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

_id	6d0b
authors	Brown, Bruce Eric
year	1979
title	Computer Graphics for Large Scale Two- and Three-Dimensional Analysis of Complex Geometries
source	SIGGRAPH '79 Conference Proceedings. August, 1979. vol. 13 ; no. 2: pp. 33-40 : ill. includes bibliography
summary	A comprehensive set of programs have been developed for analysis of complex two- and three- dimensional geometries. State of the art finite element and hydrodynamic codes are being used for the analytical portion of the work. Several additional codes depending heavily on graphics have been developed to assist the analytical effort. These are basically used for the pre- and post-processing of the data. Prior to running any analysis, the geometry of the body of interest must be represented in the form of small 'finite elements.' After the analysis is run, the data must be post-processed. Both spatial and temporal data exist in the database. It is the database between the analysis codes and the post- processors which allows a wide variety of analysis codes to use the same post-processors. The temporal plotting codes produce time histories for specified quantities (i.e. temperature, pressure, velocity, stress, etc.) at various locations within the body. They may also produce cross-plots of these variables (i.e. stress vs. strain at a particular position). One of the two codes used for plotting of the spatial data is for two-dimensional geometries and the other for three-dimensional models. For three dimensions, the Watkins' hidden surface / line processor is utilized for plots. The spatial plotters display contour lines on vector output devices and color fringes (or gray values) on raster output devices. They both may also display deformed geometries. Further the three-dimensional code has extensive animation capabilities for movie productions
keywords	computer graphics, finite elements, modeling, engineering, database, animation, mechanical engineering
series	CADline
last changed	1999/02/12 15:07

_id	ga0015
id	ga0015
authors	Daru, R., Vreedenburgh, E. and Scha, R.
year	2000
title	Architectural Innovation as an evolutionary process
source	International Conference on Generative Art
summary	Traditionally in art and architectural history, innovation is treated as a history of ideas of individuals (pioneers), movements and schools. The monograph is in that context one of the most used forms of scientific exercise. History of architecture is then mostly seen as a succession of dominant architectural paradigms imposed by great architectural creators fighting at the beginning against mainstream establishment until they themselves come to be recognised. However, there have been attempts to place architectural innovation and creativity in an evolutionary perspective. Charles Jencks for example, has described the evolution of architectural and art movements according to a diagram inspired by ecological models. Philip Steadman, in his book "The Evolution of Designs. Biological analogy in architecture and the applied arts" (1979), sketches the history of various biological analogies and their impact on architectural theory: the organic, classificatory, anatomical, ecological and Darwinian or evolutionary analogies. This last analogy "explains the design of useful objects and buildings, particularly in primitive society and in the craft tradition, in terms of a sequence of repeated copyings (corresponding to inheritance), with small changes made at each stage ('variations'), which are then subjected to a testing process when the object is put into use ('selection')." However, Steadman has confined his study to a literature survey as the basis of a history of ideas. Since this pioneering work, new developments like Dawkins' concept of memes allow further steps in the field of cultural evolution of architectural innovation. The application of the concept of memes to architectural design has been put forward in a preceding "Generative Art" conference (Daru, 1999), showing its application in a pilot study on the analysis of projects of and by architectural students. This first empirical study is now followed by a study of 'real life' architectural practice. The case taken has a double implication for the evolutionary analogy. It takes a specific architectural innovative concept as a 'meme' and develops the analysis of the trajectory of this meme in the individual context of the designer and at large. At the same time, the architect involved (Eric Vreedenburgh, Archipel Ontwerpers) is knowledgeable about the theory of memetic evolution and is applying a computer tool (called 'Artificial') together with Remko Scha, the authoring computer scientist of the program who collaborates frequently with artists and architects. This case study (the penthouse in Dutch town planning and the application of 'Artificial') shall be discussed in the paper as presented. The theoretical and methodological problems of various models of diffusion of memes shall be discussed and a preliminary model shall be presented as a framework to account for not only Darwinian but also Lamarckian processes, and for individual as well as collective transmission, consumption and creative transformation of memes.
keywords	evolutionary design, architectural innovation, memetic diffusion, CAAD, penthouses, Dutch design, creativity, Darwinian and Lamarckian processes
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	2ccd
authors	Kalisperis, Loukas N.
year	1994
title	3D Visualization in Design Education
source	Reconnecting [ACADIA Conference Proceedings / ISBN 1-880250-03-9] Washington University (Saint Louis / USA) 1994, pp. 177-184
doi	https://doi.org/10.52842/conf.acadia.1994.177
summary	It has been said that "The beginning of architecture is empty space." (Mitchell 1990) This statement typifies a design education philosophy in which the concepts of space and form are separated and defined respectively as the negative and positive of the physical world, a world where solid objects exist and void-the mere absence of substance-is a surrounding atmospheric emptiness. Since the beginning of the nineteenth century, however, there has been an alternative concept of space as a continuum: that there is a continuously modified surface between the pressures of form and space in which the shape of the space in our lungs is directly connected to the shape of the space within which we exist. (Porter 1979). The nature of the task of representing architecture alters to reflect the state of architectural understanding at each period of time. The construction of architectural space and form represents a fundamental achievement of humans in their environment and has always involved effort and materials requiring careful planning, preparation, and forethought. In architecture there is a necessary conversion to that which is habitable, experiential, and functional from an abstraction in an entirely different medium. It is often an imperfect procedure that centers on the translation rather than the actual design. Design of the built environment is an art of distinctions within the continuum of space, for example: between solid and void, interior and exterior, light and dark, or warm and cold. It is concerned with the physical organization and articulation of space. The amount and shape of the void contained and generated by the building create the fabric and substance of the built environment. Architecture as a design discipline, therefore, can be considered as a creative expression of the coexistence of form and space on a human scale. As Frank Ching writes in Architecture: Form, Space, and Order, "These elements of form and space are the critical means of architecture. While the utilitarian concerns of function and use can be relatively short lived, and symbolic interpretations can vary from age to age, these primary elements of form and space comprise timeless and fundamental vocabulary of the architectural designer." (1979)
series	ACADIA
email
last changed	2022/06/07 07:52

_id	69b3
authors	Markelin, Antero
year	1993
title	Efficiency of Model Endoscopic Simulation - An Experimental Research at the University of Stuttgart
source	Endoscopy as a Tool in Architecture [Proceedings of the 1st European Architectural Endoscopy Association Conference / ISBN 951-722-069-3] Tampere (Finland), 25-28 August 1993, pp. 31-34
summary	At the Institute of Urban Planning at the University of Stuttgart early experiments were made with the help of endoscopes in the late 1970’s. The intention was to find new instruments to visualize urban design projects. The first experiment included the use of a 16 mm film of a 1:170 scale model of the market place at Karlsruhe, including design alternatives (with trees, without trees etc). The film was shown to the Karlsruhe authorities, who had to make the decision about the alternatives. It was said, that the film gave a great help for the decision-making and a design proposition had never before been presented in such understandable way. In 1975-77, with the support of the Deutsche Forschungsgemeinschaft (German Research Foundation) an investigation was carried out into existing endoscopic simulation facilities, such as those in Wageningen, Lund and Berkeley. The resulting publication was mainly concerned with technical installations and their applications. However a key question remained: ”Can reality be simulated with endoscopy?” In 1979-82, in order to answer that question, at the Institute was carried out the most extensive research of the time, into the validity of endoscopic simulation. Of special importance was the inclusion of social scientists and psychologists from the University of Heidelberg and Mannheim. A report was produced in 1983. The research was concerned with the theory of model simulation, its ways of use and its users, and then the establishment of requirements for effective model simulation. For the main research work with models or simulation films, psychological tests were developed which enabled a tested person to give accurate responses or evidence without getting involved in alien technical terminology. It was also thought that the use of semantic differentials would make the work imprecise or arbitrary.
keywords	Architectural Endoscopy
series	EAEA
more	http://info.tuwien.ac.at/eaea/
last changed	2005/09/09 10:43

_id	sigradi2007_af93
id	sigradi2007_af93
authors	Sperling, David; Ruy Sardinha
year	2007
title	Dislocations of the spatial experience: From earthwork to liquid architecture [Deslocamentos da experiência espacial: De earthwork a arquitetura líquida]
source	SIGraDi 2007 - [Proceedings of the 11th Iberoamerican Congress of Digital Graphics] México D.F. - México 23-25 October 2007, pp. 423-427
summary	This article reflects about the contemporary notion of “spatial experience” that can be drawn by means of the emergence of the “expanded field” in arts (Rosalind Krauss, 1979). For a perspective view of this notion and for its problematization in the current time we pretend to stablish a counterpoint between two historic moments related to the expansion of the spatial field and its experience: the 1960´s, with the focus on the immanent space by artistic propositions, and nowadays, with the ocurrence of “fusional fields” of art-architecture-landscape-digital media. We adopt as strategy to construct the question, the approximation of two paradigmatic works for their respective epochs: the “earthwork” Spiral Jetty of Robert Smithson, constructed in 1970 in the Great Salt Lake (Utah, USA) and the ephemeral architecture of Blur Building of Elizabeth Diller and Ricardo Scofidio, constructed in 2002 in the Lake Neuchatel, for the Suiss Expo (Yverdon-les-Bains – Suiss).
keywords	Art; architecture; media; expanded field; spatial experience
series	SIGRADI
email
last changed	2016/03/10 10:01

_id	7e54
authors	Ömer, Akin
year	1979
title	Models of Architectural Knowledge - An Information Processing Model of Design
source	Carnegie Mellon University, College of Fine Arts, Pittsburgh
summary	Throughout the history of art the position of the artist towards his goals and his product has been constantly redefined. The two opposing views in the above quotation, those of . German Romanticism and Classicism, are typical of the temperamental nature of the state of the art. Today's artist uses intuition as well as reason in his creative work. Similarly, whether we consider the architect an artist or a scientist, he is constantly required to use his intellectal as well as emotional resources while designing. I do not intend to endorse an attitude for the architect which condones only one of those sources at the expense of the other. Today there i s a real opportunity for understanding the reasoning used in problem-solving and applying these to the area of architectural design, the opportunity arises due to a large amount of knowledge accumulated in the area of ' human problem-solving, methods of anlayzing and developing models for human problem solving behavior. The most frequently refered points of departure in this area are Simon's pioneering work in the area of decision-making (1944) and Newell, Shaw and Simon's work on "heuristics" (1957).
series	thesis:PhD
email
last changed	2003/02/12 22:39

_id	f51a
authors	Del Pup, Claudio
year	1999
title	Carbon Pencil, Brush and Mouse, Three Tools in the Learning Process of New University Art Designers
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 420-425
summary	This article develops the introduction of computer technologies in the fine arts environment the use of these new tools, sharing the process of creation and interacting at the same level with older technics, breaks the myth of technology and tries to reach the right place according to current or modern advances. As an introduction, it explains the insertion in the current courses of study of the "computer languages area", its implementation, present situation and future stages. An important point we have developed is the teaching methodology, to solve the transition of those who, challenging their investigations in different areas, like fire arts, graphic arts, film or video, need the support of computers. The first steps consist in designing sample courses, which allow the measurement of results, the definition of concepts like extension, capacities, teaching hours and the most important, a methodology to share the enthusiasm of creation with the difficulties of learning a new technique it is necessary to discover limits, to avoid easy results as a creative tool one of the most important problems we have faced is the necessity of coordinating the process of creation with the individual time of a plastic artist, finding the right way that allows the integration of all the group, minimizing desertion and losing of motivation. Two years later, the first results in the field of digital image investigations and assistance in form design. Volume as a challenge and solutions supported in techniques of modeling in 3D (experiences of modeling a virtual volume from a revolution profile, its particular facts and the parallelism with potter's lathe the handling of image as the most important element, as an work of art itself, but also as a support in the transmission of knowledge (design of a CD as a tool for the department of embryology of medical school with the participation of people from the medical school, engineering school and school of fine arts). Time as a variable, movement, animation and its techniques, multimedia (design of short videos for the 150th anniversary of the Republic University). Conclusions, good hits, adjustments, new areas to include, problems to solve, the way of facing a constantly evolving technology.
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	ecaade03_473_175_flanagan_neu
id	ecaade03_473_175_flanagan_neu
authors	Flanagan, Robert H.
year	2003
title	Generative Logic in Digital Design
source	Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6] Graz (Austria) 17-20 September 2003, pp. 473-484
doi	https://doi.org/10.52842/conf.ecaade.2003.473
summary	This exploration of early-stage, architectural design pedagogy is in essence, a record of an ongoing transformation underway in architecture, from its practice in the art of geometry of space to its practice in the art of geometry of space-time. A selected series of student experiments, from 1992 to the present, illustrate a progression in architectural theory, from Pythagorean concepts of mathematics and geometry, to the symbolic representation of space and non-linear time in film. The dimensional expansion of space, from xyz to xyz+t (time), represents a tactical and strategic opportunity to incorporate multisensory design variables in architectural practice, as well as in its pedagogy.
keywords	Generative; process; derivative; logic; systemic
series	eCAADe
email
last changed	2022/06/07 07:51

_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	22ed
authors	Glaser, Migges M.
year	1989
title	ART + COM Lab Report - BERKOM Project "New Media in Urban Planning"
source	CAAD: Education - Research and Practice [eCAADe Conference Proceedings / ISBN 87-982875-2-4] Aarhus (Denmark) 21-23 September 1989, pp. 6.1.1-6.1.6
doi	https://doi.org/10.52842/conf.ecaade.1989.x.l1t
summary	The highly developed glasfiber technology of the Berlin ISDN-B prototype network will make it possible to test a future benefit of the possibilities of real time visual communication for architects and planers in their home office. In the project an external user will be able to share high end visual outputs of a Service Center for Visualisation with his own low end CAAD workstation via ISDN-B. The capabilities of these services will range from a still picture archive, real time access to video film archive, a variety of conventional database services to special postproduction for his own 3D data models. The transferred 3D model can be rendered an animated on the Center's systems, if requested also integrated into a video background film. The production will than be available on his workstation screen. These new means will be evaluated in the view of the architects new possibilities for the design process.
keywords	Multimedia, CAAD Services, Computer Animation
series	eCAADe
last changed	2022/06/07 07:50

_id	6598
authors	Goldman, Glenn
year	1996
title	Reconstructions, Remakes and Sequels: Architecture and Motion Pictures
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 11-21
doi	https://doi.org/10.52842/conf.acadia.1996.011
summary	Motion pictures can illustrate worlds that have never been. They may show fantastic depictions of the future or an interpretation of the past. In either case, they have the power to reach millions of people across cultures, generations, and educational backgrounds with visions of our environment that do not exist in our everyday world. The study of imaginary worlds in this design studio case study is limited to motion pictures that postulate unique, or new environments rather than those films that faithfully attempt to document or reconstruct reality. In this sense, the movies used for study have a lineage traceable to Georges Melies "who came to film from illusionism and the "heater," rather than to the reality of the Lumiere brothers who came from photography which ultimately would lead to "cinema-verite." Discussions, assignments and presentations in the studio are organized to provide students with an opportunity to gain a different awareness of architecture and use varying stimuli as source material for design. The study of architectural history, art, formal principles of design, visual perception, and media are required in order to complete the reconstructions and creations of proposed environments. All student work throughout the entire semester is created with electronic media and the computer is used as an integral component of the studio enabling analysis and study, design, model creation, and animation. The available capabilities of computer graphics in the studio enables students to explore analytic and synthetic issues of design in motion pictures in a manner not readily available when restricted to traditional media. Through the use of digital media we have an opportunity to better understand the imaginary worlds for what they communicate and the ideas they contain, and therefore create an opportunity to modify our own concept of architecture.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	sigradi2009_791
id	sigradi2009_791
authors	Koatz, Gilson Dimenstein; Jorge L.N.S. Brito; Herbert Erwes
year	2009
title	A PROCISSÃO" - Documentação Tridimensional de Arte Rupestre na Chapada Diamantina, Bahia ["THE PROCESSION" - Three-dimensional documentation of Rock Art in the Chapada Diamantina, Bahia]
source	SIGraDi 2009 - Proceedings of the 13th Congress of the Iberoamerican Society of Digital Graphics, Sao Paulo, Brazil, November 16-18, 2009
summary	Documentation of rock art is generally made by drawing with a marker over a plastic film overlaid to the wall of the canyon or cave where it is found. Taking out the drawing printed in the film from the wall implies in loosing important data about its contour because the image became rectified; information about the relief of the documented figure are lost as well. We have used close range photogrammetry methodology to overcome this problem and, on the other hand, to preserve information about the relief of the picture itself, taking into account the fragility of the rock support.
keywords	Close-range photogrammetry; rock art; Brazilian cultural heritage
series	SIGRADI
email
last changed	2016/03/10 09:54

_id	sigradi2014_290
id	sigradi2014_290
authors	Molinas, Isabel Sabina
year	2014
title	Contra la distinción: la libertad de las formas en la experiencia estética contemporánea [Against distinction: the freedom of the shapes in the contemporary esthetic experience]
source	SiGraDi 2014 [Proceedings of the 18th Conference of the Iberoamerican Society of Digital Graphics - ISBN: 978-9974-99-655-7] Uruguay - Montevideo 12 - 14 November 2014, pp. 446-449
summary	In the field of Contemporary Esthetics is resumed the question of what is art and which are the readability conditions (reading). The questions relate to the displacement between representation and experimentation, beauty and esthetic experience, among others. In this context, we address the technology of poetry (Nancy (2012 [2013]) as technological exhibition that lets your experience the being of the object and become subjects. The corpus includes film and video (Kopystiansky 1996-97; Alys 2011 y Jaar 2013). The objective is to outline an analytical framework for thinking about the esthetic freedom of creation and the practical freedom of their recognition. (Wagner 2004).
keywords	Art; Technology; Esthetics; Design; Freedom
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	fdb8
authors	Montagu, A., Rodriguez Barros, D. and Chernobilsky, L.
year	2000
title	The New Reality through Virtuality
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 225-229
doi	https://doi.org/10.52842/conf.ecaade.2000.225
summary	In this paper we want to develop some conceptual reflections of the processes of virtualization procedures with the aim to indicate a series of misfits and mutations as byproducts of the “digital-graphic culture” (DGC) when we are dealing with the perception of the “digital space”. Considering the present situation, a bit chaotic from a pedagogical point of view, we also want to propose a set of “virtual space parameters” in order to organize in a systemic way the teaching procedures of architectural design when using digital technology. Nowadays there is a great variety of computer graphics applications comprising practically all the fields of “science & technology”, “architecture, design & urbanism”, “video & film”, “sound” and the massive amount of information technology protocols. This fact obliges us to have an overall view about the meaning of “the new reality through virtuality”. The paper is divided in two sections and one appendix. In the first section we recognise the relationships among the sensory apparatus, the cognitive structures of perception and the cultural models involved in the process of understanding the reality. In the second section, as architects, we use to have “a global set of social and technical responsabilities” to organize the physical space, but now we must also be able to organize the “virtual space” obtained from a multidimensional set of computer simulations. There are certain features that can be used as “sensory parameters” when we are dealing with architectural design in the “virtual world”, taking into consideration the differences between “immersive virtual reality” and “non inmersive virtual reality”. In the appendix we present a summary of some conclusions based on a set of pedagogical applications analysing the positive and the negative consequences of working exclusively in a “virtual world”.
keywords	Virtualisation Processes, Simulation, Philosophy, Space, Design, Cyberspace
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:58

_id	sigradi2005_075
id	sigradi2005_075
authors	Müller, Milagros
year	2005
title	Perception of representation space for present forms of art
source	SIGraDi 2005 - [Proceedings of the 9th Iberoamerican Congress of Digital Graphics] Lima - Peru 21-24 november 2005, vol. 1, pp. 75-79
summary	Contemporaneus art constructs its own space: interactive, multiple, eidetic, heterogenous, discontinuous and subjective: essence, forms and idea of a heterotopic at the same time atopic space, that arises at the moment of the intelligible apprehension of the work. This work sets out to study the construction codes of that space from the spectator point of view, for whom the history is the sum of histories narrated by the space, the scenery, stage scene, choreography, dances, hairdos, accessories, make-up, clothes, illumination, music, sounds, songs, word, performance, gestures etc., for which sets out the analysis from the perceived, analyzed and interpreted images by the spectator. It will be exemplified from the Dogville film, of Lars Von Traer (2004), using the qualitative research method, where the speaker meaning is introduced: the creator intentionality of those spaces, but is inescapable who arises the “interpretation” from the observer. [Full paper in Spanish]
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	ecaade03_203_206_paterson
id	ecaade03_203_206_paterson
authors	Paterson, Inga and Natanson, Louis
year	2003
title	Computer Art – The future is bright but what is the future?
source	Digital Design [21th eCAADe Conference Proceedings / ISBN 0-9541183-1-6] Graz (Austria) 17-20 September 2003, pp. 203-208
doi	https://doi.org/10.52842/conf.ecaade.2003.203
summary	It is a curious characteristic of mankind to both revere and revile the use of technology within art but history proves that when scientific logic marries with artistic reasoning, innovative and original ideas are born. Computer Art can justify a 30-year history but despite its relative maturity, digital art continues to suffer from the age-old perception that art made by machine is not a legitimate art form. This paper looks at the digital-imagery prevalent in the public domain today and compares its stage of development to the historical precedents of perspective, photography and film.
keywords	Digital, Art, Technology, 3 Dimensions, Online Games
series	eCAADe
email
last changed	2022/06/07 07:59

_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	4ec6
authors	Richens, P.
year	1997
title	Computer-aided Art Direction
source	F. Penz and M. Thomas (Eds.) , Cinema & Architecture: Méliès, Mallet-Stevens, Multimedia, British Film Institute, London
summary	Computer-aided design for architects began to be possible about 25 years ago; in the last five it has become commonplace. In a few years time, it will be as ubiquitous as the word-processor is today. But the construction industry as a whole is not a sophisticated user of Information Technology. The state of affairs in the film industry is quite different; computer graphics of the utmost sophistication plays an increasingly important part in the production of film, but very little in their design. Is it possible that an opportunity is being missed? This paper is written from the standpoint of a designer of architectural CAD software, and seeks to explore the extent to which computer graphics techniques, which have proved useful in architecture, could be used in Production Design, and the simulation of Cinematography. Several experiments, using commercial software of the sort that architects find useful, have lead to the realisation that much is possible, but that a full realisation of the benefits would require software specially adapted to the task. The bulk of this paper describes the nature of this adaptation; it is in the nature of a preliminary specification for software for Computer-aided art direction. The initial investigation centred on the needs of film students; it has since broadened to look at the needs of established practitioners.
series	other
email
more	http://www.arct.cam.ac.uk/research/pubs/pdfs/rich97a.pdf
last changed	2003/03/05 13:10

_id	sigradi2006_e113b
id	sigradi2006_e113b
authors	Sanza, Paolo
year	2006
title	The built environment revisited digitally: an approach to 2D and 3D CAD teaching
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 215-218
summary	There is a characteristic that distinguishes the School of Architecture at Oklahoma State University from other architecture schools in the United States and that is the absence of a design studio in the spring semester of the third year. Among the various classes the students are required to take during this time is ARCH 3253_computer applications in architecture defined in the School catalog as an “introduction to 2D and 3D computer CAD topics and their application in the design process.” The absence of a design studio has allowed [me] to morph an otherwise technically oriented course to a course that weaves the learning of the basic of various computer programs with research, writing, graphic and physical explorations. This paper exposes the pedagogy of the course alongside sample of students’ work during the spring 2006 semester and will disclose its future development as web and film technologies are introduced to the course. The introduction of the “forth dimension” to the course will both augment and foster alternative means of architectural communication by promoting multimodal representations and will respond to the personal observation that in spite of the essentially total use of the computer in the daily creative life of students and professionals alike, the architectural representation output has virtually remained unchanged [and for the most part unchallenged] since the time when pens, pencils, and papers were the media of choice. In addition to its pedagogical character, the paper will also share the personal explorations that triggered following one of the assignments and led to the development and realization of a graphic piece for one of the summer 2006 exhibits at the Scottsdale Museum of Contemporary Art in Scottsdale, Arizona and prompted the initial development of the design of a restaurant, also in Scottsdale, Arizona [in its schematic design phase at the time of the writing of this abstract].
keywords	virtual; representation; 4th dimension
series	SIGRADI
email
last changed	2016/03/10 09:59

_id	52
authors	Scurci, Adrian Roque
year	1998
title	Numeros en Movimiento - Pinturas De Fin De Siglo (Numbers in Movement - Paintings of the End of the Century)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 388-397
summary	The electronic art has changed, during the last years, into the way of expression that best represents our culture of the end of the edge. Within the electronic art universe, 1 am going to analyze the 3D animation (CGI) in a special way as the main element in visual revolution. The increasing use of the CGI ( Computer Graphics Images) in film and television is caused by different reasons. From the necessity of a new esthetic expression to use of a technical source impossible of accomplish before. The electronic film period has begun ... the numbers has changed into the essence of this new generation of audiovisual products; the animators, designers and programmers into artisans of virtual world building and new scenic places. The objective of this analysis is to study the incident of CGI of these last twenty years within the audio-visual world.it isn't a chronologic, it is a theoretical rehearse about a new esthetic, a new way of see and build.
series	SIGRADI
email
last changed	2016/03/10 09:59

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