Cumincad : CUMINCAD Papers : Search Results

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

PDF papers
References

Hits 1 to 20 of 751

Reformat results as: short short into frame detailed detailed into frame

_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	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	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	3fd1
authors	Cybis Pereira, A.T., Tissiani, G. and Bocianoski, I.
year	2000
title	Design de Interfaces para Ambientes Virtuais: como Obter Usabilidade em 3D (Interface Design for Virtual Environments: How to obtain use of 3-D space.)
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. 313-315
summary	The paper presents part of a research developed close to LRV, Laboratory of Virtual Reality of the program of Post-Graduation of the Engineering of production of UFSC. The research aims to answer the approaches for the design of Human-Computer Interfaces, called HCI, for virtual media. Being considered VR the more advanced computer interface technology, at least by the point of view of the interactivity, how come guarantee its usability and at the same time draw graphic interfaces that possess aesthetic and functional value? Besides, in virtual space with or without immersion, how can the design of the interface contribute to stimulate the user’s interactivity with the system in VR? These and other subjects are essential for those who work with interface design for computer systems, and that comes across the need of presenting medias that use virtual reality technology. Through this article a study is presented on the design techniques, the used tools, the recommendations and the necessary requirements of visual communication for HCI for virtual spaces.
series	SIGRADI
email
last changed	2016/03/10 09:49

_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	caadria2013_043
id	caadria2013_043
authors	Freitas, Márcia Regina de and Regina Coeli Ruschel
year	2013
title	What is Happening to Virtual and Augmented Reality Applied to Architecture?
doi	https://doi.org/10.52842/conf.caadria.2013.407
source	Open Systems: Proceedings of the 18th International Conference on Computer-Aided Architectural Design Research in Asia (CAADRIA 2013) / Singapore 15-18 May 2013, pp. 407-416
wos	WOS:000351496100040
summary	This paper presents the results of a comprehensive survey of activities on research and development of Virtual and Augmented Reality applied to architecture. 200 papers were reviewed, taken from annual conferences of the Association for Computer Aided Design In Architecture (ACADIA) and its sibling organizations in Europe (ECAADE and CAAD Futures), Asia (CAADRIA), the Middle East (ASCAAD) and South America (SIGRADI). The papers were grouped in research areas (design method, architectural theory and history, performance evaluation, human interaction, representation and process & management), emphasis (education, application, collaboration, visualization, practice and theory) and technology development stage (specification, development, application demonstration and evaluation). The period of study comprises 11 years, from 2000 to 2011. Findings for each category are described and key publications and authors are identified.
keywords	Virtual reality, Augmented reality, Study of activity
series	CAADRIA
email
last changed	2022/06/07 07:50

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

_id	6bf6
authors	Lee, E., Paterson, I. and Maver, T.
year	2000
title	Visualisation of Historic Village of New Lanark
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. 177-178
summary	The existing historic city attracts the attention of architects and educators for its architectural value and history. In addition, many researches on visualisation of historic sites such as world heritage sites are in progress in order to represent the importance of preservation and restoration. New Lanark is the best-preserved example of a cotton-spinning village from the early period of Britain’s industrialisation, and is of international significance in terms of economic, architectural and social history. The village has also been nominated for inclusion in UNESCO’s list of World Heritage Sites. This paper aims to describe development procedure of virtual historic village of New Lanark for educating people about its significant social history and a unique type of building. A multimedia environment is useful for this purpose considering dynamic links among different kinds of resources such as text, images, 3D models and animations. Through this environment people can access from where they are to virtual heritage and navigate 3D space by animation with virtual guidance.
keywords	3D City modeling
series	SIGRADI
email
last changed	2016/03/10 09:54

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

_id	963d
authors	Moreau, Karen A. and Back, W. Edward
year	2000
title	Improving the design process with information management
source	Automation in Construction 10 (1) (2000) pp. 127-140
summary	This paper presents a method to quantify the time and cost impacts on Engineer, Procure, and Construct (EPC) projects resulting from information management driven process changes to the design process. Many engineering and construction companies have implemented information technologies and other changes, fully expecting to save time and cost, gain competitive advantage, improve productivity, better align project objectives, and improve product quality. Previous efforts to quantify benefits have been function or technology specific. The method described herein illustrates the value of evaluating process improvement strategies at the project level to avoid misleading conclusions regarding the actual benefit of investments. The research results strongly suggest that information management strategies applied to the design process may substantially improve total project performance.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	998a
authors	Navon, R.,
year	2000
title	Process and quality control with a video camera, for a floor-tilling robot
source	Automation in Construction 10 (1) (2000) pp. 113-125
summary	The paper describes the development of a floor-tiling robot. Both the development and the performance measurements of the robot were carried out with a graphic simulation system. Based on those measurements and on a time study of the corresponding manual work, the robot's work output is expected to be 2–5 times higher than that of the manual work. It was decided to concentrate, at this stage of the development, on the robot's autonomy at a workstation, which means that all operations at a workstation –– stabilizing and calibrating, loading tiles, etc. –– including real-time quality assurance (QA) are done without human intervention, while the transfer between workstations is assisted by an operator. The QA function has to identify the exact location and orientation of tiles to be taken, since they may be expected to differ from those specified in the robot's program. This is needed in order to allow accurate placing of the tiles in straight lines and with a uniform distance between them. Additionally, the QA function has to identify defective tiles. A computer vision system was developed to perform the QA functions. The prototype, its operational principles, and the experiments are described. The system's limitations are discussed together with needs for further research.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:23

_id	6072
authors	Orzechowski, M.A., Timmermans, H.J.P. and De Vries, B.
year	2000
title	Measuring user satisfaction for design variations through virtual reality
source	Timmermans, H.J.P. & Vries, B. de (eds.) Design & Decision Support Systems in Architecture - Proceedings of the 5th International Conference, August 22-25 2000, Nijkerk, pp. 278-288
summary	Virtual Reality (VR), and Artificial Intelligence (AI) technology have become increasingly more common in all disciplines of modern life. These new technologies range from simple software assistants to sophisticated modeling of human behavior. In this research project, we are creating an AI agent environment that helps architects to identify user preferences through a Virtual Reality Interface. At the current stage of development, the research project has resulted in a VR application - MuseV2 that allows users to instantly modify an architectural design. The distinctive feature of this application is that a space is considered as a base for all user modifications and as a connection between all design elements. In this paper we provide some technical information about MuseV2. Presentation of a design through VR allows AI agents to observe user-induced modifications and to gather preference information. In addition to allowing for an individualized design, this information generalized across a sample of users should provide the basis for developing basic designs for particular market segments and predict the market potential of those designs. The system that we envision should not become an automated design tool, but an adviser and viewer for users, who have limited knowledge or no knowledge at all about CAD systems, and architectural design. This tool should help investors to assess preferences for new community housing in order to meet the needs of future inhabitants.
series	other
email
last changed	2003/04/23 15:50

_id	2abf
id	2abf
authors	Rafi, A
year	2001
title	Design creativity in emerging technologies
source	In Von, H., Stocker, G. and Schopf, C. (Eds.), Takeover: Who’s doing art of tomorrow (pp. 41-54), New York: SpringerWein.
summary	Human creativity works best when there are constraints – pressures to react to, to shape, to suggest. People are generally not very good at making it all up from scratch (Laurel, 1991). Emerging technology particularly virtual reality (VR) Multimedia and Internet is yet to be fully discovered as it allows unprecedented creative talent, ability, skill set, creative thinking, representation, exploration, observation and reference. In an effort to deliver interactive content, designers tend to freely borrow from different fields such as advertising, medicine, game, fine art, commerce, entertainment, edutainment, film-making and architecture (Rafi, Kamarulzaman, Fauzan and Karboulonis, 2000). As a result, content becomes a base that developers transfer the technique of conventional medium design media to the computer. What developers (e.g. artist and technologist) often miss is that to develop the emerging technology content based on the nature of the medium. In this context, the user is the one that will be the best judge to value the effectiveness of the content. The paper will introduce Global Information Infrastructure (GII) that is currently being developed in the Asian region and discuss its impact on the Information Age society. It will further highlight the ‘natural’ value and characteristics of the emerging technologies in particular Virtual Reality (VR), Multimedia and Internet as a guidance to design an effective, rich and innovative content development. This paper also argues that content designers of the future must not only be both artist and technologist, but artist and technologist that are aware of the re-convergence of art and science and context in which content is being developed. Some of our exploration at the Faculty of Creative Multimedia, Multimedia University will also be demonstrated. It is hoped that this will be the evidence to guide future ‘techno-creative designers’.
keywords	design, creativity, content, emerging technologies
series	book
type	normal paper
email
last changed	2007/09/13 03:46

_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	ddssar0025
id	ddssar0025
authors	Smeets, J., Jessurun, J. and Zutphen, R. van
year	2000
title	An application of the REN manager in the field of housing management
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	There is a continuous and urgent need for standardisation of discussion about quality of real estate. On behalf of this discussion, a tool called REN Manager has been developed. REN is an abbreviation of Real Estate Norm, a client-oriented tool for measuring, planning and communication in the field of housing management. The development of the REN Manager is a continuation of REN research-project. In this paper we start with an introduction of the REN research project. Further we focus on the application of the REN tool in the field of housing management as part of a set of tools for strategic portfolio management. After this introduction we will elaborate more about the REN and the underlying analyses. One of the essential functions of REN is the match between the demanded and offered performance of a dwelling estate. By several surveys among tenants the relevant aspects and parameters are determined. These parameters are related to the performance level of a dwelling as well as to the weight of these levels. This part of the paper deals with the results of these analyses and the problems involved in the method used. The results are used as the input for the REN Manager. At the end we will discuss the functionality of the REN Manager as a decision support system on both operational level (matching) and strategic portfolio management (allocation of investment).
series	DDSS
last changed	2003/08/07 16:36

_id	ga0101
id	ga0101
authors	Tanzini, Luca
year	2000
title	Universal City
source	International Conference on Generative Art
summary	"Universal City" is a multimedia performance that documents the evolution of the city in history. Whereas in the past the city was symbolically the world, today the world has become a city. The city rose up in an area once scattered and disorganized for so long that most of its ancient elements of culture were destroyed. It absorbed and re synthesized the remnants of this culture, cultivating power and efficiency. By means of this concentration of physical and cultural power, the city accelerated the rhythm of human relationships and converted their products into forms that are easily stockpiled and reproduced. Along with monuments, written documents and ordered associative organizations amplified the impact of all human activities, extending backwards and forwards over time. Since the beginning however, law and order stood alongside brute force, and power was always determined by these new institutions. Written law served to produce a canon of justice and equality that claimed a higher principle: the king's will, synonymous with divine command. The Urban Neolithic Revolution is comparable only to the Industrial Revolution, and the Media Technology in our own era. There is of course a substantial difference: ours is an era of immeasurable technological progress as an end in itself, which leads to the explosion of the city, and the consequent dissemination of its structure across the countryside. The old walled city has not only fallen, it's buried its foundations. Our civilization flees from every possibility of control, by means of its own extra resources not controllable by the egregious ambitions of man. The image of modern industrialization that Charlie Chaplin resurrected from the past in "Modern Times" is the exact opposite of contemporary metropolitan reality. He figured the worker as a slave chained to his machine and fed by machinery as he continued to work at maintaining the machine itself. Today the workplace is not so brutal, but automation has made it much more oppressive. Energy and dedication once directed towards the production process are today shifted towards consumption. The metropolis in the final phase of its evolution, is becoming a collective mechanism for maintaining the function of this system, and for giving the illusion of power, wealth, happiness, and total success, to those who are, in actuality, its victims. It is a concept foreign to the modern metropolitan mentality that life should be an occasion to Live, and not an excuse for generating newspaper articles, television interviews, or mass spectacles for those who know nothing better. Instead the process continues, until people prefer the simulacrum to the real, where image dominates over object, the copy over the original, representation over reality, appearance over Being. The first phase of the Economy's domination over social life brought about the visible degradation of every human accomplishment from "Being" into "Having". The present phase of social life's total occupation by the accumulated effects of the Economy is leading to a general downslide from "Having" into "Seeming". The performance is based on the instantaneous interaction between video and music: the video component is assembled in real time with RandomCinema a software that I developed and projected on a screen. The music-noise is the product of human radical improvisation togheter automatic-computer process. Everything is based on the consideration of the element of chance as a stimulus for the construction of the most options. The unpredictable helps to reveal things as they happen. The montage, the music, and their interaction, are born and die and the same moment: there are no stage directions or scripts.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ddssar0028
id	ddssar0028
authors	Uysal, V. Safak and Wilsing, Markus
year	2000
title	Embodying architecture, studying dance: movement as means of studying body-space relationship
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	Body, even at its most still form, is the most violent against the acclamations of architectural space formulated in terms of a “search for the order in the environment”. It leans against the wall, hits the table, falls over the bed, approaches the window case, shakes and trembles in empty space: in short, it moves; it is alive. However violently, the presence of the human being is the fundamental input for the architectural practice since it is an art of creating spaces to enhance the living conditions of the human being. In recognizing the violent character of the body, we must include not only the real bodily movement, but also the extensions of that movement which we make in imagination. In this study, the authors discuss the possibilities of studying theatrical dance in order to understand the body-space relationship, constructing an analogy to the contact improvisation technique. Use of space in performance is examined on a two dimensional model: one dimension marked by body and space at its extremes, and the other marked by the affirmative and the negative types of interaction. The schema provides one with a general categorization that classifies space as (1) background, (2) motivator, (3) partner in dialogue, (4) mental counterpart. The limitations brought about by the universal approach are mentioned at the end, in order to be approached within the following study.
series	DDSS
last changed	2003/08/07 16:36

_id	diss_walker
id	diss_walker
authors	Walker, Bruce N.
year	2000
title	Magnitude Estimation of Conceptual Data Dimensions for Use in Sonification
source	Rice University
summary	Most data exploration tools are exclusively visual, failing to exploit the advantages of the human auditory system, and excluding students and researchers with visual disabilities. Sonification uses non-speech audio to create auditory graphs, which may address some limitations of visual graphs. However, almost no research has addressed how to create optimal sonifications.Three key research questions are: (1) What is the best sound parameter to use to represent a given data type? (2) Should an increase in the sound dimension (e.g., rising frequency) represent an increase or a decrease in the data dimension? (3) How much change in the sound dimension will represent a given change in the data dimension?Experiment 1 simply asked listeners which of two sounds represented something that was hotter, faster, etc. However, participants seemed not to make cognitive assessments of the sounds. I therefore proposed magnitude estimation (ME) as an alternative, less transparent, paradigm.Experiment 2 used ME with visual stimuli (lines and filled circles), replicating previous findings for perceptual judgments (length of lines, size of circles). However, judgments of conceptual data dimensions (i.e., the temperature, pressure, or velocity a given stimulus would represent) yielded slopes different from the perceptual judgments, indicating that the type of data being represented influences value estimation.Experiment 3 found similar results with auditory stimuli differing in frequency or tempo. Estimations of what temperature, pressure, velocity, size, or number of dollars a sound represented differed, indicating that both visual and auditory displays should be scaled according to the type of data being displayed.Experiment 4 presented auditory graphs and asked which of two data descriptions the sounds represented. Data sets based on the equations determined in Experiment 3 were preferred, providing validation of those slope values. Results also supported the use of the unanimity of mapping polarities as a measure of a mapping's effectiveness.Replication with different users and sounds is required to assess the reliability of the slopes. However, ME provides an excellent way to obtain a function relating conceptual data dimensions to display dimensions, which can be used to create more effective, appropriately scaled sonifications.
series	thesis:PhD
email
more	http://sonify.psych.gatech.edu/~walkerb/research/phd/
last changed	2003/11/28 07:37

_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

For more results click below: