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

_id	6285
authors	Pratini, Edison
year	1999
title	Esboçando com Gestos: O Projeto 3D SketchMaker (Sketching with Gestures: The 3D SketchMaker Project)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 141-144
summary	The 3D SketchMaker Project has developed two prototypes for a gestural 3D sketching interface in a computer system to be used in the earliest phases of the design process. The goal of this ongoing research is to provide architects, and other designers involved in object conception, with a 3D gestural instrument that takes advantage of new virtual reality resources and is more natural than using the mouse, less difficult than learning complex software and less abstract than manipulating 2D entities on orthogonal projections. The focus of this project is on the input interface, taking into consideration two factors: First, for many architects and designers, one of the main reasons for not using 3D modeling from the very beginning of the design process is that both current computer hardware and software are hardly appropriate to do the spontaneous and quick drawings that are used to assist in conceptualizing their objects. Second, three-dimensional modeling packages use two-and-three dimensional elements, in a 3D environment, but usually employ 2D input devices that are not appropriate to work in 3D environments, such as mice or pen-and-tablets. The 3D SketchMaker was conceived to take advantage of a natural tendency most people have in using gesture as an aid to language when trying to describe the shape, form or volume of objects. The system is intended to assist or replace the first 2D drawing steps in the design process, generating rough 3D sketches that can be refined later. It is, in essence, a 3D modeling system (a prototype, at this time) directed to do sketching with hand movements and gestures in a virtual reality environment.
series	SIGRADI
email
last changed	2016/03/10 09:58

_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	9e00
authors	Bridges, Alan
year	1999
title	Progress? What Progress?
doi	https://doi.org/10.52842/conf.ecaade.1999.321
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 321-326
summary	This paper briefly reviews some of the history of computer graphics standardisation and then presents two specific case studies: one comparing HTML with SGML and Troff and the other comparing VRML with the Tektronix® Interactive Graphics Language implementation of the ACM Core Standard. In each case, it will be shown how the essential intellectual work carried out twenty years ago still lies at the foundations of the newer applications.
keywords	SGML, HTML, VRML
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	5a10
authors	Cheng, Nancy Yen-Wen
year	1999
title	Playing with Digital Media: Enlivening Computer Graphics Teaching
doi	https://doi.org/10.52842/conf.acadia.1999.096
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 96-109
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	2145
authors	Engeli, Maia and Mueller Andre
year	1999
title	Digital Environments for Learning and Collaboration Architecture, Communication, Creativity, Media and Design Process
doi	https://doi.org/10.52842/conf.acadia.1999.040
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 40-52
summary	Digital networks are gaining importance as environments for learning and creative collaboration. Technical achievements, software enhancements, and a growing number of applicable principles make it possible to compile complex environments that satisfy many aspects necessary for creative collaboration. This paper focuses on three issues: the architecture of collaborative environments, communication in these environments and the processes inherent to creative collaboration. The information architecture of digital environments looks different from physical architecture, mainly because the material that it is made out of is information and not stone, wood or metal and the goal is to pro-vide appropriate paths and views to information. Nonetheless, many analogies can be drawn between information architecture and physical architecture, including the need for useability, aesthetics, and consistency. To communicate is important for creative collaboration. Digital networks request and enable new strategies for communicating. Regarding the collaborative creative process we have been able to detect principles and features that enhance this process, but there are still many unanswered questions. For example, the environment can enable and improve the frequency of surprise and coincidence, two factors that often play decisive roles in the creative processes but cannot be planned for in advance. Freedom and transparency within the environment are other important factors that foster creative collaboration. The following findings are based on numerous courses, which we have taught using networked environments and some associated, research projects that helped to verify their applicability for architectural practice.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:55

_id	db00
authors	Espina, Jane J.B.
year	2002
title	Base de datos de la arquitectura moderna de la ciudad de Maracaibo 1920-1990 [Database of the Modern Architecture of the City of Maracaibo 1920-1990]
source	SIGraDi 2002 - [Proceedings of the 6th Iberoamerican Congress of Digital Graphics] Caracas (Venezuela) 27-29 november 2002, pp. 133-139
summary	Bases de datos, Sistemas y Redes 134The purpose of this report is to present the achievements obtained in the use of the technologies of information andcommunication in the architecture, by means of the construction of a database to register the information on the modernarchitecture of the city of Maracaibo from 1920 until 1990, in reference to the constructions located in 5 of Julio, Sectorand to the most outstanding planners for its work, by means of the representation of the same ones in digital format.The objective of this investigation it was to elaborate a database for the registration of the information on the modernarchitecture in the period 1920-1990 of Maracaibo, by means of the design of an automated tool to organize the it datesrelated with the buildings, parcels and planners of the city. The investigation was carried out considering three methodologicalmoments: a) Gathering and classification of the information of the buildings and planners of the modern architectureto elaborate the databases, b) Design of the databases for the organization of the information and c) Design ofthe consultations, information, reports and the beginning menu. For the prosecution of the data files were generated inprograms attended by such computer as: AutoCAD R14 and 2000, Microsoft Word, Microsoft PowerPoint and MicrosoftAccess 2000, CorelDRAW V9.0 and Corel PHOTOPAINT V9.0.The investigation is related with the work developed in the class of Graphic Calculation II, belonging to the Departmentof Communication of the School of Architecture of the Faculty of Architecture and Design of The University of the Zulia(FADLUZ), carried out from the year 1999, using part of the obtained information of the works of the students generatedby means of the CAD systems for the representation in three dimensions of constructions with historical relevance in themodern architecture of Maracaibo, which are classified in the work of The Other City, generating different types ofisometric views, perspectives, representations photorealistics, plants and facades, among others.In what concerns to the thematic of this investigation, previous antecedents are ignored in our environment, and beingthe first time that incorporates the digital graph applied to the work carried out by the architects of “The Other City, thegenesis of the oil city of Maracaibo” carried out in the year 1994; of there the value of this research the field of thearchitecture and computer science. To point out that databases exist in the architecture field fits and of the design, alsoweb sites with information has more than enough architects and architecture works (Montagu, 1999).In The University of the Zulia, specifically in the Faculty of Architecture and Design, they have been carried out twoworks related with the thematic one of database, specifically in the years 1995 and 1996, in the first one a system wasdesigned to visualize, to classify and to analyze from the architectural point of view some historical buildings of Maracaiboand in the second an automated system of documental information was generated on the goods properties built insidethe urban area of Maracaibo. In the world environment it stands out the first database developed in Argentina, it is the database of the Modern andContemporary Architecture “Datarq 2000” elaborated by the Prof. Arturo Montagú of the University of Buenos Aires. The general objective of this work it was the use of new technologies for the prosecution in Architecture and Design (MONTAGU, Ob.cit). In the database, he intends to incorporate a complementary methodology and alternative of use of the informationthat habitually is used in the teaching of the architecture. When concluding this investigation, it was achieved: 1) analysis of projects of modern architecture, of which some form part of the historical patrimony of Maracaibo; 2) organized registrations of type text: historical, formal, space and technical data, and graph: you plant, facades, perspectives, pictures, among other, of the Moments of the Architecture of the Modernity in the city, general data and more excellent characteristics of the constructions, and general data of the Planners with their more important works, besides information on the parcels where the constructions are located, 3)construction in digital format and development of representations photorealistics of architecture projects already built. It is excellent to highlight the importance in the use of the Technologies of Information and Communication in this investigation, since it will allow to incorporate to the means digital part of the information of the modern architecturalconstructions that characterized the city of Maracaibo at the end of the XX century, and that in the last decades they have suffered changes, some of them have disappeared, destroying leaves of the modern historical patrimony of the city; therefore, the necessity arises of to register and to systematize in digital format the graphic information of those constructions. Also, to demonstrate the importance of the use of the computer and of the computer science in the representation and compression of the buildings of the modern architecture, to inclination texts, images, mapping, models in 3D and information organized in databases, and the relevance of the work from the pedagogic point of view,since it will be able to be used in the dictation of computer science classes and history in the teaching of the University studies of third level, allowing the learning with the use in new ways of transmission of the knowledge starting from the visual information on the part of the students in the elaboration of models in three dimensions or electronic scalemodels, also of the modern architecture and in a future to serve as support material for virtual recoveries of some buildings that at the present time they don’t exist or they are almost destroyed. In synthesis, the investigation will allow to know and to register the architecture of Maracaibo in this last decade, which arises under the parameters of the modernity and that through its organization and visualization in digital format, it will allow to the students, professors and interested in knowing it in a quicker and more efficient way, constituting a contribution to theteaching in the history area and calculation. Also, it can be of a lot of utility for the development of future investigation projects related with the thematic one and restoration of buildings of the modernity in Maracaibo.
keywords	database, digital format, modern architecture, model, mapping
series	SIGRADI
email
last changed	2016/03/10 09:51

_id	avocaad_2001_22
id	avocaad_2001_22
authors	Jos van Leeuwen, Joran Jessurun
year	2001
title	XML for Flexibility an Extensibility of Design Information Models
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	The VR-DIS research programme aims at the development of a Virtual Reality – Design Information System. This is a design and decision support system for collaborative design that provides a VR interface for the interaction with both the geometric representation of a design and the non-geometric information concerning the design throughout the design process. The major part of the research programme focuses on early stages of design. The programme is carried out by a large number of researchers from a variety of disciplines in the domain of construction and architecture, including architectural design, building physics, structural design, construction management, etc.Management of design information is at the core of this design and decision support system. Much effort in the development of the system has been and still is dedicated to the underlying theory for information management and its implementation in an Application Programming Interface (API) that the various modules of the system use. The theory is based on a so-called Feature-based modelling approach and is described in the PhD thesis by [first author, 1999] and in [first author et al., 2000a]. This information modelling approach provides three major capabilities: (1) it allows for extensibility of conceptual schemas, which is used to enable a designer to define new typologies to model with; (2) it supports sharing of conceptual schemas, called type-libraries; and (3) it provides a high level of flexibility that offers the designer the opportunity to easily reuse design information and to model information constructs that are not foreseen in any existing typologies. The latter aspect involves the capability to expand information entities in a model with relationships and properties that are not typologically defined but applicable to a particular design situation only; this helps the designer to represent the actual design concepts more accurately.The functional design of the information modelling system is based on a three-layered framework. In the bottom layer, the actual design data is stored in so-called Feature Instances. The middle layer defines the typologies of these instances in so-called Feature Types. The top layer is called the meta-layer because it provides the class definitions for both the Types layer and the Instances layer; both Feature Types and Feature Instances are objects of the classes defined in the top layer. This top layer ensures that types can be defined on the fly and that instances can be created from these types, as well as expanded with non-typological properties and relationships while still conforming to the information structures laid out in the meta-layer.The VR-DIS system consists of a growing number of modules for different kinds of functionality in relation with the design task. These modules access the design information through the API that implements the meta-layer of the framework. This API has previously been implemented using an Object-Oriented Database (OODB), but this implementation had a number of disadvantages. The dependency of the OODB, a commercial software library, was considered the most problematic. Not only are licenses of the OODB library rather expensive, also the fact that this library is not common technology that can easily be shared among a wide range of applications, including existing applications, reduces its suitability for a system with the aforementioned specifications. In addition, the OODB approach required a relatively large effort to implement the desired functionality. It lacked adequate support to generate unique identifications for worldwide information sources that were understandable for human interpretation. This strongly limited the capabilities of the system to share conceptual schemas.The approach that is currently being implemented for the core of the VR-DIS system is based on eXtensible Markup Language (XML). Rather than implementing the meta-layer of the framework into classes of Feature Types and Feature Instances, this level of meta-definitions is provided in a document type definition (DTD). The DTD is complemented with a set of rules that are implemented into a parser API, based on the Document Object Model (DOM). The advantages of the XML approach for the modelling framework are immediate. Type-libraries distributed through Internet are now supported through the mechanisms of namespaces and XLink. The implementation of the API is no longer dependent of a particular database system. This provides much more flexibility in the implementation of the various modules of the VR-DIS system. Being based on the (supposed to become) standard of XML the implementation is much more versatile in its future usage, specifically in a distributed, Internet-based environment.These immediate advantages of the XML approach opened the door to a wide range of applications that are and will be developed on top of the VR-DIS core. Examples of these are the VR-based 3D sketching module [VR-DIS ref., 2000]; the VR-based information-modelling tool that allows the management and manipulation of information models for design in a VR environment [VR-DIS ref., 2000]; and a design-knowledge capturing module that is now under development [first author et al., 2000a and 2000b]. The latter module aims to assist the designer in the recognition and utilisation of existing and new typologies in a design situation. The replacement of the OODB implementation of the API by the XML implementation enables these modules to use distributed Feature databases through Internet, without many changes to their own code, and without the loss of the flexibility and extensibility of conceptual schemas that are implemented as part of the API. Research in the near future will result in Internet-based applications that support designers in the utilisation of distributed libraries of product-information, design-knowledge, case-bases, etc.The paper roughly follows the outline of the abstract, starting with an introduction to the VR-DIS project, its objectives, and the developed theory of the Feature-modelling framework that forms the core of it. It briefly discusses the necessity of schema evolution, flexibility and extensibility of conceptual schemas, and how these capabilities have been addressed in the framework. The major part of the paper describes how the previously mentioned aspects of the framework are implemented in the XML-based approach, providing details on the so-called meta-layer, its definition in the DTD, and the parser rules that complement it. The impact of the XML approach on the functionality of the VR-DIS modules and the system as a whole is demonstrated by a discussion of these modules and scenarios of their usage for design tasks. The paper is concluded with an overview of future work on the sharing of Internet-based design information and design knowledge.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	ddssar0019
id	ddssar0019
authors	Madrazo, Leandro
year	2000
title	Networking: media, representation and architecture
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	In this paper we present a pedagogic work, carried out in a third year architecture course, focused on the relationship between teaching content and media. The subject-matter of the course is the concept of representation; an eminently philosophical issue which transcends the limits of a particular discipline. The media that have been used are mostly the web, along with other standard programs to process text and images, create models and animations. The core of this research work is the course ‘Sistemas de Representación’, which has taken place for the first time in the academic year 1999/00. The course is structured in six themes, each one standing for a system of representation: TEXT, FIGURE, OBJECT, IMAGE, SPACE and LIGHT. Within every system, a variety of topics dealing with the concept of representation are addressed in an interdisciplinary manner. A web based learning environment named NETWORKING has been created especially for the course. This environment allows students to perform a variety of collaborative works: drawing visual and linguistic relationships, developing further the works of other students, and participating in collective processes of form generation and space perception.
series	DDSS
last changed	2003/08/07 16:36

_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
doi	https://doi.org/10.52842/conf.ecaade.2003.059
source	Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6] Graz (Austria) 17-20 September 2003, pp. 59-66
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	160c
authors	Selles, Pascual
year	1999
title	RGB Winds are Blowing in the Design Studio
doi	https://doi.org/10.52842/conf.ecaade.1999.286
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 286-291
summary	This paper presents the results of two design studio elective courses offered to students in their second and third semester of studies at the Design Studio Department, "Universidad Politécnica de Valencia, UPV." Classes are based on a methodology that directly relates the language of architectural form and space, to the language of the specific software being used. Our focus is not only to discover what may be represented, but most important what may not, and why. We aim to point out the differences between architecture as perceived and experienced by a human being, and its digital representation as a computer data structure. At the Digital Design Studio, students are faced with a sequence of two projects so as to learn the basics of architecture, while developing their skill to build a digital representation of it. The first exercise within this CAD sequence is reading and analyzing a built project: a study of precedent. With this exercise we aim at two goals: to decipher the keys or parameters of architectural design, from drawings and pictures, trying to recognize an "architectural language"; and to learn a particular syntax of digital modeling. The second exercise is a project of a single family house within a narrow rectangular site and with only one street elevation. With this project we focus on the strong impact of stairs on the organization of functions and circulation, the illumination and ventilation of spaces with double heights and patios, and study the power of the section to express clearly the organization of spaces.
keywords	Computer Aided Design, Studio, Education
series	eCAADe
email
last changed	2022/06/07 07:56

_id	2ba3
authors	Vasquez, M., Aversa, T. and Luongo, A.
year	1999
title	Argentine History of Visual Communication Design in CD-Rom
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 416-419
summary	Objective: Using images resulting from the theoretical analysis to produce multimedia images with the incorporation of the time factor, with the aid of an author tool such as Macromedia Director 5.0 and 6.0 - which makes the WYSIWYG (what you see is what you get) design possible, this enables the development of an intuitive system in the process of multimedia composition. Director 5.0/6.0 supports a writing language called "lingo" the use of the language by means of sentences composes the syntax that coordinates and compiles digital files of various sizes about the historical topic dealt with. // Topic: Recording the design work and the performance of a personality who was a paradigm of the historical time in which he carried out his work in a 650 Mb CD-Rom unit.
series	SIGRADI
email
last changed	2016/03/10 10:02

_id	2e09
authors	Wells, Alison
year	1999
title	Exploring the Development of the Independent, Electronic, Scholarly Journal
source	University of Sheffield, Department of Information Studies
summary	This dissertation sets out to examine the extent of independent, electronic scholarly journals, that is, those that are available through the Internet, usually the World Wide Web, free of charge to the reader, and publish academic articles, usually peer reviewed. A list of journals was drawn up using the NewJour archive of journal announcements, supplemented by the World Wide Web Virtual Library and Glasgow University library catalogue. The 387 journals that were found were then categorised in the following categories: Title, URL, originating country, whether it was peer reviewed, organisation or person responsible, broad subject, narrow subject, format, language, whether there was a print version, year of first issue, year of latest issue and number of issues and articles per year. An e-mail survey was also carried out of the 84 electronic journals that had some way of determining their readership, either by having voluntary or compulsory registration, or sending e-mail updates to subscribers. The survey asked for the number of subscribers to each journal, and also the number of hits the Web site received each month It was found that most of the journals were following one of three strategies: () a Niche Market strategy - focusing a highly specialised journal to a small audience. () a Vanity Publishing strategy - producing journals in a mainstream area, with no external funding.(*) a Commercial strategy - producing journals in a mainstream area, with attempts made to gain external funding through sponsorship and advertising. It was concluded that unless the current market for electronic journals changed in some way, either by journal budgets devolving to academic departments, or some collaborative action between universities, that the future for electronic journals was as part of "one-stop shops" for particular subjects, with a mixture of free and paid for journals (or article servers), together with other related services, controlled by commercial outfits.
series	thesis:MSc
more	http://panizzi.shef.ac.uk/elecdiss/edl0001/
last changed	2003/02/12 22:37

_id	2076
authors	Holmgren, Steen and Rüdiger, Bjarne
year	1999
title	IT in Urban Regeneration Projects
doi	https://doi.org/10.52842/conf.ecaade.1999.708
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 708-713
summary	This paper is about the development of new tools for the residents to use for participation in the planning process and by the professional generating proposals for projects. It deals with two actual research projects, which might be described as transition projects. The projects are Digital 3D City Model of Copenhagen and Urban Architecture in Urban Renewal, - in dialogue between professionals and residents. These projects take their point of departure in the architects traditional working methods and working tools, but they focus on new methods for the dialogue between professionals and inhabitants and on a new visual language based on the digital technology. In this transition situation we see the educated architect as well as the politician and the inhabitant as students in a common learning process. In the end of the paper we introduce a planned project about IT in Urban Renewal. The project is based on an ongoing governmental experiment with involving inhabitants actively in the renewal of their urban area. This project is intended to combine dialogue methods with the use of interactive 3D-digital City models on the Internet.
keywords	3D City modeling, Urban Regeneration, Participation, Dialogue Method, 3D Digital City Model, Urban Architecture
series	eCAADe
email
last changed	2022/06/07 07:50

_id	sigradi2003_014
id	sigradi2003_014
authors	Russell, P., Jackson, M. and Dieckmann, A.
year	2003
title	Separated at Birth
source	SIGraDi 2003 - [Proceedings of the 7th Iberoamerican Congress of Digital Graphics] Rosario Argentina 5-7 november 2003
summary	While distributed or collaborative design studios have a long pedigree (Donath 1999), there seldom arises the chance to test the limits of the concepts implied by the idea of the physically separated design team. The indigenous differences of culture, schedules and language accentuate this. The authors entered into an experimental design exercise that would seek to explore the range of dualities, which are often encumbered by such studios owing to their very nature. As an additional catalyst in the experiment, a design topic was chosen which reflected the nature of the studio thereby creating a Gödelian knot of self-referentiality.
keywords	Virtual Design Studio; CSCW; Distributed Practice; Intensive Learning
series	SIGRADI
email
last changed	2016/03/10 09:59

_id	f11d
authors	Brown, K. and Petersen, D.
year	1999
title	Ready-to-Run Java 3D
source	Wiley Computer Publishing
summary	Written for the intermediate Java programmer and Web site designer, Ready-to-Run Java 3D provides sample Java applets and code using Sun's new Java 3D API. This book provides a worthy jump-start for Java 3D that goes well beyond the documentation provided by Sun. Coverage includes downloading the Java 2 plug-in (needed by Java 3D) and basic Java 3D classes for storing shapes, matrices, and scenes. A listing of all Java 3D classes shows off its considerable richness. Generally, this book tries to cover basic 3D concepts and how they are implemented in Java 3D. (It assumes a certain knowledge of math, particularly with matrices, which are a staple of 3D graphics). Well-commented source code is printed throughout (though there is little additional commentary). An applet for orbiting planets provides an entertaining demonstration of transforming objects onscreen. You'll learn to add processing for fog effects and texture mapping and get material on 3D sound effects and several public domain tools for working with 3D artwork (including converting VRML [Virtual Reality Markup Language] files for use with Java 3D). In all, this book largely succeeds at being accessible for HTML designers while being useful to Java programmers. With Java 3D, Sun is betting that 3D graphics shouldn't require a degree in computer science. This book reflects that philosophy, though advanced Java developers will probably want more detail on this exciting new graphics package. --Richard Dragan Topics covered: Individual applets for morphing, translation, rotation, and scaling; support for light and transparency; adding motion and interaction to 3D objects (with Java 3D classes for behaviors and interpolators); and Java 3D classes used for event handling.
series	other
last changed	2003/04/23 15:14

_id	d9d0
authors	Cohen Egler, Tamara Tania
year	1999
title	Río Digital (Digital Rio)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 478-481
summary	RioDigital is a text situated on new forms of expression of knowledge over the city. It is a written multimedia whose objective is to place in disposability for the society the complexity of urban space on its multiple historical determinations, of its space, social and cultural forms. It is a research over the potentials of digital art to express the processes of constitution of social forms and constructions of urban space. The motion of works was in the sense of using this language to reconstitute and vivify the history of Rio de Janeiro city in the XX century. The city is an ensemble of symbols that encounters the language in its best form of presentation. The research identified visual documents as films, photos and maps that made possible to reconstruct processes of transformation, worked through the use of digital images technology that allows expression and turns move perceptible the transmission of this history. The digital image is certainly a possibility to represent urban reality. Through movement, illumination of image and of writing it was possible to express to process of construction and reconstruction of space building and social changes. We understand that the condition of citizen is associated with the feeling of belonging, which urban process every time move complex and difficult to understand, that new technologies can through synthesis, connectivity and interactivity expand the capacity of indivils to know the city and act positively with it. It is an intention to amplify the sense of belonging and encourage the action of transform.
series	SIGRADI
email
last changed	2016/03/10 09:49

_id	ff51
authors	Neiman, Bennett R. and Do, Ellen Yi-Luen
year	1999
title	Digital Media and the Language of Vision
doi	https://doi.org/10.52842/conf.acadia.1999.070
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 70-80
summary	Digital media are transforming the practice and teaching of design. Information technologies offer not only better production and rendering tools but also the ability to model, manipulate, and to understand designing in new ways. This paper outlines a thirteen-step methodology used in a seminar that teaches design students how to see, think, and form space using both digital and physical media. The paper describes a systematic approach that follows the tradition of the Bauhaus principles of craftsmanship and visual perception. Precedents are drawn from the use of light, color and texture in the visual arts such as the glass collage assemblages of Albers and Moholy-Nagy’s camera-less photogram. References are also drawn from Kandinsky’s diagrammatic analysis of still life drawings and Kepes’s idea of the language of vision. The focus of the paper is how digital media and physical material can be used interchangeably as instruments in a design environment. The investigation centers on developing teaching methods for seeing, thinking and making of spatial design. A sequence of experimental exercises stimulates students’ intuition and powers of analytical observation. This systematic approach helps students explore how space can be perceived and informed by using types of media that are significantly different in their nature. The methodology explores the concerns and techniques of making and exploring space through the use of light, shadow, motion, color and transparency.
series	ACADIA
email
last changed	2022/06/07 07:58

_id	e978
authors	[Zupancic] Strojan, Tadeja Z.
year	1999
title	CyberUniversity
doi	https://doi.org/10.52842/conf.ecaade.1999.196
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 196-200
summary	The study of a cyberuniversity derives from an analogy between real urban space and its virtual "substitution". It represents an attempt to balance some views, which seems to be contrary, exclusive, but they are just parts of the same wholeness. Especially the notion of a cyber society is lately considered such an exaggeration, that it is possible to forget the meaning of a real life experience and interactions, which are already threatened. One should contribute to the awarness that is used in such a comparison, it is "just" an analogy, not a real similarity. At the same time it is possible to point out some limitations of a cyberspace and indicate a more realistic view of the meaning of cyber communities. Awarness of the development processes could help to find a balance between reality and virtuality, using cyberfacilities not to destroy us (our identity) but to improve the quality of our (real) life.
keywords	University, Cyberuniversity, Space, Cyberspace
series	eCAADe
type	normal paper
email
last changed	2022/06/07 07:54

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