Cumincad : CUMINCAD Papers : Search Results

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

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_id	01f7
authors	Krause, Jeffrey
year	1997
title	Agent Generated Architecture
source	Design and Representation [ACADIA ‘97 Conference Proceedings / ISBN 1-880250-06-3] Cincinatti, Ohio (USA) 3-5 October 1997, pp. 63-70
doi	https://doi.org/10.52842/conf.acadia.1997.063
summary	This paper will describe a behavior based artificial intelligence experiment in computer generated architectural design and will explain the internal representations and procedures of an agent based autonomous system. This is a departure from traditional (AI and architectural) top-down approaches, allowing hundreds of agents to work simultaneously—building, manipulating, and dismantling their environment. Individual agents work in collaboration, in disjunction or autonomously. Architectural design is perhaps most commonly described by the architect as consisting of the ability to see the whole picture, to organize, to collect, to juggle, to manage, and to maintain multiple conflicting goals and values. Architecture by the preceding definition is hierarchical and top-down in nature. The agent based experiment in this paper presents an alternative design process, involving multiple autonomous agents acting distributively. The agents (objects) move through the design landscape, simultaneously collaborating, building, degenerating, and transforming their world.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	1f62
authors	Kiliccote, Han
year	1997
title	A standards processing framework
source	Carnegie Mellon University, Pittsburgh
summary	Civil engineers create and employ a very large number of design standards, especially in the United States. Designing using such a large number of design standards is a tedious, laborious, and difficult task. One major research task in Computer-Aided Engineering (CAE) is the development of software tools that assist in the usage of design standards during the design process. This dissertation, a standards processing framework is presented. It is an agent-based approach to providing computer-aided support for using design standards. In this framework, modules, such as standards processing servers, are treated as agents communicating using a defined communication language. One immediate advantage of this architecture is that it allows the incorporation of a broad, powerful set of representation for use in modeling design standards.
series	thesis:PhD
email
more	http://han.ices.cmu.edu
last changed	2003/02/12 22:37

_id	d2e0
id	d2e0
authors	Horne M, Hill R, Underwood C
year	1997
title	Visualisation of Photovoltaic Clad Buildings
source	International Conference on Information Visualisation -IV 97, London, 27-29 August 1997, ISBN 0 8186 8076 8
summary	This paper describes a study carried out to investigate the capabilities of computer aided design software for the visualisation of building elevations and detail, with focus on the representation of photovoltaic cells in facade architecture. The development of photovoltaic (PV) technology, converting energy from sunlight into electricity, has resulted in the emergence of PV as a building material. This has generated much debate on the aesthetic implications of PV integrated buildings. PV introduces a particularly complex set of requirements not present in traditional cladding materials. As well as the physical characteristics of the material, there is a need to consider factors such as orientation to the sun, and shadows cast by neighbouring buildings. Architects, engineers, developers, clients and the general public all need to be able to visualise proposed designs, either of new or refurbished buildings. This study investigates both the process and end results of computer visualisation in the context of photovoltaic clad buildings.
keywords	Visualisation, PV, CAD evaluation
series	other
type	normal paper
email
last changed	2006/06/08 22:54

_id	9
authors	Stipech, Alfredo
year	1998
title	Un Nuevo Horizonte Arquitectonico, Productivo e Intelectual (A New Architectural, Productive and Intelectual Horizon)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 76-83
summary	This work presents the pedagogical experience of a Design Workshop that investigated the impact of the digital and analogic means on the architectonic design process This work was based on the research of Dr. Arch. Julio BermÝdez who also directed this workshop in 1997. This class was part of the Training Program organized by the "Centro de Informatica y Diseho" (CID) at the "Universidad Nacional del Litoral" FADU (Facultad de Arquitectura Diseho y Urbanismo) Santa Fe, Argentina and made possible by the ongoing International Program of Academic Exchange between the FADU and the (University of Utah Graduate School of Architecture (IPAE Project NO 4). The experimental studio utilized an architectural problem to study the procedural, technical, interpretative and theoretical issues associated with the relationship of contemporary media and design process. The pedagogical vehicle was a program that expresses in itself the meeting or collision between two cultures competing for dominance at the end of the millennium: the immemorial material culture (corporeal, tectonic) and the new and everyday more influent virtual culture (information, nets, media, simulation). The premise for the design process, communication and criticism was the constant migration between the digital and analog representation systems. Within this theoretical-practical context semantic aspects containing different representation modalities were used such as physical and electronic models along with systematic and sensitive drawings (manuals, pixels and with CAD). Hybrid interfaces took a leading role in the process since they allowed the communication between analog and digital media through the creative and technical interaction between scanner, video and computer. This architectural and media context generated an intense pedagogic environment fostering the development of creativity and a critical attitude while allowing concrete breakthroughs in the teaching process and format design. Our work reflects on these results showing examples of stud-go works and providing a final evaluation of this unique experience in Argentina.
series	SIGRADI
email
last changed	2016/03/10 10:01

_id	sigradi2006_e131c
id	sigradi2006_e131c
authors	Ataman, Osman
year	2006
title	Toward New Wall Systems: Lighter, Stronger, Versatile
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 248-253
summary	Recent developments in digital technologies and smart materials have created new opportunities and are suggesting significant changes in the way we design and build architecture. Traditionally, however, there has always been a gap between the new technologies and their applications into other areas. Even though, most technological innovations hold the promise to transform the building industry and the architecture within, and although, there have been some limited attempts in this area recently; to date architecture has failed to utilize the vast amount of accumulated technological knowledge and innovations to significantly transform the industry. Consequently, the applications of new technologies to architecture remain remote and inadequate. One of the main reasons of this problem is economical. Architecture is still seen and operated as a sub-service to the Construction industry and it does not seem to be feasible to apply recent innovations in Building Technology area. Another reason lies at the heart of architectural education. Architectural education does not follow technological innovations (Watson 1997), and that “design and technology issues are trivialized by their segregation from one another” (Fernandez 2004). The final reason is practicality and this one is partially related to the previous reasons. The history of architecture is full of visions for revolutionizing building technology, ideas that failed to achieve commercial practicality. Although, there have been some adaptations in this area recently, the improvements in architecture reflect only incremental progress, not the significant discoveries needed to transform the industry. However, architectural innovations and movements have often been generated by the advances of building materials, such as the impact of steel in the last and reinforced concrete in this century. There have been some scattered attempts of the creation of new materials and systems but currently they are mainly used for limited remote applications and mostly for aesthetic purposes. We believe a new architectural material class is needed which will merge digital and material technologies, embedded in architectural spaces and play a significant role in the way we use and experience architecture. As a principle element of architecture, technology has allowed for the wall to become an increasingly dynamic component of the built environment. The traditional connotations and objectives related to the wall are being redefined: static becomes fluid, opaque becomes transparent, barrier becomes filter and boundary becomes borderless. Combining smart materials, intelligent systems, engineering, and art can create a component that does not just support and define but significantly enhances the architectural space. This paper presents an ongoing research project about the development of new class of architectural wall system by incorporating distributed sensors and macroelectronics directly into the building environment. This type of composite, which is a representative example of an even broader class of smart architectural material, has the potential to change the design and function of an architectural structure or living environment. As of today, this kind of composite does not exist. Once completed, this will be the first technology on its own. We believe this study will lay the fundamental groundwork for a new paradigm in surface engineering that may be of considerable significance in architecture, building and construction industry, and materials science.
keywords	Digital; Material; Wall; Electronics
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	cabb
authors	Broughton, T., Tan, A. and Coates, P.S.
year	1997
title	The Use of Genetic Programming In Exploring 3D Design Worlds - A Report of Two Projects by Msc Students at CECA UEL
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 885-915
summary	Genetic algorithms are used to evolve rule systems for a generative process, in one case a shape grammar,which uses the "Dawkins Biomorph" paradigm of user driven choices to perform artificial selection, in the other a CA/Lindenmeyer system using the Hausdorff dimension of the resultant configuration to drive natural selection. (1) Using Genetic Programming in an interactive 3D shape grammar. A report of a generative system combining genetic programming (GP) and 3D shape grammars. The reasoning that backs up the basis for this work depends on the interpretation of design as search In this system, a 3D form is a computer program made up of functions (transformations) & terminals (building blocks). Each program evaluates into a structure. Hence, in this instance a program is synonymous with form. Building blocks of form are platonic solids (box, cylinder, etc.). A Variety of combinations of the simple affine transformations of translation, scaling, rotation together with Boolean operations of union, subtraction and intersection performed on the building blocks generate different configurations of 3D forms. Using to the methodology of genetic programming, an initial population of such programs are randomly generated,subjected to a test for fitness (the eyeball test). Individual programs that have passed the test are selected to be parents for reproducing the next generation of programs via the process of recombination. (2) Using a GA to evolve rule sets to achieve a goal configuration. The aim of these experiments was to build a framework in which a structure's form could be defined by a set of instructions encoded into its genetic make-up. This was achieved by combining a generative rule system commonly used to model biological growth with a genetic algorithm simulating the evolutionary process of selection to evolve an adaptive rule system capable of replicating any preselected 3D shape. The generative modelling technique used is a string rewriting Lindenmayer system the genes of the emergent structures are the production rules of the L-system, and the spatial representation of the structures uses the geometry of iso-spatial dense-packed spheres
series	CAAD Futures
email
last changed	2003/11/21 15:16

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

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

_id	2354
authors	Clayden, A. and Szalapaj, P.
year	1997
title	Architecture in Landscape: Integrated CAD Environments for Contextually Situated Design
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
doi	https://doi.org/10.52842/conf.ecaade.1997.x.q6p
summary	This paper explores the future role of a more holistic and integrated approach to the design of architecture in landscape. Many of the design exploration and presentation techniques presently used by particular design professions do not lend themselves to an inherently collaborative design strategy. Within contemporary digital environments, there are increasing opportunities to explore and evaluate design proposals which integrate both architectural and landscape aspects. The production of integrated design solutions exploring buildings and their surrounding context is now possible through the design development of shared 3-D and 4-D virtual environments, in which buildings no longer float in space. The scope of landscape design has expanded through the application of techniques such as GIS allowing interpretations that include social, economic and environmental dimensions. In architecture, for example, object-oriented CAD environments now make it feasible to integrate conventional modelling techniques with analytical evaluations such as energy calculations and lighting simulations. These were all ambitions of architects and landscape designers in the 70s when computer power restricted the successful implementation of these ideas. Instead, the commercial trend at that time moved towards isolated specialist design tools in particular areas. Prior to recent innovations in computing, the closely related disciplines of architecture and landscape have been separated through the unnecessary development, in our view, of their own symbolic representations, and the subsequent computer applications. This has led to an unnatural separation between what were once closely related disciplines. Significant increases in the performance of computers are now making it possible to move on from symbolic representations towards more contextual and meaningful representations. For example, the application of realistic materials textures to CAD-generated building models can then be linked to energy calculations using the chosen materials. It is now possible for a tree to look like a tree, to have leaves and even to be botanicaly identifiable. The building and landscape can be rendered from a common database of digital samples taken from the real world. The complete model may be viewed in a more meaningful way either through stills or animation, or better still, through a total simulation of the lifecycle of the design proposal. The model may also be used to explore environmental/energy considerations and changes in the balance between the building and its context most immediately through the growth simulation of vegetation but also as part of a larger planning model. The Internet has a key role to play in facilitating this emerging collaborative design process. Design professionals are now able via the net to work on a shared model and to explore and test designs through the development of VRML, JAVA, whiteboarding and video conferencing. The end product may potentially be something that can be more easily viewed by the client/user. The ideas presented in this paper form the basis for the development of a dual course in landscape and architecture. This will create new teaching opportunities for exploring the design of buildings and sites through the shared development of a common computer model.
keywords	Integrated Design Process, Landscape and Architecture, Shared Environmentsenvironments
series	eCAADe
email
more	http://info.tuwien.ac.at/ecaade/proc/szalapaj/szalapaj.htm
last changed	2022/06/07 07:50

_id	0627
authors	Dijkstra, J. and Timmermans, H.J.P.
year	1997
title	Exploring the Possibilities of Conjoint Measurement as a Decision-Making Tool for Virtual Wayfinding Environments
source	CAADRIA ‘97 [Proceedings of the Second Conference on Computer Aided Architectural Design Research in Asia / ISBN 957-575-057-8] Taiwan 17-19 April 1997, pp. 61-71
doi	https://doi.org/10.52842/conf.caadria.1997.061
summary	Virtual reality systems may have a lot to offer in architecture and urban planning when visual and active environments may have a dramatic impact on individual preferences and choice behaviour. Conjoint analysis involves the use of designed hypothetical choice situations to measure individuals’ preferences and predict their choice in new situations. Conjoint experiments involve the design and analysis of hypothetical decision tasks. Alternatives are described by their main features, called attributes. Multiple hypothetical alternatives, called product profiles, are generated and presented to respondents, who are requested to express their degree of preference for these profiles or choose between these profiles. Conjoint experiments have become a popular tool to model individual preferences and decision-making in a variety of research areas. Most studies of conjoint analysis have involved a verbal description of product profiles, although some studies have used a pictorial presentation of production profiles. Virtual reality systems offer the potential of moving the response format beyond these traditional response modes. This paper describes a particular aspect of an ongoing research project which aims to develop a virtual reality based system for conjoint analysis. The principles underlying the system will be illustrated by a simple example of wayfinding in a virtual environment.
series	CAADRIA
last changed	2022/06/07 07:55

_id	673a
authors	Fukuda, T., Nagahama, R. and Sasada, T.
year	1997
title	Networked Interactive 3-D design System for Collaboration
source	CAADRIA ‘97 [Proceedings of the Second Conference on Computer Aided Architectural Design Research in Asia / ISBN 957-575-057-8] Taiwan 17-19 April 1997, pp. 429-437
doi	https://doi.org/10.52842/conf.caadria.1997.429
summary	The concept of ODE (Open Design Environment) and corresponding system were presented in 1991. Then the new concept of NODE. which is networked version of ODE. was generated to make wide area collaboration in 1994. The aim of our research is to facilitate the collaboration among the various people involved in the design process of an urban or architectural project. This includes various designers and engineers, the client and the citizens who may be affected by such a project. With the new technologies of hyper medium, network, and component architecture, we have developed NODE system and applied in practical use of the collaboration among the various people. This study emphasizes the interactive 3-D design tool of NODE which is able to make realistic and realtime presentation with interactive interface. In recent years, ProjectFolder of NODE system, which is a case including documents, plans, and tools to proceed project., is created in the World Wide Web (WWW) and makes hyper links between a 3-D object and a text, an image. and other digital data.
series	CAADRIA
email
last changed	2022/06/07 07:50

_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	b654
authors	Sacks, R. and Warszawski, A.
year	1997
title	A project model for an automated building system: design and planning phases
source	Automation in Construction 7 (1) (1997) pp. 21-34
summary	The purpose of an automated building system (ABS) is to automatically generate maximum information and the related documents for the preliminary design, detailed design and construction planning of a building project. The ABS under development, described in this paper, includes features such as: representation of project information by a tri-hierarchical project model, step-by-step progress through predefined design and construction planning stages, use of knowledge-based modules, linkage to various data bases, and implementation of intelligent parametric `templates' of building layouts and work assemblies. The main benefits of the system are the high quality of generated information, and the considerable saving of human input needed for this purpose. The project model for the system is described in the paper and various knowledge modules are defined with respect to their input and output. Interface screens and drawings from a prototypical testing of the system are also presented.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:23

_id	e941
authors	Sariyildiz, Sevil, Durmisevic, Sanja and Ploco, Jasmina
year	1997
title	Pattern Grammar within the Language of Architecture
source	AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 299-311
summary	Technology plays an important role in the design and designing process, influencing the architectural expressions and giving an impulse to new developments of architectural language. It has been allways the stimulating push for the generation of new concepts, spaces and technics in architectural design. Especially the developments, in the field of material technology and construction industry. Lately, Information and Communication Technology (ICT) pledge to have an important impact on designing practice as well as a part of the technological developments. In order to widen the application of CAAD in designers realm, it is necessary to interpose new design tools and methods. This means introducing CAAD more as a "designing tool" and making its employment feasible from the very first stages of design process - during the conceptual phase. Pattern Grammars, which we will introduce in this paper is such a method that provides support to designers, architects and urban planners. These patterns, based on complex 3D spatial geometrical polyhedra and polytopes, when generated, have form and structure at the same time. Parallel with geometry creation, aspects such as accessibility, functionality and integrity of a building should be taken in consideration as well. Working with pattern grammar within CAAD environment, enables faster generating of concepts and examination of spatial qualities, offering at the same time higher standards of design flexibility and enormous variety. It also introduces new design approaches to stimulate the innovative ideas concerning the design. This, altogether, represents an added value of CAAD.
keywords	CAAD Tools, Pattern Grammar, Substitution Method
series	AVOCAAD
last changed	2005/09/09 10:48

_id	07ae
authors	Sook Lee, Y. and Mi Lee, S.
year	1997
title	Analysis of mental maps for ideal apartments to develop and simulate an innovative residential interior space.
source	Architectural and Urban Simulation Techniques in Research and Education [3rd EAEA-Conference Proceedings]
summary	Even though results of applied research have been ideally expected to be read and used by practitioners, written suggestions have been less persuasive especially, in visual field such as environmental design, architecture, and interior design. Therefore, visualization of space has been frequently considered as an ideal alternative way of suggestions and an effective method to disseminate research results and help decision makers. In order to make the visualized target space very solid and mundane, scientific research process to define the characteristics of the space should be precedent. This presentation consists of two parts : first research part ; second design and simulation part. The purpose of the research was to identify the ideal residential interior characteristics on the basis of people's mental maps for ideal apartments. To achieve this goal, quantitative content analysis was used using an existing data set of floor plans drawn by housewives. 2,215 floorplans were randomly selected among 3,012 floorplans collected through nation-wide housing design competition for ideal residential apartments. 213 selected variables were used to analyze the floorplans. Major contents were the presentational characteristics of mental maps and the characteristics of design preference such as layout, composition, furnishing etc. As a result, current and future possible trends of ideal residence were identified. On the basis of the result, design guidelines were generated. An interior spatial model for small size unit using CAD was developed according to the guidelines. To present it in more effective way, computer simulated images were made using 3DS. This paper is expected to generate the comparison of various methods for presenting research results such as written documents, drawings, simulated images, small scaled model for endoscopy and full scale modeling.
keywords	Architectural Endoscopy, Endoscopy, Simulation, Visualisation, Visualization, Real Environments
series	EAEA
email
more	http://www.bk.tudelft.nl/media/eaea/eaea97.html
last changed	2005/09/09 10:43

_id	736a
authors	Van Helvoort, Rob
year	1997
title	Drawing with Pencil, Pen and Mouse
source	AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 363-368
summary	The traditional way of architectural design leads to some shortcomings with respect to the quality of the design and the efficiency of the design process. Therefore possibilities for improvements have to be considered. In order to come to fundamental improvements the application of advanced computer technology in the field of architecture has to be co-ordinated with improvements in the area of design methodologies. In this paper we suggest a new methodology for architectural design. It is based on an integrated manner of designing. Despite some early design steps the whole design process is executed on the basis of a 3D model which is handled by means of computers. The central data objects in the design process are the different types of models. The models contain all relevant information generated in the design process. A comparison of our approach with the traditional way of designing illustrates the potential of the new methodology.
keywords	Design Methodologies, Integrated Design Systems, Computer Support
series	AVOCAAD
last changed	2005/09/09 10:48

_id	bf21
authors	Völker, Harry and Schwenk, Mathias
year	1997
title	Approaching a New Methodology: Integrated Architectural Design on the Basis of 3D Computer Models
source	AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 369-380
summary	The traditional way of architectural design leads to some shortcomings with respect to the quality of the design and the efficiency of the design process. Therefore possibilities for improvements have to be considered. In order to come to fundamental improvements the application of advanced computer technology in the field of architecture has to be coordinated with improvements in the area of design methodologies. In this paper we suggest a new methodology for architectural design. It is based on an integrated manner of designing. Despite some early design steps the whole design process is executed on the basis of a 3D model which is handled by means of computers. The central data objects in the design process are the different types of models. The models contain all relevant information generated in the design process. A comparison of our approach with the traditional way of designing illustrates the potential of the new methodology.
series	AVOCAAD
last changed	2005/09/09 10:48

_id	75a8
authors	Achten, Henri H.
year	1997
title	Generic representations : an approach for modelling procedural and declarative knowledge of building types in architectural design
source	Eindhoven University of Technology
summary	The building type is a knowledge structure that is recognised as an important element in the architectural design process. For an architect, the type provides information about norms, layout, appearance, etc. of the kind of building that is being designed. Questions that seem unresolved about (computational) approaches to building types are the relationship between the many kinds of instances that are generally recognised as belonging to a particular building type, the way a type can deal with varying briefs (or with mixed use), and how a type can accommodate different sites. Approaches that aim to model building types as data structures of interrelated variables (so-called ‘prototypes’) face problems clarifying these questions. The research work at hand proposes to investigate the role of knowledge associated with building types in the design process.Knowledge of the building type must be represented during the design process. Therefore, it is necessary to find a representation which supports design decisions, supports the changes and transformations of the design during the design process, encompasses knowledge of the design task, and which relates to the way architects design. It is proposed in the research work that graphic representations can be used as a medium to encode knowledge of the building type. This is possible if they consistently encode the things they represent; if their knowledge content can be derived, and if they are versatile enough to support a design process of a building belonging to a type.A graphic representation consists of graphic entities such as vertices, lines, planes, shapes, symbols, etc. Establishing a graphic representation implies making design decisions with respect to these entities. Therefore it is necessary to identify the elements of the graphic representation that play a role in decision making. An approach based on the concept of ‘graphic units’ is developed. A graphic unit is a particular set of graphic entities that has some constant meaning. Examples are: zone, circulation scheme, axial system, and contour. Each graphic unit implies a particular kind of design decision (e.g. functional areas, system of circulation, spatial organisation, and layout of the building). By differentiating between appearance and meaning, it is possible to define the graphic unit relatively shape-independent.If a number of graphic representations have the same graphic units, they deal with the same kind of design decisions. Graphic representations that have such a specifically defined knowledge content are called ‘generic representations.’ An analysis of over 220 graphic representations in the literature on architecture results in 24 graphic units and 50 generic representations. For each generic representation the design decisions are identified. These decisions are informed by the nature of the design task at hand. If the design task is a building belonging to a building type, then knowledge of the building type is required. In a single generic representation knowledge of norms, rules, and principles associated with the building type are used. Therefore, a single generic representation encodes declarative knowledge of the building type. A sequence of generic representations encodes a series of design decisions which are informed by the design task. If the design task is a building type, then procedural knowledge of the building type is used.By means of the graphic unit and generic representation, it is possible to identify a number of relations that determine sequences of generic representations. These relations are: additional graphic units, themes of generic representations, and successive graphic units. Additional graphic units defines subsequent generic representations by adding a new graphic unit. Themes of generic representations defines groups of generic representations that deal with the same kind of design decisions. Successive graphic units defines preconditions for subsequent or previous generic representations. On the basis of themes it is possible to define six general sequences of generic representations. On the basis of additional and successive graphic units it is possible to define sequences of generic representations in themes. On the basis of these sequences, one particular sequence of 23 generic representations is defined.The particular sequence of generic representations structures the decision process of a building type. In order to test this assertion, the particular sequence is applied to the office building type. For each generic representation, it is possible to establish a graphic representation that follows the definition of the graphic units and to apply the required statements from the office building knowledge base. The application results in a sequence of graphic representations that particularises an office building design.Implementation of seven generic representations in a computer aided design system demonstrates the use of generic representations for design support. The set is large enough to provide additional weight to the conclusion that generic representations map declarative and procedural knowledge of the building type.
series	thesis:PhD
email
more	http://alexandria.tue.nl/extra2/9703788.pdf
last changed	2003/11/21 15:15

_id	a93b
authors	Anders, Peter
year	1997
title	Cybrids: Integrating Cognitive and Physical Space in Architecture
source	Design and Representation [ACADIA ‘97 Conference Proceedings / ISBN 1-880250-06-3] Cincinatti, Ohio (USA) 3-5 October 1997, pp. 17-34
doi	https://doi.org/10.52842/conf.acadia.1997.017
summary	People regularly use non-physical, cognitive spaces to navigate and think. These spaces are important to architects in the design and planning of physical buildings. Cognitive spaces inform design - often underlying principles of architectural composition. They include zones of privacy, territory and the space of memory and visual thought. They let us to map our environment, model or plan projects, even imagine places like Heaven or Hell. Cyberspace is an electronic extension of this cognitive space. Designers of virtual environments already know the power these spaces have on the imagination. Computers are no longer just tools for projecting buildings. They change the very substance of design. Cyberspace is itself a subject for design. With computers architects can design space both for physical and non-physical media. A conscious integration of cognitive and physical space in architecture can affect construction and maintenance costs, and the impact on natural and urban environments. This paper is about the convergence of physical and electronic space and its potential effects on architecture. The first part of the paper will define cognitive space and its relationship to cyberspace. The second part will relate cyberspace to the production of architecture. Finally, a recent project done at the University of Michigan Graduate School of Architecture will illustrate the integration of physical and cyberspaces.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	0992
authors	Belibani, R. and Gadola, A.
year	1997
title	On Digital Architecture
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
doi	https://doi.org/10.52842/conf.ecaade.1997.x.r1n
summary	One of the main aims of this research was to highlight the influence of computer as a designing tool. Their wide acceptance as drawing tools might occult the importance of their role in architectural design. We will try to apprehend, with the help of synthetic images, that computers mark a historic step forward in drawing and representation, as well as a major progress in the understanding of creative processes. Together these features offer a broader horizon to architectural design. New source of inspiration can be found in virtual reality that makes visible what does not really exist, permitting design to suggest itself with its primordial image. We mean a kind of architectural imprint, where the first three-dimensional lines suggest in some way the designer with their shape, and encourage the definition process. Through the visualisation of some images, it is possible to show the modifications of language and style, to examine the transformation modalities of the design process and to propose an essay of the new methods to communicate architecture.
series	eCAADe
email
more	http://info.tuwien.ac.at/ecaade/proc/belibani/belibani.htm
last changed	2022/06/07 07:50

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