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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	7
authors	Bermudez, Julio
year	1998
title	Interaccion de Medios y Proceso De DiseÒo: Teoria y Base de Conocimientos Para una Produccion Arquitectonica Hibrida (Interaction of Design Media and Process: Theory and Knowledge Base for in the Production of Architectural Hybrids)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 56-65
summary	Integrating computers in architectural design means to negotiate between centuries-old analog design methods and the new digital systems of production. The difficulty lies in the underdeveloped state of the necessary methods, techniques, and theories to relate traditional and new media. Recent investigations on the use of multiple iterations between manual and electronic systems to advance architectural work show promising results. However, these experiments have not yet either developed a theoretical base that connects their procedures to a larger conceptual framework nor been sufficiently cross-referenced and third party tested to conform a reliable knowledge base. This paper addresses the first shortcoming in the light of the forces transforming our contemporary civilization and architecture.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	029f
authors	Bermudez, Julio and King, Kevin
year	1998
title	Media Interaction & Design Process: Establishing a Knowledge Base
doi	https://doi.org/10.52842/conf.acadia.1998.006
source	Digital Design Studios: Do Computers Make a Difference? [ACADIA Conference Proceedings / ISBN 1-880250-07-1] Québec City (Canada) October 22-25, 1998, pp. 6-25
summary	Integrating computers in architectural design means to negotiate between centuries-old analog design methods and the new digital systems of production. Analog systems of architectural production use tracing paper, vellum, graphite and ink, clipboard, clay, balsa wood, plastic, metal, etc. Analog systems have also been termed ‘handmade’, ‘manual’, ‘material’ or ‘physical’. Digital systems of architectural production use scanning, image manipulation, visualization, solid modeling, computer aided drafting, animation, rendering, etc. Digital systems have also been called ‘electronic’, ‘computer-aided’, ‘virtual’, etc. The difficulty lies in the underdeveloped state of the necessary methods, techniques, and theories to relate traditional and new media. Recent investigations on the use of multiple iterations between manual and electronic systems to advance architectural work show promising results. However, these experiments have not been sufficiently codified, cross-referenced and third party tested to conform a reliable knowledge base. This paper addresses this shortcoming by bringing together reported experiences from diverse researchers over the past decade. This summary is informed by more than three years of continuous investigation in the impacts of analog-digital conversations in the design process. The goal is to establish a state-of-the-art common foundation that permits instructors, researchers and practitioners to refer to, utilize, test, criticize and develop. An appendix is included providing support for the paper’s arguments.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	35e3
authors	Buchacz, A., Machura, A. and Pasek, M.
year	1998
title	Hypergraphs in investigation of trajectory of robot's manipulator with links as thin-walled bars
source	Automation in Construction 7 (5) (1998) pp. 363-383
summary	A 3-dimensional model of an industrial robot's manipulator is discussed here. The manipulator is built of two links. Each link is a bar of thin walls, with a box-shaped cross section. Harmonical forces and moments work on both ends of each bar. Lengthwisely and flexibly vibrating robot model is presented in the form of two-block hypergraph. On the base of the skeleton of this hypergraph, a matrix of dynamical flexibilities is developed for the system. The matrix allows us to determine amplitudes of the vibrations of the end of point of the robot's manipulator, separately along each of global axis X, Y, Z. The determined amplitudes anable us to predict the real trajectory of the manipulator and compare it with theoretical trajectory.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	2a12
authors	Burry, Mark and More, Gregory
year	1998
title	Representation, Realism and Computer Generated Architectural Animation
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 241-249
summary	This paper documents a simple architectural form which, but for computer generated animation, has no ready alternative explanatory process for its complex generation. The subject is a column in the nave of the Sagrada Familia Church in Barcelona conceived by Gaudí at the beginning of this century without the contemporary opportunities for animated design exploration. The column is based on a set of counter-rotating mutually interfering profiles. As the column gains height, the profiles increase in interference with each other resulting in an increasingly fluted cross section, a tendency towards the Doric Order. For most, however, there is no easy access to a plausible explanation of the inherent rationale for the column. Animating the generation of the column reveals a unique and concealed sublimation of natural patterns of growth. Animation aids an understanding of the effect of the fourth dimension on design itself by releasing a meaning of time from an otherwise inanimate object. Here animation is used to decipher one aspect of the mystery of Gaudí's design while strengthening another: the source and conceptual power of Gaudí to anticipate this phenomenon. Rather than trivialising this design mystery, the explanatory role of the animation enriches comprehension of the formal concept of mutation through displacement or an evolutionary design paradigm. The paper discuss the implications of this ability to show transition, translation and dislocation without delving too deeply into how the animation was made, nor indeed the subject which, after all, requires animation to fully represent its less tangible qualities.
series	plCAD
email
last changed	2003/05/17 10:01

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

_id	6279
id	6279
authors	Carrara, G.; Fioravanti, A.
year	2002
title	Private Space' and ‘Shared Space’ Dialectics in Collaborative Architectural Design
source	InterSymp 2002 - 14th International Conference on Systems Research, Informatics and Cybernetics (July 29 - August 3, 2002), pp 28-44.
summary	The present paper describes on-going research on Collaborative Design. The proposed model, the resulting system and its implementation refer mainly to architectural and building design in the modes and forms in which it is carried on in advanced design firms. The model may actually be used effectively also in other environments. The research simultaneously pursues an integrated model of the: a) structure of the networked architectural design process (operators, activities, phases and resources); b) required knowledge (distributed and functional to the operators and the process phases). The article focuses on the first aspect of the model: the relationship that exists among the various ‘actors’ in the design process (according to the STEP-ISO definition, Wix, 1997) during the various stages of its development (McKinney and Fischer, 1998). In Collaborative Design support systems this aspect touches on a number of different problems: database structure, homogeneity of the knowledge bases, the creation of knowledge bases (Galle, 1995), the representation of the IT datum (Carrara et al., 1994; Pohl and Myers, 1994; Papamichael et al., 1996; Rosenmann and Gero, 1996; Eastman et al., 1997; Eastman, 1998; Kim, et al., 1997; Kavakli, 2001). Decision-making support and the relationship between ‘private’ design space (involving the decisions of the individual design team) and the ‘shared’ design space (involving the decisions of all the design teams, Zang and Norman, 1994) are the specific topic of the present article. Decisions taken in the ‘private design space’ of the design team or ‘actor’ are closely related to the type of support that can be provided by a Collaborative Design system: automatic checks performed by activating procedures and methods, reporting of 'local' conflicts, methods and knowledge for the resolution of ‘local’ conflicts, creation of new IT objects/ building components, who the objects must refer to (the ‘owner’), 'situated' aspects (Gero and Reffat, 2001) of the IT objects/building components. Decisions taken in the ‘shared design space’ involve aspects that are typical of networked design and that are partially present in the ‘private’ design space. Cross-checking, reporting of ‘global’ conflicts to all those concerned, even those who are unaware they are concerned, methods for their resolution, the modification of data structure and interface according to the actors interacting with it and the design phase, the definition of a 'dominus' for every IT object (i.e. the decision-maker, according to the design phase and the creation of the object). All this is made possible both by the model for representing the building (Carrara and Fioravanti, 2001), and by the type of IT representation of the individual building components, using the methods and techniques of Knowledge Engineering through a structured set of Knowledge Bases, Inference Engines and Databases. The aim is to develop suitable tools for supporting integrated Process/Product design activity by means of a effective and innovative representation of building entities (technical components, constraints, methods) in order to manage and resolve conflicts generated during the design activity.
keywords	Collaborative Design, Architectural Design, Distributed Knowledge Bases, ‘Situated’ Object, Process/Product Model, Private/Shared ‘Design Space’, Conflict Reduction.
series	other
type	symposium
email
last changed	2012/12/04 07:53

_id	4d6f
authors	Chodorowski, Franciszek
year	1998
title	From Inversive Perspective to Virtual Space
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 43-52
summary	Looking back at history, considering the proportions taken up by the particular developments of the future vision of an architectural work, one observes that the main method used was based on a form of drawing in the perpendicular projection in the form of "planes", cross sections and elevations. However, the research considering the threedimensional approach of the design solution, took into consideration a model made of wood, plaster or paper. The supplementary works in the form of an axonometric or a perspective drawing were not usually the domain of architects. Such way of presenting space was used by artists: painters and sculptors. The rapid development taking place in the use of computers in preparing architectural design documentation makes one reflect on many issues. Modern software, apart from making it possible to develop projections, cross sections and elevations, allows the presentation of a three dimensional vision of an architectural solution on the basis of axonometry, perspective and a study of virtual space. Despite the obvious progress facilitating the graphic editing process of design work, the initial design phase is an unchanged process, similar to past times ' It is based on transferring the creative invention onto paper by means of handmade sketches, similarly to making an inventory measurement note.
series	plCAD
last changed	1999/04/08 17:16

_id	70a1
authors	Elsasa, P.A. van and Vergeesta, J.S.M.
year	1998
title	Displacement feature modelling for conceptual design
source	Computer-Aided Design, Vol. 30 (1) (1998) pp. 19-27
summary	Although the support of surface features, where a surface feature represents a local geometric detail imposed on a surface, is well-defined on prismatic objects, this is notthe case for sculptured surface models. Current methods often lead to data-explosion, high polynomial results, or procedural solutions. In this paper a method isdescribed that allows explicit modelling of protrusions and depressions in free-form B-spline surfaces. As this functionality is intended to be used by industrial designersduring conceptual design, distinct requirements are formulated to allow its use in this early stage of design. A method is described that calculates a blending geometryapproximating G1 cross-boundary smoothness effectively. Using these requirements and approximations, protrusions and depressions can be modelled with real-timeresponse, and with unprecedented flexibility.
keywords	Surface Features, Conceptual Design, Curvature Continuity Approximating, B-Spline Patches
series	journal paper
last changed	2003/05/15 21:33

_id	5
authors	Flanagan, Robert
year	1998
title	The Design Threshold
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 36-45
summary	When digital technology finally assumes its far-reaching potential, it will cross the Design Threshold. it will assume its own innate and universal identity - not the misplaced identity often ascribed by computer programmers or the mimicry of traditional process dictated by status quo architects - but an identity and awareness that plays to the unique capabilities of digital design. Uniqueness occurs at the design threshold. It can be identified as the point where: (1) The digital process becomes integral to the conclusion, a design that would not have been reasonably anticipated otherwise. (2) The intention of the designer is substantially dependent on the interaction of digital process to accomplish the intended result. (3) The complexity of the task exceeds the ability of the designer to accomplish that task by any other reasonable available means. // This pedagogy is explored through graphic experiments that exhibit DNA like properties.
series	SIGRADI
email
more	http://carbon.cudenver.edu/~bneiman/Acadia97.html
last changed	2016/03/10 09:51

_id	ad62
authors	Klaus, R. and Urbaniak, A.
year	1998
title	Safety algorithms for excavator engine control
source	Automation in Construction 7 (5) (1998) pp. 391-400
summary	The diesel engine without load and speed controller is a nonlinear astatic object. The torque and moment of internal friction (the diesel engine without load and governor) cross in the field of the engine's destruction (the speed limit was exceeded). Hence, the diesel engine is equipped with a speed governor. The main task of the governor is to counteract exceeding of the speed limit. We did a research on the engine with an injection pump wherein the conventional centrifugal governor was replaced by the microprocessor controller. This is because using a large number of electronic elements microcontroller has smaller reliability in comparison with mechanical governors. In order to protect the engine from the results of the controller's defect, we invented a safety system. The system guarantees the controlled stoppage of the engine's work in dangerous states. Information in this article are presented concerning protection and self-diagnostics of SW 400 engine control system that makes use of DP535 controller with Siemens 80C535 microcontroller. The presented control system is successfully tested in an excavator.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_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	ddss9845
id	ddss9845
authors	Reymen, Isabelle M.M.J.
year	1998
title	Design in Architecture, Software Engineering and Mechanical EngineeringA comparative study
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	The awareness about the gap between general design theory and design practice is increasing. Design practice is not really served with the results of current design theory. To build a bridge between theory and practice, design researchers should know what is really going on in practice. To explore design practice and to find the most important characteristics of design situations, I have chosen an empirical approach based on case studies in which design projects in different disciplines are compared. In each case study, an individual designer is interviewed and the design documents are analysed. The results in this article are based on two architectural projects, two software-engineering projects and two mechanical-engineering projects. The cross-case analysis has resulted indescriptions of design situations in these disciplines. A preliminary design frame to describe design situations in different disciplines has been derived. Based on similarities and differences in the descriptions, conclusions concerning design theory, design education and design practice are given. The most important conclusions are the following. First, designers are often not aware of their design process, but focus mainly on the product. Second, software designers more often than architects andmechanical engineers use methods to structure their overall design process.
series	DDSS
email
last changed	2003/08/07 16:36

_id	ba1b
authors	Schnier, T. and Gero, J.S.
year	1998
title	From Frank Lloyd Wright to Mondrian: Transforming evolving representations
source	I. Parmee (Ed.), Adaptive Computing in Design and Manufacture, Springer, London, pp. 207-219
summary	If a computer is to create designs with the goal of following a certain style it has to have information about this style. Unfortunately, the most often used method of formal representations of style, shape grammars, does not lend itself to automated implementation. However, It has been shown how an evolutionary system with evolving representation can provide an alternative approach that allows a system to learn style knowledge automatically and without the need for an explicit representation. This paper shows how the applicability of evolved representation can be extended by the introduction of transformations of the representation. One such transformation allows mixing of style knowledge, similar to the cross-breeding of animals of different races, with the added possibility of controlling exactly what features are used from which source. This can be achieved through different ways of mixing representations learned from different examples and then using the new, combined representation to create new designs. In a similar manner, information learned in one application domain can be used in a different domain. To achieve this, either the representation or the genotype-phenotype transformation has to be adapted. The same operations also allow mixing of knowledge from different domains. As an example, we show how style information learned from a set of Mondrian paintings can be combined with style information from a Frank Lloyd Wright window design, to create new window designs. Also, we show how the combined style information can then be used to create three-dimensional objects, showing style features similar to the newly designed windows.
keywords	Genetic Engineering, Learning
series	other
email
last changed	2003/04/06 09:02

_id	f8f2
authors	Toy, M.
year	1998
title	Hypersurface Architecture
source	Architectural Design Academy Group, London
summary	The first edition of Hypersurface presented an analysis of contemporary culture that identified two interpenetrating trends: avant garde architecture and everyday commercial practices. Hypersurface II demonstrates the convergence of these two forces that radicalizes form and deterritorializes subjectivity. This second edition further investigates the way in which effects emerge within architecture and explores the manifestations of this unprecedented moment in architecture where the rampages of commercial culture begin to cross-contaminate architectural form.
series	other
last changed	2003/04/23 15:14

_id	ijac20109304
id	ijac20109304
authors	Vermisso, Emmanouil
year	2011
title	Design economies of surface: can Architects learn from the manufacturing process of industry-driven projects like auto-cross racing?
source	International Journal of Architectural Computing vol. 9 - no. 3, 259-284
summary	This paper discusses an in-house manufactured race-car body for the annual Formula SAE® Series competition. The driving parameters for the design and fabrication process are examined with regards to the assignment's ‘format’ as a joint study between architecture and engineering students. Traditionally there has been an inhibition concerning communication between architects and engineers, that is perhaps successfully exemplified through Peter Rice's example of the "Iago mentality" (Rice, 1998) where the Shakespearean confrontation between Othello and Iago is viewed as an analogy to this communication: "In the dialogue of Architecture and Engineering, the engineer is the voice of rationality and reasoni." Unless dictated by construction necessities, research between these two disciplines is not sought as regularly as we would hope for; we are therefore, interested to assess the analog and computational techniques used from a design perspective, and, by understanding the implications of working among two different but similarly geared backgrounds, describe possible improvements on real-size projects that require both technical and design input, thereby affirming Rice's belief for creative inter-disciplinary discourse. Finally, the project is a reminder of the common ground between architectural and automotive design, by examining the notion of surface from a cross-disciplinary premise.
series	journal
last changed	2019/05/24 09:55

_id	avocaad_2001_09
id	avocaad_2001_09
authors	Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year	2001
title	Digital Architecture in CAD studio and Internet-based competition
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	Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series	AVOCAAD
email
last changed	2005/09/09 10:48

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