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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	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
doi	https://doi.org/10.52842/conf.ecaade.2000.261
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
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	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	acadia20_574
id	acadia20_574
authors	Nguyen, John; Peters, Brady
year	2020
title	Computational Fluid Dynamics in Building Design Practice
doi	https://doi.org/10.52842/conf.acadia.2020.1.574
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.
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
doi	https://doi.org/10.52842/conf.acadia.2000.009
source	ACADIA Quarterly, vol. 19, no. 2, pp. 9-11
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

_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	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	3e01
authors	Linnert, C., Encarnacao, M., Storck, A. and Koch, V.
year	2000
title	Virtual Building Lifecycle - Giving architects access to the future of buildings by visualizing lifecycle data
source	ICCCBE8, Stanford, August 2000
summary	Today’s software for architects and civil engineers is lacking support for the evaluation and improvement of building lifecycles. Facility Management Systems and 4D-CAD try to integrate lifecycle data and make them better accessible, but miss the investigation of the development of the structure itself. Much money is inappropriately spent when materials with different life expectancies are combined in the wrong way and building parts are repaired or replaced too early or too late. With the methods of scientific visualization and real-time 3Dgraphics these deficiencies can be eliminated. The project “Virtual Building Lifecycle” (short VBLC, [W-VBLC]) connects 3D geometrical information to research data such as life expectancy and emissions and to standard database information like prices. The automated visualization of critical points of the structure in the past, presence and future is a huge advantage and helps engineers to improve the duration of the lifecycle and reduce the costs.
keywords	Visualization; lifecycle; virtual building; realtime 3D graphics; architectural database; 4D-CAD; Facility Management
series	other
email
last changed	2003/02/26 18:58

_id	sigradi2006_c093b
id	sigradi2006_c093b
authors	Sánchez Cavazos, María Estela
year	2006
title	El Aprendizaje del Diseño Arquitectónico en el mundo digital [Architectural design learning in a digital world]
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 210-214
summary	The background of this paper goes back to the yer 2000 when its autor realizad an investigation in the architecture workshops. In that same year she finished her master's thesis about the design process and continued with investigations observing the influence of the computer use in the process. The main goal of the paper is to determine if the digital mediums take an important role between the connection of knowledges, actitudes and habilites for the architectonic design. The methodology used for the data collection was trough participant observations, interviews and cuasiexperiments. The paper shows how the student takes elements from the knowledges, actitudes and habilities, and connects them to realize constructions of new schemes of knowledge in the architectonic design process; the use of old and new tools to design and how it influences the outcome is observed.
series	SIGRADI
email
last changed	2016/03/10 10:01

_id	4cd1
authors	Abdelmawla, S., Elnimeiri, M. and Krawczyk, R.
year	2000
title	Structural Gizmos
doi	https://doi.org/10.52842/conf.acadia.2000.115
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
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
doi	https://doi.org/10.52842/conf.acadia.1999.x.o3r
source	ACADIA Quarterly, vol. 18, no. 1, p. 10
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	ae0f
authors	Ceccato, C., Simondetti, SA. and Burry, M.C.
year	2000
title	Mass-Customization in Design Using Evolutionary and Parametric Methods
doi	https://doi.org/10.52842/conf.acadia.2000.239
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
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
doi	https://doi.org/10.52842/conf.acadia.2000
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.
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	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
doi	https://doi.org/10.52842/conf.acadia.2000.195
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
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
doi	https://doi.org/10.52842/conf.acadia.2000.051
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
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

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