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	c408
authors	Hirschberg, U., Schmitt, G., Kurmann, D., Kolarevic, B., Johnson, B. and Donath, D.
year	1999
title	The 24 Hour Design Cycle: An Experiment in Design Collaboration over the Internet
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. 181-190
doi	https://doi.org/10.52842/conf.caadria.1999.181
summary	This paper describes a Virtual Design Studio exercise involving three academic institutions University - Hong Kong (China), ETH Zurich (Switzerland), and University of Washington, Seattle (USA) - whereby teachers and students, obviously on three different continents and in three different time zones, roughly eight hours apart, were working on a common design project using computer-aided design systems, video-conferencing and a web-based central database that managed and displayed all works throughout the process. The 24 hour design cycle is a metaphor for a more open and international approach to design, facilitated through computer networks. It implies a new form of collective authorship and distributed credits and thus deals with some of the essential challenges and opportunities the internet poses to creative disciplines.
series	CAADRIA
email
last changed	2022/06/07 07:50

_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	23df
authors	Kolarevic, Branko and Ng, Edward Y.Y.
year	1999
title	Net-enabled Collective Design Authorship
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 302-315
doi	https://doi.org/10.52842/conf.acadia.1999.302
summary	The paper describes an experiment in collective design authorship conducted within a semester-long virtual design studio. Students at two geographically distant institutions were asked to design a "Place2Meet on the Water," a small floating pavilion to be assembled from hollow-section steel components. The first part of the studio was devoted to a study of precedents, done in teams of five students from both institutions, who worked both synchronously and asynchronously over the Internet. The students' work was continuously reviewed through virtual crits conducted using web pages and video conferencing. The second part of the virtual design studio, devoted to the actual design of the pavilion, was divided into five closely related phases. After each phase students had to place their designs into a common database. They then had to browse through submitted designs and choose one to develop further; they were not allowed to continue with their own designs. That way, students implicitly formed teams and engaged in collective design authorship that was enabled by the network and supported by the design database. The design-centered research project presented in this paper also examines the issues of teaching methods and whether the quality of design could be improved in a networked design environment based on collective authorship and how such an environment can affect the nature of the produced designs.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	0d5b
authors	Latch Craig, David and Zimring, Craig
year	1999
title	Practical Support for Collaborative Design Involving Divided Interests
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 126-137
doi	https://doi.org/10.52842/conf.acadia.1999.126
summary	Collaboration is common in design, yet relatively little is known about the cognitive reasoning processes that occur during collaboration. This paper discusses collaborative design, emphasizing the elaboration and transformations of the problem search space, and the roles that unstructured verbal communication and graphic communication can play in these processes. The paper discusses a prototype system called the Immersive Discussion Tool (IDT) that supports asynchronous design. IDT allows collaborators to mark-up 3-D models over the Internet using a variety of tools, including diagrammatic marks, dynamic simulations and text annotations. IDT relies on VRML to view the models, with an extensive Java-based interface on the backend powering the interactive construction and playback of graphical annotations, the management of threaded discussions, and the management of file input/output. The development of this tool has revealed the difficulty of constructing complex marks in a virtual 3-D space, and the initial implementation of IDT suggests several strategies for solving these problems.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	ecaade03_059_29_russel
id	ecaade03_059_29_russel
authors	Russell, P., Stachelhaus, T. and Elger, D.
year	2003
title	CSNCW: Computer Supported Non-Cooperative Work Barriers to Successful Virtual Design Studios
source	Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6] Graz (Austria) 17-20 September 2003, pp. 59-66
doi	https://doi.org/10.52842/conf.ecaade.2003.059
summary	The paper describes a design studio jointly undertaken by four Universities. With respect given to the groundbreaking work carried out by [Wojtowicz and Butelski (1998)] and [Donath et al 1999] and some of the problems described therein, the majority of the Studio partners had all had positive, if not exemplary experiences with co-operative studio projects carried out over the internet. The positive experience and development of concepts have been well documented in numerous publications over the last 5 years. A platform developed by one of the partners for this type of collaboration is in its third generation and has had well over 1000 students from 12 different universities in over 40 Projects. With this amount of experience, the four partners entered into the joint studio project with high expectations and little fear of failure. This experimental aspect of the studio, combined with the “well trodden” path of previous virtual design studios, lent an air of exploration to an otherwise well-worn format. Everything looked good, or so we thought. This is not to say that previous experiments were without tribulations, but the problems encountered earlier were usually spread over the studio partners and thus, the levels and distribution of frustration were more or less balanced. This raised a (theoretically) well-founded expectation of success. In execution, it was quite the opposite. In this case, the difficulties tended to be concentrated towards one or two of the partners. The partners spoke the same language, but came from different sets of goals, and hence, interpreted the agreements to suit their goals. This was not done maliciously, however the results were devastating to the project and most importantly, the student groups. The differing pedagogical methods of the various institutes played a strong role in steering the design critique at each school. Alongside these difficulties, the flexibility (or lack thereof) of each university’s calendar as well as national and university level holidays led to additional problems in coordination. And of course, (as if this was all not enough), the technical infrastructure, local capabilities and willingness to tackle technological problems were heterogeneous (to put it lightly).
keywords	CSCW: Virtual Design Studio; Mistakes in Pedagogy
series	eCAADe
email
more	http://caad.arch.rwth-aachen.de
last changed	2022/06/07 07:56

_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	837b
authors	Elger, Dietrich and Russell, Peter
year	2000
title	Using the World Wide Web as a Communication and Presentation Forum for Students of Architecture
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 61-64
doi	https://doi.org/10.52842/conf.ecaade.2000.061
summary	Since 1997, the Institute for Industrial Building Production (ifib) has been carrying out upper level design studios under the framework of the Netzentwurf or Net-Studio. The Netzentwurf is categorized as a virtual design studio in that the environment for presentation, criticism and communication is web based. This allows lessons learned from research into Computer Supported Cooperative Work (CSCW) to be adapted to the special conditions indigenous to the architectural design studio. Indeed, an aim of the Netzentwurf is the creation and evolution of a design studio planing platform. In the Winter semester 1999-2000, ifib again carried out two Netzentwurf studios. involving approximately 30 students from the Faculty of Architecture, University of Karlsruhe. The projects differed from previous net studios in that both studios encompassed an inter-university character in addition to the established framework of the Netzentwurf. The first project, the re-use of Fort Kleber in Wolfisheim by Strasbourg, was carried out as part of the Virtual Upperrhine University of Architecture (VuuA) involving over 140 students from various disciplines in six institutions from five universities in France, Switzerland and Germany. The second project, entitled "Future, Inc.", involved the design of an office building for a scenario 20 years hence. This project was carried out in parallel with the Technical University Cottbus using the same methodology and program for two separate building sites.
keywords	Virtual Design Studios, Architectural Graphics, Presentation Techniques
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:55

_id	993c
authors	Fruchter, Renate
year	1999
title	A/E/C Teamwork: A Collaborative Design and Learning Space
source	Journal of Computing in Civil Engineering -- October 1999 -- Volume 13, Issue 4, pp. 261-269
summary	This paper describes an ongoing effort focused on combined research and curriculum development for multidisciplinary, geographically distributed architecture/engineering/construction (A/E/C) teamwork. Itpresents a model for a distributed A/E/C learning environment and an Internet-based Web-mediated collaboration tool kit. The distributed learning environment includes six universities from Europe, Japan, andthe United States. The tool kit is aimed to assist team members and owners (1) capture and share knowledge and information related to a specific project; (2) navigate through the archived knowledge andinformation; and (3) evaluate and explain the product's performance. The A/E/C course offered at Stanford University acts as a testbed for cutting-edge information technologies and a forum to teach newgenerations of professionals how to team up with practitioners from other disciplines and take advantage of information technology to produce a better, faster, more economical product. The paper presents newassessment metrics to monitor students' cross-disciplinary learning experience and track programmatic changes. The paper concludes with challenges and quandaries regarding the impact of informationtechnologies on team performance and behavior.
series	journal paper
last changed	2003/05/15 21:45

_id	f3ed
authors	Huang, Jeffrey
year	1999
title	Project Extranets and Distributed Design: The Value of Internet-Based Media for Design Collaboration
source	ACADIA Quarterly, vol. 18, no. 3, pp. 16-18
doi	https://doi.org/10.52842/conf.acadia.1999.016.2
summary	Internet-based project extranets represent a new generation of CAD tools that has been much talked about in the design professions recently. Many believe they hold considerable promise to change dramatically how design participants collaborate in the AEC industry. Yet we are only beginning to understand the real value that such project extranets provide. Clearly, empirical studies of project extranet usage are needed to illuminate the situation. This paper summarizes the results of an explorative study into the implications of such project extranets on design collaboration.
series	ACADIA
email
last changed	2022/06/07 07:50

_id	b989
authors	Jahn, Gonzalo Vélez
year	1999
title	Realidad Virtual en Arquitectura - Actualidad y Futuro (Virtual Reality in Architecture - The Present and the Future)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 79-82
summary	During recent years, developments in the area of virtual reality and its applications in architecture have undergone a number of important transformations that point out the need of an updated revision and adjustment as regards its current situation status and also that which concerns its potentialities within a foreseeable future. This paper seeks to provide an ample vision about recent developments of VR in architectural applications and, also, about its potential developments within the settings provided by such imminent phenomena as the upcoming Internet II and its future impact on the three dimensional and multisensorial qualities of the information that will move within cyberspace in the next decades. The paper also comments on experiencies underway at the Laboratory of Advanced Techniques in Design, Faculty of Architecture and Urbanism, Universidad Central de Venezuela in collaboration with the Laboratory of Computer Graphics, School of Computing, also at UCV, Caracas. Finally, a number of considerations and conjectures are dedicated to the new field of VR multi-access worlds and its potential to virtual architectural modeling in the Intenet-WWW.
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	ecb2
authors	Kalay, Yehuda E.
year	1999
title	The Future of CAAD: From Computer-Aided Design to Computer-Aided Collaboration
source	Llavaneras S., Gustavo J. and Negrón P., Enssa (eds.), 1ra Conferencia Venezolana sobre Aplicación de Computadores en Arquitectura, Caracas (Venezuela) 1-3 december 1999, pp. 19-28
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. This 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 (and others who are involved in the design decision making process) to assess the quality, desirability, and the implications of their creations. Such assistance requires representation, communication, and analysis. The paper goes on to show how these individual parts 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.
series	other
email
last changed	2002/12/23 14:11

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

_id	sigradi2005_097
id	sigradi2005_097
authors	Luhan, Gregory A.
year	2005
title	At Full-Scale \| From Installation to Inhabitation
source	SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 1, pp. 97-102
summary	In 1999, the University of Kentucky (then the College of Architecture, now the College of Design-School of Architecture) established a Digital Design Studio to combine the strong tradition of handcrafting in the existing design program with those technologically sophisticated tools shaping the profession for the 21st century. Over a six-year period, this all-digital design studio has developed from a pedagogical model for developing new different ways of seeing and making architecture to a proof-of-concept real-world experience to coalesce state-of-the-art visualization techniques with current expectations of practice. Creating dynamic links between students, industry, and the profession has enabled the School of Architecture to provide leadership for practicing architects, to create an effective dialogue between industrial and design professionals, and to incorporate successfully leading-edge design pedagogy with the more technological applications that will shape the future of architecture practice. The materials presented here reflect a sequence of comprehensive digital projects produced under my direction from 1999 through 2005.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	d2b4
authors	Maver, Tom and Petric, Jelena
year	1999
title	Media in Mediation: Prospects for Computer Assisted Design Participation
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 138-147
doi	https://doi.org/10.52842/conf.acadia.1999.138
summary	One of the most consistent, powerful and philosophical ideas which has run like a silk thread through the short and erratic history of the development of computer aided architectural design is that of user participation in the design decision-making process. It is not an idea with which the architectural profession is particularly comfortable but it is, the authors claim, one which is central to the professional ethic and, therefore, to its ultimate survival. Design decision-making is, if addressed properly, a hugely, complex multi-variety, multi-person process on which precious little serious research has been focused. In the late 1960's the Design Methods Group in the USA and the Design Research Society in the UK formulated paper-based models of the design process and anticipated, in some regards with un-nerving accuracy, the way in which the application of information technologies would impinge beneficially on the process of design decision-making and, therefore, on the quality of the built environment. One concept expressed at that time was as follows: (•) the application of computers to the modeling and prediction of the cost and performance behavior of alternative design solutions allows subjective value judgements to be better informed and more explicitly audited, and that (•) such subjective value judgements should be made by those most affected by them, i.e. the future owners and users of buildings. // This paper is devoted to the critical re-examination of this concept, on the seminal research and development which has kept the notion alive over 30 years, and, most importantly in the context of the theme of ACADIA 1999, how the current advances in multimedia, virtual reality and internet access are not yet making its ubiquitous adoption inevitable: in short, a plea for Media in Mediation.
series	ACADIA
email
last changed	2022/06/07 07:58

_id	f02b
authors	Mitchell, W.
year	1999
title	E-topia: urban life, Jim –but not as we know it
source	MIT press
summary	The global digital network is not just a delivery system for email, Web pages, and digital television. It is a whole new urban infrastructure--one that will change the forms of our cities as dramatically as railroads, highways, electric power supply, and telephone networks did in the past. In this lucid, invigorating book, William J. Mitchell examines this new infrastructure and its implications for our future daily lives. Picking up where his best-selling City of Bits left off, Mitchell argues that we must extend the definitions of architecture and urban design to encompass virtual places as well as physical ones, and interconnection by means of telecommunication links as well as by pedestrian circulation and mechanized transportation systems. He proposes strategies for the creation of cities that not only will be sustainable but will make economic, social, and cultural sense in an electronically interconnected and global world. The new settlement patterns of the twenty-first century will be characterized by live/work dwellings, 24-hour pedestrian-scale neighborhoods rich in social relationships, and vigorous local community life, complemented by far-flung configurations of electronic meeting places and decentralized production, marketing, and distribution systems. Neither digiphile nor digiphobe, Mitchell advocates the creation of e-topias--cities that work smarter, not harder.
series	other
last changed	2003/04/23 15:14

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

_id	9dfa
authors	Ries, R. and Mahdavi, A.
year	1999
title	Environmental Life Cycle Assessment in an Integrated CAD Environment: The Ecologue Approach
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 351-363
summary	Construction and operation of buildings is a major cause of resource depletion and environmental pollution. Computational performance evaluation tools could support the decision making process in environmentally responsive building design and play an important role in environmental impact assessment, especially when a life cycle assessment (LCA) approach is used. The building domain, however, presents notable challenges to the application of LCA methods. For comprehensive environmental impact analysis to be realized in a computational support tool for the building design domain, such tools must a) have an analysis method that considers the life cycle of building construction, operation, and decommissioning, b) have a representation that is able to accommodate the data and computability requirements of the analysis method and the analysis tool, and c) be seamlessly integrated within a multi-aspect design analysis environment that can provide data on environmentally relevant building operation criteria. This paper reviews the current state of assessment methods and computational support tools for LCA, and their application to building design. Then, the implementation of an application (ECOLOGUE) for comprehensive computational assessment of environmental impact indicators over the building life cycle is presented. The application is a component in a multi-aspect space-based CAD and evaluation environment (SEMPER). The paper describes the use and typical results of ECOLOGUE system via illustrative examples.
keywords	Life Cycle Assessment, Integrated Computational Environmental Analysis
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	9fd8
authors	Wojtowicz Jerzy and Butelski, Kazimierz
year	1999
title	Lessons from Distributed Design Practice
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 482-487
doi	https://doi.org/10.52842/conf.ecaade.1999.482
summary	Parallel to the expansion of the internet, the acceptance of computerization in architectural practice is clearly evident. This paper signals the emergence of long-distance design collaborations over networks as a pragmatic condition of contemporary design practice, and reports on several successful design projects conceived under these new circumstances. Experiences from these projects were important in formulating both the limits and opportunities derived from the distributed design condition.
keywords	Design Collaboration, VDS, Networks
series	eCAADe
email
last changed	2022/06/07 07:57

_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

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