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_id	5764
authors	Stouffs, R. and Krishnamurti, R.
year	1996
title	On a query language for weighted geometries
source	O. Moselhi, C. Bedard and S. Alkass (eds.), Third Canadian Conference on Computing in Civil and Building Engineering, Canadian Society for Civil Engineering, Montreal, pp. 783–793
summary	Computational design relies on effective models of geometry, for the creation of (geometries of) design artifacts and the querying of the characteristics of these (geometries). In the search for appropriate solid models, there is a consensus - namely, a solid model has to be complete - that is, the corresponding representations are "adequate for answering arbitrary geometric questions algorithmically''. However, this statement becomes more difficult to qualify as users and, in particular, designers pose new questions that go beyond geometry and require other information to be included. Current CAD systems tend to focus on the representation of design artifacts, and on the tools and operations for the creation and manipulation of these representations. Techniques for querying are mostly added as afterthoughts, constrained by the data representation system and methods. Yet, querying a design is as much an intricate aspect of the design process as is the creation or manipulation thereof. In this paper, we explore the foundation of a query language that allows for a rich body of queries, using both geometric and non-geometric data, and incorporating spatial rules as a syntactical expression for pattern matching on geometries.
series	other
email
last changed	2003/04/23 15:50

_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	2a99
authors	Keul, A. and Martens, B.
year	1996
title	SIMULATION - HOW DOES IT SHAPE THE MESSAGE?
source	The Future of Endoscopy [Proceedings of the 2nd European Architectural Endoscopy Association Conference / ISBN 3-85437-114-4], pp. 47-54
summary	Architectural simulation techniques - CAD, video montage, endoscopy, full-scale or smaller models, stereoscopy, holography etc. - are common visualizations in planning. A subjective theory of planners says "experts are able to distinguish between 'pure design' in their heads and visualized design details and contexts like color, texture, material, brightness, eye level or perspective." If this is right, simulation details should be compensated mentally by trained people, but act as distractors to the lay mind. Environmental psychologists specializing in architectural psychology offer "user needs' assessments" and "post occupancy evaluations" to facilitate communication between users and experts. To compare the efficiency of building descriptions, building walkthroughs, regular plans, simulation, and direct, long-time exposition, evaluation has to be evaluated. Computer visualizations and virtual realities grow more important, but studies on the effects of simulation techniques upon experts and users are rare. As a contribution to the field of architectural simulation, an expert - user comparison of CAD versus endoscopy/model simulations of a Vienna city project was realized in 1995. The Department for Spatial Simulation at the Vienna University of Technology provided diaslides of the planned city development at Aspern showing a) CAD and b) endoscopy photos of small-scale polystyrol models. In an experimental design, they were presented uncommented as images of "PROJECT A" versus "PROJECT B" to student groups of architects and non-architects at Vienna and Salzburg (n= 95) and assessed by semantic differentials. Two contradictory hypotheses were tested: 1. The "selective framing hypothesis" (SFH) as the subjective theory of planners, postulating different judgement effects (measured by item means of the semantic differential) through selective attention of the planners versus material- and context-bound perception of the untrained users. 2. The "general framing hypothesis" (GFH) postulates typical framing and distraction effects of all simulation techniques affecting experts as well as non-experts. The experiment showed that -counter-intuitive to expert opinions- framing and distraction were prominent both for experts and lay people (= GFH). A position effect (assessment interaction of CAD and endoscopy) was present with experts and non-experts, too. With empirical evidence for "the medium is the message", a more cautious attitude has to be adopted towards simulation products as powerful framing (i.e. perception- and opinion-shaping) devices.
keywords	Architectural Endoscopy, Real Environments
series	EAEA
type	normal paper
email
more	http://info.tuwien.ac.at/eaea/
last changed	2005/09/09 10:43

_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	ddssar9631
id	ddssar9631
authors	Stouffs, Rudi and Krisbnamurti, Ramesh
year	1996
title	The Extensibility and Applicability of Geometric Representations
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	As designers pose new questions, within the context of computational design, that go beyond geometry and require other information to be included, there is, now more than ever, a need for extensible geometric representations. We believe that such can best be achieved using abstract data types defined over a set of basic operations, common to all data types. At the same time, we must consider the applicability of such a representation with respect to the functionalities of the application. In this paper, we explore these issues of extensibility and applicability as these relate to the questions of standardization and adaptability of representations. As a particular example, we consider an algebraic model, with a corresponding representation, that defines arithmetic operations that operate uniformly and consistently on geometries and on non-geometric attributes of various kinds.
series	DDSS
last changed	2003/08/07 16:36

_id	af53
authors	Boyer, E. and Mitgang, L.
year	1996
title	Building community: a new future for architecture education and practice
source	Carnegie Foundation for the Advancement of Teaching
summary	Internships, before and after graduation, are the most essential link connecting students to the world of practice. Yet, by all accounts, internship is perhaps the most troubled phase of the continuing education of architects. During this century, as architectural knowledge grew more complex, the apprenticeship system withered away and schools assumed much of the responsibility for preparing architects for practice. However, schools cannot do the whole job. It is widely acknowledged that certain kinds of technical and practical knowledge are best learned in the workplace itself, under the guidance of experienced professionals. All state accrediting boards require a minimum period of internship-usually about three years-before a person is eligible to take the licensing exam. The National Council of Architectural Registration Boards (NCARB) allows students to earn up to two years of work credit prior to acquisition of an accredited degree. The Intern Development Program (IDP), launched by NCARB and the American Institute of Architects in 1979, provides the framework for internship in some forty states. The program was designed to assure that interns receive adequate mentoring, that experiences are well-documented, and that employers and interns allocate enough time to a range of educational and vocational experiences to prepare students for eventual licensure. As the IDP Guidelines state, "The shift from school to office is not a transition from theory to pragmatism. It is a period when theory merges with pragmatism.... It's a time when you: apply your formal education to the daily realities of architectural practice; acquire comprehensive experience in basic practice areas; explore specialized areas of practice; develop professional judgment; continue your formal education in architecture; and refine your career goals." Whatever its accomplishments, however, we found broad consensus that the Intern Development Program has not, by itself, solved the problems of internship. Though we found mutually satisfying internship programs at several of the firms we visited or heard about around the country, at many others interns told us they were not receiving the continuing education and experience they needed. The truth is that architecture has serious, unsolved problems compared with other fields when it comes to supplying on-the-job learning experiences to induct students into the profession on a massive scale. Medicine has teaching hospitals. Beginning teachers work in actual classrooms, supported by school taxes. Law offices are, for the most part, in a better financial position to support young lawyers and pay them living wages. The architecture profession, by contrast, must support a required system of internship prior to licensure in an industry that has neither the financial resources of law or medicine, the stability and public support of teaching, nor a network of locations like hospitals or schools where education and practice can be seamlessly connected. And many employers acknowledged those problems. "The profession has all but undermined the traditional relationship between the profession and the academy," said Neil Frankel, FAIA, executive vice president of Perkins & Will, a multinational firm with offices in New York, Chicago, Washington, and London. "Historically, until the advent of the computer, the profession said, 'Okay, go to school, then we in the profession will teach you what the real world is like.' With the coming of the computer, the profession needed a skill that students had, and has left behind the other responsibilities." One intern told us she had been stuck for months doing relatively menial tasks such as toilet elevations. Another intern at a medium-sized firm told us he had been working sixty to seventy hours per week for a year and a half. "Then my wife had a baby and I 'slacked off' to fifty hours. The partner called me in and I got called on the carpet for not working hard enough." "The whole process of internship is being outmoded by economics," one frustrated intern told us. "There's not the time or the money. There's no conception of people being groomed for careers. The younger staff are chosen for their value as productive workers." "We just don't have the best structure here to use an intern's abilities to their best," said a Mississippi architect. "The people who come out of school are really problems. I lost patience with one intern who was demanding that I switch him to another section so that he could learn what he needed for his IDP. I told him, 'It's not my job to teach you. You are here to produce.'" What steps might help students gain more satisfying work opportunities, both during and after graduation?
series	other
last changed	2003/04/23 15:14

_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	18bc
authors	Clay, Sharon and Wilhelms, Jane
year	1996
title	Put: Language-Based Interactive Manipulation of Objects
source	IEEE Computer Graphics and Applications
summary	Describing a scene to a computer is an inherent task of computer graphics applications. Modeled scenes are typically built with direct placement techniques or specialized scripting languages. The scene description task could be greatly eased if natural language were an interactive control option. However, natural language understanding is notoriously difficult for computers. This difficulty is exacerbated in the case of computer graphics by the need for geometric output, not just "conceptual understanding" or high-level inferencing. General text-understanding techniques have not been successfully applied to scene generation. Typically, a few task-specific commands, such as "walk," are implemented as an ad-hoc collection of procedures. Our approach aims to separate the expressive power of fundamental natural concepts from the difficult task of text understanding. We are developing a 3D object placement system based on a combination of natural commands and interactive techniques. Guided by research in cognitive linguistics, we use basic spatial relationships--such as in, on, and at--and fundamental scene parameters--such as viewer location and object dimensionality--to identify regions of placement for objects in a scene. These natural commands can be used to quickly prototype a complex scene and constrain object placement.
series	journal paper
last changed	2003/04/23 15:14

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

_id	5e49
authors	Deering, Michael F.
year	1996
title	HoloSketch: A Virtual Reality Sketching/Animation Tool Special Issue on Virtual Reality Software and Technology
source	Transactions on Computer-Human Interaction 1995 v.2 n.3 pp. 220-238
summary	This article describes HoloSketch, a virtual reality-based 3D geometry creation and manipulation tool. HoloSketch is aimed at providing nonprogrammers with an easy-to-use 3D "What-You-See-Is-What-You-Get" environment. Using head-tracked stereo shutter glasses and a desktop CRT display configuration, virtual objects can be created with a 3D wand manipulator directly in front of the user, at very high accuracy and much more rapidly than with traditional 3D drawing systems. HoloSketch also supports simple animation and audio control for virtual objects. This article describes the functions of the HoloSketch system, as well as our experience so far with more-general issues of head-tracked stereo 3D user interface design.
keywords	Computer Graphics; Picture/Image Generation; Display Algorithms; Computer Graphics; Three-Dimensional Graphics and Realism; Human Factors; 3D Animation; 3D Graphics; Graphics Drawing Systems; Graphics Painting Systems; Man-Machine Interface; Virtual Reality
series	other
last changed	2002/07/07 16:01

_id	diss_fox
id	diss_fox
authors	Fox, M.A.
year	1996
title	Novel Affordances of Computation to the Design Process of Kinetic Structures
source	Massachusetts Institute of Technology, Cambridge, MA
summary	This paper is a discourse into the relationship between the process, computational tools and the role which symbolic structure can play in both. I argue the relationship of the process and tools is dialectic, whereby the tools we utilize in design develop new heuristics, the methodologies in turn, if reflectively understood, can be more aptly facilitated through the development of novel tools. The tools and the process then evolve together. A theory is laid out exploring the human visual information processing systems pertinence to the limitations in mental three-dimensional imaging and transformation operations as relevant to the operations of drawing and mental visualization within the architectural design processes, substantiating the designers necessity to draw (by traditional means, but more importantly here, through the inclusive integration of CAD within the process). The necessity to draw is explored as a representational process to the visual system as predicated upon the existence of a structured internal library of diagram-like representations in our heads. I argue that the ways we utilize such idiosyncratic libraries is predicated upon the ways in which we go about structuring the perceived experienced world around us into symbol systems. And finally, the ways we utilize our reflective understanding of the heuristic transformations of these symbols within the design process in the context of a CAD environment are explored as a means to an enhanced understanding of that which is being designed and consequently as a vehicle for the development of future CAD systems to better facilitate such methodologies of designing. A personal design process of several kinetic structures is carried out in order to arrive at a localized process analysis within computer-aided design environment. Through an interactive, reflective process analysis, conclusions are drawn as to the affordances and limitations of such tools as suggestive of the operations a CAD environment might perform so as to better foster future methodologies of designing. The design experiments are utilized as a vehicle to understand the process. Specifically three kinetic projects are exploited for the prototypical operations they display. When difficulties or mental limitations are encountered with the operations, specific tools are developed to facilitate the limitation or to overcome the problem.
series	thesis:MSc
more	http://www.mafox.net/sm_thesis/Thesis11.pdf
last changed	2003/11/28 07:35

_id	1aa5
authors	Huangb, X., Gub, P. and Zernickea, R.
year	1996
title	Localization and comparison of two free-form surfaces
source	Computer-Aided Design, Vol. 28 (12) (1996) pp. 1017-1022
summary	Comparison of two free-form surfaces based on discrete data points is of paramount importance for reverse engineering. It can be used to assess the accuracy of the reconstructed surfaces and to quantify thedifference between two such surfaces. The entire process involves three main steps: data acquisition, 3D feature localization and quantitative comparison. This paper presents models and algorithms for 3D featurelocalization and quantitative comparison. Complex free-form surfaces are represented by bicubic parametric spline surfaces using discrete points. A simple yet effective pseudoinverse algorithm was developed andimplemented for localization. It consists of two iterative operations, namely, constructing a pseudo transformation matrix and point matching. A computing algorithm was developed to compare two such surfacesusing optimization techniques. Since this approach does not involve solving non-linear equations for the parameters of positions and orientations, it is fast and robust. The algorithm was implemented and testedwith several examples. It is effective and can be used in industry for sculptured surface comparison.
keywords	Free-Form Sculptured Surface, Localization, Point Matching, Surface Comparison
series	journal paper
last changed	2003/05/15 21:33

_id	cf2017_567
id	cf2017_567
authors	Kim, Ikhwan; Lee, Injung; Lee, Ji-Hyun
year	2017
title	The Expansion of Virtual Landscape in Digital Games: Classification of Virtual Landscapes Through Five principles
source	Gülen Çagdas, Mine Özkar, Leman F. Gül and Ethem Gürer (Eds.) Future Trajectories of Computation in Design [17th International Conference, CAAD Futures 2017, Proceedings / ISBN 978-975-561-482-3] Istanbul, Turkey, July 12-14, 2017, pp. 567-584.
summary	This research established classification system which contains five principles and variables to classify the types of the virtual landscape in digital games. The principles of the classification are Story, Space Shape, Space and Action Dimension, User Complexity and Interaction Level. With this classification system, our research group found the most representative types of virtual landscape in the digital game market through 1996 to 2016. Although mathematically there can be 288 types of virtual landscape, only 68 types have been used in the game market in recent twenty years. Among the 68 types, we defined 3 types of virtual landscape as the most representative types based on the growth curve and a number of cases. Those three representative types of virtual landscapes are Generating / Face / 3D-3D / Single / Partial, Providing / Chain / 3D-3D / Single / Partial and Providing / Linear / 2D-2D / Single / Partial. With the result, the researchers will be able to establish the virtual landscape design framework for the future research.
keywords	Digital Game, Virtual Landscape, Game Design, Game Classification
series	CAAD Futures
email
last changed	2017/12/01 14:38

_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	ddssup9614
id	ddssup9614
authors	Loughreit, Fouad
year	1996
title	Methods to assist the design of road surfaces with a reservoir structure: To improve flood risk management
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	Reservoir road surfaces can be seen as equipment of the future, in that they have two functions in the same structure (circulation and hydraulic functions). They can thus be laid without immobilising land, which is very expensive and prized in urban areas. Furthermore, they enable the limitation of the flow or volumes of running water, and thus help control rainwater, resulting in better flood risk management. The questions asked by drainage designers are how can we design these structures in the best way? How are they going to work for different types of rain (rain from storms, prolonged winter rain ....)? As for the public administrators, they wonder how a series of areas equipped with this type of technique (total flow management) would work. By solving this latter problem, we could really arouse interest in flood risk management. Given the diversity of structures possible for reservoir road surfaces (regulated, non-regulated, draining surface, dispersion surface...), we suggest comparing design and simulation methods, taking into account the measurement and total flow management problems mentioned above. So as to validate these comparisons and to give some directions concerning the use of one or the other methods, we use flow-metre measures on two different sites in Lyons. One of these sites is a car- park on a tertiary activity zone on the La Doua campus in Villeurbanne, the other a refuse dump in the Greater Lyons area in the town of Craponne. They are both interesting as they have different features. The first is non-regulated downstream and is used on a car-park for light motor-vehicles. The other is regulated and the traffic on it is made up of lorries. These sites will be described in this article.
series	DDSS
email
last changed	2003/08/07 16:36

_id	8b8d
authors	Martens, B., Voigt, A. and Linzer, H.
year	1996
title	Information Technologies within Academic Context: Remote Teamwork – A Challenge for the Future
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. 227-232
doi	https://doi.org/10.52842/conf.caadria.1996.227
summary	"Remote Teamwork”, i.e. the substance-related cooperation of people over spatial distances in decision-situations relies on "CIVIC” (Computer-Integrated Video-Conferencing-audio-visual communication at spatial distances integrating interactively digital, spatial computer models) and "CISP” (Computer-Integrated Spatial Planning) aiming at the elaboration of suited remote-working structures of research, project transactions and teaching preferably on the basis of "ATM” (a technology of broad band telecommunications). The generation and manipulation of digital spatial models and their virtual transportation within large spatial distances represent the main research objectives. The efficient use of teaching resources calls for the integration of new teaching possibilities within the framework of "Remote Teamwork”, e.g. Distributed and Shared Modelling, Distant Learning and Remote Teaching. The Faculty of Architecture, Urban and Regional Planning therefore is stressing information technologies within academic context. The following contribution is dedicated to the focal field of research and teaching "Remote Teamwork” of the Vienna University of Technology. This project is carried out in cooperation with the Institute of Spatial Interaction and Simulation (IRIS-ISIS), Vienna and the Research Institute for Symbolic Computation (RISC Linz-Hagenberg). Teaching experience relevant for "Remote Teamwork” is derived from various experiments of cooperative teamwork.
series	CAADRIA
email
last changed	2022/06/07 07:59

_id	b490
authors	Mine, Mark
year	1996
title	Working in a Virtual World: Interaction Techniques Used in the Chapel Hill Immersive Modeling Program
source	Research report TR96-029, Department of Computer Science, University of North Carolina, Chapel Hill
summary	This paper presents a description of the interaction techniques used in the Chapel Hill Immersive Modeling Program (CHIMP). CHIMP is intended for the preliminary stages of architectural design. It is an immersive system; users work directly within a virtual world. The main goal has been to develop interaction techniques that exploit the benefits of working immersed while compensating for its limitations. Interaction techniques described and discussed in this paper include: . Action at a distance . Look-at menus . Remote controls (hand-held widgets) . Constrained object manipulation using twohands . Two-handed control panel interaction . Worlds in miniature . Interactive numbers Keywords: Virtual reality, Virtual environments, Computeraided modeling, Geometric modeling, User interface design, Two-handed interaction, Two-handed interfaces, Interactive computer graphics. 1. Introduction 1.1. CHIMP Overview The UNC-Chapel Hill Immersive Modeling Program (or CHIMP for short) is a virtu...
series	report
last changed	2003/04/23 15:14

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

_id	ddssar9633
id	ddssar9633
authors	Szalapaj, Peter and Kane, Andrew
year	1996
title	Techniques of Superimposition
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	This paper addresses the issues of 2-D and 3-D image manipulation in the context of a Computational Design Formulation System. The central feature of such a system is the ability to bring together two or more design objects in the same reference space for the purpose of analysis. Studies of traditional design methods has revealed the effectiveness of this technique of superimposition. This paper describes ways in which superimposition can be achieved, and, in particular, focuses on a range of domain-independent knowledge-based graphical operators that enable the decomposition of complex design forms into simpler aspects (secondary models) that can then be superimposed and/or analysed from a design-theoretic point of view. Examples of domain-independent knowledge-base graphical operators include object selection, planar bisection, 2-D closure (the grouping of lines into regions), aggregation (the decomposition of 2-D regions into aggregations of lines), spatial bisection, 3-D closure (the grouping of 2-D regions into volumes), 3-D aggregation (the decomposition of volumes into aggregations of 2-D regions). The representation of these operators is dependent upon the notion of a parameterisable volume, thus avoiding the need for translations between multiple representations of graphical objects by providing a common representation form for all objects. Secondary models can therefore subsequently be manipulated either through subtractive procedures (e.g. carving voids from solids), or by additive ones (e.g. assembling given design elements), or by other means such as transformation or distortion. The same techniques of superimposition can also be used to support the visualisation of design forms in two ways: by the juxtaposition of plans and sections with the 3-D form; by the multiple superimposition of alternative design representations e.g. structural schematic, parti schematic, volumetric schematic and architectural model.
keywords	Design Formulation, Superimposition, Primary Model, Secondary Model, Parameterisable Volume
series	DDSS
last changed	2003/08/07 16:36

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