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

PDF papers
References

Hits 1 to 20 of 515

Reformat results as: short short into frame detailed detailed into frame

_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	a5a3
authors	Jagielski, Romuald and Gero, John S.
year	1997
title	A Genetic Programming Approach to the Space Layout Planning Problem
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 875-884
summary	The space layout planning problem belongs to the class of NP-hard problems with a wide range of practical applications. Many algorithms have been developed in the past, however recently evolutionary techniques have emerged as an alternative approach to their solution. In this paper, a genetic programming approach, one variation of evolutionary computation, is discussed. A representation of the space layout planning problem suitable for genetic programming is presented along with some implementation details and results.
series	CAAD Futures
email
last changed	2003/02/23 11:00

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

_id	4278
authors	Frazer, John
year	1997
title	The Groningen Experiment
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. 345-353
doi	https://doi.org/10.52842/conf.caadria.1997.345
summary	This paper first describes an experimental evolutionary and generative model for the city of Groningen in northern Holland and goes on to speculate on how such techniques could be broadened and applied to the possible global co-operative evolution of cities.
series	CAADRIA
email
last changed	2022/06/07 07:50

_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	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	e7ee
authors	Redondo, E.
year	1997
title	Analysis and Interpretation in the Architectonics
source	Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
doi	https://doi.org/10.52842/conf.ecaade.1997.x.q7e
summary	The graphic intention is a peculiarity of the architectural drawing. It is enough to compare the ground plan of an unifamiliar housing insulated of Le Corbusier with another of Mies van der Rohe to realise the diversity of graphic styles, but is important to take conscience of the complexity that carries to interpret the symbols that appear in those documents, because as architects we either realize plans that the instructions are described or measures to be able to execute the work and in other occations representations for his edition aimed to a especialized public. For this reason, and because not always is arranged the best possible documentation, we consider that the majority of vectorisations they exist in the market don’t plenty satisfied our needs as teaching staff of graphic expression and CAD, althoug we can always be using the same systems of projection or codified representations, it is imposed a lot of times to interpret acording the context the different signs and graphic registers used. We know experimental applications that go beyond, they even arrive to generate a 3D model from a lifted hand draw that represents three orthogonal projections of it, but it isn’t less certain that its utility is restricted to fields very specialised and the option that we propose, there is not knowledge at least to us that it exist; commercially speaking. Our porpose has been to develope a symple metedology of vectorisation but adapted to the special idiosyncrasy of the needs of an architecture student that with frequency for his formation requires to generate with CAD models 2D and 3D of architectural projects from the information contented in magazines, and with them create several formas analysis. The most important difference in the matter to other systems is the interactivity of the procedure that let personify the exit file, even the wide diversity of graphic registers that it exist in the entrance, being the user only once has to identify and interpret the signs to detect, and then the process is realized automatically to any plant of the building or equivalent projection.
series	eCAADe
more	http://info.tuwien.ac.at/ecaade/proc/redondo/redondo.htm
last changed	2022/06/07 07:50

_id	0ec6
authors	Shih, Naai Jung
year	1997
title	Image Morphing for Architectural Visual Studies
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. 397-406
doi	https://doi.org/10.52842/conf.caadria.1997.397
summary	The purpose of this paper is to suggest and demonstrate how image interpolation, as a tool, can facilitate architectural illustration of design content and process. This study emphasizes a design-oriented image transition process that is distinguished by two types of morphing: process and source. A morp model is presented with components of input, function, output and constraints. Based on a model’s definition, a matrix is used to illustrate the relationship between the two source images by referring to origin, reference plan, configuration, time, etc. Morphing contents emphasizes changes of pixel, outline (2D or 3D), and order. Possible applications in architectural visual studies include morphology study, comparison building renovation before and after, dynamic adjustment, quantitative measurement, dynamic image simulation, and model and image combination.
series	CAADRIA
last changed	2022/06/07 07:56

_id	c0da
authors	Gero, J.S., Kazakov, V. and Schnier, T.
year	1997
title	Genetic engineering and design problems
source	D. Dasgupta and Z. Michalewicz (Eds.), Evolutionary Algorithms in Engineering Applications, Springer Verlag, Berlin, pp.47-68
summary	This chapter reviews developments in genetic algorithms based on genetic engineering extensions. It presents the development a computational model of genetic engineering and demonstrates its applicability and utility.
keywords	Genetic Engineering, Learning
series	other
email
last changed	2003/04/06 07:18

_id	3e1c
authors	Mortenson, M.E.
year	1997
title	Geometric Modeling
source	New York: Wiley Computer Publishing
summary	A comprehensive, up-to-date presentation of all the indispensable core concepts of geometric modeling. Now completely updated to reflect the most recent developments in the field, Geometric Modeling clearly presents and compares all the important mathematical approaches to modeling curves, surfaces, and solids, and shows how to shape and assemble these elements into more complex models. Its thorough coverage also includes the concomitant geometric processing necessary, e.g., the computation of intersections, offsets, and fillets. Written in a style that is virtually free of the jargon of special applications, this unique book focuses on the essence of geometric modeling and treats it as a discipline in its own right. This integrated approach allows the reader to focus on the principles and logic of geometric modeling without requiring background knowledge of CAD/CAM, computer graphics, or computer programming. Supported by more than 300 illustrations, Geometric Modeling appeals to the reader's visual and intuitive skills in a way that makes understanding the more abstract concepts much easier. This new edition features a host of new application areas, including topology, special effects in cinematography, the design and control of type fonts, and virtual reality, as well as numerous application examples. For computer graphics specialists, application designers and developers, scientific programmers, and advanced students, Geometric Modeling, Second Edition will serve as a complete and invaluable guide to the entire field.
series	other
last changed	2003/04/23 15:14

_id	2483
authors	Gero, J.S. and Kazakov, V.
year	1997
title	Learning and reusing information in space layout problems using genetic engineering
source	Artificial Intelligence in Engineering 11(3):329-334
summary	The paper describes the application of a genetic engineering based extension to genetic algorithms to the layout planning problem. We study the gene evolution which takes place when an algorithm of this type is running and demonstrate that in many cases it effectively leads to the partial decomposition of the layout problem by grouping some activit ies together and optimally placing these groups during the first stage of the computation. At a second stage it optimally places activities within these groups. We show that the algorithm finnds the solution faster than standard evolutionary methods and that evolved genes represent design features that can be re-used later in a range of similar problems.
keywords	Genetic Engineering, Learning
series	other
email
last changed	2001/09/08 12:04

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

_id	acadia07_174
id	acadia07_174
authors	Bontemps, Arnaud; Potvin, André; Demers, Claude
year	2007
title	The Dynamics of Physical Ambiences
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
doi	https://doi.org/10.52842/conf.acadia.2007.174
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	2e36
authors	Bourdakis, Vassilis
year	1997
title	Making Sense of the City
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 663-678
summary	Large-scale, three dimensional, interactive computer models of cities are becoming feasible making it possible to test their suitability as a visualisation tool for the design and planning process, for data visualisation where socio-economic and physical data can be mapped on to the 3D form of the city and as an urban information repository. The CASA developed models of the City of Bath and London's West End in VRML format, are used as examples to illustrate the problems arising. The aim of this paper is to reflect on key issues related to interaction within urban models, data mapping techniques and appropriate metaphors for presenting information.
keywords	3D City modeling, Urban Modelling, Virtual Environments, Navigation, Data Mapping, VRML
series	CAAD Futures
email
last changed	2003/11/21 15:16

_id	0024
authors	Breen, J. and Dijk, T. van
year	1997
title	Modelling for eye level composition; design media experiments in an educational setting.
source	Architectural and Urban Simulation Techniques in Research and Education [Proceedings of the 3rd European Architectural Endoscopy Association Conference / ISBN 90-407-1669-2]
summary	In order to simulate the visual effects of designs at eye level, it is necessary to construct models from which (sequences of) images can be taken. This holds true for both Optical Endoscopy and Computer Aided Visualisation techniques. In what ways can an eye level approach stimulate spatial awareness and create insights into the workings of a design concept? Can Endoscopic methods be used effectively as a creative environment for design decision-making and teamwork and even to stimulate the generation of new design ideas? How should modelmaking be considered if it is to be of use in an ‘impatient’ design process, and how can students be made aware of the opportunities of both direct eye level observations from design models and of the more sophisticated endoscopic imaging techniques? This paper explores the theme of eye level modelling by focusing on a number of formal exercises and educational experiments carried out by the Delft Media group in recent years. An attempt is made to describe and evaluate these experiences, in order to draw conclusions and to signal possible new opportunities for eye level composition for the benefit of both design education and practice...
keywords	Architectural Endoscopy, Endoscopy, Simulation, Visualisation, Visualization, Real Environments
series	EAEA
email
more	http://www.bk.tudelft.nl/media/eaea/eaea97.html
last changed	2005/09/09 10:43

_id	80f7
authors	Carrara, G., Fioravanti, A. and Novembri, G.
year	2001
title	Knowledge-based System to Support Architectural Design - Intelligent objects, project net-constraints, collaborative work
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 80-85
doi	https://doi.org/10.52842/conf.ecaade.2001.080
summary	The architectural design business is marked by a progressive increase in operators all cooperating towards the realization of building structures and complex infrastructures (Jenckes, 1997). This type of design implies the simultaneous activity of specialists in different fields, often working a considerable distance apart, on increasingly distributed design studies. Collaborative Architectural Design comprises a vast field of studies that embraces also these sectors and problems. To mention but a few: communication among operators in the building and design sector; design process system logic architecture; conceptual structure of the building organism; building component representation; conflict identification and management; sharing of knowledge; and also, user interface; global evaluation of solutions adopted; IT definition of objects; inter-object communication (in the IT sense). The point of view of the research is that of the designers of the architectural artefact (Simon, 1996); its focus consists of the relations among the various design operators and among the latter and the information exchanged: the Building Objects. Its primary research goal is thus the conceptual structure of the building organism for the purpose of managing conflicts and developing possible methods of resolving them.
keywords	Keywords. Collaborative Design, Architectural And Building Knowledge, Distributed Knowledge Bases, Information Management, Multidisciplinarity
series	eCAADe
email
last changed	2022/06/07 07:55

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

For more results click below: