Cumincad : CUMINCAD Papers : Search Results

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

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_id	8e02
authors	Brown, A.G.P. and Coenen, F.P.
year	2000
title	Spatial reasoning: improving computational efficiency
source	Automation in Construction 9 (4) (2000) pp. 361-367
summary	When spatial data is analysed the result is often very computer intensive: even by the standards of contemporary technologies, the machine power needed is great and the processing times significant. This is particularly so in 3-D and 4-D scenarios. What we describe here is a technique, which tackles this and associated problems. The technique is founded in the idea of quad-tesseral addressing; a technique, which was originally applied to the analysis of atomic structures. It is based on ideas concerning Hierarchical clustering developed in the 1960s and 1970s to improve data access time [G.M. Morton, A computer oriented geodetic database and a new technique on file sequencing, IBM Canada, 1996.], and on atomic isohedral (same shape) tiling strategies developed in the 1970s and 1980s concerned with group theory [B. Grunbaum, G.C. Shephard, Tilings and Patterns, Freeman, New York, 1987.]. The technique was first suggested as a suitable representation for GIS in the early 1980s when the two strands were brought together and a tesseral arithmetic applied [F.C. Holdroyd, The Geometry of Tiling Hierarchies, Ars Combanitoria 16B (1983) 211–244.; S.B.M. Bell, B.M. Diaz, F.C. Holroyd, M.J.J. Jackson, Spatially referenced methods of processing raster and vector data, Image and Vision Computing 1 (4) (1983) 211–220.; Diaz, S.B.M. Bell, Spatial Data Processing Using Tesseral Methods, Natural Environment Research Council, Swindon, 1986.]. Here, we describe how that technique can equally be applied to the analysis of environmental interaction with built forms. The way in which the technique deals with the problems described is first to linearise the three-dimensional (3-D) space being investigated. Then, the reasoning applied to that space is applied within the same environment as the definition of the problem data. We show, with an illustrative example, how the technique can be applied. The problem then remains of how to visualise the results of the analysis so undertaken. We show how this has been accomplished so that the 3-D space and the results are represented in a way which facilitates rapid interpretation of the analysis, which has been carried out.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	7b57
authors	Chase, Scott Curland
year	1996
title	Modeling Designs with Shape Algebras and Formal Logic
source	University of California
summary	A formal, hierarchical model of shape, spatial relations and non-spatial properties is presented, constructed from first principles of geometry, topology and logic. The combination of the two major paradigms used here, shape algebras and logic, is one which has been largely unexplored. The underlying interest is the development of generalized design modeling systems in which the components may be used for a variety of synthesis and recognition problems. The algebras of shape described by Stiny have been shown to be useful in the generation and analysis of designs. The generality of their representations, their non-reliance upon predetermined structure, and their use in combination provide a richness of expression lacking in more traditional representations. The use of formal logic as a specification tool for modeling spatial relations is investigated here. Logic has proven itself useful as a programming and specification tool, providing advantages over traditional procedural programming methods. Among those is the ability to specify the knowledge to be encapsulated in a model without the need to specify data manipulation procedures. It is argued that specification in logic provides a natural method of development. The model is developed by extending the formalisms of shape algebras with the use of logic to make more precise, generalized, parametric definitions of shape and spatial relations than has been previously possible. The value of such a model is demonstrated by the use of these generalized spatial relations for solving typical problems in the fields of geographic information systems and architecture. The advantages of the representations used over more traditional 'kit-of-parts' models is also illustrated.
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	ddssar9608
id	ddssar9608
authors	Emdanat, S.S. and Vakalo, E.-G.
year	1996
title	Shape grammars: a critical review and some thoughts
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	Shape grammars are generative formalisms that produce shapes in specified styles. Little critical work has been done to examine the assumptions that shape grammar researchers make about architectural form and its generation, the methodology they employ, the underlying formalism they use, and consequently the adequacy of this formalism to describe architectural form. After establishing the criteria for evaluating the adequacy of a given generative formalism, this paper applies them to the evaluation of the shape grammar formalism. The paper demonstrates that, in its present state, shape grammar leaves a great deal to be desired in terms of its descriptive power and its generalizability. The paper concludes by exploring some of the desired characteristics for languages of architectural form.
series	DDSS
last changed	2003/08/07 16:36

_id	e212
authors	Faltings, Boi and Sun, Kun
year	1996
title	FAMING: supporting innovative mechanism shape design
source	Computer-Aided Design, Vol. 28 (3) (1996) pp. 207-216
summary	A popular saying claims that `innovation is 1% inspiration and 99% perspiration'. In this paper, we present a method for automating most of the perspiration involved in innovative design. We restrict our attention toinnovative design processes which can be structured into three steps: discovery of a new technique, understanding it, and generalising it to fit the problem at hand. The method we developed automates theunderstanding and generalisation phases which involve most of the perspiration.We present the FAMING system which demonstrates the method for the design of part shapes in 2D elementary mechanisms, also called kinematic pairs. We believe that the results are generalisable to otherdomains with similar characteristics, in particular any problem where geometry plays an important role.
keywords	Intelligent CAD, Qualitative Reasoning, Case-Based Reasoning
series	journal paper
last changed	2003/05/15 21:33

_id	ddss2008-02
id	ddss2008-02
authors	Gonçalves Barros, Ana Paula Borba; Valério Augusto Soares de Medeiros, Paulo Cesar Marques da Silva and Frederico de Holanda
year	2008
title	Road hierarchy and speed limits in Brasília/Brazil
source	H.J.P. Timmermans, B. de Vries (eds.) 2008, Design & Decision Support Systems in Architecture and Urban Planning, ISBN 978-90-6814-173-3, University of Technology Eindhoven, published on CD
summary	This paper aims at exploring the theory of the Social Logic of Space or Space Syntax as a strategy to define parameters of road hierarchy and, if this use is found possible, to establish maximum speeds allowed in the transportation system of Brasília, the capital city of Brazil. Space Syntax – a theory developed by Hillier and Hanson (1984) – incorporates the space topological relationships, considering the city shape and its influence in the distribution of movements within the space. The theory’s axiality method – used in this study – analyses the accessibility to the street network relationships, by means of the system’s integration, one of its explicative variables in terms of copresence, or potential co-existence between the through-passing movements of people and vehicles (Hillier, 1996). One of the most used concepts of Space Syntax in the integration, which represents the potential flow generation in the road axes and is the focus of this paper. It is believed there is a strong correlation between urban space-form configuration and the way flows and movements are distributed in the city, considering nodes articulations and the topological location of segments and streets in the grid (Holanda, 2002; Medeiros, 2006). For urban transportation studies, traffic-related problems are often investigated and simulated by assignment models – well-established in traffic studies. Space Syntax, on the other hand, is a tool with few applications in transport (Barros, 2006; Barros et al, 2007), an area where configurational models are considered to present inconsistencies when used in transportation (cf. Cybis et al, 1996). Although this is true in some cases, it should not be generalized. Therefore, in order to simulate and evaluate Space Syntax for the traffic approach, the city of Brasília was used as a case study. The reason for the choice was the fact the capital of Brazil is a masterpiece of modern urban design and presents a unique urban layout based on an axial grid system considering several express and arterial long roads, each one with 3 to 6 lanes,
keywords	Space syntax, road hierarchy
series	DDSS
last changed	2008/09/01 17:06

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

_id	2790
authors	Mon Chu
year	1996
title	A Symbolic/Neural Hybrid Approach to Emergent Subshape Recognition
source	CAADRIA ‘96 [Proceedings of The First Conference on Computer Aided Architectural Design Research in Asia / ISBN 9627-75-703-9] Hong Kong (Hong Kong) 25-27 April 1996, pp. 191-198
doi	https://doi.org/10.52842/conf.caadria.1996.191
summary	Recognizing emergent subshape is one kind of human visual behaviour. People usually recognize several distinct emergent subshapes from primary shapes and give them different interpretations. This paper presents a symbolic/connectionist hybrid system to provide computers the ability of this kind. Through this approach, the recognition system is divided into three modules. Source images are sent to the first module, that is a connectionist network, of the hybrid system. The network is responsible for transforming the source image into abstract visual data, named Pre-attention Distribution and Local Feature Information. Then, the abstract visual data are processed in the second module that is a symbolic subsystem. The subsystem is responsible for making decision in the Visual Search Attention processes and for managing the features of the whole shape. Finally, another connectionist network takes the previous results from the symbolic subsystem and performs the final recognition.
series	CAADRIA
last changed	2022/06/07 07:58

_id	a026
authors	Nagakura, Takehiko
year	1996
title	Form Processing: A System for Architectural Design
source	Harvard University
summary	This thesis introduces a new approach to developing software for formal synthesis in architectural design. It presents theoretical foundations, describes prototype specifications for computable implementation, and illustrates some examples. The approach derives from the observation that architects explore ideas through the use of sequences of drawings. Architects derive each drawing in a sequence from its predecessor by executing some transformation on a portion of the drawing. Thus, a formal design state is established by a sequence of drawings with historical information about their construction through progressive transformations. The proposed system allows an architect to develop a design in three ways. First, a new transformation can be added to a current sequence of drawings. Second, existing sequences can be edited by exchanging their subset sequences. Third, an existing sequence can be revised parametrically by assigning new values to its design variables. The system implements scripts that specify categories of shapes and transformations between any two shape categories. When an instance of a shape category is found in a design, a transformation can replace it with an instance of another shape category. Recursive application of a given set of transformations to an initial shape instance produces a sequence of drawings that represents a formal design state. The system encodes this formal design state as an assembly of all the shape instances used and their relationships (nesting, emergent and replacement). Furthermore, this assembly, called a construction graph, allows the existing sequences to be edited efficiently by exchanging subsets and to be revised parametrically. The advantage of this approach as demonstrated in the examples is that it allows intuitive, rapid and interactive construction of complex designs. Moreover, design knowledge can be captured by scripts that depict heuristic shapes and transformations as well as by assembled construction graphs which depict cases of formal design. Such a reusable and expandable knowledge base is essential for assisting disciplined and creative architectural design.
keywords	Computer Software Development; Architectural Design; Data Processing
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	a32f
authors	Qamhiyah, A.Z., Venter, R.D. and Benhabib, B.
year	1996
title	Geometric reasoning for the extraction of form features
source	Computer-Aided Design, Vol. 28 (11) (1996) pp. 887-903
summary	The primary limitation of feature-recognition approaches, namely their lack of generalization, has been addressed by the development of feature-extraction techniques. This paper presents a boundary-based procedurefor the sequential extraction of form features from CAD models of objects with planar surfaces. An object is viewed as an initial basic shape that has been iteratively altered through the introduction of form features.Form features are first classified based on their effect in changing a basic shape. Geometric reasoning is then used to obtain generalized properties of the form-features' classes. Finally, form-features' classes aresequentially extracted based on the obtained properties.
keywords	CAD, Form-Feature, Feature Extraction
series	journal paper
last changed	2003/05/15 21:33

_id	c6dd
authors	Fruchter, Renate
year	1996
title	COMPUTER INTEGRATED ARCHITECTURE/ENGINEERING/CONSTRUCTION PROJECT-CENTERED LEARNING ENVIRONMENT
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 227-234
doi	https://doi.org/10.52842/conf.acadia.1996.227
summary	This paper describes an on-going effort, initiated at Stanford's Civil Engineering Department, to develop, implement, and test a new and innovative "Computer Integrated Architecture./Engineering/Construction" (A/E/C) course. The course takes a multi-site, cross- disciplinary, project-centered, team-oriented approach to teaching. The paper presents the motivation, methodology, computational infrastructure, and initial observations in the experimental A/E/C course. The course is sponsored by NSF Synthesis Coalition and is the result of the collaborative effort of faculty and researchers from Civil Engineering Department at Stanford University, and Architecture Department and Civil Engineering Department, at UC Berkeley. In this computer integrated A/EIC environment a new generation of architecture, engineering, construction students learns how to team up with other disciplines and the advantage of the emerging information technologies for collaborative work in order to design and build higher quality buildings faster.
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:50

_id	c8c8
authors	Hendricx, A., Neuckermans, H., Vandevyvere, H. and Nuyts, K.
year	1996
title	CAAD in Pedagogical Practice
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 199-210
doi	https://doi.org/10.52842/conf.ecaade.1996.199
summary	The course on CAAD at the KU Leuven is part of the course on design methodology and theory from which it is the most recent and natural extension. Attached to this course a series of assignments has been developed which bring the students in 45 hours to a non-trivial level of acquaintance with CAAD. Our assignments are primarily directed towards practice. They are built on top of AutoCAD to which we have added in-house developments in order to focus on specific pedagogical goals within a very limited time. After a general introduction on Windows (file management) and AutoCAD (basics) students make the following assignments (main pedagogical goals in between brackets). colophon (working with blocks), detail (2D-drawing, hatching, editing), facade design using a built-in system of proportion (slides, scriptfile), extraction (linking alphanumerical and graphical entities), container (level of detail, icon menus, viewports), surface modelling (modelling 3D-objects with surfaces), fractal tree (recursion in Autolisp), solid modelling (Leicester engineering building), lighting (integration of drawing and computation of illumination levels), pressure lines in an arc (interactive design of an arc), demos. The paper presents and comments these assignments and shows results from the last 2 years.
series	eCAADe
email
last changed	2022/06/07 07:49

_id	maver_088
id	maver_088
authors	Henriques, P., Maver, T. and Retik, A.
year	1996
title	Integration of Cost Planning in the Architectural Design of Housing - "CP/CAD Model"
source	Application of the Performance Concept in Building (Ed: R Becker), vol 1, 2: 105-114
summary	Cost estimation in the initial phases of a project is of great interest to the construction industry. This paper proposes a new way of the integration of an architectural project and its cost estimate so as to optimise the design solutions, according to technical and economic criteria. This work explores the capacity of an elemental cost estimation method for residential buildings, when integrated with Computer Aided Design systems, to increase cost estimate precision during the early stages of design. A Cost Planning and CAD model (CP/CAD) is developed by the integration of a database and a CAD system which provides for the automatic exchange of information relative to the geometric layout of the building, the construction element build-up and the construction costs of the same. Finally the CP/CAD model is tested through the estimation of costs for some theoretical cases and also for a group of one-family houses with similar architectural characteristics. The results show the increased precision and the advantages of the model for cost estimation in the early design stages.
series	other
type	normal paper
email
last changed	2015/02/20 11:37

_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	e09a
authors	Rüdiger, Bjarne
year	1996
title	The Masonry House Raised as an Exhibition and Information Building
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 387-390
doi	https://doi.org/10.52842/conf.ecaade.1996.387
summary	At many schools of architecture the studies are directed to practical, professional use, and this fact results in different attitudes. But normally, it will be so that the longer the student goes in the study the more aspects from practice will be involved. Therefore, the studies passes from the work with the design itself and the more artistic sides to the work with planning and production. The basis of the educational progress and the professional level is research and development. Within CAD it is important that this research develops as well the theoretical foundation and includes experience in the practical use. An attitude which prioritizes the practical qualifications late in the studies has of course an effect in the CAD instruction. Tendencies to consider the computer to be a tool of drawing and visualization will dominate, and the work with structuralized information models for a general documentation has had minor interest until now, and this also includes the use of professional applications developed from different conventions in support of collaboration and quality control. The dialogue between the environment of education and research on one hand and the professional business in practice must be considered important for the developing process in the use of CAD and for the building of usable IT models. The work with "The Masonry House" and later "The Building Trade House" tries to expose how a deliberate structuralization of the CAD model early in the sketching- and planning process can support as well the more esthetic estimates as the building technology documentation. And also point out the professional qualifications bound up with 11 to be integrated in the study course.
series	eCAADe
email
last changed	2022/06/07 07:56

_id	31f5
authors	Alfares, M. and Seireg, A.
year	1996
title	An integrated system for computer-aided design and construction of reinforced concrete buildings using modular forms
source	Automation in Construction 5 (4) (1996) pp. 323-341
summary	The study reported in this paper investigates the feasibility of automating the on-site construction of reinforced concrete residential buildings. The basic construction tasks are identified, analyzed and modified with a view towards potential for automation. Emphasis is placed on developing modular forms that facilitate automation. The majority of work in the field of construction robotics has focused on the adaptation of existing industrial robots to automate traditional construction processes. This paper outlines a computer-aided construction system approach specially suited for integrating design and implementation by on-site robots. A Computer-Integrated Construction (CIC) system, similar to CIM, is developed that includes a CIC data-base, a construction design system, a construction production/process planning system, and a robotics execution system. This approach is intended to minimize the redesign effort as well as the need for on-site manual work.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	0adc
authors	Glanville, R.
year	1996
title	Communication without Coding: Cybernetics, Meaning and Language (How Language, becoming a System, Betrays itself)
source	Modern Language Notes, Vol 111, no 3 (ad Wellbery, D)
summary	In this essay communication is considered as a cybernetic system in which two participants (the representer and the representee) share a representation (made up of a representing and a represented), each constructing his own meaning from the identity of the representing and the represented in the representation in the form of a conversation. Meaning, in this context, is not seen as lying in any part of the representation. This system is modified so as to incorporate a meta- and a subconversation which allow the participants in the conversation to negociate agreement more effectively, and to better handle error. Types of agreement are examined, as is the conversation as a source of novelty. Further pragmatic considerations are introduced such that a series of agreements may allow it to appear that there is, after all, meaning in the act of representation, although this is always a matter of "as if". Certain consequences of this cybernetic system are developed and some of the prerequisites for such a system to exist are explored. Possible tests (and the value of such testing) are considered.
series	other
email
last changed	2003/04/23 15:50

_id	aa7c
authors	Amirante, M. Isabella and Burattini, Ernesto
year	1996
title	Automatic Procedures for Bio-Climatic Control
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 29-40
doi	https://doi.org/10.52842/conf.ecaade.1996.029
summary	The experiences illustrated here are related to the new regulation of teaching architecture in Italy and these ones in particular have been concentrated on the technological aspects of teaching architecture. We can consider the evolution of the architect from the individual operator to the manager multi- disciplinary aspects of the building process ( building process manager) as a reality today. Information technology, specifically applied to bio-climatic architecture and environmental control, can be of great importance for this professional role, and for this reason it is very useful to include these topics at the beginning the teaching design process. This paper describes a particular approach to bio-climatic problems of the architectural project. An experimental course has been performed by the second year students of the "Laboratorio di Construzione dell' Architettura", at the School of Architecture of the Second University of Naples, in Aversa. Analysing old and new buildings, they used some flow charts for the evaluation and representation of energetic behaviour of buildings regarding their climatic and geographical environment. In the flow charts the decisions are represented by boxes that allow to determine "rightness index" related to: morphological characters of the site and environment, typology and particular organisation of the inside spaces, shape of building, technological solution of the building "skin". The navigation through the decision boxes is made with simple options like; "winds: protected or exposed site", "shape of building; free, close or cross plane", "presence of trees on the south,; yes or not",; it shows the students the bio-climatic quality of the building and, through numeric value assigned to each option, determines the "weight" of its climatic comfort.
series	eCAADe
last changed	2022/06/07 07:54

_id	d5c8
authors	Angelo, C.V., Bueno, A.P., Ludvig, C., Reis, A.F. and Trezub, D.
year	1999
title	Image and Shape: Two Distinct Approaches
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 410-415
summary	This paper is the result of two researches done at the district of Campeche, Florianópolis, by the Grupo PET/ARQ/UFSC/CAPES. Different aspects and conceptual approaches were used to study the spatial attributes of this district located in the Southern part of Santa Catarina Island. The readings and analysis of two researches were based on graphic pistures builded with the use of Corel 7.0 e AutoCadR14. The first research – "Urban Development in the Island of Santa Catarina: Public Space Study"- examined the urban structures of Campeche based on the Spatial Syntax Theory developed by Hillier and Hanson (1984) that relates form and social appropriation of public spaces. The second research – "Topoceptive Characterisation of Campeche: The Image of a Locality in Expansion in the Island of Santa Catarina" -, based on the methodology developed by Kohlsdorf (1996) and also on the visual analysis proposed by Lynch (1960), identified characteristics of this locality with the specific goal of selecting attributes that contributed to the ideas of the place its population held. The paper consists of an initial exercise of linking these two methods in order to test the complementarity of their analytical tools. Exemplifying the analytical procedures undertaken in the two approaches, the readings done - global (of the locality as a whole) and partial (from parts of the settlement) - are presented and compared.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	ddssup9603
id	ddssup9603
authors	Bach, Boudewijn and MacGillivray, Trina
year	1996
title	Semi-manual design support for increasing railwaystation catchment & sustainable traffic routing
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 shape ('configuration'), location and direction of the pattern of potential trips by foot or bicycle can help decision makers and designers:- the shape of such a pattern informs about the potential size of a traffic calming area(such as 30Km-zoning),- the location of such a pattern refers to the user-groups and specific destinations that a urban network should bring in safe reach for dictated groups,- the direction of such a pattern, together with shape and location, points to the best routing to raise the Sustainable Traffic Modal Split or to improve the reach of destinations like a railway-station.The patters can be generated from zip-code's of user-groups with obvious and daily destinations (school-children, rail-passengers). The next step confronts the theoretical pattern with the layout of streets and the traffic flow, mapping or listing (potential) confrontations between cars and the non-motorised modes, a basis for economical investment in traffic-safety.A design can 'model' the analysed pattern(s) to a economic, direct and safe base (cycle or pedestrian) network. In co-operation, the Dutch the traffic consultant "Verkeersadviesbureau Diepens & Okkema" in Delft, The Netherlands and the Faculty of Architecture, Delft University of Technology, in Delft, The Netherlands, develloped the semi-manual design & decision support system "STAR-Analysis"
series	DDSS
last changed	2003/11/21 15:16

_id	275b
authors	Chase, Scott C.
year	1996
title	Design Modeling With Shape Algebras and Formal Logic
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 99-113
doi	https://doi.org/10.52842/conf.acadia.1996.099
summary	A new method of describing designs by combining the paradigms of shape algebras and predicate logic representations is presented. Representing shapes and spatial relations in logic provides a natural, intuitive method of developing complete computer systems for reasoning about designs. The advantages of shape algebra formalisms over more traditional representations of geometric objects are discussed. The method employed involves the definition of a large set of high level design relations from a small set of simple structures and spatial relations. Examples in architecture and geographic information systems are illustrated.
series	ACADIA
email
last changed	2022/06/07 07:55

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