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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	ecaade2024_230
id	ecaade2024_230
authors	Fekar, Hugo; Novák, Jan; Míèa, Jakub; Žigmundová, Viktória; Suleimanova, Diana; Tsikoliya, Shota; Vasko, Imrich
year	2024
title	Fabrication with Residual Wood through Scanning Optimization and Robotic Milling
doi	https://doi.org/10.52842/conf.ecaade.2024.1.025
source	Kontovourkis, O, Phocas, MC and Wurzer, G (eds.), Data-Driven Intelligence - Proceedings of the 42nd Conference on Education and Research in Computer Aided Architectural Design in Europe (eCAADe 2024), Nicosia, 11-13 September 2024, Volume 1, pp. 25–34
summary	The project deals with the use of residual wood of tree stumps and roots through scanning, optimization and robotic milling. Wood logging residue makes up to 50 percent of the trees harvested biomass. (Hakkila and Parikka 2002). Among prevailing strategies is leaving residue on site, and recovering residue for bioenergy. (Perlack and others 2005). The project explores the third strategy, using parts of the logging residue for fabrication, which may reduce the overall amount of wood logging volume. Furthermore approach aims for applying residue in its natural form and taking advantage of specific local characteristics of wood (Desch and Dinwoodie 1996). The project applies the strategy on working with stump and roots of an oak tree. Due to considerations of scale, available milling technics and available resources, chosen goal of the approach is to create a functioning chair prototype. Among the problems of the approach is the complex shape of the residue, uneven quality of wood, varying humidity and contamination with soil. After cleaning and drying, the stump is scanned and a 3D model is created. The 3D model od a stump is confronted with a 3D modelled limits of the goal typology (height, width, length, sitting surface area and overal volume of a chair) and topological optimization algorithm is used to iteratively reach the desired geometry. Unlike in established topological optimization proces, which aims for a minimal volume, the project attempts to achieve required qualities with removing minimal amount of wood. Due to geometric complexity of both stump and goal object, milling with an 6axis industrial robotic arm and a rotary table was chosen as a fabrication method. The object was clamped to the board (then connected to a rotary table) in order to provide precise location and orientation in 3D space. The milling of the object was divided in two parts, with the seating area milled in higher detail. Overall process of working with a residual wood that has potential to be both effective and present aesthetic quality based on individual characteristics of wood. Further development can integrate a generative tool which would streamline the design and fabrication proces further.
keywords	Robotic arm milling, Scanning, Residual wood
series	eCAADe
email
last changed	2024/11/17 22:05

_id	0a80
authors	Gero, J.S.
year	1996
title	Creativity, emergence and evolution in design: concepts and framework
source	Knowledge-Based Systems 9(7): 435-448
summary	This paper commences by outlining notions of creativity before examining the role of emergence in creative design. Various process models of emergence are presented; these are based on notions of additive and substitutive variables resulting in additive and substitutive schemas. Frameworks for both representation and process for a computational model of creative design are presented. The representational framework is based on design prototypes whilst the process framework is based on an evolutionary model. The computational model brings both representation and process together.
series	other
email
last changed	2003/04/06 07:32

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

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

_id	6c97
authors	Asanowicz, Aleksander
year	1996
title	Using the Computer in Analysis of Architectural Form
source	Approaches to Computer Aided Architectural Composition [ISBN 83-905377-1-0] 1996, pp. 25-34
summary	One of the most important aspects of the designing process is: the design activity is usually conducted with incomplete information. Another important aspect of designing activity is: designing activity is usually based on past experience. As a matter of fact looking at designers in the early conceptual phases, one thing that appears clear is, instead starting from scratch, they spend a part of their time thinking about existing designing experience, reviewing the literature, and so on. That is why explicit representation of designing knowledge is needed if computers are to be used as the aid of design education and practice. Composition knowledge data base will be helpful during an architectural form analysis process as well. It makes possible to provide answers and explanations as well as allowing to view tutorials illustrating the particular problem. On its basic level such a program will present analysis of architectural objects and abstract forms based on subjective criteria. On its upper level allowing further exploration of various architectural composition attributes, as well as their influence on emotional- aesthetic judgements being formed during the process of analysis the architectural form.
series	other
last changed	1999/04/08 17:16

_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	ddssar9611
id	ddssar9611
authors	de Gelder, Johan and Lucardie, Larry
year	1996
title	Criteria for the Selection of Conceptual Modelling Languages for Knowledge Based Systems
source	Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Spa, Belgium), August 18-21, 1996
summary	In recent years knowledge is increasingly recognised as a critical production factor for organisations. Performance of activities such as designing, diagnosing, advising and decision making, depend on the availability and accessibility of knowledge. However, the increasing volume and complexity of knowledge endangers its availability and accessibility. By their knowledge processing competence, knowledge based systems containing a structured and explicit representation of knowledge, are expected to solve this problem. In the realisation of a knowledge based system, the phase in which a knowledge model is reconstructed through a conceptual language, is essential. Because the knowledge model has to be an adequate reflection of real-world knowledge, the conceptual language should not only offer sufficient expressiveness for unambiguous knowledge representation, but also provide facilities to validate knowledge on correctness, completeness and consistency. Furthermore, the language should supply facilities to be processed by a computer. This paper discusses fundamental criteria to select a conceptual language for modelling the knowledge of a knowledge based system. It substantiates the claim that the selection depends on the nature of the knowledge in the application domain. By analysing the nature of knowledge using the theory of functional object-types, a framework to compare, evaluate and select a conceptual language is presented. To illustrate the selection process, the paper describes the choice of a conceptual language of a knowledge based system for checking office buildings on fire-safety demands. In this application domain, the language formed by decision tables has been selected to develop the conceptual model. The paper provides an in-depth motivation why decision tables form the best language to model the knowledge in this case.
series	DDSS
last changed	2003/08/07 16:36

_id	ebd6
authors	Dobson, Adrian
year	1996
title	Teaching Architectural Composition Through the Medium of Virtual Reality Modelling
source	Approaches to Computer Aided Architectural Composition [ISBN 83-905377-1-0] 1996, pp. 91-102
summary	This paper describes an experimental teaching programme to enable architectural students in the early years of their undergraduate study to explore their understanding of the principles of architectural composition, by the creation and experience of architectural form and space in simple virtual reality environments. Principles of architectural composition, based upon the ordering and organisation of typological architectural elements according to established rules of composition, are introduced to the students, through the study of recognised works of architectural design theory. Virtual reality modelling is then used as a tool by the students for the testing and exploration of these theoretical concepts. Compositional exercises involving the creation and manipulation of a family of architectural elements to create form and space within a three dimensional virtual reality environment are carried out using Superscape VRT, a PC based virtual reality modelling system. The project seeks to bring intuitive and immersive computer based design techniques directly into the context of design theory teaching and studio practice, at an early stage in the architectural education process.
series	other
last changed	1999/04/08 17:16

_id	3905
authors	Duffy, T.M. and Cunningham, D.J.
year	1996
title	Constructivism: Implications for the design and delivery of instruction
source	D.H. Jonassen, (Ed) Handbook of research for educational communications and technology, N.Y; Macmillan Library reference USA
summary	This will be a seminar that examines Constructivist theory as it applies to our thinking about instruction. Many folks think of constructivism as a method of instruction -- it is not. It is a framework for thinking about learning or what it means to come to know. As such, it is a framework for understanding (interpreting) any learning environment as well as a framework for designing instruction. The seminar will be organized around weekly readings. We will examine the alternative constructivist theories, e.g., socio-cultural constructivism and cognitive constructivism, and the pragmatism of Richard Rorty. However, rather than focusing on the differences between these frameworks, our emphasis will be on the implications of the broader, common framework for the design of instruction. Hence we will spend most of the semester discussing strategies for designing and delivering instruction, e.g., the work of Bransford, Collins, Pea, Jonassen, Spiro, Fosnot, Senge, and Schank. We will consider both business and schooling environments for learning -- there is significant work in both domains. There will be particular emphasis of the use of technology in instruction. We will look at the communication, information, and context providing roles of technology as contrasted to the traditional approach of using technology to deliver instruction (to teach). We will also pay particular attention to problem based learning as one instructional model. In PBL there is particular emphasis on the role of the facilitator as a learning coach (process orientation) as opposed to a content provider. There is also a particular emphasis on supporting the development of abductive reasoning skills so that the learner develops the ability to be an effective problem solver in the content domain. The major paper/project for the course will be the design of instruction to train individuals to be learning coaches in a problem based learning or goal based scenario learning environment. That is, how do you support teachers in adapting the role of learning coach (which, of course, requires us to understand what it means to be a learning coach). Design teams will be formed with the teams all working on this same design problem. A comprehensive prototype of the learning environment is required as well as a paper provide the theoretical framework and rationale for the design strategy. While not required, I would expect that computer technology will play a significant role in the design of your learning environment. With that in mind, let me note that it is not required that the prototype be delivered on the computer, i.e., I am not requiring programming skills but rather design skills and so "storyboards" is all that is required.
series	other
last changed	2003/04/23 15:14

_id	ec0e
authors	Engeli, M. and Kurmann, D.
year	1996
title	A Virtual Reality Design Environment with Intelligent Objects and Autonomous Agents
source	H.J.P. Timmermans (ed.), Design and Decision Support Systems in Architecture and Urban Planning Conference, Vol. 1: Architecture Proceedings, pp. 132-142
summary	New technological achievements and research results allow for the creation of innovative design tools for architects, that do not originate from paper-based paradigms but instead make optimised use of the present technology and programming concepts. The core of our system is comprised of an intuitive interactive modelling tool. It runs in a virtual reality set-up, where the user can use 3D glasses to experience rooms and 3D input devices to model in three dimensions. The interface is free from widget-like buttons or menus, so that the user is undisturbed when moving into the virtual world of the design. The system can also run in a distributed fashion, so that a number of users can look at and modify the same design. The 3D model can be generated in a sketch-like fashion using solids and voids, void modelling turns out to be very valuable for architectural design. The objects in this system can contain forms of intelligence to produce such behaviour as: falling because of gravity, collision avoidance, and autonomous motion. Interactive behaviour can also be assigned to the objects. Autonomous Agents are added to the system to enhance the designer support. These are agents that enhance the virtual environment, agents that take over tasks, and agents that help to test the design. The system shows new interface and interaction approaches that support the architectural design process intelligently.
series	other
last changed	2003/04/23 15:50

_id	ddssar9609
id	ddssar9609
authors	Engeli, Maia and Kurmann, David
year	1996
title	A Virtual Reality Design Environment with Intelligent Objects and Autonomous Agents
source	Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Spa, Belgium), August 18-21, 1996
summary	New technological achievements and research results allow for the creation of innovative design tools for architects, that do not originate from paper-based paradigms but instead make optimised use of the present technology and programming concepts. The core of our system is comprised of an intuitive interactive modelling tool. It runs in a virtual reality set-up, where the user can use 3D glasses to expe-rience rooms and 31) input devices to model in three dimensions. The interface is free from widget-like buttons or menus, so that the user is undisturbed when moving into the virtual world of the design. The system can also run in a distributed fashion, so that a number of users can look at and modify the same design. The 31) model can be generated in a sketch-like fashion using solids and voids, void modelling turns out to be very valuable for architectural design. The objects in this system can contain forms of intelligence to produce such behaviour as: falling because of gravity, collision avoidance, and autonomous motion. Interactive behaviour can also be assigned to the objects. Autonomous Agents are added to the system to enhance the designer support. These are agents that enhance the virtual environment, agents that take over tasks, and agents that help to test the design. The system shows new interface and interaction approaches that support the architectural design process intelligently.
series	DDSS
last changed	2003/08/07 16:36

_id	64ff
authors	Fengb, C.-X., Kusiaka, A. and Huanga, C.-C.
year	1996
title	Cost evaluation in design with form features
source	Computer-Aided Design, Vol. 28 (12) (1996) pp. 879-885
summary	Reducing the cost of a product at the design stage is more effective than at the manufacturing stage. In this paper, an attempt is presented to quantify the manufacturing cost in feature-based design. Machining form features are classified as simple and complex. The machining cost of a part depends not only on the type of form features, but also on the relationship among the features. This cost is calculated for four different cases: traditional machining, simultaneous machining, simultaneous set-up and changeover, and multiple machine tools. A manufacturing process is represented with a digraph. The feature-based evaluation of manufacturing cost is formulated as the shortest path problem, and a mathematical model as well as an algorithm are presented to determine the minimum cost design alternative.
keywords	Feature-Based Design, Design for Machining, Manufacturing Cost Evaluation
series	journal paper
last changed	2003/05/15 21:33

_id	5fc4
authors	Fruchter, R.
year	1996
title	Conceptual Collaborative Building Design Through Shared Graphics
source	IEEE Expert special issue on Al in Civil Engineering, June vol. 33-41
summary	The Interdisciplinary Communication Medium computer environment integrates a shared graphic modeling environment with network-based services to accommodate many perspectives in an architecture/engineering/construction team. Communication is critical for achieving better cooperation and coordination among professionals in a multidisciplinary building team. The complexity of large construction projects, the specialization of the project participants, and the different forms of synchronous and asynchronous collaborative work increase the need for intensive information sharing and exchange. Architecture/engineering/construction (A/E/C) professionals use computers to perform a specific discipline's tasks, but they still exchange design decisions and data using paper drawings and documents. Each project participant investigates and communicates alternative solutions through representational idioms that are private to that member's profession. Other project participants must then interpret, extract, and reenter the relevant information using the conventional idioms of their disciplines and in the format required by their tools. The resulting communication difficulties often affect the quality of the final building and the time required to achieve design consensus. This article describes a computer environment, the Interdisciplinary Communication Medium (ICM), that supports conceptual, collaborative building design. The objective is to help improve communication among professionals in a multidisciplinary team. Collaborative teamwork is an iterative process of reaching a shared understanding of the design and construction domains, the requirements, the building to be built, and the necessary commitments. The understanding emerges over time, as team members begin to grasp their own part of the project, and as they provide information that lets others progress. The fundamental concepts incorporated in ICM include A communication cycle for collaborative teamwork that comprises propose-interpret-critique-explain-change notifications. An open system-integration architecture. A shared graphic modeling environment for design exploration and communication. A Semantic Modeling Extension (SME), which introduces a structured way to capture design intent. A change-notification mechanism that documents notes on design changes linked to the graphic models, and routes change notifications. Thus, the process involves communication, negotiation, and team learning.
series	journal paper
last changed	2003/04/23 15:14

_id	3386
authors	Gavin, L., Keuppers, S., Mottram, C. and Penn, A.
year	2001
title	Awareness Space in Distributed Social Networks
source	Proceedings of the Ninth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-7023-6] Eindhoven, 8-11 July 2001, pp. 615-628
summary	In the real work environment we are constantly aware of the presence and activity of others. We know when people are away from their desks, whether they are doing concentrated work, or whether they are available for interaction. We use this peripheral awareness of others to guide our interactions and social behaviour. However, when teams of workers are spatially separated we lose 'awareness' information and this severely inhibits interaction and information flow. The Theatre of Work (TOWER) aims to develop a virtual space to help create a sense of social awareness and presence to support distributed working. Presence, status and activity of other people are made visible in the theatre of work and allow one to build peripheral awareness of the current activity patterns of those who we do not share space with in reality. TOWER is developing a construction set to augment the workplace with synchronous as well as asynchronous awareness. Current, synchronous activity patterns and statuses are played out in a 3D virtual space through the use of symbolic acting. The environment itself however is automatically constructed on the basis of the organisation's information resources and is in effect an information space. Location of the symbolic actor in the environment can therefore represent the focus of that person's current activity. The environment itself evolves to reflect historic patterns of information use and exchange, and becomes an asynchronous representation of the past history of the organisation. A module that records specific episodes from the synchronous event cycle as a Docudrama forms an asynchronous information resource to give a history of team work and decision taking. The TOWER environment is displayed using a number of screen based and ambient display devices. Current status and activity events are supplied to the system using a range of sensors both in the real environment and in the information systems. The methodology has been established as a two-stage process. The 3D spatial environment will be automatically constructed or generated from some aspect of the pre-existing organisational structure or its information resources or usage patterns. The methodology must be extended to provide means for that structure to grow and evolve in the light of patterns of actual user behaviour in the TOWER space. We have developed a generative algorithm that uses a cell aggregation process to transcribe the information space into a 3d space. In stage 2 that space was analysed using space syntax methods (Hillier & Hanson, 1984; Hillier 1996) to allow the properties of permeability and intelligibility to be measured, and then these fed back into the generative algorithm. Finally, these same measures have been used to evaluate the spatialised behaviour that users of the TOWER space show, and will used to feed this back into the evolution of the space. The stage of transcription from information structure to 3d space through a generative algorithm is critical since it is this stage that allows neighbourhood relations to be created that are not present in the original information structure. It is these relations that could be expected to help increase social density.
keywords	Algorithmic Form Generation, Distributed Workgroups, Space Syntax
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	ddss2006-hb-187
id	DDSS2006-HB-187
authors	Lidia Diappi and Paola Bolchi
year	2006
title	Gentrification Waves in the Inner-City of Milan - A multi agent / cellular automata model based on Smith's Rent Gap theory
source	Van Leeuwen, J.P. and H.J.P. Timmermans (eds.) 2006, Innovations in Design & Decision Support Systems in Architecture and Urban Planning, Dordrecht: Springer, ISBN-10: 1-4020-5059-3, ISBN-13: 978-1-4020-5059-6, p. 187-201
summary	The aim of this paper is to investigate the gentrification process by applying an urban spatial model of gentrification, based on Smith's (1979; 1987; 1996) Rent Gap theory. The rich sociological literature on the topic mainly assumes gentrification to be a cultural phenomenon, namely the result of a demand pressure of the suburban middle and upper class, willing to return to the city (Ley, 1980; Lipton, 1977, May, 1996). Little attempt has been made to investigate and build a sound economic explanation on the causes of the process. The Rent Gap theory (RGT) of Neil Smith still represents an important contribution in this direction. At the heart of Smith's argument there is the assumption that gentrification takes place because capitals return to the inner city, creating opportunities for residential relocation and profit. This paper illustrates a dynamic model of Smith's theory through a multi-agent/ cellular automata system approach (Batty, 2005) developed on a Netlogo platform. A set of behavioural rules for each agent involved (homeowner, landlord, tenant and developer, and the passive 'dwelling' agent with their rent and level of decay) are formalised. The simulations show the surge of neighbouring degradation or renovation and population turn over, starting with different initial states of decay and estate rent values. Consistent with a Self Organized Criticality approach, the model shows that non linear interactions at local level may produce different configurations of the system at macro level. This paper represents a further development of a previous version of the model (Diappi, Bolchi, 2005). The model proposed here includes some more realistic factors inspired by the features of housing market dynamics in the city of Milan. It includes the shape of the potential rent according to city form and functions, the subdivision in areal submarkets according to the current rents, and their maintenance levels. The model has a more realistic visualisation of the city and its form, and is able to show the different dynamics of the emergent neighbourhoods in the last ten years in Milan.
keywords	Multi agent systems, Housing market, Gentrification, Emergent systems
series	DDSS
last changed	2006/08/29 12:55

_id	8bea
authors	Lipson, H. and Shpitalni, M.
year	1996
title	Optimization-based reconstruction of a 3D object from a single freehand line drawing
source	Computer-Aided Design, Vol. 28 (8) (1996) pp. 651-663
summary	This paper describes an optimization-based algorithm for reconstructing a 3D model from a single, inaccurate, 2D edge-vertex graph. The graph, which serves as input for the reconstruction process, is obtained froman inaccurate freehand sketch of a 3D wireframe object. Compared with traditional reconstruction methods based on line labelling, the proposed approach is more tolerant of faults in handling both inaccurate vertexpositioning and sketches with missing entities. Furthermore, the proposed reconstruction method supports a wide scope of general (manifold and non-manifold) objects containing flat and cylindrical faces. Sketchesof wireframe models usually include enough information to reconstruct the complete body. The optimization algorithm is discussed, and examples from a working implementation are given.
keywords	Drawing To Model, Optimization, Robustness
series	journal paper
last changed	2003/05/15 21:33

_id	f5a3
authors	Maher, M.L. and Gomez de Silva Garza, A.
year	1996
title	Developing case-based reasoning for structural design
source	IEEE Expert
summary	Case-based systems enable users to retrieve previously known designs from memory and adapt them to fit the current design problem. The four case-based design systems described here illustrate how various implementations achieve design assistance or design automation objectives. Case-based reasoning is a problem-solving technique that makes analogies between a problem and previously encountered situations (cases) relevant to solving the problem. Using CBR as a design process model involves the subtasks of recalling previously known designs from memory and adapting these design cases or subcases to fit the current design context. The detailed development of this process model for a particular design domain proceeds in parallel with the development of the case representation, the case memory organization, and the necessary design knowledge. The selection of an information representation paradigm and the details of its use for a problem-solving domain depend on the intended use of the information, the project information available, and the nature of the domain. CBR could be used to develop and implement a CBR system. Although that sounds circular, if CBR is a viable approach to problem solving, it can be applied to the development of the reasoning system itself. Toward that end, this article presents four "cases" of case-based building design systems that we've developed at the University of Sydney: CaseCAD, CADsyn, Win, and Demex. These systems exemplify alternative case memory contents and organizations and provide insight into different potential implementations of the recall and adaptation subprocesses.
series	journal paper
email
last changed	2003/04/23 15:14

_id	62a1
authors	Maher, M.L. and Poon, J.
year	1996
title	Modelling design exploration as co-evolution
source	Microcomputers in Civil Engineering, 11:192-207
summary	Most computer-based design tools assume designers work with a well defined problem. However, this assumption has been challenged by current research. The explorative aspect of design, especially during conceptual design, is not fully addressed. This paper introduces a model for problem-design exploration, and how this model can be implemented using the genetic algorithm (GA) paradigm. The basic GA, which does not support our exploration model, evaluates individuals from a population of design solutions with an unchanged fitness function. This approach to evaluation implements search with a prefixed goal. Modifications to the basic GA are required to support exploration. Two approaches to implement a co-evolving GA are presented and discussed in this paper: one in which the fitness function is represented within the genotype, and a second in which the fitness function is modelled as a separately evolving population of genotypes.
series	journal paper
email
last changed	2003/04/23 15:50

_id	maver_084
id	maver_084
authors	Maver, T.W., Frame, I. and Chen, Y.
year	1996
title	The Development of a Virtual Studio Environment to Support Collaborative Building Design
source	Design, Synergy, Collaboration - selected papers from DEcon Conference
summary	This paper describes the development of a virtual studio environment to support collaborative working in the domain of building design. By applying and extending the real-world design studio model within the Internet-based distributed computing environments, the virtual studio concept has been refined as computerised settings, which integrate both the dispersed human designers and the distributed CAD applications. The hope is to achieve the similar effect as physical co-presence while providing extra advantages such as the support for automatic communication archiving and being less obtrusive than sharing a physical office. Like its real-world counterpart (which usually consists of the office, desks, file cabinets, instruments etc), such a virtual studio consists of the several major components, including a multi-user graphical user interface displaying the shared virtual workspace on each designer's workstation, distributed multimedia databases and CAD tools for processing the domain tasks, and rich human-human interaction facilities supporting a variety of communication modes. Advance distributed object computing technologies (0MG CORBA in particular) have been adopted for modelling and implementing the distributed systems, W3 (world-wide-web) technologies have also been exploited for constructing the distributed multi-media databases and an image communication kit. In contrast to the traditional CAD integration which is usually focused solely on the well-structured technical part of the product and process, the described research advocates a human-centred systems development strategy in which design is first of all taken as a process of social construction.
series	other
email
last changed	2003/09/03 15:01

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