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

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_id	ddssar9638
id	ddssar9638
authors	Bax, M.F.Th. and Trum, H.M.G.J.
year	1996
title	A Conceptual Model for Concurrent Engineering in Building Design according to Domain Theory
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	Concurrent engineering is a design strategy in which various designers participate in a co-ordinated parallel process. In this process series of functions are simultaneously integrated into a common form. Processes of this type ask for the identification, definition and specification of relatively independent design fields. They also ask for specific design knowledge designers should master in order to participate in these processes. The paper presents a conceptual model of co-ordinated parallel design processes in which architectural space is simultaneously defined in the intersection of three systems: a morphological or level-bound system, a functional or domain-bound system and a procedural or phase-bound system. Design strategies for concurrent engineering are concerned with process design, a design task which is comparable to the design of objects. For successfully accomplishing this task, knowledge is needed of the structural properties of objects and systems; more specifically of the morphological, functional and procedural levels which condition the design fields from which these objects emerge, of the series of generic forms which condition their appearance and of the typological knowledge which conditions their coherence in the overall process.
series	DDSS
last changed	2003/11/21 15:16

_id	b0d8
authors	Bourdakis, V.
year	1996
title	From CAAD to VRML: London Case Study
source	The 3rd UK VRSIG Conference Full Paper Proceedings, De Montfort University
summary	In this paper, the suitability and usability of VRML for urban modelling is discussed based on the experience gained by the creation of urban models of varying sizes, level of detail and use. Areas where the current VRML specification is failing to satisfy the needs of large-scale urban modelling are highlighted. Properties of a successful alternative or VRML3.0 specification are suggested and briefly discussed.
series	other
email
last changed	2003/11/21 15:16

_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	e9e4
authors	Chevrier, C.
year	1996
title	Handling interactions between real and virtual worlds
source	Proceedings of the International Conference Computer Graphics International’96, pp. 115-125
summary	When compositing computer generated images and photographs or video images, interactions between real and virtual worlds must be taken into account in order to have a good visual result. These interactions are of three kinds: occluding object determination, specular inter-reflection and shadow computation. We first determine which real objects need to be geometrically and/or photometrically modelled for the three sets of interactions. Indeed, not all real surfaces need to be kept for the simulation and rendering steps. The unuseful real surfaces would just increase the rendering time. A rough photometric model can be sufficient for the surface properties, but colour computation has to be made in a particular colour model. Then for each kind of interactions, we take the real surfaces into account in a view-independent illumination step or in the rendering step.
series	other
last changed	2003/04/23 15:14

_id	2ca3
authors	Curless, Brian and Levoy, Marc
year	1996
title	A Volumetric Method for Building Complex Models from Range Images
source	Stanford University
summary	A number of techniques have been developed for reconstructing surfaces by integrating groups of aligned range images. A desirable set of properties for such algorithms includes: incremental updating, representation of directional uncertainty, the ability to fill gaps in the reconstruction, and robustness in the presence of outliers. Prior algorithms possess subsets of these properties. In this paper, we present a volumetric method for integrating range images that possesses all of these properties. Our volumetric representation consists of a cumulative weighted signed distance function. Working with one range image at a time, we first scan-convert it to a distance function, then combine this with the data already acquired using a simple additive scheme. To achieve space efficiency, we employ a run-length encoding of the volume. To achieve time efficiency, we resample the range image to align with the voxel grid and traverse the range and voxel scanlines synchronously. We generate the final manifold by extracting an isosurface from the volumetric grid. We show that under certain assumptions, this isosurface is optimal in the least squares sense. To fill gaps in the model, we tessellate over the boundaries between regions seen to be empty and regions never observed. Using this method, we are able to integrate a large number of range images (as many as 70) yielding seamless, high-detail models of up to 2.6 million triangles.
series	other
last changed	2003/04/23 15:50

_id	db00
authors	Espina, Jane J.B.
year	2002
title	Base de datos de la arquitectura moderna de la ciudad de Maracaibo 1920-1990 [Database of the Modern Architecture of the City of Maracaibo 1920-1990]
source	SIGraDi 2002 - [Proceedings of the 6th Iberoamerican Congress of Digital Graphics] Caracas (Venezuela) 27-29 november 2002, pp. 133-139
summary	Bases de datos, Sistemas y Redes 134The purpose of this report is to present the achievements obtained in the use of the technologies of information andcommunication in the architecture, by means of the construction of a database to register the information on the modernarchitecture of the city of Maracaibo from 1920 until 1990, in reference to the constructions located in 5 of Julio, Sectorand to the most outstanding planners for its work, by means of the representation of the same ones in digital format.The objective of this investigation it was to elaborate a database for the registration of the information on the modernarchitecture in the period 1920-1990 of Maracaibo, by means of the design of an automated tool to organize the it datesrelated with the buildings, parcels and planners of the city. The investigation was carried out considering three methodologicalmoments: a) Gathering and classification of the information of the buildings and planners of the modern architectureto elaborate the databases, b) Design of the databases for the organization of the information and c) Design ofthe consultations, information, reports and the beginning menu. For the prosecution of the data files were generated inprograms attended by such computer as: AutoCAD R14 and 2000, Microsoft Word, Microsoft PowerPoint and MicrosoftAccess 2000, CorelDRAW V9.0 and Corel PHOTOPAINT V9.0.The investigation is related with the work developed in the class of Graphic Calculation II, belonging to the Departmentof Communication of the School of Architecture of the Faculty of Architecture and Design of The University of the Zulia(FADLUZ), carried out from the year 1999, using part of the obtained information of the works of the students generatedby means of the CAD systems for the representation in three dimensions of constructions with historical relevance in themodern architecture of Maracaibo, which are classified in the work of The Other City, generating different types ofisometric views, perspectives, representations photorealistics, plants and facades, among others.In what concerns to the thematic of this investigation, previous antecedents are ignored in our environment, and beingthe first time that incorporates the digital graph applied to the work carried out by the architects of “The Other City, thegenesis of the oil city of Maracaibo” carried out in the year 1994; of there the value of this research the field of thearchitecture and computer science. To point out that databases exist in the architecture field fits and of the design, alsoweb sites with information has more than enough architects and architecture works (Montagu, 1999).In The University of the Zulia, specifically in the Faculty of Architecture and Design, they have been carried out twoworks related with the thematic one of database, specifically in the years 1995 and 1996, in the first one a system wasdesigned to visualize, to classify and to analyze from the architectural point of view some historical buildings of Maracaiboand in the second an automated system of documental information was generated on the goods properties built insidethe urban area of Maracaibo. In the world environment it stands out the first database developed in Argentina, it is the database of the Modern andContemporary Architecture “Datarq 2000” elaborated by the Prof. Arturo Montagú of the University of Buenos Aires. The general objective of this work it was the use of new technologies for the prosecution in Architecture and Design (MONTAGU, Ob.cit). In the database, he intends to incorporate a complementary methodology and alternative of use of the informationthat habitually is used in the teaching of the architecture. When concluding this investigation, it was achieved: 1) analysis of projects of modern architecture, of which some form part of the historical patrimony of Maracaibo; 2) organized registrations of type text: historical, formal, space and technical data, and graph: you plant, facades, perspectives, pictures, among other, of the Moments of the Architecture of the Modernity in the city, general data and more excellent characteristics of the constructions, and general data of the Planners with their more important works, besides information on the parcels where the constructions are located, 3)construction in digital format and development of representations photorealistics of architecture projects already built. It is excellent to highlight the importance in the use of the Technologies of Information and Communication in this investigation, since it will allow to incorporate to the means digital part of the information of the modern architecturalconstructions that characterized the city of Maracaibo at the end of the XX century, and that in the last decades they have suffered changes, some of them have disappeared, destroying leaves of the modern historical patrimony of the city; therefore, the necessity arises of to register and to systematize in digital format the graphic information of those constructions. Also, to demonstrate the importance of the use of the computer and of the computer science in the representation and compression of the buildings of the modern architecture, to inclination texts, images, mapping, models in 3D and information organized in databases, and the relevance of the work from the pedagogic point of view,since it will be able to be used in the dictation of computer science classes and history in the teaching of the University studies of third level, allowing the learning with the use in new ways of transmission of the knowledge starting from the visual information on the part of the students in the elaboration of models in three dimensions or electronic scalemodels, also of the modern architecture and in a future to serve as support material for virtual recoveries of some buildings that at the present time they don’t exist or they are almost destroyed. In synthesis, the investigation will allow to know and to register the architecture of Maracaibo in this last decade, which arises under the parameters of the modernity and that through its organization and visualization in digital format, it will allow to the students, professors and interested in knowing it in a quicker and more efficient way, constituting a contribution to theteaching in the history area and calculation. Also, it can be of a lot of utility for the development of future investigation projects related with the thematic one and restoration of buildings of the modernity in Maracaibo.
keywords	database, digital format, modern architecture, model, mapping
series	SIGRADI
email
last changed	2016/03/10 09:51

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

_id	b6a7
authors	Jensen, K.
year	1996
title	Coloured Petri Nets: Basic Concepts
source	2nd ed., Springer Verlag, Berlin
summary	This book presents a coherent description of the theoretical and practical aspects of Coloured Petri Nets (CP-nets or CPN). It shows how CP-nets have been developed - from being a promising theoretical model to being a full-fledged language for the design, specification, simulation, validation and implementation of large software systems (and other systems in which human beings and/or computers communicate by means of some more or less formal rules). The book contains the formal definition of CP-nets and the mathematical theory behind their analysis methods. However, it has been the intention to write the book in such a way that it also becomes attractive to readers who are more interested in applications than the underlying mathematics. This means that a large part of the book is written in a style which is closer to an engineering textbook (or a users' manual) than it is to a typical textbook in theoretical computer science. The book consists of three separate volumes. The first volume defines the net model (i.e., hierarchical CP-nets) and the basic concepts (e.g., the different behavioural properties such as deadlocks, fairness and home markings). It gives a detailed presentation of many small examples and a brief overview of some industrial applications. It introduces the formal analysis methods. Finally, it contains a description of a set of CPN tools which support the practical use of CP-nets. Most of the material in this volume is application oriented. The purpose of the volume is to teach the reader how to construct CPN models and how to analyse these by means of simulation. The second volume contains a detailed presentation of the theory behind the formal analysis methods - in particular occurrence graphs with equivalence classes and place/transition invariants. It also describes how these analysis methods are supported by computer tools. Parts of this volume are rather theoretical while other parts are application oriented. The purpose of the volume is to teach the reader how to use the formal analysis methods. This will not necessarily require a deep understanding of the underlying mathematical theory (although such knowledge will of course be a help). The third volume contains a detailed description of a selection of industrial applications. The purpose is to document the most important ideas and experiences from the projects - in a way which is useful for readers who do not yet have personal experience with the construction and analysis of large CPN diagrams. Another purpose is to demonstrate the feasibility of using CP-nets and the CPN tools for such projects. Together the three volumes present the theory behind CP-nets, the supporting CPN tools and some of the practical experiences with CP-nets and the tools. In our opinion it is extremely important that these three research areas have been developed simultaneously. The three areas influence each other and none of them could be adequately developed without the other two. As an example, we think it would have been totally impossible to develop the hierarchy concepts of CP-nets without simultaneously having a solid background in the theory of CP-nets, a good idea for a tool to support the hierarchy concepts, and a thorough knowledge of the typical application areas.
series	other
last changed	2003/04/23 15:14

_id	ddssar9620
id	ddssar9620
authors	Koutamanis, Alexander
year	1996
title	Elements and coordinating devices in architecture: An initial formulation
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	Design representations of the built environment are essentially atomistic. A design is represented by its atomic components which may vary according to abstraction level, their properties and, if possible, their relationships. The utility of such representations has been amply demonstrated in academic research. However, the transition to practice means a substantial growth of the size of these representations in order to cover the many abstraction levels and the multiple aspects involved in the design and the management of the built environment. In most cases the complexity of larger representations renders them unmanageable for both computers and humans. The paper outlines an approach which enriches the atomistic basis of the representation with connected but independent coordinating devices. This facilitates the transformation of the basic relational representations into multilevel structures where each level corresponds to different aspects and abstraction scales. Coordinating devices are instrumental for the representation of multilateral relationships and abstract spatial schemata which precede or supersede the placement and arrangement of elements.
series	DDSS
last changed	2003/08/07 16:36

_id	8832
authors	MacCallum, C. and Hanna, R.
year	1996
title	DEFLECT: A Computer Aided Learning Package For Teaching Structural Design
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 253-262
doi	https://doi.org/10.52842/conf.ecaade.1996.253
summary	The teaching of structures and its integration with design teaching has been seen as one of the major problems in design education in schools of architecture world-wide. A number of suggestions have been put forward to improve the quality of teaching in structures in architecture. These include the production of computer based learning materials, and the use of the computer as a ‘substitute’ tutor. This paper reports on a SHEFC funded project jointly carried out by the Department of Civil Engineering, University of Paisley, the Mackintosh School of Architecture, and Lamp Software. The project aims to build a computer-assisted learning package on the response of structures to load. The software will be used as an interactive teaching tool for both architectural and engineering students. The package has three levels: Beginners (Level 1), Intermediate (Level 2) and Advanced (Level 3). The first two levels have been completed after continuous feedback from both institutions. Level 1 is geared towards architectural and engineering students to help them understand structural behaviour of building components, such as deflection. Level 2 is a graphical editor that enables students to draw precisely the structure of their designs, investigate the deflection of structural members and identify areas of tension and compression. Level 3 is a design tool aimed at architectural and civil engineering students where they can design and analyse realistic structures by choosing structural members from a library, and specify materials and multiple loads. Prior to its final release, the software package was appraised by students from both institutions. Analysis of results from questionnaires revealed that students expressed a great deal of 'satisfaction' with many of its teaching and learning attributes. The outcome of this project will promote and enhance students’ understanding of the response of structures to load; it will also help students grasp the impact of varying building materials and cross sectional properties on the structural form.
series	eCAADe
email
last changed	2022/06/07 07:59

_id	2192
authors	Mahdavi, A., Mathew, P., Hartkopf, V. and Loftness, V.
year	1996
title	Bi-directional Inference in Thermal Design
source	Design Computation: Collaboration, Reasoning, Pedagogy [ACADIA Conference Proceedings / ISBN 1-880250-05-5] Tucson (Arizona / USA) October 31 - November 2, 1996, pp. 133-143
doi	https://doi.org/10.52842/conf.acadia.1996.133
summary	This paper demonstrates a computational bi-directional energy modeling approach for building design development. Conventional simulation tools may be labeled as mono-directional in that they require a more or Iess complete design definition in order to derive performance indicators. However, in certain circumstances, it may be desirable to reverse this process: a bi-directional (or "open") inference mechanism would allow for the identification of those changes in the design variables that would accommodate a desired change in a performance indicator. The performance-to-design mapping process is an ambiguous one: the same performance (e.g. energy use of a building, temperature variations in a space) may be achieved by different design configurations (various wall and window dimensions/properties, building orientation/massing, etc.). As a result, the actual implementation of a bi-directional inference tool is a rather difficult task. The development described in this paper utilizes a preference-based approach that involves the formalization of various external or internal constraints and preferences (such as code and standard requirements, results of post-occupancy studies, individual priorities of designers and their clients, etc.) in terms of normalized numeric scales. After a brief review of the underlying technology for the implementation of the inference engine, the paper demonstrates an actual design session using a bi-directional thermal simulation tool. Specifically, a use-scenario is described in which the designer explores the tradeoffs between various design variables (glazing area, glazing type, and floor mass) in view of the resulting energy performance of a typical residential building. The paper concludes with a discussion of the potential and limitations of the bi-directional approach toward active convergence support for performance-oriented design development.
series	ACADIA
email
last changed	2022/06/07 07:59

_id	1162
authors	Malkawi, Ali and Jabi, Wassim
year	1996
title	Integrating Shadow Casting Methodology and Thermal Simulation
source	Proceedings of the Solar ‘96 Conference. Asheville, North Carolina: American Solar Energy Society, 1996, pp. 271-276
summary	This paper describes an experiment that integrates shadow casting methodology and thermal simulation algorithms developed by the authors. The 3D shadow procedures use a polyhedral representation of solids within a Cartesian space that allows for accurate casting of shadows. The algorithm is also capable of calculating surface areas of polygonal shadows of any arbitrary shape and size. The thermal simulation algorithms – using the Transfer Function Method (TFM) – incorporate the shaded area calculations to better predict solar heat gain from glazing based on transmitted, absorbed, and conducted cooling loads. The paper describes the use of a 3D computer model to illustrate the impact of the pattern and area of shading on the visual and thermal properties of building apertures. The paper discusses the objectives of this experiment, the algorithms used, and their integration. Conclusions and findings are drawn.
keywords	Shadow Casting Algorithms Energey Thermal Simulation
series	other
email
last changed	2002/03/05 19:51

_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	7886
authors	Rosenman, M.A. and Gero, J.S.
year	1996
title	Modelling multiple views of design objects in a collaborative CAD environment
source	Computer-Aided Design, Vol. 28 (3) (1996) pp. 193-205
summary	Collaboration between designers in different disciplines is an increasingly important aspect in complex design situations, as exemplified in the AEC domain. CAD systems are essential for handling this complexitybut current CAD modelling technology is directed towards the production of a single product model. In the AEC environment, many disciplines are involved, each with its own concept of the design object. Eachsuch concept must be accommodated in any representation. This paper presents the ideas behind the representation of multiple concepts from an underlying description of a design such that the inter- andintra-discipline views of that design can be formed dynamically. These ideas are based on different functional contexts. Functional subsystems are introduced as an adjunct to design prototypes. An example showshow these functional subsystems are related to the design elements and how they allow for the formation of the various concepts. Thus the representation of the functional properties of design objects is theunderlying basis for the formation of different concepts.
keywords	Conceptual Modelling, Multiple Abstraction Representation, CAD Modelling, Collaborative Design, Functional Representation
series	journal paper
email
last changed	2003/05/15 21:33

_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	6c40
authors	Colajanni, B., Martelli, T. and Pellitteri, G.
year	1996
title	A Tool for the Analysis of the Behaviour of Building Components: The Cellular Automation
source	Education for Practice [14th eCAADe Conference Proceedings / ISBN 0-9523687-2-2] Lund (Sweden) 12-14 September 1996, pp. 99-110
doi	https://doi.org/10.52842/conf.ecaade.1996.099
summary	An implementation of a cellular automation is presented that allows the simulation of the behaviour of building components under diverse environment conditions. The tool has a wide range of applications because of the generality of its structure. The object on which it operates is represented as a set of cells each of which is defined, besides its geometrical dimension and position, by a set of variables and parameters. The work it performs consists in computing transitions from a state to another, i.e. the values variables and parameters take in each cell under the action of external agents and of internal laws of interaction between self As an example of its use an application is shown analysing the thermal behaviour of the connection of a curtain wall to a concrete floor.
series	eCAADe
email
last changed	2022/06/07 07:56

_id	6e0f
authors	Goldstein, Laurence
year	1996
title	Teaching Creativity with Computers
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. 307-316
doi	https://doi.org/10.52842/conf.caadria.1996.307
summary	Using computers as an aid to architectural design promotes efficiency – of that there is no doubt – but its real merit must surely lie in provoking inventiveness. The medium makes possible the speedy creation and manipulation of images, a holistic, integrational approach to design, the exploration of virtual environments, the real time collaboration in design by individuals at remote sites and so on – these all fall under my heading of ‘efficiency’, since more or less the same ends can be achieved, albeit much more slowly and tediously, by traditional methods. But inventiveness, that’s something different. For comparison, think of the advent of reinforced concrete. In the early years, the new medium was used, roughly speaking, as a substitute for timber beams; but the genius of Le Corbusier was required to appreciate that concrete had fluid qualities which afforded completely different kinds of design opportunities. Can computers likewise revolutionise design? Will new kinds of building get constructed as a result of the advent of computers into the design arena?
series	CAADRIA
last changed	2022/06/07 07:51

_id	4a62
authors	Leake, D.B. (ed.)
year	1996
title	Case-Based Reasoning: Experiences, Lessons, and Future Directions
source	The MIT Press
summary	Case-based reasoning (CBR) is now a mature subfield of artificial intelligence. The fundamental principles of case-based reasoning have been established, and numerous applications have demonstrated its role as a useful technology. Recent progress has also revealed new opportunities and challenges for the field. This book presents experiences in CBR that illustrate the state of the art, the lessons learned from those experiences, and directions for the future. True to the spirit of CBR, this book examines the field in a primarily case-based way. Its chapters provide concrete examples of how key issues---including indexing and retrieval, case adaptation, evaluation, and application of CBR methods---are being addressed in the context of a range of tasks and domains. These issue-oriented case studies of experiences with particular projects provide a view of the principles of CBR, what CBR can do, how to attack problems with case-based reasoning, and how new challenges are being addressed. The case studies are supplemented with commentaries from leaders in the field providing individual perspectives on the state of CBR and its future impact. This book provides experienced CBR practitioners with a reference to recent progress in case-based reasoning research and applications. It also provides an introduction to CBR methods and the state of the art for students, AI researchers in other areas, and developers starting to build case-based reasoning systems. It presents experts and non-experts alike with visions of the most promising directions for new progress and for the roles of the next generation of CBR systems.
series	other
last changed	2003/04/23 15:14

_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.
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more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	avocaad_2001_17
id	avocaad_2001_17
authors	Ying-Hsiu Huang, Yu-Tung Liu, Cheng-Yuan Lin, Yi-Ting Cheng, Yu-Chen Chiu
year	2001
title	The comparison of animation, virtual reality, and scenario scripting in design process
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	Design media is a fundamental tool, which can incubate concrete ideas from ambiguous concepts. Evolved from freehand sketches, physical models to computerized drafting, modeling (Dave, 2000), animations (Woo, et al., 1999), and virtual reality (Chiu, 1999; Klercker, 1999; Emdanat, 1999), different media are used to communicate to designers or users with different conceptual levels¡@during the design process. Extensively employed in design process, physical models help designers in managing forms and spaces more precisely and more freely (Millon, 1994; Liu, 1996).Computerized drafting, models, animations, and VR have gradually replaced conventional media, freehand sketches and physical models. Diversely used in the design process, computerized media allow designers to handle more divergent levels of space than conventional media do. The rapid emergence of computers in design process has ushered in efforts to the visual impact of this media, particularly (Rahman, 1992). He also emphasized the use of computerized media: modeling and animations. Moreover, based on Rahman's study, Bai and Liu (1998) applied a new design media¡Xvirtual reality, to the design process. In doing so, they proposed an evaluation process to examine the visual impact of this new media in the design process. That same investigation pointed towards the facilitative role of the computerized media in enhancing topical comprehension, concept realization, and development of ideas.Computer technology fosters the growth of emerging media. A new computerized media, scenario scripting (Sasada, 2000; Jozen, 2000), markedly enhances computer animations and, in doing so, positively impacts design processes. For the three latest media, i.e., computerized animation, virtual reality, and scenario scripting, the following question arises: What role does visual impact play in different design phases of these media. Moreover, what is the origin of such an impact? Furthermore, what are the similarities and variances of computing techniques, principles of interaction, and practical applications among these computerized media?This study investigates the similarities and variances among computing techniques, interacting principles, and their applications in the above three media. Different computerized media in the design process are also adopted to explore related phenomenon by using these three media in two projects. First, a renewal planning project of the old district of Hsinchu City is inspected, in which animations and scenario scripting are used. Second, the renewal project is compared with a progressive design project for the Hsinchu Digital Museum, as designed by Peter Eisenman. Finally, similarity and variance among these computerized media are discussed.This study also examines the visual impact of these three computerized media in the design process. In computerized animation, although other designers can realize the spatial concept in design, users cannot fully comprehend the concept. On the other hand, other media such as virtual reality and scenario scripting enable users to more directly comprehend what the designer's presentation.Future studies should more closely examine how these three media impact the design process. This study not only provides further insight into the fundamental characteristics of the three computerized media discussed herein, but also enables designers to adopt different media in the design stages. Both designers and users can more fully understand design-related concepts.
series	AVOCAAD
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last changed	2005/09/09 10:48

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