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CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
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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	f73b
authors	Brady, Darlene A.
year	2000
title	Percept vs. Precept: Digital Media & the Creative Process
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. 261-264
doi	https://doi.org/10.52842/conf.ecaade.2000.261
summary	The design of architecture, as well as all of the arts, is a creative act concerned with the expression of ideas through culturally significant and relevant form. In order for the creative act to transcend the authority or dictates of precedents or trends, it must be informed and guided by a process and not a product; one which reveals, but does not dictate, expressive, functional form. The initial impact of digital media on architectural design has been the ability to render the look of a final project or to create shapes that reflect the facility of the tool. Digital media also enables the composition and structure of space and form to be discovered simultaneously and relationally with the phenomena of color and kinetics, to generate and visualize an idea as form, and to represent form as experience. This requires interweaving computing with a creative process in which percept, rather than precept, is the driving force of the investigation. This paper explores the role of ideation, tectonic color and kinetics as an intentional design strategy and formgiver for architecture. The role of the computer is to enable the designer to generate meaningful architecture beyond precepts of image and style. Design as a making in the mind uses our rational and imaginative faculties. Complete freedom is not a necessity for inventiveness. Research on creativity indicates that "constraining options and focusing thought in a specific, rigorous and discerning direction" play an important role. The key is a balance of structured and discursive inquiry that encourages a speculative, free association of ideas. Tim Berners-Lee, one of the creators of the World Wide Web, likened creativity to a weblike process that is nonlinear but also not random; which when placed in an environment rich with information will float ideas so the mind "can jiggle them into an insight." Geoffrey Vickers in his essay, "Rationality and Intuition" described this symbiotic relationship as "...two functions which in practice are never wholly separated but which are, nonetheless, logically distinct as two reciprocating phases in a recurrent process of mental activity." The rational is formative and intuition is generative; both are essential to creativity.
keywords	Percept, Creativity, Ideation, Tectonic Color, Kinetics
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:54

_id	e9f7
authors	Bouchlaghem, N.
year	2000
title	Optimising the design of building envelopes for thermal performance
source	Automation in Construction 10 (1) (2000) pp. 101-112
summary	Computer models for the simulation of the thermal performance of buildings have been in existence for many decades. Although these programs save a great deal of time and effort in computational terms they still rely on designers intuition and experience to achieve optimum solutions for a design problem. This paper presents a computer model which, not only simulates the thermal performance of the building taking into account design variables related to the building's envelope and fabric, but also applies numerical optimization techniques to automatically determine the optimum design variables, which achieve the best thermal comfort conditions. The main optimization program is supported by a graphical model for the design of window shading devices, which uses the numerical coefficients that define the window shading to model shading devices taking into account seasonal variations in solar angles and solar gains. The rationale and methodology used to develop the models is outlined and the resulting programs are described with examples of outputs. Finally, it is concluded that the models offer a valuable decision support system for designers at an early design state for the optimization of the passive thermal performance achieving optimum thermal comfort and savings in heating and cooling energy.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	d244
authors	De Mesa, A., Quilez, J. and Regot, J.
year	2000
title	Análisis Geométrico de Formas Arquitectónicas Complejas (Geometrical Analysis of Complex Architectural Forms)
source	SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 295-297
summary	The present graphic computer system allows defining high-level shape problems with great freedom. In free-form surface modeling it comes to be a good reason to develop an example that shows, which is the best way to create, modify and control complex free-form shapes in three-dimensional architectonic virtual modeling. The parameters of Bezier curves are not simple. But the use of Splines curves let us a friendly free form curves management with a great designer performance level. Unfortunately, the standard computer graphic tools to control these entities have a lot of variations, and normally create an unclear and confuse interface for generic users without several knowledge of mathematics and geometry. With the help of an example, this paper expose the use of computer graphics to make models of architectonic buildings with complex shapes that contains free-form surfaces. At the same time, it is an evaluation of how the standard CAD software processes this problem.
series	SIGRADI
last changed	2016/03/10 09:50

_id	84c2
authors	Hetem, V.
year	2000
title	Communication: computer aided engineering in the next millennium
source	Computer-Aided Design, Vol. 32 (5-6) (2000) pp. 389-394
summary	The next generation of computer aided tools should address the traditional role of engineering within a manufacturing organization, i.e. accurate communication ofmanufacturing specifications. Communication is the business of manufacturing engineering: translating design specifications into process plans and information such asestimating time and cost, process geometry creation and tolerance charting, determining tooling, and the recording of best practices. The integration of the product andprocess geometry with manufacturing knowledge is evolving through the use of computer aided process modeling and best practice sharing, to better serve production,which in turn delivers quality product at the right cost and tempo. These computer aided systems will have easy accessibility, inherent configuration control, and a"manufacturing language."
keywords	Process Modeling, Variant Planning, Manufacturing Engineering
series	journal paper
last changed	2003/05/15 21:33

_id	ca7b
authors	Howes, Jaki
year	1999
title	IT or not IT? An Examination of IT Use in an Experimental Multi-disciplinary Teamwork Situation
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 370-373
doi	https://doi.org/10.52842/conf.ecaade.1999.370
summary	Leeds Metropolitan University is well placed to carry out research into multi-disciplinary team-working, as all the design and construction disciplines are housed in one faculty. Staff have set up an experimental project, TIME IT (Team-working in Multi-disciplinary Environments using IT) which examines ways of working in the design/construction process and how IT is used when there is no commercial pressure. Four groups of four students, one graduate diploma architect, and one final year student from each of Civil Engineering, Construction Management and Quantity Surveying have been working on feasibility studies for projects that are based on completed schemes or have been devised by collaborators in the Construction Industry. Students have been asked to produce a PowerPoint presentation, in up to five working days, of a design scheme, with costs, structural analysis and construction programme. The students are not assessed on the quality of the product, but on their own ability to monitor the process and use of IT. Despite this, aggressive competition evolved between the teams to produce the 'best' design. Five projects were run in the 1998/99 session. A dedicated IT suite has been provided; each group of students had exclusive use of a machine. They were not told how to approach the projects nor when to use the available technology, but were asked to keep the use of paper to a minimum and to keep all their work on the server, so that it could be monitored externally. Not so. They plotted the AO drawings of an existing building that had been provided on the server. They like paper - they can scribble on it, fold it, tear it and throw it at one another.
keywords	IT, Multi-disciplinary, Teamwork
series	eCAADe
email
last changed	2022/06/07 07:50

_id	2f0b
authors	Kurzweil, R.
year	2000
title	The Age of Spiritual Machines: When Computers Exceed Human Intelligence
source	Penguin Books, London
summary	How much do we humans enjoy our current status as the most intelligent beings on earth? Enough to try to stop our own inventions from surpassing us in smarts? If so, we'd better pull the plug right now, because if Ray Kurzweil is right, we've only got until about 2020 before computers outpace the human brain in computational power. Kurzweil, artificial intelligence expert and author of The Age of Intelligent Machines, shows that technological evolution moves at an exponential pace. Further, he asserts, in a sort of swirling postulate, time speeds up as order increases, and vice versa. He calls this the "Law of Time and Chaos," and it means that although entropy is slowing the stream of time down for the universe overall, and thus vastly increasing the amount of time between major events, in the eddy of technological evolution the exact opposite is happening, and events will soon be coming faster and more furiously. This means that we'd better figure out how to deal with conscious machines as soon as possible--they'll soon not only be able to beat us at chess, they'll likely demand civil rights, and they may at last realize the very human dream of immortality. The Age of Spiritual Machines is compelling and accessible, and not necessarily best read from front to back--it's less heavily historical if you jump around (Kurzweil encourages this). Much of the content of the book lays the groundwork to justify Kurzweil's timeline, providing an engaging primer on the philosophical and technological ideas behind the study of consciousness. Instead of being a gee-whiz futurist manifesto, Spiritual Machines reads like a history of the future, without too much science fiction dystopianism. Instead, Kurzweil shows us the logical outgrowths of current trends, with all their attendant possibilities. This is the book we'll turn to when our computers
series	other
last changed	2003/04/23 15:14

_id	c97f
authors	Kvan, Thomas and Candy, Linda
year	2000
title	Designing Collaborative Environments for Strategic Knowledge in Design
source	Knowledge-Based Systems, 13:6, November 2000, pp. 429-438
summary	This paper considers aspects of strategic knowledge in design and some implications for designing in collaborative environments. Two key questions underline the concerns. First; how can strategic knowledge for collaborative design be taught and second; what kind of computer-based collaborative designing might best support the learning of strategic knowledge? We argue that the support of learning of strategic knowledge in collaborative design by computer-mediated means must be based upon empirical evidence about the nature of learning and design practice in the real world. This evidence suggests different ways of using computer-support for design learning and acquistion of strategic design knowledge. Examples of research by the authors that seeks to provide that evidence are described and an approach to computer system design and evaluation proposed.
keywords	Collaborative Design; Strategic Knowledge; Empirical Studies; Computer Support
series	journal paper
email
last changed	2002/11/15 18:29

_id	f4da
authors	Oritsland, Trond Are and Buur, Jacob
year	2000
title	Taking the Best from a Company History -- Designing with Interaction Styles New Directions for Design
source	Proceedings of DIS'00: Designing Interactive Systems: Processes, Practices, Methods, & Techniques 2000 pp. 27-38
summary	In architecture and industrial design, the concept of style plays a major role in education as a way of explaining the historical inheritance and comparing alternative design expressions. In this article we claim that interaction design can benefit greatly from an understanding of the concept of style. It can provide designers with strong visions and a sense of direction in designing new interfaces. In particular we focus on Solid User Interface design, i.e. products with small displays and a limited number of keys, because of the tight coupling between interaction and industrial design. The authors share the concern that interaction designers in enthusiasm with new technologies fail to preserve the qualities of use from products with outdated technologies. This paper attempts to formulate an aesthetics of interaction design and reports on experiments with introducing interaction style thinking in a user centred design practice in industry.
keywords	Computing Milieux-Management; Systems Analysis and Design; Information Systems; Interaction Styles; Interaction Design; Solid User Interface
series	other
last changed	2002/07/07 16:01

_id	2abf
id	2abf
authors	Rafi, A
year	2001
title	Design creativity in emerging technologies
source	In Von, H., Stocker, G. and Schopf, C. (Eds.), Takeover: Who’s doing art of tomorrow (pp. 41-54), New York: SpringerWein.
summary	Human creativity works best when there are constraints – pressures to react to, to shape, to suggest. People are generally not very good at making it all up from scratch (Laurel, 1991). Emerging technology particularly virtual reality (VR) Multimedia and Internet is yet to be fully discovered as it allows unprecedented creative talent, ability, skill set, creative thinking, representation, exploration, observation and reference. In an effort to deliver interactive content, designers tend to freely borrow from different fields such as advertising, medicine, game, fine art, commerce, entertainment, edutainment, film-making and architecture (Rafi, Kamarulzaman, Fauzan and Karboulonis, 2000). As a result, content becomes a base that developers transfer the technique of conventional medium design media to the computer. What developers (e.g. artist and technologist) often miss is that to develop the emerging technology content based on the nature of the medium. In this context, the user is the one that will be the best judge to value the effectiveness of the content. The paper will introduce Global Information Infrastructure (GII) that is currently being developed in the Asian region and discuss its impact on the Information Age society. It will further highlight the ‘natural’ value and characteristics of the emerging technologies in particular Virtual Reality (VR), Multimedia and Internet as a guidance to design an effective, rich and innovative content development. This paper also argues that content designers of the future must not only be both artist and technologist, but artist and technologist that are aware of the re-convergence of art and science and context in which content is being developed. Some of our exploration at the Faculty of Creative Multimedia, Multimedia University will also be demonstrated. It is hoped that this will be the evidence to guide future ‘techno-creative designers’.
keywords	design, creativity, content, emerging technologies
series	book
type	normal paper
email
last changed	2007/09/13 03:46

_id	diss_walker
id	diss_walker
authors	Walker, Bruce N.
year	2000
title	Magnitude Estimation of Conceptual Data Dimensions for Use in Sonification
source	Rice University
summary	Most data exploration tools are exclusively visual, failing to exploit the advantages of the human auditory system, and excluding students and researchers with visual disabilities. Sonification uses non-speech audio to create auditory graphs, which may address some limitations of visual graphs. However, almost no research has addressed how to create optimal sonifications.Three key research questions are: (1) What is the best sound parameter to use to represent a given data type? (2) Should an increase in the sound dimension (e.g., rising frequency) represent an increase or a decrease in the data dimension? (3) How much change in the sound dimension will represent a given change in the data dimension?Experiment 1 simply asked listeners which of two sounds represented something that was hotter, faster, etc. However, participants seemed not to make cognitive assessments of the sounds. I therefore proposed magnitude estimation (ME) as an alternative, less transparent, paradigm.Experiment 2 used ME with visual stimuli (lines and filled circles), replicating previous findings for perceptual judgments (length of lines, size of circles). However, judgments of conceptual data dimensions (i.e., the temperature, pressure, or velocity a given stimulus would represent) yielded slopes different from the perceptual judgments, indicating that the type of data being represented influences value estimation.Experiment 3 found similar results with auditory stimuli differing in frequency or tempo. Estimations of what temperature, pressure, velocity, size, or number of dollars a sound represented differed, indicating that both visual and auditory displays should be scaled according to the type of data being displayed.Experiment 4 presented auditory graphs and asked which of two data descriptions the sounds represented. Data sets based on the equations determined in Experiment 3 were preferred, providing validation of those slope values. Results also supported the use of the unanimity of mapping polarities as a measure of a mapping's effectiveness.Replication with different users and sounds is required to assess the reliability of the slopes. However, ME provides an excellent way to obtain a function relating conceptual data dimensions to display dimensions, which can be used to create more effective, appropriately scaled sonifications.
series	thesis:PhD
email
more	http://sonify.psych.gatech.edu/~walkerb/research/phd/
last changed	2003/11/28 07:37

_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	f2f1
authors	Breen, Jack and Nottrot, Robert
year	2000
title	Project a2W. A Dialogue on New Media Perspectives
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. 291-296
doi	https://doi.org/10.52842/conf.ecaade.2000.291
summary	This paper documents an initiative taking the form of a "dialogue". The format which has been developed is somewhat similar to that of the "conversation" which Mondrian conceived in 1919, taking place between two fictitious characters - A and B - discussing the new direction in art, which he called "Nieuwe Beelding" and which contributed to the "De Stijl" movement (the dialogue was followed later that year by a "trialogue" between X, Y and Z on a virtual walk taking them from the countryside to the city) 1 . This time the issue is not so much the evolvement of a new artistic or architectural style, but the role of "new media" in architecture... The present dialogue takes place between two fictitious media proponents ("Alpha" and "Omega"). They take turns questioning several issues and exchanging proposals... What are the values - and the promises - of computer supported instruments in creative design and research - concerning the art and science shaping the built environment? How do the present applications measure up, how do they compare to the expectations and ambitions expressed a number of years ago? The form of a dialogue means that issues and ideas, which are not often aired within the confines of academic discourse, can be played back and forth and a measure of exaggeration was intended from the beginning... This contribution does not in any way pretend to be all-inclusive. Rather, the paper is meant to put forward ideas and experiences - from the perspective of the Delft Media group, in practice, in teaching and in research - which may stimulate (or even irritate?) but will hopefully activate. The aim is to open up discussions, to allow other (hidden) agendas for the future to become more visible and to look for platforms for sharing concepts and fascinations, however improbable they might be...
keywords	A Dialogue on New Media
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:54

_id	b4c4
authors	Carrara, G., Fioravanti, A. and Novembri, G.
year	2000
title	A framework for an Architectural Collaborative Design
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. 57-60
doi	https://doi.org/10.52842/conf.ecaade.2000.057
summary	The building industry involves a larger number of disciplines, operators and professionals than other industrial processes. Its peculiarity is that the products (building objects) have a number of parts (building elements) that does not differ much from the number of classes into which building objects can be conceptually subdivided. Another important characteristic is that the building industry produces unique products (de Vries and van Zutphen, 1992). This is not an isolated situation but indeed one that is spreading also in other industrial fields. For example, production niches have proved successful in the automotive and computer industries (Carrara, Fioravanti, & Novembri, 1989). Building design is a complex multi-disciplinary process, which demands a high degree of co-ordination and co-operation among separate teams, each having its own specific knowledge and its own set of specific design tools. Establishing an environment for design tool integration is a prerequisite for network-based distributed work. It was attempted to solve the problem of efficient, user-friendly, and fast information exchange among operators by treating it simply as an exchange of data. But the failure of IGES, CGM, PHIGS confirms that data have different meanings and importance in different contexts. The STandard for Exchange of Product data, ISO 10303 Part 106 BCCM, relating to AEC field (Wix, 1997), seems to be too complex to be applied to professional studios. Moreover its structure is too deep and the conceptual classifications based on it do not allow multi-inheritance (Ekholm, 1996). From now on we shall adopt the BCCM semantic that defines the actor as "a functional participant in building construction"; and we shall define designer as "every member of the class formed by designers" (architects, engineers, town-planners, construction managers, etc.).
keywords	Architectural Design Process, Collaborative Design, Knowledge Engineering, Dynamic Object Oriented Programming
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:55

_id	08ea
authors	Clayton, Mark J. and Vasquez de Velasco, Guillermo P. (Eds.)
year	2000
title	ACADIA 2000: Eternity, Infinity and Virtuality in Architecture
source	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, 284 p.
doi	https://doi.org/10.52842/conf.acadia.2000
summary	Eternity, time without end, infinity, space without limits and virtuality, perception without constraints; provide the conceptual framework in which ACADIA 2000 is conceived. It is in human nature to fill what is empty and to empty what is full. Today, thanks to the power of computer processing we can also make small what is too big, make big what is too small, make fast what is too slow, make slow what is too fast, make real what does not exist, and make our reality omni-present at global scale. These are capabilities for which we have no precedents. What we make of them is our privilege and responsibility. Information about a building flows past our keyboards and on to other people. Although we, as architects, add to the information, it originated before us and will go beyond our touch in time, space and understanding. A building description acquires a life of its own that may surpass our own lives as it is stored, transferred, transformed, and reused by unknown intellects, both human and artificial, and in unknown processes. Our actions right now have unforeseen effects. Digital media blurs the boundaries of space, time and our perception of reality. ACADIA 2000 explores the theme of time, space and perception in relation to the information and knowledge that describes architecture. Our invitation to those who are finding ways to apply computer processing power in architecture received overwhelming response, generating paper submissions from five continents. A selected group of reviewers recommended the publication of 24 original full papers out of 42 submitted and 13 short papers out of 30 submitted. Forty-two projects were submitted to the Digital Media Exhibit and 12 were accepted for publication. The papers cover subjects in design knowledge, design process, design representation, design communication, and design education. Fundamental and applied research has been carefully articulated, resulting in developments that may have an important impact on the way we practice and teach architecture in the future.
series	ACADIA
email
more	www.acadia.org
last changed	2022/06/07 07:49

_id	389b
authors	Do, Ellen Yi-Luen
year	2000
title	Sketch that Scene for Me: Creating Virtual Worlds by Freehand Drawing
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. 265-268
doi	https://doi.org/10.52842/conf.ecaade.2000.265
summary	With the Web people can now view virtual threedimensional worlds and explore virtual space. Increasingly, novice users are interested in creating 3D Web sites. Virtual Reality Modeling Language gained ISO status in 1997, although it is being supplanted by the compatible Java3D API and alternative 3D Web technologies compete. Viewing VRML scenes is relatively straightforward on most hardware platforms and browsers, but currently there are only two ways to create 3D virtual scenes: One is to code the scene directly using VRML. The other is to use existing CAD and modeling software, and save the world in VRML format or convert to VRML from some other format. Both methods are time consuming, cumbersome, and have steep learning curves. Pen-based user interfaces, on the other hand, are for many an easy and intuitive method for graphics input. Not only are people familiar with the look and feel of paper and pencil, novice users also find it less intimidating to draw what they want, where they want it instead of using a complicated tool palette and pull-down menus. Architects and designers use sketches as a primary tool to generate design ideas and to explore alternatives, and numerous computer-based interfaces have played on the concept of "sketch". However, we restrict the notion of sketch to freehand drawing, which we believe helps people to think, to envision, and to recognize properties of the objects with which they are working. SKETCH employs a pen interface to create three-dimensional models, but it uses a simple language of gestures to control a three-dimensional modeler; it does not attempt to interpret freehand drawings. In contrast, our support of 3D world creation using freehand drawing depend on users’ traditional understanding of a floor plan representation. Igarashi et al. used a pen interface to drive browsing in a 3D world, by projecting the user’s marks on the ground plane in the virtual world. Our Sketch-3D project extends this approach, investigating an interface that allows direct interpretation of the drawing marks (what you draw is what you get) and serves as a rapid prototyping tool for creating 3D virtual scenes.
keywords	Freehand Sketching, Pen-Based User Interface, Interaction, VRML, Navigation
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:55

_id	f91f
authors	Elezkurtaj, Tomor and Franck, Georg
year	2000
title	Geometry and Topology. A User-Interface to Artificial Evolution in Architectural Design
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. 309-312
doi	https://doi.org/10.52842/conf.ecaade.2000.309
summary	The paper presents a system that supports architectural floor plan design interactively. The method of problem solving implemented is a combination of an evolutionary strategy (ES) and a genetic algorithm (GA). The problem to be solved consists of fitting a number of rooms (n) into an outline by observing functional requirements. The rooms themselves are specified concerning size, function and preferred proportion. The functional requirements entering the fitness functions are expressed in terms of the proportions of the rooms and the neighbourhood relations between them. The system is designed to deal with one of the core problems of computer supported creativity in architecture. For architecture, form not only, but also function is relevant. Without specifying the function that a piece of architecture is supposed to fulfil, it is hard to support its design by computerised methods of problem solving and optimisation. In architecture, however, function relates to comfort, easiness of use, and aesthetics as well. Since it is extraordinary hard, if not impossible, to operationalise aesthetics, computer aided support of creative architectural design is still in its infancy.
keywords	New AI, Genetic Algorithms, Artificial Evolution, creative Architectural Design, Interactive Design, Topology
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:55

_id	ca8f
authors	Lieberman, Oren
year	2000
title	The Application of Object-oriented Software Concepts in Architectural Pedagogy
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. 27-33
doi	https://doi.org/10.52842/conf.ecaade.2000.027
summary	Architecture, a complex discipline that involves many people and things and the relationships amongst them, requires a pedagogical approach by which the student, even in her first year, must be able to think "complexly" across many subjects. The object-oriented analysis and design software programming paradigm, which models complex "realities", or "models the way people understand and process reality", holds promising concepts for architectural education. It is not my intention to extract slavishly all possible concepts from object-orientation (OO) and accept them as a "recipe" for educating the architect. Indeed, one of the reasons I find OO so elegant is that it provides a strategy, a non-prescriptive framework, with which both teachers and students can explore their own architectural investigations. It also provides the possibility of a common language, offering a structure in which, for example, certain standards can be measured within departments, or with which we can negotiate compatibility across different national credit systems to facilitate and encourage cross-cultural (border) exchange.
keywords	Object-Oriented, Aspect, Subject-Oriented, Concern Spaces, Reusability, Abstraction/Compression, Encapsulation, Maintenance
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:59

_id	55ca
authors	Mase, Jitsuro
year	2000
title	Moderato: 3D Sketch CAD with Quick Positioned Working Plane and Texture Modelling
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. 269-272
doi	https://doi.org/10.52842/conf.ecaade.2000.269
summary	The lack of computer systems that can be easily used during the early stages of the architectural design process has been discussed for many years. The usual argument starts with the recognition that hand drawn sketches are an important tool in the early stage of both professional and student design because they can be used to visualise the designer’s ideas quickly and have the flexibility to handle any shape the designer imagines. Research has then mostly focused on using computer based sketch recognition to directly produce three dimensional models from hand drawn sketches. However sketch recognition still has certain problems that require the drawing action of users to be constrained in some way in order to be solved. If sketch recognition is still imperfect, the possibility of directly sketching within digital 3D space should be considered. Some systems allowing user to sketch in digital 3D space have been developed which do not depend on sketch recognition. Although Piranesi does not aim to support sketch design, it does allow the user to paint in the Z-buffer space - an unique idea termed "interactive rendering." SketchVRML tries to generate 3D geometrical data automatically from 2D hand drawn sketches by adding the depth value to the drawn lines according to the strength of line strokes. SketchBoX provides translucent surfaces in digital 3D space which can be glued onto existing objects or arranged anywhere in space. These surfaces have texture map data which can be modified by painting onto the texture. Transparent textures can be painted onto the surfaces to create see-through portions. Moderato also uses this technique to model a polygonÕs shape.
keywords	Sketch, Early Stage, Interface, 3D Modelling
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:59

_id	ga0001
id	ga0001
authors	Soddu, Celestino
year	2000
title	From Forming to Transforming
source	International Conference on Generative Art
summary	The ancient codes of harmony stem from the human vision of the complexity of nature. They allow us to think the possible, to design it and to perform its realization. The first gesture of every designer is to take, in a new application that is born from a need the opportunity to experiment with a possible harmonic code. And to operate in the evolution of the project so that this code buds and breeds beauty as a mirror of the complexity and wonder of nature. In this design activity, project after project, every architect builds his own code. This is strongly present in diverse ways in every architect. The code of harmony born from the attention of every man to the complexity of nature, manifests itself in interpretation, which is logical and therefore feasible, of the laws of formalization of relationships. Every interpretation is different and belongs to the oneness of every architect. Every interpretative code stems from, and reveals, our approach to the world, our cultural references, our history, our present and the memory of our past. Each idea is born as a representation of the interpretative code that is a cryptic and subjective code, even if it refers as constant to history of man. Generative art is the maximum expression of this human challenge: it traces a code as a reference to the complexity of nature, and it makes it feasible. So man is the craftsman of the possible, according to the laws of the natural harmony. What does a code of the harmony contain? As for all codes it contains some rules that trace certain behaviors. It is not therefore a sequence, a database of events, of forms, but it defines behaviors: the transformations. To choose forms and to put them together is an activity that can also resemble that of a designer, but essentially it is the activity of the client. The designer does not choose forms but operates transformations, because only by doing so can he put a code of harmony into effect. Between transforming and choosing forms one can trace the borderline between architects and clients, between who designs and who chooses the projected objects. This difference must be reconsidered especially today because we are going toward a hybridization in which the client wants to feel himself a designer, even if he only chooses. And the designer, using sophisticated tools, works as chooser between different solutions, in practice as a client. To design, to create through transformations is, however, an activity that takes time. The generative design, building a usable and upgradable code, makes time virtual and therefore allows the architect, even in a speeded-up world as today is, to design and reach levels of complexity that mirror the complexity of nature and its beauty.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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