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	41e5
authors	Abendroth, M., Decock, J. and Mestaoui, N.
year	2000
title	O_1:// the hypertextu(r)al matrix
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. 75-76
summary	Founded in 1995 LAB[au], laboratory for architecture and urbanism, links theoretic research LAB[a+u] to concrete works of conception and realisations LA.BAU. LAB[au] elaborates a “hyperdesign” investigating the implications of new technologies of communication and computation in spatiotemporal and social processes and their forms of representation as architecture and urbanism. The transposition of the hypertext model to architectural and urban concepts question the mutation of the spatial and semantic construct of space. The definition of architecture as a code is based on “glocal” systems according to the processes of computation and communication.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	ga0002
id	ga0002
authors	Dehlinger, Hans
year	2000
title	Experimental Search for Order in the Code of Generated Drawings
source	International Conference on Generative Art
summary	In a generative system a set of rules is used to create line-oriented drawings. The intentions of the artist are supported and constrained by the rules. If the entire system is designed and programmed by the artist, its generated results can come very close to the intetions persued. The drawing itself comes into existence in a single run of the system. The purity of such an approach has an inherent aesthetic to it, and the results produced seem to reflect this. After production there is (a) the drawing, and (b) the code which generated it. Feeding the code of one such drawing into a postprocessing cycle opens up a range of further possibilities. The paper experimentally explores such possibilities with a focus on finding and constructing order in disorderly arrangements.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	389b
authors	Do, Ellen Yi-Luen
year	2000
title	Sketch that Scene for Me: Creating Virtual Worlds by Freehand Drawing
doi	https://doi.org/10.52842/conf.ecaade.2000.265
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
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	ga0012
id	ga0012
authors	Galanter, Philip
year	2000
title	GA2: a Programming Environment for Abstract Generative Fine Art
source	International Conference on Generative Art
summary	Fine artists looking to use computers to create generative works, especially those artists inclined towards abstraction, often face an uncomfortable choice in the selection of software tools. On the one hand there are a number of commercial and shareware programs available which implement a few techniques in an easy to use GUI environment. Unfortunately such programs often impose a certain look or style and are not terribly versatile or expressive. The other choice seems to be writing code from scratch, in a language such as c or Java. This can be very time consuming as every new work seems to demand a new program, and the artist's ability to write code can seldom keep pace with his ability to imagine new visual ideas. This paper describes a software system created by the author called GA2 which has been implemented in the Matlab software environment. By layering GA2 over Matlab the artist can take advantage of a very mature programming environment which includes extensive mathematical libraries, simple graphics routines, GUI construction tools, built-in help facilities, and command line, batch mode, and GUI modes of interaction. In addition, GA2 is very portable and can run on Macintosh, Windows, and Unix systems with almost no incremental effort for multi-platform support. GA2 is a work in progress and an extension of the completed GA1 environment. It is medium independent, and can be used for all manner of image, animation, and sound production. GA1 includes a complete set of genetic algorithm operations for breeding families of graphical marks, a database function for managing and recalling various genes, a set of statistical operations for creating various distributions of marks on a canvas or animation frame, a unique Markov-chain-likeoperator for generating families of visually similar lines or paths, and a complete L-system implementation. GA2 extends GA1 by adding more generative techniques such as tiling and symmetry operations, Thom's cusp catastrophe, and mechanisms inspired by complexity science notions such as cellular automata, fractals, artificial life, and chaos. All of these techniques are encapulated in genetic representations. This paper is supplemented with examples from the authors art work, and comments on the philosophy behind this method of working, and its relation towards the reinvigoration of abstraction after post-modernism.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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

_id	ddssar0015
id	ddssar0015
authors	Koutamanis, Alexander
year	2000
title	Recognition of spatial grouping in rectangular arrangements
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	Rectangular arrangements are an efficient technique for generating an exhaustive catalogue of a class of designs. Moreover, they offer the possibility of retrieving designs from such a catalogue on the basis of geometric or topological features. The paper describes an extension of the possibilities of rectangular arrangements in indexing and retrieving catalogues of architectural floor plans through the recognition of spatial grouping. Using an adaptation of the chain code, each space in a shape arrangement is labeled in terms of its bilateral geometric relationships with contiguous spaces. This means that each space is maximally labeled as many times as the number of its contiguous spaces. The labels of a space are ordered on the basis of a priority list that reflects the stylistic preferences of the particular design class. Grouping of spaces uses the ordered space labels as criteria. The groups returned by this process agree with human intuitive perception of spatial grouping in the floor plan, as well as with expert architectural knowledge. For example, Palladian floor plans are consistently grouped into a central space group flanked by two symmetric space groups.
series	DDSS
last changed	2003/08/07 16:36

_id	sigradi2004_071
id	sigradi2004_071
authors	Marcelo Payssé; Magela Bielli; Juan Pablo Portillo; Fernando Rischewski
year	2004
title	Proyecto de automatización de cálculos estructurales para programas cadî, uso de herramientas informáticas en la enseñanza del cálculo estructural en la facultad de arquitectura [Automation Project of Structural Calculations for CAD Programs - Use of Digital Tools for Structural Calculations in the School of Architecture]
source	SIGraDi 2004 - [Proceedings of the 8th Iberoamerican Congress of Digital Graphics] Porte Alegre - Brasil 10-12 november 2004
summary	This paper describes the implementation of Automated Structural Calculations For CAD Programs. We aim to develop a newly conceived software prioritizing the analysis and structural design in the conceptual aspect, linking the calculation with the usual graphic procedures by means of a specific application for local education methodology, that will be intellectual property of our University. It refers the methodology applied in the implementation of the program and the pedagogical aspect we considered. The software is developped as a macro programmed in open source code (Visual Basic Application) with data-input and data output generated in AutoCAD 2000. The specific objectives are: to obtain significant improvements in the habitual resolution standards of complex exercises, to obtain suitable software with free distribution for academic purposes with minimum costs and develop an adequate instrument to the specific architects . work modality in our faculty.
keywords	Academic experiences, structural calculation, structural representation
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	17ae
authors	McCullogh, M.
year	2000
title	Abstracting Craft: The Practised Digital Hand
source	MIT Press, Cambridge Mass.
summary	Can designing for computers be a craft? This is the question this book sets out to answer. At first sight, the situation is unpromising: craft is the work of hands, and "hands are underrated," in modern life; especially as computers are seen as abstract, conceptual, creations of pure mind. Yet since computation has become a medium, rather than just a tool kit, the correspondence between digital work and traditional craft is increasing. Modern software products, though immaterial, are nevertheless the creation of "practised hands" and eyes, as well as minds. Moreover, to craft is to care: humane values can - and should - inform a software designer's work just as a potter's or carpenter's. McCullough gives all those who work with code the chance to proclaim: "I am not a programmer! I am a digital craftsperson!"
series	other
email
last changed	2003/04/23 15:14

_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	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

_id	ddssar0026
id	ddssar0026
authors	Steadman, Philip and Waddoups, Linda
year	2000
title	A catalogue of built forms, using a binary representation
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	A technique is described for the representation of a class of rectangular built forms. Each individual form is produced by applying a series of transformations to a single generic or ‘archetypal’ form, which is designed to take care of the broad constraints, on built space, of close-packing and the requirements for natural light and views. Parts of the archetype which are selected for inclusion in any particular built form are then designated by 1s, and parts which are suppressed by 0s. This makes it possible to assign a unique binary code to each different (undimensioned) built form produced from the archetype. Binary codes corresponding to all legitimate forms may then be arranged in ascending order, to create a comprehensive catalogue. The paper describes such a catalogue comprising forms with up to four courtyards, described by 22-digit binary strings. Metric values may be assigned to the various dimensions of each form, making it a matter of simple arithmetic to compute such attributes as volume, surface area, minimum site area or floor space index. From logical operations on the binary strings it is possible to identify a series of configurational characteristics of the corresponding forms, such as their overall plan shapes, the number of courtyards or the potential for symmetry. The catalogue may thus be searched for built forms fulfilling some set of specifications, for example total floor area, site size and certain desired shape attributes. Worked examples are illustrated from the design of multi-storey office buildings. Possible applications are suggested for this approach, in architectural science and the early strategic stages of architectural design.
series	DDSS
last changed	2003/08/07 16:36

_id	83cb
authors	Telea, Alexandru C.
year	2000
title	Visualisation and simulation with object-oriented networks
source	Eindhoven University of Technology
summary	Among the existing systems, visual programming environments address best these issues. However, producing interactive simulations and visualisations is still a difficult task. This defines the main research objective of this thesis: The development and implementation of concepts and techniques to combine visualisation, simulation, and application construction in an interactive, easy to use, generic environment. The aim is to produce an environment in which the above mentioned activities can be learnt and carried out easily by a researcher. Working with such an environment should decrease the amount of time usually spent in redesigning existing software elements such as graphics interfaces, existing computational modules, and general infrastructure code. Writing new computational components or importing existing ones should be simple and automatic enough to make using the envisaged system an attractive option for a non programmer expert. Besides this, all proven successful elements of an interactive simulation and visualisation environment should be provided, such as visual programming, graphics user interfaces, direct manipulation, and so on. Finally, a large palette of existing scientific computation, data processing, and visualisation components should be integrated in the proposed system. On one hand, this should prove our claims of openness and easy code integration. On the other hand, this should provide the concrete set of tools needed for building a range of scientific applications and visualisations. This thesis is structured as follows. Chapter 2 defines the context of our work. The scientific research environment is presented and partitioned into the three roles of end user, application designer, and component developer. The interactions between these roles and their specific requirements are described and lead to a more precise formulation of our problem statement. Chapter 3 presents the most used architectures for simulation and visualisation systems: the monolithic system, the application library, and the framework. The advantages and disadvantages of these architectural models are then discussed in relation with our problem statement requirements. The main conclusion drawn is that no single existing architectural model suffices, and that what is needed is a combination of the features present in all three models. Chapter 4 introduces the new architectural model we propose, based on the combination of object-orientation in form of the C++ language and dataflow modelling in the new MC++ language. Chapter 5 presents VISSION, an interactive simulation and visualisation environment constructed on the introduced new architectural model, and shows how the usual tasks of application construction, steering, and visualisation are addressed. In chapter 6, the implementation of VISSION’s architectural model is described in terms of its component parts. Chapter 7 presents the applications of VISSION to numerical simulation, while chapter 8 focuses on its visualisation and graphics applications. Finally, chapter 9 concludes the thesis and outlines possible direction for future research.
keywords	Computer Visualisation
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	0c9c
authors	Tweed, Christopher
year	1999
title	Prescribing Designs
doi	https://doi.org/10.52842/conf.ecaade.1999.051
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 51-57
summary	Much of the debate and argument among CAAD researchers has turned on the degree to which CAAD systems limit the ways in which designers can express themselves. By defining representations for design objects and design functions, systems determine what it is possible to describe. Aart Bijl used the term 'prescriptiveness' to refer to this property of systems, and the need to overcome it was a major preoccupation of research at EdCAAD during the 1980s, including the development of the MOLE (Modelling Objects with Logic Expressions) system. But in trying to offer designers the freedom that was judged to be essential to evolving design practices, MOLE transferred much of the burden of programming from system developers to end-users - you can have any design objects you want, as long as you write the code. Close examination of MOLE's logic reveals that it too had to rely on fundamental definitions that, even if not domain-specific, are certainly historically contingent. This paper will return to the issue of prescriptiveness, summarising the lessons learned from the MOLE 'experiment,' and identifying new prescriptions that are deciding what designs can be. Looking beyond computer representations, we find that designs are shaped by much larger, and arguably more powerful, historical, social and cultural forces surrounding design practice. These forces are shaping the way CAAD is used and how new systems are conceived and developed.
keywords	Bijl, Prescriptiveness
series	eCAADe
email
last changed	2022/06/07 07:58

_id	11e1
authors	Woodbury, R., Burrow, A., Drogemuller, R. and Datta, S.
year	2000
title	Code Checking by Representation Comparison
doi	https://doi.org/10.52842/conf.caadria.2000.235
source	CAADRIA 2000 [Proceedings of the Fifth Conference on Computer Aided Architectural Design Research in Asia / ISBN 981-04-2491-4] Singapore 18-19 May 2000, pp. 235-244
summary	In current computational building design theory and practice, representation schemes depend upon a set of formal operations for creating, changing and querying a representation. With a few notable exceptions, these operations do not provide ways of comparing representations to determine how representations are alike and how they are different. We have developed a theory for and a formal representation scheme that supports representation comparison. This theory opens new approaches to unsolved problems in computational building design, notably the long-standing issue of automated building code checking.
series	CAADRIA
email
last changed	2022/06/07 07:57

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

_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	f08d
authors	Abrahamson, S., Wallace, D., Senin, N. and Sferro, P.
year	2000
title	Integrated design in a service marketplace
source	Computer-Aided Design, Vol. 32 (2) (2000) pp. 97-107
summary	This paper presents a service marketplace vision for enterprise-wide integrated design modeling. In this environment, expert participants and product developmentorganizations are empowered to publish their geometric design, CAE, manufacturing, or marketing capabilities as live services that are operable over the Internet. Theseservices are made available through a service marketplace. Product developers, small or large, can subscribe to and flexibly inter-relate these services to embody adistributed product development organization, while simultaneously creating system models that allow the prediction and analysis of integrated product performance. It ishypothesized that product development services will become commodities, much like many component-level products are today. It will be possible to rapidly interchangeequivalent design service providers so that the development of the product and the definition of the product development organization become part of the same process.Computer-aided design tools will evolve to facilitate the publishing of live design services. A research prototype system called DOME is used to illustrate the concept and apilot study with Ford Motor Company is used in a preliminary assessment of the vision.
keywords	Integrated Modeling, System Modeling, Design Service Marketplace
series	journal paper
email
last changed	2003/05/15 21:33

_id	eb8a
authors	Achten, H., De Vries, B. and Jessurun, J.
year	2000
title	DDDOOLZ. A Virtual Reality Sketch Tool for Early Design
doi	https://doi.org/10.52842/conf.caadria.2000.451
source	CAADRIA 2000 [Proceedings of the Fifth Conference on Computer Aided Architectural Design Research in Asia / ISBN 981-04-2491-4] Singapore 18-19 May 2000, pp. 451-460
summary	This paper presents DDDoolz, a desktop-VR three-dimensional voxel sketchtool. DDDoolz is developed in the Design Systems Group to explore the use of Virtual Reality technology in the early design stage. The aim is to offer a sketch-like environment in VR with an unobtrusive interface. The paper presents DDDoolz, how it is used in education and with partners in architectural practice, and some future developments.
series	CAADRIA
email
last changed	2022/06/07 07:54

_id	fa3e
id	fa3e
authors	Achten, H., de Vries, B. and van Leeuwen, J.
year	2001
title	THE VR-DIS RESEARCH PROGRAMME
source	Achten, H.H., de Vries, B. and Hennessey, J. (eds). Design Research in the Netherlands 2000, 155-163
series	book
type	normal paper
email
more	http://www.designresearch.nl/PDF/DRN2000_AchtenDeVriesVanLeeuwen.pdf
last changed	2005/10/12 15:41

_id	e336
authors	Achten, H., Roelen, W., Boekholt, J.-Th., Turksma, A. and Jessurun, J.
year	1999
title	Virtual Reality in the Design Studio: The Eindhoven Perspective
doi	https://doi.org/10.52842/conf.ecaade.1999.169
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 169-177
summary	Since 1991 Virtual Reality has been used in student projects in the Building Information Technology group. It started as an experimental tool to assess the impact of VR technology in design, using the environment of the associated Calibre Institute. The technology was further developed in Calibre to become an important presentation tool for assessing design variants and final design solutions. However, it was only sporadically used in student projects. A major shift occurred in 1997 with a number of student projects in which various computer technologies including VR were used in the whole of the design process. In 1998, the new Design Systems group started a design studio with the explicit aim to integrate VR in the whole design process. The teaching effort was combined with the research program that investigates VR as a design support environment. This has lead to increasing number of innovative student projects. The paper describes the context and history of VR in Eindhoven and presents the current set-UP of the studio. It discusses the impact of the technology on the design process and outlines pedagogical issues in the studio work.
keywords	Virtual Reality, Design Studio, Student Projects
series	eCAADe
email
last changed	2022/06/07 07:54

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