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

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_id	8ff1
authors	Cáceres Jara, Hugo
year	2001
title	EL COLOR DIGITAL EN EL DISEÑO DE TESELACIONES PERIODICAS (The Digital Color in the Design of Periodical Teselations)
source	SIGraDi biobio2001 - [Proceedings of the 5th Iberoamerican Congress of Digital Graphics / ISBN 956-7813-12-4] Concepcion (Chile) 21-23 november 2001, pp. 64-66
summary	The present study of fundamentally exploratory type tries to examine the distribution of the color in the structures of repetition designed according to the Mathematical Theory of the Tessellations and inspired in the grafphic work of the artist holandes M.C.Escher. The results reached are product of the exercises pedagogicos carried out in the catedra of design of the color of the Design Workshop I, Universidad del Bío-Bío, among the years 1996 and 2000 to pursue a design graphic degree.
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	39fb
authors	Langton, C.G.
year	1996
title	Artificial Life
source	Boden, M. A. (1996). The Philosophy of Artificial Life, 39-94.New York and Oxford: Oxford University Press
summary	Artificial Life contains a selection of articles from the first three issues of the journal of the same name, chosen so as to give an overview of the field, its connections with other disciplines, and its philosophical foundations. It is aimed at those with a general background in the sciences: some of the articles assume a mathematical background, or basic biology and computer science. I found it an informative and thought-provoking survey of a field around whose edges I have skirted for years. Many of the articles take biology as their starting point. Charles Taylor and David Jefferson provide a brief overview of the uses of artificial life as a tool in biology. Others look at more specific topics: Kristian Lindgren and Mats G. Nordahl use the iterated Prisoner's Dilemma to model cooperation and community structure in artificial ecosystems; Peter Schuster writes about molecular evolution in simplified test tube systems and its spin-off, evolutionary biotechnology; Przemyslaw Prusinkiewicz presents some examples of visual modelling of morphogenesis, illustrated with colour photographs; and Michael G. Dyer surveys different kinds of cooperative animal behaviour and some of the problems synthesising neural networks which exhibit similar behaviours. Other articles highlight the connections of artificial life with artificial intelligence. A review article by Luc Steels covers the relationship between the two fields, while another by Pattie Maes covers work on adaptive autonomous agents. Thomas S. Ray takes a synthetic approach to artificial life, with the goal of instantiating life rather than simulating it; he manages an awkward compromise between respecting the "physics and chemistry" of the digital medium and transplanting features of biological life. Kunihiko Kaneko looks to the mathematics of chaos theory to help understand the origins of complexity in evolution. In "Beyond Digital Naturalism", Walter Fontana, Guenter Wagner and Leo Buss argue that the test of artificial life is to solve conceptual problems of biology and that "there exists a logical deep structure of which carbon chemistry-based life is a manifestation"; they use lambda calculus to try and build a theory of organisation.
series	other
last changed	2003/04/23 15:14

_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	4040
authors	Smith, I., Stalker, R. and Lottaz, C.
year	1996
title	Creating design objects from cases for interactive spatial composition
source	Artificial Intelligence in Design ‚96, eds. J. S. Gero and F. Sudweeks, 97 - 116. Dordrecht: Kluwer Academic
summary	This paper describes IDIOM, a system for composing layouts using cases. Layouts are interactively composed by users rather than automatically generated as has been proposed by previous research. The design is incrementally parameterized as cases are added and therefore, case adaptation, user interpretation and model activation can occur at any stage. IDIOM supports designers through reducing constraint complexity and through managing design preferences, thereby restraining proposed solutions and further adaptation within globally feasible design spaces. Improvements to the algorithm over previous implementations have increased reliability. In general, designers, who currently carry out spatial composition tasks using standard drawing tools, have reacted favourably to the system, providing useful feedback for further work.
series	journal paper
last changed	2003/04/23 15:14

_id	c204
authors	Aleksander Asanowicz
year	1996
title	Teaching and Learning - Full Brainwash
doi	https://doi.org/10.52842/conf.ecaade.1996.051
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 51-54
summary	We often speak of changes in design process due to an application of computers. But in my opinion we more often rather speak of lack of changes. Lets hope that some day we will be able to witness full integrity and compatibility of design process and tools applied in it. Quite possible such an integrity may occur in the cyberspace. Nevertheless before that could happen some changes within the teaching methods at faculties of architecture, where despite great numbers of computer equipment used, the students are still being taught as in the XIX century. In terms of achieved results it proves ineffective because application of chalk and blackboard only will always loose to new media, which allow visual perception of dinosaurs in Jurassic Park. Our civilisation is the iconographic one. And that is why teaching methods are about to change. An application of computer as simply a slide projector seems to be way too expensive. New media demands new process and new process demands new media. Lets hope that could be achieved in cyberspace as being a combination of: classic ways of teaching, hypertext, multimedia, virtual reality and a new teaching methodology (as used in Berlitz English School - full brainwash). At our faculty several years ago we experimentally undertook and applied an Integrated Design Teaching Method. A student during design process of an object simultaneously learnt all aspects and functions of the object being designing i.e.: its structure, piping and wiring, material cost and even historic evolution of its form and function. Unfortunately that concept was too extravagant as for the seventies in our reality. At present due to wide implementation of new media and tools in design process we come to consider reimplementation of IDTM again.
series	eCAADe
email
last changed	2022/06/07 07:54

_id	8a25
authors	Alshawi, M. and Underwood, J.
year	1996
title	Applying object-oriented analysis to the integration of design and construction
source	Automation in Construction 5 (2) (1996) pp. 105-121
summary	This paper implements an Object Oriented Analysis technique to model information related to design and construction. In a previous study, an approach to integrate design and construction processes based upon information analysis and modelling has been proposed. By breaking down the project's vast information into groups of related information, construction related problems have been identified and then traced back too their relevant design processes. This paper models this process using a relatively young and new method of analysis rather than a traditional structured approach. An Object-Oriented Analysis (OOA) method has been applied to model the information in terms of the fundamental ideas that underlie object-oriented technology i.e. object types and classes, methods, requests, encapsulation and inheritance. Proceeding through the five major activities of Coad and Yourdon's OOA method, a complete OOA model has been developed with potential to improve the construction related problems.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	d5c8
authors	Angelo, C.V., Bueno, A.P., Ludvig, C., Reis, A.F. and Trezub, D.
year	1999
title	Image and Shape: Two Distinct Approaches
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 410-415
summary	This paper is the result of two researches done at the district of Campeche, Florianópolis, by the Grupo PET/ARQ/UFSC/CAPES. Different aspects and conceptual approaches were used to study the spatial attributes of this district located in the Southern part of Santa Catarina Island. The readings and analysis of two researches were based on graphic pistures builded with the use of Corel 7.0 e AutoCadR14. The first research – "Urban Development in the Island of Santa Catarina: Public Space Study"- examined the urban structures of Campeche based on the Spatial Syntax Theory developed by Hillier and Hanson (1984) that relates form and social appropriation of public spaces. The second research – "Topoceptive Characterisation of Campeche: The Image of a Locality in Expansion in the Island of Santa Catarina" -, based on the methodology developed by Kohlsdorf (1996) and also on the visual analysis proposed by Lynch (1960), identified characteristics of this locality with the specific goal of selecting attributes that contributed to the ideas of the place its population held. The paper consists of an initial exercise of linking these two methods in order to test the complementarity of their analytical tools. Exemplifying the analytical procedures undertaken in the two approaches, the readings done - global (of the locality as a whole) and partial (from parts of the settlement) - are presented and compared.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	cf57
authors	Anumba, C.J.
year	1996
title	Functional Integration in CAD Systems
source	Advances in Engineering Software, 25, 103-109
summary	This paper examines the issue of integration in CAD systems and argues that for integration to be effective, it must address the functional aspects of a CAD system. It discusses the need for integrated systems and, within a structural engineering context, identifies several facets of integration that should be targeted. These include 2-D drafting and 3-D modelling, graphical and non-graphical design information, the CAD data structure and its user interface, as well as integration of the drafting function with other engineering applications. Means of achieving these levels of integration are briefly discussed and a prognosis for the future development of integrated systems explored. Particular attention is paid to the emergence (and potential role) of `product models' which seek to encapsulate the full range of data elements required to define completely an engineering artefact.
series	journal paper
last changed	2003/04/23 15:14

_id	af94
authors	Anumba, C.J.
year	1996
title	Data structures and DBMS for computer-aided design systems
source	Advances in Engineering Software, 25(2/3), 123-129
summary	The structures for the storage of data in CAD systems influence to a large extent the effectiveness of the system. This paper reviews the wide range of data structures and database management systems (DBMS) available for structuring CAD data. Examples of basic data types are drawn from the MODULA-2 language. The relationship between these basic data types, their composite structures and the classical data models (on which many DBMS are based) is discussed, and the limitations of existing DBMS in modelling CAD data highlighted. A set of requirements for CAD database management systems is drawn up and the emerging role of product models (which seek to encapsulate the totality of data elements required to define fully an engineering artefact) is explored.
series	journal paper
last changed	2003/04/23 15:14

_id	452d
authors	Arlati, E., Bottelli, V. and Fogh, C.
year	1996
title	Applying CBR to the Teaching of Architectural Design
doi	https://doi.org/10.52842/conf.ecaade.1996.041
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 41-50
summary	This paper presents an approach to the analysis and description of the nature of process knowledge in architectural design, the development of a conceptual model for Galathea, a case-based navigation tool for its support, and the application of this theoretical foundation to the teaching of design to a group of about 100 second-year architecture students. Design is assumed as a globally coherent information, memory and experience-intensive process in which professional skill is the capability to govern a large number of continually evolving variables in the direction of desired change. This viewpoint on design has guided the development of Galathea, the model of a tool aimed at describing architectural design through the description, mapping and management of the complete decision-making path of projects by means of the dynamic representation of the relationship between goals, constraints and the decisions/actions adopted at specific nodes and through the creation of a case-base aimed at the storage, retrieval and adaptation of relevant design moves in similar project contexts. This conceptual model is applied to educational activity at the faculty of Architecture of Milan, with the aim of teaching how to govern a project from the outset considering it as an evolving but coherent map of design moves, which allow the adoption of the correct decisions involving the most disparate types of information, experience and memory, and which altogether conduct to the desired goal. The resolution paths of the students, all applied to the same architecture problem, result in a design move case-base, the further utilisation and interest of which is open to collegial discussion.
keywords	knowledge-based design; case-based reasoning; design process control, design moves
series	eCAADe
email
last changed	2022/06/07 07:54

_id	c4be
authors	Bock, T., Stricker, D., Fliedner, J. and Huynh, T.
year	1996
title	Automatic generation of the controlling-system for a wall construction robot
source	Automation in Construction 5 (1) (1996) pp. 15-21
summary	In this article we present several important aspects of a software system control. This is designed and developed for a wall assembly robot in an European Esprit III project called ROCCO, RObot assembly system for Computer integrated COnstruction. The system consists of an off-line program for planning of complex assembly tasks and for generating robot actions. The execution is controlled through an adaptive user interface and gives the user the possibilities to switch in an on-line mode command. All the software is designed with the object-oriented concept and implemented in C + +. The wall assembly system is organized on the base of the successive generation of different types of actions, called "Mission", "Task", and "Action". They represent different levels of assembly complexities. Those different actions are organized in a tree structure. Furthermore, the software system can be connected to a CAD-robot simulation software for checking the robot assembly motions. Added to the control system, a recovery module has been implemented for all possible errors during the construction. First the OO-model of the world and of robot activities will be presented. Secondly, several aspects of the algorithm will be explained and at the end we will show the strategy used for the robot motion.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	9b4d
authors	Boerner, Wolfgang
year	2003
title	The “Franziszeische Kataster” (land register) – Only a historial Map?
source	CORP 2003, Vienna University of Technology, 25.2.-28.2.2003 [Proceedings on CD-Rom]
summary	Franz I. of Austria that the legislative and technical hindrances were cleared away in order to commence with big changes. One cantruly say that it was due to his land tax patent from the 23rd of December 1817 that he founded the main land register of Austria andof the whole empire. The basic ideas of this patent are still valid today.This land register, named after it’s originator, was also said to be a “stabile” land register because the net profit rate, which wascrucial for the rating of taxation, was to be stabilized without giving consideration to higher productivity or diligence except to casesin which the fertility of the earth was destroyed by natural phenomenon.The land register was developed for the city of Vienna in the years 1819 to 1824. This land register of Vienna was scanned and digitized by the Urban Archaeology of Vienna. Since the launching of the “Kulturgüterkataster (Cultural Heritage Cadastre)“ in 1996, the individual municipal departments of the City of Vienna have developed a massive body of know-how regarding the various fields of interest. In particular, the inventoryingand evaluation of architectural objects as implemented by the City of Vienna could be easily adapted to other EU cities. It has alreadybeen suggested to initiate corresponding EU projects or participate in such.The long-time objective is an Internet portal. Based on the applications and competence developed in Vienna, the cultural assets of European metropolises could be digitised to present them in a novel forum. Lovers of culture, historians and urban planners would thus dispose of an instrument that renders urbanistic research much more efficient. Here, the “Franziszeischer Kataster“ could play a key role. Especially in the candidate countries in Eastern and South-eastern Europe, land surveying to this day would be unthinkable without this land register. A digital version of the register, could provide enormous support to the surveyor’s offices in the new Member States.
series	other
email
last changed	2003/11/21 15:16

_id	0dfb
authors	Bovill, C.
year	1996
title	Fractal Geometry in Architecture and Design
source	Design Science Collection, Harvard University, Boston
summary	My intention in this book was to explain the essence of fractal geometry to the design community. Many of the fractals can be drawn by hand and fractal rhythms for use in design can be derived from musical scores. This approach was taken to make the material more approachable. Much of the literature on fractal geometry is hidden behind computer programs or complex mathematical notation systems.
series	other
last changed	2003/04/23 15:14

_id	af53
authors	Boyer, E. and Mitgang, L.
year	1996
title	Building community: a new future for architecture education and practice
source	Carnegie Foundation for the Advancement of Teaching
summary	Internships, before and after graduation, are the most essential link connecting students to the world of practice. Yet, by all accounts, internship is perhaps the most troubled phase of the continuing education of architects. During this century, as architectural knowledge grew more complex, the apprenticeship system withered away and schools assumed much of the responsibility for preparing architects for practice. However, schools cannot do the whole job. It is widely acknowledged that certain kinds of technical and practical knowledge are best learned in the workplace itself, under the guidance of experienced professionals. All state accrediting boards require a minimum period of internship-usually about three years-before a person is eligible to take the licensing exam. The National Council of Architectural Registration Boards (NCARB) allows students to earn up to two years of work credit prior to acquisition of an accredited degree. The Intern Development Program (IDP), launched by NCARB and the American Institute of Architects in 1979, provides the framework for internship in some forty states. The program was designed to assure that interns receive adequate mentoring, that experiences are well-documented, and that employers and interns allocate enough time to a range of educational and vocational experiences to prepare students for eventual licensure. As the IDP Guidelines state, "The shift from school to office is not a transition from theory to pragmatism. It is a period when theory merges with pragmatism.... It's a time when you: apply your formal education to the daily realities of architectural practice; acquire comprehensive experience in basic practice areas; explore specialized areas of practice; develop professional judgment; continue your formal education in architecture; and refine your career goals." Whatever its accomplishments, however, we found broad consensus that the Intern Development Program has not, by itself, solved the problems of internship. Though we found mutually satisfying internship programs at several of the firms we visited or heard about around the country, at many others interns told us they were not receiving the continuing education and experience they needed. The truth is that architecture has serious, unsolved problems compared with other fields when it comes to supplying on-the-job learning experiences to induct students into the profession on a massive scale. Medicine has teaching hospitals. Beginning teachers work in actual classrooms, supported by school taxes. Law offices are, for the most part, in a better financial position to support young lawyers and pay them living wages. The architecture profession, by contrast, must support a required system of internship prior to licensure in an industry that has neither the financial resources of law or medicine, the stability and public support of teaching, nor a network of locations like hospitals or schools where education and practice can be seamlessly connected. And many employers acknowledged those problems. "The profession has all but undermined the traditional relationship between the profession and the academy," said Neil Frankel, FAIA, executive vice president of Perkins & Will, a multinational firm with offices in New York, Chicago, Washington, and London. "Historically, until the advent of the computer, the profession said, 'Okay, go to school, then we in the profession will teach you what the real world is like.' With the coming of the computer, the profession needed a skill that students had, and has left behind the other responsibilities." One intern told us she had been stuck for months doing relatively menial tasks such as toilet elevations. Another intern at a medium-sized firm told us he had been working sixty to seventy hours per week for a year and a half. "Then my wife had a baby and I 'slacked off' to fifty hours. The partner called me in and I got called on the carpet for not working hard enough." "The whole process of internship is being outmoded by economics," one frustrated intern told us. "There's not the time or the money. There's no conception of people being groomed for careers. The younger staff are chosen for their value as productive workers." "We just don't have the best structure here to use an intern's abilities to their best," said a Mississippi architect. "The people who come out of school are really problems. I lost patience with one intern who was demanding that I switch him to another section so that he could learn what he needed for his IDP. I told him, 'It's not my job to teach you. You are here to produce.'" What steps might help students gain more satisfying work opportunities, both during and after graduation?
series	other
last changed	2003/04/23 15:14

_id	diss_ddssar0211
id	diss_ddssar0211
authors	Brandt, Eva
year	2001
title	Event driven product development – collaboration and learning
source	Dept. of Technology and Social Sciences, Technical University of Denmark
summary	This dissertation is the result of the research project “Event-Driven Product Development: Collaboration and Learning”. It is an industrial Ph.D. project carried out in collaboration between the company Danfoss A/S, and the Institute of Technology and Social Sciences at the Technical University of Denmark; now the Department of Manufacturing Engineering and Management. The research was funded partly by Danfoss A/S and partly by the Danish Academy of Technical Sciences (ATV), who have named the project EF 609. The research project began in February 1996. I have had three supervisors: Thomas Binder and Jacob Buur both of whom represent Danfoss, and Lauge Baungaard Rasmussen from the Institute of Technology and Social Sciences at the Technical University of Denmark.
series	thesis:PhD
email
more	http://space.interactiveinstitute.se/staff/Eva.Brandt/phd.html
last changed	2003/12/15 14:31

_id	e309
authors	Breen, Jack and Stellingwerff, Martijn
year	1996
title	A Case for Computer-Assisted Creativity through Clarity, Project 12 CAD and Beyond
source	CAD Creativeness [Conference Proceedings / ISBN 83-905377-0-2] Bialystock (Poland), 25-27 April 1996 pp. 31-35
summary	A paper exploring the opportunities of different Design Media for the benefit of Architectural and Urban Composition. It is argued that during the design process, the designer develops Models for a projected end result, which are visualised in the form of Images using traditional media. The Computer affords the possibility of creating (virtual) Models from which Images can be taken. Current types of Computer Interfaces still form an obstacle for creative computer assisted design, comparable to Sketching. It is argued that the Clarity of the medium will need to be enhanced, if it is to become an Instrument for truly creative design. Using the example of an educational, practical CAD exercise, the case for' Clarity for the benefit of creative Computing is put forward.
series	plCAD
email
last changed	2003/05/17 10:01

_id	8e02
authors	Brown, A.G.P. and Coenen, F.P.
year	2000
title	Spatial reasoning: improving computational efficiency
source	Automation in Construction 9 (4) (2000) pp. 361-367
summary	When spatial data is analysed the result is often very computer intensive: even by the standards of contemporary technologies, the machine power needed is great and the processing times significant. This is particularly so in 3-D and 4-D scenarios. What we describe here is a technique, which tackles this and associated problems. The technique is founded in the idea of quad-tesseral addressing; a technique, which was originally applied to the analysis of atomic structures. It is based on ideas concerning Hierarchical clustering developed in the 1960s and 1970s to improve data access time [G.M. Morton, A computer oriented geodetic database and a new technique on file sequencing, IBM Canada, 1996.], and on atomic isohedral (same shape) tiling strategies developed in the 1970s and 1980s concerned with group theory [B. Grunbaum, G.C. Shephard, Tilings and Patterns, Freeman, New York, 1987.]. The technique was first suggested as a suitable representation for GIS in the early 1980s when the two strands were brought together and a tesseral arithmetic applied [F.C. Holdroyd, The Geometry of Tiling Hierarchies, Ars Combanitoria 16B (1983) 211–244.; S.B.M. Bell, B.M. Diaz, F.C. Holroyd, M.J.J. Jackson, Spatially referenced methods of processing raster and vector data, Image and Vision Computing 1 (4) (1983) 211–220.; Diaz, S.B.M. Bell, Spatial Data Processing Using Tesseral Methods, Natural Environment Research Council, Swindon, 1986.]. Here, we describe how that technique can equally be applied to the analysis of environmental interaction with built forms. The way in which the technique deals with the problems described is first to linearise the three-dimensional (3-D) space being investigated. Then, the reasoning applied to that space is applied within the same environment as the definition of the problem data. We show, with an illustrative example, how the technique can be applied. The problem then remains of how to visualise the results of the analysis so undertaken. We show how this has been accomplished so that the 3-D space and the results are represented in a way which facilitates rapid interpretation of the analysis, which has been carried out.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	59c3
authors	Bruckman, Amy
year	1996
title	Finding One's Own Space in Cyberspace
source	MIT Technology Review. January 1996, p. 50
summary	The week the last Internet porn scandal broke, my phone didn't stop ringing: "Are women comfortable on the Net?" "Should women use gender-neutral names on the Net?" "Are women harassed on the Net?" Reporters called from all over the country with basically the same question. I told them all: your question is ill-formed. "The Net" is not one thing. It's like asking: "Are women comfortable in bars?" That's a silly question. Which woman? Which bar? The summer I was 18, I was the computer counselor at a summer camp. After the campers were asleep, the counselors were allowed out, and would go bar hopping. First everyone would go to Maria's, an Italian restaurant with red-and-white-checked table cloths. Maria welcomed everyone from behind the bar, greeting regular customers by name. She always brought us free garlic bread. Next we'd go to the Sandpiper, a disco with good dance music. The Sandpiper seemed excitingly adult--it was a little scary at first, but then I loved it. Next, we went to the Sportsman, a leather motorcycle bar that I found absolutely terrifying. Huge, bearded men bulging out of their leather vests and pants leered at me. I hid in the corner and tried not to make eye contact with anyone, hoping my friends would get tired soon and give me a ride back to camp.
series	other
last changed	2003/04/23 15:50

_id	d610
authors	Burdea, G.C.
year	1996
title	Force and Touch Feedback for Virtual Reality
source	New York: John Wiley & Sons
summary	Could weight, temperature, and texture combine to bring simulated objects to life? Describing cutting-edge technology that will influence the way we interact with computers for years to come, this pioneering book answers yes: not only is it possible, but devices capable of providing force and tactile sensory feedback already exist. Force and Touch Feedback for Virtual Reality is the first comprehensive source of information on the design, modeling, and applications of force and tactile interfaces for VR. It is a must have for scientists, engineers, psychologists, and developers involved in VR, and for anyone who would like to gain a deeper understanding of this exciting and fast-growing field. Complete with hundreds of tables, figures, and color illustrations, Force and Touch Feedback for Virtual Reality offers * Basic information on human tactile sensing and control and feedback actuator technology * A worldwide survey of force and tactile interface devices, from the simple joystick to full-body instrumented suits based on human factor tests * Step-by-step instructions for realistic physical modeling of virtual object characteristics such as weight, surface smoothness, compliance, and temperature * A unified treatment of the benefits of the new haptic interface technology for simulation and training based on human factor tests * A detailed analysis of optimum control requirements for force and tactile feedback devices * A review of emerging applications in areas ranging from surgical training and entertainment to telerobotics and the military
series	other
last changed	2003/04/23 15:14

_id	ffe2
authors	Carrar, G., Luna, F. and Rajchman, A.
year	1999
title	Cúpulas Telefónicas - Mobiliario Urbano, Diseño Industrial aplicado a una empresa de servicios (Telephone Cupolas - Urban Furniture, Industrial Design Applied to a Company of Services)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 426-409
summary	By november 1996, the state telecomunication company called for a national booth design contest. The idea was to use the awarded design shortly as part of the renovation of the public phone service. Gruppo MDM won the design contest and was contracted to do the manufacture technical drawings and a prototype which was tested during 1997. By 1997, an international bid was held, including the awarded project. Gruppo MDM was contracted for the follow up of the manufacture process, including research of suppliers worldwide, materials arriving on time with the quality required, verifying local suppliers with deadlines and quality controlls according to the specifications.
series	SIGRADI
email
last changed	2016/03/10 09:48

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