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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Hits 1 to 20 of 484

_id diss_marsh
id diss_marsh
authors Marsh, A.J.
year 1997
title Performance Analysis and Conceptual Design
source School of Architecture and Fine Arts, University of Western Australia
summary A significant amount of the research referred to by Manning has been directed into the development of computer software for building simulation and performance analysis. A wide range of computational tools are now available and see relatively widespread use in both research and commercial applications. The focus of development in this area has long been on the accurate simulation of fundamental physical processes, such as the mechanisms of heat flow though materials, turbulent air movement and the inter-reflection of light. The adequate description of boundary conditions for such calculations usually requires a very detailed mathematical model. This has tended to produce tools with a very engineering-oriented and solution-based approach. Whilst becoming increasingly popular amongst building services engineers, there has been a relatively slow response to this technology amongst architects. There are some areas of the world, particularly the UK and Germany, where the use of such tools on larger projects is routine. However, this is almost exclusively during the latter stages of a project and usually for purposes of plant sizing or final design validation. The original conceptual work, building form and the selection of materials being the result of an aesthetic and intuitive process, sometimes based solely on precedent. There is no argument that an experienced designer is capable of producing an excellent design in this way. However, not all building designers are experienced, and even fewer have a complete understanding of the fundamental physical processes involved in building performance. These processes can be complex and often highly inter-related, often even counter-intuitive. It is the central argument of this thesis that the needs of the building designer are quite different from the needs of the building services engineer, and that existing building design and performance analysis tools poorly serve these needs. It will be argued that the extensive quantitative input requirement in such tools acts to produce a psychological separation between the act of design and the act of analysis. At the conceptual stage, building geometry is fluid and subject to constant change, with solid quantitative information relatively scarce. Having to measure off surface areas or search out the emissivity of a particular material forces the designer to think mathematically at a time when they are thinking intuitively. It is, however, at this intuitive stage that the greatest potential exists for performance efficiencies and environmental economies. The right orientation and fenestration choice can halve the airconditioning requirement. Incorporating passive solar elements and natural ventilation pathways can eliminate it altogether. The building form can even be designed to provide shading using its own fabric, without any need for additional structure or applied shading. It is significantly more difficult and costly to retrofit these features at a later stage in a project’s development. If the role of the design tool is to serve the design process, then a new approach is required to accommodate the conceptual phase. This thesis presents a number of ideas on what that approach may be, accompanied by some example software that demonstrates their implementation.
series thesis:PhD
more http://www.squ1.com/site.html
last changed 2003/11/28 07:33

_id 389b
authors Do, Ellen Yi-Luen
year 2000
title Sketch that Scene for Me: Creating Virtual Worlds by Freehand Drawing
doi https://doi.org/10.52842/conf.ecaade.2000.265
source Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 265-268
summary With the Web people can now view virtual threedimensional worlds and explore virtual space. Increasingly, novice users are interested in creating 3D Web sites. Virtual Reality Modeling Language gained ISO status in 1997, although it is being supplanted by the compatible Java3D API and alternative 3D Web technologies compete. Viewing VRML scenes is relatively straightforward on most hardware platforms and browsers, but currently there are only two ways to create 3D virtual scenes: One is to code the scene directly using VRML. The other is to use existing CAD and modeling software, and save the world in VRML format or convert to VRML from some other format. Both methods are time consuming, cumbersome, and have steep learning curves. Pen-based user interfaces, on the other hand, are for many an easy and intuitive method for graphics input. Not only are people familiar with the look and feel of paper and pencil, novice users also find it less intimidating to draw what they want, where they want it instead of using a complicated tool palette and pull-down menus. Architects and designers use sketches as a primary tool to generate design ideas and to explore alternatives, and numerous computer-based interfaces have played on the concept of "sketch". However, we restrict the notion of sketch to freehand drawing, which we believe helps people to think, to envision, and to recognize properties of the objects with which they are working. SKETCH employs a pen interface to create three-dimensional models, but it uses a simple language of gestures to control a three-dimensional modeler; it does not attempt to interpret freehand drawings. In contrast, our support of 3D world creation using freehand drawing depend on users’ traditional understanding of a floor plan representation. Igarashi et al. used a pen interface to drive browsing in a 3D world, by projecting the user’s marks on the ground plane in the virtual world. Our Sketch-3D project extends this approach, investigating an interface that allows direct interpretation of the drawing marks (what you draw is what you get) and serves as a rapid prototyping tool for creating 3D virtual scenes.
keywords Freehand Sketching, Pen-Based User Interface, Interaction, VRML, Navigation
series eCAADe
email
more http://www.uni-weimar.de/ecaade/
last changed 2022/06/07 07:55

_id d4b1
authors Egglib, L., Ching-yaob, H., Brüderlinb, B. and Elbera, G.
year 1997
title Inferring 3D models from freehand sketches and constraints
source Computer-Aided Design, Vol. 29 (2) (1997) pp. 101-112
summary This paper describes `Quick-sketch', a 2D and 3D modelling tool for pen-based computers. Users of this system define a model by simple pen strokes, drawn directlyon the screen of a pen-based PC. Exact shapes and geometric relationships are interpreted from the sketch. The system can also be used to sketch 3D solid objects andB-spline surfaces. These objects may be refined by defining 2D and 3D geometric constraints. A novel graph-based constraint solver is used to establish the geometricrelationships, or to maintain them when manipulating the objects interactively. The approach presented here is a first step towards a conceptual design system.Quick-sketch can be used as a hand sketching front-end to more sophisticated modelling, rendering or animation systems.
keywords Geometric Constraints, Conceptual Design, Free-Hand Sketch Interpretation
series journal paper
last changed 2003/05/15 21:33

_id d869
authors Chu, C.-C., Dani, T.H. and Gadh, R.
year 1997
title Multi-sensory user interface for a virtual-reality-based computer-aided design system
source Computer-Aided Design, Vol. 29 (10) (1997) pp. 709-725
summary The generation of geometric shapes called `geometric concept designs' via the multi-sensory user interface of a virtual reality (VR) based system motivates the currentresearch. In this new VR-based system, geometric designs can be more effectively inputted into the computer in a physically intuitive way. The interaction mechanism issimilar to the way in which industrial designers sit and discuss concept design shapes across a table from each other, prior to making a final decision about the productdetails. By using different sensory modalities, such as voice, hand motions and gestures, product designers can convey design ideas through the VR-basedcomputer-aided design (CAD) system. In this scenario, the multi-sensory interface between human and computer plays a central role with respect to usability, usefulnessand accuracy. The current paper focuses on determining the requirements for the multi-sensory user interface and assessing the applications of different input and outputmechanisms in the virtual environment (VE). In order to evaluate this multi-sensory user interface, this paper formulates the typical activities in product shape design intoa set of requirements for the VR-CAD system. On the basis of these requirements, we interviewed typical CAD users about the effectiveness of using different sensoryinput and output interaction mechanisms such as visual, auditory and tactile. According to the results of these investigations, a nodal network of design activity thatdefines the multi-sensory user interface of the VR-CAD system is determined in the current research. The VR-CAD system is still being developed. However, voicecommand input, hand motion input, three-dimensional visual output and auditory output have been successfully integrated into the current system. Moreover, severalmechanical parts have been successfully created through the VR interface. Once designers use the VR-CAD system that we are currently developing, the interfacerequirements determined in the current paper may be verified or refined. The objectives of the current research are to expand the frontiers of product design and establisha new paradigm for the VR-based conceptual shape design system.
keywords Virtual Reality, Multi-Sensory User Interface, Conceptual Shape Design, Sensory Interaction Mechanism
series journal paper
last changed 2003/05/15 21:33

_id 4777
authors Jokela, M., Keinânen, A., Lahtela, H. and Lassila K.
year 1997
title Integrated building simulation tool RIUSKA
source Building Simulation, Prague, Czech Republic
summary A new integrated simulation system for the building services design and facilities management purposes is being developed by Insinööritoimisto Olof Granlund Oy. The system covers the thermal simulation needs of the whole building life cycle from the preliminary design to renovations. The main components of the simulation system are a simulation database, user interfaces, a result module, a building geometry modeller and a calculation engine. The building geometry modeller generates a 3-D surface model of the building. The calculation engine of the first version is DOE 2.1E. The simulation database is linked to other design databases and design programs so that redundant input data is avoided.
series other
last changed 2003/04/23 15:50

_id 6d59
authors Papamichael, K., LaPorta, J. and Chauvet, H.
year 1997
title Building Design Advisor: automated integration of multiple simulation tools
source Automation in Construction 6 (4) (1997) pp. 341-352
summary The Building Design Advisor (BDA) is a software environment that supports the integrated use of multiple analysis and visualization tools throughout the building design process, from the initial, conceptual and schematic phases to the detailed specification of building components and systems. Based on a comprehensive design theory, the BDA uses an object-oriented representation of the building and its context, and acts as a data manager and process controller to allow building designers to benefit from the capabilities of multiple tools. The BDA provides a graphical user interface that consists of two main elements: the Building Browser and the Decision Desktop. The Browser allows building designers to quickly navigate through the multitude of descriptive and performance parameters addressed by the analysis and visualization tools linked to the BDA. Through the Browser the user can edit the values of input parameters and select any number of input and/or output parameters for display in the Decision Desktop. The Desktop allows building designers to compare multiple design alternatives with respect to multiple descriptive and performance parameters addressed by the tools linked to the BDA. The BDA is implemented as a Windows®-based application for personal computers. Its initial version is linked to a Schematic Graphic Editor (SGE), which allows designers to quickly and easily specify the geometric characteristics of building components and systems. For every object created in the SGE, the BDA activates a Default Value Selector (DVS) mechanism that selects `smart' default values from a Prototypes Database for all non-geometric parameters required as input to the analysis and visualization tools linked to the BDA. In addition to the SGE that is an integral part of its user interface, the initial version of the BDA is linked to a daylight analysis tool, an energy analysis tool, and a multimedia, Web-based Case Studies Database (CSD). The next version of the BDA will be linked to additional analysis tools, such as the DOE-2 (thermal, energy and energy cost) and RADIANCE (day/lighting and rendering) computer programs. Plans for the future include the development of links to cost estimating and environmental impact modules, building rating systems, CAD software and electronic product catalogs.
series journal paper
more http://www.elsevier.com/locate/autcon
last changed 2003/05/15 21:23

_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 ascaad2014_003
id ascaad2014_003
authors Parlac, Vera
year 2014
title Surface Dynamics: From dynamic surface to agile spaces
source Digital Crafting [7th International Conference Proceedings of the Arab Society for Computer Aided Architectural Design (ASCAAD 2014 / ISBN 978-603-90142-5-6], Jeddah (Kingdom of Saudi Arabia), 31 March - 3 April 2014, pp. 39-48
summary Behavior, adaptation and responsiveness are characteristics of live organisms; architecture on the other hand is structurally, materially and functionally constructed. With the shift from ‘mechanical’ towards ‘organic’ paradigm (Mae-Wan Ho, 1997) attitude towards architectural adaptation, behavior and performance is shifting as well. This change is altering a system of reference and conceptual basis for architecture by suggesting the integration of dynamics – dynamics that don’t address kinetic movement only but include flows of energies, material and information. This paper presents an ongoing research into kinetic material system with the focus on non-mechanical actuation (shape memory alloy) and the structural and material behavior. It proposes an adaptive surface capable of altering its shape and forming small occupiable spaces that respond to external and internal influences and flows of information. The adaptive structure is developed as a physical and digital prototype. Its behavior is examined at a physical level and the findings are used to digitally simulate the behavior of the larger system. The design approach is driven by an interest in adaptive systems in nature and material variability (structural and functional) of naturally constructed materials. The broader goal of the research is to test the scale at which shape memory alloy can be employed as an actuator of dynamic architectural surfaces and to speculate on and explore the capacity of active and responsive systems to produce adaptable surfaces that can form occupiable spaces and with that, added functionalities in architectural and urban environments.
series ASCAAD
email
last changed 2016/02/15 13:09

_id caadria2007_659
id caadria2007_659
authors Chen, Zi-Ru
year 2007
title The Combination of Design Media and Design Creativity _ Conventional and Digital Media
doi https://doi.org/10.52842/conf.caadria.2007.x.w5x
source CAADRIA 2007 [Proceedings of the 12th International Conference on Computer Aided Architectural Design Research in Asia] Nanjing (China) 19-21 April 2007
summary Creativity is always interested in many fields, in particular, creativity and design creativity have many interpretations (Boden, 1991; Gero and Maher, 1992, 1993; Kim, 1990; Sternberg, 1988; Weisberg, 1986). In early conceptual design process, designers used large number of sketches and drawings (Purcell and Gero, 1998). The sketch can inspire the designer to increase the creativity of the designer’s creations(Schenk, 1991; Goldschmidt, 1994; Suwa and Tversky, 1997). The freehand sketches by conventional media have been believed to play important roles in processes of the creative design thinking(Goldschmidt, 1991; Schon and Wiggins, 1992; Goel, 1995; Suwa et al., 2000; Verstijnen et al., 1998; Elsas van and Vergeest, 1998). Recently, there are many researches on inspiration of the design creativity by digital media(Liu, 2001; Sasada, 1999). The digital media have been used to apply the creative activities and that caused the occurrenssce of unexpected discovery in early design processes(Gero and Maher, 1993; Mitchell, 1993; Schmitt, 1994; Gero, 1996, 2000; Coyne and Subrahmanian, 1993; Boden, 1998; Huang, 2001; Chen, 2001; Manolya et al. 1998; Verstijinen et al., 1998; Lynn, 2001). In addition, there are many applications by combination of conventional and digital media in the sketches conceptual process. However, previous works only discussed that the individual media were related to the design creativity. The cognitive research about the application of conceptual sketches design by integrating both conventional and digital media simultaneously is absent.
series CAADRIA
email
last changed 2022/06/07 07:50

_id 6112
authors Daru, Roel and Snijder, H.P.S.
year 1997
title GACAAD or AVOCAAD? CAAD and Genetic Algorithms for an Evolutionary Design Paradigm
source AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 145-161
summary One of the dominant paradigms in architecture is about its creation: it is done by human designers supported by tools like sketching, drawing or modelling and evaluation tools. The Darwinistic paradigm demands a paradigmatic switch from drawing, modelling and evaluation to the breeding of forms with a much more integrated generation and selecting process embedded in the computer machinery. This means a paradigm switch from a designer as the performer of (sketch, draw or modelling) work to a machine driven creation and selection process of forms with the designer as the supervisor, fully entitled to steer the process in some preferred directions. The designer creates by establishing the evolutionary rules and making choices among the architectural creatures emerging in rapid fire modethrough the synthesis performed by the machine. Natural selection is a Metaphor: in fact the designer plays Nature (or God). The creatures allowed to flourish are not adequate according to laws of Nature, but to the judgement of the designer (or to the designing team).
series AVOCAAD
last changed 2005/09/09 10:48

_id 03d0
authors Neiman, Bennett and Bermudez, Julio
year 1997
title Between Digital & Analog Civilizations: The Spatial Manipulation Media Workshop
doi https://doi.org/10.52842/conf.acadia.1997.131
source Design and Representation [ACADIA ‘97 Conference Proceedings / ISBN 1-880250-06-3] Cincinatti, Ohio (USA) 3-5 October 1997, pp. 131-137
summary As the power shift from material culture to media culture accelerates, architecture finds itself in the midst of a clash between centuries-old analog design methods (such as tracing paper, vellum, graphite, ink, chipboard, clay, balsa wood, plastic, metal, etc.) and the new digital systems of production (such as scanning, video capture, image manipulation, visualization, solid modeling, computer aided drafting, animation, rendering, etc.). Moving forward requires a realization that a material interpretation of architecture proves limiting at a time when information and media environments are the major drivers of culture. It means to pro-actively incorporate the emerging digital world into our traditional analog work. It means to change.

This paper presents the results of an intense design workshop that looks, probes, and builds at the very interface that is provoking the cultural and professional shifts. Media space is presented and used as an interpretive playground for design experimentation in which the poetics of representation (and not its technicalities) are the driving force to generate architectural ideas. The work discussed was originally developed as a starting exercise for a digital design course. The exercise was later conducted as a workshop at two schools of architecture by different faculty working in collaboration with it's inventor.

The workshop is an effective sketch problem that gives students an immediate start into a non-traditional, hands-on, and integrated use of contemporary media in the design process. In doing so, it establishes a procedural foundation for a design studio dealing with digital media.

series ACADIA
email
last changed 2022/06/07 07:58

_id 05fc
authors Park, Hoon
year 1997
title Cyber Design Studio: Using Manual Media Via Internet Connections for Collaborative Design
doi https://doi.org/10.52842/conf.ecaade.1997.x.c9n
source Challenges of the Future [15th eCAADe Conference Proceedings / ISBN 0-9523687-3-0] Vienna (Austria) 17-20 September 1997
summary This article explores how Computer Aided Design (CAD) systems can be applicable and integrated into the early stage of design. CAD systems are still technologies that are not broadly accepted as useful to the designer especially in this stage of design because CAD systems use the monitor and mouse which differ from the sketch paper and pen of manual media. This article discusses how manual media and Computer-Mediated Communication (CMC) technologies - video conferencing, in my examples - that employ multimedia and Internet can empower designers by providing them with new ways of working together. For accommodating this approach, a prototype CAD system has been developed in which the system consists of a conventional drawing and extra capabilities. This system allows the designer to work with computer based and paper based tools in the same conventional environment as well as remote communications between the designers. This environment is used as the setting for a case study of design tutorials in the design studio. The analysis of this work provides interesting insight into the traditional roles of design studio as well as the relationship between digital and manual media.
keywords Cyber Design Studio, Collaborative Design
series eCAADe
email
more http://info.tuwien.ac.at/ecaade/proc/parkh/parkhoon.htm
last changed 2022/06/07 07:50

_id 9748
authors Trikac, S.N., Banerjeea, P. and Kashyapb, R.L.
year 1997
title Virtual reality interfaces for feature-based computer-aided design systems
source Computer-Aided Design, Vol. 29 (8) (1997) pp. 565-574
summary A computer-aided design (CAD) system with a virtual reality (VR) interface simplifies the design of complex mechanical parts. To add a design feature (e.g., a hole,slot, or protrusion), the designer can navigate in the part to the appropriate face of the part where he/she wishes to attach the feature, and sketch directly on that face.Besides convenience, this method of feature specification implicitly enforces feature accessibility constraints, and also provides hints to the process-planner regardingthe order in which the features may be manufactured. We detail the design of a VR-based prototype CAD system. The system maintains the knowledge of part cavitiesand their adjacencies, and a triangulated boundary-representation of an approximating polyhedron. We present incremental provably correct algorithms for updatingthis representation as the user edits the part. We also show how this representation supports real-time displays, navigation, and collision detection. The user-interfaceof the CAD system relies on these capabilities to provide the above-mentioned advantages.
keywords User Interfaces, Virtual Reality, Feature-Based Design, Geometric Reasoning, Feature Extraction
series journal paper
last changed 2003/05/15 21:33

_id ddss9829
id ddss9829
authors De Hoog, J., Hendriks, N.A. and Rutten, P.G.S.
year 1998
title Evaluating Office Buildings with MOLCA(Model for Office Life Cycle Assessment)
source Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary MOLCA (Model for Office Life Cycle Assessment) is a project that aims to develop a tool that enables designers and builders to evaluate the environmental impact of their designs (of office buildings) from a environmental point of view. The model used is based on guidelinesgiven by ISO 14000, using the so-called Life Cycle Assessment (LCA) method. The MOLCA project started in 1997 and will be finished in 2001 resulting in the aforementioned tool. MOLCA is a module within broader research conducted at the Eindhoven University of Technology aiming to reduce design risks to a minimum in the early design stages.Since the MOLCA project started two major case-studies have been carried out. One into the difference in environmental load caused by using concrete and steel roof systems respectively and the role of recycling. The second study focused on biases in LCA data and how to handle them. For the simulations a computer-model named SimaPro was used, using the world-wide accepted method developed by CML (Centre for the Environment, Leiden, the Netherlands). With this model different life-cycle scenarios were studied and evaluated. Based on those two case studies and a third one into an office area, a first model has been developed.Bottle-neck in this field of study is estimating average recycling and re-use percentages of the total flow of material waste in the building sector and collecting reliable process data. Another problem within LCA studies is estimating the reliability of the input data and modelling uncertainties. All these topics will be subject of further analysis.
keywords Life-Cycle Assessment, Office Buildings, Uncertainties in LCA
series DDSS
last changed 2003/08/07 16:36

_id f5ee
authors Erhorn, H., De Boer, J. and Dirksmueller, M.
year 1997
title ADELINE, an Integrated Approach to Lighting Simulation
source Proceedings of Right Light 4, 4th European Conference on Energy-Efficient Lighting, pp.99-103
summary The use of daylighting and artificial lighting simulation programs to calculate complex systems and models in the design practice often is impeded by the fact that the operation of these programs, especially the model input, is extremely complicated and time-consuming. Programs that are easier to use generally do not show the calculation capabilities required in practice. A second obstacle arises as the lighting calculations often do not allow any statements regarding the interactions with the energetic and thermal building performance. Both problems are mainly due to a lacking integration of the design tools of other building design practitioners as well as due to insufficient user interfaces. The program package ADELINE (Advanced Daylight and Electric Lighting Integrated New Environment) being available since May 1996 as completely revised version 2.0 presents a promising approach to solve these problems. This contribution describes the approaches and methods used within the international project IEA Task 21 for a further development of the ADELINE system. Aim of this work is a further improvement of user interfaces based on the inclusion of new dialogs and on a portation of the program system from MS-DOS to the Windows NT platform. Additional focus is laid on the use of recent developments in the field of information technology and experiences gained in other projects on integrated building design systems, like for example EU-COMBINE, in a pragmatical way. An integrated building design system with open standardized interfaces is to be achieved inter alia by using ISOSTEP formats, database technologies and a consequent, object-oriented design.
series other
last changed 2003/04/23 15:50

_id 041e
authors Hall, Theodore W.
year 1997
title Hand-Eye Coordination in Virtual Reality, Using a Desktop Display, Stereo Glasses and a 3-D Mouse
doi https://doi.org/10.52842/conf.caadria.1997.073
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. 73-82
summary Many virtual-reality displays augment the user’s view of the real world but do not completely mask it out or replace it. Intuitive control and realistic interaction with these displays depend on accurate hand-eye coordination: the projected image of a 3-D cursor in virtual space should align visually with the real position of the 3-D input device that controls it. This paper discusses some of the considerations and presents algorithms for coordinating the physical and virtual worlds.
series CAADRIA
email
last changed 2022/06/07 07:50

_id af6d
authors Rockwood, Alyn P. and Winget, Jim
year 1997
title Three-dimensional object reconstruction from two-dimensional images
source Computer-Aided Design, Vol. 29 (4) (1997) pp. 279-285
summary In order to construct a 3D model from a collection of 2D images of an object, an energy function is defined between the object's images and corresponding images ofan articulated mesh in three dimensions. Repeated adjustment of the mesh to minimize the energy function results in a mesh that produces images which closelyapproximate the input images, that is to say that under the appropriate conditions it realizes a preconceived object. It has implications for model building, reverseengineering and computer vision. Minimization of the energy function is a multivariate problem of large scale with many local minima. We give an approach forsolving this problem. For certain restricted, but useful applications, intuitive solutions to the minimization are consistently obtained.
keywords Reverse Engineering, Simulated Annealing, Object Reconstruction
series journal paper
last changed 2003/05/15 21:33

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

_id 9e13
authors Seward, D.W., Scott, J.N., Dixon, R., Findlay, J.D. and Kinniburgh, H.
year 1997
title The automation of piling rig positioning using satellite GPS
source Automation in Construction 6 (3) (1997) pp. 229-240
summary The paper is divided in two parts. Part one describes the Stent Automatic Pile Positioning and Recording system (SAPPAR) which was launched in November 1994. The system utilises a Trimble satellite global positioning system (GPS) to assist rig drivers in accurately positioning the rig over a pile position without the need for setting out. Advantages of the system include: cost savings by removing the need for site survey staff; faster set-up times over pile positions; increased accuracy - the system can reliably position the rig to within ± 25 mm; removal of problems resulting from damage to setting out pins; constant monitoring of pile position; and Links to CAD for data input and as-built drawings. Part two describes a further development of the system in collaboration with Lancaster University and Casagrande, the Italian rig manufacturer. The aim of the research is to fully automate the final positioning process. This represents one of the first uses of GPS for real-time automation. The system hardware components include: ultra-compact PC104 processor cards for a compact and robust embedded system; minimum sensing on the rig to minimise cost and maximise robustness; and limit sensors to facilitate on-board safety. The control algorithms were developed on a fifth-scale model in the laboratory using an innovative and new approach to the design of model based control systems. The importance of careful consideration of safety issues is stressed and conclusions are drawn based on the early findings from preliminary field trials.
series journal paper
more http://www.elsevier.com/locate/autcon
last changed 2003/05/15 21:23

_id 0ec6
authors Shih, Naai Jung
year 1997
title Image Morphing for Architectural Visual Studies
doi https://doi.org/10.52842/conf.caadria.1997.397
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
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

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