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 1824

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

_id	c9c1
authors	Basili, Victor R. and Perricone, Barry T.
year	1984
title	Software Errors and Complexity : An Empirical Investigation
source	communications of the ACM. January, 1984. vol. 27: pp. 42-52 : ill. includes bibliography
summary	The relationships between the frequency and distribution of errors during software development, the maintenance of the developed software, and a the influence of a variety of environmental factors on software development were analyzed. These factors include the complexity of the software, the developer's experience with the application, and the reuse of existing design and code. Such relationships can not only provide an insight into the characteristics of computer software development and the effects that the environment can have on the product, but also improve its reliability and quality. The study is based on data derived from a medium- scale software development project
keywords	software, engineering, programming, reliability
series	CADline
last changed	2003/06/02 13:58

_id	2885
authors	Lansdown, J. and Maver, T.W.
year	1984
title	CAD in Architecture and Building
source	Computer Aided Design, Vol 16, No 3
summary	CAAD tool have gradually come into use in architecture over the past years. Appraisal and evaluation of designs and design tools and the preparation of product innovations are discussed. Types of visualisation and flexible layout programs for CAAD are assessed. The areas which knowledge-based design systems should cover are discussed .
series	journal paper
email
last changed	2003/06/10 15:55

_id	5c07
authors	Lee, H.-L., Liu, Y.-T., Chen, S.-C., Tang, S.-K. and Huang, C.-P., Huang, C.-H., Chang, Y.-L., Chang, K.-W. and Chen, K.-Y.
year	2002
title	A Comparative study of protocol analysis for - Spatiality of a Text-based Cyberspace
doi	https://doi.org/10.52842/conf.ecaade.2002.262
source	Connecting the Real and the Virtual - design e-ducation [20th eCAADe Conference Proceedings / ISBN 0-9541183-0-8] Warsaw (Poland) 18-20 September 2002, pp. 262-266
summary	Graduate Institute of Architecture, National Chiao Tung University, Hsinchu, 30050, TAIWAN The adaptation of the word cyberspace (Gibson, 1984) following the emergence of the World Wide Web Internet not only succinctly revolutionized the correlation of time and space but also poised to challenge how we view the existing spatial concept. This research tries to use protocol analysis to examine text-based cyberspace, such as bulletin board, chart rooms and so forth, and the objective of this research is to realize the spatiality of cyberspace through the cognitive point of view, and to compare the differences of the definitions and perception ways of spatiality between people with general domain and in design fields. Finally, we validate the existence of cyberspace, where the process not only allows further categorization of spatial elements concluded from the earlier study, but discover that varied backgrounds can affect how a user defines and perceives cyberspace (Strate, 1999).
series	eCAADe
email
last changed	2022/06/07 07:51

_id	88e0
authors	Lee, Y.T., De Pennington, P. and Shaw, N.K.
year	1984
title	Automatic Finite- Element Mesh Generation from Geometric Models : A Point Based Approach
source	ACM Transactions on Graphics. October, 1984. vol. 3: pp. 287-311 : ill. includes bibliography
summary	A novel algorithm for automatic finite-element mesh generation is described. It uses constructive solid geometry to provide the geometric data for the object to be meshed. The geometric definition of the object and a value for the required mesh density are the only inputs. The method consists of two stages: point generation and mesh construction over the points. It has been implemented in two dimensions and is capable of generating predominantly 'good' quadrilateral elements. Triangular elements are only created in circumstances under which quadrilateral elements are not feasible
keywords	solids, geometric modeling, finite elements, analysis, CSG
series	CADline
last changed	2003/06/02 13:58

_id	ceb1
authors	Maver, T.
year	1984
title	What is eCAADe?
doi	https://doi.org/10.52842/conf.ecaade.1984.x.d0s
source	The Third European Conference on CAD in the Education of Architecture [eCAADe Conference Proceedings] Helsinki (Finnland) 20-22 September 1984.
summary	The main interest of the organisation is to improve the design, teaching. The design remains the core of the professional education, while computer science can support a better understanding of the design methods. Computers should amplify the human capabilities like engines allowed to carry higher forces, radio and television enabled communication over larger distances and computers today should aid the human intellectual activities, to gain a better insight in design methodology, to investigate the design process.Design research should study more extensively how buildings behave, the integration and interaction of different disciplines which contribute to the optimization of a design and the design criteria. Computers could increase the possibility to satisfy building regulations, to access and update information, to model the design process and to understand how decisions affect the building quality (functional and economical as well as formal aspects). More effort and money should be spent on this research. The organisation has been sponsored by the EEC for bringing CAAD (Computer Aided Architectural Design) educational material at the disposal of the design teachers. The Helsinki conference is the third European meeting (after Delft 1982 and Brussels 1983) which concentrates on information and experience exchange in CAAD-education and looks for common interests and collaboration. A specific joint study program works on typical audiovisual material and lecture notes, which will be updated according to teacher's needs. A demand has been done to implement an integrated CAAD package. eCAADe focuses to integrate computer approaches across country boundaries as well as across disciplinary boundaries, as to reach a higher quality of the design education.
series	eCAADe
email
last changed	2022/06/07 07:50

_id	1b36
authors	Maver, T.W.
year	1984
title	Design Systems in Practice and Education
source	Proceedings of CIB W-78 Colloquium on Integrated CAD Systems, Garston
series	other
email
last changed	2003/06/02 15:00

_id	d9f5
id	d9f5
authors	Maver, T.W.
year	1984
title	Digital Drawing-Boards
source	Times Higher Education Supplement, p. 29
series	other
type	normal paper
email
last changed	2015/02/20 11:27

_id	392f
authors	Maver, T.W.
year	1984
title	Visualisation in Architecture and Planning
source	Proceedings of Aicographics 84, (Ed: P Arthur et al) Milan
series	other
email
last changed	2003/06/02 15:00

_id	1f66
authors	Porter, T. and Duff, T.
year	1984
title	Compositing digital images
source	Computer Graphics (USA), vol. 18, pp. 253-259, July 1984
summary	This class is designed to provide digital imaging instruction covering normalization and other basics of digital image compositing.
series	journal paper
last changed	2003/04/23 15:50

_id	c57c
authors	Pöyry Matti (Ed.)
year	1984
title	The Third European Conference on CAD in the Education of Architecture [Conference Proceedings]
doi	https://doi.org/10.52842/conf.ecaade.1984
source	eCAADe Conference Proceedings / Helsinki (Finnland) 20-22 September 1984
summary	The conference took place in the Department of Architecture of the Helsinki University of Technology (Otaniemi). There were 63 delegates from Finland, Sweden, Switzerland, Belgium, Italy, Australia, France, Israel, Germany, Norway, United Kingdom, Denmark, California and the Netherlands. The conference program was divided into three parts, namely general lectures (T. Maver, W. Mitchell, A. Neil and J. Gero), national situation reports and parallel workshops.
series	eCAADe
email
last changed	2022/06/07 07:49

_id	6ed3
authors	Rasdorf, William J. and Storaasli, Olaf O.
year	1985
title	The Role of Computing in Engineering Education
source	Toward Expert Systems, Computers and Structures. Pergamon Press, July, 1985. vol. 20: pp. 11-15. Also published in: Advances and Trends in Structures and Dynamics edited by A. K. Noor and R. J. Hayduk
summary	Pergamon Press, 1985. --- Also Published in : Proceedings of the Symposium on Advances and Trends in Structures and Dynamics, Pergamon Press, George Washington University and the National Aeronautics and Space Administration, Washington, D.C. pp. 11-15, Oct.1984. The rapid advances occurring in interactive micro-computing and computer science have provided the engineer with a powerful means of processing, storing, retrieving, and displaying data. The effective use of computer technology in engineering processes and applications is recognized by many as the key to increased individual, company, and national productivity. The implications of this observation for the academic community are clear: we must prepare our students to use computer methods and applications as part of their fundamental education. The proper tradeoff between engineering fundamentals and computer science principles and practices is changing with many of the concepts of engineering now being packaged in algorithms or on computer chips. The components of an education should include operating system fundamentals, data structures, program control and organization, algorithms, and computer architectures. It is critically important for engineering students to receive an education that teaches them these fundamentals. This paper suggests that to convey the essentials of computer science to future engineers requires, in part, the addition of computer courses to the engineering curriculum. It also requires a strengthening of the computing content of many other courses so that students come to treat the computer as a fundamental component of their work. This is a major undertaking, but new engineers graduating with advanced computing knowledge will provide potentially significant future innovations in the engineering profession
keywords	CAE, education, civil engineering
series	CADline
last changed	2003/06/02 13:58

_id	cf2009_poster_39
id	cf2009_poster_39
authors	Wang, Chung-Yang
year	2009
title	The Modular Units of CAD/CAM Fabrication
source	T. Tidafi and T. Dorta (eds) Joining Languages Cultures and Visions: CAADFutures 2009 CD-Rom
summary	After Frank O’Gehry’s completion of the fish sculpture in Barcelona, the technique of CAD/CAM fabrication has gradually matured. Designers could use computer to acquire the freedom of form without most restrictions. Typical CAD/CAM fabrication can precisely capture the sections of 3D (three-dimensional) freeform and output those contours into 2D (two-dimensional) structures by computer assistance (Kolarevic 2001; Groover and Emory 1984). In the procedure, due to the accurate output of frameworks, designers could realize the outlines of complicated forms in a low error way. After making frames, architects have to attach suitable skins on the structures according to different situations of form (Lim 2006). It is a traditional CAD/CAM fabrication which has established for a long time.
keywords	CAD/CAM, Fabrication, Modular Units
series	CAAD Futures
type	poster
last changed	2009/08/21 07:39

_id	ecaade2015_84
id	ecaade2015_84
authors	Kontovourkis, Odysseas and Tryfonos, George
year	2015
title	Robotic Fabrication of Tensile Mesh Structures and Real Time Response - The Development and Simulation of a Custom-Made End Effector Tool
doi	https://doi.org/10.52842/conf.ecaade.2015.2.389
source	Martens, B, Wurzer, G, Grasl T, Lorenz, WE and Schaffranek, R (eds.), Real Time - Proceedings of the 33rd eCAADe Conference - Volume 2, Vienna University of Technology, Vienna, Austria, 16-18 September 2015, pp. 389-398
summary	This paper presents an ongoing research, aiming to introduce a fabrication procedure for the development of tensile mesh systems. The purpose of this methodology is to be implemented in real time, based on a feedback loop logic cyclically iterated between robotic machine control and elastic material behaviour. Our purpose is to extend the capacity of robotically driven mechanisms to the fabrication of complex tensile structures and at the same time, reduce the defects that might occur due to the deformation of the elastic material. In this paper, emphasis is given to the development of a custom-made end effector tool, which is responsible to add elastic threads and create connections in the form of nodes. Based on additive fabrication logic, this process suggests the real time development of physical prototypes through the increasing smoothness of mesh structures.
wos	WOS:000372316000045
series	eCAADe
email
last changed	2022/06/07 07:51

_id	caadria2021_342
id	caadria2021_342
authors	Lau, Siu Fung George and van Ameijde, Jeroen
year	2021
title	City Centres in the Era of Self-Driving Cars: Possibilities for the Redesign of Urban Streetscapes to Create Pedestrian-oriented Public Spaces
doi	https://doi.org/10.52842/conf.caadria.2021.2.609
source	A. Globa, J. van Ameijde, A. Fingrut, N. Kim, T.T.S. Lo (eds.), PROJECTIONS - Proceedings of the 26th CAADRIA Conference - Volume 2, The Chinese University of Hong Kong and Online, Hong Kong, 29 March - 1 April 2021, pp. 609-618
summary	The forthcoming popularization of Self-driving Vehicles (SDVs) suggests a significant challenge in urban planning, as it enables new mobility patterns for urban citizens. While manufacturers have been developing visionary scenarios where cars become rentable mobile activity spaces, the impact of SDVs on the urban context is unclear. Through the analysis of the new social and technological functionalities developed by car manufacturers, and the projection of these functions into spatial scenarios of use within urban case study site, this paper explores the potential for the redesign of urban streetscapes to reclaim open spaces for pedestrian experiences and urban culture.
keywords	High-density urbanism; Self-driving vehicles; Urban analytics
series	CAADRIA
email
last changed	2022/06/07 07:51

_id	bff9
authors	Proctor, George (Ed.)
year	2002
title	ACADIA 2002 [Conference Proceedings]
doi	https://doi.org/10.52842/conf.acadia.2002
source	Proceedings of the 2002 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-11-X / Pomona (California) 24-27 October 2002, 446 p.
summary	The 2002 ACADIA conference finds digital tec_nology ubiquitous as the Association for Computer Aided Design in Architecture moves into its third decade. The organization of ACADIA is on the threshold of restating its mission. After 20 years, many of the organization’s initial objectives have been achieved. ACADIA members have been instrumental in the development of design software, and in bringing computers and digital technology into architectural practice and design school curriculum. At first, ACADIAns faced the debate over the appropriateness and utility of digital technology in the disciplines of architecture, planning and building science. Today the use of computers and information technology is widely accepted by architects and CAAD and digital technology have brought profound change to design practice. The debate in ACADIA has long since moved from "should we use this technology" to "how", "for what" and "why". Now that many practitioners, learning institutions and professional organizations have taken up the call, ACADIA must restate its mission, if it wishes to remain “distinct”. This does not mean that the work of ACADIA is complete. Much remains to be done and much more needs to be improved. ACADIA’s Mission Statement places particular focus on “education and the software, hardware and pedagogy involved in education.” And “(t)he organization is also committed to the research and development of computer aides that enhance design creativity, and that aim at contributing to the construction of humane physical environments.” These are the areas that continue to evolve, grow and provide for ACADIA’s continued relevance. The ACADIA 2002 conference theme reflects the state of digital technology’s application to the discipline, as much as it refers to ACADIA’s future. With the general acceptance of digital technology and CAAD, we have arrived at a place where the work of great interest and relevance lies in the space between what is digital and what is analog. The environments of real space and cyberspace have in a very short time become so intertwined that the space between real and virtual (not to be confused with reality and fantasy) is becoming indistinguishable. You cannot eat, travel, use public utilities, bank, shop, vacation or recreate without at the very least coming into contact with or passing through information space. The landscape between these two environments has become a cultural phenomenon for those societies with access to the Internet and information networks. And while the computer and World Wide Web have empowered individuals, the collective impact of the technology holds all the potential and problems that similarly emerged in other technology induced landscapes. Consider this last point in the context of ACADIA’s stated mission to “enhance design creativity while contributing to the construction of humane physical environments.” And you can see why many of the 260 initial submissions to this conference were in the area of design artifacts and design methodology, providing evidence that ACADIA’s mission remains relevant and in accord with the trends of research and professional creative activity.
series	ACADIA
email
last changed	2022/06/07 07:49

_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	001a
authors	Stiny, George
year	1990
title	What Designers Do That Computers Should
source	The Electronic Design Studio: Architectural Knowledge and Media in the Computer Era [CAAD Futures ‘89 Conference Proceedings / ISBN 0-262-13254-0] Cambridge (Massachusetts / USA), 1989, pp. 17-30
summary	Designers do many things that computers don't. Some of these are bad habits that the stringencies of computation will correct. But others are basic to design, and cannot be ignored if computation is to serve creation and invention. Two of these provide the correlative themes of this paper. Both are concerned with description, and its variability and multiplicity in design.
series	CAAD Futures
email
last changed	2003/05/16 20:58

_id	ecaade2009_keynote1
id	ecaade2009_keynote1
authors	Stiny, George
year	2009
title	When is Generative Design Design?
doi	https://doi.org/10.52842/conf.ecaade.2009.x.f3p
source	Computation: The New Realm of Architectural Design [27th eCAADe Conference] Istanbul (Turkey) 16-19 September 2009
summary	The question in my title is neatly put in a counterfactual: HOW WOULD CALCULATING BE DIFFERENT IF TURING WERE AN ARTIST OR DESIGNER AND NOT A LOGICIAN? A generative process – in design or wherever calculating is tried – uses recursive rules. But RECURSION alone isnʼt design. EMBEDDING is needed, as well. This entails a switch from blindly following rules to seeing what happens. Then calculating in Turingʼs way by counting is a special case of calculating in an artistʼs or designerʼs way by seeing. And creativity as recursion – in logic, linguistics, and computer science – extends to art and design. Generative design is design if thereʼs embedding, that is to say, anytime thereʼs seeing. Usually, seeing is outside a generative process, when it stops and you look at the results. What recursive rules imply may not be what you see. But embedding works with recursion, so that rules let you see as you go on inside a generative process. Seeing starts anew – without stopping – every time a rule is tried. Recursion and embedding together make generative design design. This is summarized in a formula: GENERATIVE DESIGN + EMBEDDING = DESIGN // The equivalence is a useful heuristic for new research in calculating, and for art and design.
series	eCAADe
type	keynote paper
last changed	2022/06/07 07:50

_id	409c
authors	Akin, Omer, Flemming, Ulrich and Woodbury, Robert F.
year	1984
title	Development of Computer Systems for Use in Architectural Education
source	1984. ii, 47 p. includes bibliography
summary	Computers have not been used in education in a way that fosters intellectual development of alternate approaches to design. Sufficient theory exists to use computing devices to support other potentially fruitful approaches to design. A proposal is made for the development of a computer system for architectural education which is built upon a particular model for design, that of rational decision making. Within the framework provided by the model, a series of courseware development projects are proposed which together with hardware acquisitions constitute a comprehensive computer system for architectural education
keywords	architecture, education, design, decision making
series	CADline
email
last changed	2003/06/02 13:58

_id	sigradi2015_9.347
id	sigradi2015_9.347
authors	Andrade, Eduardo; Orellana, Nicolas; Mesa, Javiera; Felmer, Patricio
year	2015
title	Spatial Configuration and Sociaty. Comparison between the street market Tristan Matta and Tirso de Molina Market
source	SIGRADI 2015 [Proceedings of the 19th Conference of the Iberoamerican Society of Digital Graphics - vol. 2 - ISBN: 978-85-8039-133-6] Florianópolis, SC, Brasil 23-27 November 2015, pp. 481-485.
summary	This research aims to clarify how certain visual and accessibility patterns, in buildings and urban environments, are related to social activities that take place in them. The study, based on the theory of space syntax (Hillier & Hanson 1984; Hillier, 1996), seeks to recognize patterns of behavior, both individual and aggregate. The case studies are Tirso de Molina Market and the free street market Tristan Matta, both in Santiago de Chile.
keywords	pace Syntax, Visibilidad, Accesibilidad, Conectividad, Comportamiento
series	SIGRADI
email
last changed	2016/03/10 09:47

For more results click below: