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	a9b0
authors	Cha, Myung Yeol and Gero, John
year	1999
title	Style Learning: Inductive Generalisation of Architectural Shape Patterns
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 629-644
doi	https://doi.org/10.52842/conf.ecaade.1999.629
summary	Art historians and critics have defined the style as common features appeared in a class of objects. Abstract common features from a set of objects have been used as a bench mark for date and location of original works. Common features in shapes are identified by relationships as well as physical properties from shape descriptions. This paper will focus on how the computer recognises common shape properties from a class of shape objects to learn style. Shape representation using schema theory has been explored and possible inductive generalisation from shape descriptions has been investigated.
keywords	Style, Inductive Generalisation, Knowledge Representation, Shape
series	eCAADe
email
last changed	2022/06/07 07:55

_id	ga9921
id	ga9921
authors	Coates, P.S. and Hazarika, L.
year	1999
title	The use of genetic programming for applications in the field of spatial composition
source	International Conference on Generative Art
summary	Architectural design teaching using computers has been a preoccupation of CECA since 1991. All design tutors provide their students with a set of models and ways to form, and we have explored a set of approaches including cellular automata, genetic programming ,agent based modelling and shape grammars as additional tools with which to explore architectural ( and architectonic) ideas.This paper discusses the use of genetic programming (G.P.) for applications in the field of spatial composition. CECA has been developing the use of Genetic Programming for some time ( see references ) and has covered the evolution of L-Systems production rules( coates 1997, 1999b), and the evolution of generative grammars of form (Coates 1998 1999a). The G.P. was used to generate three-dimensional spatial forms from a set of geometrical structures .The approach uses genetic programming with a Genetic Library (G.Lib) .G.P. provides a way to genetically breed a computer program to solve a problem.G. Lib. enables genetic programming to define potentially useful subroutines dynamically during a run .* Exploring a shape grammar consisting of simple solid primitives and transformations. * Applying a simple fitness function to the solid breeding G.P.* Exploring a shape grammar of composite surface objects. * Developing grammarsfor existing buildings, and creating hybrids. * Exploring the shape grammar of abuilding within a G.P.We will report on new work using a range of different morphologies ( boolean operations, surface operations and grammars of style ) and describe the use of objective functions ( natural selection) and the "eyeball test" ( artificial selection) as ways of controlling and exploring the design spaces thus defined.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	1b4d
authors	Ding, Lan
year	1999
title	An Evolutionary Model for Style Representation Emergence in Design
source	University of Sydney, Key Centre of Design Computing and Cognition
summary	This thesis is concerned with the development of an evolutionary process model for style representation emergence in design. It explores issues involved in the interpretation of style, the concept and process of style representation emergence, an evolutionary approach based on genetic engineering, and its computational implementation. Style is a complex phenomenon in design. Interpreting and formulating design style is a difficult task. This thesis proposes a language model which interprets style space utilising hierarchical levels that map onto syntax and semantics. The style space is then formulated using a genetic description. Current studies have discussed shape semantics emergence in design, but none has been proposed for the emergence of style representation. This thesis provides the concept of style representation emergence with the emphasis on the interpretative aspect of style as well as the emergence process. It explores the emergence process of style representation through an evolutionary approach. Simulation of biological evolution appears to be very useful for design problems. This thesis develops style representation emergence through evolutionary simulation based on genetic engineering. A hierarchical evolutionary process encompassing competition as well as discovery and an evolutionary combination is proposed and developed. A computational representation of style can then be derived by the computer system through the use of this evolutionary process. This model of style representation emergence is applied to traditional Chinese architecture. An evolutionary system is implemented and presented with some examples of traditional Chinese architectural facades. The results from the implementation of the system are analysed and the utility of this model is investigated. The implementation is developed in a Unix environment using the C language. The AutoCAD package is used for the graphic representation.
series	thesis:PhD
email
last changed	2003/05/15 07:25

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

_id	bacd
authors	Abadí Abbo, Isaac
year	1999
title	APPLICATION OF SPATIAL DESIGN ABILITY IN A POSTGRADUATE COURSE
source	Full-scale Modeling and the Simulation of Light [Proceedings of the 7th European Full-scale Modeling Association Conference / ISBN 3-85437-167-5] Florence (Italy) 18-20 February 1999, pp. 75-82
summary	Spatial Design Ability (SDA) has been defined by the author (1983) as the capacity to anticipate the effects (psychological impressions) that architectural spaces or its components produce in observers or users. This concept, which requires the evaluation of spaces by the people that uses it, was proposed as a guideline to a Masters Degree Course in Architectural Design at the Universidad Autonoma de Aguascalientes in Mexico. The theory and the exercises required for the experience needed a model that could simulate spaces in terms of all the variables involved. Full-scale modeling as has been tested in previous research, offered the most effective mean to experiment with space. A simple, primitive model was designed and built: an articulated ceiling that allows variation in height and shape, and a series of wooden panels for the walls and structure. Several exercises were carried out, mainly to experience cause -effect relationships between space and the psychological impressions they produce. Students researched into spatial taxonomy, intentional sequences of space and spatial character. Results showed that students achieved the expected anticipation of space and that full-scale modeling, even with a simple model, proved to be an effective tool for this purpose. The low cost of the model and the short time it took to be built, opens an important possibility for Institutions involved in architectural studies, both as a research and as a learning tool.
keywords	Spatial Design Ability, Architectural Space, User Evaluation, Learning, Model Simulation, Real Environments
series	other
type	normal paper
email
more	http://info.tuwien.ac.at/efa
last changed	2004/05/04 11:27

_id	fa7a
authors	Kokosalakis, Jen
year	1999
title	Learning to Learn Through Computing: Sensitising Surveys and Empowering Urban Stakeholder's Input to Policy
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 714-721
doi	https://doi.org/10.52842/conf.ecaade.1999.714
summary	Reflection on three decades using computing at JMU, to teach survey techniques to planners, with application to community research projects, reveals that each computing "learning" threshold/milestone enabled each protagonist (research lecturer, planning student, professional and community-stakeholder),"to learn" more broadly. This facilitated more sensitive data-gathering-so empowering respondent/residents with more control to define data to influence urban policy. The seventies' mechanical processing and limited computing experience restricted data quality/depth. Hand-processing 'edge punch cards' recorded enriched variety and depth. Learning computing from Maths lecturers enabled students to learn to control SPSS program and data files. Maths lecturers' withdrawal necessitated the authors' learning, which brought control of the whole process, so facilitating informal inductive interviews-more open to respondents' control over topics to be discussed. Planners learning 3DCAAD-modelling, learned to conceptualise spatially. Community members used CAAD with greater ease, possibly through greater Internet and games experience. Free, EU-funded, private, government, and so on training schemes for Merseysiders, may enfranchise them to define and submit their own demands regarding urban regeneration, directly, through new technological channels (opened by Local Authorities). And new partnering, with private, public and developer agencies may drive these initiatives home.
keywords	Research Methods, Community Empowerment, Learning Computing, Urban Planning, Sensitivity
series	eCAADe
email
last changed	2022/06/07 07:51

_id	f44f
authors	Huang, Ying-Hsiu
year	2000
title	Investigating the Cognitive Behavior of Generating Idea Sketches. Neural Network Simulation
source	CAADRIA 2000 [Proceedings of the Fifth Conference on Computer Aided Architectural Design Research in Asia / ISBN 981-04-2491-4] Singapore 18-19 May 2000, pp. 287-296
doi	https://doi.org/10.52842/conf.caadria.2000.287
summary	In idea sketches, there are a number of ambiguous shapes. Designers will associate and transform some shapes into others (Liu, 1993). Then, they evaluate these shapes in terms of functions and design requirements; furthermore, they would have generated other shapes that certified the design requirements (Huang, 1999). However, not only is the idea of design composed of one element, but also consisted of varied components. The purpose of this paper is to investigate how designers generate ideas of multi-component products, and to simulate this phenomenon by neural networks. At the same time, this paper attempts to study the design cognitive behavior of idea-generating stages, and explores the designers' cognitive phenomenon. Therefore, there are two stages in this paper: First, I conduct a cognitive experiment to realize how designers generate the multi-component product and acquire the sketches that designers generated. Second, I train the neural networks to simulate the behavior of idea generation and explore the cognitive phenomenon in design sketches. As a result, networks associate one shape that trained before, and then generate a complete idea. This phenomenon is similar to the cognitive behavior of designers who saw the ambiguous shape as one shape, which was retrieved from LTM. Moreover, the neural network is examined by a rectangle, which is totally different from the training patterns. The network will associate a confused shape. But the network will associate different shapes by adjusting some critical parameters. Designers can generate variable shapes from one shape, but the signal neural network can't simulate this kind of behavior. On the contrary, this paper proposes five sequential networks to generate variable shapes from the same shape and simulates how designers develop ideas.
series	CAADRIA
email
last changed	2022/06/07 07:49

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

_id	caadria2007_549
id	caadria2007_549
authors	Huang, Chuang-Yu
year	2007
title	The Role of Physical Models in Digital Design Processes
source	CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
doi	https://doi.org/10.52842/conf.caadria.2007.x.d1s
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	2874
authors	Pan, Yunhe
year	1999
title	Dunhuang Art Cave Virtual Rebuilding and Navigation: Applying Multimedia, Intelligence and Design Technologies in Dunhuang Arts
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. 1-20
doi	https://doi.org/10.52842/conf.caadria.1999.001
summary	Dunhuang Art Cave is confronted with the serious influence of natural forces. Integrating Multimedia, Artificial intelligence and CAD, we can virtually preserve and reproduce the original cave architecture, painting sculptures and murals. This paper first introduce the main ideas of Dunhuang cave virtual rebuilding, cave virtual navigating, mural color restoring as well as Dunhuang-style pattern designing, and then analyzes in detail their technical issues and show results of prototype systems. In the end, we give a brief summary.
series	CAADRIA
last changed	2022/06/07 08:00

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

_id	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	ga9924
id	ga9924
authors	Cardalda, Juan Jesus Romero J.J.
year	1999
title	Artificial Music Composer
source	International Conference on Generative Art
summary	Traditional Musical Computation Systems had to face the differences between the computational techniques and the characteristics of musical creation. Characteristics such as a high degree of subjectivity, a great irrational component, and a learning process based on the use of examples and environmental absorption, have made music difficult to be formalized through algorithmic methods or classical Artificial Intelligence methods such as Expert Systems. We propose the creation of a cybernetic model of a human composer in a primeval stage of human musical evolution, following a paradigm of cognitive complex models creation, based on the use of the human reference, not only in a static point of view but also considering its evolution through time. Therefore, the proposed system simulates musical creation in one of the first stages of musical evolution, whose main characteristics are the percussive and choral aspects. The system is based on Genetic Algorithms, whose genetic population is integrated by several tribes. This model carries out the task of musical composition, led by the user who expresses his/her musical taste assigning a punctuation to each tribe. The GA selects the worse tribes as individuals to be eliminated. In order to select those tribes which are going to be used as parents, a random function is used, having each tribe a probality proportional to its punctuation. The new tribe is produced by crossing the parent tribes in each individual. Afterwards, mutation takes place in the created individuals. The experiments carried out with this system have proved its functionality in the composition of rhythmic patterns. It is intended to enlarge the experiment's scope by communicating the system via Internet. This would enable its use by users of different musical cultures, taking into account that the system is user-friendly, since it requires no musical knowledge.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	0dc3
authors	Chambers, Tom and Wood, John B.
year	1999
title	Decoding to 2000 CAD as Mediator
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 210-216
doi	https://doi.org/10.52842/conf.ecaade.1999.210
summary	This paper will present examples of current practice in the Design Studio course of the BDE, University of Strathclyde. The paper will demonstrate an integrated approach to teaching design, which includes CAD among other visual communication techniques as a means to exploring design concepts and the presentation of complex information as part of the design process. It will indicate how the theoretical dimension is used to direct the student in their areas of independent study. Projects illustrated will include design precedents that have involved students in the review and assessment of landmarks in the history of design. There will be evidence of how students integrate DTP in the presentation of site analysis, research of appropriate design precedents and presentation of their design solutions. CADET underlines the importance of considering design solutions within the context of both our European cultural context and of assessing the environmental impact of design options, for which CAD is eminently suited. As much as a critical method is essential to the development of the design process, a historical perspective and an appreciation of the sophistication of communicative media will inform the analysis of structural form and meaning in a modem urban context. Conscious of the dynamic of social and historical influences in design practice, the student is enabled "to take a critical stand against the dogmatism of the school "(Gadamer, 1988) that inevitably insinuates itself in learning institutions and professional practice.
keywords	Design Studio, Communication, Integrated Teaching
series	eCAADe
email
last changed	2022/06/07 07:56

_id	1ea1
authors	Cheng, Nancy Yen-wen
year	1999
title	Digital Design at UO
source	ACADIA Quarterly, vol. 18, no. 4, p. 18
doi	https://doi.org/10.52842/conf.acadia.1999.x.l0k
summary	University of Oregon Architecture Department has developed a spectrum of digital design from introductory methods courses to advanced design studios. With a computing curriculum that stresses a variety of tools, architectural issues such as form-making, communication, collaboration,theory-driven design, and presentation are explored. During the first year, all entering students are required to learn 3D modeling, rendering, image-processing and web-authoring in our Introduction to Architectural ComputerGraphics course. Through the use of cross-platform software, the two hundred beginning students are able to choose to work in either MacOS or Windows. Students begin learning the software by ‘playing’ with geometric elements and further develop their control by describing assigned architectural monuments. In describing the monuments, they begin with 2D diagrams and work up to complete 3D compositions, refining their modelswith symbol libraries. By visualizing back and forth between the drafting and modeling modes, the students quickly connect orthogonal plans and sections with their spatial counterparts. Such connections are an essential foundation for further learning.
series	ACADIA
email
last changed	2022/06/07 07:49

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

_id	85ab
authors	Corrao, Rossella and Fulantelli, Giovanni
year	1999
title	Architects in the Information Society: The Role of New Technologies
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 665-671
doi	https://doi.org/10.52842/conf.ecaade.1999.665
summary	New Technologies (NTs) offer us tools with which to deal with the new challenges that a changing society or workplace presents. In particular, new design strategies and approaches are required by the emerging Information Society, and NTs offer effective solutions to the designers in the different stages of their professional life, and in different working situations. In this paper some meaningful scenarios of the use of the NTs in Architecture and Urban Design are introduced; the scenarios have been selected in order to understand how the role of architects in the Information Society is changing, and what new opportunities NTs offer them. It will be underlined how the telematic networks play an essential role in the activation of virtual studios that are able to compete in an increasingly global market; examples will be given of the use of the Web to support activities related to Urban Planning and Management; it will be shown how the Internet may be used to access strategic resources for education and training, and sustain lifelong learning. The aforesaid considerations derive from a Web-Based Instruction system we have developed to support University students in the definition of projects that can concern either single buildings or whole parts of a city. The system can easily be adopted in the other scenarios introduced.
keywords	Architecture, Urban Planning , New Technologies, World Wide Web, Education
series	eCAADe
email
last changed	2022/06/07 07:56

_id	2f1a
authors	Dabney, M.K., Wright, J.C. and Sanders, D.H.
year	1999
title	Virtual Reality and the Future of Publishing Archaeological Excavations: the multimedia publication of the prehistoric settlement on Tsoungiza at Ancient Nemea
source	New York: The Metropolitan Museum of Art
summary	The Nemea Valley Archaeological Project is a study of settlement and land use in a regional valley system in Greece extending from the Upper Paleolithic until the present. Active field research was conducted by four teams between 1981 and 1990. The first component was a regional archaeological survey. Second, and closely related to the first, was a social anthropological study of modern settlement and land use. Next was a team assigned to excavate the succession of prehistoric settlements of Ancient Nemea on Tsoungiza. Last, historical ecologists, a palynologist, and a geologist formed the environmental component of the research. As a result of advances in electronic publishing, plans for the final publication of the Nemea Valley Archaeological Project have evolved. Complete publication of the excavation of the prehistoric settlements of Ancient Nemea on Tsoungiza will appear in an interactive multimedia format on CD/DVD in Fall 2000. This project is planned to be the first electronic publication of the American School of Classical Studies at Athens. We have chosen to publish in electronic format because it will meet the needs and interests of a wider audience, including avocational archaeologists, advanced high school and college students, graduate students, and professional archaeologists. The multimedia format on CD/DVD will permit the inclusion of text, databases, color and black-and-white images, two and three-dimensional graphics, and videos. This publication is being developed in cooperation with Learning Sites, Inc., which specializes in interactive three-dimensional reconstructions of ancient worlds http://www.learningsites.com. The Nemea Valley Archaeological Project is particularly well prepared for the shift towards electronic publishing because the project's field records were designed for and entered in computer databases from the inception of the project. Attention to recording precise locational information for all excavated objects enables us to place reconstructions of objects in their reconstructed architectural settings. Three-dimensional images of architectural remains and associated features will appear both as excavated and as reconstructed. Viewers will be able to navigate these images through the use of virtual reality. Viewers will also be able to reference all original drawings, photographs, and descriptions of the reconstructed architecture and objects. In this way a large audience will be able to view architectural remains, artifacts, and information that are otherwise inaccessible.
series	other
last changed	2003/04/23 15:14

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