, vol. 2, pp. 214-228
doi	https://doi.org/10.52842/conf.caadria.2005.214
summary	As proven in the past, immersive Virtual Environments can be helpful in the process of architectural design (Achten et al. 1999). But still years later, these systems are not common in the architectural design process, neither in architectural education nor in professional work. The reasons might be the high price of e.g. CAVEs, the lack of intuitive navigation and design tools in those environments, the absence of useful and easy to handle design workflows, and the quality constraints of real-time display of 3D models. A great potential for VR in the architectural workflow is the review of design decisions: Display quality, comfortable navigation and realistic illumination are crucial ingredients here. Light is one of the principal elements in architectural design, so design reviews must enable the architect to judge the quality of his design in this respect. Realistic light simulations, e.g. via radiosity algorithms, are no longer the domain of high-end graphic workstations. Today's off-the-shelf hardware and 3D-software provide the architect with high-quality tools to simulate physically correct light distributions. But the quality and impression of light is hard to judge from looking at still renderings. In collaboration with the Institute of Computer Graphics at our university we have established a series of regular design reviews in their immersive virtual environment. This paper describes the workflow that has emerged from this collaboration, the tools that were developed and used, and our practical experiences with global-light-simulations. We share results which we think are helpful to others, and we highlight areas where further research is necessary.
series	CAADRIA
email
last changed	2022/06/07 07:59

_id	b34d
authors	Russell, P., Kohler, N., Forgber, U., Koch, V. and Rügemer, J.
year	1999
title	Interactive Representation of Architectural Design: The Virtual Design Studio as an Architectural Graphics Laboratory
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 459-465
doi	https://doi.org/10.52842/conf.ecaade.1999.459
summary	This paper introduces the Virtual Design Studio (VDS), an internet based design studio environment established by ifib. VDS transfers lessons learned through research projects in the field of Computer Supported Co-operative Work (CSCW) being carried out at ifib into design education. By training for interdisciplinary co-operation within the design process, the students will become better prepared for the flexibility and co-operability required in planning situations. Increasing the communication and co-operation in the planning process can be achieved through the implementation of IT based virtual workspaces. In the design studio setting, this is done through the use of available internet software and technologies. The methodology of the VDS is briefly described including specific assignments intended to focus student investigations into specific areas including the representation of their work using the world wide web. The pedagogical expectations are discussed and anecdotal evidence precedes an general evaluation of the teaching method. The authors postulate that one of the unintended by-products of the studio is the evolution of an effective use of interactivity in the presentation of design concepts, ideas and solutions. A handful of student work is presented to describe the different approaches taken in using the world wide web (WWW) to display project work. A description of the local evolution (VDS specific) of graphical methods and technologies is followed by a comparison with those used in traditional settings. Representation is discussed with focus on the ability of the WWW to replace, augment or corrupt other methods of presentation. The interactive nature of web based presentations induces alterations to the narration of architectural work and can enhance the spatial perception of design space. Space Perception can be enabled through geometrically true VRML representations, the inclusion of auditory sensations, the abstraction of representation through the use of advertising techniques as well as the introduction of non-linear narrative concepts. Examples used by students are shown. A critical assessment of these new representational methods and the place of current new media within the context of architectural representation is discussed.
keywords	Virtual Design Studio, Architectural Graphics, Teaching
series	eCAADe
email
last changed	2022/06/07 07:56

_id	ae38
authors	Jabi, Wassim
year	1999
title	Integrating Databases, Objects and the World-Wide Web for Collaboration in Architectural Design
source	Proceedings of the focus symposium: World Wide Web as Framework for Collaboration in conjunction with the 11th International Conference on Systems Research, Informatics and Cybernetics, The International Institute for Advanced Studies in Systems Research
summary	Architectural design requires specialized vertical knowledge that goes beyond the sharing of marks on paper or the multi-casting of video images. This paper briefly surveys the state-ofthe- art in groupware and outlines the need for vertical and integrated support of synchronous and asynchronous design collaboration. The paper also describes a software prototype (WebOutliner) under development that uses a three-tier persistent object-oriented, web-based technology for a richer representation of hierarchical architectural artifacts using Apple’s WebObjects technology. The prototype contributes to earlier work that defined a framework for a shared workspace consisting of Participants, Tasks, Proposals, and Artifacts. These four elements have been found through observation and analysis to be adequate representations of the essential components of collaborative architectural design. These components are also hierarchical which allows users to filter information, copy completed solutions to other parts of the program, analyze and compare design parameters and aggregate hierarchical amounts. Given its object orientation, the represented artifacts have built-in data and methods that allow them to respond to user actions and manage their own sub-artifacts. In addition, the prototype integrates this technology with Java tools for ubiquitous synchronous web-based access. The prototype uses architectural programming (defining the spatial program of a building) and early conceptual design as examples of seamlessly integrated groupware applications.
keywords	Computer Supported Collaborative Design, WebObjects, Synchronous and Asynchronous Collaboration, Java Applets, Application Server, Web-based Interface
series	other
email
last changed	2002/03/05 19:55

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