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_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	0b25
authors	Gross , Mark D.
year	1996
title	Elements That Follow Your Rules: Constraint Based CAD Layout
doi	https://doi.org/10.52842/conf.acadia.1996.115
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 115-122
summary	The paper reports on CKB (Construction Kit Builder) a prototype CAD program that designers can program with positioning and assembly rules for layout of building elements. The program's premise is that designing can be understood as a process of making and following rules for the selection, position, and dimension of built and space elements. CKB operates at two distinct levels of design: the technical system designer, who makes the rules, and the end designer, who lays out the material and space elements to make a design. CKB supports two kinds of rules with constraint based programming techniques: grid and zone based position rules, and assembly rules that position elements with respect to one another. The paper discusses the rationale for CKB and describes its implementation.
series	ACADIA
email
last changed	2022/06/07 07:50

_id	ddssup9608
id	ddssup9608
authors	Gupta, M.K., Groves M. and Moran, J.D.
year	1996
title	An EMIC approach to design: Methodology for creating supportive environments for young children
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 responsibility of the designer is to understand the unique perspective of the users, in order to create functional and efficient environments. The task of creating supportive environments often becomes more difficult when there is discrepancy between the perspective of the designer and that of the user, which is the case when designing spaces for children. The interaction of children with their environment has been identified as the basis of their development Most of the previous research has focused on the perspectives that adults have of spaces for children (etic), rather than an understanding of the child's view as the primary user of the playspace (emic). Children's perceptions are influenced by their physical and cognitive perspectives thus posing a unique challenge for designers. The objective of this study was to learn about the perception and perspective of four-and five-year-olds of their favorite playspaces. The children needed to identify their favorite spaces and also be able to verbalize the activities and meanings associated with these spaces. To avoid adult bias at the onset, the idea of utilizing a Polaroid Captiva camera was formulated, facilitating an extremely short latency period between the child taking the pictures and the opportunity to talk about their favorite playspace. The process was extremely successful, and provides first hand insight into children's perception of their built environment Photographs taken by the young children include many spaces not designed for play. The emerging themes are a source of invaluable information for designers and planners for making informed design decisions and for creating supportive environments.
series	DDSS
email
last changed	2003/08/07 16:36

_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	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	40ee
authors	Biagini, Carlo
year	1996
title	CAAD in the Transformability Evaluation of Historical Buildingsof Historical Buildings
doi	https://doi.org/10.52842/conf.ecaade.1996.055
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 55-58
summary	In the execution of a research, which was intended to identify methods and instruments for transformability evaluation of historical buildings, CAAD was usefully employed in the decision-making process at different levels. From an operative point of view, it was fundamental instruments for the acquisition of typomorphological data inherent to pre-existent buildings. It allowed us to create an archive of information which can be easily and flexibly up-dated. In fact the critical evaluation of these buildings is based on the identification of structural patterns which have characterized the typological evolution of the urban structure, and thus the different historical stratifications have to be carefully catalogued, profoundly analyzed and compared one with the other. CAAD was even more effective during the phase of meta-designing checking concerning the choices effected for conversion of old buildings, since it was possible to prefigure different scenarios according to formulated hypotheses and this gave us the opportunity to evaluate their effective practicability in relation to typo- morphological congruence and logical and formal connection between the old building and new design proposals.
series	eCAADe
last changed	2022/06/07 07:54

_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	4931
authors	Breen, Jack
year	1996
title	Learning from the (In)Visible City
doi	https://doi.org/10.52842/conf.ecaade.1996.065
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 65-78
summary	This paper focuses on results and findings of an educational project, in which the participating students had to develop a design strategy for an urban plan by using and combining endoscopic and computational design visualisation techniques. This educational experiment attempted to create a link between the Media research programme titled 'Dynamic Perspective' and an educational exercise in design composition. It was conceived as a pilot study, aimed at the investigation of emerging applications and possible combinations of different imaging techniques which might be of benefit in architectural and urban design education and potentially for the (future) design practice. The aim of this study was also to explore the relationship between spatial perception and design simulation. The point of departure for the student exercise was an urban masterplan which the Dynamic Perspective research team prepared for the workshop 'the (in)visible city' as part of the 1995 European Architectural Endoscopy Association Conference in Vienna, Austria. The students taking part in the exercise were asked to develop, discuss and evaluate proposals for a given part of this masterplan by creating images through different model configurations using optical and computer aided visualisation techniques besides more traditional design media.The results of this project indicate that an active and combined use of visualisation media at a design level, may facilitate communication and lead to a greater understanding of design choices, thus creating insights and contributing to design decision-making both for the designers and for the other participants in the design process.
series	eCAADe
email
more	http://www.bk.tudelft.nl/Media/
last changed	2022/06/07 07:54

_id	c05e
authors	Brown, Andy and Nahab, May
year	1996
title	Human Interpretation of Computer Generated Architectural Images
source	Approaches to Computer Aided Architectural Composition [ISBN 83-905377-1-0] 1996, pp. 61-70
summary	The hardware and software used by architects to produce drawings and rendered images (static and dynamic) has advanced over the past decade to the point where it is now routine for architects to add rendered (and otherwise manipulated) images to the more routine 2D drawing as a product to convey the building to others. Although the 2D drawing (as plan section, elevation or detail) remains the fundamental and most prevalent kind of image being produced by architects, we regard it as timely to take stock of the effect of how we interpret the computer generated images that are being produced. We want to address the question of how humans, with a wide range of backgrounds and predispositions interpret such images. This paper takes previous studies which consider image interpretation and image generation by computer and begins to apply the techniques and jcndings to contemporary CAD image making.
keywords
series	other
email
last changed	1999/04/08 17:16

_id	7a20
id	7a20
authors	Carrara, G., Fioravanti, A.
year	2002
title	SHARED SPACE’ AND ‘PUBLIC SPACE’ DIALECTICS IN COLLABORATIVE ARCHITECTURAL DESIGN.
source	Proceedings of Collaborative Decision-Support Systems Focus Symposium, 30th July, 2002; under the auspices of InterSymp-2002, 14° International Conference on Systems Research, Informatics and Cybernetics, 2002, Baden-Baden, pg. 27-44.
summary	The present paper describes on-going research on Collaborative Design. The proposed model, the resulting system and its implementation refer mainly to architectural and building design in the modes and forms in which it is carried on in advanced design firms. The model may actually be used effectively also in other environments. The research simultaneously pursues an integrated model of the: a) structure of the networked architectural design process (operators, activities, phases and resources); b) required knowledge (distributed and functional to the operators and the process phases). The article focuses on the first aspect of the model: the relationship that exists among the various ‘actors’ in the design process (according to the STEP-ISO definition, Wix, 1997) during the various stages of its development (McKinney and Fischer, 1998). In Collaborative Design support systems this aspect touches on a number of different problems: database structure, homogeneity of the knowledge bases, the creation of knowledge bases (Galle, 1995), the representation of the IT datum (Carrara et al., 1994; Pohl and Myers, 1994; Papamichael et al., 1996; Rosenmann and Gero, 1996; Eastman et al., 1997; Eastman, 1998; Kim, et al., 1997; Kavakli, 2001). Decision-making support and the relationship between ‘private’ design space (involving the decisions of the individual design team) and the ‘shared’ design space (involving the decisions of all the design teams, Zang and Norman, 1994) are the specific topic of the present article. Decisions taken in the ‘private design space’ of the design team or ‘actor’ are closely related to the type of support that can be provided by a Collaborative Design system: automatic checks performed by activating procedures and methods, reporting of 'local' conflicts, methods and knowledge for the resolution of ‘local’ conflicts, creation of new IT objects/ building components, who the objects must refer to (the ‘owner’), 'situated' aspects (Gero and Reffat, 2001) of the IT objects/building components. Decisions taken in the ‘shared design space’ involve aspects that are typical of networked design and that are partially present in the ‘private’ design space. Cross-checking, reporting of ‘global’ conflicts to all those concerned, even those who are unaware they are concerned, methods for their resolution, the modification of data structure and interface according to the actors interacting with it and the design phase, the definition of a 'dominus' for every IT object (i.e. the decision-maker, according to the design phase and the creation of the object). All this is made possible both by the model for representing the building (Carrara and Fioravanti, 2001), and by the type of IT representation of the individual building components, using the methods and techniques of Knowledge Engineering through a structured set of Knowledge Bases, Inference Engines and Databases. The aim is to develop suitable tools for supporting integrated Process/Product design activity by means of a effective and innovative representation of building entities (technical components, constraints, methods) in order to manage and resolve conflicts generated during the design activity.
keywords	Collaborative Design, Architectural Design, Distributed Knowledge Bases, ‘Situated’ Object, Process/Product Model, Private/Shared ‘Design Space’, Conflict Reduction.
series	other
type	symposium
email
last changed	2005/03/30 16:25

_id	6279
id	6279
authors	Carrara, G.; Fioravanti, A.
year	2002
title	Private Space' and ‘Shared Space’ Dialectics in Collaborative Architectural Design
source	InterSymp 2002 - 14th International Conference on Systems Research, Informatics and Cybernetics (July 29 - August 3, 2002), pp 28-44.
summary	The present paper describes on-going research on Collaborative Design. The proposed model, the resulting system and its implementation refer mainly to architectural and building design in the modes and forms in which it is carried on in advanced design firms. The model may actually be used effectively also in other environments. The research simultaneously pursues an integrated model of the: a) structure of the networked architectural design process (operators, activities, phases and resources); b) required knowledge (distributed and functional to the operators and the process phases). The article focuses on the first aspect of the model: the relationship that exists among the various ‘actors’ in the design process (according to the STEP-ISO definition, Wix, 1997) during the various stages of its development (McKinney and Fischer, 1998). In Collaborative Design support systems this aspect touches on a number of different problems: database structure, homogeneity of the knowledge bases, the creation of knowledge bases (Galle, 1995), the representation of the IT datum (Carrara et al., 1994; Pohl and Myers, 1994; Papamichael et al., 1996; Rosenmann and Gero, 1996; Eastman et al., 1997; Eastman, 1998; Kim, et al., 1997; Kavakli, 2001). Decision-making support and the relationship between ‘private’ design space (involving the decisions of the individual design team) and the ‘shared’ design space (involving the decisions of all the design teams, Zang and Norman, 1994) are the specific topic of the present article. Decisions taken in the ‘private design space’ of the design team or ‘actor’ are closely related to the type of support that can be provided by a Collaborative Design system: automatic checks performed by activating procedures and methods, reporting of 'local' conflicts, methods and knowledge for the resolution of ‘local’ conflicts, creation of new IT objects/ building components, who the objects must refer to (the ‘owner’), 'situated' aspects (Gero and Reffat, 2001) of the IT objects/building components. Decisions taken in the ‘shared design space’ involve aspects that are typical of networked design and that are partially present in the ‘private’ design space. Cross-checking, reporting of ‘global’ conflicts to all those concerned, even those who are unaware they are concerned, methods for their resolution, the modification of data structure and interface according to the actors interacting with it and the design phase, the definition of a 'dominus' for every IT object (i.e. the decision-maker, according to the design phase and the creation of the object). All this is made possible both by the model for representing the building (Carrara and Fioravanti, 2001), and by the type of IT representation of the individual building components, using the methods and techniques of Knowledge Engineering through a structured set of Knowledge Bases, Inference Engines and Databases. The aim is to develop suitable tools for supporting integrated Process/Product design activity by means of a effective and innovative representation of building entities (technical components, constraints, methods) in order to manage and resolve conflicts generated during the design activity.
keywords	Collaborative Design, Architectural Design, Distributed Knowledge Bases, ‘Situated’ Object, Process/Product Model, Private/Shared ‘Design Space’, Conflict Reduction.
series	other
type	symposium
email
last changed	2012/12/04 07:53

_id	eb51
authors	Coyne, Richard
year	1996
title	CAAD, Curriculum and Controversy
doi	https://doi.org/10.52842/conf.ecaade.1996.121
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 121-130
summary	This paper brings some of the debate within educational theory to bear on CAAD teaching, outlining the contributions of conservatism, critical theory, radical hermeneutics and pragmatism. The paper concludes by recommending that CAAD teaching move away from conservative concepts of teaching, design and technology to integrate it into the studio. In a highly illuminating book on education theory, Shaun Gallagher (1991) outlines four current views on education that correspond to four major positions in contemporary social theory and philosophy. I will extend these categories to a consideration of attitudes to information technology, and the teaching of computing in architecture. These four positions are conservatism, critical theory, radical hermeneutics, and pragmatism. I will show how certain issues cluster around them, how each position provides the focus of various discursive practices, or intellectual conversations in contemporary thinking, and how information technology is caught up in those conversations. These four positions are not "cognitive styles," but vigorously argued domains of debate involving writers such as Gadamer, Habermas and Derrida about the theory of interpretation. The field of interpretation is known as hermeneutics, which is concerned less with epistemology and knowledge than with understanding. Interpretation theory applies to reading texts, interpreting the law, and appreciating art, but also to the application of any practical task, such as making art, drawing, defining and solving problems, and design (Coyne and Snodgrass, 1995). Hermeneutics provides a coherent focus for considering many contemporary issues and many domains of practice. I outline what these positions in education mean in terms of CAAD (computer-aided architectural design) in the curriculum.
series	eCAADe
email
more	http://www.caad.ac.uk/~richard
last changed	2022/06/07 07:56

_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	9a0d
authors	Debevec, P.E., Taylor, C.J. and Malik, J.
year	1996
title	Modeling and rendering architecture from photographs: a hybrid geometry- and image-based approach
source	SIGGRAPH'96, New Orleans, Louisiana
summary	We present a new approach for modeling and rendering existing architectural scenes from a sparse set of still photographs. Our modeling approach, which combines both geometry-based and imagebased techniques, has two components. The first component is a photogrammetricmodelingmethodwhich facilitates the recovery of the basic geometry of the photographed scene. Our photogrammetric modeling approach is effective, convenient, and robust because it exploits the constraints that are characteristic of architectural scenes. The second component is a model-based stereo algorithm, which recovers how the real scene deviates from the basic model. By making use of the model, our stereo technique robustly recovers accurate depth from widely-spaced image pairs. Consequently, our approach canmodel large architectural environmentswith far fewer photographs than current image-based modeling approaches. For producing renderings, we present view-dependent texture mapping, a method of compositing multiple views of a scene that better simulates geometric detail on basic models. Our approach can be used to recover models for use in either geometry-based or image-based rendering systems. We present results that demonstrate our approach's ability to create realistic renderings of architectural scenes from viewpoints far from the original photographs.
series	other
last changed	2003/04/23 15:50

_id	ddssar9605
id	ddssar9605
authors	Dijkstra, J., Roelen, W.A.H. and Timmermans, H.J.P.
year	1996
title	Conjoint measurement in virtual environment: a framework
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	Conjoint analysis (also called stated preference analysis) involves the use of designed hypothetical choice situations to measure individuals' preferences and predict their choice in new situations. Conjoint experiments involve the design and analysis of hypothetical decision tasks. Alternatives are described by their main features, called attributes. Multiple hypothetical alternatives (product profiles) are generated and presented to respondents, who are requested to express their degree of preference for these profiles. Conjoint experiments have become a popular tool to model individual preferences and decision-making in a variety of research areas. Most studies of conjoint analysis have involved a verbal description of product profiles, although some studies have used a pictorial presentation of product profiles. This paper describes a framework for a conjoint analysis system in a virtual environment. Product profiles are generated in a virtual environment and respondents are requested to choose in that virtual environment the product profile they prefer. Advantages of a virtual environment in this area of research include 3D presentation, improved experience and the possibility to include measurable attributes such as time and sound. This framework is a first attempt to explore the possibilities of virtual reality systems in conjoint analysis.
series	DDSS
last changed	2003/08/07 16:36

_id	90a7
authors	Eastman, C.M.
year	1996
title	Managing Integrity in Design Information Flows
source	Computer Aided Design (May, 1996). 28:6n, pp. 551-565
summary	The purpose of this work is to develop automatic methods of semantic integrity maintenance, in support of concurrent engineering. Semantic integrity relations in any final engineering design are built up incrementally, through the use of different computer applications. Here, the structure of these integrity relations are formalized for representation within a database. When changes to a design have to be made, they can invalidate integrity relations in other parts of the design. Formal methods are defined for identifying what data and integrity relations are invalidated by any change. Methods for making changes that minimize re-design are described and formalized. Opportunities for using semantic integrity to assess progress on a design are reviewed.
series	journal paper
email
last changed	2003/04/23 15:14

_id	819d
authors	Eiteljorg, H.
year	1988
title	Computing Assisted Drafting and Design: new technologies for old problems
source	Center for the study of architecture, Bryn Mawr, Pennsylvania
summary	In past issues of the Newsletter, George Tressel and I have written about virtual reality and renderings. We have each discussed particular problems with the technology, and both of us mentioned how compelling computer visualizations can be. In my article ("Virtual Reality and Rendering," February, 1995, Vol. 7, no. 4), I indicated my concerns about the quality of the scholarship and the level of detail used in making renderings or virtual worlds. Mr. Tressel (in "Visualizing the Ancient World," November, 1996, Vol. IX, no. 3) wrote about the need to distinguish between real and hypothetical parts of a visualization, the need to differentiate materials, and the difficulties involved in creating the visualizations (some of which were included in the Newsletter in black-and-white and on the Web in color). I am returning to this topic now, in part because the quality of the images available to us is improving so fast and in part because it seems now that neither Mr. Tressel nor I treated all the issues raised by the use of high-quality visualizations. The quality may be illustrated by new images of the older propylon that were created by Mr. Tressel (Figs. 1 - 3); these images are significantly more realistic than the earlier ones, but they do not represent the ultimate in quality, since they were created on a personal computer.
series	other
last changed	2003/04/23 15:50

_id	6dda
authors	Farin, Gerald E.
year	1996
title	Curves and Surfaces for Computer-aided Geometric Design
source	Morgan Kaufmann Publishers. San Francisco
summary	System requirements: IBM and compatibles with DOS 2.0 or higher or UNIX. This book offers an introduction to the field that emphasizes Bernstein-Bezier methods and presents subjects in an informal, readable style, making this an ideal text for an introductory course at the advanced undergraduate or graduate level. This 3rd edition includes several new section and numerical examples, a treatment of the new blossoming principle, and new C programs. All C programs are available on a disk included with the book. The Problems Sections at the end of each chapter have also been extended.
series	other
last changed	2003/04/23 15:14

_id	6e6a
authors	Gabova, Mariya
year	1996
title	About Multivariant Designing of Buildings with a Flexible Planning Structure
source	CAD Creativeness [Conference Proceedings / ISBN 83-905377-0-2] Bialystock (Poland), 25-27 April 1996 pp. 95-97
summary	During designing three-dimensional and spatial structure of the architectural object, computer program has a wide spectre of possibilities allowing to vary its parameters and create effective images for visual presentation. Besides the traditional ways of using the computer in order to perfect the architectural graphic ability during a compositional research, It is also very creative to develop new methods making the design process more effective in finding optimal solutions. The dynamics of social and economic relations in the contemporary society determined the flexibility and mobility of architectural object as a very important, especially for contemporary industrial architecture. The priority direction on this field is designing buildings with flexible planning spatial structure.
series	plCAD
last changed	1999/04/09 15:30

_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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