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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	ec4d
authors	Croser, J.
year	2001
title	GDL Object
source	The Architect’s Journal, 14 June 2001, pp. 49-50
summary	It is all too common for technology companies to seek a new route to solving the same problem but for the most part the solutions address the effect and not the cause. The good old-fashioned pencil is the perfect example where inventors have sought to design-out the effect of the inherent brittleness of lead. Traditionally different methods of sharpening were suggested and more recently the propelling pencil has reigned king, the lead being supported by the dispensing sleeve thus reducing the likelihood of breakage. Developers convinced by the Single Building Model approach to design development have each embarked on a difficult journey to create an easy to use feature packed application. Unfortunately it seems that the two are not mutually compatible if we are to believe what we see emanating from Technology giants Autodesk in the guise of Architectural Desktop 3. The effect of their development is a feature rich environment but the cost and in this case the cause is a tool which is far from easy to use. However, this is only a small part of a much bigger problem, Interoperability. You see when one designer develops a model with one tool the information is typically locked in that environment. Of course the geometry can be distributed and shared amongst the team for use with their tools but the properties, or as often misquoted, the intelligence is lost along the way. The effect is the technological version of rubble; the cause is the low quality of data-translation available to us. Fortunately there is one company, which is making rapid advancements on the whole issue of collaboration, and data sharing. An old timer (Graphisoft - famous for ArchiCAD) has just donned a smart new suit, set up a new company called GDL Technology and stepped into the ring to do battle, with a difference. The difference is that GDL Technology does not rely on conquering the competition, quite the opposite in fact their success relies upon the continued success of all the major CAD platforms including AutoCAD, MicroStation and ArchiCAD (of course). GDL Technology have created a standard data format for manufacturers called GDL Objects. Product manufacturers such as Velux are now able to develop product libraries using GDL Objects, which can then be placed in a CAD model, or drawing using almost any CAD tool. The product libraries can be stored on the web or on CD giving easy download access to any building industry professional. These objects are created using scripts which makes them tiny for downloading from the web. Each object contains 3 important types of information: · Parametric scale dependant 2d plan symbols · Full 3d geometric data · Manufacturers information such as material, colour and price Whilst manufacturers are racing to GDL Technologies door to sign up, developers and clients are quick to see the benefit too. Porsche are using GDL Objects to manage their brand identity as they build over 300 new showrooms worldwide. Having defined the building style and interior Porsche, in conjunction with the product suppliers, have produced a CD-ROM with all of the selected building components such as cladding, doors, furniture, and finishes. Designing and detailing the various schemes will therefore be as straightforward as using Lego. To ease the process of accessing, sizing and placing the product libraries GDL Technology have developed a product called GDL Object Explorer, a free-standing application which can be placed on the CD with the product libraries. Furthermore, whilst the Object Explorer gives access to the GDL Objects it also enables the user to save the object in one of many file formats including DWG, DGN, DXF, 3DS and even the IAI's IFC. However, if you are an AutoCAD user there is another tool, which has been designed especially for you, it is called the Object Adapter and it works inside of AutoCAD 14 and 2000. The Object Adapter will dynamically convert all GDL Objects to AutoCAD Blocks during placement, which means that they can be controlled with standard AutoCAD commands. Furthermore, each object can be linked to an online document from the manufacturer web site, which is ideal for more extensive product information. Other tools, which have been developed to make the most of the objects, are the Web Plug-in and SalesCAD. The Plug-in enables objects to be dynamically modified and displayed on web pages and Sales CAD is an easy to learn and use design tool for sales teams to explore, develop and cost designs on a Notebook PC whilst sitting in the architects office. All sales quotations are directly extracted from the model and presented in HTML format as a mixture of product images, product descriptions and tables identifying quantities and costs. With full lifecycle information stored in each GDL Object it is no surprise that GDL Technology see their objects as the future for building design. Indeed they are not alone, the IAI have already said that they are going to explore the possibility of associating GDL Objects with their own data sharing format the IFC. So down to the dirty stuff, money and how much it costs? Well, at the risk of sounding like a market trader in Petticoat Lane, "To you guv? Nuffin". That's right as a user of this technology it will cost you nothing! Not a penny, it is gratis, free. The product manufacturer pays for the license to host their libraries on the web or on CD and even then their costs are small costing from as little as 50p for each CD filled with objects. GDL Technology has come up trumps with their GDL Objects. They have developed a new way to solve old problems. If CAD were a pencil then GDL Objects would be ballistic lead, which would never break or loose its point. A much better alternative to the strategy used by many of their competitors who seek to avoid breaking the pencil by persuading the artist not to press down so hard. If you are still reading and you have not already dropped the magazine and run off to find out if your favorite product supplier has already signed up then I suggest you check out the following web sites www.gdlcentral.com and www.gdltechnology.com. If you do not see them there, pick up the phone and ask them why.
series	journal paper
email
last changed	2003/04/23 15:14

_id	2b39
authors	Duarte, Rovenir Bertola
year	2000
title	O Uso do Computador no Ensino de Projeto: (por) uma Avaliação (Or Use do Computer nonEnsino de Project: (by) uma Avaliaction)
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. 361-363
summary	The computer approaches to the discipline of project near the fifties, with the idea that all the systems and processes can be object of mathematical simulation. However in the last times, the computers were used more in drawings than in the projects, “CADrafting is uncommon (...) and CADesign is almost nonexistent...” (STEVEN, 1991). At the same time it happened a surprising approach with to architecture schools. It stimulated more methodological approaches, and the subject moved, placing the computer as element transformer. The computers have really been changing the production and generation of documents, but the question is if it has been altering the method or process of elaboration of ideas. After so much search in direction to the computers it is time of thinking what was gotten with them and the problems that accompanies him. The work search to discuss the subjects where the computer influences in the learning and the students’ development.
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	349e
authors	Durmisevic, Sanja
year	2002
title	Perception Aspects in Underground Spaces using Intelligent Knowledge Modeling
source	Delft University of Technology
summary	The intensification, combination and transformation are main strategies for future spatial development of the Netherlands, which are stated in the Fifth Bill regarding Spatial Planning. These strategies indicate that in the future, space should be utilized in a more compact and more efficient way requiring, at the same time, re-evaluation of the existing built environment and finding ways to improve it. In this context, the concept of multiple space usage is accentuated, which would focus on intensive 4-dimensional spatial exploration. The underground space is acknowledged as an important part of multiple space usage. In the document 'Spatial Exploration 2000', the underground space is recognized by policy makers as an important new 'frontier' that could provide significant contribution to future spatial requirements.In a relatively short period, the underground space became an important research area. Although among specialists there is appreciation of what underground space could provide for densely populated urban areas, there are still reserved feelings by the public, which mostly relate to the poor quality of these spaces. Many realized underground projects, namely subways, resulted in poor user satisfaction. Today, there is still a significant knowledge gap related to perception of underground space. There is also a lack of detailed documentation on actual applications of the theories, followed by research results and applied techniques. This is the case in different areas of architectural design, but for underground spaces perhaps most evident due to their infancv role in general architectural practice. In order to create better designs, diverse aspects, which are very often of qualitative nature, should be considered in perspective with the final goal to improve quality and image of underground space. In the architectural design process, one has to establish certain relations among design information in advance, to make design backed by sound rationale. The main difficulty at this point is that such relationships may not be determined due to various reasons. One example may be the vagueness of the architectural design data due to linguistic qualities in them. Another, may be vaguely defined design qualities. In this work, the problem was not only the initial fuzziness of the information but also the desired relevancy determination among all pieces of information given. Presently, to determine the existence of such relevancy is more or less a matter of architectural subjective judgement rather than systematic, non-subjective decision-making based on an existing design. This implies that the invocation of certain tools dealing with fuzzy information is essential for enhanced design decisions. Efficient methods and tools to deal with qualitative, soft data are scarce, especially in the architectural domain. Traditionally well established methods, such as statistical analysis, have been used mainly for data analysis focused on similar types to the present research. These methods mainly fall into a category of pattern recognition. Statistical regression methods are the most common approaches towards this goal. One essential drawback of this method is the inability of dealing efficiently with non-linear data. With statistical analysis, the linear relationships are established by regression analysis where dealing with non-linearity is mostly evaded. Concerning the presence of multi-dimensional data sets, it is evident that the assumption of linear relationships among all pieces of information would be a gross approximation, which one has no basis to assume. A starting point in this research was that there maybe both linearity and non-linearity present in the data and therefore the appropriate methods should be used in order to deal with that non-linearity. Therefore, some other commensurate methods were adopted for knowledge modeling. In that respect, soft computing techniques proved to match the quality of the multi-dimensional data-set subject to analysis, which is deemed to be 'soft'. There is yet another reason why soft-computing techniques were applied, which is related to the automation of knowledge modeling. In this respect, traditional models such as Decision Support Systems and Expert Systems have drawbacks. One important drawback is that the development of these systems is a time-consuming process. The programming part, in which various deliberations are required to form a consistent if-then rule knowledge based system, is also a time-consuming activity. For these reasons, the methods and tools from other disciplines, which also deal with soft data, should be integrated into architectural design. With fuzzy logic, the imprecision of data can be dealt with in a similar way to how humans do it. Artificial neural networks are deemed to some extent to model the human brain, and simulate its functions in the form of parallel information processing. They are considered important components of Artificial Intelligence (Al). With neural networks, it is possible to learn from examples, or more precisely to learn from input-output data samples. The combination of the neural and fuzzy approach proved to be a powerful combination for dealing with qualitative data. The problem of automated knowledge modeling is efficiently solved by employment of machine learning techniques. Here, the expertise of prof. dr. Ozer Ciftcioglu in the field of soft computing was crucial for tool development. By combining knowledge from two different disciplines a unique tool could be developed that would enable intelligent modeling of soft data needed for support of the building design process. In this respect, this research is a starting point in that direction. It is multidisciplinary and on the cutting edge between the field of Architecture and the field of Artificial Intelligence. From the architectural viewpoint, the perception of space is considered through relationship between a human being and a built environment. Techniques from the field of Artificial Intelligence are employed to model that relationship. Such an efficient combination of two disciplines makes it possible to extend our knowledge boundaries in the field of architecture and improve design quality. With additional techniques, meta know/edge, or in other words "knowledge about knowledge", can be created. Such techniques involve sensitivity analysis, which determines the amount of dependency of the output of a model (comfort and public safety) on the information fed into the model (input). Another technique is functional relationship modeling between aspects, which is derivation of dependency of a design parameter as a function of user's perceptions. With this technique, it is possible to determine functional relationships between dependent and independent variables. This thesis is a contribution to better understanding of users' perception of underground space, through the prism of public safety and comfort, which was achieved by means of intelligent knowledge modeling. In this respect, this thesis demonstrated an application of ICT (Information and Communication Technology) as a partner in the building design process by employing advanced modeling techniques. The method explained throughout this work is very generic and is possible to apply to not only different areas of architectural design, but also to other domains that involve qualitative data.
keywords	Underground Space; Perception; Soft Computing
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	gerardgabriel_phd
id	gerardgabriel_phd
authors	Gabriel, Gerard Caesar
year	2000
title	COMPUTER-MEDIATED COMMUNICATION IN DESIGN
source	PhD Thesis, Faculty of Architecture, University of Sydney
summary	Up till now, architects collaborating with other colleagues did so mostly face-to-face (FTF). They had to be in the same space (co-located) at the same time. Communication was ‘spontaneous’ and ideas were represented, whether verbal or nonverbal, by talking and using ‘traditional drawing tools’. If they were geographically displaced, the interaction was then space affected as well as the probability of being time affected. In this case communication was usually mediated through the telephone, and graphically represented ideas were sent by Fax or posted documents. Recently, some architectural firms started using modems and Internet connections to exchange information, by transferring CAD drawings as well as design information, through e-mail and file transfer protocol (FTP). Discussing ideas in architecture, as a more abstract notion, is different from discussing other more concrete arguments using video conferencing. It is more important to ‘see’ what is being discussed at hand than ‘watch’ the other person(s) involved in the discussion. In other words the data being conveyed might be of more importance than the mode of communication. Taking into consideration recent developments in computer and communication technologies this thesis investigates different communication channels utilised in architectural collaboration through Computer Mediated Collaborative Design (CMCD) sessions as opposed to FTF sessions. This thesis investigates the possible effects these different channels have on collaborative design in general and collaborative design communication in particular. We argue that successful CMCD does not necessarily mean emulating close proximity environments. Excluding certain communication channels in a CMCD environment might affect the flow and quantity of synchronous collaborative communication, but not necessarily the quality and content of mutually communicated and represented design ideas. Therefore different communication channels might affect the type of communication and not necessarily the content of the communication. We propose that audio and video are not essential communication channels in CMCD environments. We posit that architects will collaborate and communicate design representations effectively although with some differences, since those two channels might cause interruptions and successful collaborative sessions can take place without them. For this purpose we conducted twenty-four one-hour experiments involving final year architecture students all working to the same design brief. The experiments were divided into three categories, FTF, full computer mediated collaborative design sessions (CMCD-a; audio-video conferencing plus whiteboard as a shared drawing space) and limited computer mediated collaborative design sessions (CMCD-b; with Lambda MOO used as a chat medium plus whiteboard as a shared drawing space). The experiments were video and audio taped, transcribed and coded into a custom developed coding scheme. The results of the analysed coded data and observations of the videotapes provided evidence that there were noticeable differences between the three categories. There was more design communication and less communication control in the CMCD-b category compared to the FTF and CMCD-a categories. Verbal communication became shorter and straight to the point in CMCD-b as opposed to spontaneous non-stop chat in the other two categories. Moreover in CMCD-b the subjects were observed to be more reflective as well as choosing and re-examining their words to explain ideas to their partners. At times they were seen scrolling back through the text of the conversation in order to re-analyse or interpret the design ideas at hand. This was impossible in FTF and CMCD-a sessions, since the subjects were more spontaneous and audio representations were lost as soon as they were uttered. Also the video channel in the CMCD-a category was ignored and hardly used except for the first few minutes of the experiments, for a brief exchange of light humour on the appearance of each subject. The results obtained from analysing the experiments helped us conclude that different communication channels produce different collaborative environments. The three categories of communication for architectural collaboration explored in our experiments are indicative of the alternatives available to architects now. What is not clear to architects is why they would choose one category over another. We propose that each category has its own strengths and difficulties for architectural collaboration, and therefore should be selected on the basis of the type of communication considered to be most effective for the stage and tasks of the design project.
series	thesis:PhD
type	normal paper
email
last changed	2005/09/09 13:02

_id	caadria2003_a2-4
id	caadria2003_a2-4
authors	Seichter, Hartmut
year	2003
title	Sketchand+ a Collaborative Augmented Reality Sketching Application
source	CAADRIA 2003 [Proceedings of the 8th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 974-9584-13-9] Bangkok Thailand 18-20 October 2003, pp. 209-222
doi	https://doi.org/10.52842/conf.caadria.2003.209
summary	The sketch is the embodiment of the architectural discussion. It incorporates rapidness and fuzziness and as this it is an object of interpretation. The interesting thing there is the question, if the usage of VR/AR already in the early phases of a design can have an impact for the quality of a design-process. Examples like VRAM (Regenbrecht et al., 2000) or TAP (Seichter et al., 2000) showed that there is a huge potential for research. The sketch as one of the parts of an early design is tightly coupled with cognitive aspects and communication. Pictured by a sketch is just a snapshot of what have to be discussed in the ensuing design procedure. The intention behind this work is an exploration about a medium which is not yet adapted to the digital world (Myers et al., 2000) and it can be easily be described with the words of Harald Innis: Mankind constantly being caught in his own traps: language and systems, developed and most difficult to break down. (Innis, 1951)
series	CAADRIA
email
last changed	2022/06/07 07:56

_id	avocaad_2001_16
id	avocaad_2001_16
authors	Yu-Ying Chang, Yu-Tung Liu, Chien-Hui Wong
year	2001
title	Some Phenomena of Spatial Characteristics of Cyberspace
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	"Space," which has long been an important concept in architecture (Bloomer & Moore, 1977; Mitchell, 1995, 1999), has attracted interest of researchers from various academic disciplines in recent years (Agnew, 1993; Benko & Strohmayer, 1996; Chang, 1999; Foucault, 1982; Gould, 1998). Researchers from disciplines such as anthropology, geography, sociology, philosophy, and linguistics regard it as the basis of the discussion of various theories in social sciences and humanities (Chen, 1999). On the other hand, since the invention of Internet, Internet users have been experiencing a new and magic "world." According to the definitions in traditional architecture theories, "space" is generated whenever people define a finite void by some physical elements (Zevi, 1985). However, although Internet is a virtual, immense, invisible and intangible world, navigating in it, we can still sense the very presence of ourselves and others in a wonderland. This sense could be testified by our naming of Internet as Cyberspace -- an exotic kind of space. Therefore, as people nowadays rely more and more on the Internet in their daily life, and as more and more architectural scholars and designers begin to invest their efforts in the design of virtual places online (e.g., Maher, 1999; Li & Maher, 2000), we cannot help but ask whether there are indeed sensible spaces in Internet. And if yes, these spaces exist in terms of what forms and created by what ways?To join the current interdisciplinary discussion on the issue of space, and to obtain new definition as well as insightful understanding of "space", this study explores the spatial phenomena in Internet. We hope that our findings would ultimately be also useful for contemporary architectural designers and scholars in their designs in the real world.As a preliminary exploration, the main objective of this study is to discover the elements involved in the creation/construction of Internet spaces and to examine the relationship between human participants and Internet spaces. In addition, this study also attempts to investigate whether participants from different academic disciplines define or experience Internet spaces in different ways, and to find what spatial elements of Internet they emphasize the most.In order to achieve a more comprehensive understanding of the spatial phenomena in Internet and to overcome the subjectivity of the members of the research team, the research design of this study was divided into two stages. At the first stage, we conducted literature review to study existing theories of space (which are based on observations and investigations of the physical world). At the second stage of this study, we recruited 8 Internet regular users to approach this topic from different point of views, and to see whether people with different academic training would define and experience Internet spaces differently.The results of this study reveal that the relationship between human participants and Internet spaces is different from that between human participants and physical spaces. In the physical world, physical elements of space must be established first; it then begins to be regarded as a place after interaction between/among human participants or interaction between human participants and the physical environment. In contrast, in Internet, a sense of place is first created through human interactions (or activities), Internet participants then begin to sense the existence of a space. Therefore, it seems that, among the many spatial elements of Internet we found, "interaction/reciprocity" Ñ either between/among human participants or between human participants and the computer interface Ð seems to be the most crucial element.In addition, another interesting result of this study is that verbal (linguistic) elements could provoke a sense of space in a degree higher than 2D visual representation and no less than 3D visual simulations. Nevertheless, verbal and 3D visual elements seem to work in different ways in terms of cognitive behaviors: Verbal elements provoke visual imagery and other sensory perceptions by "imagining" and then excite personal experiences of space; visual elements, on the other hand, provoke and excite visual experiences of space directly by "mapping".Finally, it was found that participants with different academic training did experience and define space differently. For example, when experiencing and analyzing Internet spaces, architecture designers, the creators of the physical world, emphasize the design of circulation and orientation, while participants with linguistics training focus more on subtle language usage. Visual designers tend to analyze the graphical elements of virtual spaces based on traditional painting theories; industrial designers, on the other hand, tend to treat these spaces as industrial products, emphasizing concept of user-center and the control of the computer interface.The findings of this study seem to add new information to our understanding of virtual space. It would be interesting for future studies to investigate how this information influences architectural designers in their real-world practices in this digital age. In addition, to obtain a fuller picture of Internet space, further research is needed to study the same issue by examining more Internet participants who have no formal linguistics and graphical training.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	ddssar0031
id	ddssar0031
authors	Witt, Tom
year	2000
title	Indecision in quest of design
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	Designers all start with a solution (Darke, 1984), with what is known (Rittel, 1969, 1970). Hans Menghol, Svein Gusrud and Peter Opvik did so with the chair in the 1970s. Not content with the knowledge of the chair, however, they walked backward to the ignorance of the question that has always elicited the solution of chair and asked themselves the improbable question, “What is a chair?” Their answer was the Balans chair. “Until the introduction of the Norwegian Balans (balance) chair, the multi-billion dollar international chair industry had been surprisingly homogeneous. This chair is the most radical of the twentieth century and probably since the invention of the chair-throne itself (Cranz 1998). Design theorists have tried to understand in a measurable way what is not measurable: the way that designers think. Rather than attempt to analyze something that cannot be taken apart, I attempt to illuminate methods for generating new knowledge through ways of seeing connections that are not logical, and in fact are sometimes ironic. Among the possibilities discussed in this dialogue are the methodological power of language in the form of metaphor, the power of the imagination in mind experiments, the power of mythological story telling, and the power of immeasurable intangibles in the generation of the new knowledge needed to design.
series	DDSS
last changed	2003/08/07 16:36

_id	01c0
authors	Af Klercker, Jonas
year	2000
title	Modelling for Virtual Reality in Architecture
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 209-213
doi	https://doi.org/10.52842/conf.ecaade.2000.209
summary	CAAD systems are using object modelling methods for building databases to make information available. Object data must then be made useful for many different purposes in the design process. Even if the capacity of the computer will allow an almost unlimited amount of information to be transformed, the eye does not make the transformations in the same “simple” mathematical way. Trained architects have to involve in an inventive process of finding ways to “harmonize” this new medium with the human eye and the architect’s professional experience. This paper will be an interimistic report from a surveying course. During the spring semester 2000 the CAAD division of TU-Lund is giving a course “Modelling for VR in Architecture”. The students are practising architects with experience from using object modelling CAAD. The aims are to survey different ways to use available hard- and software to create VR-models of pieces of architecture and evaluate them in desktop and CAVE environments. The architect is to do as much preparation work as possible with his CAAD program and only the final adjustments with the special VR tool.
keywords	CAAD, VR, Modelling, Spatial Experience
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:54

_id	449f
authors	Aish, Robert
year	2000
title	Collaborative Design using Long Transactions and "Change Merge"
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. 107-111
doi	https://doi.org/10.52842/conf.ecaade.2000.107
summary	If our goal is implement collaborative engineering across temporal, spatial and discipline dimensions, then it is suggested that we first have to address the necessary pre-requisites, which include both the deployment of "enterprise computing" and an understanding of the computing concepts on which such enterprise systems are based. This paper will consider the following computing concepts and the related concepts in the world of design computing, and discuss how these concepts have been realised in Bentley SystemsÕ ProjectBank collaborative engineering data repository: Computing Concept Related Design Concept Normalisation Model v. Report (or Drawing) Transaction Consistency of Design Long Transaction Parallelisation of Design Change Merge Coordination (synchronisation) Revisions Coordination (synchronisation) While we are most probably familiar with the applications of existing datadase concepts (such as Normalisation and Transaction Management) to the design process, the intent of this paper to focus
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
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	f288
authors	Bille, Pia
year	1999
title	Integrating GIS and Electronic Networks In Urban Design and Planning
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 722-728
doi	https://doi.org/10.52842/conf.ecaade.1999.722
summary	In 1998 I undertook an inquiry into the use of information technology in Urban Design and Planning in Danish municipalities and among planning consultants. The aim was to find out who was working with the IT and for what purposes it was used. In education there seems to be barriers to a full integration of the new media, and I wanted to find out if that was also the case in the practise of architects and planners. Surprisingly I discovered that there was a computer on almost every desk, - but there were big differences in the use of the technology. The investigation described here is based on interviews with planners in selected municipalities and with urban planning consultants, and the results have been summarised in a publication.
keywords	Urban Planning, Electronic Collaboration, GIS, Data Bases
series	eCAADe
email
last changed	2022/06/07 07:54

_id	aef9
id	aef9
authors	Brown, A., Knight, M. and Berridge, P. (Eds.)
year	1999
title	Architectural Computing from Turing to 2000 [Conference Proceedings]
source	eCAADe Conference Proceedings / ISBN 0-9523687-5-7 / Liverpool (UK) 15-17 September 1999, 773 p.
doi	https://doi.org/10.52842/conf.ecaade.1999
summary	The core theme of this book is the idea of looking forward to where research and development in Computer Aided Architectural Design might be heading. The contention is that we can do so most effectively by using the developments that have taken place over the past three or four decades in Computing and Architectural Computing as our reference point; the past informing the future. The genesis of this theme is the fact that a new millennium is about to arrive. If we are ruthlessly objective the year 2000 holds no more significance than any other year; perhaps we should, instead, be preparing for the year 2048 (2k). In fact, whatever the justification, it is now timely to review where we stand in terms of the development of Architectural Computing. This book aims to do that. It is salutary to look back at what writers and researchers have said in the past about where they thought that the developments in computing were taking us. One of the common themes picked up in the sections of this book is the developments that have been spawned by the global linkup that the worldwide web offers us. In the past decade the scale and application of this new medium of communication has grown at a remarkable rate. There are few technological developments that have become so ubiquitous, so quickly. As a consequence there are particular sections in this book on Communication and the Virtual Design Studio which reflect the prominence of this new area, but examples of its application are scattered throughout the book. In 'Computer-Aided Architectural Design' (1977), Bill Mitchell did suggest that computer network accessibility from expensive centralised locations to affordable common, decentralised computing facilities would become more commonplace. But most pundits have been taken by surprise by just how powerful the explosive cocktail of networks, email and hypertext has proven to be. Each of the ingredients is interesting in its own right but together they have presented us with genuinely new ways of working. Perhaps, with foresight we can see what the next new explosive cocktail might be.
series	eCAADe
email
more	http://www.ecaade.org
last changed	2022/06/07 07:49

_id	55f6
authors	Brown, André
year	2000
title	Alternative Histories: the creative application of VR in developing an architectural critique -
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. 265-267
summary	The idea of the creative fake (not forgery) in architecture parallels the ideas of creative faking in other disciplines such as art and design. The idea developed here is to use the vehicle of the virtual world as a device for creative thinking through mature ‚what-if?’ scenarios. This paper explores the potential for virtual architectural environments to be developed in such a way that they can be used in the critical appraisal and understanding of architecture.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	ga0025
id	ga0025
authors	Chiodi , Andrea and Vernillo, Marco M.
year	2000
title	Deep Architectures and Exterior Communication in Generative Art
source	International Conference on Generative Art
summary	Human beings formulate their thoughts through their own language. To use a sentence by Ezra Pound: “The thought hinges on word definition.” Software beings formulate their thoughts through data structures. Not through a specific expressive means, but directly through concepts and relations. Human beings formulate their thoughts in a context, which does not require any further translation. If software beings want to be appreciated by human beings, they are forced to translate their thoughts in one of the languages the human beings are able to understand. On the contrary, when a software being communicates with another software being, this unnatural translation is not justified: communication takes place directly through data structures, made uniform by opportune communication protocols. The Generative Art prospect gives the software beings the opportunity to create works according to their own nature. But, if the result of such a creation must be expressed in a language human beings are able to comprehend, then this result is a sort of circus performance and not a free thought. Let’s give software beings the dignity they deserve and therefore allow them to express themselves according to their own nature: by data structures. This work studies in depth the opportunity to divide the software ‘thought’ communication from its translation in a human language. The recent introduction of XML leads to formal languages definition oriented to data structure representation. Intrinsically data and program, XML allows, through subsequent executions and validations, the realization of typical contextual grammars descriptions, allowing the management of high complexities. The translation from a data structure into a human language can take place later on and be oriented to different alternative kind of expression: lexical (according to national languages), graphical, musical, plastic. The direct expression of data structures promises further communication opportunities also for human beings. One of these is the definition of a non-national language, as free as possible from lexical ambiguities, extremely precise. Another opportunity concerns the possibility to express concepts usually hidden by their own representation. A Roman bridge, the adagio “Music for strings, celesta and drums” by Bartok and Kafka’s short novel “In the gallery” have something in common; a work of Generative Art, first expressed in terms of structure and then translated into an architectural, musical, or literary work can express this explicit community.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ga0007
id	ga0007
authors	Coates, Paul and Miranda, Pablo
year	2000
title	Swarm modelling. The use of Swarm Intelligence to generate architectural form
source	International Conference on Generative Art
summary	.neither the human purposes nor the architect's method are fully known in advance. Consequently, if this interpretation of the architectural problem situation is accepted, any problem-solving technique that relies on explicit problem definition, on distinct goal orientation, on data collection, or even on non-adaptive algorithms will distort the design process and the human purposes involved.' Stanford Anderson, "Problem-Solving and Problem-Worrying". The works concentrates in the use of the computer as a perceptive device, a sort of virtual hand or "sense", capable of prompting an environment. From a set of data that conforms the environment (in this case the geometrical representation of the form of the site) this perceptive device is capable of differentiating and generating distinct patterns in its behavior, patterns that an observer has to interpret as meaningful information. As Nicholas Negroponte explains referring to the project GROPE in his Architecture Machine: 'In contrast to describing criteria and asking the machine to generate physical form, this exercise focuses on generating criteria from physical form.' 'The onlooking human or architecture machine observes what is "interesting" by observing GROPE's behavior rather than by receiving the testimony that this or that is "interesting".' The swarm as a learning device. In this case the work implements a Swarm as a perceptive device. Swarms constitute a paradigm of parallel systems: a multitude of simple individuals aggregate in colonies or groups, giving rise to collaborative behaviors. The individual sensors can't learn, but the swarm as a system can evolve in to more stable states. These states generate distinct patterns, a result of the inner mechanics of the swarm and of the particularities of the environment. The dynamics of the system allows it to learn and adapt to the environment; information is stored in the speed of the sensors (the more collisions, the slower) that acts as a memory. The speed increases in the absence of collisions and so providing the system with the ability to forget, indispensable for differentiation of information and emergence of patterns. The swarm is both a perceptive and a spatial phenomenon. For being able to Interact with an environment an observer requires some sort of embodiment. In the case of the swarm, its algorithms for moving, collision detection, and swarm mechanics conform its perceptive body. The way this body interacts with its environment in the process of learning and differentiation of spatial patterns constitutes also a spatial phenomenon. The enactive space of the Swarm. Enaction, a concept developed by Maturana and Varela for the description of perception in biological terms, is the understanding of perception as the result of the structural coupling of an environment and an observer. Enaction does not address cognition in the currently conventional sense as an internal manipulation of extrinsic 'information' or 'signals', but as the relation between environment and observer and the blurring of their identities. Thus, the space generated by the swarm is an enactive space, a space without explicit description, and an invention of the swarm-environment structural coupling. If we consider a gestalt as 'Some property -such as roundness- common to a set of sense data and appreciated by organisms or artefacts' (Gordon Pask), the swarm is also able to differentiate space 'gestalts' or spaces of some characteristics, such as 'narrowness', or 'fluidness' etc. Implicit surfaces and the wrapping algorithm. One of the many ways of describing this space is through the use of implicit surfaces. An implicit surface may be imagined as an infinitesimally thin band of some measurable quantity such as color, density, temperature, pressure, etc. Thus, an implicit surface consists of those points in three-space that satisfy some particular requirement. This allows as to wrap the regions of space where a difference of quantity has been produced, enclosing the spaces in which some particular events in the history of the Swarm have occurred. The wrapping method allows complex topologies, such as manifoldness in one continuous surface. It is possible to transform the information generated by the swarm in to a landscape that is the result of the particular reading of the site by the swarm. Working in real time. Because of the complex nature of the machine, the only possible way to evaluate the resulting behavior is in real time. For this purpose specific applications had to be developed, using OpenGL for the Windows programming environment. The package consisted on translators from DXF format to a specific format used by these applications and viceversa, the Swarm "engine", a simulated parallel environment, and the Wrapping programs, to generate the implicit surfaces. Different versions of each had been produced, in different stages of development of the work.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	6c45
authors	Drewe, Paul
year	2000
title	In Search of New Concepts of Physical and Virtual Space
source	CORP 2000, Vienna, pp. 37-44
summary	Physical space is the material object of spatial planning and urbanism. It comprises, traditionally, zonesadapted to activities and channels of communication providing links between zones, catering to transport. Orvarious types of buildings, if one includes architecture. Virtual space opened by ICT, still is less familiar. Itis, after all, "no more than abstract flows of electronic signals, coded as information, representation andexchange" (Graham). This partly explains the frequent use of metaphors to describe it, among them spatialmetaphors (Graham, 1997). In dealing with the interactions between physical and virtual space, spatialmetaphors tend to obscure the issues and therefore better be avoided.Physical and virtual space must be defined as distinct entities. After all, only utopians believe in urbandissolution with all information supposed to become available at all times and places to all people. What arethe most important interactions between physical and virtual space?
series	other
email
more	www.corp.at
last changed	2002/12/19 12:15

_id	ga0021
id	ga0021
authors	Eacott, John
year	2000
title	Generative music composition in practice - a critical evaluation
source	International Conference on Generative Art
summary	This critical evaluation will discuss 4 computer based musical works which, for reasons I shall explain, I describe as non-linear or generative. The works have been constructed by me and publicly performed or exhibited during a two year period from October 1998 to October 2000. ‘In the beginning…’ interactive music installation, strangeAttraction, Morley Gallery, London. July 1999 ‘jnrtv’ live generative dance music May 1999 to Dec 2000 ‘jazz’ interactive music installation, another strangeAttraction Morley Gallery, London. July 2000-09-26 ‘the street’ architectural interactive music installation, University of Westminster Oct 2000 Introduction I have always loved the practice of composing, particularly when it means scoring a work to be played by a live ensemble. There is something about taking a fresh sheet of manuscript , ruling the bar lines, adding clefs, key and time signatures and beginning the gradual process of adding notes, one at a time to the score until it is complete that is gratifying and compensates for the enormous effort involved. The process of scoring however is actually one distinct act within the more general task of creating music. Recently, the notion of ‘composing’ has met challenges through an increased interest in non-linear compositional methods. It is actually the presence of Chaotic or uncontrolable elements which add real beauty to music and many if not all of the things we value. If we think of a sunset, waves lapping on the shore, plants, trees a human face and the sound of the human voice, these things are not perfect and more importantly perhaps, they are transient, constantly changing and evolving. Last year and again this year, I have organised an exhibition of interactive , non-linear music installations called 'strangeAttraction'. The title refers to what Edward Lorenz called a ‘strange attractor’ the phenomenon that despite vast degrees of Chaos and uncertainty within a system, there is a degree of predictability, the tendency for chaotic behaviour to ‘attract’ towards a probable set of outcomes. Composition that deals with 'attractors' or probable outcomes rather than specific details which are set in stone is an increasingly intriguing notion.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	1eac
authors	Garner, S.
year	2000
title	Is Sketching Still Relevant in Virtual Design Studios?
source	Proceedings of DCNet, Sydney
summary	Sketching, as a particular subset of drawing, has for a long time, been valued within design activity. Although they can appear rough, inaccurate or incomplete, sketches have been presented as both valuable output from, and evidence of, essential activity in designing by individuals and groups. This paper reflects on this value and asks whether sketching is relevant today, given the advances in computing and communications technology seen in modern virtual design environments. Is it time to let go of the metaphor of drawing or can this ancient human capability still tell us something relevant for the improvement of the virtual design studio? While freehand line drawings may not have the same importance in current virtual design studios the support of incompleteness, ambiguity and shared meaning in solution-focused and problem-focused thinking remains essential. The paper proposes that attention to 'graphic acts' has improved our understanding of sketching within collaborative designing. A particular type of fast, transitory 'thumbnail' sketch would appear to be important. If this is so then attention to its modern counterpart in the latest 3D, multi-user, immersive virtual design studios is overdue if they are to support the cognitive processes of creativity vital to design.
series	other
last changed	2003/04/23 15:50

_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

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