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_id	536e
authors	Bouman, Ole
year	1997
title	RealSpace in QuickTimes: architecture and digitization
source	Rotterdam: Nai Publishers
summary	Time and space, drastically compressed by the computer, have become interchangeable. Time is compressed in that once everything has been reduced to 'bits' of information, it becomes simultaneously accessible. Space is compressed in that once everything has been reduced to 'bits' of information, it can be conveyed from A to B with the speed of light. As a result of digitization, everything is in the here and now. Before very long, the whole world will be on disk. Salvation is but a modem away. The digitization process is often seen in terms of (information) technology. That is to say, one hears a lot of talk about the digital media, about computer hardware, about the modem, mobile phone, dictaphone, remote control, buzzer, data glove and the cable or satellite links in between. Besides, our heads are spinning from the progress made in the field of software, in which multimedia applications, with their integration of text, image and sound, especially attract our attention. But digitization is not just a question of technology, it also involves a cultural reorganization. The question is not just what the cultural implications of digitization will be, but also why our culture should give rise to digitization in the first place. Culture is not simply a function of technology; the reverse is surely also true. Anyone who thinks about cultural implications, is interested in the effects of the computer. And indeed, those effects are overwhelming, providing enough material for endless speculation. The digital paradigm will entail a new image of humankind and a further dilution of the notion of social perfectibility; it will create new notions of time and space, a new concept of cause and effect and of hierarchy, a different sort of public sphere, a new view of matter, and so on. In the process it will indubitably alter our environment. Offices, shopping centres, dockyards, schools, hospitals, prisons, cultural institutions, even the private domain of the home: all the familiar design types will be up for review. Fascinated, we watch how the new wave accelerates the process of social change. The most popular sport nowadays is 'surfing' - because everyone is keen to display their grasp of dirty realism. But there is another way of looking at it: under what sort of circumstances is the process of digitization actually taking place? What conditions do we provide that enable technology to exert the influence it does? This is a perspective that leaves room for individual and collective responsibility. Technology is not some inevitable process sweeping history along in a dynamics of its own. Rather, it is the result of choices we ourselves make and these choices can be debated in a way that is rarely done at present: digitization thanks to or in spite of human culture, that is the question. In addition to the distinction between culture as the cause or the effect of digitization, there are a number of other distinctions that are accentuated by the computer. The best known and most widely reported is the generation gap. It is certainly stretching things a bit to write off everybody over the age of 35, as sometimes happens, but there is no getting around the fact that for a large group of people digitization simply does not exist. Anyone who has been in the bit business for a few years can't help noticing that mum and dad are living in a different place altogether. (But they, at least, still have a sense of place!) In addition to this, it is gradually becoming clear that the age-old distinction between market and individual interests are still relevant in the digital era. On the one hand, the advance of cybernetics is determined by the laws of the marketplace which this capital-intensive industry must satisfy. Increased efficiency, labour productivity and cost-effectiveness play a leading role. The consumer market is chiefly interested in what is 'marketable': info- and edutainment. On the other hand, an increasing number of people are not prepared to wait for what the market has to offer them. They set to work on their own, appropriate networks and software programs, create their own domains in cyberspace, domains that are free from the principle whereby the computer simply reproduces the old world, only faster and better. Here it is possible to create a different world, one that has never existed before. One, in which the Other finds a place. The computer works out a new paradigm for these creative spirits. In all these distinctions, architecture plays a key role. Owing to its many-sidedness, it excludes nothing and no one in advance. It is faced with the prospect of historic changes yet it has also created the preconditions for a digital culture. It is geared to the future, but has had plenty of experience with eternity. Owing to its status as the most expensive of arts, it is bound hand and foot to the laws of the marketplace. Yet it retains its capacity to provide scope for creativity and innovation, a margin of action that is free from standardization and regulation. The aim of RealSpace in QuickTimes is to show that the discipline of designing buildings, cities and landscapes is not only a exemplary illustration of the digital era but that it also provides scope for both collective and individual activity. It is not just architecture's charter that has been changed by the computer, but also its mandate. RealSpace in QuickTimes consists of an exhibition and an essay.
series	other
email
last changed	2003/04/23 15:14

_id	6cb4
authors	Leupen, B., Grafe, C., Körnig, N., Lampe, M. and De Zeeuw, P.
year	1997
title	Design and Analysis
source	New York: Van Nostrand Reinhold
summary	Design and Analysis by Bernard Leupen, Christoph Grafe, Nicola Körnig, Marc Lampe, and Peter de Zeeuw Design and Analysis is an insightful, interdisciplinary exploration of the diversity of analytic methods used by architects, designers, urban planners, and landscape architects to understand the structure and principles of the built environment. Developed by a team headed by Bernard Leupen at Delft University of Technology, The Netherlands, Design and Analysis defies borders of history, geography, and discipline, tracing the evolution of design principles from ancient Greece to the 20th century. "Only methodical analysis gives us an insight into the design process," states architect Bernard Tschumi. Using historical examples from architecture, urban design, and landscape architecture, Design and Analysis defines an ordered system that enables the design student or professional to identify the factors that influence designers' decisions, and shows how to relate them to the finished project. Design and Analysis is organized into six chapters that correspond to these factors: order and composition, functionality, structure, typology, context, and analytical techniques. The authors introduce the analytical drawing as a time-tested means to obtaining insight into the design process. Over 100 line drawings are featured in all. Using contemporary architectural examples to teach ancient design principles, Design and Analysis is more than just an introduction to analytical methods. The authors give an outline of space design as a whole, from individual buildings to urban and landscape ensembles. Though primarily intended for design students to help them appreciate many of the issues that they will face as professionals, Design and Analysis's broad, easy-to-read approach makes it an invaluable handbook for designers of all disciplines.
series	other
last changed	2003/04/23 15:14

_id	ga0026
id	ga0026
authors	Ransen, Owen F.
year	2000
title	Possible Futures in Computer Art Generation
source	International Conference on Generative Art
summary	Years of trying to create an "Image Idea Generator" program have convinced me that the perfect solution would be to have an artificial artistic person, a design slave. This paper describes how I came to that conclusion, realistic alternatives, and briefly, how it could possibly happen. 1. The history of Repligator and Gliftic 1.1 Repligator In 1996 I had the idea of creating an “image idea generator”. I wanted something which would create images out of nothing, but guided by the user. The biggest conceptual problem I had was “out of nothing”. What does that mean? So I put aside that problem and forced the user to give the program a starting image. This program eventually turned into Repligator, commercially described as an “easy to use graphical effects program”, but actually, to my mind, an Image Idea Generator. The first release came out in October 1997. In December 1998 I described Repligator V4 [1] and how I thought it could be developed away from simply being an effects program. In July 1999 Repligator V4 won the Shareware Industry Awards Foundation prize for "Best Graphics Program of 1999". Prize winners are never told why they won, but I am sure that it was because of two things: 1) Easy of use 2) Ease of experimentation "Ease of experimentation" means that Repligator does in fact come up with new graphics ideas. Once you have input your original image you can generate new versions of that image simply by pushing a single key. Repligator is currently at version 6, but, apart from adding many new effects and a few new features, is basically the same program as version 4. Following on from the ideas in [1] I started to develop Gliftic, which is closer to my original thoughts of an image idea generator which "starts from nothing". The Gliftic model of images was that they are composed of three components: 1. Layout or form, for example the outline of a mandala is a form. 2. Color scheme, for example colors selected from autumn leaves from an oak tree. 3. Interpretation, for example Van Gogh would paint a mandala with oak tree colors in a different way to Andy Warhol. There is a Van Gogh interpretation and an Andy Warhol interpretation. Further I wanted to be able to genetically breed images, for example crossing two layouts to produce a child layout. And the same with interpretations and color schemes. If I could achieve this then the program would be very powerful. 1.2 Getting to Gliftic Programming has an amazing way of crystalising ideas. If you want to put an idea into practice via a computer program you really have to understand the idea not only globally, but just as importantly, in detail. You have to make hard design decisions, there can be no vagueness, and so implementing what I had decribed above turned out to be a considerable challenge. I soon found out that the hardest thing to do would be the breeding of forms. What are the "genes" of a form? What are the genes of a circle, say, and how do they compare to the genes of the outline of the UK? I wanted the genotype representation (inside the computer program's data) to be directly linked to the phenotype representation (on the computer screen). This seemed to be the best way of making sure that bred-forms would bare some visual relationship to their parents. I also wanted symmetry to be preserved. For example if two symmetrical objects were bred then their children should be symmetrical. I decided to represent shapes as simply closed polygonal shapes, and the "genes" of these shapes were simply the list of points defining the polygon. Thus a circle would have to be represented by a regular polygon of, say, 100 sides. The outline of the UK could easily be represented as a list of points every 10 Kilometers along the coast line. Now for the important question: what do you get when you cross a circle with the outline of the UK? I tried various ways of combining the "genes" (i.e. coordinates) of the shapes, but none of them really ended up producing interesting shapes. And of the methods I used, many of them, applied over several "generations" simply resulted in amorphous blobs, with no distinct family characteristics. Or rather maybe I should say that no single method of breeding shapes gave decent results for all types of images. Figure 1 shows an example of breeding a mandala with 6 regular polygons: Figure 1 Mandala bred with array of regular polygons I did not try out all my ideas, and maybe in the future I will return to the problem, but it was clear to me that it is a non-trivial problem. And if the breeding of shapes is a non-trivial problem, then what about the breeding of interpretations? I abandoned the genetic (breeding) model of generating designs but retained the idea of the three components (form, color scheme, interpretation). 1.3 Gliftic today Gliftic Version 1.0 was released in May 2000. It allows the user to change a form, a color scheme and an interpretation. The user can experiment with combining different components together and can thus home in on an personally pleasing image. Just as in Repligator, pushing the F7 key make the program choose all the options. Unlike Repligator however the user can also easily experiment with the form (only) by pushing F4, the color scheme (only) by pushing F5 and the interpretation (only) by pushing F6. Figures 2, 3 and 4 show some example images created by Gliftic. Figure 2 Mandala interpreted with arabesques Figure 3 Trellis interpreted with "graphic ivy" Figure 4 Regular dots interpreted as "sparks" 1.4 Forms in Gliftic V1 Forms are simply collections of graphics primitives (points, lines, ellipses and polygons). The program generates these collections according to the user's instructions. Currently the forms are: Mandala, Regular Polygon, Random Dots, Random Sticks, Random Shapes, Grid Of Polygons, Trellis, Flying Leap, Sticks And Waves, Spoked Wheel, Biological Growth, Chequer Squares, Regular Dots, Single Line, Paisley, Random Circles, Chevrons. 1.5 Color Schemes in Gliftic V1 When combining a form with an interpretation (described later) the program needs to know what colors it can use. The range of colors is called a color scheme. Gliftic has three color scheme types: 1. Random colors: Colors for the various parts of the image are chosen purely at random. 2. Hue Saturation Value (HSV) colors: The user can choose the main hue (e.g. red or yellow), the saturation (purity) of the color scheme and the value (brightness/darkness) . The user also has to choose how much variation is allowed in the color scheme. A wide variation allows the various colors of the final image to depart a long way from the HSV settings. A smaller variation results in the final image using almost a single color. 3. Colors chosen from an image: The user can choose an image (for example a JPG file of a famous painting, or a digital photograph he took while on holiday in Greece) and Gliftic will select colors from that image. Only colors from the selected image will appear in the output image. 1.6 Interpretations in Gliftic V1 Interpretation in Gliftic is best decribed with a few examples. A pure geometric line could be interpreted as: 1) the branch of a tree 2) a long thin arabesque 3) a sequence of disks 4) a chain, 5) a row of diamonds. An pure geometric ellipse could be interpreted as 1) a lake, 2) a planet, 3) an eye. Gliftic V1 has the following interpretations: Standard, Circles, Flying Leap, Graphic Ivy, Diamond Bar, Sparkz, Ess Disk, Ribbons, George Haite, Arabesque, ZigZag. 1.7 Applications of Gliftic Currently Gliftic is mostly used for creating WEB graphics, often backgrounds as it has an option to enable "tiling" of the generated images. There is also a possibility that it will be used in the custom textile business sometime within the next year or two. The real application of Gliftic is that of generating new graphics ideas, and I suspect that, like Repligator, many users will only understand this later. 2. The future of Gliftic, 3 possibilties Completing Gliftic V1 gave me the experience to understand what problems and opportunities there will be in future development of the program. Here I divide my many ideas into three oversimplified possibilities, and the real result may be a mix of two or all three of them. 2.1 Continue the current development "linearly" Gliftic could grow simply by the addition of more forms and interpretations. In fact I am sure that initially it will grow like this. However this limits the possibilities to what is inside the program itself. These limits can be mitigated by allowing the user to add forms (as vector files). The user can already add color schemes (as images). The biggest problem with leaving the program in its current state is that there is no easy way to add interpretations. 2.2 Allow the artist to program Gliftic It would be interesting to add a language to Gliftic which allows the user to program his own form generators and interpreters. In this way Gliftic becomes a "platform" for the development of dynamic graphics styles by the artist. The advantage of not having to deal with the complexities of Windows programming could attract the more adventurous artists and designers. The choice of programming language of course needs to take into account the fact that the "programmer" is probably not be an expert computer scientist. I have seen how LISP (an not exactly easy artificial intelligence language) has become very popular among non programming users of AutoCAD. If, to complete a job which you do manually and repeatedly, you can write a LISP macro of only 5 lines, then you may be tempted to learn enough LISP to write those 5 lines. Imagine also the ability to publish (and/or sell) "style generators". An artist could develop a particular interpretation function, it creates images of a given character which others find appealing. The interpretation (which runs inside Gliftic as a routine) could be offered to interior designers (for example) to unify carpets, wallpaper, furniture coverings for single projects. As Adrian Ward [3] says on his WEB site: "Programming is no less an artform than painting is a technical process." Learning a computer language to create a single image is overkill and impractical. Learning a computer language to create your own artistic style which generates an infinite series of images in that style may well be attractive. 2.3 Add an artificial conciousness to Gliftic This is a wild science fiction idea which comes into my head regularly. Gliftic manages to surprise the users with the images it makes, but, currently, is limited by what gets programmed into it or by pure chance. How about adding a real artifical conciousness to the program? Creating an intelligent artificial designer? According to Igor Aleksander [1] conciousness is required for programs (computers) to really become usefully intelligent. Aleksander thinks that "the line has been drawn under the philosophical discussion of conciousness, and the way is open to sound scientific investigation". Without going into the details, and with great over-simplification, there are roughly two sorts of artificial intelligence: 1) Programmed intelligence, where, to all intents and purposes, the programmer is the "intelligence". The program may perform well (but often, in practice, doesn't) and any learning which is done is simply statistical and pre-programmed. There is no way that this type of program could become concious. 2) Neural network intelligence, where the programs are based roughly on a simple model of the brain, and the network learns how to do specific tasks. It is this sort of program which, according to Aleksander, could, in the future, become concious, and thus usefully intelligent. What could the advantages of an artificial artist be? 1) There would be no need for programming. Presumbably the human artist would dialog with the artificial artist, directing its development. 2) The artificial artist could be used as an apprentice, doing the "drudge" work of art, which needs intelligence, but is, anyway, monotonous for the human artist. 3) The human artist imagines "concepts", the artificial artist makes them concrete. 4) An concious artificial artist may come up with ideas of its own. Is this science fiction? Arthur C. Clarke's 1st Law: "If a famous scientist says that something can be done, then he is in all probability correct. If a famous scientist says that something cannot be done, then he is in all probability wrong". Arthur C Clarke's 2nd Law: "Only by trying to go beyond the current limits can you find out what the real limits are." One of Bertrand Russell's 10 commandments: "Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric" 3. References 1. "From Ramon Llull to Image Idea Generation". Ransen, Owen. Proceedings of the 1998 Milan First International Conference on Generative Art. 2. "How To Build A Mind" Aleksander, Igor. Wiedenfeld and Nicolson, 1999 3. "How I Drew One of My Pictures: or, The Authorship of Generative Art" by Adrian Ward and Geof Cox. Proceedings of the 1999 Milan 2nd International Conference on Generative Art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	d60a
authors	Casti, J.C.
year	1997
title	Would be Worlds: How simulation is changing the frontiers of science
source	John Wiley & Sons, Inc., New York.
summary	Five Golden Rules is caviar for the inquiring reader. Anyone who enjoyed solving math problems in high school will be able to follow the author's explanations, even if high school was a long time ago. There is joy here in watching the unfolding of these intricate and beautiful techniques. Casti's gift is to be able to let the nonmathematical reader share in his understanding of the beauty of a good theory.-Christian Science Monitor "[Five Golden Rules] ranges into exotic fields such as game theory (which played a role in the Cuban Missile Crisis) and topology (which explains how to turn a doughnut into a coffee cup, or vice versa). If you'd like to have fun while giving your brain a first-class workout, then check this book out."-San Francisco Examiner "Unlike many popularizations, [this book] is more than a tour d'horizon: it has the power to change the way you think. Merely knowing about the existence of some of these golden rules may spark new, interesting-maybe even revolutionary-ideas in your mind. And what more could you ask from a book?"-New Scientist "This book has meat! It is solid fare, food for thought . . . makes math less forbidding, and much more interesting."-Ben Bova, The Hartford Courant "This book turns math into beauty."-Colorado Daily "John Casti is one of the great science writers of the 1990s."-San Francisco Examiner In the ever-changing world of science, new instruments often lead to momentous discoveries that dramatically transform our understanding. Today, with the aid of a bold new instrument, scientists are embarking on a scientific revolution as profound as that inspired by Galileo's telescope. Out of the bits and bytes of computer memory, researchers are fashioning silicon surrogates of the real world-elaborate "artificial worlds"-that allow them to perform experiments that are too impractical, too costly, or, in some cases, too dangerous to do "in the flesh." From simulated tests of new drugs to models of the birth of planetary systems and galaxies to computerized petri dishes growing digital life forms, these laboratories of the future are the essential tools of a controversial new scientific method. This new method is founded not on direct observation and experiment but on the mapping of the universe from real space into cyberspace. There is a whole new science happening here-the science of simulation. The most exciting territory being mapped by artificial worlds is the exotic new frontier of "complex, adaptive systems." These systems involve living "agents" that continuously change their behavior in ways that make prediction and measurement by the old rules of science impossible-from environmental ecosystems to the system of a marketplace economy. Their exploration represents the horizon for discovery in the twenty-first century, and simulated worlds are charting the course. In Would-Be Worlds, acclaimed author John Casti takes readers on a fascinating excursion through a number of remarkable silicon microworlds and shows us how they are being used to formulate important new theories and to solve a host of practical problems. We visit Tierra, a "computerized terrarium" in which artificial life forms known as biomorphs grow and mutate, revealing new insights into natural selection and evolution. We play a game of Balance of Power, a simulation of the complex forces shaping geopolitics. And we take a drive through TRANSIMS, a model of the city of Albuquerque, New Mexico, to discover the root causes of events like traffic jams and accidents. Along the way, Casti probes the answers to a host of profound questions these "would-be worlds" raise about the new science of simulation. If we can create worlds inside our computers at will, how real can we say they are? Will they unlock the most intractable secrets of our universe? Or will they reveal instead only the laws of an alternate reality? How "real" do these models need to be? And how real can they be? The answers to these questions are likely to change the face of scientific research forever.
series	other
last changed	2003/04/23 15:14

_id	1715
authors	Howard, R.
year	1997
title	Introduction
source	Automation in Construction 6 (1) (1997) pp. 1-1
summary	The future use of Information Technology by the constructions industry depends upon the convergence of computers and communications with changes taking place in the way buildings are designed and constructed. Views on how this will happen over the next ten years, what the inhibitors are, and how to minimise these, depned upon the views of many different experts.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	2de7
authors	Lachmi, K., Beatrice, B., Timerman, A. and Kalay, Y.E.
year	1997
title	Semantically Rich Building Representation
doi	https://doi.org/10.52842/conf.acadia.1997.207
source	Design and Representation [ACADIA ‘97 Conference Proceedings / ISBN 1-880250-06-3] Cincinatti, Ohio (USA) 3-5 October 1997, pp. 207-227
summary	At the core of any computational system that can support design development, analysis, and evaluation is a building representation which should be able to represent all the different components that make up a building, along with the manner in which they come together. In other words, the representation must be informationally complete and semantically rich. The paper discusses these two criteria in detail, and briefly reviews other research efforts aimed at developing building representations for CAAD that attempt to meet them. Our solution to this problem is then presented. It is aimed primarily at the schematic design phase, the rationale for which is also stated. Taking the view that buildings are unique assemblies of discrete, mostly standardized components, our representation is clearly divided into two components: the Object Database (ODB) which stores detailed information about various building elements, and the Project Database (PDB) which holds information about how these elements are assembled to make up a particular building. An ODB may be shared by many building projects, while the PDB must necessarily be unique to each. The data schemas of both the PDB and the ODB are described in detail and their computational implementation, to the extent that it has been completed, is illustrated.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	cf2011_p016
id	cf2011_p016
authors	Merrick, Kathryn; Gu Ning
year	2011
title	Supporting Collective Intelligence for Design in Virtual Worlds: A Case Study of the Lego Universe
source	Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 637-652.
summary	Virtual worlds are multi-faceted technologies. Facets of virtual worlds include graphical simulation tools, communication, design and modelling tools, artificial intelligence, network structure, persistent object-oriented infrastructure, economy, governance and user presence and interaction. Recent studies (Merrick et al., 2010) and applications (Rosenman et al., 2006; Maher et al., 2006) have shown that the combination of design, modelling and communication tools, and artificial intelligence in virtual worlds makes them suitable platforms for supporting collaborative design, including human-human collaboration and human-computer co-creativity. Virtual worlds are also coming to be recognised as a platform for collective intelligence (Levy, 1997), a form of group intelligence that emerges from collaboration and competition among large numbers of individuals. Because of the close relationship between design, communication and virtual world technologies, there appears a strong possibility of using virtual worlds to harness collective intelligence for supporting upcoming ‚Äúdesign challenges on a much larger scale as we become an increasingly global and technological society‚Äù (Maher et al, 2010), beyond the current support for small-scale collaborative design teams. Collaborative design is relatively well studied and is characterised by small-scale, carefully structured design teams, usually comprising design professionals with a good understanding of the design task at hand. All team members are generally motivated and have the skills required to structure the shared solution space and to complete the design task. In contrast, collective design (Maher et al, 2010) is characterised by a very large number of participants ranging from professional designers to design novices, who may need to be motivated to participate, whose contributions may not be directly utilised for design purposes, and who may need to learn some or all of the skills required to complete the task. Thus the facets of virtual worlds required to support collective design differ from those required to support collaborative design. Specifically, in addition to design, communication and artificial intelligence tools, various interpretive, mapping and educational tools together with appropriate motivational and reward systems may be required to inform, teach and motivate virtual world users to contribute and direct their inputs to desired design purposes. Many of these world facets are well understood by computer game developers, as level systems, quests or plot and achievement/reward systems. This suggests the possibility of drawing on or adapting computer gaming technologies as a basis for harnessing collective intelligence in design. Existing virtual worlds that permit open-ended design ‚Äì such as Second Life and There ‚Äì are not specifically game worlds as they do not have extensive level, quest and reward systems in the same way as game worlds like World of Warcraft or Ultima Online. As such, while Second Life and There demonstrate emergent design, they do not have the game-specific facets that focus users towards solving specific problems required for harnessing collective intelligence. However, a new massively multiplayer virtual world is soon to be released that combines open-ended design tools with levels, quests and achievement systems. This world is called Lego Universe (www.legouniverse.com). This paper presents technology spaces for the facets of virtual worlds that can contribute to the support of collective intelligence in design, including design and modelling tools, communication tools, artificial intelligence, level system, motivation, governance and other related facets. We discuss how these facets support the design, communication, motivational and educational requirements of collective intelligence applications. The paper concludes with a case study of Lego Universe, with reference to the technology spaces defined above. We evaluate the potential of this or similar tools to move design beyond the individual and small-scale design teams to harness large-scale collective intelligence. We also consider the types of design tasks that might best be addressed in this manner.
keywords	collective intelligence, collective design, virtual worlds, computer games
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	cc51
authors	Schnier, T. and Gero, J.S
year	1997
title	Dominant and recessive genes in evolutionary systems applied to spatial reasoning
source	A. Sattar (Ed.), Advanced Topics in Artificial Intelligence: 10th Australian Joint Conference on Artificial Intelligence AI97 Proceedings, Springer, Heidelberg, pp. 127-136
summary	Learning genetic representation has been shown to be a useful tool in evolutionary computation. It can reduce the time required to find solutions and it allows the search process to be biased towards more desirable solutions. Learn-ing genetic representation involves the bottom-up creation of evolved genes from either original (basic) genes or from other evolved genes and the introduction of those into the population. The evolved genes effectively protect combinations of genes that have been found useful from being disturbed by the genetic operations (cross-over, mutation). However, this protection can rapidly lead to situations where evolved genes in-terlock in such a way that few or no genetic operations are possible on some genotypes. To prevent the interlocking previous implementations only allow the creation of evolved genes from genes that are direct neighbours on the genotype and therefore form continuous blocks. In this paper it is shown that the notion of dominant and recessive genes can be used to remove this limitation. Using more than one gene at a single location makes it possible to construct genetic operations that can separate interlocking evolved genes. This allows the use of non-continuous evolved genes with only minimal violations of the protection of evolved genes from those operations. As an example, this paper shows how evolved genes with dominant and re-cessive genes can be used to learn features from a set of Mondrian paintings. The representation can then be used to create new designs that contain features of the examples. The Mondrian paintings can be coded as a tree, where every node represents a rectangle division, with values for direction, position, line-width and colour. The modified evolutionary operations allow the system to cre-ate non-continuous evolved genes, for example associate two divisions with thin lines, without specifying other values. Analysis of the behaviour of the system shows that about one in ten genes is a dominant/recessive gene pair. This shows that while dominant and recessive genes are important to allow the use of non-continuous evolved genes, they do not occur often enough to seriously violate the protection of evolved genes from genetic operations.
keywords	Evolutionary Systems, Genetic Representations
series	other
email
last changed	2003/04/06 07:24

_id	c6e1
authors	Smulevich, Gerard
year	1997
title	Berlin-Crane City: Cardboard, Bits, and the Post-industrial Design Process
doi	https://doi.org/10.52842/conf.acadia.1997.139
source	Design and Representation [ACADIA ‘97 Conference Proceedings / ISBN 1-880250-06-3] Cincinatti, Ohio (USA) 3-5 October 1997, pp. 139-153
summary	This paper explores the impact of information technology on the architectural design process as seen through different design studios from three schools of architecture in Southern California over a two year period. All three studios tested notions of representation, simulation and the design process in relation to a post-industrial world and its impact on how we design for it. The sites for two of these studios were in the city of Berlin, where the spearhead of the information age and a leftover of the industrial revolution overlap in an urban condition that is representative of our world after the cold war. The three studios describe a progressive shift in the use of information technology in the design process, from nearly pure image-driven simulation to a more low-tech, highly creative uses of everyday computing tools. Combined, all three cases describe an array of scenarios for content-supportive uses of digital media in a design studio. The first studio described here, from USC, utilized computer modeling and visualization to design a building for a site located within the former no-mans' land of the Berlin Wall. The second studio, from SCI-Arc, produced an urban design proposal for an area along the former Berlin Wall and included a pan-geographic design collaboration via Internet between SCI-Arc/Los Angeles and SCI-Arc/Switzerland. The third and last studio from Woodbury University participated in the 1997 ACSA/Dupont Laminated Glass Competition designing a consulate general for Germany and one for Hong Kong. They employed a hybrid digital/non-digital process extracting experiential representations from simple chipboard study models and then using that information to explore an "enhanced model" through digital imaging processes. The end of the cold war was coincidental with the explosive popularization of information technology as a consumer product and is poised to have huge impact on how and what we design for our cities. Few places in world express this potential as does the city of Berlin. These three undergraduate design studios employed consumer-grade technology in an attempt to make a difference in how we design, incorporating discussions of historical change, ideological premise and what it means to be an architect in a world where image and content can become easily disconnected from one another.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	bfe9
authors	Suwa, M. and Tversky, B.
year	1997
title	What do architects and students perceive in their design sketches? A protocol analysis
source	Design Studies 18, pp 385-403.
summary	The present research aims at examining what information architects think of and read off from their own freehand sketches, and at revealing how they perceptually interact with and benefit from sketches. We explored this in a protocol analysis of retrospective reports; each participant worked on an architectural design task while drawing freehand sketches and later reported what she/he had been thinking of during the design task. This research lies within the scope of examinations of why freehand sketches as external representation are essential for crystallizing design ideas in early design processes.
series	journal paper
last changed	2003/04/23 15:50

_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)
doi	https://doi.org/10.52842/conf.ecaade.1997.x.d4u
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
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	8c6f
authors	Zarnowiecka, J.
year	1997
title	Information Structures in the Designing Process
doi	https://doi.org/10.52842/conf.ecaade.1997.x.q5q
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
summary	Nowadays we deal with a real revolution in the computer science. Present times explorers no longer look for information in vast library files but rather they surf on Internet. The technological progress in the realm of computer studies made “the fathers unable to keep pace with their children”. That’s one of the reasons why it is so difficult to introduce new techniques into the routinized designing process. The problem is that some know “what” and the others “how”. At the times when drawing pens were ousted by rapidographs, communication between different generations of designers was easier. Both of these tools are, in fact very similar. It is the other way with the new computer science technique, which consists of complicated systems not so easy to access because of various economical, emotional, routine and habitual reasons. Changes in the designing process go step by step, in a much slower pace than the progress in computer hardware and software. It is difficult to accept the fact in professional environment that computer technique can assist the designer as a medium.
series	eCAADe
email
more	http://info.tuwien.ac.at/ecaade/proc/zarnow/zarnow.htm
last changed	2022/06/07 07:50

_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	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	debf
authors	Bertol, D.
year	1997
title	Designing Digital Space - An Architect's Guide to Virtual Reality
source	John Wiley & Sons, New York
summary	The first in-depth book on virtual reality (VR) aimed specifically at architecture and design professionals, Designing Digital Space steers you skillfully through the learning curve of this exciting new technology. Beginning with a historical overview of the evolution of architectural representations, this unique resource explains what VR is, how it is being applied today, and how it promises to revolutionize not only the design process, but the form and function of the built environment itself. Vividly illustrating how VR fits alongside traditional methods of architectural representation, this comprehensive guide prepares you to make optimum practical use of this powerful interactive tool, and embrace the new role of the architect in a virtually designed world. Offers in-depth coverage of the virtual universe-data representation and information management, static and dynamic worlds, tracking and visual display systems, control devices, and more. Examines a wide range of current VR architectural applications, from walkthroughs, simulations, and evaluations to reconstructions and networked environments Includes insightful essays by leading VR developers covering some of today's most innovative projects Integrates VR into the historical framework of architectural development, with detailed sections on the past, present, and future Features a dazzling array of virtual world images and sequential displays Explores the potential impact of digital architecture on the built environment of the future
series	other
last changed	2003/04/23 15:14

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	811e
authors	Coyne, Richard and Mclachlan, Fiona
year	1997
title	The Legacy of Surrealism in the Electronic Design Studio
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 733-748
summary	We examine how Surrealist themes are evident in the world of information technology, and in the electronic design studio. We show that much of the current popular appeal of the computer in design schools is attributable to the computer's apparent surrealistic possibilities rather than the potentialities traditionally put forward by exponents of formalism, design methods and systems theory. We discuss developments on Surrealism, including the application of Freud's concept of the uncanny and Lacan's understanding of the image, before concluding that Surrealism and its developments support a "hermeneutics of suspicion", which is one way of interpreting what occurs in the design studio.
series	CAAD Futures
email
more	http://www.caad.ed.ac.uk/
last changed	1999/04/06 09:19

_id	460e
authors	Dannettel, Mark E
year	1997
title	Interactive Multimedia Design: Operational Structures and Intuitive Environments for CD-ROM
doi	https://doi.org/10.52842/conf.caadria.1997.415
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. 415-427
summary	This paper presents practical design concepts for the production of CD-ROMs or on-line media projects which are intended for scholastic and professional use. It is based on the experience and knowledge which has been gained while developing a multimedia package here at the Department of Architecture at CUHK. The package deals exclusively with the technical issue of vertical transportation in buildings, and is intended to be used as a design tool in professional offices, as well as in classroom settings. The required research and production for the development of the structures, formats, and interfaces of this project, along with the consequential evaluation and revision of this work, has led to a greater understanding of appropriate applications for interactive interactive multimedia designs. Specially, the paper addresses the fundamental issues of ‘user-format’, and a distinction is made between applications which operate as ‘tools’ and those which operate as ‘resources’. Descriptions are provided for both types of operational formats, and suggestions are made as to how one might decided which format would be appropriate for a specific project. Briefly, resource produces imply that a user actively pursues information in a relatively static environment, while tool procedures imply that a user works jointly with the software to process information and arrive at a unique output. This distinction between the two formats is mostly grounded in the design of the structure and user-interface, and thus the point is made that the material content of the application does not necessarily imply a mandatory use of either format. In light of this observation that an application’s format relies on the appropriateness of operational procedures, rather than on its material content, further discussions of the implications of such procedures (using a ‘resource’ vs. using a ‘tool’) are provided.
series	CAADRIA
email
last changed	2022/06/07 07:55

_id	c906
authors	Ekholm, Anders and Fridqvist, Sverker
year	1997
title	Design and Modelling in a Computer Integrated Construction Process - The BAS-CAAD Project
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 501-518
summary	A new approach to product modelling in a design context is proposed. CAD-software must not only enable product modelling, but must also support product design. This is not fully achieved in the traditional 'enumerative' approach to product modelling. We discuss how product design and modelling can be based on a facetted' approach to information modelling, and how a data model that supports the design process can be based on a framework for system information. The background for our research is the current development in the construction industry towards a computer integrated construction process. A first prerequisite for this is the use of computer based models. Another prerequisite is that CAD-software can support the design of the results of the construction process, including construction works, user organisations, and the production and facility management processes. A third prerequisite is that computer based models are built with standardised concepts and terminology to enable exchange of information between different actors and computer systems during different stages of the construction process. Principles for organising frameworks for user organisation and construction works information are presented in an appendix.
series	CAAD Futures
email
last changed	1999/04/06 09:19

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