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CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
supported by the sibling associations ACADIA, CAADRIA, eCAADe, SIGraDi, ASCAAD and CAAD futures

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_id	ga0026
id	ga0026
authors	Ransen, Owen F.
year	2000
title	Possible Futures in Computer Art Generation
source	International Conference on Generative Art
summary	Years of trying to create an "Image Idea Generator" program have convinced me that the perfect solution would be to have an artificial artistic person, a design slave. This paper describes how I came to that conclusion, realistic alternatives, and briefly, how it could possibly happen. 1. The history of Repligator and Gliftic 1.1 Repligator In 1996 I had the idea of creating an “image idea generator”. I wanted something which would create images out of nothing, but guided by the user. The biggest conceptual problem I had was “out of nothing”. What does that mean? So I put aside that problem and forced the user to give the program a starting image. This program eventually turned into Repligator, commercially described as an “easy to use graphical effects program”, but actually, to my mind, an Image Idea Generator. The first release came out in October 1997. In December 1998 I described Repligator V4 [1] and how I thought it could be developed away from simply being an effects program. In July 1999 Repligator V4 won the Shareware Industry Awards Foundation prize for "Best Graphics Program of 1999". Prize winners are never told why they won, but I am sure that it was because of two things: 1) Easy of use 2) Ease of experimentation "Ease of experimentation" means that Repligator does in fact come up with new graphics ideas. Once you have input your original image you can generate new versions of that image simply by pushing a single key. Repligator is currently at version 6, but, apart from adding many new effects and a few new features, is basically the same program as version 4. Following on from the ideas in [1] I started to develop Gliftic, which is closer to my original thoughts of an image idea generator which "starts from nothing". The Gliftic model of images was that they are composed of three components: 1. Layout or form, for example the outline of a mandala is a form. 2. Color scheme, for example colors selected from autumn leaves from an oak tree. 3. Interpretation, for example Van Gogh would paint a mandala with oak tree colors in a different way to Andy Warhol. There is a Van Gogh interpretation and an Andy Warhol interpretation. Further I wanted to be able to genetically breed images, for example crossing two layouts to produce a child layout. And the same with interpretations and color schemes. If I could achieve this then the program would be very powerful. 1.2 Getting to Gliftic Programming has an amazing way of crystalising ideas. If you want to put an idea into practice via a computer program you really have to understand the idea not only globally, but just as importantly, in detail. You have to make hard design decisions, there can be no vagueness, and so implementing what I had decribed above turned out to be a considerable challenge. I soon found out that the hardest thing to do would be the breeding of forms. What are the "genes" of a form? What are the genes of a circle, say, and how do they compare to the genes of the outline of the UK? I wanted the genotype representation (inside the computer program's data) to be directly linked to the phenotype representation (on the computer screen). This seemed to be the best way of making sure that bred-forms would bare some visual relationship to their parents. I also wanted symmetry to be preserved. For example if two symmetrical objects were bred then their children should be symmetrical. I decided to represent shapes as simply closed polygonal shapes, and the "genes" of these shapes were simply the list of points defining the polygon. Thus a circle would have to be represented by a regular polygon of, say, 100 sides. The outline of the UK could easily be represented as a list of points every 10 Kilometers along the coast line. Now for the important question: what do you get when you cross a circle with the outline of the UK? I tried various ways of combining the "genes" (i.e. coordinates) of the shapes, but none of them really ended up producing interesting shapes. And of the methods I used, many of them, applied over several "generations" simply resulted in amorphous blobs, with no distinct family characteristics. Or rather maybe I should say that no single method of breeding shapes gave decent results for all types of images. Figure 1 shows an example of breeding a mandala with 6 regular polygons: Figure 1 Mandala bred with array of regular polygons I did not try out all my ideas, and maybe in the future I will return to the problem, but it was clear to me that it is a non-trivial problem. And if the breeding of shapes is a non-trivial problem, then what about the breeding of interpretations? I abandoned the genetic (breeding) model of generating designs but retained the idea of the three components (form, color scheme, interpretation). 1.3 Gliftic today Gliftic Version 1.0 was released in May 2000. It allows the user to change a form, a color scheme and an interpretation. The user can experiment with combining different components together and can thus home in on an personally pleasing image. Just as in Repligator, pushing the F7 key make the program choose all the options. Unlike Repligator however the user can also easily experiment with the form (only) by pushing F4, the color scheme (only) by pushing F5 and the interpretation (only) by pushing F6. Figures 2, 3 and 4 show some example images created by Gliftic. Figure 2 Mandala interpreted with arabesques Figure 3 Trellis interpreted with "graphic ivy" Figure 4 Regular dots interpreted as "sparks" 1.4 Forms in Gliftic V1 Forms are simply collections of graphics primitives (points, lines, ellipses and polygons). The program generates these collections according to the user's instructions. Currently the forms are: Mandala, Regular Polygon, Random Dots, Random Sticks, Random Shapes, Grid Of Polygons, Trellis, Flying Leap, Sticks And Waves, Spoked Wheel, Biological Growth, Chequer Squares, Regular Dots, Single Line, Paisley, Random Circles, Chevrons. 1.5 Color Schemes in Gliftic V1 When combining a form with an interpretation (described later) the program needs to know what colors it can use. The range of colors is called a color scheme. Gliftic has three color scheme types: 1. Random colors: Colors for the various parts of the image are chosen purely at random. 2. Hue Saturation Value (HSV) colors: The user can choose the main hue (e.g. red or yellow), the saturation (purity) of the color scheme and the value (brightness/darkness) . The user also has to choose how much variation is allowed in the color scheme. A wide variation allows the various colors of the final image to depart a long way from the HSV settings. A smaller variation results in the final image using almost a single color. 3. Colors chosen from an image: The user can choose an image (for example a JPG file of a famous painting, or a digital photograph he took while on holiday in Greece) and Gliftic will select colors from that image. Only colors from the selected image will appear in the output image. 1.6 Interpretations in Gliftic V1 Interpretation in Gliftic is best decribed with a few examples. A pure geometric line could be interpreted as: 1) the branch of a tree 2) a long thin arabesque 3) a sequence of disks 4) a chain, 5) a row of diamonds. An pure geometric ellipse could be interpreted as 1) a lake, 2) a planet, 3) an eye. Gliftic V1 has the following interpretations: Standard, Circles, Flying Leap, Graphic Ivy, Diamond Bar, Sparkz, Ess Disk, Ribbons, George Haite, Arabesque, ZigZag. 1.7 Applications of Gliftic Currently Gliftic is mostly used for creating WEB graphics, often backgrounds as it has an option to enable "tiling" of the generated images. There is also a possibility that it will be used in the custom textile business sometime within the next year or two. The real application of Gliftic is that of generating new graphics ideas, and I suspect that, like Repligator, many users will only understand this later. 2. The future of Gliftic, 3 possibilties Completing Gliftic V1 gave me the experience to understand what problems and opportunities there will be in future development of the program. Here I divide my many ideas into three oversimplified possibilities, and the real result may be a mix of two or all three of them. 2.1 Continue the current development "linearly" Gliftic could grow simply by the addition of more forms and interpretations. In fact I am sure that initially it will grow like this. However this limits the possibilities to what is inside the program itself. These limits can be mitigated by allowing the user to add forms (as vector files). The user can already add color schemes (as images). The biggest problem with leaving the program in its current state is that there is no easy way to add interpretations. 2.2 Allow the artist to program Gliftic It would be interesting to add a language to Gliftic which allows the user to program his own form generators and interpreters. In this way Gliftic becomes a "platform" for the development of dynamic graphics styles by the artist. The advantage of not having to deal with the complexities of Windows programming could attract the more adventurous artists and designers. The choice of programming language of course needs to take into account the fact that the "programmer" is probably not be an expert computer scientist. I have seen how LISP (an not exactly easy artificial intelligence language) has become very popular among non programming users of AutoCAD. If, to complete a job which you do manually and repeatedly, you can write a LISP macro of only 5 lines, then you may be tempted to learn enough LISP to write those 5 lines. Imagine also the ability to publish (and/or sell) "style generators". An artist could develop a particular interpretation function, it creates images of a given character which others find appealing. The interpretation (which runs inside Gliftic as a routine) could be offered to interior designers (for example) to unify carpets, wallpaper, furniture coverings for single projects. As Adrian Ward [3] says on his WEB site: "Programming is no less an artform than painting is a technical process." Learning a computer language to create a single image is overkill and impractical. Learning a computer language to create your own artistic style which generates an infinite series of images in that style may well be attractive. 2.3 Add an artificial conciousness to Gliftic This is a wild science fiction idea which comes into my head regularly. Gliftic manages to surprise the users with the images it makes, but, currently, is limited by what gets programmed into it or by pure chance. How about adding a real artifical conciousness to the program? Creating an intelligent artificial designer? According to Igor Aleksander [1] conciousness is required for programs (computers) to really become usefully intelligent. Aleksander thinks that "the line has been drawn under the philosophical discussion of conciousness, and the way is open to sound scientific investigation". Without going into the details, and with great over-simplification, there are roughly two sorts of artificial intelligence: 1) Programmed intelligence, where, to all intents and purposes, the programmer is the "intelligence". The program may perform well (but often, in practice, doesn't) and any learning which is done is simply statistical and pre-programmed. There is no way that this type of program could become concious. 2) Neural network intelligence, where the programs are based roughly on a simple model of the brain, and the network learns how to do specific tasks. It is this sort of program which, according to Aleksander, could, in the future, become concious, and thus usefully intelligent. What could the advantages of an artificial artist be? 1) There would be no need for programming. Presumbably the human artist would dialog with the artificial artist, directing its development. 2) The artificial artist could be used as an apprentice, doing the "drudge" work of art, which needs intelligence, but is, anyway, monotonous for the human artist. 3) The human artist imagines "concepts", the artificial artist makes them concrete. 4) An concious artificial artist may come up with ideas of its own. Is this science fiction? Arthur C. Clarke's 1st Law: "If a famous scientist says that something can be done, then he is in all probability correct. If a famous scientist says that something cannot be done, then he is in all probability wrong". Arthur C Clarke's 2nd Law: "Only by trying to go beyond the current limits can you find out what the real limits are." One of Bertrand Russell's 10 commandments: "Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric" 3. References 1. "From Ramon Llull to Image Idea Generation". Ransen, Owen. Proceedings of the 1998 Milan First International Conference on Generative Art. 2. "How To Build A Mind" Aleksander, Igor. Wiedenfeld and Nicolson, 1999 3. "How I Drew One of My Pictures: or, The Authorship of Generative Art" by Adrian Ward and Geof Cox. Proceedings of the 1999 Milan 2nd International Conference on Generative Art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	2355
authors	Tweed, Christopher and Carabine, Brendan
year	1999
title	CAAD in the Future Perfect
doi	https://doi.org/10.52842/conf.ecaade.1999.018
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 18-24
summary	The history of CAAD research is largely one of generic computing techniques grafted on to existing design practices. The motivation behind such research, on different occasions, has been to automate some or all of the design process, to provide design assistance, to check designs for compliance against some predefined criteria, or more recently to enable people to experience designs as realistically as possible before they are built. But these goals remain unexamined, and their fulfilment is assumed to be a self-evident benefit. In the worst cases, they are examples of barely concealed technology-push. Few researchers have stated in detail what they want computers to do for architectural design, most choosing instead to focus on what computers can do, rather than what is needed. This paper considers what we want CAAD systems to do for us. However, this will be a modest effort, a beginning, a mere sketch of possible directions for CAAD. But it should open channels for criticism and serious debate about the role of CAAD in the changing professional, social and cultural contexts of its eventual use in education and practice. The paper, therefore, is not so concerned to arrive at a single 'right' vision for future CAAD systems as concerned by the lack of any cogent vision for CAAD.
keywords	History, CAAD Research, Future Trends
series	eCAADe
email
more	http://www.aic.salford.ac.uk/Pit/home.html
last changed	2022/06/07 07:58

_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	63cb
authors	Ai, J., Tang, H. and Chen, Y.
year	2000
title	An Approach to Generate 3D Animation by Integrating Building Model into Site Pictures
doi	https://doi.org/10.52842/conf.caadria.2000.433
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. 433-439
summary	The paper deals with a simple and cheap solution to represent 3Danimation of a future building at its actual site scenery. It is hopeful to be used in small or middle projects in order to get satisfy effect and save design cost.
series	CAADRIA
email
last changed	2022/06/07 07:54

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

_id	1071
authors	Asanowicz, Aleksander
year	1999
title	Evolution of Computer Aided Design: Three Generations of CAD
doi	https://doi.org/10.52842/conf.ecaade.1999.094
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 94-100
summary	This paper describes the three generations of CAD systems. The first generation of (primarily analytical) computer programmes really aided designing. These programmes were the tools for finding a functional solution in different areas of designing, from flat plans to the space organisation of a hospital. One of the shortcomings of these programmes was the lack of graphic interface. With time, however, this kind of interface was developed. As a result of this second generation of CAD systems the computer was transformed into a drafting machine and CAD meant Computer Aided Drafting. The main thesis of this consideration is that only now we have the chance to return to the idea of Computer Aided Design. One of the examples of these trends is the AVOCAAD programme in which Added Value of CAAD is analysed. The development of the third generation of CAD systems will be possible in the near future. Aiding the process of designing will demand the elaboration of new methods of using the computer at the early stages of this process. The computer should be used not for generating variants of functional solutions only but for also for the creation of 3D forms by 3D sketching. For this, the computer should be transformed from a tool into a medium; only then will designing become true Designing in Cyber Space.
keywords	Generations of CAAD, Design Process, Creation, Medium
series	eCAADe
email
last changed	2022/06/07 07:54

_id	60e7
authors	Bailey, Rohan
year	2000
title	The Intelligent Sketch: Developing a Conceptual Model for a Digital Design Assistant
doi	https://doi.org/10.52842/conf.acadia.2000.137
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. 137-145
summary	The computer is a relatively new tool in the practice of Architecture. Since its introduction, there has been a desire amongst designers to use this new tool quite early in the design process. However, contrary to this desire, most Architects today use pen and paper in the very early stages of design to sketch. Architects solve problems by thinking visually. One of the most important tools that the Architect has at his disposal in the design process is the hand sketch. This iterative way of testing ideas and informing the design process with images fundamentally directs and aids the architect’s decision making. It has been said (Schön and Wiggins 1992) that sketching is about the reflective conversation designers have with images and ideas conveyed by the act of drawing. It is highly dependent on feedback. This “conversation” is an area worthy of investigation. Understanding this “conversation” is significant to understanding how we might apply the computer to enhance the designer’s ability to capture, manipulate and reflect on ideas during conceptual design. This paper discusses sketching and its relation to design thinking. It explores the conversations that designers engage in with the media they use. This is done through the explanation of a protocol analysis method. Protocol analysis used in the field of psychology, has been used extensively by Eastman et al (starting in the early 70s) as a method to elicit information about design thinking. In the pilot experiment described in this paper, two persons are used. One plays the role of the “hand” while the other is the “mind”- the two elements that are involved in the design “conversation”. This variation on classical protocol analysis sets out to discover how “intelligent” the hand should be to enhance design by reflection. The paper describes the procedures entailed in the pilot experiment and the resulting data. The paper then concludes by discussing future intentions for research and the far reaching possibilities for use of the computer in architectural studio teaching (as teaching aids) as well as a digital design assistant in conceptual design.
keywords	CAAD, Sketching, Protocol Analysis, Design Thinking, Design Education
series	ACADIA
last changed	2022/06/07 07:54

_id	792a
authors	Blaschke, Thomas and Tiede, Dirk
year	2003
title	Bridging GIS-based landscape analysis/modelling and 3D-simulation.Is this already 4D?
source	CORP 2003, Vienna University of Technology, 25.2.-28.2.2003 [Proceedings on CD-Rom]
summary	Several studies have used remote sensing to map patterns of e.g. deforestation or to analyse the rates of land use change. Thesestudies have proven useful for interpreting the causes of urbanization, deforestation etc. and the impact of such changes on theregion. Monitoring of change (e.g. deforestation or reforestation) is frequently perceived as one of the most important contributionsof remote sensing technology to the study of global ecological and environmental change (Roughgarden et al. 1991). Manyresearchers believe that the integration of remote sensing techniques within analysis of environmental change is essential if ecologistsare to meet the challenges of the future, specifically issues relating to global change; however, in practice, this integration has so farbeen limited (Griffiths & Mather 2000). Considerable difficulties are encountered in linking, on the one hand, the biologies oforganisms and the ecologies of populations to the fluxes of material and energy quantifiable at the level of ecosystems. In this paper,we concentrate on the methodological aspects of the delineation of landscape objects and touch the ecological application onlysuperficially but we elucidate the potential of the proposed methodology for several ecological applications briefly.
series	other
email
last changed	2003/11/21 15:16

_id	aa7f
authors	Bollinger, Elizabeth and Hill, Pamela
year	1993
title	Virtual Reality: Technology of the Future or Playground of the Cyberpunk?
doi	https://doi.org/10.52842/conf.acadia.1993.121
source	Education and Practice: The Critical Interface [ACADIA Conference Proceedings / ISBN 1-880250-02-0] Texas (Texas / USA) 1993, pp. 121-129
summary	Jaron Lanier is a major spokesperson of our society's hottest new technology: VR or virtual reality. He expressed his faith in the VR movement in this quote which appears in The User's Guide to the New Edge published by Mondo 2000. In its most technical sense, VR has attracted the attention of politicians in Washington who wonder if yet another technology developed in the United States will find its application across the globe in Asia. In its most human element, an entire "cyberpunk movement" has appealed to young minds everywhere as a seemingly safe form of hallucination. As architecture students, educators, and practitioners around the world are becoming attracted to the possibilities of VR technology as an extension of 3D modeling, visualization, and animation, it is appropriate to consider an overview of virtual reality. In virtual reality a user encounters a computersimulated environment through the use of a physical interface. The user can interact with the environment to the point of becoming a part of the experience, and the experience becomes reality. Natural and instinctive body movements are translated by the interface into computer commands. The quest for perfection in this human-computer relationship seems to be the essence of virtual reality technology. To begin to capture the essence of virtual reality without first-hand experience, it is helpful to understand two important terms: presence and immersion. The sense of presence can be defined as the degree to which the user feels a part of the actual environment. The more reality the experience provides, the more presence it has. Immersion can be defined as the degree of other simulation a virtual reality interface provides for the viewer. A highly immersive system might provide more than just visual stimuli; for example, it may additionally provide simulated sound and motion, and simultaneously prevent distractions from being present.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	b4bb
authors	Bonet, Adrian
year	2000
title	Arquitectura Virtual y Ciberarquitectura (Virtual Architecture and Cyber Architecture)
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. 113-114
summary	Activities which involve mainly the transfer of information, such as listening to music or attending a class, will eventually be better accomplished through non-material media. Telecommunication media such as the Internet or cyberspace, as they develop and become more useful, will tend to improve their interfaces, making them more natural and easy to use, and lead to the conclusion that in a near future virtual environments and buildings will be constructed in cyberspace. These will be of two kinds those that imitate reality, and those that take advantage of the intrinsic qualities of cyberspace.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	f2f1
authors	Breen, Jack and Nottrot, Robert
year	2000
title	Project a2W. A Dialogue on New Media Perspectives
doi	https://doi.org/10.52842/conf.ecaade.2000.291
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 291-296
summary	This paper documents an initiative taking the form of a "dialogue". The format which has been developed is somewhat similar to that of the "conversation" which Mondrian conceived in 1919, taking place between two fictitious characters - A and B - discussing the new direction in art, which he called "Nieuwe Beelding" and which contributed to the "De Stijl" movement (the dialogue was followed later that year by a "trialogue" between X, Y and Z on a virtual walk taking them from the countryside to the city) 1 . This time the issue is not so much the evolvement of a new artistic or architectural style, but the role of "new media" in architecture... The present dialogue takes place between two fictitious media proponents ("Alpha" and "Omega"). They take turns questioning several issues and exchanging proposals... What are the values - and the promises - of computer supported instruments in creative design and research - concerning the art and science shaping the built environment? How do the present applications measure up, how do they compare to the expectations and ambitions expressed a number of years ago? The form of a dialogue means that issues and ideas, which are not often aired within the confines of academic discourse, can be played back and forth and a measure of exaggeration was intended from the beginning... This contribution does not in any way pretend to be all-inclusive. Rather, the paper is meant to put forward ideas and experiences - from the perspective of the Delft Media group, in practice, in teaching and in research - which may stimulate (or even irritate?) but will hopefully activate. The aim is to open up discussions, to allow other (hidden) agendas for the future to become more visible and to look for platforms for sharing concepts and fascinations, however improbable they might be...
keywords	A Dialogue on New Media
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:54

_id	aef9
id	aef9
authors	Brown, A., Knight, M. and Berridge, P. (Eds.)
year	1999
title	Architectural Computing from Turing to 2000 [Conference Proceedings]
doi	https://doi.org/10.52842/conf.ecaade.1999
source	eCAADe Conference Proceedings / ISBN 0-9523687-5-7 / Liverpool (UK) 15-17 September 1999, 773 p.
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	6756
authors	Butler, K.S., Rincón, H., Maria Lane, K. and Brand, R.
year	2001
title	Construyendo una ciudad sostenible en la frontera: planificación de la ciudad de Colombia, Nuevo León, México [Constructing A Sustainable City In the Border: Planning of the City of Colombia, Nuevo León, Mexico ]
source	2da Conferencia Venezolana sobre Aplicación de Computadores en Arquitectura, Maracaibo (Venezuela) december 2001, pp. 194-203
summary	The policy rationale for promotion of urban development in the Mexico-Texas borderland of Nuevo León is likely to be sustained and even strengthened. The University of Texasí participation in new town planning for Colombia spans at least three hierarchical levels with students, faculty members, practitioners and government officials joining efforts. At the ìstudio levelî, students completed a comprehensive landscape assessment for portions of the future city using GPS surveying and GIS database and modeling. Graduate students, using field data, updated 2000 maps/shapefiles, and spatial modeling as an analysis tool, created a series of spatial models to produce useful information about the study areaís inherent suitability for agriculture, human settlement and preservation. This work culminated in a research symposium, planning charrette, refinement of land use and infrastructure assumptions, and the development of masterplan elements for the future city. In contrast to the professional firm, the project provides unique opportunities for intensive learning and applied research that contribute to the ecological, social and economic well-being of new cities and developing regions,
keywords	USA-Mexico Border; Sustainable Development; Regional Planning; Arch View
series	other
email
last changed	2003/02/14 08:29

_id	9d16
authors	Chan, Chiu-Shui
year	2000
title	A Virtual Reality Tool to Implement City Building Codes on Capitol View Preservation
doi	https://doi.org/10.52842/conf.acadia.2000.203
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. 203-209
summary	In urban planning, the urban environment is a very complicated system with many layers of building codes cross-referenced and interacting together to guide urban growth. Especially, if a new urban design is located in a historical area, additional restrictions will be imposed upon regular zoning regulations to maintain the area’s historical characteristics. Often, urban regulations read as text are difficult to understand. A tool that generates adequate urban information and a quick visualization of the design will ease decision-making and enhance urban design processes. The goal of this research project is to develop a virtual reality (VR) tool with high resolution, speedy computation, and a userfriendly environment. This project initiates an interactive visualization tool to enforce city-planning regulations on viewing access to the state capitol building in Des Moines, Iowa. The capitol building houses the Iowa Legislature and is a symbol of state power. Maintaining the view from surrounding areas will preserve the building’s monumental and symbolic meaning. To accomplish this, the City Community Development Department and the Capitol Planning Committee developed a Capitol View Corridor Project, which sets up seven visual corridors to prevent the view toward the capitol from being blocked by any future designs. Because city regulations are not easy for the public and designers to interpret and comprehend, this project intends to develop a VR tool to create a transparent environment for visualizing the city ordinances.
series	ACADIA
last changed	2022/06/07 07:56

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
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	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	64be
authors	Chien, Sheng-Fen
year	2000
title	A Pilot Study of Using Generative Systems in Architectural Design Process
doi	https://doi.org/10.52842/conf.caadria.2000.135
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. 135-144
summary	This paper presents a pilot study about impacts that a generative system may have on the architectural design process. The study contains two empirical experiments. The generation experiment studies how experienced and novice designers will utilize such a design system. The formulation/generation experiment observes the problem formulation and solution generation behaviors of less experienced designers. Results of these experiments highlight two issues that require further investigations: 1) domain expertise and modes of interaction that concerns the implementation of future generative systems; and 2) learning through interaction that addresses the use of generative systems in education.
series	CAADRIA
email
last changed	2022/06/07 07:55

_id	3b4c
authors	Chung, Misun
year	2000
title	A Sacred Space in Cyberspace
doi	https://doi.org/10.52842/conf.acadia.2000.007
source	ACADIA Quarterly, vol. 19, no. 2, pp. 7-8
summary	Sometimes we hold an object in our hand or look at a 2D drawing and wonder what would be like to be inside that space? Mentally, we are able to transcend ourselves into another dimension. That is the reality of our physical space. But in this new cyberspace, we are able to share that experience with others. Through visual, sound, color, and spatial stimulation, we are able to share what used to be only an imaginable space with others in “real time”. The technology of multi-user 3D environment is still cumbersome and unstable but the future expansion and opportunities far weights its current limitations.
series	ACADIA
last changed	2022/06/07 07:56

_id	08ea
authors	Clayton, Mark J. and Vasquez de Velasco, Guillermo P. (Eds.)
year	2000
title	ACADIA 2000: Eternity, Infinity and Virtuality in Architecture
doi	https://doi.org/10.52842/conf.acadia.2000
source	Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8 / Washington D.C. 19-22 October 2000, 284 p.
summary	Eternity, time without end, infinity, space without limits and virtuality, perception without constraints; provide the conceptual framework in which ACADIA 2000 is conceived. It is in human nature to fill what is empty and to empty what is full. Today, thanks to the power of computer processing we can also make small what is too big, make big what is too small, make fast what is too slow, make slow what is too fast, make real what does not exist, and make our reality omni-present at global scale. These are capabilities for which we have no precedents. What we make of them is our privilege and responsibility. Information about a building flows past our keyboards and on to other people. Although we, as architects, add to the information, it originated before us and will go beyond our touch in time, space and understanding. A building description acquires a life of its own that may surpass our own lives as it is stored, transferred, transformed, and reused by unknown intellects, both human and artificial, and in unknown processes. Our actions right now have unforeseen effects. Digital media blurs the boundaries of space, time and our perception of reality. ACADIA 2000 explores the theme of time, space and perception in relation to the information and knowledge that describes architecture. Our invitation to those who are finding ways to apply computer processing power in architecture received overwhelming response, generating paper submissions from five continents. A selected group of reviewers recommended the publication of 24 original full papers out of 42 submitted and 13 short papers out of 30 submitted. Forty-two projects were submitted to the Digital Media Exhibit and 12 were accepted for publication. The papers cover subjects in design knowledge, design process, design representation, design communication, and design education. Fundamental and applied research has been carefully articulated, resulting in developments that may have an important impact on the way we practice and teach architecture in the future.
series	ACADIA
email
more	www.acadia.org
last changed	2022/06/07 07:49

_id	40cb
authors	Cohen Egler, Tamara Tania
year	2000
title	A imagem do espaço numérico (The Numeric Space Image)
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. 155-159
summary	The challenge is to think about the numerical technology and its effects in the processes of production and representation of space. The focus of the analysis is to promote the knowledge about the relation between technique, art and society in the sense to have the elements to think about the future. The question is to think about the new communication that we have in the net, that changes the thinking about production and representation of space in the age of information.. The comprehension between the relation of space and tempo give us possibilities to know about life in space . For every period of history we have a form of space, in the informational era the space is image.
series	SIGRADI
last changed	2016/03/10 09:49

_id	f97e
authors	Commission of the European Communities
year	2001
title	The e-learning action plan: designing tomorrow’s education
source	Communication from the Commission to the Council and the EuropeanParliament, COM(2001) 172 final, 28 March 2001
summary	The "eLearning: Designing tomorrow's education" initiative1 was adopted by the European Commission on 24 May 2000. Following up the conclusions of the Lisbon European Council, it set out the principles, objectives and lines of action of eLearning, defined as the use of new multimedia technologies and the Internet to improve the quality of learning by facilitating access to resources and services as well as remote exchanges and collaboration. The eLearning initiative was welcomed by the Ministers of Education and by the Feira European Council in June 2000. The eLearning initiative is part of the comprehensive eEurope Action Plan2, the aim of which is to allow Europe to exploit its strengths and overcome the barriers holding back the uptake of digital technologies. It also falls in with the Report on the concrete future objectives of education systems3 by adopting information and communication technology development as one of its objectives. The effectiveness of education systems depends entirely on the effectiveness of the approaches to teaching and learning. In order to be effective, the introduction of information and communication technologies will have to be accompanied by a far-reaching reorganisation of learning structures. The eLearning initiative is also of relevance for the candidate countries given the interest they have shown for the eEurope action plan.
series	other
last changed	2003/04/23 15:50

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