Cumincad : CUMINCAD Papers : Search Results

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

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_id	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	ab84
authors	Li, Thomas S.P. and Will, Barry F.
year	1997
title	A Computer-Aided Evaluation Tool for the Visual Aspects in Architectural Design for High-Density and High- Rise Buildings
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 345-356
summary	The field of view, the nature of the objects being seen, the distances between the objects and the viewer, daylighting and sunshine are some major factors affecting perceived reactions when viewing through a window. View is one major factor that leads to the satisfaction and comfort of the users inside the building enclosure. While computer technologies are being widely used in the field of architecture, designers still have to use their own intelligence, experience and preferences in judging their designs with respect to the quality of view. This paper introduces an alternative approach to the analysis of views by the use of computers. The prototype of this system and its underlying principles were first introduced in the C A A D R I A 1997 conference. This paper describes the further development of this system where emphasis has been placed on the high- rise and high-density environments. Architects may find themselves facing considerable limitations for improving their designs regarding views out of the building under these environmental conditions. This research permits an interactive real-time response to altering views as the forms and planes of the building are manipulated.
series	CAAD Futures
email
last changed	2001/05/27 18:39

_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	b357
authors	Molinari, Claudio and Talamo, Cinzia
year	1997
title	A Hypertextual Didactic Tool for a Maintenance Oriented Design
source	AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 263-275
summary	This paper presents a research concerning the theme of the support didactic tools for a maintenance oriented design. The work takes a starting point in two remarks: the first is the importance of maintainability requirements prevision for the correct planning of a project and for the formulation of maintenance strategies; the second is the lack of information (examples, references, laws, quality and performance plans) easily available for students and designers. The tool thas has been pointed out has the aim to provide the information - belonging to different categories of knowledge - useful for a maintainability conscious design, according the free navigation modalities tipical of hypertextual applications. Starting from a matrix that associates building subsistems and maintainability requirements the student has the possibility to navigate into a network in which it is possible to have information about: european laws concerning maintenance, examples (drawings, pictures and description) of architectures and of industrial components that regard particular maintainability solutions and a plan in which are schematized the appropriate dimensions and the morfological configurations for the maintenance activities. This hypertextual didactic tool has two different educational applications: 1) during design training courses, it can support in self-training about maintenance aspects; 2) it can become a specialistic module inside an integrated CAAD system developed to combine the graphic representation with different performances evalutions.
series	AVOCAAD
last changed	2005/09/09 10:48

_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	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	34b8
authors	Batie, D.L.
year	1997
title	The incorporation of construction history in architectural history: the HISTCON interactive computer program
source	Automation in Construction 6 (4) (1997) pp. 275-285
summary	Current teaching methods for architectural history seldom embrace building technology as an essential component of study. Accepting the premise that architectural history is a fundamental component to the overall architectural learning environment, it is argued that the study of construction history will further enhance student knowledge. This hypothesis created an opportunity to investigate how the study of construction history could be incorporated to strengthen present teaching methods. Strategies for teaching architectural history were analyzed with the determination that an incorporation of educational instructional design applications using object-oriented programming and hypermedia provided the optimal solution. This evaluation led to the development of the HISTCON interactive, multimedia educational computer program. Used initially to teach 19th Century iron and steel construction history, the composition of the program provides the mechanism to test the significance of construction history in the study of architectural history. Future development of the program will provide a method to illustrate construction history throughout the history of architecture. The study of architectural history, using a construction oriented methodology, is shown to be positively correlated to increased understanding of architectural components relevant to architectural history and building construction.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	a726
authors	Belblidia, S. and Perrin, J.P.
year	1997
title	Level-of-Detail Visualization of Architectural Models
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 831-836
summary	The work presented in this paper aims to use level-of-detail representation in realizing interactive walkthroughs or ignoring useless details in large architectural models. In order to choose the right representation of a model, we have to evaluate the error committed when using a simplified version instead of the full description of an object. This error depends on the object deformation during the simplification process but also on the importance of this object in the current viewing conditions. This "visible" error is used with different visualization strategies to find the model representation which satisfies either a quality criterion or a cost condition.
series	CAAD Futures
email
last changed	2003/11/21 15:16

_id	823f
authors	Bignon, J.C., Halin, G. and Humbert, P.
year	1997
title	Hypermedia Structuring of the Technical Documentation for the Architectural Aided Design
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 843-848
summary	The definition of an universal structuring model of the technical documentation is arduous, indeed utopian considering the great number of products and the diversity of relative information. To answer this situation we are trying to develop a general approach of the documentation. The document is the base entity of documentation structuring and it represents a coherent informative unit. We propose a model of document hypermedia structuring. This model allows the definition, the presentation, the navigation and the retrieval of general information on building products by a document manipulation. It is associated with a hypermedia design method adapted to document management. This method proposes, after the identification of the user, three phases of hypermedia definition : data definition, navigation definition and user interface definition. The model of a hypermedia structuring of the technical documentation proposed in this article is at once independent of available information on products, open, and makes easier the addition of new navigational functions.
series	CAAD Futures
email
last changed	2003/11/21 15:16

_id	acadia07_174
id	acadia07_174
authors	Bontemps, Arnaud; Potvin, André; Demers, Claude
year	2007
title	The Dynamics of Physical Ambiences
doi	https://doi.org/10.52842/conf.acadia.2007.174
source	Expanding Bodies: Art • Cities• Environment [Proceedings of the 27th Annual Conference of the Association for Computer Aided Design in Architecture / ISBN 978-0-9780978-6-8] Halifax (Nova Scotia) 1-7 October 2007, 174-181
summary	This research proposes to support the reading of physical ambiences by the development of a representational technique which compiles, in a numerical interface, two types of data: sensory and filmic. These data are recorded through the use of a portable array equipped with sensors (Potvin 1997, 2002, 2004) as well as the acquisition of Video information of the moving environment. The compilation of information is carried out through a multi-media approach, by means of a program converting the environmental data into dynamic diagrams, as well as the creation of an interactive interface allowing a possible diffusion on the Web. This technique, named APMAP/Video, makes it possible to read out simultaneously spatial and environmental diversity. It is demonstrated through surveys taken at various seasons and time of the day at the new Caisse de dépôt et de placement headquarters in Montreal which is also the corpus for a SSHRC (Social Sciences and Humanities Research Council) research grant on Environmental Adaptability in Architecture (Potvin et al. 2003-2007). This case study shows that the technique can prove of great relevance for POEs (Post Occupancy Evaluation) as well as for assistance in a new design project.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	4b46
authors	Brady, Darlene A.
year	1997
title	The Mind's Eye: Movement and Time in Architecture
doi	https://doi.org/10.52842/conf.acadia.1997.085
source	Design and Representation [ACADIA ‘97 Conference Proceedings / ISBN 1-880250-06-3] Cincinatti, Ohio (USA) 3-5 October 1997, pp. 85-93
summary	Le Corbusier notes in Vers Une Architecture that, because we look at the creation of architecture with eyes which are 5'-6" from the ground, it is imperative to "deal with aims which the eye can appreciate, and intentions which take into account architectural elements." (Le Corbusier 1927) Architecture is a three-dimensional entity that we experience as much through movement as repose. Therefore, it is essential that the computer technology used to design architecture enables the consideration of both aspects of this experience. This paper presents several ways in which animation is used to enhance the design process.
series	ACADIA
email
last changed	2022/06/07 07:54

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

_id	ae56
authors	Bruton, Dean
year	1997
title	Grammars and Art - A Contingent Sense of Rules
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 71-82
summary	This paper contributes to the debate about the utility of the grammatical paradigm in art and design. It reports an investigation of the contingent sense in which grammars and grammatical design apply in the practice of form making in art using two complementary research strategies: the examination through a perspective of grammatical design of some selected bodies of art work, including interviews with artists, theorists and designers; and the reflective practice of image making with computer media in my own work as an artist. The major hypothesis is that a contingent, sense of grammar can facilitate the creation, understanding, and discussion of form-making in art. The sub-hypotheses are that (1) An understanding of grammatical design can enhance a reflective design activity, and that (2) Revealing the contingency of grammars can expose moments of inspiration and redirection in a reflective design activity.
series	CAAD Futures
email
last changed	1999/04/06 09:19

_id	00e7
authors	Bushby, S.T.
year	1997
title	BACnetTM: a standard communication infrastructure for intelligent buildings
source	Automation in Construction 6 (5-6) (1997) pp. 529-540
summary	Intelligent buildings require integration of a variety of computer-based building automation and control system products that are usually made by different manufacturers. The exchange of information among these devices is critical to the successful operation of the building systems. Proprietary approaches to providing this communication have created great challenges for system integrators and hampered the development of intelligent building technology. Even though digital automation and control technology has been widely available for more than a decade and islands of automation are common, intelligent buildings with integrated building services are still more of a promise than a reality. BACnetTM is a standard communication protocol for building automation and control networks developed by the American Society of Heating, Refrigerating and Air-conditioning Engineers (ASHRAE, Standard 135-1995: BACnetTM--A Data Communication Protocol for Building Automation and Control Networks. American Society of Heating, Refrigerating, and Air-conditioning Engineers. Atlanta, Georgia, USA, 1995). BACnetTM provides the communication infrastructure needed to integrate products made by different vendors and to integrate building services that are now independent. This paper describes the main features of the BACnetTM protocol and early experience implementing it.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	848a
authors	Caneparo, Luca
year	1997
title	Shared Virtual Reality for Architectural Design
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 431-442
summary	The paper presents the implementation of a system of Shared Virtual Reality (SVR) in Internet applied to a large- scale project. The applications of SVR to architectural and urban design are presented in the context of a real project, the new railway junction of Porta Susa and the surrounding urban area in the city centre of Turin, Italy. SVR differs from Virtual Reality in that the experience of virtual spaces is no longer individual, but rather shared across the net with other users simultaneously connected. SVR offers an effective approach to Computer Supported Collaborative Work, because it integrates both the communicative tools to improve collaboration and the distributed environment to elaborate information across the networks.
series	CAAD Futures
email
last changed	2003/05/16 20:58

_id	a96b
authors	Cao, Quinsan and Protzen, Jean-Pierre
year	1997
title	Managing Information with Fuzzy Reasoning System in Design Reasoning and Issue-Based Argumentation
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 771-786
summary	Design by argumentation is a natural character of design process with social participation. Issue-Based Information System (IBIS) is an information representation system based on a structured database. It provides a hierarchically linked database structure to manage design information and facilitate design by argumentation. In this paper, we explore the enhancement of IBIS with FRS (Fuzzy Reasoning System) technology. The FRS adds computationally implemented dynamic links to the database of IBIS. Such dynamic links can represent logic relations and reasoning operations among related issues which allows further clarification of relations among issues in IBS. The enhanced system provides a general framework to manage design information and to assist design reasoning, which in turn will contribute to machine assisted design. The final goal is to formulate a system that can represent design knowledge and assist reasoning in design analysis. The system can help designers in clarifying and understanding design related issues, requirements and evaluating potential design alternatives. To demonstrate the system and its potential use, we reexamine a design experiment presented by Schon and represent the design knowledge and reasoning rules of the architects with our system, FRS-IBIS.
series	CAAD Futures
last changed	1999/04/06 09:19

_id	b656
authors	Chase, S.C.
year	1997
title	Logic based design modeling with shape algebras
source	Automation in Construction 6 (4) (1997) pp. 311-322
summary	A new method of describing designs by combining the paradigms of shape algebras and predicate logic representations is presented. Representing shapes and spatial relations in logic provides a natural, intuitive method of developing complete computer systems for reasoning about designs. The advantages of shape algebra formalisms over more traditional representations of geometric objects are discussed. The method employed involves the definition of a large set of high level design relations from a small set of simple structures and spatial relations. Examples in architecture and geographic information systems are illustrated.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	8b09
authors	Cicognani, Anna and Maher, Mary Lou
year	1997
title	Design Speech Acts. "How To Do Things with Words" in Virtual Communities
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 707-717
summary	Cyberspace is language based, and so are Virtual Communities (VCs). We propose that VCs are ideal places to experience and enhance a language for design. Design in a VC can actually be performed using speech acts that in-real-life wouldn't perform any design. We call these acts 'design speech acts'. We present, as a starting point, a list of verbs which can be used in a VC for design and the implications of using these verbs to design cyberspace. We present a methodology for structuring and defining design speech acts, so that a language for design in a VC can be subsequently developed. We are developing a specific environment for a virtual community in which designers can articulate their needs and produce text-based design objects.
series	CAAD Futures
email
last changed	1999/04/06 09:19

_id	7ebf
authors	Clark, G. and Mehta, P.
year	1997
title	Artificial intelligence and networking in integrated building management systems
source	Automation in Construction 6 (5-6) (1997) pp. 481-498
summary	In recent years the emphasis has moved towards integrating all a building's systems via centralised building management systems (BMS). To provide a more intelligent approach to the facility management, safety and energy control in building management systems (IBMS), this paper proposes a methodology for integrating the data within a BMS via a single multi-media networking technology and providing the BMS with artificial intelligence (AI) through the use of knowledge-based systems (KBS) technology. By means of artificial intelligence, the system is capable of assessing, diagnosing and suggesting the best solution. This paper outlines how AI techniques can enhance the control of HVAC systems for occupant comfort and efficient running costs based on occupancy prediction. Also load control and load balancing are investigated. Instead of just using pre-programmed load priorities, this work has investigated the use of a dynamic system of priorities which are based on many factors such as area usage, occupancy, time of day and real time environmental conditions. This control strategy which is based on a set of rules running on the central control system, makes use of information gathered from outstations throughout the building and communicated via the building's data-bus.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

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