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

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_id	2ad9
authors	Damski, José C. and Gero, John S.
year	1997
title	An Evolutionary Approach to Generating Constraint-Based Space Layout Topologies
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 855-864
summary	This paper describes a system to produce space layout topologies for architectural plans using an evolutionary approach. The layout specification is defined as a set of topological and directional constraints, which are used as a fitness function in the evolutionary system. The halfplane representation is used to represent the genotypes in the evolutionary system, for both arrangements of halfplanes and the figures generated from those arrangements. As the halfplane representation proposed here does not distinguish between straight and non-straight boundaries, at the symbolic level the spaces and the layouts produced can also be bounded by straight or non-straight lines. The well known rectangular (polyomino) arrangements become a particular case only.
series	CAAD Futures
email
last changed	1999/04/06 09:19

_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	47cd
authors	Seungho, L., Adams, T.M. and Ryoo, B.
year	1997
title	A fuzzy navigation system for mobile construction robots
source	Automation in Construction 7 (1) (1997) pp. 91-92
summary	This paper explains five simulations of a fuzzy logic controller. Each simulation is illustrated by an accompanying figure that indicates the partticulars point of interest along the path.Incorrect figures were published for examples 1-3. The correct versions of figures 8, 9 and 10 are provided herein.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:23

_id	0286
authors	Will, Barry F. and Siu-Pan Li , Thomas
year	1997
title	Computers for Windows: Interactive Optimization Tools for Architects designing openings in walls (IOTA)
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.d4u
summary	Size, shape and disposition of windows in walls has long been an integral expression of style in architecture. As buildings have grown taller the relationships of the windows to the ground plane and to the surrounding environments have become more complex and difficult to predict. Traditionally architects have had to use their own knowledge, experience and feelings in the design of windows. There may be few, if any, scientific bases for their decisions. The difficulty in making good design decisions is compounded because many criteria for window design, such as daylight, sunlight, ventilation, sound, view and privacy have to be considered simultaneously. It is here that computers can help, on the one hand, by providing ‘expert knowledge’ so that architects can consult the cumulative knowledge database before making a decision, whilst on the other hand, evaluations of the decisions taken can be compared with a given standard or with alternative solutions. ‘Expert knowledge’ provision has been made possible by the introduction of hypertext, the advancement of the world wide web and the development of large scale data-storage media. Much of the computer’s value to the architects lies in its ability to assist in the evaluation of a range of performance criteria. Without the help of a computer, architects are faced with impossibly complex arrays of solutions. This paper illustrates an evaluation tool for two factors which are important to the window design. The two factors to be investigated in this paper are sunlighting and views out of windows. Sunlight is a quantitative factor that can theoretically be assessed by some mathematical formulae provided there is sufficient information for calculation but when total cumulative effects of insolation through the different seasons is required, in addition to yearly figures, a design in real-time evolution requires substantial computing power. Views out of windows are qualitative and subjective. They present difficulties in measurement by the use of conventional mathematical tools. These two fields of impact in window design are explored to demonstrate how computers can be used in assessing various options to produce optimal design solutions. This paper explains the methodologies, theories and principles underlying these evaluation tools. It also illustrates how an evaluation tool can be used as a design tool during the design process.
keywords	Sunlight, View, Window Design, Performance Evaluation, Expert Systems, Simulation, Fuzzy LogicExpert Systems, Simulation, Fuzzy Logic
series	eCAADe
more	http://info.tuwien.ac.at/ecaade/proc/li/li.htm
last changed	2022/06/07 07:50

_id	35bc
authors	Woodward, C. and Howes, J.
year	1997
title	Computing in Architectural Practice
source	E & FN Spon, London
summary	This practical book provides a concise introduction for small and medium sized architectural practices considering introducing computers or using them more widely, and it will be invaluable for students who wish to learn how computers are used in practice. Jargon is avoided so far as possible, necessary technical terms are explained, and key ideas illustrated with figures and diagrams.
series	other
last changed	2003/04/23 15:14

_id	8569
authors	Kurmann, D., Elte, N. and Engeli, M.
year	1997
title	Real-Time Modeling with Architectural Space
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 809-819
summary	Space as an architectural theme has been explored in many ways over many centuries; designing the architectural space is a major issue in both architectural education and in the design process. Based on these observations, it follows that computer tools should be available that help architects manipulate and explore space and spatial configurations directly and interactively. Therefore, we have created and extended the computer tool Sculptor. This tool enables the architect to design interactively with the computer, directly in real-time and in three dimensions. We developed the concept of 'space as an element' and integrated it into Sculptor. These combinations of solid and void elements - positive and negative volumes - enable the architect to use the computer already in an early design stage for conceptual design and spatial studies. Similar to solids modeling but much simpler, more intuitive and in real-time this allows the creation of complex spatial compositions in 3D space. Additionally, several concepts, operations and functions are defined inherently. Windows and doors for example are negative volumes that connect other voids inside positive ones. Based on buildings composed with these spaces we developed agents to calculate sound atmosphere and estimate cost, and creatures to test building for fire escape reasons etc. The paper will look at the way to design with space from both an architect's point of view and a computer scientist's. Techniques, possibilities and consequences of this direct void modeling will be explained. It will elaborate on the principle of human machine interaction brought up by our research and used in Sculptor. It will present the possibility to create VRML models directly for the web and show some of the designs done by students using the tool in our CAAD courses.
series	CAAD Futures
email
last changed	1999/04/06 09:19

_id	058d
authors	Yeung, C., Bradford, J., So, J. and Cheng, G.
year	1997
title	A Distributed Client-Sever Information System for Architecture
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. 407-413
doi	https://doi.org/10.52842/conf.caadria.1997.407
summary	We describe in this paper the implementation of an internet-based information system for the organization and retrieval of 3-D architectural structures. Each structure may consist of sub-structures down to the level of building blocks like pillars, roof-tops, walls, windows and doors etc. Along with each structure, a set of characteristics is attached. These characteristics can be physical such as geometry styles, finish and materials; or environmental such as climate, contour and region; or historical such as era and religion. An application can thus query the information system by specifying any combination of these characteristics.
series	CAADRIA
email
last changed	2022/06/07 07:57

_id	e336
authors	Achten, H., Roelen, W., Boekholt, J.-Th., Turksma, A. and Jessurun, J.
year	1999
title	Virtual Reality in the Design Studio: The Eindhoven Perspective
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 169-177
doi	https://doi.org/10.52842/conf.ecaade.1999.169
summary	Since 1991 Virtual Reality has been used in student projects in the Building Information Technology group. It started as an experimental tool to assess the impact of VR technology in design, using the environment of the associated Calibre Institute. The technology was further developed in Calibre to become an important presentation tool for assessing design variants and final design solutions. However, it was only sporadically used in student projects. A major shift occurred in 1997 with a number of student projects in which various computer technologies including VR were used in the whole of the design process. In 1998, the new Design Systems group started a design studio with the explicit aim to integrate VR in the whole design process. The teaching effort was combined with the research program that investigates VR as a design support environment. This has lead to increasing number of innovative student projects. The paper describes the context and history of VR in Eindhoven and presents the current set-UP of the studio. It discusses the impact of the technology on the design process and outlines pedagogical issues in the studio work.
keywords	Virtual Reality, Design Studio, Student Projects
series	eCAADe
email
last changed	2022/06/07 07:54

_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	eea1
authors	Achten, Henri
year	1997
title	Generic Representations - Typical Design without the Use of Types
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 117-133
summary	The building type is a (knowledge) structure that is both recognised as a constitutive cognitive element of human thought and as a constitutive computational element in CAAD systems. Questions that seem unresolved up to now about computational approaches to building types are the relationship between the various instances that are generally recognised as belonging to a particular building type, the way a type can deal with varying briefs (or with mixed functional 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. It is proposed in this research not to focus on a definition of 'type,' but rather to investigate the role of knowledge connected to building types in the design process. The basic proposition is that the graphic representations used to represent the state of the design object throughout the design process can be used as a medium to encode knowledge of the building type. This proposition claims that graphic representations consistently encode the things they represent, that it is possible to derive the knowledge content of graphic representations, and that there is enough diversity within graphic representations to support a design process of a building belonging to a type. In order to substantiate these claims, it is necessary to analyse graphic representations. In the research work, an approach based on the notion of 'graphic units' is developed. The graphic unit is defined and the analysis of graphic representations on the basis of the graphic unit is demonstrated. This analysis brings forward the knowledge content of single graphic representations. Such knowledge content is declarative knowledge. The graphic unit also provides the means to articulate the transition from one graphic representation to another graphic representation. Such transitions encode procedural knowledge. The principles of a sequence of generic representations are discussed and it is demonstrated how a particular type - the office building type - is implemented in the theoretical work. Computational work on implementation part of a sequence of generic representations of the office building type is discussed. The paper ends with a summary and future work.
series	CAAD Futures
email
last changed	2003/11/21 15:15

_id	060b
authors	Af Klercker, J.
year	1997
title	A National Strategy for CAAD and IT-Implementation in the Construction Industry the Construction Industry
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.o8u
summary	The objective of this paper is to present a strategy for implementation of CAD and IT in the construction and building management#1 industry in Sweden. The interest is in how to make the best use of the limited resources in a small country or region, cooperating internationally and at the same time avoiding to be totally dominated by the great international actors in the market of information technology. In Sweden representatives from the construction and building management industry have put forward a research and development program called: "IT-Bygg#2 2002 - Implementation". It aims at making IT the vehicle for decreasing the building costs and at the same time getting better quality and efficiency out of the industry. The presented strategy is based on a seminar with some of the most experienced researchers, developers and practitioners of CAD in Sweden. The activities were recorded and annotated, analyzed and put together afterwards. The proposal in brief is that object oriented distributed CAD is to be used in the long perspective. It will need to be based on international standards such as STEP and it will take at least another 5 years to get established. Meanwhile something temporary has to be used. Pragmatically a "de facto standard" on formats has to be accepted and implemented. To support new users of IT all software in use in the country will be analyzed, described and published for a national platform for IT-communication within the construction industry. Finally the question is discussed "How can architect schools then contribute to IT being implemented within the housing sector at a regional or national level?" Some ideas are presented: Creating the good example, better support for the customer, sharing the holistic concept of the project with all actors, taking part in an integrated education process and international collaboration like AVOCAAD and ECAADE.
keywords	CAAD, IT, Implementation, Education, Collaboration
series	eCAADe
type	normal paper
email
more	http://info.tuwien.ac.at/ecaade/proc/afklerck/afklerck.htm
last changed	2022/06/07 07:50

_id	730e
authors	Af Klercker, Jonas
year	1997
title	Implementation of IT and CAD - what can Architect schools do?
source	AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 83-92
summary	In Sweden representatives from the Construction industry have put forward a research and development program called: "IT-Bygg 2002 -Implementation". It aims at making IT the vehicle for decreasing the building costs and at the same time getting better quality and efficiency out of the industry. A seminar was held with some of the most experienced researchers, developers and practitioners of CAD in construction in Sweden. The activities were recorded and annotated, analysed and put together afterwards; then presented to the participants to agree on. Co-operation is the key to get to the goals - IT and CAD are just the means to improve it. Co-operation in a phase of implementation is enough problematic without the technical difficulties in using computer programs created by the computer industry primarily for commercial reasons. The suggestion is that cooperation between software companies within Sweden will make a greater market to share than the sum of all individual efforts. In the short term, 2 - 5 years, implementation of CAD and IT will demand a large amount of educational efforts from all actors in the construction process. In the process of today the architect is looked upon as a natural coordinator of the design phase. In the integrated process the architect's methods and knowledge are central and must be spread to other categories of actors - what a challenge! At least in Sweden the number of researchers and educators in CAAD is easily counted. How do we make the most of it?
series	AVOCAAD
last changed	2005/09/09 10:48

_id	1fb3
authors	Akin, O., Cumming, M., Shealey, M. and Tuncer, B.
year	1997
title	An electronic design assistance tool for case-based representation of designs
source	Automation in Construction 6 (4) (1997) pp. 265-274
summary	In precedent based design, solutions to problems are developed by drawing from an understanding of landmark designs. Many of the key design operations in this mode are similar to the functionalities present in case-based reasoning systems: case matching, case adapting, and case representation. It is clear that a rich case-base, encoding all major product types in a design domain would be the centerpiece of such an approach. EDAT (Electronic Design Assistance Tool) is intended to assist in precedent based design in the studio with the potential of expansion into the office setting. EDAT has been designed using object oriented system development methods. EDAT was used in a design studio at Carnegie Mellon University, during Spring 1996.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	d35f
authors	Akin, O.
year	1997
title	Researching Descriptive Models of Design
source	Automation in Construction 7 (2-3) (1998) pp. 97-100
summary	This special double issue is a result of the international symposium and workshop on „Descriptive Models of Design“ wich was held during July 1-5, 1996, at Istanbul Technical University, Istanbul, Turkey. The primary goal of the symposium was to promote greater understanding and to develop recommendations for funding policy and practices in the area of descriptive models of design.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	0e8f
authors	Alavalkama, I. and Siitonen, P.
year	1997
title	Developing a new endoscopy laboratory with digital tools.
source	Architectural and Urban Simulation Techniques in Research and Education [Proceedings of the 3rd European Architectural Endoscopy Association Conference / ISBN 90-407-1669-2]
summary	Tampere School of Architecture had to leave its old down-town building and move to the TU Tampere university campus in Hervanta, 10 km away. In this process, the 20 years old endoscopic system "The Urban Simulator" was one of the victims. Old mechanical parts and especially the original home-built microcomputer system were too old to compete with modern computer-aided methods. A new endoscopical system is now under construction, using all of the 20-year experience, new technical components and computers for camera control and picture processing. Real-material modelling is used together with computer-aided planning and visualization methods taking the best from both sides.
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	acadia23_v1_136
id	acadia23_v1_136
authors	Alima, Natalia
year	2023
title	InterspeciesForms
source	ACADIA 2023: Habits of the Anthropocene: Scarcity and Abundance in a Post-Material Economy [Volume 1: Projects Catalog of the 43rd Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 979-8-9860805-8-1]. Denver. 26-28 October 2023. edited by A. Crawford, N. Diniz, R. Beckett, J. Vanucchi, M. Swackhamer 136-143.
summary	The hybridization of architectural, biological and robotic agencies Situated in the field of architectural biodesign, InterspeciesForms explores a closer relationship between the fungus Pleurotus ostreatus and the designer in the creation of form. The intention of hybridizing mycelia’s agency of growth with architectural design intention is to generate novel, non-indexical crossbred designed outcomes that evolve preconceived notions of architectural form. Mycelium are threadlike fibrous root systems made up of hyphae, that form the vegetative part of a fungus (Jones 2020). Known as the hackers of the wood wide web (Simard 1997) mycelia form complex symbiotic relationships with other species that inhabit our earth. Michael Lim states “Fungi redefine resourcefulness, collaboration, resilience and symbiosis” (Lim 2022, p. 14). When wandering around the forest to connect with other species or searching for food, fungi form elaborate and entangled networks by spreading their hyphal tips. Shown in Figure 1, this living labyrinth results in the aesthetic formation of an intricate web. Due to the organisms ability to determine the most effective direction of growth, communicate with its surrounding ecosystem, and connect with other species, fungi are indeed an intelligent species with a unique aesthetic that must not be ignored. In drawing on these concepts, I refer to the organism’s ability to search for, tangle, and digest its surroundings as ‘mycelia agency of growth’. It is this specific behavioral characteristic that is the focus of this research, with which I, as the architect, set out to co-create and hybridize with.
series	ACADIA
type	project
email
last changed	2024/04/17 13:58

_id	88fa
authors	Alkhoven, P.
year	1997
title	Computer Visualisation as a Tool in Architectural Historical Research
source	Architectural and Urban Simulation Techniques in Research and Education [Proceedings of the 3rd European Architectural Endoscopy Association Conference / ISBN 90-407-1669-2]
summary	The historical city has been represented over time using various ways of drawing, modelling and simulation. Using different kinds of visual information as a basis, computer visualisation techniques are used in this presentation to reconstruct the urban development in the twentieth century of the town of Heusden and other towns. The resulting visualisation provides us with a tool for a better understanding of the dynamics of urban transformation processes, typologies and morphological changes. Though for most of these rather specific research questions the computer images proved adequate and useful, some morphological studies can well be carried out using more traditional techniques.
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	acadia03_022
id	acadia03_022
authors	Anders, Peter
year	2003
title	Towards Comprehensive Space: A context for the programming/design of cybrids
source	Connecting >> Crossroads of Digital Discourse [Proceedings of the 2003 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-12-8] Indianapolis (Indiana) 24-27 October 2003, pp. 161-171
doi	https://doi.org/10.52842/conf.acadia.2003.161
summary	Cybrids have been presented as mixed realities: spatial, architectural compositions comprised of physical and cyberspaces (Anders 1997). In order to create a rigorous approach to the design of architectural cybrids, this paper offers a model for programming their spaces. Other than accepting cyberspaces as part of architecture’s domain, this approach is not radical. Indeed, many parts of program development resemble those of conventional practice. However, the proposition that cyberspaces should be integrated with material structures requires that their relationship be developed from the outset of a project. Hence, this paper provides a method for their integration from the project’s earliest stages, the establishment of its program. This study for an actual project, the Planetary Collegium, describes a distributed campus comprising buildings and cyberspaces in various locales across the globe. The programming for these cybrids merges them within a comprehensive space consisting not only of the physical and cyberspaces, but also in the cognitive spaces of its designers and users.
series	ACADIA
email
last changed	2022/06/07 07:54

_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	2dc0
authors	Arkin, H. and Paciuk, M.
year	1997
title	Evaluating intelligent buildings according to level of service systems integration
source	Automation in Construction 6 (5-6) (1997) pp. 471-479
summary	The intelligent building is supposed to provide the environment and means for an optimal utilization of the building, according to its designation. This extended function of a building can be achieved only by means of an extensive use of building service systems, such as HVAC; electric power; communication; safety and security; transportation; sanitation, etc. Building intelligence is not related to the sophistication of service systems in a building, but rather to the integration among the various service systems, and between the systems and the building structure. Systems' integration can be accomplished through teamwork planning of the building, starting at the initial design stages of the building. This paper examines some existing buildings claimed to be "intelligent", according to their level of systems' integration.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

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