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

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

_id	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	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	eb53
authors	Asanowicz, K. and Bartnicka, M.
year	1997
title	Computer analysis of visual perception - endoscopy without endoscope
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	This paper presents a method of using computer animation techniques in order to solve problems of visual pollution of city environment. It is our observation that human-inducted degradation of city environmental results from well - intentioned but inappropriate preservation actions by uninformed designers and local administration. Very often, a local municipality administration permits to build bad-fitting surroundings houses. It is usually connected with lack of visual information's about housing areas of a city, its features and characteristics. The CAMUS system (Computer Aided Management of Urban Structure) is being created at the Faculty of Architecture of Bialystok Technical University. One of its integral parts is VIA - Visual Impact of Architecture. The basic element of this system is a geometrical model of the housing areas of Bialystok. This model can be enhanced using rendering packages as they create the basis to check our perception of a given area. An inspiration of this approach was the digital endoscopy presented by J. Breen and M. Stellingwerff at the 2nd EAEA Conferences in Vienna. We are presenting the possibilities of using simple computer programs for analysis of spatial model. This contribution presents those factors of computer presentation which can demonstrate that computers achieve such effects as endoscope and often their use be much more efficient and effective.
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	411c
authors	Ataman, Osman and Bermúdez (Ed.)
year	1999
title	Media and Design Process [Conference Proceedings]
source	ACADIA ‘99 Proceedings / ISBN 1-880250-08-X / Salt Lake City 29-31 October 1999, 353 p.
doi	https://doi.org/10.52842/conf.acadia.1999
summary	Throughout known architectural history, representation, media and design have been recognized to have a close relationship. This relationship is inseparable; representation being a means for engaging in design thinking and making and this activity requiring media. Interpretations as to what exactly this relationship is or means have been subject to debate, disagreement and change along the ages. Whereas much has been said about the interactions between representation and design, little has been elaborated on the relationship between media and design. Perhaps, it is not until now, surrounded by all kinds of media at the turn of the millennium, as Johnson argues (1997), that we have enough context to be able to see and address the relationship between media and human activities with some degree of perspective.
series	ACADIA
email
more	http://www.acadia.org
last changed	2022/06/07 07:49

_id	841a
authors	Bartnicka, Malgorzata
year	1997
title	The Animal, Full Blood maybe, but Untamed
source	AVOCAAD First International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-01-09] Brussels (Belgium) 10-12 April 1997, pp. 103-108
summary	So far yet, even the most advanced technology has not been able to substitute a human, his thoughts, feelings, dreams, longings, visions. It can though, removing need for all kind of effort from our everyday life, surrounding a human with unprecedented comfort, create feeling of peace and security. Task of a computer is to provide assistance, helping in calculations, forming of refined solids, It contains a compendium of knowledge and memory - but not creative skills. So far it's only a machine, with help of which a possibility of creative expression is expanded. It only can solve problems for a human faster and more efficient way, does not have the ability to describe (formulate) problems. Even while providing a support, does it do that honestly? It means, does it support us in those of our doings where we truly need it? Computers have enormous possibilities of use that are not exploited sufficiently and all the time new generations of yet quicker machines with unbelievable power are being created. Every new type of computer appears to be obsolete and insufficient within a few months. Insufficient for what?
series	AVOCAAD
last changed	2005/09/09 10:48

_id	76ba
authors	Bermudez, Julio
year	1997
title	Cyber(Inter)Sections: Looking into the Real Impact of The Virtual in the Architectural Profession
source	Proceedings of the Symposium on Architectural Design Education: Intersecting Perspectives, Identities and Approaches. Minneapolis, MN: College of Architecture & Landscape Architecture, pp. 57-63
summary	As both the skepticism and 'hype' surrounding cyberspace vanish under the weight of ever increasing power, demand, and use of information, the architectural discipline must prepare for significant changes. For cyberspace is remorselessly cutting through the dearest structures, rituals, roles, and modes of production in our profession. Yet, this section is not just a detached cut through the existing tissues of the discipline. Rather it is an inter-section, as cyberspace becomes also transformed in the act of piercing. This phenomenon is causing major transformations in at least three areas: 1. Cyberspace is substantially altering the way we produce and communicate architectural information. The arising new working environment suggests highly hybrid and networked conditions that will push the productive and educational landscape of the discipline towards increasing levels of fluidity, exchanges, diversity and change. 2. It has been argued that cyberspace-based human and human-data interactions present us with the opportunity to foster a more free marketplace of ideologies, cultures, preferences, values, and choices. Whether or not the in-progress cyberincisions have the potential to go deep enough to cure the many illnesses afflicting the body of our discipline need to be considered seriously. 3. Cyberspace is a new place or environment wherein new kinds of human activities demand unprecedented types of architectural services. Rather than being a passing fashion, these new architectural requirements are destined to grow exponentially. We need to consider the new modes of practice being created by cyberspace and the education required to prepare for them. This paper looks at these three intersecting territories showing that it is academia and not practice that is leading the profession in the incorporation of virtuality into architecture. Rafael Moneo's words come to mind. [2]
series	other
email
last changed	2003/11/21 15:16

_id	acadia06_150
id	acadia06_150
authors	Boza, Luis Eduardo
year	2006
title	(Un) Intended Discoveries Crafting the Design Process
source	Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 150-157
doi	https://doi.org/10.52842/conf.acadia.2006.150
summary	Computer Numeric Controlled (CNC) fabrication machineries are changing the way we design and build. These technologies have increased productivity through greater efficiencies and have helped to create new forms of practice, including increased specializations and broader collaborative approaches. (Kieran Timberlake 2003: 31). However, some argue that these technologies can have a de-humanizing effect, stripping the human touch away from the production of objects and redistributing the associated skills to machines. (Dormer 1997: 103). The (Digital) Craft studio explored the notions of technology and craft to understand how and when designers should exploit the tools employed (both the hand and the machine) during the design and production processes.
series	ACADIA
email
last changed	2022/06/07 07:54

_id	6496
authors	Chen, Y.Z. and Maver, T.W.
year	1997
title	Integrating Design Tools within a Human Collaborative Working
source	The Int. Journal of Construction IT 5(2), pp. 47-73
summary	This paper stresses the importance of establishing a collaborative working context as the basis for design integration. Within a virtual studio environment framework, a hybrid architecture for design tool integration is presented. Each design tool is wrapped as an autonomous service provider with its own data store; thus the project design data is physically distributed with the design tools. A global product model, which is augmented with meta-data description, is employed to provide a common vocabulary for communications and to assist the management of the distributed resources and activities. Collaboration-aware information is modelled and structured through the meta-data model and a tool model. Based on this, mechanisms for tool service coodination in varying modes are developed. It is then illustrated, through an implemented prototype system, how the integrated design tools might be used in human design work.
series	journal paper
last changed	2003/05/15 21:45

_id	maver_107
id	maver_107
authors	Chen, Yan and Maver, Tom W.
year	1997
title	Integrating Design Tools within a Human Collaborative Working Context
source	International Journal of Construction IT, Vol5, No 2, pp 35-53
summary	Integrating design tools has been an important research subject. The work to be reported in this paper differs from many previous efforts in that it not only tackles tool-tool interoperation, but also does so within a human collaborative working context We suggest that design integration support should include not only tool interoperability, but also mechanisms for co-ordinate and control the tool use. We also argue that the higher-level management support should include not only formalised and automated mechanisms, but also semi-automated and even informal mechanisms for human designers to directly interact with each other. Within a collaborative working framework, we'll present a hybrid architecture for tool integration, in which the human designers and the design tools are assumed to be distributed while the management is centralised. In this approach, each design tool is wrapped as an autonomous service provider with its own data store; thus the project design data is physically distributed with the design tools. A meta-data augmented product model, which populates a central meta-data repository serving as a "map" for locating the distributed design objects, is devised to provide a common vocabulary for communications and to assist the management of the distributed resources and activities. A design object broker is used to mediate among the distributed tools, and the central meta-data repository. The reported work has been part of a collaborative design system called virtual studio environment We'll illustrate how the integrated design tools might be used in human design work within the virtual studio environment.
series	other
email
last changed	2003/09/03 15:36

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

_id	2342
authors	Chiu, Mao-Lin and Shih, Shen-Guan
year	1997
title	Analogical Reasoning and Case Adaptation in Architectural Design: Computers Vs. Human Designers
source	CAAD Futures 1997 [Conference Proceedings / ISBN 0-7923-4726-9] München (Germany), 4-6 August 1997, pp. 787-800
summary	This paper depicts the studies of the differences between human designers and computers in analogical reasoning and case adaptation. Four design experiments are undertaken to examine how designers conduct case-based design, apply dimensional and topological adaptation. The paper also examines the differences of case adaptation by novice and experienced designers, and between human judgement in case adaptation and the evaluation mechanism by providing similarity assessment. In conclusion, this study provides the comparative analysis from the above observation and implications on the development of case-based reasoning systems for designers.
keywords	Case-based Reasoning, Analogical Reasoning, Case Adaptation, Computer-Aided Architectural Design
series	CAAD Futures
email
last changed	2003/05/16 20:58

_id	4a30
authors	Chiu, Mao-Lin
year	1997
title	Analogical Reasoning in Architectural Design: Comparison of Human Designers and Computers in Case Adaptation
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. 205-215
doi	https://doi.org/10.52842/conf.caadria.1997.205
summary	Design cases were considered as the design solution or condensed knowledge of design experience. In the analogical reasoning process, case adaptation is the fundamental task for solving the problem. This paper is aimed to study the difference between human designers and computers in case adaptation. Two design experiments are undertaken for examining how designers apply dimensional and topological adaptation, exploring the difference of case adaptation by novice and experienced designers, and examining the difference between human judgement in case adaptation and the evaluation mechanism by providing similarity assessment. In conclusion, this study provides the comparative analysis from the above observation and implications on the development of case-based reasoning systems for designers.
series	CAADRIA
email
last changed	2022/06/07 07:56

_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	a05b
authors	Clements-Croome, T.D.J.
year	1997
title	What do we mean by intelligent buildings?
source	Automation in Construction 6 (5-6) (1997) pp. 395-400
summary	Various common definitions of intelligent buildings are discussed. A systems view of building design is a starting point for considering business, space and building management. An intelligent building helps an organisation to fulfil its objectives by facilitating the management of these resources and thereby increasing the effectiveness and efficiency of the organisation. At an even more fundamental level intelligent buildings can cope with social and technological change and also are adaptable to human needs.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	123c
authors	Coomans, M.K.D. and Timmermans, H.J.P.
year	1997
title	Towards a Taxonomy of Virtual Reality User Interfaces
source	Proceedings of the International Conference on Information Visualisation (IV97), pp. 17-29
summary	Virtual reality based user interfaces (VRUIs) are expected to bring about a revolution in computing. VR can potentially communicate large amounts of data in an easily understandable format. VR looks very promising, but it is still a very new interface technology for which very little application oriented knowledge is available. As a basis for such a future VRUI design theory, a taxonomy of VRUIs is required. A general model of human computer communication is formulated. This model constitutes a frame for the integration of partial taxonomies of human computer interaction that are found in the literature. The whole model constitutes a general user interface taxonomy. The field of VRUIs is described and delimited with respect to this taxonomy.
series	other
last changed	2003/04/23 15:50

_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	20ff
id	20ff
authors	Derix, Christian
year	2004
title	Building a Synthetic Cognizer
source	Design Computation Cognition conference 2004, MIT
summary	Understanding ‘space’ as a structured and dynamic system can provide us with insight into the central concept in the architectural discourse that so far has proven to withstand theoretical framing (McLuhan 1964). The basis for this theoretical assumption is that space is not a void left by solid matter but instead an emergent quality of action and interaction between individuals and groups with a physical environment (Hillier 1996). In this way it can be described as a parallel distributed system, a self-organising entity. Extrapolating from Luhmann’s theory of social systems (Luhmann 1984), a spatial system is autonomous from its progenitors, people, but remains intangible to a human observer due to its abstract nature and therefore has to be analysed by computed entities, synthetic cognisers, with the capacity to perceive. This poster shows an attempt to use another complex system, a distributed connected algorithm based on Kohonen’s self-organising feature maps – SOM (Kohonen 1997), as a “perceptual aid” for creating geometric mappings of these spatial systems that will shed light on our understanding of space by not representing space through our usual mechanics but by constructing artificial spatial cognisers with abilities to make spatial representations of their own. This allows us to be shown novel representations that can help us to see new differences and similarities in spatial configurations.
keywords	architectural design, neural networks, cognition, representation
series	other
type	poster
email
more	http://www.springer.com/computer/ai/book/978-1-4020-2392-7
last changed	2012/09/17 21:13

_id	c557
authors	Fuchs, W. and Martinico, A.
year	1997
title	The V.C.net--A digital study in architecture
source	Automation in Construction 6 (4) (1997) pp. 335-339
summary	The V.C.net project is an Internet-based educational and communication tool for the architectural community. Its goal is to encourage students from architecture programs across the country and around the world to examine problems and collaborate in the exploration of ideas through the World Wide Web. The central concept of the project involves the creation of a simulated, vital urban environment constructed from various forms of digital data. This `virtual city' will be comprised of projects executed by students of architecture and urban design in US and abroad. Projects will be proposed for specific sites and will reflect real-world questions as they are mirrored in the virtual world. The city exists as a heuristic tool and is not intended as a copy of any existing human habitat. The ultimate goal of the project is to create a dynamic platform to study the interrelationship of various forces effecting urban development: architecture, planning, civil engineering, economics, social sciences, etc. The project originates at the School of Architecture of the University of Detroit Mercy and is intended to be truly interdisciplinary.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

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