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	4cd1
authors	Abdelmawla, S., Elnimeiri, M. and Krawczyk, R.
year	2000
title	Structural Gizmos
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. 115-121
doi	https://doi.org/10.52842/conf.acadia.2000.115
summary	Architects are visual learners. The Internet has enabled interactive learning tools that can be used to assist in visual thinking of structural concepts, especially at the introductory levels. Here, we propose a visual approach for understanding structures through a series of interactive learning modules, or ’gizmos’. These gizmos, are the tools that the student may use to examine one structural concept at a time. Being interactive, they offer many more possibilities beyond what one static problem can show. The approach aims to enhance students’ visual intuition, and hence understanding of structural concepts and the parameters affecting design. This paper will present selected structural gizmos, how they work, and how they can enhance structural education for architects.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	5cba
authors	Anders, Peter
year	1999
title	Beyond Y2k: A Look at Acadia's Present and Future
source	ACADIA Quarterly, vol. 18, no. 1, p. 10
doi	https://doi.org/10.52842/conf.acadia.1999.x.o3r
summary	The sky may not be falling, but it sure is getting closer. Where will you when the last three zeros of our millennial odometer click into place? Computer scientists tell us that Y2K will bring the world’s computer infrastructure to its knees. Maybe, maybe not. But it is interesting that Y2K is an issue at all. Speculating on the future is simultaneously a magnifying glass for examining our technologies and a looking glass for what we become through them. "The future" is nothing new. Orwell's vision of totalitarian mass media did come true, if only as Madison Avenue rather than Big Brother. Futureboosters of the '50s were convinced that each garage would house a private airplane by the year 2000. But world citizens of the 60's and 70's feared a nuclear catastrophe that would replace the earth with a smoking crater. Others - perhaps more optimistically -predicted that computers were going to drive all our activities by the year 2000. And, in fact, theymay not be far off... The year 2000 is symbolic marker, a point of reflection and assessment. And - as this date is approaching rapidly - this may be a good time to come to grips with who we are and where we want to be.
series	ACADIA
email
last changed	2022/06/07 07:49

_id	9bc4
authors	Bhavnani, S.K. and John, B.E.
year	2000
title	The Strategic Use of Complex Computer Systems
source	Human-Computer Interaction 15 (2000), 107-137
summary	Several studies show that despite experience, many users with basic command knowledge do not progress to an efficient use of complex computer applications. These studies suggest that knowledge of tasks and knowledge of tools are insufficient to lead users to become efficient. To address this problem, we argue that users also need to learn strategies in the intermediate layers of knowledge lying between tasks and tools. These strategies are (a) efficient because they exploit specific powers of computers, (b) difficult to acquire because they are suggested by neither tasks nor tools, and (c) general in nature having wide applicability. The above characteristics are first demonstrated in the context of aggregation strategies that exploit the iterative power of computers.Acognitive analysis of a real-world task reveals that even though such aggregation strategies can have large effects on task time, errors, and on the quality of the final product, they are not often used by even experienced users. We identify other strategies beyond aggregation that can be efficient and useful across computer applications and show how they were used to develop a new approach to training with promising results.We conclude by suggesting that a systematic analysis of strategies in the intermediate layers of knowledge can lead not only to more effective ways to design training but also to more principled approaches to design systems. These advances should lead users to make more efficient use of complex computer systems.
series	other
email
last changed	2003/11/21 15:16

_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	ae0f
authors	Ceccato, C., Simondetti, SA. and Burry, M.C.
year	2000
title	Mass-Customization in Design Using Evolutionary and Parametric Methods
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. 239-244
doi	https://doi.org/10.52842/conf.acadia.2000.239
summary	This paper describes a project within the authors’ ongoing research in the field of Generative Design. The work is based on the premise that computer-aided design (CAD) should evolve beyond its current limitation of one-way interaction, and become a dynamic, intelligent, multi-user environment that encourages creativity and actively supports the evolution of individual, mass-customized designs which exhibit common features. The authors describe this idea by illustrating the implementation of a research project, which explores the notions of mass-customization in design by using evolutionary and parametric methods to generate families of simple objects, in our case a door handle. The project examines related approaches using both complex CAD/CAM packages (CADDS, CATIA) and a proprietary software tool for evolutionary design. The paper first gives a short historical and philosophical background to the work, then describes the technical and algorithmic requirements, and concludes with the implementations of the project.
series	ACADIA
email
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	bdf0
authors	Cuberos Mejía, Ricardo and Alvarado, Rodrigo García
year	2000
title	El Ejercicio Profesional: Más Allá de la Tridimensionalidad Informática (The Professional Practice: Beyond Computing Tridimensionality)
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. 104-106
summary	This paper proposes a group of strategies for the use of computer tools in modeling and decisions making process, particularly in those typical design projects of habitual professional labor. This design process is illustrated though a model that include promoter-investor’s interests, financial restrictions on a little consulting office, and usual design focuses on local union. These experiences are exemplified though specific projects with public and residential use developed and built in Venezuela and Chile, distant geographically but near in a same know-how of computer assisted architectural design in Latin America.
series	SIGRADI
email
last changed	2016/03/10 09:49

_id	70c4
authors	Gross, M.D., Do, E.Y.-L. and Johnson, B.R.
year	2000
title	Beyond the low-hanging fruit: Information technology in architectural design past, present and future
source	W. Mitchell and J. Fernandez (eds), ACSA Technology Conference, MIT Press, Cambridge MA
summary	Today's commercial CAD software is the product of years of research that began in the 1960's and 1970's. These applications have found widespread use in the architectural marketplace; nevertheless they represent only the first fruits of research in computer aided design. New developments based on research in human-computer interaction (HCI), computer-supported collaborative work (CSCW), and virtual reality (VR) will result in a next generation of tools for architectural design. Although preliminary applications to design have been demonstrated in each of these areas, excellent opportunities remain to exploit new technologies and insights in service of better design software. In this paper we briefly examine each of these areas using examples from our own work to discuss the prospects for future research. We envision that future design technologies will develop from current and traditional conventions of practice combined with forward looking application of emerging technologies. In HCI, pen based interaction will allow architects to use the pencil again, without sacrificing the added power of computer aided design tools, and speech recognition will begin to play a role in capturing and retrieving design critique and discussion. In CSCW, a new generation of applications will address the needs of designers more closely than current general purpose meeting tools. In VR, applications are possible that use the technology not simply to provide a sense of three-dimensional presence, but that organize design information spatially, integrating it into the representation of artifacts and places.
series	other
email
last changed	2003/04/23 15:50

_id	3338
authors	Heylighen, Ann and Neuckermans, Herman
year	2000
title	DYNAMO - Dynamic Architectural Memory On-line
source	Educational Technology and Society, Vol.3, No.2, April 2000 (ISSN 1436-4522), pp. 86-95
summary	This paper describes the current status of DYNAMO, a web-based design assistant for students and professional designers in the field of architecture. The tool can be considered a Case-Based Design (CBD) system in so far that it was inspired by the view of cognition underlying CBD. The paper points out how DYNAMO incorporates this view, and at the same time extrapolates it beyond the individual. In this way, the tool attempts to embrace and profit from several kinds of interaction that are crucial for the development and renewal of design knowledge. This should result in a design tool that both feels cognitively comfortable to (student-) designers, and offers them a platform for exchanging knowledge and insights with colleagues in different contexts and at different levels of experience. In addition, the paper describes the implementation of these theoretical ideas as a working prototype, which has recently been tested by 4th year design students. Finally, DYNAMO is situated in the context of other comparable tools that have been or are being developed in the field of architectural design.
keywords	Educational Multimedia, Interactive Learning Environments, Online Education
series	journal paper
email
more	http://ifets.gmd.de/periodical/vol_2_2000/heylighen.html
last changed	2002/11/14 08:40

_id	10e9
authors	Heylighen, Ann and Neuckermans, Herman
year	2000
title	DYNAMO in Action - Development and Use of a Web-Based Design Tool
source	J. Pohl & T. Fowler (eds.), Proceedings of the Focus Symposium on Advances in Computer-Based and Web-Based Collaborative Systems - InterSymp-2000 International Conference On Systems Research, Informatics and Cybernetics, Baden-Baden (Germany), July 31 - Aug 4, 2000 (ISBN 0-921836-88-0), pp. 233-242
summary	Addressing the subject of Case-Based Design (CBD), the paper describes the development and use of a Web-based design tool called DYNAMO. The tool is firmly rooted in the Dynamic Memory Theory underlying the CBD approach. Yet, rather than adopting it as such, we have tried to enrich this approach by extrapolating it beyond the individual. This extrapolation stimulates and intensifies several modes of interaction. Doing so, DYNAMO tries to kill two birds with one stone. At short notice, it provides architects and architecture students with a rich source of inspiration, ideas and design knowledge for their present design task, as it is filled with a permanently growing collection of design cases that is accessible on-line. Its long-term objective is to initiate and nurture the life-long process of learning from (design) experience as suggested by the cognitive model underlying CBD, and Case-Based Reasoning in general. DYNAMO is therefore conceived as an (inter-)active workhouse rather than a passive warehouse: it is interactively developed by and actively develops the user's design knowledge. Whereas previous papers have focused on the theoretical ideas of DYNAMO, this paper points out how Web technology enables us to implement these ideas as a working prototype. Furthermore, an annotated scenario of the system in use is described.
keywords	Case-Based Design, Web Technology, Architectural Design
series	journal paper
email
last changed	2002/11/22 14:50

_id	b151
authors	Hubbell, Jeremy and Boardman, Ted
year	2000
title	Inside 3D Studio VIZ 3
source	New Riders
summary	Taking what you know about design, form, and composition in the real world and translating it into the digital realm can be a significant challenge. If you're looking to make the most of 3D Studio VIZ, this book is the perfect companion. The concepts and tutorials contained within are proven in the field: they address specific issues raised in 3D Studio VIZ courses throughout the country. Inside 3D Studio VIZ 3 explains VIZ like no other learning resource. The projects- and tutorials-based approach takes you beyond tool-related issues and urges you to think "what if?"
series	other
last changed	2003/02/26 18:58

_id	394a
authors	Jabi, Wassim
year	2000
title	WebOutliner: A Web-Based Tool for Collaborative Space Programming and Design
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. 195-201
doi	https://doi.org/10.52842/conf.acadia.2000.195
summary	This paper discusses a web-based tool that allows members of a design team to collaboratively specify a hierarchical spatial program for an architectural project. Given its object orientation, the represented artifacts have built-in data and methods that allow them to respond to user actions and manage their own sub-artifacts. Given that these components are hierarchical allows users to filter information, analyze and compare design parameters and aggregate hierarchical amounts in realtime. Furthermore, the software goes beyond outlining functions to support synchronous collaborative design by linking each item in the spatial program to a detail page that allows file uploading, realtime group marking of images, and textual chat. Thus, the software offers a seamless transition from the largely asynchronous definition of an architectural program to synchronous collaboration. In addition, and in contrast to commercially available groupware, the software allows multiple collaboration sessions to run at the same time. These sessions are artifact-based in the sense that they get automatically initiated once participants visit the same architectural space in the program hierarchy. The software employs a three-tier object-oriented, web-based scheme for a richer representation of hierarchical artifacts coupled with a relational database for server-side storage. The prototype integrates this technology with Java-based tools for synchronous web-based collaboration.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	97fc
authors	Lonsway, Brian
year	2000
title	Testing the Space of the Virtual
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. 51-61
doi	https://doi.org/10.52842/conf.acadia.2000.051
summary	Various modes of electronically mediated communication, perception, and immersive bodily engagement, generally categorized as “virtual experiences,” have offered the designer of space a new array of spatial conditions to address. Each of these modes of virtual experience, from text-based discussion forums to immersive virtual reality environments, presents challenges to traditional assumptions about space and its inhabitation. These challenges require design theorization which extends beyond the notions of design within the electronic space (the textual description of the chat forum, the appearance of the computer generated imagery, etc.), and require a reconsideration of the entire electronic and physical apparatus of the mediating devices (the physical spaces which facilitate the interaction, the manner of their connection to the virtual spaces, etc.). In light of the lack of spatial theorization in this area, this paper presents both an experimental framework for understanding this complete space of the virtual and outlines a current research project addressing these theoretical challenges through the spatial implementation of a synthetic environment.
series	ACADIA
last changed	2022/06/07 07:52

_id	80b9
authors	Madrazo, Leandro
year	2000
title	Computers and architectural design: going beyond the tool
source	Automation in Construction 9 (1) (2000) pp. 5-17
summary	More often than not, discussions taking place in specialised conferences dealing with computers and design tend to focus mostly on the tool itself. What the computer can do that other tools cannot, how computers might improve design and whether a new aesthetic would result from the computer; these are among the most recurrent issues addressed in those forums. But, by placing the instrument at the center of the debate, we might be distorting the nature of design.In the course KEYWORDS, carried out in the years 1992 and 1993 at the ETH Zurich, the goal was to transcend the discourses that concentrate on the computer, integrating it in a wider theoretical framework including principles of modern art and architecture. This paper presents a summary of the content and results of this course.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	ga0017
id	ga0017
authors	McLean, A., Ward, A. and Cox, G.
year	2000
title	The aesthetics of generative code
source	International Conference on Generative Art
summary	Aesthetics, in general usage, lays an emphasis on subjective sense perception associated with the broad field of art and human creativity. This paper suggests that it might be useful to revisit the troubled relationship between art and aesthetics for the purpose of discussing the value of generative code. It is now generally accepted that sense perception alone is simply not enough unless contextualised within the world of ideas. Similarly, the world of multimedia is all too easily conflated with a multi-sensory experience (of combining still and moving image, sound, interaction and so on). Thus the limits of traditional aesthetics is emphasised in the problem of defining which of the senses the highest of the arts adheres to -according to Kant and Hegel - the ‘arts of speech’. Poetry throws such crude classificatory distinctions into question as it is both read and heard; or written and spoken/performed. Hegel suggests a way out of this paradox by employing dialectical thinking; as we do not hear speech by simply listening to it. He suggests that we need to represent speech to ourselves in written form in order to grasp what it essentially is. Thus poetry can neither be reduced to audible signs (the time of the ear) nor visible signs (the space of the eye) but is composed of language itself. This suggests that written and spoken forms work together to form a language that we appreciate as poetry. But does code work in the same way? By analogy, generative code has poetic qualities too, as it does not operate in a single moment in time and space but as a series of consecutive ‘actions’ that are repeatable, the outcome of which might be imagined in different contexts. Code is a notation of an internal structure that the computer is executing, expressing ideas, logic, and decisions that operate as an extension of the author's intentions. The written form is merely a computer-readable notation of logic, and is a representation of this process. Yet the written code isn't what the computer really executes, since there are many levels of interpreting and compiling and linking taking place. Code is only really understandable with the context of its overall structure – this is what makes it a language (be it source code or machine code, or even raw bytes). It may be hard to understand someone else’s code but the computer is, after all, multi-lingual. In this sense, understanding someone else's code is very much like listening to poetry in a foreign language - the appreciation goes beyond a mere understanding of the syntax or form of the language used, and as such translation is infamously problematic. Code itself is clearly not poetry as such, but retains some of its rhythm and metrical form. Code is intricately crafted, and expressed in multitudinous and idiosyncratic ways. Like poetry, the aesthetic value of code lies in its execution, not simply its written form. To appreciate it fully we need to ‘see’ the code to fully grasp what it is we are experiencing and to build an understanding of the code’s actions. To separate the code and the resultant actions would simply limit the aesthetic experience, and ultimately the study of these forms - as a form of criticism (what might be better called ‘poetics’).
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	7793
authors	Montañez, Darién
year	2001
title	TESIS: ARQ.PMA.76/00 (Thesis: ARQ.PMA.76/00)
source	SIGraDi biobio2001 - [Proceedings of the 5th Iberoamerican Congress of Digital Graphics / ISBN 956-7813-12-4] Concepcion (Chile) 21-23 november 2001, pp. 13-15
summary	Chaos and disorder are adjectives repeated ad nauseam in contemporary discussions on the City of Panama and its architecture. This study intends to find an order in this apparent chaos and chart the development of Panamanian Architecture during the last 25 years. Going beyond the expected list of every important building of the period, we offer a vision of Architecture as a blob generated by these milestones and that envelops them, moving and changing shape with time. This fluctuating form, which is the Architecture of Panama from 1976 to 2000, is generated by using a Style Vs. Time graph, a diagram that allows us to plot each building according to its “style”.
series	SIGRADI
email
last changed	2016/03/10 09:55

_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	6472
authors	Muñoz, Patricia Laura
year	2000
title	Diversidad e igualación: Informática y Material Didáctico para la Enseñanza de Morfología en Diseño (Diversity and Equalization: Computing and Didactic Material for the Teaching of Morphology in Design)
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. 358-360
summary	The application of digital technology in education urges us to think when, how and why these new resources should be introduced in superior education, because they represent no guarantee of quality. These features should be built beyond the media used. This new instrument requires a work with multiple sources: different disciplines provide working standards for the development of multimedia aids for teaching. In the particular field of morphology for the project area, digital science brings particular benefits such as the possibility of viewing temporal processes, the interaction that makes comprehension easier and the occasion to set in context the contents developed. In a design practice that rejects its own rules we aim to give sense to the deepest knowledge that makes its practice possible, recovered and reinterpreted by digital instruments. So this media will not imprison us in fixed models but will let us find our own possibilities of expression.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	acadia20_574
id	acadia20_574
authors	Nguyen, John; Peters, Brady
year	2020
title	Computational Fluid Dynamics in Building Design Practice
source	ACADIA 2020: Distributed Proximities / Volume I: Technical Papers [Proceedings of the 40th Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 978-0-578-95213-0]. Online and Global. 24-30 October 2020. edited by B. Slocum, V. Ago, S. Doyle, A. Marcus, M. Yablonina, and M. del Campo. 574-583.
doi	https://doi.org/10.52842/conf.acadia.2020.1.574
summary	This paper provides a state-of-the-art of computational fluid dynamics (CFD) in the building industry. Two methods were used to find this new knowledge: a series of interviews with leading architecture, engineering, and software professionals; and a series of tests in which CFD software was evaluated using comparable criteria. The paper reports findings in technology, workflows, projects, current unmet needs, and future directions. In buildings, airflow is fundamental for heating and cooling, as well as occupant comfort and productivity. Despite its importance, the design of airflow systems is outside the realm of much of architectural design practice; but with advances in digital tools, it is now possible for architects to integrate air flow into their building design workflows (Peters and Peters 2018). As Chen (2009) states, “In order to regulate the indoor air parameters, it is essential to have suitable tools to predict ventilation performance in buildings.” By enabling scientific data to be conveyed in a visual process that provides useful analytical information to designers (Hartog and Koutamanis 2000), computer performance simulations have opened up new territories for design “by introducing environments in which we can manipulate and observe” (Kaijima et al. 2013). Beyond comfort and productivity, in recent months it has emerged that air flow may also be a matter of life and death. With the current global pandemic of SARS-CoV-2, it is indoor environments where infections most often happen (Qian et al. 2020). To design architecture in a post-COVID-19 environment will require an in-depth understanding of how air flows through space.
series	ACADIA
type	paper
email
last changed	2023/10/22 12:06

_id	8b5e
authors	Papamichael, Konstantinos
year	2000
title	Desktop Radiance A New Tool for Computer-Aided Daylighting Design
source	ACADIA Quarterly, vol. 19, no. 2, pp. 9-11
doi	https://doi.org/10.52842/conf.acadia.2000.009
summary	The use of daylight for the illumination of building interiors has the potential to enhance the quality of the environment while providing opportunities to save energy by replacing or supplementing electric lighting. Moreover, it has the potential to reduce heating and cooling loads, which offer additional energy saving opportunities, as well as reductions in HVAC equipment sizing and cost. All of these benefits, however, assume proper use of daylighting strategies and technologies, whose performance depends on the context of their application. On the other hand, improper use can have significant negative effects on both comfort and energy requirements, such as increased glare and cooling loads. To ensure proper use, designers need tools that model the dynamic nature of daylight and accurately predict performance with respect to a multitude of performance criteria, extending beyond comfort and energy to include aesthetics, cost, security, safety, etc.
series	ACADIA
email
last changed	2022/06/07 08:00

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