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	a35a
authors	Arponen, Matti
year	2002
title	From 2D Base Map To 3D City Model
source	UMDS '02 Proceedings, Prague (Czech Republic) 2-4 October 2002, I.17-I.28
summary	Since 1997 Helsinki City Survey Division has proceeded in experimenting and in developing the methods for converting and supplementing current digital 2D base maps in the scale 1:500 to a 3D city model. Actually since 1986 project areas have been produced in 3D for city planning and construction projects, but working with the whole map database started in 1997 because of customer demands and competitive 3D projects. 3D map database needs new data modelling and structures, map update processes need new working orders and the draftsmen need to learn a new profession; the 3D modeller. Laser-scanning and digital photogrammetry have been used in collecting 3D information on the map objects. During the years 1999-2000 laser-scanning experiments covering 45 km2 have been carried out utilizing the Swedish TopEye system. Simultaneous digital photography produces material for orto photo mosaics. These have been applied in mapping out dated map features and in vectorizing 3D buildings manually, semi automatically and automatically. In modelling we use TerraScan, TerraPhoto and TerraModeler sw, which are developed in Finland. The 3D city model project is at the same time partially a software development project. An accuracy and feasibility study was also completed and will be shortly presented. The three scales of 3D models are also presented in this paper. Some new 3D products and some usage of 3D city models in practice will be demonstrated in the actual presentation.
keywords	3D City modeling
series	other
email
more	www.udms.net
last changed	2003/11/21 15:16

_id	ga0020
id	ga0020
authors	Codignola, G.Matteo
year	2000
title	[Title missing]
source	International Conference on Generative Art
summary	This paper is a summary of my last degree in architecture (discussed in December 1999) with Prof. Celestino Soddu and Prof. Enrica Colabella. In this work I had the possibility to reach complexity by a generative approach with the construction of a paradigm that organizes the different codes of project identity. My general objective was to design shape complexity in variable categories : 3d space surfaces, 2d drawings and 2d textures. I was to discover the identity of one of my favourite architects of the 20th century : Antoni Gaudì, by constructing codes relative to shape complexity. I defined my particular objective in the possibility to abduct from Gaudì's imaginary reference the generatives codes that operate in the logical processing I use to create a possible species project. The next step was to verify the exact working of the new generative codes by means of 3d scenaries, that are recognizable as "Antoni Gaudì specie's architecture". Whit project processing on the generative codes and not on a possible resulting shape design, I was able to organize by my general paradigm the attributes of the project's species : different shapes, different attributes (color, scale, proportion), to get to possible and different scenarys, all recognizable by the relative class codes. I chose three examples in Barcellona built during the period 1902 to 1914 : The Parco Guell, Casa Batllò and Casa Milà are the three reference sceneryes that I used to create the generative codes. In the second step I defined different codes that operate in sequence (it is defined in the paradigm) : The generatives codes are only subjective; they are one possible solution of my interpretation of Antoni Gaudì's identity. This codes operate in four differents ways : Geometrical codes for 2d shapes Geometrical codes for interface relations Spatial codes for 3d extrusion of 2d shapes Geometrical codes for 2d and 3d texturing of generated surfaces. By a stratified application of this codes I arrived at one idea for all the generative processes but many different, possible scenaryes, all recognizable in Gaudì's species. So, my final result has made possible sceneryes belonging to related species defined previously. At the end of my research I designed a project by combination : using Antoni Gaudì's generative codes on a new 3d scenary with a shape catalyst : the Frank Lloyd Wright Guggenheim Museum of New York. In this process I created a "hybrid scenary" : a new species of architectural look; a Guggenheim museum planned by Wright with a god pinch of Gaudì.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	sigradi2006_e183a
id	sigradi2006_e183a
authors	Costa Couceiro, Mauro
year	2006
title	La Arquitectura como Extensión Fenotípica Humana - Un Acercamiento Basado en Análisis Computacionales [Architecture as human phenotypic extension – An approach based on computational explorations]
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 56-60
summary	The study describes some of the aspects tackled within a current Ph.D. research where architectural applications of constructive, structural and organization processes existing in biological systems are considered. The present information processing capacity of computers and the specific software development have allowed creating a bridge between two holistic nature disciplines: architecture and biology. The crossover between those disciplines entails a methodological paradigm change towards a new one based on the dynamical aspects of forms and compositions. Recent studies about artificial-natural intelligence (Hawkins, 2004) and developmental-evolutionary biology (Maturana, 2004) have added fundamental knowledge about the role of the analogy in the creative process and the relationship between forms and functions. The dimensions and restrictions of the Evo-Devo concepts are analyzed, developed and tested by software that combines parametric geometries, L-systems (Lindenmayer, 1990), shape-grammars (Stiny and Gips, 1971) and evolutionary algorithms (Holland, 1975) as a way of testing new architectural solutions within computable environments. It is pondered Lamarck´s (1744-1829) and Weismann (1834-1914) theoretical approaches to evolution where can be found significant opposing views. Lamarck´s theory assumes that an individual effort towards a specific evolutionary goal can cause change to descendents. On the other hand, Weismann defended that the germ cells are not affected by anything the body learns or any ability it acquires during its life, and cannot pass this information on to the next generation; this is called the Weismann barrier. Lamarck’s widely rejected theory has recently found a new place in artificial and natural intelligence researches as a valid explanation to some aspects of the human knowledge evolution phenomena, that is, the deliberate change of paradigms in the intentional research of solutions. As well as the analogy between genetics and architecture (Estévez and Shu, 2000) is useful in order to understand and program emergent complexity phenomena (Hopfield, 1982) for architectural solutions, also the consideration of architecture as a product of a human extended phenotype can help us to understand better its cultural dimension.
keywords	evolutionary computation; genetic architectures; artificial/natural intelligence
series	SIGRADI
email
last changed	2016/03/10 09:49

_id	8805
authors	Flemming, U., Erhan, H.I. and Ozkaya, I.
year	2001
title	Object-Oriented Application Development in CAD
source	Technical Report 48-01-01. Pittsburgh, PA: Carnegie Mellon University, Institute of Complex Engineered Systems
summary	This report describes a graduate interdisciplinary course offered to students in the graduate program of the School of Architecture at Carnegie Mellon and related departments in fall 2000. The motivation was the realization that when commercial CAD (Computer-Aided Design) systems recently switched from procedural application programming languages to object-oriented ones, third-party application must undergo a significant cognitive retooling"; i. e. they must know more than the syntax and semantics of the new programming language to be used and must be able to employ appropriate software development strategies that are appropriate for the new paradigm. especially with respect to the importance of modeling, a distinguishing characteristic of object-oriented programming. The goal of the course was (a) to introduce and test strategies of object-oriented application development in general and in the context of MicroStation, a state-of-the-art commercial CAD package; (b) to develop-as a course team project-an interesting application that gives students practice with these strategies and team work; and (c) to document our approach and findings so that others can learn from them. The strategies introduced were the use-case approach of Jacobson et al. and the complementary object-modeling tools of Rumbaugh that were recently integrated into the Unified Modeling Language UML. The software platform supporting the course comprised MicroStation, JMDL (a superset of Java) and ProjectBank on the CAD side and RationalRose on the modeling side. The application developed by students in the course supports the generation of drawings for remodeling projects from a set of dgn files describing the existing state of the building to be remodeled. The course was supported by a grant and in-kind contributions from Bentley with matching funds from the Pennsylvania Infrastructure Technology Alliance (PITA)."
series	report
email
last changed	2003/04/23 15:50

_id	sigradi2008_081
id	sigradi2008_081
authors	Kirschner, Ursula
year	2008
title	Study of digital morphing tools during the design process - Application of freeware software and of tools in commercial products as well as their integration in AutoCAD
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	This research work examines methods of experimental designing with CAAD in a CAD laboratory with architecture students as the testing persons. Thereby the main focus is on the early phase of finding forms, in which different techniques with digital media are tried out in the didactic architectural design lessons. In these work have been traced the influences of the media employed on the design processes and combined the approaches of current CAAD research with aspects from classic design theory. For mathematical rules of proportion, atmospheric influence factors and analogy concepts in architecture, I have developed design methods which have been applied and verified in several series of seminars. (Kirschner, U.: 2000, Thesis, a CAAD supported architectural design teaching, Hamburg, school of arts). Previous experimental exercises showed that morphological sequences of modeling are effective sources for playful designing processes. In the current work these approaches are enhanced and supplemented by different morphological architectural concepts for creating shapes. For this purpose 2D based software like Morphit, Winmorph and other freeware were used. Whereas in the further development of this design technique we used 3D freeware morphing programs like zhu3D or Blender. The resulting morphological shapes were imported in CAD and refined. Ideally the morphing tool is integrated in the modeling environment of the standard software AutoCAD. A digital city model is the starting basis of the design process to guarantee the reference to the reality. The applied design didactic is predicated on the theories of Bernhard Hoesli. The act of designing viewed as „waiting for a good idea“ is, according to him, unteachable; students should, in contrast, learn to judge the „the force of an idea“. On the subject of morphology a form-generating method in the pre-design phase has been tested. Starting from urban-planning lines on an area map, two simple geometric initial images were produced which were merged by means of morphing software. Selected images from this film sequence were extruded with CAAD to produce solid models as sectional drawings. The high motivation of the students and the quality of the design results produced with these simple morphing techniques were the reason for the integration of the artistic and scientific software into the creative shape modeling process with the computer. The students learned in addition to the „bottom up “and „ top down” new design methods. In the presentation the properties and benefits of the morphing tools are presented in tables and are analyzed with regard to the architectural shape generating in an urban context. A catalogue of criteria with the following topics was developed: user friendliness, the ability of integrating the tools or as the case may be the import of data into a CAD environment, the artistic aspects in terms of the flexibility of shape generating as well as the evaluation of the aesthetic consideration of shapes.
keywords	Architectural design, freeware morphing software, AutoCAD
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	e2ea
authors	Lee, Hwa-Ryong
year	1999
title	The Changing Face of Architectural Computing Research
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 11-17
doi	https://doi.org/10.52842/conf.ecaade.1999.011
summary	This paper examines the existing commercial and on-going research computer applications for architectural design. It investigates their uses, predictions and limitations; and reviews the teleology, technologies and theories exploited for computerising design. Finally, I will discuss two trends in the developments of CAAD, and present the new directions in CAAD research. This study will be based on understanding the computer's roles in designing, and further on establishing a new theoretical paradigm for mediating a computer system.
keywords	Historical Context, Theoretical Paradigms
series	eCAADe
email
last changed	2022/06/07 07:51

_id	ga0010
id	ga0010
authors	Moroni, A., Zuben, F. Von and Manzolli, J.
year	2000
title	ArTbitrariness in Music
source	International Conference on Generative Art
summary	Evolution is now considered not only powerful enough to bring about the biological entities as complex as humans and conciousness, but also useful in simulation to create algorithms and structures of higher levels of complexity than could easily be built by design. In the context of artistic domains, the process of human-machine interaction is analyzed as a good framework to explore creativity and to produce results that could not be obtained without this interaction. When evolutionary computation and other computational intelligence methodologies are involved, every attempt to improve aesthetic judgement we denote as ArTbitrariness, and is interpreted as an interactive iterative optimization process. ArTbitrariness is also suggested as an effective way to produce art through an efficient manipulation of information and a proper use of computational creativity to increase the complexity of the results without neglecting the aesthetic aspects [Moroni et al., 2000]. Our emphasis will be in an approach to interactive music composition. The problem of computer generation of musical material has received extensive attention and a subclass of the field of algorithmic composition includes those applications which use the computer as something in between an instrument, in which a user "plays" through the application's interface, and a compositional aid, which a user experiments with in order to generate stimulating and varying musical material. This approach was adopted in Vox Populi, a hybrid made up of an instrument and a compositional environment. Differently from other systems found in genetic algorithms or evolutionary computation, in which people have to listen to and judge the musical items, Vox Populi uses the computer and the mouse as real-time music controllers, acting as a new interactive computer-based musical instrument. The interface is designed to be flexible for the user to modify the music being generated. It explores evolutionary computation in the context of algorithmic composition and provides a graphical interface that allows to modify the tonal center and the voice range, changing the evolution of the music by using the mouse[Moroni et al., 1999]. A piece of music consists of several sets of musical material manipulated and exposed to the listener, for example pitches, harmonies, rhythms, timbres, etc. They are composed of a finite number of elements and basically, the aim of a composer is to organize those elements in an esthetic way. Modeling a piece as a dynamic system implies a view in which the composer draws trajectories or orbits using the elements of each set [Manzolli, 1991]. Nonlinear iterative mappings are associated with interface controls. In the next page two examples of nonlinear iterative mappings with their resulting musical pieces are shown.The mappings may give rise to attractors, defined as geometric figures that represent the set of stationary states of a non-linear dynamic system, or simply trajectories to which the system is attracted. The relevance of this approach goes beyond music applications per se. Computer music systems that are built on the basis of a solid theory can be coherently embedded into multimedia environments. The richness and specialty of the music domain are likely to initiate new thinking and ideas, which will have an impact on areas such as knowledge representation and planning, and on the design of visual formalisms and human-computer interfaces in general. Above and bellow, Vox Populi interface is depicted, showing two nonlinear iterative mappings with their resulting musical pieces. References [Manzolli, 1991] J. Manzolli. Harmonic Strange Attractors, CEM BULLETIN, Vol. 2, No. 2, 4 -- 7, 1991. [Moroni et al., 1999] Moroni, J. Manzolli, F. Von Zuben, R. Gudwin. Evolutionary Computation applied to Algorithmic Composition, Proceedings of CEC99 - IEEE International Conference on Evolutionary Computation, Washington D. C., p. 807 -- 811,1999. [Moroni et al., 2000] Moroni, A., Von Zuben, F. and Manzolli, J. ArTbitration, Las Vegas, USA: Proceedings of the 2000 Genetic and Evolutionary Computation Conference Workshop Program – GECCO, 143 -- 145, 2000.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ca3d
authors	Shakarchi, Ali Y.
year	2000
title	Tools for Distributed Design Practice
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. 89-92
doi	https://doi.org/10.52842/conf.ecaade.2000.089
summary	During collaboration designers jointly solve problems as well as interact for critical feedback. Today’s heterogeneous, distributed and global market demands of designers collaboration in both synchronous and asynchronous mode. The management and control of such projects is frequently geographical and temporally distributed. Increasingly, efficient communication is becoming a vital component in the design process, whether in managing the project data or controlling the compatibility of different inputs by design team members or minimizing the revision cycles. Paper presents and discuss iSPACE, the mature prototype software application developed to serve different scenarios of communication between the distributed design team members. The iSPACE is web based application that can deliver an interactive environment over low-bandwidth connections. Application of iSPACE in the educational environment is monitored and discussed. Giving the potential of this technology to enhance and to streamline complex tasks associated with the design process, the quality of the design product is changing. The new style of design practice can be now practically further modeled, supported and enhanced.
keywords	Design Collaboration, Design Process, i-space, Digital Media
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:56

_id	c2e3
authors	Wong, Wai Sang
year	2000
title	A Virtual Reality Modeling Tool for Students of Architecture
source	University of Hong Kong, Hong Kong
summary	During a collaborative design session with other universities, several shortcomings, namely long communication response time, lack of common data format for design and ineffective discussion using static image of design, were observed. A solution was proposed by providing a design interface, a. viewing area of the design and a database to store designs and discussion dialogs. This thesis described a VR (virtual reality) modeling tool, the "VR Composer". With the "VR Composer", models are created directly in 3D. This is the design interface of the solution. The "VR Composer" is based on a commercially available VR software. With a head-mounted display, the "VR Composer" immerses the user into a VR environment. This provides a feeling of presence inside the VR environment. New functionality was added to allow user to create and modify objects in VR. There is no common definition for VR.. I have defined VR as Virtual reality is a human-computer interfiwe which allows a user to visualize and interact with the computer-generated three-dimensional environment intuitively.The students of Department of Architecture are requested to test the VR Composer. Although the VR Composer provided basic functionality as a modeling tool, it has to be improvement in many aspects to become an effective tool for modeling.
series	thesis:MSc
last changed	2003/02/12 22:37

_id	20ab
authors	Yakeley, Megan
year	2000
title	Digitally Mediated Design: Using Computer Programming to Develop a Personal Design Process
source	Massachusetts Institute of Technology, Department of Architecture
summary	This thesis is based on the proposal that the current system of architectural design education confuses product and process. Students are assessed through, and therefore concentrate on, the former whilst the latter is left in many cases to chance. This thesis describes a new course taught by the author at MIT for the last three years whose aim is to teach the design process away from the complexities inherent in the studio system. This course draws a parallel between the design process and the Constructionist view of learning, and asserts that the design process is a constant learning activity. Therefore, learning about the design process necessarily involves learning the cognitive skills of this theoretical approach to education. These include concrete thinking and the creation of external artifacts to develop of ideas through iterative, experimental, incremental exploration. The course mimics the Constructionist model of using the computer programming environment LOGO to teach mathematics. It uses computer programming in a CAD environment, and specifically the development of a generative system, to teach the design process. The efficacy of such an approach to architectural design education has been studied using methodologies from educational research. The research design used an emergent qualitative model, employing Maykut and Morehouses interpretive descriptive approach (Maykut & Morehouse, 1994) and Glaser and Strausss Constant Comparative Method of data analysis (Glaser & Strauss, 1967). Six students joined the course in the Spring 1999 semester. The experience of these students, what and how they learned, and whether this understanding was transferred to other areas of their educational process, were studied. The findings demonstrated that computer programming in a particular pedagogical framework, can help transform the way in which students understand the process of designing. The following changes were observed in the students during the course of the year: Development of understanding of a personalized design process; move from using computer programming to solve quantifiable problems to using it to support qualitative design decisions; change in understanding of the paradigm for computers in the design process; awareness of the importance of intrapersonal and interpersonal communication skills; change in expectations of, their sense of control over, and appropriation of, the computer in the design process; evidence of transference of cognitive skills; change from a Behaviourist to a Constructionist model of learning Thesis Supervisor: William J. Mitchell Title: Professor of Architecture and Media Arts and Sciences, School of Architecture and Planning
series	thesis:PhD
last changed	2003/02/12 22:37

_id	2190
authors	Yan-chuen, L., Phil, M. and Gilleard, John D.
year	2000
title	Refurbishment of building services engineering systems under a collaborative design environment
source	Automation in Construction 9 (2) (2000) pp. 185-196
summary	In this paper hypermedia is suggested as a suitable paradigm to represent the design processes associated with a shopping center refurbishment project. In addition, by adopting a collaborative design model, the paper makes reference to such factors as synchronous vs. asynchronous and active vs. passive modeling. Concepts in complex problem solving are also explored such as the soft system methodology as well as the application of agent-based decision support systems. Identification of primary information elements and analysis of the relations between these elements indicates that the flow of design information may be readily represented in hypermedia which features nonlinear characteristics in organizing information. The justification of developing a hypermedia tool to cope with changing conditions of a complex design problem instead of providing a solution for a predetermined problem is also argued. The paper illustrates the complex nature of collaborative design process with reference to a case study associated with the building services systems design for a Hong Kong Housing Authority refurbishment project.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:23

_id	avocaad_2001_17
id	avocaad_2001_17
authors	Ying-Hsiu Huang, Yu-Tung Liu, Cheng-Yuan Lin, Yi-Ting Cheng, Yu-Chen Chiu
year	2001
title	The comparison of animation, virtual reality, and scenario scripting in design process
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	Design media is a fundamental tool, which can incubate concrete ideas from ambiguous concepts. Evolved from freehand sketches, physical models to computerized drafting, modeling (Dave, 2000), animations (Woo, et al., 1999), and virtual reality (Chiu, 1999; Klercker, 1999; Emdanat, 1999), different media are used to communicate to designers or users with different conceptual levels¡@during the design process. Extensively employed in design process, physical models help designers in managing forms and spaces more precisely and more freely (Millon, 1994; Liu, 1996).Computerized drafting, models, animations, and VR have gradually replaced conventional media, freehand sketches and physical models. Diversely used in the design process, computerized media allow designers to handle more divergent levels of space than conventional media do. The rapid emergence of computers in design process has ushered in efforts to the visual impact of this media, particularly (Rahman, 1992). He also emphasized the use of computerized media: modeling and animations. Moreover, based on Rahman's study, Bai and Liu (1998) applied a new design media¡Xvirtual reality, to the design process. In doing so, they proposed an evaluation process to examine the visual impact of this new media in the design process. That same investigation pointed towards the facilitative role of the computerized media in enhancing topical comprehension, concept realization, and development of ideas.Computer technology fosters the growth of emerging media. A new computerized media, scenario scripting (Sasada, 2000; Jozen, 2000), markedly enhances computer animations and, in doing so, positively impacts design processes. For the three latest media, i.e., computerized animation, virtual reality, and scenario scripting, the following question arises: What role does visual impact play in different design phases of these media. Moreover, what is the origin of such an impact? Furthermore, what are the similarities and variances of computing techniques, principles of interaction, and practical applications among these computerized media?This study investigates the similarities and variances among computing techniques, interacting principles, and their applications in the above three media. Different computerized media in the design process are also adopted to explore related phenomenon by using these three media in two projects. First, a renewal planning project of the old district of Hsinchu City is inspected, in which animations and scenario scripting are used. Second, the renewal project is compared with a progressive design project for the Hsinchu Digital Museum, as designed by Peter Eisenman. Finally, similarity and variance among these computerized media are discussed.This study also examines the visual impact of these three computerized media in the design process. In computerized animation, although other designers can realize the spatial concept in design, users cannot fully comprehend the concept. On the other hand, other media such as virtual reality and scenario scripting enable users to more directly comprehend what the designer's presentation.Future studies should more closely examine how these three media impact the design process. This study not only provides further insight into the fundamental characteristics of the three computerized media discussed herein, but also enables designers to adopt different media in the design stages. Both designers and users can more fully understand design-related concepts.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	avocaad_2001_09
id	avocaad_2001_09
authors	Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year	2001
title	Digital Architecture in CAD studio and Internet-based competition
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	Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	01c0
authors	Af Klercker, Jonas
year	2000
title	Modelling for Virtual Reality in 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. 209-213
doi	https://doi.org/10.52842/conf.ecaade.2000.209
summary	CAAD systems are using object modelling methods for building databases to make information available. Object data must then be made useful for many different purposes in the design process. Even if the capacity of the computer will allow an almost unlimited amount of information to be transformed, the eye does not make the transformations in the same “simple” mathematical way. Trained architects have to involve in an inventive process of finding ways to “harmonize” this new medium with the human eye and the architect’s professional experience. This paper will be an interimistic report from a surveying course. During the spring semester 2000 the CAAD division of TU-Lund is giving a course “Modelling for VR in Architecture”. The students are practising architects with experience from using object modelling CAAD. The aims are to survey different ways to use available hard- and software to create VR-models of pieces of architecture and evaluate them in desktop and CAVE environments. The architect is to do as much preparation work as possible with his CAAD program and only the final adjustments with the special VR tool.
keywords	CAAD, VR, Modelling, Spatial Experience
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:54

_id	1838
authors	Akleman, E., Chen, J. and Meric, B.
year	2000
title	Intuitive and Effective Design of Periodic Symmetric Tiles
source	Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 123-127
doi	https://doi.org/10.52842/conf.acadia.2000.123
summary	This paper presents a new approach for intuitive and effective design of periodic symmetric tiles. We observe that planar graphs can effectively represent symmetric tiles and graph drawing provides an intuitive paradigm for designing symmetric tiles. Moreover, based on our theoretical work to represent hexagonal symmetry by rectangular symmetry, we are able to present all symmetric tiles as graphs embedded on a torus and based on simple modulo operations. This approach enables us to develop a simple and efficient algorithm, which has been implemented in Java. By using this software, designers, architects and artists can create interesting symmetric tiles directly on the web. We also have designed a few examples of symmetric tiles to show the effectiveness of the approach.
series	ACADIA
last changed	2022/06/07 07:54

_id	ga0013
id	ga0013
authors	Annunziato, Mauro and Pierucci, Piero
year	2000
title	Artificial Worlds, Virtual Generations
source	International Conference on Generative Art
summary	The progress in the scientific understanding/simulation of the evolution mechanisms and the first technological realizations (artificial life environments, robots, intelligent toys, self reproducing machines, agents on the web) are creating the base of a new age: the coming of the artificial beings and artificial societies. Although this aspect could seems a technological conquest, by our point of view it represent the foundation of a new step in the human evolution. The anticipation of this change is the development of a new cultural paradigm inherited from the theories of evolution and complexity: a new way to think to the culture, aesthetics and intelligence seen as emergent self-organizing qualities of a collectivity evolved along the time through genetic and language evolution. For these reasons artificial life is going to be an anticipatory and incredibly creative area for the artistic expression and imagination. In this paper we try to correlate some elements of the present research in the field of artificial life, art and technological grow up in order to trace a path of development for the creation of digital worlds where the artificial beings are able to evolve own culture, language and aesthetics and they are able to interact con the human people.Finally we report our experience in the realization of an interactive audio-visual art installation based on two connected virtual worlds realized with artificial life environments. In these worlds,the digital individuals can interact, reproduce and evolve through the mechanisms of genetic mutations. The real people can interact with the artificial individuals creating an hybrid ecosystem and generating emergent shapes, colors, sound architectures and metaphors for imaginary societies, virtual reflections of the real worlds.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	60e7
authors	Bailey, Rohan
year	2000
title	The Intelligent Sketch: Developing a Conceptual Model for a Digital Design Assistant
source	Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 137-145
doi	https://doi.org/10.52842/conf.acadia.2000.137
summary	The computer is a relatively new tool in the practice of Architecture. Since its introduction, there has been a desire amongst designers to use this new tool quite early in the design process. However, contrary to this desire, most Architects today use pen and paper in the very early stages of design to sketch. Architects solve problems by thinking visually. One of the most important tools that the Architect has at his disposal in the design process is the hand sketch. This iterative way of testing ideas and informing the design process with images fundamentally directs and aids the architect’s decision making. It has been said (Schön and Wiggins 1992) that sketching is about the reflective conversation designers have with images and ideas conveyed by the act of drawing. It is highly dependent on feedback. This “conversation” is an area worthy of investigation. Understanding this “conversation” is significant to understanding how we might apply the computer to enhance the designer’s ability to capture, manipulate and reflect on ideas during conceptual design. This paper discusses sketching and its relation to design thinking. It explores the conversations that designers engage in with the media they use. This is done through the explanation of a protocol analysis method. Protocol analysis used in the field of psychology, has been used extensively by Eastman et al (starting in the early 70s) as a method to elicit information about design thinking. In the pilot experiment described in this paper, two persons are used. One plays the role of the “hand” while the other is the “mind”- the two elements that are involved in the design “conversation”. This variation on classical protocol analysis sets out to discover how “intelligent” the hand should be to enhance design by reflection. The paper describes the procedures entailed in the pilot experiment and the resulting data. The paper then concludes by discussing future intentions for research and the far reaching possibilities for use of the computer in architectural studio teaching (as teaching aids) as well as a digital design assistant in conceptual design.
keywords	CAAD, Sketching, Protocol Analysis, Design Thinking, Design Education
series	ACADIA
last changed	2022/06/07 07:54

_id	3f35
authors	Bermudez, Julio and King, Kevin
year	2000
title	Media interaction and design process: establishing a knowledge base
source	Automation in Construction 9 (1) (2000) pp. 37-56
summary	Integrating computers in architectural design means to negotiate between centuries-old analog design methods and the new digital systems of production. Analog systems of architectural production use tracing paper, vellum, graphite and ink, clipboard, clay, balsa wood, plastic, metal, etc. Analog systems have also been termed "handmade", "manual", "material" or "physical". Digital systems of architectural production use scanning, image manipulation, visualization, solid modeling, computer aided drafting, animation, rendering, etc. Digital systems have also been called "electronic", "computer-aided", "virtual", etc. The difficulty lies in the underdeveloped state of the necessary methods, techniques, and theories to relate traditional and new media. Recent investigations on the use of multiple iterations between manual and electronic systems to advance architectural work show promising results. However, these experiments have not been sufficiently codified, cross-referenced and third party tested to conform a reliable knowledge base. This paper addresses this shortcoming by bringing together reported experiences from diverse researchers over the past decade. This summary is informed by more than three years of continuous investigation in the impacts of analog-digital conversations in the design process. The goal is to establish a state-of-the-art common foundation that permits instructors, researchers and practitioners to refer to, utilize, test, criticize and develop. An appendix is included providing support for the paper's arguments.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	aa7f
authors	Bollinger, Elizabeth and Hill, Pamela
year	1993
title	Virtual Reality: Technology of the Future or Playground of the Cyberpunk?
source	Education and Practice: The Critical Interface [ACADIA Conference Proceedings / ISBN 1-880250-02-0] Texas (Texas / USA) 1993, pp. 121-129
doi	https://doi.org/10.52842/conf.acadia.1993.121
summary	Jaron Lanier is a major spokesperson of our society's hottest new technology: VR or virtual reality. He expressed his faith in the VR movement in this quote which appears in The User's Guide to the New Edge published by Mondo 2000. In its most technical sense, VR has attracted the attention of politicians in Washington who wonder if yet another technology developed in the United States will find its application across the globe in Asia. In its most human element, an entire "cyberpunk movement" has appealed to young minds everywhere as a seemingly safe form of hallucination. As architecture students, educators, and practitioners around the world are becoming attracted to the possibilities of VR technology as an extension of 3D modeling, visualization, and animation, it is appropriate to consider an overview of virtual reality. In virtual reality a user encounters a computersimulated environment through the use of a physical interface. The user can interact with the environment to the point of becoming a part of the experience, and the experience becomes reality. Natural and instinctive body movements are translated by the interface into computer commands. The quest for perfection in this human-computer relationship seems to be the essence of virtual reality technology. To begin to capture the essence of virtual reality without first-hand experience, it is helpful to understand two important terms: presence and immersion. The sense of presence can be defined as the degree to which the user feels a part of the actual environment. The more reality the experience provides, the more presence it has. Immersion can be defined as the degree of other simulation a virtual reality interface provides for the viewer. A highly immersive system might provide more than just visual stimuli; for example, it may additionally provide simulated sound and motion, and simultaneously prevent distractions from being present.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	88a1
authors	Brenner, Claus
year	2000
title	Towards Fully Automatic Generation of City Models
source	IAPRS Vol. XXXIII, Part B3/1, Comm. III [ISPRS Congress], pp. 85-92
summary	Once thought of being useful primarily for planning the location of telecommunication antennas, it has become clear in the meantime that three-dimensional city models are of importance in their own right. This paper presents some of our latest results on the reconstruction of building models from laser scanning DSM’s and digital ground plans. First, we show how buildings can be reconstructed from ground plans and generalize the standard straight skeleton algorithm. In a second step, we introduce the information which can be obtained from DSM segmentation in order to recover building structures which cannot be inferred directly from the ground plan. The work presented in this paper is actually part of our larger ATOP approach, a new framework for the fully automatic generation of city models.
keywords	3D City modeling
series	other
last changed	2003/05/15 10:29

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