Cumincad : CUMINCAD Papers : Search Results

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

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_id	6430
authors	Jabi, Wassim (Ed.)
year	2001
title	ACADIA 2001 [Conference Proceedings]
doi	https://doi.org/10.52842/conf.acadia.2001
source	Proceedings of the Twenty First Annual Conference of the Association for Computer-Aided Design in Architecture / ISBN 1-880250-10-1/ Buffalo (New York) 11-14 October 2001, 415 p.
summary	The theme, which preceded my knowledge of ACADIA’s true age, resulted from a realization regarding the development and current state of CAD in Research, Education, and Practice. While I only got involved with ACADIA in the last half of its current life to date, I had the honor of studying with some of the early pioneers of CAD: 1) Harold Borkin, a founding member of ACADIA, 2) Jim Turner, a longtime ACADIAn, and a past ACADIA Conference organizer (actually the very first conference I attended), and 3) Ted Hall, another longtime ACADIAn. What I have learned from conversations with them and later witnessed for myself is a fundamental shift of focus in CAD from building tools to using tools. That is, while early CAD students, including myself, used to learn how to create software and tools to solve a particular problem, the current focus in the majority of schools that include a CAD component in their curriculum is on teaching the use of commercial software and/or the use of digital media in the design studio. One need only take a look at old list of courses that used to be offered in the CAD area and compare it with a new list to see this shift. Yet, one form of tool building that is continuing in a significant number of schools is the creation of scripts or small software modules (usually built using a visual editor) to create interactive systems for delivery over the web or on CD-ROM. Examples include the use of Macromedia Director or Flash for creating interactive digital titles. While this current state of affairs has increased the receptivity to digital tools and media, it does obscure an important fact. For knowledge to advance in this area, we need researchers who can not only use tools, but also invent new ones to solve new problems that are not addressed by the existing crop of commercial software. The more time we spend not educating our students in the art and science of building digital tools, the harder it will be to: 1) find teachers in the future with those skills, 2) advance and influence the development of the state-of-the-art in CAD, and 3) erase the use of CAD as a euphemism for slick computer-generated imagery. While not common, the tradition of tool building is still going on most notably in architecture schools with strong financial resources and those that offer doctoral level education. Commercial, governmental and business/education entities are also continuing the research tradition of tool building. ACADIA, as a reflection of the field it focuses on, has widened its scope to solicit papers that deal with CAD education and the use of CAD in practice. Thus, you will read in this book papers that focus on all three aspects: research, education, and practice and in some cases the intersection of two or more of those areas. Thankfully, ACADIA, while concerned with CAD in education has maintained its receptivity to basic research papers as well as a willingness to publish innovative papers in the area of practice. As chair of the technical committee, I made sure that the call for papers and the final selection reflects this desire. We should continue to emphasize the need for presenting this diversity of work in our annual conferences and I am optimistic that the ACADIA community is in support of this notion.
series	ACADIA
email
more	www.acadia.org
last changed	2022/06/07 07:49

_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	ga0108
id	ga0108
authors	Caicco, Gregory P.
year	2001
title	Cunning Crafts or Poetic Place-Making? Towards a Historiography of Generative Art
source	International Conference on Generative Art
summary	This paper begins by considering the meaning and relationship between generativity and art. From there an historical analysis of these terms maps out the philosophical terrain of generative art in practice and theory. It is hypothesized that the degree to which a generativity, or birthing, may be understood as inherent in art understood as a poetic making, is the degree to which the term generative becomes a redundant qualifier of the term art. An argument is then made that art and art-making as a poetic production has an ethical vocation to critique its sources and its media in order to imagine worlds where the marginalized other, as other, is received. As a result, the unqualified adoption of computer, machine, biologicalor chemical media, as well as the mathematic or pragmatic instructions that define the execution of their works, needs to be questioned.I conclude with an historiographical examination of the Babylonian abacus and the medieval ars memoritiva, in particular, Ramon Lull’s 1274 figura universalis. Even though computing historians have claimed these as proto-computers, a deeper examination of their meaning, use and context reveal a fundamentally mimetic vocation that provides the possibility of poetic place-making, as an ethics, which is otherwise absent in thecontemporary microprocessor. The question is therefore raised whether the works presented at “generative art” galleries, websites and conferences such as this may make any claim to poetry, ethics or art per se if their use of mathematics and automation remains uncritical.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	158e
authors	De Vries, B., Van Leeuwen, J. and Achten, H. (Eds.)
year	2001
title	Computer Aided Architectural Design Futures 2001
source	Proceedings of the Ninth International Conference [ISBN 0-7923-7023-6] Eindhoven, 8-11 July 2001, 814 p.
summary	CAAD Futures is a bi-annual conference that aims to promote the advancement of computer-aided architectural design in the service of those concerned with the quality of the built environment. The conferences are organized under the auspices of the CAAD Futures Foundation, which has its secretariat at the Eindhoven University of Technology in the Netherlands. This volume provides state-of-the-art articles in the following areas: capturing design, information modelling, CBR techniques, Virtual Reality, CAAD education, (hyper) media, design evaluation, design systems development, collaboration, generation, design representation, knowledge management, form programming, simulation, architectural analysis, and urban design.
series	CAAD Futures
email
more	http://www.caadfutures.arch.tue.nl/2001
last changed	2003/04/02 10:52

_id	ga0124
id	ga0124
authors	Feuerstein, Penny L.
year	2001
title	Art In The Digital Age: Using Computer As An Expressive Tool
source	International Conference on Generative Art
summary	I use digital technology to visualize the theory that we experience any one moment in a "constant state of collage". I literally "scan" the moment, scanning objects such as rocks or paper, energy, and ideas into the computer to convert them to a new common language of binary numbers. After scanning, I work with digital tools to create generation, replication, and integration. These three attributes of the computer are used throughout my work. In this way the computer is used as an expressive tool to visualize the subconscious layering and relayering that occurs as the mind processes "experience" -that moment when the physical, intellectual, emotional and spiritual come together as one. I call this my "assemblage of the mind" with all that surrounds it. To illustrate this concept, I use software such as High Rez QFX or Photoshop to manipulate images of photographs drawings and paintings. I am exploring what happens to the gestural quality of the line or brushtroke when it has been maniplatedwith these digital tools. The manipulation of photography, drawings, paintings and found objects expresses a new reality that reflects this digital age.Digital imaging intensifies this reality because youhave the potential for infinite replications of the same image within one artwork. By making many reproductions it substitutes a plurality of copies for a unique existance. Using the generative tools, this plurality is taken a step further because it actually mimics our existance. Looking at Kasimir Malevich's painting, "basic Suprematist Element" inspired me to paint a brushstroke and transcend a photo of a landscape into it. By using transparency tools to integrate objects and photos with paintings, I want toconvey that the objective consciousness of an object is just as important as the subjective inner state of consciousness in experiencing reality. The irony is that my theory directly opposes Malevich's theories on Suprematism, yet it was Malevich who inspired me.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ga0125
id	ga0125
authors	Galanter, Philip
year	2001
title	Foundations of Generative Art Systems - a hybrid survey and studio class for graduate students
source	International Conference on Generative Art
summary	The Interactive Telecommunications Program is a well known professional master's program for artists interested in new media, and is part of the Tisch School of the Arts...informally known as the "NYU Film School". ITP graduates are very much in demand, and can be found in creative leadership positions throughout the multimedia industry. For two years the author has taught a class exclusively focused on generative art. This talk willoutline the structure of the class, discuss the challenges and rewards of teaching such an eclectic and interdisciplinary mix of topics, and show examples of student work.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ecaade2007_114
id	ecaade2007_114
authors	Olmos, Francisco
year	2007
title	Training Programs for Art and Design Learning in the Virtual Studio
doi	https://doi.org/10.52842/conf.ecaade.2007.639
source	Predicting the Future [25th eCAADe Conference Proceedings / ISBN 978-0-9541183-6-5] Frankfurt am Main (Germany) 26-29 September 2007, pp. 639-646
summary	Computers are very common drawing tools at university design studios but their potential as training tools in arts and design has not been explored in depth. In arts and design the learning process is based on ‘knowing in action’ (Schön 1983). Therefore, training is the keystone of the learning process in arts and design. This action takes the form of a reflective practice based on the manipulation of a media where each media has its own possibilities, its own limits in communicating design ideas or artistic concepts. With the introduction of digital media in the design studio, it is expected that reflective practices in design learning will experience a qualitative change. However, currently there is little understanding of how to use the digital and virtual media in a design studio as a learning tool (Szalapaj 2001), nor of the use of design training programs. In this paper the use of training programs in an experimental design course at a university level, is discussed. This experience was carried out as a PhD research experiment at the Faculty of Architecture and Arts of the Universidad de Los Andes in Merida, Venezuela. The training programs discussed here were designed for an eight week introductory design course in a virtual design studio. The programs were written in VRML and conceived as a virtual design training environment. Each program was designed for a specific design exercise, based on a learning strategy and an interactivity model proposed for object manipulation in design training. A comparative analysis of the data gathered from the course was made of training exercises done with a Cad program and with the training programs and crossing information with other sources. The experiment shows that the training programs, their learning strategy and the interactivity model proposed were successful in guiding the scope of the design exercises during the training process.
keywords	E-learning, virtual studio, design training, virtual environment
series	eCAADe
email
last changed	2022/06/07 08:00

_id	bf19
id	bf19
authors	Rafi, A
year	2001
title	Design computing: A new challenge for creative synergy
source	In Saito, N. (Ed.), Creative digital media: Its impact on the new century (pp. 132-136), Japan: Keio University Press
summary	As content becomes increasingly significant in giving ‘face’ to information technology (IT), the need to train and produce content designers has also become more and more important. The development of powerful computer technologies and the complexity of design have demanded designers to re-examine the design process and consider the adaptation of tools that will provide for creativity, improve the overall design process and, at the same time, reveal new insights (Rafi and Karboulonis, 2000). This paper gives an overview of the relationship between art and science through the ages, and discusses their relatively recent re-convergence. This text further argues that a re-convergence between art and science is currently occurring, highlighting the need to accelerate the process. It is suggested that re-convergence is a result of new technologies being researched, namely related to effective visualisation and communication of ideas and concepts, subsequently adopted by practitioners. Such elements, with tools that offer increased power and new abilities, are widely found today in the multimedia and the Virtual Environment (VE) as scientists and designers venture into each other’s domain. 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 context in which content is being developed. The presentation will be a showcase of our exploration at the Faculty of Creative Multimedia, Multimedia University for the last 4 years, in integrating design and computer skills – the synergy that we called DESIGN COMPUTING.
keywords	design computing, creativity, content, design
series	book
type	normal paper
email
last changed	2007/09/13 03:43

_id	2005_787
id	2005_787
authors	Veikos, Cathrine
year	2005
title	The Post-Medium Condition
doi	https://doi.org/10.52842/conf.ecaade.2005.787
source	Digital Design: The Quest for New Paradigms [23nd eCAADe Conference Proceedings / ISBN 0-9541183-3-2] Lisbon (Portugal) 21-24 September 2005, pp. 787-794
summary	Theorists in art, architecture and visual media have described the digital world as a world of mediumlessness and proclaimed that the medium of a work, once the ontological determinant for the classification of the arts, is rendered meaningless by recent technological and cultural developments (Krauss, 2000; Negroponte, 1995; Manovich, 2001). Although indebted to specific media-based techniques and their attendant ideologies, software removes the material reality of techniques to an immaterial condition where the effects of material operations are reproduced abstractly. This paper asserts that a productive approach for digital design can be found in the acknowledgement that the importance of the digital format is not that it de-materializes media, but that it allows for the maximum intermingling of media. A re-conceptualization of media follows from this, defined now as, a set of conventions derived from the material conditions of a given technical support, conventions out of which to develop a form of expressiveness that can be both projective and mnemonic (Krauss, 2000). The paper will focus on the identification of these conventions towards the development of new forms of expressiveness in architecture. Further demonstration of the intermingling of materially-based conventions is carried out in the paper through a comparative analysis of contemporary works of art and architecture, taking installation art as a particular example. A new design approach based on the maximum intermingling of media takes account of integrative strategies towards the digital and the material and sees them as inextricably linked. In the digital “medium” different sets of conventions derived from different material conditions transfer their informational assets producing fully formed, material-digital ingenuity.
keywords	Expanded Architecture, Art Practice, Material, Information, ParametricTechniques, Evolutionary Logics
series	eCAADe
email
last changed	2022/06/07 07:58

_id	ecaade2009_014
id	ecaade2009_014
authors	Haeusler, Matthias Hank
year	2009
title	Media-Augmented Surfaces: Embedding Media Technology into Architectural Surface to Allow a Constant Shift between Static Architectural Surface and Dynamic Digital Display
doi	https://doi.org/10.52842/conf.ecaade.2009.483
source	Computation: The New Realm of Architectural Design [27th eCAADe Conference Proceedings / ISBN 978-0-9541183-8-9] Istanbul (Turkey) 16-19 September 2009, pp. 483-490
summary	The way screens are attached to architecture at present limits architectural surfaces to carriers of signs. The research presented in this paper offers a possible solution that allows architectural surfaces to be both a space-defining element that has certain architectural material qualities and at the same time allows media technology to be embedded. These surfaces can alter their state from static material to dynamic image in an instance. The paper presents a prototype capable of fulfilling this requirement. It also positions the research within the architectural discussion by comparing it to works of others and confirming its research value by reference to work in a similar direction. Finally, the paper evaluates the research and concludes that it could offer a ‘fabric’ to be used as a sort of media clothing for architecture in the electronic age (Ito, 2001).
wos	WOS:000334282200058
keywords	Media facade technology, media-augmented spaces, architectural screen design, media architecture, digital displays
series	eCAADe
email
last changed	2022/06/07 07:51

_id	cfd8
authors	Kolarevic, Branko
year	2001
title	Digital Fabrication Manufacturing Architecture in the Information Age
doi	https://doi.org/10.52842/conf.acadia.2001.010
source	ACADIA Quarterly, vol. 20, pp. 10-12
summary	The basic premise of this graduate-level elective course, offered for the first time in the spring of 2001, is that the Information Age, like the Industrial Age before it, is challenging not only how we design buildings, but also how we manufacture and construct them. The guiding notion was that the generative and creative potential of digital media, together with manufacturing advances already attained in automotive, aerospace and shipbuilding industries, is opening up new dimensions in architectural design by allowing production and construction of very complex forms that were until recently very difficult and expensive to design, produce, and assemble using traditional construction technologies. The proposition was that the consequences of these changes are likely to be profound, as new digitally driven processes of design, fabrication and construction are increasingly challenging the historic relationship between architecture and its means of production.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	81b8
authors	Kolarevic, Branko
year	2001
title	Digital Fabrication: Manufacturing Architecture in the Information Age
doi	https://doi.org/10.52842/conf.acadia.2001.268
source	Reinventing the Discourse - How Digital Tools Help Bridge and Transform Research, Education and Practice in Architecture [Proceedings of the Twenty First Annual Conference of the Association for Computer-Aided Design in Architecture / ISBN 1-880250-10-1] Buffalo (New York) 11-14 October 2001, pp. 268-278
summary	This paper addresses the recent digital technological advances in design and fabrication and the unprecedented opportunities they created for architectural design and production practices. It investigates the implications of new digital design and fabrication processes enabled by the use of rapid prototyping (RP) and computer-aided manufacturing (CAM) technologies, which offer the production of small-scale models and full-scale building components directly from 3D digital models. It also addresses the development of repetitive non-standardized building systems through digitally controlled variation and serial differentiation, i.e. mass-customization, in contrast to the industrial-age paradigms of prefabrication and mass production. The paper also examines the implications of the recent developments in the architectural application of the latest digital design and fabrication technologies, which offer alternatives to the established understandings of architectural design and production processes and their material and economic constraints. Such critical examination should lead to a revised understanding of the historic relationship between architecture and its means of production.
keywords	Digital Fabrication, Computer-Aided Manufacturing, Digital Construction
series	ACADIA
email
last changed	2022/06/07 07:51

_id	9a44
authors	Kolarevic, Branko
year	2001
title	MANUFACTURING DIGITAL ARCHITECTURES (Manufacturing Digital Architecture)
source	SIGraDi biobio2001 - [Proceedings of the 5th Iberoamerican Congress of Digital Graphics / ISBN 956-7813-12-4] Concepcion (Chile) 21-23 november 2001, pp. 278-281
summary	This paper addresses recent digital technological advances in design and fabrication and the unprecedented opportunities they created for architectural practices by allowing design, fabrication and construction of very complex forms that were until recently very difficult and expensive to design, produce, and assemble using traditional construction technologies. The paper also addresses the development of repetitive non-standardized building systems through digitally controlled variation and serial differentiation, i.e. mass-customization, in contrast to the industrial-age paradigms of prefabrication and mass production.
series	SIGRADI
email
last changed	2016/03/10 09:54

_id	b36d
authors	Lewis, Martin Lewis and Wojtowicz, Jerzy
year	2001
title	Design in the New Media - Digital Design Pedagogy at the SoA, University of British Columbia
doi	https://doi.org/10.52842/conf.ecaade.2001.256
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 256-261
summary	The idea of the Bauhaus education was born out of the conviction that designs for mass production and modern architecture needed a new fundamental design strategy. Today, seventy-five years later, the modern, basic design pedagogy needs to be revisited, as the impact of the Information Technology Revolution on design practice and education is now extensive. The illustrations and reflections on a modern curriculum for fundamental design and communication presented in this paper are derived from the authors’ introduction of the new media to design studios at UBC and from design practice. In the case of the nascent student of architecture, a different, rudimentary approach is required: one calling for the combining of the modern, basic design agenda with the introduction of the new media. The fundamental digital design pedagogy is young and not fully established. This is a considerable problem, since the practice and learning of architecture today is increasingly aided by and dependent upon digital media. Parallel to the traditional methods, the contemporary student of design is now obliged to engage new and dynamic conditions at the formative stage of his or her education. In the recent past, the computer was considered as just another device, requiring the development of mechanical techniques or skills. While those skills still have to be mastered, more recently in design education and practice, IT has become accepted as MEDIA - not just as a drafting or modeling tool. This process is perhaps due to the rapid dissemination of computing literacy and to the progressive accessibility and ease of use of IT. At UBC, Techniques and the Foundation Studio are introductory courses intended to make students engage the new media in parallel with, and complimentary to, established conventions in design.
keywords	Imagining, Communicating
series	eCAADe
email
last changed	2022/06/07 07:52

_id	a64e
authors	Liu, Yu-Tung
year	2001
title	Spatial Representation of Design Thinking in Virtual Space
source	J. S. Gero, B. Tversky and T. Purcell (eds), 2001, Visual and Spatial Reasoning in Design, II - Key Centre of Design Computing and Cognition, University of Sydney, Australia
summary	“Space” has long been an important concept in architecture;and architectural spaces and forms have been continuously evolved dueto the appearance of new concepts of space. Since the invention ofInternet, new spaces have been created through the computer. Tounderstand how human beings in the digital age experience these newvirtual spaces, and to discover the implications of the possible newconcepts of space into the physical architectural world, this paperdiscusses the nature of virtual spaces by examining the verbal and visualelements involved in the creation of a sense of virtual spaces. All theverbal and visual elements of virtual spaces discovered through ourexperiments and interviews are presented. It is found that the three coreelements of both verbally and visually constructed virtual spaces are:movements, interactions, and acoustic effects. In addition, a comparisonbetween verbally and visually constructed spaces, and between physicaland virtual spaces are explored. Finally, further studies related to therole of digital media in the construction of a sense of space aresuggested at the end of this paper.
series	other
email
more	http://www.arch.usyd.edu.au/kcdc/conferences/vr01/
last changed	2003/05/02 11:15

_id	4664
authors	Russell, Peter
year	2001
title	Visualising Non-Visual Building Information
doi	https://doi.org/10.52842/conf.ecaade.2001.546
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 546-551
summary	Architecture can be understood as a process and as an object. In both forms, it consists of a complex of mass, monetary, energy and information flows that occur over time scales ranging from hours and days to centuries. The parts or elements making up buildings and the processes involved in producing, maintaining, using and disposing of them are highly intertwined and multi-dimensional. The field of Architecture can range from complete building stocks down to individual buildings, their elements, and the materials and processes making up these elements. What is more, it is also necessary to introduce time as a dimension in order to model the complete life cycle of buildings. Current CAD systems concentrate primarily on the replication of the traditional drawing process (sometimes in three dimensions) and the visualisation of the finished building. While these models describe the geometry and visual appearance of buildings, the bulk of the information about the building remains unseen. Recently developed systems such as the German LEGOE system have combined a materials database with specification and CAD systems, which allows for a more comprehensive description of the building. However, this additional information is displayed either rudimentarily or as lists of numbers. The information describing the position or visual quality of building elements is, in fact, minuscule in comparison to that describing the properties of the materials involved, their production methods, the energy needed to produce, transport and install the elements, and information concerning toxicology and environmental issues. What is more, these materials are not simply in situ, but can be considered to flow through the building. These flows also occur at widely varying rates according to the type of material and the type of building. The view is taken that buildings are actually temporary repositories of various “flows” which occupy the building during its lifetime. Thus seen, the various aspects of a building at a certain stage of its life are taken to be the total sum of its inputs and outputs at any given time. Currently, its complexity and the lack of cognitive assistance in its presentation limit the understanding of this information. The author postulates that to better understand this information, visual displays of this “non-visual” building information are needed, at least for those who, like architects, are more visually inclined. The paper describes attempts made to go beyond conventional two-dimensional charts, which have tended to only complicate understanding. This is partly due to the need to display a high number of dimensions in one space. Examples are shown of experimental visual displays using three-dimensional graphs created in VRML as well as a “remodelling” of the building based on statistical rather than spatial information to form a building “artefact”. The remodelled artefacts are based on a null-value three-dimensional form and are then modified according to the specific database information without changing their topology. These artefacts are initially somewhat idiosyncratic, but become more useful when a large enough population has been created. With sufficient numbers, it is possible to compare and classify the artefacts according to their visually discernible attributes. The classification of the artefacts is useful in understanding building types independent of their formal “architectural” or spatial qualities, particularly with age-use-classes. The paper also describes initial attempts to create building information landscapes that unfold from the artefacts allowing detailed views of the summarised information displayed by the individual artefacts.
keywords	Building Information, Visualisation, VRML, Life Cycle Analysis
series	eCAADe
email
last changed	2022/06/07 07:56

_id	avocaad_2001_20
id	avocaad_2001_20
authors	Shen-Kai Tang
year	2001
title	Toward a procedure of computer simulation in the restoration of historical architecture
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 the field of architectural design, “visualization¨ generally refers to some media, communicating and representing the idea of designers, such as ordinary drafts, maps, perspectives, photos and physical models, etc. (Rahman, 1992; Susan, 2000). The main reason why we adopt visualization is that it enables us to understand clearly and to control complicated procedures (Gombrich, 1990). Secondly, the way we get design knowledge is more from the published visualized images and less from personal experiences (Evans, 1989). Thus the importance of the representation of visualization is manifested.Due to the developments of computer technology in recent years, various computer aided design system are invented and used in a great amount, such as image processing, computer graphic, computer modeling/rendering, animation, multimedia, virtual reality and collaboration, etc. (Lawson, 1995; Liu, 1996). The conventional media are greatly replaced by computer media, and the visualization is further brought into the computerized stage. The procedure of visual impact analysis and assessment (VIAA), addressed by Rahman (1992), is renewed and amended for the intervention of computer (Liu, 2000). Based on the procedures above, a great amount of applied researches are proceeded. Therefore it is evident that the computer visualization is helpful to the discussion and evaluation during the design process (Hall, 1988, 1990, 1992, 1995, 1996, 1997, 1998; Liu, 1997; Sasada, 1986, 1988, 1990, 1993, 1997, 1998). In addition to the process of architectural design, the computer visualization is also applied to the subject of construction, which is repeatedly amended and corrected by the images of computer simulation (Liu, 2000). Potier (2000) probes into the contextual research and restoration of historical architecture by the technology of computer simulation before the practical restoration is constructed. In this way he established a communicative mode among archeologists, architects via computer media.In the research of restoration and preservation of historical architecture in Taiwan, many scholars have been devoted into the studies of historical contextual criticism (Shi, 1988, 1990, 1991, 1992, 1995; Fu, 1995, 1997; Chiu, 2000). Clues that accompany the historical contextual criticism (such as oral information, writings, photographs, pictures, etc.) help to explore the construction and the procedure of restoration (Hung, 1995), and serve as an aid to the studies of the usage and durability of the materials in the restoration of historical architecture (Dasser, 1990; Wang, 1998). Many clues are lost, because historical architecture is often age-old (Hung, 1995). Under the circumstance, restoration of historical architecture can only be proceeded by restricted pictures, written data and oral information (Shi, 1989). Therefore, computer simulation is employed by scholars to simulate the condition of historical architecture with restricted information after restoration (Potier, 2000). Yet this is only the early stage of computer-aid restoration. The focus of the paper aims at exploring that whether visual simulation of computer can help to investigate the practice of restoration and the estimation and evaluation after restoration.By exploring the restoration of historical architecture (taking the Gigi Train Station destroyed by the earthquake in last September as the operating example), this study aims to establish a complete work on computer visualization, including the concept of restoration, the practice of restoration, and the estimation and evaluation of restoration.This research is to simulate the process of restoration by computer simulation based on visualized media (restricted pictures, restricted written data and restricted oral information) and the specialized experience of historical architects (Potier, 2000). During the process of practicing, communicates with craftsmen repeatedly with some simulated alternatives, and makes the result as the foundation of evaluating and adjusting the simulating process and outcome. In this way we address a suitable and complete process of computer visualization for historical architecture.The significance of this paper is that we are able to control every detail more exactly, and then prevent possible problems during the process of restoration of historical architecture.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	0f68
authors	Washington, William
year	2001
title	Exploring Ambient Media Presence
source	University of Washington, Design Machine Group
summary	In this paper I propose and explore a CMC interpersonal interaction paradigm for the home, based on instant messaging, that allows individuals to feel a connection with others while remaining centered and with their psyche intact. I consider the motivating factors of media use as well as the intersection of artifacts and technologies currently used to connect interpersonally with others. The interaction paradigm proposed, IM ambient media, “piggy backs” on IM interaction for three reasons 2 : (1) IM user populations are growing fast, (2) IM use seems to be motivated by some of the same interpersonal communication motives as mass media and CMC surveillance and social affiliation, and (3) IM interaction is asynchronous and lightweight and thus lends itself to ambient media. These three characteristics of IM, as well as characteristics of ambient media are discussed, in depth.
series	thesis:MSc
email
more	http://dmg.caup.washington.edu/xmlSiteEngine/browsers/stylin/publications.html
last changed	2004/06/02 19:12

_id	avocaad_2001_09
id	avocaad_2001_09
authors	Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year	2001
title	Digital Architecture in CAD studio and Internet-based competition
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	Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	ga0132
id	ga0132
authors	Abe, Yoshiyuki
year	2001
title	Beyond the math visualization - Geometrica and Stochastica
source	International Conference on Generative Art
summary	Mathematically controlled imaging process provides attractive results because of its infinite scaling capabilities with some other elements that contribute to the visualization. Its global/local and precise manipulation of parameters holds potential for realizing an unpredictable horizon of imagery. When it meets the artist's taste, this method could be a strong enough system of creation, and I have been producing images using the surfaces of hyperbolic paraboloid. On the other hand, a method absolutely free from the geometric parameter manipulation is possible with a stochastic process [1]. Like the technique of pendulum in photography, while its production rate of acceptable result is very low, its potential of generating a strong visual message is also very attractive. It is possible to set stochastic elements at any stage of the process, and conditional probability on those elements, or the hierarchy of probability management characterizes the probability distribution. Math space has no light. No gravity. No color on the math surfaces. And the math equation providesonly the boundary in 3D or higher mathematical dimensions. The fact means that artists can keep artistic reality with their unique tastes in colors on the surface and light sources, and this is the most important element of the math based imaging. Being able to give artists' own choice of colors and that the artist may take only right ones from the results of a stochastic process guarantee the motif and aesthetics of artist could be reflected onto the work.
series	other
email
more	http://www.generativeart.com/
last changed	2003/11/21 15:15

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