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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	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	6598
authors	Goldman, Glenn
year	1996
title	Reconstructions, Remakes and Sequels: Architecture and Motion Pictures
doi	https://doi.org/10.52842/conf.acadia.1996.011
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
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	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	3151
authors	Sanders, K.
year	1996
title	The Digital Architect
source	New York, NY, John Wiley &Sons
summary	Written by an architect for design professionals, The Digital Architect is a gold mine of commonsense advice and guidance on the realities of using computer technology in design practice. Ken Sanders, AIA, takes you beyond the hyperbole to discover the practical reality of using computers today. He explains their strengths and weaknesses; what these tools do and what they don't do; and how they can be used strategically and tactically to improve quality, productivity, and profits in design firms of all sizes. Drawing on his own experiences and those of colleagues from across the nation whose comments appear throughout, he provides a wealth of valuable insights and advice on: * Choosing technology that leverages your professional value * Integrating technology seamlessly into your firm * Implementing cost-effective technology training and education * Managing the digital office, including liability, privacy, and security issues * Organizing the knowledge base of your firm * Using the Internet's World Wide Web as a global information resource * Hardware platforms, operating systems, and networks * Software tools and applications, including CAD, word processing, spreadsheets, multimedia, visualization, animation, virtual reality, on-line services, and more * The latest releases of major software products, including Windows 95TM and AutoCAD(r) Release 13(r) The only guide of its kind, The Digital Architect is a valuable tool for architects, engineers, designers, and all those who participate in creating the built environment.
series	other
last changed	2003/04/23 15:14

_id	avocaad_2001_19
id	avocaad_2001_19
authors	Shen-Kai Tang, Yu-Tung Liu, Yu-Sheng Chung, Chi-Seng Chung
year	2001
title	The visual harmony between new and old materials in the restoration of historical architecture: A study of computer simulation
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In the research of historical architecture restoration, scholars respectively focus on the field of architectural context and architectural archeology (Shi, 1988, 1990, 1991, 1992, 1995; Fu, 1995, 1997; Chiu, 2000) or on architecture construction and the procedure of restoration (Shi, 1988, 1989; Chiu, 1990). How to choose materials and cope with their durability becomes an important issue in the restoration of historical architecture (Dasser, 1990; Wang, 1998).In the related research of the usage and durability of materials, some scholars deem that, instead of continuing the traditional ways that last for hundreds of years (that is to replace new materials with old ones), it might be better to keep the original materials (Dasser, 1990). However, unavoidably, some of the originals are much worn. Thus we have to first establish the standard of eliminating components, and secondly to replace identical or similar materials with the old components (Lee, 1990). After accomplishing the restoration, we often unexpectedly find out that the renewed historical building is too new that the sense of history is eliminated (Dasser, 1990; Fu, 1997). Actually this is the important factor that determines the accomplishment of restoration. In the past, some scholars find out that the contrast and conflict between new and old materials are contributed to the different time of manufacture and different coating, such as antiseptic, pattern, etc., which result in the discrepancy of the sense of visual perception (Lee, 1990; Fu, 1997; Dasser, 1990).In recent years, a number of researches and practice of computer technology have been done in the field of architectural design. We are able to proceed design communication more exactly by the application of some systematic softwares, such as image processing, computer graphic, computer modeling/rendering, animation, multimedia, virtual reality and so on (Lawson, 1995; Liu, 1996). The application of computer technology to the research of the preservation of historical architecture is comparatively late. Continually some researchers explore the procedure of restoration by computer simulation technology (Potier, 2000), or establish digital database of the investigation of historical architecture (Sasada, 2000; Wang, 1998). How to choose materials by the technology of computer simulation influences the sense of visual perception. Liu (2000) has a more complete result on visual impact analysis and assessment (VIAA) about the research of urban design projection. The main subjects of this research paper focuses on whether the technology of computer simulation can extenuate the conflict between new and old materials that imposed on visual perception.The objective of this paper is to propose a standard method of visual harmony effects for materials in historical architecture (taking the Gigi Train Station destroyed by the earthquake in last September as the operating example).There are five steps in this research: 1.Categorize the materials of historical architecture and establish the information in digital database. 2.Get new materials of historical architecture and establish the information in digital database. 3.According to the mixing amount of new and old materials, determinate their proportion of the building; mixing new and old materials in a certain way. 4.Assign the mixed materials to the computer model and proceed the simulation of lighting. 5.Make experts and the citizens to evaluate the accomplished computer model in order to propose the expected standard method.According to the experiment mentioned above, we first address a procedure of material simulation of the historical architecture restoration and then offer some suggestions of how to mix new and old materials.By this procedure of simulation, we offer a better view to control the restoration of historical architecture. And, the discrepancy and discordance by new and old materials can be released. Moreover, we thus avoid to reconstructing ¡§too new¡¨ historical architecture.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	avocaad_2001_17
id	avocaad_2001_17
authors	Ying-Hsiu Huang, Yu-Tung Liu, Cheng-Yuan Lin, Yi-Ting Cheng, Yu-Chen Chiu
year	2001
title	The comparison of animation, virtual reality, and scenario scripting in design process
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	Design media is a fundamental tool, which can incubate concrete ideas from ambiguous concepts. Evolved from freehand sketches, physical models to computerized drafting, modeling (Dave, 2000), animations (Woo, et al., 1999), and virtual reality (Chiu, 1999; Klercker, 1999; Emdanat, 1999), different media are used to communicate to designers or users with different conceptual levels¡@during the design process. Extensively employed in design process, physical models help designers in managing forms and spaces more precisely and more freely (Millon, 1994; Liu, 1996).Computerized drafting, models, animations, and VR have gradually replaced conventional media, freehand sketches and physical models. Diversely used in the design process, computerized media allow designers to handle more divergent levels of space than conventional media do. The rapid emergence of computers in design process has ushered in efforts to the visual impact of this media, particularly (Rahman, 1992). He also emphasized the use of computerized media: modeling and animations. Moreover, based on Rahman's study, Bai and Liu (1998) applied a new design media¡Xvirtual reality, to the design process. In doing so, they proposed an evaluation process to examine the visual impact of this new media in the design process. That same investigation pointed towards the facilitative role of the computerized media in enhancing topical comprehension, concept realization, and development of ideas.Computer technology fosters the growth of emerging media. A new computerized media, scenario scripting (Sasada, 2000; Jozen, 2000), markedly enhances computer animations and, in doing so, positively impacts design processes. For the three latest media, i.e., computerized animation, virtual reality, and scenario scripting, the following question arises: What role does visual impact play in different design phases of these media. Moreover, what is the origin of such an impact? Furthermore, what are the similarities and variances of computing techniques, principles of interaction, and practical applications among these computerized media?This study investigates the similarities and variances among computing techniques, interacting principles, and their applications in the above three media. Different computerized media in the design process are also adopted to explore related phenomenon by using these three media in two projects. First, a renewal planning project of the old district of Hsinchu City is inspected, in which animations and scenario scripting are used. Second, the renewal project is compared with a progressive design project for the Hsinchu Digital Museum, as designed by Peter Eisenman. Finally, similarity and variance among these computerized media are discussed.This study also examines the visual impact of these three computerized media in the design process. In computerized animation, although other designers can realize the spatial concept in design, users cannot fully comprehend the concept. On the other hand, other media such as virtual reality and scenario scripting enable users to more directly comprehend what the designer's presentation.Future studies should more closely examine how these three media impact the design process. This study not only provides further insight into the fundamental characteristics of the three computerized media discussed herein, but also enables designers to adopt different media in the design stages. Both designers and users can more fully understand design-related concepts.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	2004_044
id	2004_044
authors	M. Saleh Uddin and Tutar, Mustafa
year	2004
title	3D Digital Space and People: Extents and Limitations of Integrating Human Figures in Architectural Animation
doi	https://doi.org/10.52842/conf.ecaade.2004.044
source	Architecture in the Network Society [22nd eCAADe Conference Proceedings / ISBN 0-9541183-2-4] Copenhagen (Denmark) 15-18 September 2004, pp. 44-49
summary	It is people that make architecture alive. It is motion that captures our attention. Together they make our architectural environment believable. Besides portraying a friendly environment, digital people can portray the best reference for scale, time, location and character of an environment. Representing architecture along with human figures has always been an integral aspect of architectural representation in traditional media. As we moved from traditional representation to animated 3D digital modeling, representation of people lost its spirit. Perhaps the reason for this is that a great deal of time and energy needed to be dedicated to the development of human figures. In addition, defining movements and poses for each figure requires additional skills. The aim of this paper is to explore the options of simulating people in the context of environmental design as well as to provide simplified techniques for representations of people in 3D digital animation.
keywords	3D Computer Animation, Human Figure, Representation
series	eCAADe
last changed	2022/06/07 07:59

_id	acadia03_025
id	acadia03_025
authors	Serriano, Pierluigi
year	2003
title	Form Follows Software
doi	https://doi.org/10.52842/conf.acadia.2003.185
source	Connecting >> Crossroads of Digital Discourse [Proceedings of the 2003 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-12-8] Indianapolis (Indiana) 24-27 October 2003, pp. 185-205
summary	Software selection affects design outcome. Computer applications externalize in their graphical interface and in their internal logic a set of assumptions about how objects are constructed and space is represented. Accessibility of tools is in direct correlation with their rate of use. Depending on how user-friendly particular functions are, their use will appear with higher frequency than those foreign to the technological frames of the user groups for which software is designed. As each software is geared towards the needs of specific communities, it replicates in digital fashion those disciplinary practices already present in the analog world. However, modeling results are bracketed at its inception the very moment a particular 3D package is chosen from a diverse array of digital offerings. If the application adopted is designed to appeal to the computer animation industry, the modeling results will bear the imprint of those organic qualities: buildings will appear character-like. Since computer programs have built-in slant meant to aid disciplinary specific users, they yield families of designs with formal commonalities. Unquestionably, proficiency of software use also broadens inventiveness of design. Nevertheless some applications make particular transformations harder to achieve, and as a result will be likely to exclude those modeling options from architects’ imaginary world.
keywords	modeling options, built-in slants, form-making, technology of orders.
series	ACADIA
last changed	2022/06/07 07:57

_id	caadria2015_043
id	caadria2015_043
authors	Zboinska, Malgorzata A.
year	2015
title	Enriching Creativity in Digital Architectural Design
doi	https://doi.org/10.52842/conf.caadria.2015.819
source	Emerging Experience in Past, Present and Future of Digital Architecture, Proceedings of the 20th International Conference of the Association for Computer-Aided Architectural Design Research in Asia (CAADRIA 2015) / Daegu 20-22 May 2015, pp. 819-828
summary	Although conceptual design is one of the most important stages of creation, impacting the quality and cost of the final product, current research indicates that designers still lack adequate tools supporting early-stage design. This research challenges that notion, by proposing a hybrid digital design platform for conceptual architectural design. The platform contains four miscellaneous techniques: animation, free-form modelling, associative parametric modelling and per-formance-driven modelling. In a digital design experiment we demon-strate that the collective application of these techniques to early-stage design explorations intensifies the architect’s visual and cognitive rea-soning processes, and hence supports the emergence of promising de-sign artefacts which bear the traces of all the techniques applied in the course of their conception. Additionally, the study also points at some other promising virtues of the hybrid toolset, including: provision of diversified form-finding opportunities on various levels of design ab-straction; the potential to direct designers onto unplanned creation paths; the ability to increase the versatility and functionality of the solutions; and the capacity to sustain design activities of various character, ranging from highly intuitive ones to very rational ones.
keywords	Conceptual design methods and tools; free-form modelling; animation; associative parametric modelling; performance-driven design.
series	CAADRIA
email
last changed	2022/06/07 07:57

_id	8ded
authors	Anders, Peter
year	1996
title	Envisioning Cyberspace: The Design of On-Line Communities
doi	https://doi.org/10.52842/conf.acadia.1996.055
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 55-67
summary	The development of the World Wide Web into an active, visual social environment poses unique opportunities for the design professions. Multi-user Domains, social meeting places in cyberspace, are mostly text-based virtual realities which use spatial references to set the stage for social interaction. Over the past year design students at the New Jersey Institute of Technology School of Architecture have investigated several text-based domains. In the course of their work, they envisioned and graphically portrayed these environments as immersive virtual realities through the use of computer animation. Their studies addressed issues ranging from the nature of symbolic motion to social/political structures of these domains.
series	ACADIA
email
last changed	2022/06/07 07:54

_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

_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	63a7
id	63a7
authors	Ataman, Osman and Lonnman, Bruce
year	1996
title	Introduction to Concept and Form in Architecture: An Experimental Design Studio Using the Digital Media
doi	https://doi.org/10.52842/conf.acadia.1996.003
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 3-9
summary	This paper describes the use of digital media in a first year undergraduate architectural design studio. It attempts to address the importance of developing a design process that is redefined by the use of computing, integrating concept and perception. Furthermore, it describes the theoretical foundations and quasi-experiments of a series of exercises developed for beginning design students.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	62c0
authors	Barrallo, Javier and Iglesias, Alberto
year	1996
title	Cybersculpture
source	Approaches to Computer Aided Architectural Composition [ISBN 83-905377-1-0] 1996, pp. 35-43
summary	From the first artistic expressions of mankind, the Mathematics has influence the shapes and proportions presents in the different artistic disciplines. The coming of Abstract art and modern Mathematics at the beginning of the century supposed a complete renovation of the way of understand the relationship between Mathematics and Art, reinforced by the huge expansion of computers nowadays. Chaos Theory or Fractal Geometry constitute examples of this tendencies, that normally are expressed in the two dimensional plane. The idea of this work consists on the utilisation of a series of elements from the contemporaneous Mathematics to express them in an artistic way in the three dimensional space. The result is a family of objects that we have called CYBERSCULPTURES, due to their sculptural character and the fact that they have Internet as their virtual museum.
series	other
last changed	1999/04/08 17:16

_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	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

_id	sigradi2004_043
id	sigradi2004_043
authors	Celso Pereira Guimarães; Gerson G. Cunha; Luis Landau
year	2004
title	Sistema de informação e orientação para ambientes públicos em VR - O caso do hu da ufrj um projeto sinalético [Information and Orientation System for Public Environments in VR - The Case of UFRJ University Hospital, a Communication Design Project]
source	SIGraDi 2004 - [Proceedings of the 8th Iberoamerican Congress of Digital Graphics] Porte Alegre - Brasil 10-12 november 2004
summary	Considering Levy.s (1996) thought that qualifies the cyberspace as an anbient par excellence and susceptible to be transformed and explored [1], our work intends to introduce through the simulation in VR, the use of that anbient as support of conception projetual and of the analysis and verification of the efficiency of the proposal of the System of Comunication Design implanted at the Hospital Clementino Fraga Filho of the Federal University of Rio de Janeiro (HU). [2]
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	caadria2020_093
id	caadria2020_093
authors	Cerovsek, Tomo and Martens, Bob
year	2020
title	The Evolution of CAADRIA Conferences - A Bibliometric Approach
doi	https://doi.org/10.52842/conf.caadria.2020.1.325
source	D. Holzer, W. Nakapan, A. Globa, I. Koh (eds.), RE: Anthropocene, Design in the Age of Humans - Proceedings of the 25th CAADRIA Conference - Volume 1, Chulalongkorn University, Bangkok, Thailand, 5-6 August 2020, pp. 325-334
summary	This paper presents an analysis of the output, impact, use and content of 1,860 papers that were published in the CAADRIA conference proceedings over the last 20+ years (from 1996 to 2019). The applied methodology is a blend of bibliometrics, webometrics and clustering with text mining. The bibliometric analysis leads to quantitative and qualitative results on three levels: (1) author, (2) article and (3) association. The most productive authors authored over 50 papers, and the top 20% authors have over 80 % of all citations generated by CAADRIA proceedings. The overall impact of CAADRIA may be characterised by nearly 2,000 known citations and by the h-index that is 17. The webometrics based on CumInCAD.org reveals that the CAADRIA papers served over 200 k users, which is a considerable visibility for scientific CAAD output. The keywords most frequently used by authors were digital fabrication, BIM and parametric, generative, computational design. Notably, 90% of the papers' descriptors are 2-grams. This study may be useful to researchers, educators and publishers interested in CAAD.
keywords	bibliometrics; open source; text clustering; n-gram
series	CAADRIA
email
last changed	2022/06/07 07:55

_id	caadria2007_659
id	caadria2007_659
authors	Chen, Zi-Ru
year	2007
title	The Combination of Design Media and Design Creativity _ Conventional and Digital Media
doi	https://doi.org/10.52842/conf.caadria.2007.x.w5x
source	CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
summary	Creativity is always interested in many fields, in particular, creativity and design creativity have many interpretations (Boden, 1991; Gero and Maher, 1992, 1993; Kim, 1990; Sternberg, 1988; Weisberg, 1986). In early conceptual design process, designers used large number of sketches and drawings (Purcell and Gero, 1998). The sketch can inspire the designer to increase the creativity of the designer’s creations(Schenk, 1991; Goldschmidt, 1994; Suwa and Tversky, 1997). The freehand sketches by conventional media have been believed to play important roles in processes of the creative design thinking(Goldschmidt, 1991; Schon and Wiggins, 1992; Goel, 1995; Suwa et al., 2000; Verstijnen et al., 1998; Elsas van and Vergeest, 1998). Recently, there are many researches on inspiration of the design creativity by digital media(Liu, 2001; Sasada, 1999). The digital media have been used to apply the creative activities and that caused the occurrenssce of unexpected discovery in early design processes(Gero and Maher, 1993; Mitchell, 1993; Schmitt, 1994; Gero, 1996, 2000; Coyne and Subrahmanian, 1993; Boden, 1998; Huang, 2001; Chen, 2001; Manolya et al. 1998; Verstijinen et al., 1998; Lynn, 2001). In addition, there are many applications by combination of conventional and digital media in the sketches conceptual process. However, previous works only discussed that the individual media were related to the design creativity. The cognitive research about the application of conceptual sketches design by integrating both conventional and digital media simultaneously is absent.
series	CAADRIA
email
last changed	2022/06/07 07:50

_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

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