Cumincad : CUMINCAD Papers : Search Results

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

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_id	ecaade2008_101
id	ecaade2008_101
authors	Jabi, Wassim; Hall, Theodore; Passerini, Katia; Borcea, Cristian; Jones, Quentin
year	2008
title	Exporting the Studio Model of Learning
doi	https://doi.org/10.52842/conf.ecaade.2008.509
source	Architecture in Computro [26th eCAADe Conference Proceedings / ISBN 978-0-9541183-7-2] Antwerpen (Belgium) 17-20 September 2008, pp. 509-516
summary	We have conducted a series of interdisciplinary studios that partner students in the School of Architecture with peers in the College of Computing Sciences, with two principal goals: to foster creativity in the development of information technology, and conversely, to support creativity through information technology. Our studio project focuses on ubiquitous social computing as a topic of interest to both communities that requires their collaboration to realize a physical implementation. There are administrative as well as cultural hurdles in conducting such a studio. To assess the impact of the pedagogical approach, we employed qualitative observations as well as quantitative survey data. Best results depend on achieving a degree of parity in studio experience across disciplines.
keywords	interdisciplinary design studio, ubiquitous social computing, computer supported collaborative work, human computer interaction
series	eCAADe
email
last changed	2022/06/07 07:52

_id	cdc2008_129
id	cdc2008_129
authors	Breen, Jack and Julian Breen
year	2008
title	The Medium Is the Matter: Critical Observations and Strategic Perspectives at Half-time
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 129-136
summary	This paper critically re-views the professional impact and functionality of the pervasive digital ‘matter’ we have come to believe we can no longer do without. On the basis of a playful exploration of the first ‘half-century’ of our digital age, an attempt is made to draw new perspectives for the next ’level’ of our digital culture in a broader (multi)media perspective and more specifically: the domains of Architecture. To stimulate an open-minded ‘second-half’ debate, the paper puts forward some potentially promising (and hopefully provocative) conceptions and strategies for imaginative interface applications and game-based architectural study initiatives. Furthermore, the paper proposes the establishment of a new cultural platform for the exchange of Critical Digital hypotheses and the evolvement of visionary design concepts through creative digital innovation, with the (inter)active involvement of older and younger team-players…
email
last changed	2009/01/07 08:05

_id	cdc2008_377
id	cdc2008_377
authors	Conrad, Erik
year	2008
title	Rethinking the Space of Intelligent Environments
source	First International Conference on Critical Digital: What Matters(s)? - 18-19 April 2008, Harvard University Graduate School of Design, Cambridge (USA), pp. 377-382
summary	Technologies are not mere exterior aids but interior changes of consciousness that shape the way the world is experienced. As we enter the age of ubiquitous computing, where computers are worn, carried or embedded into the environment, we must be careful that the ideology the technology embodies is not blindly incorporated into the environment as well. As disciplines, engineering and computer science make implicit assumptions about the world that conflict with traditional modes of cultural production. Space is commonly understood to be the void left behind when no objects are present. Unfortunately, once we see space in this way, we are unable to understand the role it plays in our everyday experience. In this paper, I argue that with the realization of the vision of ubiquitous computing, the fields of computer science and engineering reify the dominance of abstract space in real space. A new approach to the design of computing systems is necessary to reembody space. The social nature of the interface allows us to situate it within Henrí Lefebvre’s notions of space, providing new tools for thinking about how computing practice engages space as well as opening avenues to rematerialize the environment through embodied interaction.
email
last changed	2009/01/07 08:05

_id	ascaad2012_003
id	ascaad2012_003
authors	Elseragy, Ahmed
year	2012
title	Creative Design Between Representation and Simulation
source	CAAD \| INNOVATION \| PRACTICE [6th International Conference Proceedings of the Arab Society for Computer Aided Architectural Design (ASCAAD 2012 / ISBN 978-99958-2-063-3], Manama (Kingdom of Bahrain), 21-23 February 2012, pp. 11-12
summary	Milestone figures of architecture all have their different views on what comes first, form or function. They also vary in their definitions of creativity. Apparently, creativity is very strongly related to ideas and how they can be generated. It is also correlated with the process of thinking and developing. Creative products, whether architectural or otherwise, and whether tangible or intangible, are originated from ‘good ideas’ (Elnokaly, Elseragy and Alsaadani, 2008). On one hand, not any idea, or any good idea, can be considered creative but, on the other hand, any creative result can be traced back to a good idea that initiated it in the beginning (Goldschmit and Tatsa, 2005). Creativity in literature, music and other forms of art is immeasurable and unbounded by constraints of physical reality. Musicians, painters and sculptors do not create within tight restrictions. They create what becomes their own mind’s intellectual property, and viewers or listeners are free to interpret these creations from whichever angle they choose. However, this is not the case with architects, whose creations and creative products are always bound with different physical constraints that may be related to the building location, social and cultural values related to the context, environmental performance and energy efficiency, and many more (Elnokaly, Elseragy and Alsaadani, 2008). Remarkably, over the last three decades computers have dominated in almost all areas of design, taking over the burden of repetitive tasks so that the designers and students can focus on the act of creation. Computer aided design has been used for a long time as a tool of drafting, however in this last decade this tool of representation is being replaced by simulation in different areas such as simulation of form, function and environment. Thus, the crafting of objects is moving towards the generation of forms and integrated systems through designer-authored computational processes. The emergence and adoption of computational technologies has significantly changed design and design education beyond the replacement of drawing boards with computers or pens and paper with computer-aided design (CAD) computer-aided engineering (CAE) applications. This paper highlights the influence of the evolving transformation from Computer Aided Design (CAD) to Computational Design (CD) and how this presents a profound shift in creative design thinking and education. Computational-based design and simulation represent new tools that encourage designers and artists to continue progression of novel modes of design thinking and creativity for the 21st century designers. Today computational design calls for new ideas that will transcend conventional boundaries and support creative insights through design and into design. However, it is still believed that in architecture education one should not replace the design process and creative thinking at early stages by software tools that shape both process and final product which may become a limitation for creative designs to adapt to the decisions and metaphors chosen by the simulation tool. This paper explores the development of Computer Aided Design (CAD) to Computational Design (CD) Tools and their impact on contemporary design education and creative design.
series	ASCAAD
email
more	http://www.ascaad.org/conference/2012/papers/ascaad2012_003.pdf
last changed	2012/05/15 20:46

_id	sigradi2015_4.52
id	sigradi2015_4.52
authors	Medeiros, Marina Lima; Paraizo, Rodrigo Cury
year	2015
title	The Monroe Palace in Augmented Reality: Heritage experience of an informational territory
source	SIGRADI 2015 [Proceedings of the 19th Conference of the Iberoamerican Society of Digital Graphics - vol. 1 - ISBN: 978-85-8039-135-0] Florianópolis, SC, Brasil 23-27 November 2015, pp. 170-176.
summary	This work aims to analyze how augmented reality can be used to complement the urban cultural heritage experience with a three-dimensional model of historic building already demolished, the Monroe Palace. It analyzes possibilities and limitations of the current off-the-shelf technology of A.R. applications for architecture studies. Finally, the Layar application was used to develop a georeferenced augmented reality test with the electronic model of the building in the place where it was once built. Augmented reality was used to create a new territoriality for the lost heritage, an informational territory as defined by Lemos (2008) for a virtual heritage.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	acadia08_416
id	acadia08_416
authors	Wessel, Ginette; Remco Chang ;Eric Sauda
year	2008
title	Towards A New (Mapping Of The) City: Interactive, Data Rich Modes Of Urban Legibility
doi	https://doi.org/10.52842/conf.acadia.2008.416
source	Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 416-421
summary	The modern metropolis is a vast environment replete with physical elements and complex overlays of information. The city historically has been represented as a discrete physical object; this allocentric view has become less and less useful as a method of meaningfully orientation and navigation. Today, the city is defined by technologies and flows of information that constantly change our perceptions. While it has always been true that symbolic and religious dimensions have had a place in our understanding of the city, the complex and transitory nature of the contemporary city requires a representation that is interactive rather than static. This paper presents proposals for new interactive modes of urban legibility: data space, based on the work of Bill Mitchell and Robert Venturi; virtual and physical city, established from the work of Christine Boyer and Bill Mitchell; multi-nodal, derived from the work of Tarik Fathy and Thomas Sieverts; and information flows, founded on the work of Melvin Webber. Each approach is introduced with a conceptual overview, nascent examples and a schematic proposal for a computer based urban visualization. Based on this study, we conclude that two necessary aspects of any urban visualization are interactivity and the combination of data and geospatial information. Interactivity is necessary because of the fluid nature of our experience and the diversity of individual intentions in the contemporary city. The combination of data and geospatial information is necessary because the geometry of the city had become less important as a reliable indicator of meaning.
keywords	Information; Interactive; Mapping; Urbanism; Visualization
series	ACADIA
last changed	2022/06/07 07:57

_id	ga9926
id	ga9926
authors	Antonini, Riccardo
year	1999
title	Let's Improvise Together
source	International Conference on Generative Art
summary	The creators of ‘Let's-Improvise-Together’ adhere to the idea that while there is a multitude of online games now available in cyberspace, it appears that relatively few are focused on providing a positive, friendly and productive experience for the user. Producing this kind of experience is one the goals of our Amusement Project.To this end, the creation of ‘Let's Improvise Together’ has been guided by dedication to the importance of three themes:* the importance of cooperation,* the importance of creativity, and* the importance of emotion.Description of the GameThe avatar arrives in a certain area where there are many sound-blocks/objects. Or he may add sound "property" to existing ones. He can add new objects at will. Each object may represents a different sound, they do not have to though. The avatar walks around and chooses which objects he likes. Makes copies of these and add sounds or change the sounds on existing ones, then with all of the sound-blocks combined make his personalized "instrument". Now any player can make sounds on the instrument by approaching or bumping into a sound-block. The way that the avatar makes sounds on the instrument can vary. At the end of the improvising session, the ‘composition’ will be saved on the instrument site, along with the personalized instrument. In this way, each user of the Amusement Center will leave behind him a unique instrumental creation, that others who visit the Center later will be able to play on and listen to. The fully creative experience of making a new instrument can be obtained connecting to Active Worlds world ‘Amuse’ and ‘Amuse2’.Animated colorful sounding objects can be assembled by the user in the Virtual Environment as a sort of sounding instrument. We refrain here deliberately from using the word musical instrument, because the level of control we have on the sound in terms of rythm and melody, among other parameters, is very limited. It resembles instead, very closely, to the primitive instruments used by humans in some civilizations or to the experience made by children making sound out of ordinary objects. The dimension of cooperation is of paramount importance in the process of building and using the virtual sounding instrument. The instrument can be built on ones own effort but preferably by a team of cooperating users. The cooperation has as an important corolary: the sharing of the experience. The shared experience finds its permanence in the collective memory of the sounding instruments built. The sounding instrument can be seen also as a virtual sculpture, indeed this sculpture is a multimedial one. The objects have properties that ranges from video animation to sound to virtual physical properties like solidity. The role of the user representation in the Virtual World, called avatar, is important because it conveys, among other things, the user’s emotions. It is worth pointing out that the Avatar has no emotions on its own but it simply expresses the emotions of the user behind it. In a way it could be considered a sort of actor performing the script that the user gives it in real-time while playing.The other important element of the integration is related to the memory of the experience left by the user into the Virtual World. The new layout is explored and experienced. The layout is a permanent editable memory. The generative aspects of Let's improvise together are the following.The multi-media virtual sculpture left behind any participating avatar is not the creation of a single author/artist. The outcome of the sinergic interaction of various authors is not deterministic, nor predictable. The authors can indeed use generative algorythm in order to create the texture to be used on the objects. Usually, in our experience, the visitors of the Amuse worlds use shareware programs in order to generate their texture. In most cases the shareware programs are simple fractals generators. In principle, it is possible to generate also the shape of the object in a generative way. Taking into account the usual audience of our world, we expected visitors to use very simple algorythm that could generate shapes as .rwx files. Indeed, noone has attempted to do so insofar. As far as the music is concerned, the availability of shareware programs that allow simple generation of sounds sequences has made possible, for some users, to generate sounds sequences to be put in our world. In conclusion, the Let's improvise section of the Amuse worlds could be open for experimentation on generative art as a very simple entry point platform. We will be very happy to help anybody that for educational purposes would try to use our platform in order to create and exhibit generative forms of art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ecaade2014_208
id	ecaade2014_208
authors	Bruno Figueiredo, Eduardo Castro e Costa, Bruno Araújo, Fernando Fonseca, Daniel Mendes, Joaquim A Jorge and José Pinto Duarte
year	2014
title	Interactive Tabletops for Architectural Visualization - Combining Stereoscopy and Touch Interfaces for Cultural Heritage
doi	https://doi.org/10.52842/conf.ecaade.2014.1.585
source	Thompson, Emine Mine (ed.), Fusion - Proceedings of the 32nd eCAADe Conference - Volume 1, Department of Architecture and Built Environment, Faculty of Engineering and Environment, Newcastle upon Tyne, England, UK, 10-12 September 2014, pp. 585-592
summary	This paper presents an interactive apparatus to didactically explore Alberti's treatise on architecture, De re aedificatoria, as generative design systems, namely shape grammars. This apparatus allows users to interactively explore such architectonical knowledge in both appealing and informal ways, by enabling them to visualize and manipulate in real-time different design solutions. The authors identify the difficulties on encoding the architectural knowledge of a parametric design model into an interactive apparatus to be used by laypeople. At last, the authors discuss the results of a survey conducted to users that interacted with the prototype in order to assess its ability to communicate the knowledge of an architectural language.
wos	WOS:000361384700058
keywords	Alberti; generative design; multi-modal interfaces; shape grammars; user experience
series	eCAADe
type	normal paper
email
last changed	2022/06/07 07:54

_id	ijac20042401
id	ijac20042401
authors	Coyne, Richard; Rebelo, Pedro; Parker, Martin
year	2004
title	Resisting the Seamless Interface
source	International Journal of Architectural Computing vol. 2 - no. 4, 430-442
summary	In this paper we examine the quest for seamless computer interaction from the point of view of cultural theory, in so far as this study draws on Freud and his critics. The paper adopts Ricoeur's critical stance, examining the roles of metaphor, repetition, resistance and a time-based perturbation, as means of challenging the imperative towards the seamless interface. We also draw on our experience in teaching and creating interactive digital media works.
series	journal
more	http://www.multi-science.co.uk/ijac.htm
last changed	2007/03/04 07:08

_id	ijac20031203
id	ijac20031203
authors	Heylighen, Ann; Neuckermans, Herman
year	2003
title	(Learning from Experience)? Promises, Problems and Side-effects of Case-Based Reasoning in Architectural Design
source	International Journal of Architectural Computing vol. 1 - no. 1
summary	Learning from experience is the essence of Case-Based Reasoning (CBR). Because architects are said to learn design by experience, CBR seemed to hold great promises for their field, which inspired, in the 1990s, the development of various Case-Based Design (CBD) tools. Learning from the experience of developing and using these tools is the objective of this paper. On the one hand, the original expectations seem far from being accomplished today. Reasons for this limited success can be found at three different levels: the cognitive model underlying CBR, the implementation of this model into concrete CBD tools, and the context in which these tools are to be used. On the other hand, CBR research seems to have caused some interesting side effects, such as an increased interest in creativity and copyright, and a re-discovery of the key role that cases play in architectural design.
series	journal
email
more	http://www.multi-science.co.uk/ijac.htm
last changed	2007/03/04 07:08

_id	ecaade2009_099
id	ecaade2009_099
authors	Kinayoglu, Gökçe
year	2009
title	Using Audio-Augmented Reality to Assess the Role of Soundscape in Environmental Perception: An Experimental Case Study at UC Berkeley Campus
doi	https://doi.org/10.52842/conf.ecaade.2009.639
source	Computation: The New Realm of Architectural Design [27th eCAADe Conference Proceedings / ISBN 978-0-9541183-8-9] Istanbul (Turkey) 16-19 September 2009, pp. 639-648
summary	Sounds, along with other senses, have a profound influence on our perception of the environment. The multi-modality of perceptual processing is influential in cognitive interpretation, semantic and aesthetic evaluations of environmental scenes. This paper describes an experimental case study using audio-augmented reality, carried out in order to better understand how sound influences sense of place. A correlation is established between soundscape and sense of place that depends on audio-visual congruence based on cultural, aesthetic and semantic factors. Subjective influences of soundscape on place experience are grouped and discussed under 5 areas that were possible to identify: Emotive and synaesthetic effects; effects on attention, gaze and behavior; effects on spatial orientation and sense of scale; influence of audio-visual congruence on sense of place; and perception of personal and social space.
wos	WOS:000334282200077
keywords	Augmented reality, soundscape, environmental perception, place theory, environmental acoustics
series	eCAADe
type	normal paper
email
last changed	2022/06/07 07:52

_id	caadria2015_014
id	caadria2015_014
authors	Lee, Ju Hyun; Michael J. Ostwald and Ning Gu
year	2015
title	Multi-Cultural Design Communication
doi	https://doi.org/10.52842/conf.caadria.2015.531
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. 531-540
summary	The paper examines a method combining cognitive and linguistic approaches to investigate design protocols. The method is applied in a pilot study to compare Australian and Swedish language protocols recorded in an experiment using a parametric design environment. The results demonstrate that the coding schemes can formally capture both cognitive and linguistic characteristics of the design process. This multi-focused approach directly contributes to a better understanding of the relationship between design and language.
keywords	Design cognition; Language; Spatial language; Parametric design; Protocol analysis.
series	CAADRIA
email
last changed	2022/06/07 07:52

_id	sigradi2010_334
id	sigradi2010_334
authors	Martin, Kathi; KoSeoul Hyeong_Seok
year	2010
title	The Imaginative Fashion Experience
source	SIGraDi 2010_Proceedings of the 14th Congress of the Iberoamerican Society of Digital Graphics, pp. Bogotá, Colombia, November 17-19, 2010, pp. 334-337
summary	Symptomatic of a good deal of our education, design, manufacturing, and product delivery mechanisms still grounded in 20th century traditions, much of the variety of expertise required for development of the most effective digital tools remains distinct and non - collaborative. This report describes an application utilized in multi - cultural fashion design and cultural heritage projects that may fundamentally change how we experience fashion and alter the way we manufacture clothes, conserve cultural artifacts, and educate the next leaders of multidisciplinary areas.
keywords	virtual clothing, digital cultural heritage, interdisciplinary design collaboration, multi cultural design collaboration
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	ga0017
id	ga0017
authors	McLean, A., Ward, A. and Cox, G.
year	2000
title	The aesthetics of generative code
source	International Conference on Generative Art
summary	Aesthetics, in general usage, lays an emphasis on subjective sense perception associated with the broad field of art and human creativity. This paper suggests that it might be useful to revisit the troubled relationship between art and aesthetics for the purpose of discussing the value of generative code. It is now generally accepted that sense perception alone is simply not enough unless contextualised within the world of ideas. Similarly, the world of multimedia is all too easily conflated with a multi-sensory experience (of combining still and moving image, sound, interaction and so on). Thus the limits of traditional aesthetics is emphasised in the problem of defining which of the senses the highest of the arts adheres to -according to Kant and Hegel - the ‘arts of speech’. Poetry throws such crude classificatory distinctions into question as it is both read and heard; or written and spoken/performed. Hegel suggests a way out of this paradox by employing dialectical thinking; as we do not hear speech by simply listening to it. He suggests that we need to represent speech to ourselves in written form in order to grasp what it essentially is. Thus poetry can neither be reduced to audible signs (the time of the ear) nor visible signs (the space of the eye) but is composed of language itself. This suggests that written and spoken forms work together to form a language that we appreciate as poetry. But does code work in the same way? By analogy, generative code has poetic qualities too, as it does not operate in a single moment in time and space but as a series of consecutive ‘actions’ that are repeatable, the outcome of which might be imagined in different contexts. Code is a notation of an internal structure that the computer is executing, expressing ideas, logic, and decisions that operate as an extension of the author's intentions. The written form is merely a computer-readable notation of logic, and is a representation of this process. Yet the written code isn't what the computer really executes, since there are many levels of interpreting and compiling and linking taking place. Code is only really understandable with the context of its overall structure – this is what makes it a language (be it source code or machine code, or even raw bytes). It may be hard to understand someone else’s code but the computer is, after all, multi-lingual. In this sense, understanding someone else's code is very much like listening to poetry in a foreign language - the appreciation goes beyond a mere understanding of the syntax or form of the language used, and as such translation is infamously problematic. Code itself is clearly not poetry as such, but retains some of its rhythm and metrical form. Code is intricately crafted, and expressed in multitudinous and idiosyncratic ways. Like poetry, the aesthetic value of code lies in its execution, not simply its written form. To appreciate it fully we need to ‘see’ the code to fully grasp what it is we are experiencing and to build an understanding of the code’s actions. To separate the code and the resultant actions would simply limit the aesthetic experience, and ultimately the study of these forms - as a form of criticism (what might be better called ‘poetics’).
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ecaade2007_162
id	ecaade2007_162
authors	Ramirez, Joaquin; Russell, Peter
year	2007
title	Second City
doi	https://doi.org/10.52842/conf.ecaade.2007.359
source	Predicting the Future [25th eCAADe Conference Proceedings / ISBN 978-0-9541183-6-5] Frankfurt am Main (Germany) 26-29 September 2007, pp. 359-365
summary	In the era of communication, the participation in internet-communities has grown to become a motor for innovation in software and community platforms. The paper describes the hypothesis that, by creating a virtual city (or a second city) a new type of social, economic and scientific network is established, which is supported through visual communication technologies. The various users bring, per se, their own intrinsic motivation and requirements to the system. Nonetheless, a personal identification with a city/neighbourhood/house/apartment can be used to awake awareness and to foster participation. This is especially important when dealing with the city inhabitants. City modelling itself has been carried out for over a decade. Projects such as the city model of Graz have shown how city models can be established so as to be scalable for new information (Dokonal et al 2000). Furthermore, these city models have been used in the education of future architects and urban planners. The project described here moves in the opposite direction: the model moves out of the classroom to an interdisciplinary city-model-platform. The work described here is the conceptual model for a multi-dimensional data set that models the city. This has spawned a host of other projects using the model as a foundation for further interactivity development and the extension of the model itself. The paper describes the structure of the conceptual model and the first experience of incorporating diverse projects such those mentioned above. The model also is structured so as to be compatible with the XML standards being developed for city information (CityGML). The goal of the project is to create a data set describing the city that not only describes the geometry, but also the history (including planned histories) and nature of the city. In contrast to virtual realities, which attempt to create a separate world (e.g. Second Life), the Second City is intended as an interdisciplinary repository for the geometrical, historical and cultural information of the city.
keywords	City modelling, virtual environments, web 2.0
series	eCAADe
email
last changed	2022/06/07 08:00

_id	ijac202321410
id	ijac202321410
authors	Rihani, Nemeh
year	2023
title	Interactive immersive experience: Digital technologies for reconstruction and experiencing temple of Bel using crowdsourced images and 3D photogrammetric processes
source	International Journal of Architectural Computing 2023, Vol. 21 - no. 4, 730-756
summary	This paper investigates the potential of dense multi-image 3D photogrammetric reconstruction of destroyed cultural heritage monuments by employing public domain imagery for heritage site visitors. This work focuses on the digital reconstruction of the Temple of Bel, one of the heritage monuments in Palmyra, Syria, which was demolished in the summer of 2015 due to armed conflict. This temple is believed to be one of the most significant religious structures of the first century AD in the Middle East and North Africa (MENA) region with its unique design and condition before destruction actions. The process is carried out using solely one source of images; the freely available visitors’ images collected from the social media platforms and web search engines. This paper presents a digital 3D reconstruction workflow for the collected images using an advanced photogrammetry pipeline and dense image matching software. The virtually reconstructed outputs will be managed and implemented efficiently in Unity3D to create an entire 3D virtual interactive environment for the deconstructed temple to be visualised and experienced using the new Oculus Quest VR headset. The virtual Palmyra’s visitor will be offered an enhanced walk-through off-site interactive, immersive experience compared to the real-world one, which is non-existing and unobtainable at the site in the current time.
keywords	Cultural heritage, crowdsourced images, 3D photogrammetric reconstruction, digital heritage, virtual heritage, immersive technologies, Palmyra
series	journal
last changed	2024/04/17 14:30

_id	24db
authors	Tang, Tsien-Hui
year	2001
title	Exploring the Roles of Exploring the roles of Sketches and Knowledge in the Design Process
source	The University of Sydney, Faculty of Architecture
summary	The needs of computational tools provide the motivation to have a better understanding of the roles of knowledge and sketches in the design process. The inadequacies of current computer-aided conceptual design tools result from our vague comprehension of the nature of the design process. The hypothesis of this study is that the design process involves interlocked and multi-mode processes in which design knowledge and sketches interact with each other to advance the design process. These interactions make current computer-aided design systems unsatisfactory in the conceptual design process. The understanding of these interactions would provide the foundation of more useful computational tools and potentially play a role in developing better pedagogical methods. This research utilized both process-oriented and content-oriented coding schemes to examine different aspects of the design process. Concurrent and retrospective protocols were analyzed to determine their utility in revealing the design processes. Retrospective protocols and the content-oriented coding scheme were selected for design cognition studies in this research, and the procedures of experiments and analyses were described in detail. The results of encoded protocols were presented in terms of segments, levels, and instances. They represented the design process in a way that enabled us to observe the interactions among sketches, knowledge, and different cognitive levels. The examination of the conceptual design process demonstrated its features of interlinked levels and multiple modes; even one snippet of the process contained various modes and sub-processes. The shifting speed of intentions and the vagueness of sketches and functional references were also shown. The study of the meditated roles of the sketches and knowledge in the design process shows the following. First, sketches are the affordances of perceptual and functional instances while designing. Most of the sketches made by designers are multi-functionally bounded. Second, design knowledge plays various roles in the conceptual design process. The ubiquitous designerly way of knowing demonstrates the differences between active developing and passive utilizing design knowledge. Finally, one of the roles of design sketches and knowledge is shown to be the connector among different cognitive levels in the design process. The unpredictability of the design process is demonstrated in the results. Design knowledge provides previously generated solutions for the problem at hand, and design situatedness describes the phenomenon that a designer uses his/her experience to produce novelty and innovation. A method to measure the design innovation through an encoded protocol is proposed based on the concept of situated creativity. The implications for future computer-aided design systems are presented based on the roles of sketches, knowledge, and situatedness in the interlinked and multimode design process. The concept of cognition-oriented CAD is proposed to provide empirical clues to improve current CAD systems.
series	thesis:PhD
last changed	2003/05/06 11:35

_id	55c9
id	55c9
authors	Yehuda Kalay, Gokce Kinayoglu, Seung Wook Kim
year	2005
title	Spatio-Temporally Navigable Representation and Communication of Urban Cultural Heritage
source	Proceedings: VSMM 2005 International Conference on Virtual Systems and Multimedia
summary	Virtual environments are effective tools for the representation and communication of cultural heritage. We suggest that an interactive, immersive and dynamic navigation of the virtual representation of the urban environment will not only convey the essence of the culture and the changes it underwent in a more comprehensible manner, but will engender a 'sense of place'—genius loci— in the visitors. This cognitive mode will help them learn about much more than the geometry and materiality of the city: it will make them 'feel' part of the event itself. By presenting a socially shareable experience, we aim to introduce the medium the character of a genuine place, and make it a social venue for active exploration, discussion and interaction. Virtual reality surpasses both traditional media and 3D-models and offers what they cannot. The affordances of the medium, however, also have the potential to destroy the sense of place it strives to engender. It can do so by allowing a kind of ‘time travel,’ to different periods in the history of the site. This ability locates visitors not only spatially, but also temporally. Everyday experience helps us understand the meaning of spatial boundedness, but does not prepare us to deal with temporal boundedness: sensing the presence of fellow visitors at different times. In this paper we describe our experiences in producing spatio-temporally navigable virtual reconstructions of two distinct culturally significant historic sites: the neolithic village of Çatalhöyük, and the medieval city of Cairo. We demonstrate the use of spatio-temporal navigation through a dynamic, chronologically layered model that can be browsed by multiple users at the same time. Such a dynamic system for representing chronological architectural events requires the extension of our conception of place into the temporal domain. We introduce a new concept, temporal field of view (t-FOV) and discuss how it can aid us in resolving an intrinsic challenge introduced by the representation of the temporal dimension in virtual environments.
keywords	Multi-User Virtual Environments (MUVE), Cairo, cultural heritage, temporal representation, timeline
series	other
type	normal paper
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last changed	2008/10/03 21:34

_id	536e
authors	Bouman, Ole
year	1997
title	RealSpace in QuickTimes: architecture and digitization
source	Rotterdam: Nai Publishers
summary	Time and space, drastically compressed by the computer, have become interchangeable. Time is compressed in that once everything has been reduced to 'bits' of information, it becomes simultaneously accessible. Space is compressed in that once everything has been reduced to 'bits' of information, it can be conveyed from A to B with the speed of light. As a result of digitization, everything is in the here and now. Before very long, the whole world will be on disk. Salvation is but a modem away. The digitization process is often seen in terms of (information) technology. That is to say, one hears a lot of talk about the digital media, about computer hardware, about the modem, mobile phone, dictaphone, remote control, buzzer, data glove and the cable or satellite links in between. Besides, our heads are spinning from the progress made in the field of software, in which multimedia applications, with their integration of text, image and sound, especially attract our attention. But digitization is not just a question of technology, it also involves a cultural reorganization. The question is not just what the cultural implications of digitization will be, but also why our culture should give rise to digitization in the first place. Culture is not simply a function of technology; the reverse is surely also true. Anyone who thinks about cultural implications, is interested in the effects of the computer. And indeed, those effects are overwhelming, providing enough material for endless speculation. The digital paradigm will entail a new image of humankind and a further dilution of the notion of social perfectibility; it will create new notions of time and space, a new concept of cause and effect and of hierarchy, a different sort of public sphere, a new view of matter, and so on. In the process it will indubitably alter our environment. Offices, shopping centres, dockyards, schools, hospitals, prisons, cultural institutions, even the private domain of the home: all the familiar design types will be up for review. Fascinated, we watch how the new wave accelerates the process of social change. The most popular sport nowadays is 'surfing' - because everyone is keen to display their grasp of dirty realism. But there is another way of looking at it: under what sort of circumstances is the process of digitization actually taking place? What conditions do we provide that enable technology to exert the influence it does? This is a perspective that leaves room for individual and collective responsibility. Technology is not some inevitable process sweeping history along in a dynamics of its own. Rather, it is the result of choices we ourselves make and these choices can be debated in a way that is rarely done at present: digitization thanks to or in spite of human culture, that is the question. In addition to the distinction between culture as the cause or the effect of digitization, there are a number of other distinctions that are accentuated by the computer. The best known and most widely reported is the generation gap. It is certainly stretching things a bit to write off everybody over the age of 35, as sometimes happens, but there is no getting around the fact that for a large group of people digitization simply does not exist. Anyone who has been in the bit business for a few years can't help noticing that mum and dad are living in a different place altogether. (But they, at least, still have a sense of place!) In addition to this, it is gradually becoming clear that the age-old distinction between market and individual interests are still relevant in the digital era. On the one hand, the advance of cybernetics is determined by the laws of the marketplace which this capital-intensive industry must satisfy. Increased efficiency, labour productivity and cost-effectiveness play a leading role. The consumer market is chiefly interested in what is 'marketable': info- and edutainment. On the other hand, an increasing number of people are not prepared to wait for what the market has to offer them. They set to work on their own, appropriate networks and software programs, create their own domains in cyberspace, domains that are free from the principle whereby the computer simply reproduces the old world, only faster and better. Here it is possible to create a different world, one that has never existed before. One, in which the Other finds a place. The computer works out a new paradigm for these creative spirits. In all these distinctions, architecture plays a key role. Owing to its many-sidedness, it excludes nothing and no one in advance. It is faced with the prospect of historic changes yet it has also created the preconditions for a digital culture. It is geared to the future, but has had plenty of experience with eternity. Owing to its status as the most expensive of arts, it is bound hand and foot to the laws of the marketplace. Yet it retains its capacity to provide scope for creativity and innovation, a margin of action that is free from standardization and regulation. The aim of RealSpace in QuickTimes is to show that the discipline of designing buildings, cities and landscapes is not only a exemplary illustration of the digital era but that it also provides scope for both collective and individual activity. It is not just architecture's charter that has been changed by the computer, but also its mandate. RealSpace in QuickTimes consists of an exhibition and an essay.
series	other
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last changed	2003/04/23 15:14

_id	811d
authors	Goulthorpe, M., Burry, M. and Dunlop, G.
year	2001
title	Aegis Hyposurface©: The Bordering of University and Practice
doi	https://doi.org/10.52842/conf.acadia.2001.344
source	Reinventing the Discourse - How Digital Tools Help Bridge and Transform Research, Education and Practice in Architecture [Proceedings of the Twenty First Annual Conference of the Association for Computer-Aided Design in Architecture / ISBN 1-880250-10-1] Buffalo (New York) 11-14 October 2001, pp. 344-349
summary	Throughout history, profound technological shifts have been accompanied by significant cultural changes. The current shift from a technical paradigm based on physical, mechanical production to one based on electronic media impacts on forms of architectural practice in unexpected ways. The use of design software not only enhances graphic and modeling capacity but also reveals new possibilities for both form generation and fabrication. At a more subtle level it may influence the patterns of thought and creativity that have underpinned traditional forms of architectural practice. This paper examines the implications of the redefined praxis by considering the new role of ‘town and gown’ in the production of the interactive hypersurface: the AegisHypersurface©, the first working prototype of which was unveiled in March 2001.
keywords	Real-Time Animation, Interactive Architecture, Hypersurface
series	ACADIA
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last changed	2022/06/07 07:51

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