Cumincad : CUMINCAD Papers : Search Results

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

PDF papers
References

Hits 1 to 19 of 19

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

_id	ddss2004_d-1
id	ddss2004_d-1
authors	Cerovsek, T. and B. Martens
year	2004
title	On the Extended Use of Citations in CAAD
source	Van Leeuwen, J.P. and H.J.P. Timmermans (eds.) Developments in Design & Decision Support Systems in Architecture and Urban Planning, Eindhoven: Eindhoven University of Technology, ISBN 90-6814-155-4, p. 1-17
summary	This paper discusses the extended use of the Cumulative Index of CAAD (CUMINCAD) - a digital library set up in 1998 serving the CAAD-community as an important source of scientific information with over 6.000 recorded entries published on-line. The aim of this paper is to elaborate a related Citation Index to CUMINCAD - with over 20.000 references - and to provide information on entries with an exceptional high impact in the CUMINCAD database. The importance is determined through its use (citing) in the framework of afterwards published scientific materials. By utilizing graph theory methods extensive citation analyses will be presented illustrating the impact of particular contributions in different research topics.
keywords	Scientific Knowledge Management, Retrospective CAAD Research, Graph Theory, CAAD-Related Publications, Web-Based Bibliographic Database
series	DDSS
last changed	2004/07/03 22:13

_id	8a05
authors	Van Leeuwen, J., Dubbelman, T. and Achten, H.
year	1998
title	ICT as a Means of Education
doi	https://doi.org/10.52842/conf.ecaade.1998.131.2
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 131-137
summary	ICT and architecture are often viewed as separate subjects, that can also be taught separately. If the goal of teaching is to produce learned designers, then it is necessary to combine both issues into a single course. The paper presents the innovation of a traditional CAD course that suffered from decreasing results. We present the problems identified in the existing course and the measures taken to reorganise the contents and didactical approach of the course. The paper focuses on the innovation of the course by the introduction of information and communication technologies (ICT) both in the contents of the course and as a means of education. Abandoning printed images as the result of students? work, the new course required students to create a web page to present their efforts on architectural design, modelling, and visualisation. This had a beneficial effect on the students? attitude and enthusiasm for the course. It also allowed better planning of the course in terms of
series	eCAADe
email
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/42van_leeuwen/index.htm
last changed	2022/06/07 07:58

_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	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	ddss9814
id	ddss9814
authors	Van Raes, N., Cornelis, B. and Donney, J.P.
year	1998
title	Decision Support for Improving Public Transport Network
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	When dealing with accessibility in a public transport network, isochronous maps are the common rule. Those maps are based on shortest distance algorithms run over simple or simplified networks. This contribution aims at representing the actual spatial distribution of the public transport offer in order to improve the usefulness to the urban community and to predict the evolution of the network according to the expected development of the agglomeration. The study combines the street (walking distance)and public transportation (buses) networks. The analyses rely on timetables and road maps completed by the public transportation company (TEC). Moreover, it makes use of built-up areas derived from satellite imagery. The processing requires raster- as well as vector-based procedures which have been achieved notably with the IDRISI software. Nevertheless the implementation of the decision rule relies on an original routine written by the authors. The area of interest concerns a part of the agglomeration of Liège (Belgium), including two secondary poles, highlighting their relation with the centre of the city and with each other. First the paper presents the typology of the public transport routes. Then the methodology elaborated for each transportation type is analysed; the shortestdistance routes and their alternatives are extracted and combined within a raster process. The obtained results and their operationality are finally presented and the paper concludes with possible improvements of the methodology.
series	DDSS
last changed	2003/08/07 16:36

_id	ddss9807
id	ddss9807
authors	Boelen, A.J. and Lugt, Hermen J. van der
year	1998
title	Communication of design parameters within groups
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	This paper discusses the facilitation of worldwide concurrent design within the domains involved in environmental planning, urban design and civil engineering. Typical projects in these domains require the collaboration of many experts. Each of these has his reference framework for the taskat hand and for the variables used. The amount of variables makes it impossible for each project participant to take account for all possible impacts of proposed or planned actions. The typical project demands for a concurrent design process that enables all participants to concentrate ontheir domain of expertise. On the other hand the design process should enable them to have insight in the problems, within the domains of other experts. The system should provide a generic environment with the ability to attach domain specific knowledge. By providing this support thesystem integrates knowledge specific to various expert domains.In the PortPlan project within the LWI organization a system is being developed that supports the integration of various reference frameworks involved in environmental planning. We no longer need to develop a common language for the users. The system contains a dynamic set of scalebound reference objects for the domains involved. The system facilitates the communication of object characteristics. It also supports the presentation of these objects, in legends for each participant involved.We achieve the communication between participants using a dynamic legend. We also enable all participants to become informed on the interests of other participants. We achieve the technical communication using the exchange of interventions. We do not exchange results. This leads to alow "network traffic load" and thus enables the system to operate within the current Internet infrastructure. In this paper we present the problem area of concurrent design in environmental planning. We present this describing the background of our project, describing the overall architecture of the system and presenting the first findings of user studies.
keywords	Concurrent Design, Interfaces, Legends
series	DDSS
last changed	2003/11/21 15:16

_id	ddss9861
id	ddss9861
authors	Leusen, M. van and Mitossi, V.
year	1998
title	A practical experiment in representation and analysis of buildings
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 TYPOLOGY project was set up by the Dutch Government Building Agency (GBA) to explore computerised representations of buildings that allow analysis of various aspects of their performance. So far this project produced the RF-model, an abstract computerised representation.Physical elements of the building are not represented as such, only individual spaces and boundary segments along which they are adjacent are represented explicitly. Spaces can have any number of functional properties such as the general category of floor area they are included in, the activities they accommodate, or the particular safety compartment or circulation system they belong to. Similarly, boundary segments may, for example, provide access or view, may be included in a particularcategory, such as interior walls, or in a safety or security barrier.The RF-model enabled the presentation and quantitative analysis of design proposals for large and complex buildings such as courts of justice and prison buildings. The model is also used in a multiaspect analysis of a series of recently erected Dutch prison buildings. We expect that these first results will develop into a rich and professional precedent-based system, to be used in the early stages of design. The strategic goal of the project is to derive from the accumulated models and their analysis a more general understanding of the relations between a building’s actual characteristics and various aspects of its performance.
series	DDSS
last changed	2003/08/07 16:36

_id	ga9812
id	ga9812
authors	Riley, Howard
year	1998
title	The Genetic Code of Drawing: A systemic – functional approach to the semiotics of visual language
source	International Conference on Generative Art
summary	The many varied drawing conventions, invented by human cultures world-wide to depict experience of their world on a two-dimensional surface, all derive from the two fundamental processes of selection and combination of marks and surfaces. Here is the DNA of drawing – a dialectically entwined pair from which spirals the luxuriant diversity of human visual representation. Recent work by visual semioticians Michael O’Toole, Gunther Kress and Theo van Leeuwen has extended earlier insights of the linguist Michael Halliday to arrive at a powerful means of analysing painting, sculpture, architecture and graphics. Such analysis is known as systemic-functional semiotics because it identifies from within a visual grammar and vocabulary the systems of choices which enable the social functions of all human communication to be articulated. Those functions are: 1. to represent aspects of our physical and emotional experiences of the world. 2. to afford both artist and viewer the means for expressing or adopting personal attitudes and moods towards those experiences. An interpersonal function. Of course, a third function is required to make the previous two visible: 3. the functon of composition in material form. This kind of semiotics recognise that ideological constraints within a society can determine the choices of visual elements and the rules of their combination; it also recognises, dialectically, that the visual work thus produced may in turn affect the society’s ideological constructs. The paper breaks new ground by extending the concept of social semiotics into the field of Drawing. It goes on to explain an ecological approach to understanding visual perception, and attempts to synthesise aspects of this perception theory and semiotic theory. The resulting synthesis becomes a way of mapping the varieties of drawing which are generated from what may be termed the ?genetic code? of drawing. But this new theoretical model proposed here not only allows us to make contextual sense of existing drawing; it also provides a means of generating new ways of drawing.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ddss9849
id	ddss9849
authors	Sariyildiz, S. Ciftcioglu, Ö. and Veer, Peter van der
year	1998
title	Information Ordering for decision support in building design
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	A systematic approach for the application of AI-based information processing for information ordering in architectural building design is described. For this purpose fuzzy associative memory (FAM) method is considered. In this system FAM is used for knowledge representation in building design concerning the functional & technical requirements information and its graded relevance to individuals concerned in the same context. A set of FAM rules having been established as a knowledge base for use, a pattern of information in the form of a fuzzy vector is fed to each FAM rule. Here, a decision support system is aimed to convey the information to the respective individuals and/or bodies involved, in a graded form, according to their capacity of involvement in the building design. By exploiting the binary logic, each FAM rule is fired in parallel but to a different degree so that each rule generates an m-dimensional output fuzzy vector Pi. The union of these vectors creates m-dimensional fuzzy decision vector D that provides the ordered information addressed to respective individuals and/or bodies mentioned. Using simulated data, a verification procedure for the performance of the approach is investigated and by means of the work, the role that artificial intelligence in architecture and building design might play, is pointed out.
series	DDSS
last changed	2003/08/07 16:36

_id	c36a
authors	Sariyildiz, S., Van der Veer, P., Schwenck, M. and Ciftcioglu, Ö.
year	1998
title	Computer as a Valuable and Reliable Partner
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 177-188
summary	As in any branches of the science, the newcoming technologies play always a role in each of the related specific disciplines. The developments of Information and Communication Technology (ICT) have an important impact on architectural design and the process of the design as well as it is a part of the other technological developments. Surely these rapidly ongoing developments will influence the way of designing and the design process. What will change in the building practice by the use of this technology? How should we use this technology to reach our goals? What will be the next step in future developments? In this paper we give an overview of the use the ICT in general for architectural design and the design process and focus on the future developments. The aspect of integration (tools and partners) and the development of Decision Support Environment in the building process by means of the Artificial Intelligence (Al) technologies are mentioned.
series	plCAD
email
last changed	2003/05/17 10:01

_id	e629
authors	Sariyildiz, Sevil and Van der Veer, Peter
year	1998
title	The role of ICT as a partner in Architectural Design Education
doi	https://doi.org/10.52842/conf.ecaade.1998.139
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 139-146
summary	Design education in general is analyzed and the existing tools in the design process are explained. The design education in the past as well as the design education for the future is mentioned. The influence of new technologies on the design and the impact of Information and Communication Technology (ICT) use in the education are clarified. Finally the future perspectives of an architectural education and the preparation of future professionals to the practice is worked out. Further speculations about the role of ICT in the education and practice is done. The form and the infrastructure of ICT education for architects are discussed.
keywords	ICT, Architectural Design, Architectural Education, Knowledge Integration Tools, Decision Support Tools, Design Tool, Internet, JAVA, Collaborative Design
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:57

_id	7eb7
authors	Van Elsas, P. and Vergeest, J.
year	1998
title	New functionality for computer-aided conceptual design: the displacement feature
source	Design Studies 19 (1) (1998) pp. 81-102
summary	Conceptual design using conventional 3D CAD systems is a controversial issue among industrial designers. Although one can produce complex, accurate, finished 3D models using these CAD systems, it is still difficult to use them during early, creative product design. In this paper, a method is described that allows the design of protrusions and depressions in sculptured surfaces in a flexible and interactive manner. Through interviews with industrial designers, the basic requirements for support of such functionality during conceptual design have been formulated. An implemented method based upon these requirements has been extensively evaluated by industrial designers, and these evaluations show that industrial designers find this functionality extremely useful during conceptual shape design.
series	journal paper
last changed	2003/05/15 21:45

_id	4df1
authors	Van Loon, Peter Paul
year	1998
title	Interorganisational Design : A New Approach to Team Design in Architecture and Urban Planning
source	Delft University of Technology
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	ddss9801
id	ddss9801
authors	Achten, Henri and Leeuwen, Jos van
year	1998
title	A Feature-Based Description Technique for Design Processes: A Case 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	In order to develop appropriate tools for decision support in design processes, it is necessary to found them on an understanding of design. Analytical techniques of design processes that have a direct relationship with tool development can enhance design support systems development. The paper focuses on a design support system in the VR-DIS research program. The aim of this research program is to develop insight in the architectural design process and to establish design tools for architectsworking in Virtual Reality. The basic approach for data modelling in VR in this research is based on an extension of the Feature Based Modelling paradigm taken from design in mechanical engineering. The computer model of the design in the system is a Feature-based model. This paper describes design processes in terms of changes in the Feature-based model of the design. For this purpose, a case of a house design is used. Drawings in the conceptual design phase up to the preliminary design phase arestudied. Each state of the drawings is described in terms of a Feature-model. Particular design actions such as creation of spaces, definition of architectural elements, and changes during the design process can be expressed in terms of changes in the Feature-model. Because of the use of Features, the changes can be formalised in the VR-DIS system. The description in terms of Features offers an analytical toolthat leads to a functional brief for design support tools. The paper ends with a discussion of implications and future work.
series	DDSS
last changed	2003/11/21 15:15

_id	ga9807
id	ga9807
authors	Loocke, Philip Van
year	1998
title	Consequences for practical aesthetics and for aesthetical theory of the insertion of principles from quantum theory in cellular automata
source	International Conference on Generative Art
summary	A cellular automaton that includes some principles from quantum theory is considered. The automaton generates forms of an aesthetic nature. At every time step, a form grows with a single cell. This cell is selected with a selection probability that is determined by an amplitude. If the algorithm is run with selection of the cell of maximal amplitude at every time step, a type of form results that is called 'platonic'. Such forms typically have higher aesthetic complexity than their non-platonic counterparts. The case of selection probabilities determined by squares of amplitudes has a strong analogy with quantum theory. This analogy is elaborated by consideration of forms that have mutual correlations. These correlations can be of a classical nature, of a quantum mechanical type, or of a type that is termed 'super-correlation'.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ecaadesigradi2019_474
id	ecaadesigradi2019_474
authors	Nunes de Vasconcelos, Guilherme, Malard, Maria Lucia, van Stralen, Mateus, Campomori, Maurício, Canavezzi de Abreu, Sandro, Lobosco, Tales, Flach Gomes, Isabella and Duarte Costa Lima, Lucas
year	2019
title	Do we still need CAVEs?
doi	https://doi.org/10.52842/conf.ecaade.2019.3.133
source	Sousa, JP, Xavier, JP and Castro Henriques, G (eds.), Architecture in the Age of the 4th Industrial Revolution - Proceedings of the 37th eCAADe and 23rd SIGraDi Conference - Volume 3, University of Porto, Porto, Portugal, 11-13 September 2019, pp. 133-142
summary	This paper discusses the relevance of CAVE systems in comparison with virtual and augmented reality head-mounted displays in terms of immersion experience, costs, maintenance, ease to use, interactivity, and social interaction. It is based on a comparative study of a systematic literature review comprising the works available at CumInCAD and IEEE databases in the period from 1998-2018, and empirical data from technical visits made to five CAVEs in Europe. The discussion seeks to cover the limits of each technology and questions the need for CAVEs nowadays.
keywords	CAVE; Virtual Reality; head mounted display; Augmented reality
series	eCAADeSIGraDi
email
last changed	2022/06/07 08:00

_id	634d
authors	Seebohm, Thomas and Van Wyk, Skip (Eds.)
year	1998
title	Digital Design Studios: Do Computers Make a Difference? [Conference Proceedings]
doi	https://doi.org/10.52842/conf.acadia.1998
source	ACADIA Conference Proceedings / ISBN 1-880250-07-1 / Québec City (Canada) October 22-25, 1998, 383 p.
summary	With an inevitability that is the beyond the control of architecture faculty everywhere, computers are being increasingly used in design studios. As student ownership of computers proliferates and architectural firms begin to use computers for design as well as drafting, the momentum will accelerate. The question is whether the use of computers in design studios makes a difference and what sort. Moreover, if it does make a difference, should it just be allowed to happen or should the momentum be guided by studio teachers skilled in computing. Does the use of computers in studios demand a special pedagogy that goes beyond teaching the use of the software and hardware? Are there design approaches that need to be taught in order to take advantage of the strengths of computers in design rather than attempt to make computers follow the paths trodden by manual design techniques? The question is critical because, as yet, we know very little about how computers can truly enable design, how computers can help us conceive design hypotheses, structure alternatives and simulations, and evaluate alternatives. As yet we have no body of recorded evidence to demonstrate how computer-based design studios produce work that is different from or better than traditional design, except, perhaps, in slickness of the images. Is it only in modeling and rendering final images that computers are useful or are there advantages in the use of computers through all stages design. If so what are they? In recent years many non-ACADIANS have become involved in using computers in design studios. Do we use design computing differently? Do we judge our successes differently? Do we have different expectations than these colleagues. And, even more interesting , what do they perceive as our experience and direction?
series	ACADIA
email
more	http://www.acadia.org
last changed	2022/06/07 07:49

_id	297e
authors	Van Asperdt, Anita and Diamond, Beth
year	1998
title	Integrating Digital Media in the Lanscape Architecture Studio: Overlaying Media and Process
doi	https://doi.org/10.52842/conf.acadia.1998.074
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. 74-86
summary	For landscape architecture students beginning to experiment with computer generated imagery, the focus should be on integrating digital media in a comprehensive manner, throughout various phases of the design process. Digital media exercises must be developed in such a manner that they support, express and enhance the design content of a studio project in conjunction with the chosen design process. In a beginning-level studio, digital media is best explored through easy-to-learn applications in a structured yet flexible studio environment. One powerful way to integrate digital media with design inquiry in a comprehensive and reciprocal manner is the electronic overlay of information and poetic impressions. This method takes on particular relevance in dealing with the multiple issues that face landscape architects today.
series	ACADIA
email
last changed	2022/06/07 07:58

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

No more hits.