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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References

Hits 1 to 20 of 306

_id 6a37
authors Fowler, Thomas and Muller, Brook
year 2002
title Physical and Digital Media Strategies For Exploring ‘Imagined’ Realities of Space, Skin and Light
source Thresholds - Design, Research, Education and Practice, in the Space Between the Physical and the Virtual [Proceedings of the 2002 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-11-X] Pomona (California) 24-27 October 2002, pp. 13-23
summary This paper will discuss an unconventional methodology for using physical and digital media strategies ina tightly structured framework for the integration of Environmental Control Systems (ECS) principles intoa third year design studio. An interchangeable use of digital media and physical material enabledarchitectural explorations of rich tactile and luminous engagement.The principles that provide the foundation for integrative strategies between a design studio and buildingtechnology course spring from the Bauhaus tradition where a systematic approach to craftsmanship andvisual perception is emphasized. Focusing particularly on color, light, texture and materials, Josef Albersexplored the assemblage of found objects, transforming these materials into unexpected dynamiccompositions. Moholy-Nagy developed a technique called the photogram or camera-less photograph torecord the temporal movements of light. Wassily Kandinsky developed a method of analytical drawingthat breaks a still life composition into diagrammatic forces to express tension and geometry. Theseschematic diagrams provide a method for students to examine and analyze the implications of elementplacements in space (Bermudez, Neiman 1997). Gyorgy Kepes's Language of Vision provides a primerfor learning basic design principles. Kepes argued that the perception of a visual image needs aprocess of organization. According to Kepes, the experience of an image is "a creative act ofintegration". All of these principles provide the framework for the studio investigation.The quarter started with a series of intense short workshops that used an interchangeable use of digitaland physical media to focus on ECS topics such as day lighting, electric lighting, and skin vocabulary tolead students to consider these components as part of their form-making inspiration.In integrating ECS components with the design studio, an nine-step methodology was established toprovide students with a compelling and tangible framework for design:Examples of student work will be presented for the two times this course was offered (2001/02) to showhow exercises were linked to allow for a clear design progression.
series ACADIA
email tfowler@calpoly.edu
last changed 2002/10/26 23:25

_id 20
authors Cabezas, M., Mariano, C., MÌtolo, S., MuÒoz, P., Oliva, S. and Ortiz, M.
year 1998
title Aportes a la EnseÒanza de la ComunicaciÛn Visual (Contributions to the Teaching of Visual Communication)
source II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 168-173
summary Going back to the proposal for the incorporation of multimid oriented towards the study of visual communication in 1st year of Architecture and Industrial Design which was presented on the 1st Seminary of Digital Graph that was held in 1997, in the FAU of UBA,it is being developed an educative programme of hypermedial character. Referring to Monge System development, it is though for the students so that they can consul and have a first contact with theoretical concepts. Through direct experience, starting from the studentís pre-existence of a lineal path from general to specific, proposing transversal perspective to start in depth conceptual contents according. Completing the traditional view of drawing by enlarging the iconicity and comprehension of a complex topic like geometry of the space.
series SIGRADI
email mariadc@copetel.com.ar, mirortiz@mdp.edu.ar
last changed 2016/03/10 08:47

_id 88f9
authors Carrara, G., Novembri, G., Zorgno, A.M., Brusasco, P.L.
year 1997
title Virtual Studio of Design and Technology on Internet (I) - Educator's approach
source Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
summary This paper presents a teaching experience involving students and professors from various universities, in Italy and abroad, which began in 1996 and is still on going. The Virtual Studios on the Internet (VSI) have some features in common with the Teaching Studios planned for the new programme of the faculties of Architecture in Italian universities. These are the definition of a common design theme, and the participation of disciplinary teachers. The greatest difference is in the modes of collaboration, which is achieved through information and communication technologies. The chief result of this is that the various work groups in different places can work and collaborate at the same time: the computer networks provide the means to express, communicate and share the design project.
keywords CAAD, Teaching of architectural design, Shared virtual reality, Virtualdesign studio, Collective intelligence.
series eCAADe
email guyver@arch.hku.hk
more http://info.tuwien.ac.at/ecaade/proc/lvi_i&ii/zorgno.html
last changed 2001/08/17 13:11

_id 567d
authors Farrag, C., Pinna Braga, F. and Teixeira, P.
year 2000
title Investigação de Metodologia de Ensino de Informática Aplicada à Arquitetura (Research on the Methodology for Teaching Computer Applications in Architecture)
source SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 347-349
summary Description of class research from 1997-2 to 2000-1 in “Applied Computing in Architecture” conducted in the sixth semester of the Architecture Program at Faculdade de Belas Artes de São Paulo. The study is intended to analyze, evaluate and discover new paradigms in the introduction/application of class methodologies of teaching the use of computer in the design process. Our intention is to verify the students natural understanding of the principles of 3D digital modeling by introducing new tools for defining space and form, using the computer as a communication/representation system, and not only as a mimetized production tool. The challenge was to find a natural syntony between the digital projectual process and the learning process. At the end of each semester we evaluated the results and redirected the class proposals.
series SIGRADI
email sigradi@belasartes.br
last changed 2016/03/10 08:51

_id 412e
authors Gross, M.D., Do, E. and McCall, R.J.
year 1997
title Collaboration and Coordination in Architectural Design: approaches to computer mediated team work
source TeamCAD 97, 17-23
summary In 1993 and 1994, instructors and students of architecture at several universities around the world* collaborated briefly on two "virtual design studio" projects. Using off-the-shelf technology of the time-email, CU-See-Me internet video, international conference calls, and exchange of CAD drawings, images, and Quicktime animations-this ambitious project explored the possibility of bringing together diverse members of an international design team together to collaborate on a short term (two week) project. Central to the "Virtual Design Studio" was a 'digital pinup board', an area where participating designers could post and view drawings and textual comments; video links and email exchange provided the media for direct communication media about designs. A report on the project [21] makes clear that the process was not without technical difficulties: a significant amount of communication concerned scheduling and coordinating file formats; disappointingly little was devoted to discussions of design issues. Although it's clear that many of the minor technical problems that inevitably plague a forward-looking effort like the Virtual Design Studio will be solved in the near term, the project also reveals the need for research on software and design practices to make computer mediated design collaboration realize its attractive promise.
series journal paper
email mdgross@u.washington.edu
last changed 2003/04/23 13:50

_id 6cb4
authors Leupen, B., Grafe, C., Körnig, N., Lampe, M. and De Zeeuw, P.
year 1997
title Design and Analysis
source New York: Van Nostrand Reinhold
summary Design and Analysis by Bernard Leupen, Christoph Grafe, Nicola Körnig, Marc Lampe, and Peter de Zeeuw Design and Analysis is an insightful, interdisciplinary exploration of the diversity of analytic methods used by architects, designers, urban planners, and landscape architects to understand the structure and principles of the built environment. Developed by a team headed by Bernard Leupen at Delft University of Technology, The Netherlands, Design and Analysis defies borders of history, geography, and discipline, tracing the evolution of design principles from ancient Greece to the 20th century. "Only methodical analysis gives us an insight into the design process," states architect Bernard Tschumi. Using historical examples from architecture, urban design, and landscape architecture, Design and Analysis defines an ordered system that enables the design student or professional to identify the factors that influence designers' decisions, and shows how to relate them to the finished project. Design and Analysis is organized into six chapters that correspond to these factors: order and composition, functionality, structure, typology, context, and analytical techniques. The authors introduce the analytical drawing as a time-tested means to obtaining insight into the design process. Over 100 line drawings are featured in all. Using contemporary architectural examples to teach ancient design principles, Design and Analysis is more than just an introduction to analytical methods. The authors give an outline of space design as a whole, from individual buildings to urban and landscape ensembles. Though primarily intended for design students to help them appreciate many of the issues that they will face as professionals, Design and Analysis's broad, easy-to-read approach makes it an invaluable handbook for designers of all disciplines.
series other
last changed 2003/04/23 13:14

_id 03d0
authors Neiman, Bennett and Bermudez, Julio
year 1997
title Between Digital & Analog Civilizations: The Spatial Manipulation Media Workshop
source Design and Representation [ACADIA ‘97 Conference Proceedings / ISBN 1-880250-06-3] Cincinatti, Ohio (USA) 3-5 October 1997, pp. 131-137
summary As the power shift from material culture to media culture accelerates, architecture finds itself in the midst of a clash between centuries-old analog design methods (such as tracing paper, vellum, graphite, ink, chipboard, clay, balsa wood, plastic, metal, etc.) and the new digital systems of production (such as scanning, video capture, image manipulation, visualization, solid modeling, computer aided drafting, animation, rendering, etc.). Moving forward requires a realization that a material interpretation of architecture proves limiting at a time when information and media environments are the major drivers of culture. It means to pro-actively incorporate the emerging digital world into our traditional analog work. It means to change.

This paper presents the results of an intense design workshop that looks, probes, and builds at the very interface that is provoking the cultural and professional shifts. Media space is presented and used as an interpretive playground for design experimentation in which the poetics of representation (and not its technicalities) are the driving force to generate architectural ideas. The work discussed was originally developed as a starting exercise for a digital design course. The exercise was later conducted as a workshop at two schools of architecture by different faculty working in collaboration with it's inventor.

The workshop is an effective sketch problem that gives students an immediate start into a non-traditional, hands-on, and integrated use of contemporary media in the design process. In doing so, it establishes a procedural foundation for a design studio dealing with digital media.

series ACADIA
email bneiman@carbon.cudenver.edu, bermudez@arch.utah.edu
last changed 1998/12/31 12:30

_id ab09
authors Qaqish, Ra’ed and Hanna, Raid
year 1997
title The Impact of CAL Strategies on CAD
source CAADRIA ‘97 [Proceedings of the Second Conference on Computer Aided Architectural Design Research in Asia / ISBN 957-575-057-8] Taiwan 17-19 April 1997, pp. 475-489
summary This paper reports on a two fold study, which examines the impact of CAL on CAD and architectural education, and evaluates the overall effectiveness and efficiency of CAD teaching and strategies in the curriculum of architecture. The study also examined the need for a framework within which the creation of a module for applying CAL in CAD to support the curriculum of architecture can be structured and assessed. The main concern of the study was to explore the range and balance of computer assisted activities in the design studio, and the interpretation of the various roles of the CAD tutor and his/her involvement in delivering these activities. In delivering these activities two criteria, namely: teaching methods and CAD integration (which are interchangeable and yet play different roles), can have a distinct effect on the implementation of CAL in the design studio. The case study evaluated and investigated the CAL the AEC course as part of the 3rd year design studio at Mackintosh School of Architecture, to determine to what extent the AEC learning events were effective in advocating new strategies in CAD. The methods of this investigation consisted of classroom observations and administrating questionnaires. Variables such as the group and gender differences/participation, the tutor’s confidence, level of administration and strategies to help with technical problems and motivations, also the task-related activities, tangibility of the learning materials, and the minutes of lesson have been examined. The global rating of the CAL events in CAD lessons, the CAL organisation and sequence, the level of students’ confidence, the rate of students’ interest, the mode of classroom, the level of learner performance and the relationship between CAL and the overall curriculum have also been empirically examined and their interdependent relationships explored. The findings of this study may help in establishing future directions in adopting some form of effective CAL strategies in CAD. The study also serves as an evaluation tool for computing teaching in the design studio. Furthermore, the checklist used in this case study may also be used in evaluating the different courses in CAD in the curriculum of architectural schools.
series CAADRIA
last changed 1999/02/01 14:21

_id 4ec6
authors Richens, P.
year 1997
title Computer-aided Art Direction
source F. Penz and M. Thomas (Eds.) , Cinema & Architecture: Méliès, Mallet-Stevens, Multimedia, British Film Institute, London
summary Computer-aided design for architects began to be possible about 25 years ago; in the last five it has become commonplace. In a few years time, it will be as ubiquitous as the word-processor is today. But the construction industry as a whole is not a sophisticated user of Information Technology. The state of affairs in the film industry is quite different; computer graphics of the utmost sophistication plays an increasingly important part in the production of film, but very little in their design. Is it possible that an opportunity is being missed? This paper is written from the standpoint of a designer of architectural CAD software, and seeks to explore the extent to which computer graphics techniques, which have proved useful in architecture, could be used in Production Design, and the simulation of Cinematography. Several experiments, using commercial software of the sort that architects find useful, have lead to the realisation that much is possible, but that a full realisation of the benefits would require software specially adapted to the task. The bulk of this paper describes the nature of this adaptation; it is in the nature of a preliminary specification for software for Computer-aided art direction. The initial investigation centred on the needs of film students; it has since broadened to look at the needs of established practitioners.
series other
email paul.richens@arct.cam.ac.uk
more http://www.arct.cam.ac.uk/research/pubs/pdfs/rich97a.pdf
last changed 2003/03/05 12:10

_id avocaad_2001_09
id avocaad_2001_09
authors Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year 2001
title Digital Architecture in CAD studio and Internet-based competition
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 Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series AVOCAAD
email aleppo@cc.nctu.edu.tw
last changed 2005/09/09 08:48

_id 8ec9
authors Asanowicz, Alexander
year 1997
title Incompatible Pencil - Chance for Changing in Design Process
source AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 93-101
summary The existing Caad systems limit designers creativity by constraining them to work with prototypes provided by the system's knowledge base. Most think of computers as drafting machines and consider CAAD models as merely proposals for future buildings. But this kind of thinking (computers as simple drafting machines) seems to be a way without future. New media demands new process and new process demands new media. We have to give some thougt to impact of CAAD on the design process and in which part of it CAAD can add new value. In this paper there will be considered two ways of using of computers. First - creation of architectural form in an architect's mind and projects visualisation with using renderings, animation and virtual reality. In the second part - computer techniques are investigated as a medium of creation. Unlike a conventional drawing the design object within computer has a life of its own. In computer space design and the final product are one. Computer creates environments for new kind of design activities. In fact, many dimensions of meaning in cyberspace have led to a cyberreal architecture that is sure to have dramatic consequences for the profession.
series AVOCAAD
last changed 2005/09/09 08:48

_id 76ba
authors Bermudez, Julio
year 1997
title Cyber(Inter)Sections: Looking into the Real Impact of The Virtual in the Architectural Profession
source Proceedings of the Symposium on Architectural Design Education: Intersecting Perspectives, Identities and Approaches. Minneapolis, MN: College of Architecture & Landscape Architecture, pp. 57-63
summary As both the skepticism and 'hype' surrounding cyberspace vanish under the weight of ever increasing power, demand, and use of information, the architectural discipline must prepare for significant changes. For cyberspace is remorselessly cutting through the dearest structures, rituals, roles, and modes of production in our profession. Yet, this section is not just a detached cut through the existing tissues of the discipline. Rather it is an inter-section, as cyberspace becomes also transformed in the act of piercing. This phenomenon is causing major transformations in at least three areas: 1. Cyberspace is substantially altering the way we produce and communicate architectural information. The arising new working environment suggests highly hybrid and networked conditions that will push the productive and educational landscape of the discipline towards increasing levels of fluidity, exchanges, diversity and change. 2. It has been argued that cyberspace-based human and human-data interactions present us with the opportunity to foster a more free marketplace of ideologies, cultures, preferences, values, and choices. Whether or not the in-progress cyberincisions have the potential to go deep enough to cure the many illnesses afflicting the body of our discipline need to be considered seriously. 3. Cyberspace is a new place or environment wherein new kinds of human activities demand unprecedented types of architectural services. Rather than being a passing fashion, these new architectural requirements are destined to grow exponentially. We need to consider the new modes of practice being created by cyberspace and the education required to prepare for them. This paper looks at these three intersecting territories showing that it is academia and not practice that is leading the profession in the incorporation of virtuality into architecture. Rafael Moneo's words come to mind. [2]
series other
email bermudez@arch.utah.edu
last changed 2003/11/21 14:16

_id c79d
authors Pinet, Celine
year 1997
title Design Evaluation Based on Virtual Representation of Spaces
source Design and Representation [ACADIA ‘97 Conference Proceedings / ISBN 1-880250-06-3] Cincinatti, Ohio (USA) 3-5 October 1997, pp. 111-120
summary When spaces are evaluated, clients and architects often discuss design proposals by looking down at scale models. This overhead perspective forces viewers to imagine themselves looking and moving about within the model. Misperceptions may well result from such a point of view. With the advancement in virtual reality (VR) technology, and with its rising popularity in architecture, it is becoming plausible to consider using VR to evaluate design projects.

The projects presented here are of three types: (1.) The first project compares people's evaluation of several slightly modified virtual models of a space. (2.) The second project compares how people evaluate a foam core model of a space to how they evaluate a virtual representation of the same space (3.) The third project compares people's evaluation of a real space to that of a virtual representation of this space. //

The wide range of results presented provides one argument in support of using VR simulations to study spaces and how they are perceived. For example, results shows that a virtual window serves to alleviate perceived crowding and that added furniture serves to make a virtual room feel slightly larger and less constraining. However, problems did emerge with using virtual reality simulations to gain information about peoples' behavioral reactions to a space. Thus, not all circumstances under which VR representations are used creates valid results. Differences appear to be in the type of evaluations measured (e.g. dimensional versus behavioral). More research is needed to clarify this issue.

series ACADIA
email pinet@ostia.phy.ohiou.edu
last changed 1998/12/31 12:34

_id 2d60
authors Schwenck, M. and Sariyildiz, S.
year 1997
title An Integrated Software Environment for the Architectural Design Process
source Proceedings of the International Conference on Applications of Computer Science and Mathematics in Architecture and Building Science (IKM 1997), Weimar, Germany
summary Many software systems are in common use in the field of architectural design. On the other hand, we consider a complete automation of architectural design as an unlikely proposition and undesirable for the architect. Therefore, the general objective is to support the designer during the whole process of architectural design in order to increase the efficiency and to improve the quality of the results. So far there are different tools providing such functionality. Nevertheless, there are no appropriate tools for many of the sub-processes. Furthermore, the current state of available design software is characterised by a lack of integration of different tools. In this paper we will provide a survey on a project dealing with the solution of both problems. First we will give a general description of the support that software can provide to architects during the design process. We conclude that many different tools are needed which have to be integrated in an open, modular, distributed, user friendly and efficient environment. We will explain the necessity of integration and cover integration technologies. Besides the aspect of integration we also deal with the development of tools which can operate in the integrated design environment. We suggest a strategy where the tool functions are specified on the basis of a transformation from hierarchical process descriptions of architectural design into a hierarchy of tool descriptions.
series other
last changed 2003/04/23 13:50

_id dfaf
authors Ataman, Osman
year 2000
title Some Experimental Results in the Assessment of Architectural Media
source Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 163-171
summary The relationship between the media and architectural design can be an important factor and can influence the design outcome. However, the nature, direction and magnitude of this relationship are unknown. Consequently, there have been many speculative claims about this relationship and almost none of them are supported with empirical research studies. In order to investigate these claims and to provide a testable framework for their potential contributions to architectural education, this study aims to explore the effects of media on architectural design. During 1995-1997, a total of 90 students enrolling in First Year Design Studio and Introduction to Computing classes at Georgia Tech participated in the study. A set of quantitative measures was developed to assess the differences between the two media and the effects on the architectural design. The results suggested that media influenced certain aspects of students’ designs. It is concluded that there is a strong relationship between the media and architectural design. The type of media not only changes some quantifiable design parameters but also affects the quality of design.
series ACADIA
email oataman@uiuc.edu
last changed 2003/05/16 17:23

_id cabb
authors Broughton, T., Tan, A. and Coates, P.S.
year 1997
title The Use of Genetic Programming In Exploring 3D Design Worlds - A Report of Two Projects by Msc Students at CECA UEL
source CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 885-915
summary Genetic algorithms are used to evolve rule systems for a generative process, in one case a shape grammar,which uses the "Dawkins Biomorph" paradigm of user driven choices to perform artificial selection, in the other a CA/Lindenmeyer system using the Hausdorff dimension of the resultant configuration to drive natural selection. (1) Using Genetic Programming in an interactive 3D shape grammar. A report of a generative system combining genetic programming (GP) and 3D shape grammars. The reasoning that backs up the basis for this work depends on the interpretation of design as search In this system, a 3D form is a computer program made up of functions (transformations) & terminals (building blocks). Each program evaluates into a structure. Hence, in this instance a program is synonymous with form. Building blocks of form are platonic solids (box, cylinder, etc.). A Variety of combinations of the simple affine transformations of translation, scaling, rotation together with Boolean operations of union, subtraction and intersection performed on the building blocks generate different configurations of 3D forms. Using to the methodology of genetic programming, an initial population of such programs are randomly generated,subjected to a test for fitness (the eyeball test). Individual programs that have passed the test are selected to be parents for reproducing the next generation of programs via the process of recombination. (2) Using a GA to evolve rule sets to achieve a goal configuration. The aim of these experiments was to build a framework in which a structure's form could be defined by a set of instructions encoded into its genetic make-up. This was achieved by combining a generative rule system commonly used to model biological growth with a genetic algorithm simulating the evolutionary process of selection to evolve an adaptive rule system capable of replicating any preselected 3D shape. The generative modelling technique used is a string rewriting Lindenmayer system the genes of the emergent structures are the production rules of the L-system, and the spatial representation of the structures uses the geometry of iso-spatial dense-packed spheres
series CAAD Futures
email p.s.coates@btinternet.com
last changed 2003/11/21 14:16

_id c6ea
authors Chow, Ka-Ming Benny
year 1997
title Computation in Daylight Architecture
source CAADRIA ‘97 [Proceedings of the Second Conference on Computer Aided Architectural Design Research in Asia / ISBN 957-575-057-8] Taiwan 17-19 April 1997, pp. 93-105
summary Daylight phenomena are dynamic, complex and difficult to capture. Students find that they are hard to study and master. Basically, there are three approaches to the problem: physical modeling, graphic techniques and computation. Most of the students make use of all three channels to solve their design problem, but some of them don’t pay enough attention to the third approach – computation.
series CAADRIA
email kaming@cuhk.edu.hk
last changed 2002/09/05 07:24

_id ga9921
id ga9921
authors Coates, P.S. and Hazarika, L.
year 1999
title The use of genetic programming for applications in the field of spatial composition
source International Conference on Generative Art
summary Architectural design teaching using computers has been a preoccupation of CECA since 1991. All design tutors provide their students with a set of models and ways to form, and we have explored a set of approaches including cellular automata, genetic programming ,agent based modelling and shape grammars as additional tools with which to explore architectural ( and architectonic) ideas.This paper discusses the use of genetic programming (G.P.) for applications in the field of spatial composition. CECA has been developing the use of Genetic Programming for some time ( see references ) and has covered the evolution of L-Systems production rules( coates 1997, 1999b), and the evolution of generative grammars of form (Coates 1998 1999a). The G.P. was used to generate three-dimensional spatial forms from a set of geometrical structures .The approach uses genetic programming with a Genetic Library (G.Lib) .G.P. provides a way to genetically breed a computer program to solve a problem.G. Lib. enables genetic programming to define potentially useful subroutines dynamically during a run .* Exploring a shape grammar consisting of simple solid primitives and transformations. * Applying a simple fitness function to the solid breeding G.P.* Exploring a shape grammar of composite surface objects. * Developing grammarsfor existing buildings, and creating hybrids. * Exploring the shape grammar of abuilding within a G.P.We will report on new work using a range of different morphologies ( boolean operations, surface operations and grammars of style ) and describe the use of objective functions ( natural selection) and the "eyeball test" ( artificial selection) as ways of controlling and exploring the design spaces thus defined.
series other
more http://www.generativeart.com/
last changed 2003/08/07 15:25

_id fa1d
authors Colley, Tim
year 1997
title Visualizing Information: Internet Guidelines for Distributing Architectural Research
source Virginia Polytechnic Institute and State University
summary A web site was designed and constructed for the Research + Demonstration Facility (RDF) as a masters thesis project to help educators teach future architects more interactively by using the dynamic medium of the Internet. Students and faculty will learn about evolving architectural research and technology as well as potential consequences of design decisions. Educators will be able to conduct online research, or tele-experiments, in the classroom thus allowing students to learn, in near real-time, the outcome or progress of research on and off campus. This project presents some of the possibilities of how the Internet can enhance re-search information delivery to students and faculty of architecture.
keywords Architectural Research; Internet Guidelines; Web Site Documentation
series thesis:MSc
email tcolley@vt.edu
more http://scholar.lib.vt.edu/theses/available/etd-92397-115337/
last changed 2004/06/02 17:12

_id 666e
authors Compagnon, R.
year 1997
title The Radiance simulation software in the architecture teaching context
source Proceedings of the 2nd Florence International conference for Teachers of Architecture. Firenze
summary Two methods of introducing the radiance lighting and daylighting simulation software to architecture students in a relatively short time are presented. The production of visual teaching materialusing the same software is also discussed.
series other
last changed 2003/04/23 13:50

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