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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	c19c
authors	Beliveau, Y.J.
year	1996
title	What can real-time positioning do for construction?
source	Automation in Construction 5 (2) (1996) pp. 79-89
summary	New technologies are now available that can rapidly measure three-dimensional coordinates of objects. The integration of these fast 3-D Real-time Position Measurement (D-RtPM) devices and CAD (3D-RtPM/CAD) technologies can be viewed as a better tool for surveyors or as a means to change the most fundamental concepts of the construction industry. 3D-RtPM/CAD is a better surveying tool; however, 3D-RtPM/CAD as the basis for fundamental change within the construction industry is the issue.There are several potential technologies that can provide real-time position measurement. This paper will limit presentation to two of these. The first is based on recent developments in Global Positioning Systems. The second is a new laser-based product, OdysseyTM (Odyssey is a trademark of Spatial Positioning Systems, Inc.). Odyssey received the NOVA award in March, 1995 because of its recognized performance enhancement to the construction industry. These positioning systems provide the capability for equipment and crafts people to view the project from a graphical representation in which they see their position interactively updated. Potential benefits to the construction industry are presented. The research needed achieving maximum benefits of these systems is also presented.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	ddssup9604
id	ddssup9604
authors	Boelen, A.J.
year	1996
title	Impact-Analysis of Urban Design Realtime impact-analysis models for urban designers
source	Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part two: Urban Planning Proceedings (Spa, Belgium), August 18-21, 1996
summary	The past five years Prof Dr Jr T.M. de Jong, professor in environmental planning and sustainability at the Technical University of Delft, has developed a theoretical foundation for the analysis of urban design on the ecological, technical, economical, cultural and political impacts of morphologic interventions on different levels of scale. From september 1994 Jr AJ. Boelen (Urban Design Scientist and Knowledge Engineer) started a research project at the same university to further explore the possibilities of these theories and to develop impact evaluation models for urban design and development with the theoretical work of De Jong as a starting point. The paper discusses the development of a design and decision support system based on these theories. For the development of this system, techniques like object-orientation, genetic algorithms and knowledge engineering are used. The user interface, the relation between the real world, paper maps and virtual maps and the presentation of design-interventions and impacts caused by the interventions are important issues. The development-process is an interactive step by step process. It consists of the making of a prototype of the system, testing the theory and hypothe-sisses the system is based on, by applying tests end adjusting the theory and hypothesisses where needed. Eventually the system must be able to act as an integrator of many different models already developed or still to be developed. The structure of the system will allow easy future expansion and adjustment to changing insights. The logic used to develop the basic theory on which this system is founded makes it possible to even introduce and maintain rather subjective aspects like quality or appraisal as impacts that can be evaluated. In a previously developed system "Momentum" this was proved to work effectively for the national level. In this project we will - amongst other things - try to prove the effectiveness of impact-evaluation for other levels of scale.
series	DDSS
email
last changed	2003/11/21 15:16

_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	68e3
authors	Fuchs, Wladek and Martinico, Anthony
year	1996
title	THE V.C.NET - A DIGITAL STUDY IN ARCHITECTURE
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 23-29
doi	https://doi.org/10.52842/conf.acadia.1996.023
summary	The "V.C.net" project is an Internet-based educational and communication tool for the architectural community. Its goal is to encourage students from architecture programs across the country and around the world to examine problems and collaborate in the exploration of ideas through the World Wide Web. The central concept of the project involves the creation of a simulated, vital urban environment constructed from various forms of digital data. This "virtual city" will be comprised of projects executed by students of architecture and urban design in the U.S. and abroad. Projects will be proposed for specific sites and will reflect real-world questions as they are minored in the virtual world. The city exists as a heuristic tool and is not intended as a copy of any existing human habitat. The ultimate goal of the project is to create a dynamic platform to study the interrelationship of various forces effecting urban development: architecture, planning, civil engineering, economics, social sciences etc. The project originates at the School of Architecture of the University of Detroit Mercy and is intended to be truly interdisciplinary.
series	ACADIA
type	normal paper
last changed	2022/06/07 07:50

_id	6006
authors	Liu, Yu-Tung and Bai, Rui-Yuan
year	2001
title	The Hsinchu experience: a computerized procedure for visual impact analysis and assessment
source	Automation in Construction 10 (3) (2001) pp. 337-343
summary	This paper examines the procedure of visual impact analysis and assessment (VIAA) proposed by Rahman and reviews the use of computer-aided design (CAD) applications in urban projects in the real world. A preliminary computerized procedure for VIAA is proposed. An experiment was conducted in our laboratory to verify the preliminary procedure. In order to further study the revised procedure in real urban projects, it was also applied into the renew project of The Eastern Gate Plaza located in the center of Hsinchu, Taiwan from 1996 to 1998. Based on the face-to-face discussions with Hsinchu habitants, government officials, and professional designers, a final computerized procedure for VIAA is concluded.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_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

_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	ddssup9617
id	ddssup9617
authors	Sidjanin, Predrag
year	1996
title	A computer simulation model of the TU district of Delft with use of the GIS and VR
source	Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part two: Urban Planning Proceedings (Spa, Belgium), August 18-21, 1996
summary	One of the big problems for GIS users is a luck of such an visual presentation of data which will easily transform them into a spatial image. Existing systems based on Human-Computer-Interfaces (Ha) have limitations and for this reason it is necessary to discover new explicit way of spatial data presentation and manipulation. Virtual Reality technology with its specificity and characteristics based on spatial displaying and multisensory interactivity, give to VR users a new promising possibility to solve GIS limitations. This research is an exploration of integration of GIS and yR. VR is a kind of production of a simulation of a real world, and GIS-databases contain data that describe this world, therefore a success of combination of both technologies is very probable. This research shows possibilities for creating a virtual GIS world in which is possible to handle, explore, analyse and present spatial data by free navigation through a virtual model. The virtual model of Delft University of Technology's Campus presents Virtual Reality as a new type of 3D interface for GIS and demonstrates some basic GIS functions in virtual environment. It has been created by importing of GIS databases into VR system. Virtual model is based on geometric and attributive data. GIS functionality is enabled by 3D interface objects, that symbolically and semantically represents GIS functions. Their use should initiate intuitive users action. This application combines spatial data, user interface, text, sound, thematic data and virtual hypertext. Virtual model enables the use of quantitative and qualitative information. The results of the research can be implemented to support design strategies ax! decision making in the field of physical and urban planning.
series	DDSS
last changed	2003/08/07 16:36

_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	215e
authors	Bai, Rui-Yuan and Liu, Yu-Tung
year	1998
title	Towards a Computerized Procedure for Visual Impact Analysis and Assessment - The Hsinchu Example
source	CAADRIA ‘98 [Proceedings of The Third Conference on Computer Aided Architectural Design Research in Asia / ISBN 4-907662-009] Osaka (Japan) 22-24 April 1998, pp. 67-76
doi	https://doi.org/10.52842/conf.caadria.1998.067
summary	This paper examines the procedure of visual impact analysis and assessment proposed by Rahman and reviews the use of CAD applications in urban projects in the real world. A preliminary computerized procedure for visual impact analysis and assessment is proposed. An experiments was conducted in our laboratory to verify the preliminary procedure. In order to further study the revised procedure in real urban projects, it was also applied into the renew project of The Eastern Gate Plaza located in the center of city Hsinchu, Taiwan from 1996 to 1998. According to several face-to-face discussions with Hsinchu habitants, government officials, and professional designers, a final computerized procedure for visual impact analysis and assessment is concluded.
keywords	Environmental Simulation, Visual Impact Analysis and Assessment, Virtual Reality
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:54

_id	c872
authors	Beliveau, Y.J., Fithian, J.E. and Deisenroth, M.P.
year	1996
title	Autonomous vehicle navigation with real-time 3D laser based positioning for construction
source	Automation in Construction 5 (4) (1996) pp. 261-272
summary	Autonomous Guided Vehicles (AGVs) are a way of life in manufacturing where navigation can be done in a structured environment. Construction is an unstructured environment and requires a different type of navigation system to deal with three dimensional control and rough terrain. This paper provides a review of navigation systems that utilize dead-reckoning in conjunction with absolute referencing systems such as beacon-based systems, and vision and mapping based system. The use of a real-time laser based technology is demonstrated as a new form of navigation. This, technology does not rely on dead reckoning. The paper outlines the issues and strategies in guiding an autonomous vehicle utilizing only the laser-based positioning system. Algorithms were developed to provide real-time control of the AGV. The laser based positioning system is unique in that it provides three dimensional position data with five updates per second. No other system can provide this level of performance. This allows for control of end effectors and autonomous vehicles in complex and unstructured three dimensional environments. The use of this new type of navigation makes possible the automation of large complex assemblies in rough terrain such as construction.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	a04a
authors	Bhavnani, S.K. and John, B.E.
year	1996
title	Exploring the Unrealized Potential of Computer-Aided Drafting
source	Proceedings of CHI'96 (1996), 332-339
summary	Despite huge investments by vendors and users, CAD productivity remains disappointing. Our analysis of real- world CAD usage shows that even after many years of experience, users tend to use suboptimal strategies to perform complex CAD tasks. Additionally, some of these strategies have a marked resemblance to manual drafting techniques. Although this phenomenon has been previously reported, this paper explores explanations for its causes and persistence. We argue that the strategic knowledge to use CAD effectively is neither defined nor explicitly taught. In the absence of a well-formed strategy, users often develop a synthetic mental model of CAD containing a mixture of manual and CAD methods. As these suboptimal strategies do not necessarily prevent users from producing clean, accurate drawings, the inefficiencies tend to remain unrecognized and users have little motivation to develop better strategies. To reverse this situation we recommend that the strategic knowledge to use CAD effectively should be made explicit and provided early in training. We use our analysis to begin the process of making this strategic knowledge explicit. We conclude by discussing the ramifications of this research in training as well as in the development of future computer aids for drawing and design.
keywords	Task Decomposition; Learning
series	other
email
last changed	2003/11/21 15:16

_id	eb87
authors	Bhavnani, S.K.
year	1996
title	How Architects Draw with Computers: A Cognitive Analysis of Real-World CAD Interactions
source	Carnegie Mellon University, School of Architecture and School of Computer Science
summary	New media throughout history have passed through a period of transition during which users and technologists took many years to understand and exploit the medium's potential. CAD appears to be passing through a similar period of transition; despite huge investments by vendors and users, CAD productivity remains difficult to achieve. To investigate if history can provide any insights into this problem, this thesis begins with an examination of well-known examples from history. The analysis revealed that, over time, users had developed efficient strategies which were based on powers and limitations of tools; delegation strategies exploited powers provided by tools, and circumvention strategies attempted to overcome their limitations. These insights on efficient strategies were used to investigate the CAD productivity problem based on four research questions: 1. How do architects currently use CAD systems to produce drawings? 2. What are the effects of current CAD usage on product and performance? 3. What are the possible causes of current CAD usage? 4. What are the capabilities of the CAD medium and how can they be used efficiently? The above four questions were addressed through the qualitative, quantitative, and cognitive analysis of data collected during an ethnographic study of architects working in their natural environment. The qualitative and quantitative analysis revealed that users missed many opportunities to use strategies that delegated iteration to the computer. The cognitive analysis revealed that missed opportunities to use such delegation strategies caused an increase in execution time, and an increase in errors many of which went undetected leading to the production of inaccurate drawings. These analyses pointed to plausible cognitive and contextual explanations for the inefficient use of CAD systems, and to a framework to identify and teach efficient CAD strategies. The above results were found to be neither unique to the CAD domain, nor to the office where the data were collected. The generality of these results motivated the identification of seven claims towards a general theory to explain and identify efficient strategies for a wide range of devices. This thesis contributes to the field of architecture by providing a detailed analysis of real-world CAD usage, and an approach to improve the performance of CAD users. The thesis also contributes to the field of human-computer interaction by demonstrating the generality of these results and by laying the framework for a general theory of efficient strategies which could be used to improve the performance of users of current and future computer applications.
series	thesis:PhD
email
last changed	2003/04/15 13:36

_id	705d
authors	Chen, C.L. Philip and Sen, Xie
year	1996
title	Freehand drawing system using a fuzzy logic concept
source	Computer-Aided Design, Vol. 28 (2) (1996) pp. 77-89
summary	A pen-based drawing system using a fuzzy logic concept has been developed. The Fuzzy Freehand Drawing System (FFDS) can infer human drawing intentions and generate the corresponding geometric primitivesand smooth B-spline curves. FFDS is a pen-based real time drawing system. On the basis of drawing position, speed, and acceleration information, FFDS establishes geometric primitives. Unintentional points areeliminated using fuzzy filtering rules. FFDS analyses the drawn curve with reference models, and obtains the corresponding possibilities. Fuzzy inference rules are used to recognize the correct model. Finally, thecorrect geometric primitives are drawn automatically.
keywords	Free Curves, Freehand Drawing, Fuzzy Logic
series	journal paper
last changed	2003/05/15 21:33

_id	413e
authors	Dalholm-Hornyansky, Elisabeth and Rydberg-Mitchell, Birgitta
year	1996
title	SPATIAL NAVIGATION IN VIRTUAL REALITY
source	Full-Scale Modeling in the Age of Virtual Reality [6th EFA-Conference Proceedings]
summary	For the past decade, we have carried out a number of participation projects using full-scale modeling as an aid for communication and design. We are currently participating in an interdisciplinary research project which aims to combine and compare various visualization methods and techniques, among others, full-scale modeling and virtual reality, in design processes with users. In this paper, we will discuss virtual reality as a design tool in light of previous experience with full-scale modeling and literature on cognitive psychology. We describe a minor explorative study, which was carried out to elucidate the answers to several crucial questions: Is realism in movement a condition for the perception of space or can it be achieved while moving through walls, floors and so forth? Does velocity of movement and reduced visual field have an impact on the perception of space? Are landmarks vital clues for spatial navigation and how do we reproduce them in virtual environments? Can “daylight“, color, material and texture facilitate navigation and are details, furnishings and people important objects of reference? How could contextual information clues, like views and surroundings, be added to facilitate orientation? Do we need our other senses to supplement the visual experience in virtual reality and what is the role of mental maps in spatial navigation?
keywords	Model Simulation, Real Environments
series	other
type	normal paper
email
more	http://info.tuwien.ac.at/efa/
last changed	2004/05/04 14:49

_id	b81d
authors	Davies, C. and Harrison, J.
year	1996
title	Osmose: Towards Broadening the Aesthetics of Virtual Reality
source	ACM Computer Graphics: Virtual Reality Volume 30, Number 4
summary	Osmose is an immersive virtual environment, produced by Softimage in 1994/95. One of the primary goals of Osmose was to push the expressive capabilities of existing 3D tools, to demonstrate that an alternative aesthetic and interactive sensibility is possible for real-time, interactive, 3D computer graphics. Osmose was created under the direction of Char Davies, the Director of Visual Research at Softimage. A former painter, as well as a creator of 3D computer graphic stills, Davies has a particular artistic vision which has driven the project. Davies has been striving for years to represent space as a luminous enveloping medium. This has led her from painting to 3D computer graphics, and finally into creating immersive virtual spaces. One of Davies' intentions for Osmose was to create a space that is "psychically innovating," one in which, to quote Bachelard, participants do not change "place," but change their own nature. Osmose was therefore designed to explore the potential of immersive virtual space to allow participants to shed their habitual ways of looking at (and behaving in) the world. By doing this, we hoped they would then emerge from the virtual world to experience the real world in a fresh way, reawakening a fundamental sense of their own "being-in-the-world." We hoped that this could be accomplished through the visual, aural and interactive aesthetic of the work.
series	journal paper
last changed	2003/04/23 15:50

_id	ddssar9604
id	ddssar9604
authors	Demir, Yueksel
year	1996
title	CAD Systems for early design phases or CAD systems for designers' early phases
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	Most of the problems, related with the use of CAD systems are the results of some general principles; the philosophy that, those systems are based on. Therefore, mainly the relation between these principles and early design phase performance of CAD systems and designers are discussed in this paper. The circumstances of novice CAD user architects in Turkey is considered first. In formation of the research, the knowledge gained during my personal experience based on real cases from the university (education, research) and practice (design, consulting) is used. Beside this the results of a survey including a serious of interviews projecting the opinions of the architects is used. Vendors of commonly used CAD systems were interviewed. In this manner to answer the main question about the relation of "CAD" and "early design phase" the answers of some following questions and facts were investigated: What means CAD for architects? What are the main purposes of using CAD? Are CAD systems sufficient to be used in early design phases in terms of either hardware and / or software, or should we say thinkware?. The advantages and disadvantages of using CAD. The target user fact and its consequences (the difference between general purpose systems and the sophisticated architectural systems). Should we adapt to computerized way of thinking? Is 3D a basic feature? What are the education related problems of CAD? Is software integration problem solved? Modularity concept for CAD systems. What is the minimum time, and the budget required for a start? The illegal software use problem Complaints, demands, needs and thanks of architects? Simply, what do architects expect from CAD during design process and particularly in early phases (both of design and designer)? Do CAD systems match this?
keywords	CAD, Information Technology, Office Automation
series	DDSS
last changed	2003/08/07 16:36

_id	ddssup9607
id	ddssup9607
authors	Gordon, T., Karacapilidis, N., Voss, H. and Zauke, A.
year	1996
title	Computer-Mediated Cooperative Spatial Planning
source	Timmermans, Harry (Ed.), Third Design and Decision Support Systems in Architecture and Urban Planning - Part two: Urban Planning Proceedings (Spa, Belgium), August 18-21, 1996
summary	Decision making on spatial planning problems has to integrate recent advancements on geographical information systems with a framework that supports fair, rational and efficient decision making procedures. Such a framework will assist government and businesses with the retrieval, use and reuse of information in cooperative, distributed planning procedures requiring access to spatial data. This paper gives an overview of a computer-mediated group decision support system for the World Wide Web, namely ZENO. The target is to provide intelligent assistance to human mediators and other kinds cf "trusted third parties" during the above procedures. The role of the system is to remain neutral and help assure that the interests and goals of all members of a group, regardless of their status, are respected and appreciated. In this paper, the system's features are illustrated with a retrospective model of a real urban planning example, concerning the allocation of a new technology park in the area of the city of Bonn, where more than eighty communities, local and federal authorities, and other organizations have been requested to submit their suggestions, objections and comments on a spatial planning problem.
series	DDSS
email
last changed	2003/08/07 16:36

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