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

_id	aeb8
authors	Shih, Shen-Guan and Hu, Tsung-Pao
year	1998
title	A Layout Generation System for Elementary Schools
doi	https://doi.org/10.52842/conf.caadria.1998.465
source	CAADRIA ‘98 [Proceedings of The Third Conference on Computer Aided Architectural Design Research in Asia / ISBN 4-907662-009] Osaka (Japan) 22-24 April 1998, pp. 465-472
summary	This paper describes a layout generation system that is realized by adapting the design problem formation and design process of the well-known SAR method. The purpose is to examine the idea that some certain types of design problems can be greatly simplified by conventional design techniques such as hierarchical decomposition, zoning, module, and most importantly, the concept of “support”, which is a spatial framework that dissects the planning site into sectors and zones of various spatial characteristics.
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:59

_id	57
authors	Chernobilsky, Lilia B. and Arturo F. Montagu
year	1998
title	Desarrollo de un Sistema de Informacion de Infraestructura Edilicia (Development of an Information system of Municipal Infrastructure)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 426-431
summary	The Information System of Building Components -ISBC, consists of a set of activities to control the graphic data operation procedures of building plans and its storage in a data base. The system is specially prepared to be used by architects, engineers and cad operators who are dealing with a continuous flow of design problems, regarding the permanent adaptation and modification of office's layout in a great amount of buildings around the country. These constant changes bring out several types of architectural design problems that should be taken into consideration by the proposed system, particularly the reallocation of office furniture and the modification of building components. Therefore, the principal goal of the system is based on the inquiry and permanently updating of the data base composed by: furniture, technical equipment (computers and telecommunications networks), lights, air-conditioning, sanitary equipments and any other equipment that can be inventoried. The generation and operation of great amount of graphics and alphanumerical information bring out severe data inconsistency problems, particularly when graphic data is envolved. The task of "feeding" and modifying a data base produces errors that aren't easy to solve, even when specific consistency procedures are used. The ISBC provides the computer routines for the initial task of building up the required data base of each building, allowing to use an interactive algorithm among the digitized plans of each office and the data base of the enquiry system. An additional operation included in the system allows to compute the area of each section of the building in order to calculate several types of working spaces regarding ergonomical and functional performance specifications established by law regulations.
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	9bee
authors	Gerzso, J. Michael
year	2001
title	Automatic Generation of Layouts of an Utzon Housing System via the Internet
doi	https://doi.org/10.52842/conf.acadia.2001.202
source	Reinventing the Discourse - How Digital Tools Help Bridge and Transform Research, Education and Practice in Architecture [Proceedings of the Twenty First Annual Conference of the Association for Computer-Aided Design in Architecture / ISBN 1-880250-10-1] Buffalo (New York) 11-14 October 2001, pp. 202-211
summary	The article describes how architectural layouts can be automatically generated over the Internet. Instead of using a standard web server sending out HTML pages to browser client, the system described here uses an approach that has become common since 1998, known as three tier client/server applications. The server part of the system contains a layout generator using SPR(s), which stands for “Spatial Production Rule System, String Version”, a standard context- free string grammar. Each sentences of this language represents one valid Utzon house layout. Despite the fact that the system represents rules for laying out Utzon houses grammatically, there are important differences between SPR(s) and shape grammars. The layout generator communicates with Autocad clients by means of an application server, which is analogous to a web server. The point of this project is to demonstrate the idea that many hundreds or thousands of clients can request the generation of all of the Utzon layouts simultaneously over the Internet by the SPR(s) server, but the server never has to keep track when each client requested the generation of all of the layouts, or how many layouts each client has received.
keywords	Internet, Spatial-Production-Rules Grammars, Utzon
series	ACADIA
email
last changed	2022/06/07 07:51

_id	7560
authors	Gomez, Nestor
year	1998
title	Conceptual Structural Design Through Knowledge Hierarchies
source	Carnegie Mellon University, Department of Civil and Environmental Engineering, Pittsburgh
summary	Computer support for conceptual design still lags behind software available for analysis and detailed design. The Software Environment to Support the Early Phases in Building Design (SEED) project has the goal of providing design generation and exploration capabilities to aid in the conceptual design of buildings, from architectural programming and layout to enclosure design and structural configuration. The current work presents a component of the efforts of the SEED-Config Structure group in providing computer support for conceptual structural design. The Building Entity and Technology (BENT) approach models data about building elements in a general, hierarchical form, where design evolution is represented by the growing specificity of the design description. Two methods of system-supported design generation are provided: case-based reasoning and application of knowledge rules. The knowledge rules, termed technologies, and how they are specified and used are the primary focus of this thesis. In the BENT approach, conceptual structural engineering knowledge is modularized into technology nodes arranged in a directed 'AND/OR' graph, where OR nodes represent alternative design decisions and AND nodes represent problem decomposition. In addition, nodes in the graph may also be specified as having AND/OR incoming arcs thus reducing the duplication of nodes and enhancing the representational power of the approach. In order to facilitate the incorporation of new knowledge into the system, and verify and/or change the knowledge already in the system, the data model and the interface allow for dynamic creation, browsing, and editing of technology nodes. Design generation through the use of the knowledge hierarchy involves the conditional application of nodes according to the design context as represented by the building element(s) under consideration. Each application of a technology node expands the design of building elements by increasing the detail of the design description or by decomposing the elements into less abstract components. In addition, support for simultaneous design of multiple elements and for iteration control are also provided. An important feature of the BENT approach is that the generative knowledge (i.e., the technology hierarchy) is detached from the information repository (i.e., the database of entities which make up the building). This allows the technology hierarchies to be used in a modular fashion from building problem to building problem.
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	40d7
authors	Dalyrmple, Michael and Gerzso, Michael
year	1998
title	Executable Drawings: The Computation of Digital Architecture
doi	https://doi.org/10.52842/conf.acadia.1998.172
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. 172-187
summary	Architectural designs are principally represented by drawings. Usually, each drawing corresponds to one design or aspects of one design. On the other hand, one executable drawing corresponds to a set of designs. These drawings are the same as conventional drawings except that they have computer code or programs embedded in them. A specific design is the result of the computer executing the code in a drawing for a particular set of parameter values. If the parameters are changed, a new design or design variation is produced. With executable drawings, a CAD system is also a program editor. A designer not only designs by drawing but also programming. It fuses two activities: the first, drawing, is basic in architectural practice; and the second, progamming, or specifying the relation of outputs from inputs, is basic in computer system development. A consequence of executable drawings is that architectural form is represented by graphical entities (lines or shapes) as well as computer code or programs. This type of architecture we call digital architecture. Two simple examples are presented: first, the design of a building in terms of an executable drawing of the architects, Sangallo the Younger and Michelangelo, and second, a description of an object oriented implementation of a preliminary prototype of an executable drawing system written in 1997 which computes a simple office layout.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	c3e0
authors	Dorsey, J. and McMillan, L.
year	1998
title	Computer Graphics and Architecture: State of the Art and Outlook for the Future
source	Computer Graphics, Vol 32, No 1, Feb 1998. pp. 45-48
summary	During the three decades since Ivan Sutherland introduced the Sketchpad system, there has been an outpouring of computer graphics systems for use in architecture. In response to this development, most of the major architectural firms around the world have embraced the idea that computer literacy is mandatory for success. We would argue, however, that most of these recent developments have failed to tap the potential of the computer as a design tool. Instead, computers have been relegated largely to the status of drafting instruments, so that the "D" in CAD stands for drafting rather than design. It is important that future architectural design systems consider design as a continuous process rather than an eventual outcome.The advent of computer graphics technology has had an impact on the architectural profession. Computer graphics has revolutionized the drafting process, enabling the rapid entry and modification of designs. In addition, modeling and rendering systems have proven to be invaluable aids in the visualization process, allowing designers to walk through their designs with photorealistic imagery. Computer graphics systems have also demonstrated utility for capturing engineering information, greatly simplifying the analysis and construction of proposed designs. However, it is important to consider that all of these tasks occur near the conclusion of a larger design process. In fact, most of the artistic and intellectual challenges of an architectural design have already been resolved by the time the designer sits down in front of a computer. In seeking insight into the design process, it is generally of little use to revisit the various computer archives and backups. Instead, it is best to explore the reams of sketches and crude balsa models that fill the trash cans of any architectural studio.In architecture, as in most other fields, the initial success of computerization has been in areas where it frees humans from tedious and mundane tasks. This includes the redrawing of floor plans after minor modifications, the generation of largely redundant, yet subtly different engineering drawings and the generation of perspective renderings.We believe that there is a largely untapped potential for computer graphics as a tool in the earlier phases of the design process. In this essay, we argue that computer graphics might play a larger role via applications that aid and amplify the creative process.
series	journal paper
last changed	2003/04/23 15:50

_id	ee96
authors	Johnson, Scott
year	1998
title	Making Models Architectural: Protean Representations to Fit Architects’ Minds
doi	https://doi.org/10.52842/conf.acadia.1998.354
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. 354-365
summary	A rich vocabulary has evolved for describing architecture. It serves not only as a means of communication, but also as an embodiment of concepts relating to form, space, structure, function, mood, and symbolism. We architects not only speak in terms of walls, rooms, roofs, arches, etc., we see in terms of them and think in terms of them, as well. Such concepts are integral to our ability to design. Typical CAD representations, however, are based on geometric/mathematical elements like points, lines, planes, and symbols. Even more experimental approaches like parametric shapes or procedural assemblies correspond poorly to architectural elements, and seldom lend themselves well to making conceptual changes that would allow exploration of design alternatives. Small wonder some architecture schools experience a division between computer and studio courses, or even between computer and studio faculty. Different ways of talking and thinking are involved. The concepts involved are often mutually exclusive. This paper discusses an attempt to address this conceptual mismatch, using what are termed “protean” (meaning “very changeable”) elements. These are high-level elements corresponding to architectural concepts like “wall,” or “dome.” They each have parameters appropriate for the particular type of element they represent, and produce the polyhedra necessary for graphics based on these parameters. A system is being implemented to allow models to be constructed using these elements. The protean elements form a loosely structured model, in which some elements hierarchically contain others, and some elements are essentially freestanding, being created and manipulated independently of other elements. Characteristics of protean element are discussed, including the underlying object-oriented structure, the relationship between elements and graphics, and functions associated with the objects. A scheme is explained whereby all parts of a design can be represented even when the design includes extremely unusual forms not conforming to predictable classes of elements. The necessary support framework is also discussed; general flow of the system and mechanisms for viewing the model and editing subcomponents are explained. The current status of the project, and intentions for future work are discussed. The project has been partially implemented, and the necessary framework to support the system is mostly complete.
series	ACADIA
email
last changed	2022/06/07 07:52

_id	ddss9833
id	ddss9833
authors	Koutamanis, Alexander
year	1998
title	Information systems and the Internet: towards a news counter-revolution?
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 explosive evolution of the Internet into a ubiquitous infrastructure influences the generation, dissemination and use of information. From a historical perspective it redefines issues that have been central to the news and information industry since the seventeenth century. One such issue is periodicity. The practicalities of news media and news as a commodity have resulted into the periodical appearance of news and, by extension, of all actual information. Integral to periodicity iscontrol of information production by institutions or other authorized channels. With the advent of the Internet we are reverting to an a-periodical information system characterized by personalization anddirect contact between information provider and information user. Rather than relying on the institutional status of the propagation channels, we are increasingly evaluating information quality by the integrity, up-to-datedness and reliability of its source. Moreover, we are able to complement orcorroborate information by linking different sources together in compound representations. The extent and complexity of the Internet make search intermediaries necessary. These collect and collate information either ad hoc (responding to a user query) or as part of wider documentation projects. These projects re-introduce institutionalization but the autonomous, intelligent mechanisms used by such intermediaries promote personalization in information retrieval and facilitate decentralization ofinformation supply into a cottage industry. In addition to a-periodicity, directness and wider availability of information, decentralization provides a new social and technical context for precedent and case-based approaches in designing.
series	DDSS
last changed	2003/08/07 16:36

_id	cba2
authors	Lewis, Rick and Séquin, Carlo
year	1998
title	Generation of 3D building models from 2D architectural plans
source	Computer-Aided Design, Vol. 30 (10) (1998) pp. 765-779
summary	A robust, semi-automatic way is presented to create 3D polyhedral building models from computer-drawn floor plans, requiring minimal user interaction. The modelsadhere to a consistent solids representation and can be used for computer rendering, visualization in interactive walkthroughs, and in various simulation and analysisprograms. The output of our prototype program is directly compatible with the Berkeley WALKTHRU system and with the NIST CFAST fire simulator. A consistentmodel of a seven-storey building with more than 300 rooms has been generated in the time span of a few days from original AutoCAD floor plans drawn by architects.
keywords	Building Visualization, Architectural CAD Models, Floor Plan Extrusion, Solid Model Generation
series	journal paper
last changed	2003/05/15 21:33

_id	cd26
authors	Mahalingam, Ganapathy
year	1998
title	The Algorithmic Auditorium- A computational Model for Auditorium DesignThe Algorithmic Auditorium- A computational Model for Auditorium Design
doi	https://doi.org/10.52842/conf.caadria.1998.143
source	CAADRIA ‘98 [Proceedings of The Third Conference on Computer Aided Architectural Design Research in Asia / ISBN 4-907662-009] Osaka (Japan) 22-24 April 1998, pp. 143-152
summary	Auditorium design is a complex task. Various programmatic, functional and acoustical parameters have to be resolved in the spatial design of an auditorium. This ongoing research project deals with the development of a computer-aided design system for the preliminary spatial design of proscenium type auditoriums. The concept of “acoustic sculpting” is used to generate the spatial form of the auditorium from programmatic, functional and acoustical parameters. These parameters are incorporated using a combination of mathematical, empirical and statistical methods. The generation of the spatial form of the auditorium is implemented as an algorithm that is executed on the computer. The spatial form of the auditorium generated by the system is exported as a computer model for design development and acoustical analysis.
keywords	Auditorium Design, Acoustic Sculpting, Computational Modeling, Virtual Computers, Software-ICs
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:59

_id	acadia08_278
id	acadia08_278
authors	Paz Gutierrez, Maria
year	2008
title	Material Bio-Intelligibility
doi	https://doi.org/10.52842/conf.acadia.2008.278
source	Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 278-285
summary	Through the formation of bio-chemical information networks natural materials possess efficient processes of self-organization, adaptability, regeneration and decomposition. This performative excellence has lead science to draw behavioral models from nature implementing biomimmicry (Benyus 1998) in the pursuit of material systems optimization. Design disciplines influenced by this course are integrating living organisms as models of efficiency through bionic systems ever more into their discourse. Architecture, influenced by this tendency, is becoming progressively more aware of the vast benefits that biomimetics can yield particularly in the development of ecologically sensitive systems. Yet, the emerging incorporation of bionics into architecture is differing largely to that within the sciences by centering almost exclusively in form (geometrical pattern) generation. This paper analyzes a rising material design research methodology implementing biomimetics: matter-form parametrics based on bio-physical properties’ data. Specific study of the incorporation of broad-scalar scientific imaging into the formulation of explorative parametric grammar for the development of material systems is analyzed through a bio-synthetic polymer based wall system (SugarWall, Gensler+Gutierrez 2006b). The incorporation of broad scalar imaging and material interdependencies is propelling the emergence of new programming tactics that will affect bio-material systems architectural research.
keywords	Behavior; Biomimetics; Material; System; Visualization
series	ACADIA
last changed	2022/06/07 07:59

_id	7346
authors	Peyret, F.
year	1998
title	A new facility for testing accurate positioning systems for road construction robotics
source	Automation in Construction 8 (2) (1998) pp. 209-221
summary	The first part of the paper gives a definition of positioning in the context of road work sites and stresses the advantages offered by the new generation of positioning systems. A logical classification of these systems is also proposed. The `global positioning system' (GPS) technique, as one of the most promising techniques, is detailed. The main point of the paper is the presentation of a new test facility for positioning systems which has been set up at the `Laboratoire Central des Ponts et Chaussées' (Central Laboratory of Roads and Bridges). First, its principle is described, based on the re-construction of a 6D reference trajectory to which the measurements of the system in test are compared. Then, the operation of the facility and the post-treatment software which has been specially developed for it are described. Finally, the results of some recent studies are given, results which would have been hard to obtain without using the SESSYL facility. During the first study, the facility was used to establish an accurate time-model of the vertical error and this model allowed us to propose an innovative method for improving the vertical accuracy. During the second study, SESSYL proved its capability of differentiating several state-of-the-art GPS receivers of the same category.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:23

_id	ga0026
id	ga0026
authors	Ransen, Owen F.
year	2000
title	Possible Futures in Computer Art Generation
source	International Conference on Generative Art
summary	Years of trying to create an "Image Idea Generator" program have convinced me that the perfect solution would be to have an artificial artistic person, a design slave. This paper describes how I came to that conclusion, realistic alternatives, and briefly, how it could possibly happen. 1. The history of Repligator and Gliftic 1.1 Repligator In 1996 I had the idea of creating an “image idea generator”. I wanted something which would create images out of nothing, but guided by the user. The biggest conceptual problem I had was “out of nothing”. What does that mean? So I put aside that problem and forced the user to give the program a starting image. This program eventually turned into Repligator, commercially described as an “easy to use graphical effects program”, but actually, to my mind, an Image Idea Generator. The first release came out in October 1997. In December 1998 I described Repligator V4 [1] and how I thought it could be developed away from simply being an effects program. In July 1999 Repligator V4 won the Shareware Industry Awards Foundation prize for "Best Graphics Program of 1999". Prize winners are never told why they won, but I am sure that it was because of two things: 1) Easy of use 2) Ease of experimentation "Ease of experimentation" means that Repligator does in fact come up with new graphics ideas. Once you have input your original image you can generate new versions of that image simply by pushing a single key. Repligator is currently at version 6, but, apart from adding many new effects and a few new features, is basically the same program as version 4. Following on from the ideas in [1] I started to develop Gliftic, which is closer to my original thoughts of an image idea generator which "starts from nothing". The Gliftic model of images was that they are composed of three components: 1. Layout or form, for example the outline of a mandala is a form. 2. Color scheme, for example colors selected from autumn leaves from an oak tree. 3. Interpretation, for example Van Gogh would paint a mandala with oak tree colors in a different way to Andy Warhol. There is a Van Gogh interpretation and an Andy Warhol interpretation. Further I wanted to be able to genetically breed images, for example crossing two layouts to produce a child layout. And the same with interpretations and color schemes. If I could achieve this then the program would be very powerful. 1.2 Getting to Gliftic Programming has an amazing way of crystalising ideas. If you want to put an idea into practice via a computer program you really have to understand the idea not only globally, but just as importantly, in detail. You have to make hard design decisions, there can be no vagueness, and so implementing what I had decribed above turned out to be a considerable challenge. I soon found out that the hardest thing to do would be the breeding of forms. What are the "genes" of a form? What are the genes of a circle, say, and how do they compare to the genes of the outline of the UK? I wanted the genotype representation (inside the computer program's data) to be directly linked to the phenotype representation (on the computer screen). This seemed to be the best way of making sure that bred-forms would bare some visual relationship to their parents. I also wanted symmetry to be preserved. For example if two symmetrical objects were bred then their children should be symmetrical. I decided to represent shapes as simply closed polygonal shapes, and the "genes" of these shapes were simply the list of points defining the polygon. Thus a circle would have to be represented by a regular polygon of, say, 100 sides. The outline of the UK could easily be represented as a list of points every 10 Kilometers along the coast line. Now for the important question: what do you get when you cross a circle with the outline of the UK? I tried various ways of combining the "genes" (i.e. coordinates) of the shapes, but none of them really ended up producing interesting shapes. And of the methods I used, many of them, applied over several "generations" simply resulted in amorphous blobs, with no distinct family characteristics. Or rather maybe I should say that no single method of breeding shapes gave decent results for all types of images. Figure 1 shows an example of breeding a mandala with 6 regular polygons: Figure 1 Mandala bred with array of regular polygons I did not try out all my ideas, and maybe in the future I will return to the problem, but it was clear to me that it is a non-trivial problem. And if the breeding of shapes is a non-trivial problem, then what about the breeding of interpretations? I abandoned the genetic (breeding) model of generating designs but retained the idea of the three components (form, color scheme, interpretation). 1.3 Gliftic today Gliftic Version 1.0 was released in May 2000. It allows the user to change a form, a color scheme and an interpretation. The user can experiment with combining different components together and can thus home in on an personally pleasing image. Just as in Repligator, pushing the F7 key make the program choose all the options. Unlike Repligator however the user can also easily experiment with the form (only) by pushing F4, the color scheme (only) by pushing F5 and the interpretation (only) by pushing F6. Figures 2, 3 and 4 show some example images created by Gliftic. Figure 2 Mandala interpreted with arabesques Figure 3 Trellis interpreted with "graphic ivy" Figure 4 Regular dots interpreted as "sparks" 1.4 Forms in Gliftic V1 Forms are simply collections of graphics primitives (points, lines, ellipses and polygons). The program generates these collections according to the user's instructions. Currently the forms are: Mandala, Regular Polygon, Random Dots, Random Sticks, Random Shapes, Grid Of Polygons, Trellis, Flying Leap, Sticks And Waves, Spoked Wheel, Biological Growth, Chequer Squares, Regular Dots, Single Line, Paisley, Random Circles, Chevrons. 1.5 Color Schemes in Gliftic V1 When combining a form with an interpretation (described later) the program needs to know what colors it can use. The range of colors is called a color scheme. Gliftic has three color scheme types: 1. Random colors: Colors for the various parts of the image are chosen purely at random. 2. Hue Saturation Value (HSV) colors: The user can choose the main hue (e.g. red or yellow), the saturation (purity) of the color scheme and the value (brightness/darkness) . The user also has to choose how much variation is allowed in the color scheme. A wide variation allows the various colors of the final image to depart a long way from the HSV settings. A smaller variation results in the final image using almost a single color. 3. Colors chosen from an image: The user can choose an image (for example a JPG file of a famous painting, or a digital photograph he took while on holiday in Greece) and Gliftic will select colors from that image. Only colors from the selected image will appear in the output image. 1.6 Interpretations in Gliftic V1 Interpretation in Gliftic is best decribed with a few examples. A pure geometric line could be interpreted as: 1) the branch of a tree 2) a long thin arabesque 3) a sequence of disks 4) a chain, 5) a row of diamonds. An pure geometric ellipse could be interpreted as 1) a lake, 2) a planet, 3) an eye. Gliftic V1 has the following interpretations: Standard, Circles, Flying Leap, Graphic Ivy, Diamond Bar, Sparkz, Ess Disk, Ribbons, George Haite, Arabesque, ZigZag. 1.7 Applications of Gliftic Currently Gliftic is mostly used for creating WEB graphics, often backgrounds as it has an option to enable "tiling" of the generated images. There is also a possibility that it will be used in the custom textile business sometime within the next year or two. The real application of Gliftic is that of generating new graphics ideas, and I suspect that, like Repligator, many users will only understand this later. 2. The future of Gliftic, 3 possibilties Completing Gliftic V1 gave me the experience to understand what problems and opportunities there will be in future development of the program. Here I divide my many ideas into three oversimplified possibilities, and the real result may be a mix of two or all three of them. 2.1 Continue the current development "linearly" Gliftic could grow simply by the addition of more forms and interpretations. In fact I am sure that initially it will grow like this. However this limits the possibilities to what is inside the program itself. These limits can be mitigated by allowing the user to add forms (as vector files). The user can already add color schemes (as images). The biggest problem with leaving the program in its current state is that there is no easy way to add interpretations. 2.2 Allow the artist to program Gliftic It would be interesting to add a language to Gliftic which allows the user to program his own form generators and interpreters. In this way Gliftic becomes a "platform" for the development of dynamic graphics styles by the artist. The advantage of not having to deal with the complexities of Windows programming could attract the more adventurous artists and designers. The choice of programming language of course needs to take into account the fact that the "programmer" is probably not be an expert computer scientist. I have seen how LISP (an not exactly easy artificial intelligence language) has become very popular among non programming users of AutoCAD. If, to complete a job which you do manually and repeatedly, you can write a LISP macro of only 5 lines, then you may be tempted to learn enough LISP to write those 5 lines. Imagine also the ability to publish (and/or sell) "style generators". An artist could develop a particular interpretation function, it creates images of a given character which others find appealing. The interpretation (which runs inside Gliftic as a routine) could be offered to interior designers (for example) to unify carpets, wallpaper, furniture coverings for single projects. As Adrian Ward [3] says on his WEB site: "Programming is no less an artform than painting is a technical process." Learning a computer language to create a single image is overkill and impractical. Learning a computer language to create your own artistic style which generates an infinite series of images in that style may well be attractive. 2.3 Add an artificial conciousness to Gliftic This is a wild science fiction idea which comes into my head regularly. Gliftic manages to surprise the users with the images it makes, but, currently, is limited by what gets programmed into it or by pure chance. How about adding a real artifical conciousness to the program? Creating an intelligent artificial designer? According to Igor Aleksander [1] conciousness is required for programs (computers) to really become usefully intelligent. Aleksander thinks that "the line has been drawn under the philosophical discussion of conciousness, and the way is open to sound scientific investigation". Without going into the details, and with great over-simplification, there are roughly two sorts of artificial intelligence: 1) Programmed intelligence, where, to all intents and purposes, the programmer is the "intelligence". The program may perform well (but often, in practice, doesn't) and any learning which is done is simply statistical and pre-programmed. There is no way that this type of program could become concious. 2) Neural network intelligence, where the programs are based roughly on a simple model of the brain, and the network learns how to do specific tasks. It is this sort of program which, according to Aleksander, could, in the future, become concious, and thus usefully intelligent. What could the advantages of an artificial artist be? 1) There would be no need for programming. Presumbably the human artist would dialog with the artificial artist, directing its development. 2) The artificial artist could be used as an apprentice, doing the "drudge" work of art, which needs intelligence, but is, anyway, monotonous for the human artist. 3) The human artist imagines "concepts", the artificial artist makes them concrete. 4) An concious artificial artist may come up with ideas of its own. Is this science fiction? Arthur C. Clarke's 1st Law: "If a famous scientist says that something can be done, then he is in all probability correct. If a famous scientist says that something cannot be done, then he is in all probability wrong". Arthur C Clarke's 2nd Law: "Only by trying to go beyond the current limits can you find out what the real limits are." One of Bertrand Russell's 10 commandments: "Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric" 3. References 1. "From Ramon Llull to Image Idea Generation". Ransen, Owen. Proceedings of the 1998 Milan First International Conference on Generative Art. 2. "How To Build A Mind" Aleksander, Igor. Wiedenfeld and Nicolson, 1999 3. "How I Drew One of My Pictures: or, The Authorship of Generative Art" by Adrian Ward and Geof Cox. Proceedings of the 1999 Milan 2nd International Conference on Generative Art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	14fb
authors	Tah, J.H.M., Howes, R. and Losifidis, P.
year	1998
title	Information Modelling and Sharing in the CO-CIS Project
source	The Int. Journal of Construction IT 6(2), pp. 67-85
summary	Complex information structures are generated and exchanged during the life cycle of large projects. The key to realising improved collaboration amongst the several disciplines involved is in the integration of such structures. Object-orientation has emerged as an appropriate approach for handling the complexity inherent in construction domains. This paper presents a pure object-oriented Integrated Building Project Model (IBPM). The model is a definition of objects and relationships that pertain to the three different construction-related disciplines of architecture, structural engineering and project management. It provides the basis by which software applications can share objects and a means of achieving integration. From the IBPM, the notion of Intelligent Object Classes (IOCs) is introduced, leading to the COllaborative Construction Integrated System (CO-CIS), the development of which is described in terms of its generic conceptual architecture. The exploitation of the architecture in a prototype implementation of the IBPM and IOCs is demonstrated by the generation of construction schedules through the integration of CAD and project management packages.
series	journal paper
last changed	2003/05/15 21:45

_id	ga9804
id	ga9804
authors	Tang, Ming Xi
year	1998
title	An Artificial Intelligence Approach to Industrial Design Support
source	International Conference on Generative Art
summary	The process of Industrial Design extends from market analysis, conceptualization, form generation to performance prediction, engineering analysis and user analysis etc. This requires a wide range of design knowledge and techniques from different disciplines. Computer-based support to industrial design is limited because the majority of the CAD systems deal with only geometric models and representations. The recent advancement in generative techniques utilizing evolutionary computation methods provides an opportunity for the study of more creative and systematic ways of supporting the industrial design process. However, one of the problems associated with the existing generative techniques is the difficulty in evaluating a large number of solutions generated by a generative system. This paper addresses this problem by presenting a system framework for industrial design support through an integrated application of Artificial Intelligence techniques.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ddss9821
id	ddss9821
authors	Varghese, G., Dhingra, S.L. and Sikdar, P.K.
year	1998
title	The Role of Expert Systems, and RDBMS Strategies in a DSSfor Urban Bus Transport Management
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	Efficient and well-managed urban bus transport systems supported by information systems with decision support capabilities developed within the framework of an advanced Relational Data Base Management System (RDBMS) can provide critical information at the right moment and assisttransport managers in conducting performance evaluations. This paper includes discussions on the use of the entity-relationship (E-R) model (a semantic data modeling technique) in the development of thestructure of the conceptual database for the information system planned to be implemented using RDBMS. The E-R data modeling approach enables database designers in obtaining the third normal forms of related databases for the efficient functioning of the information system. The inportance of decision tables in the development of DSS modules using Expert System shells are also discussed. The DSS modules will assist transport managers in the analysis of operational performance for bus depots or the organization as a whole. The E-R diagrams generated and the decision files developed will serve as important documents that can enhance the adaptability of the DSS to the changing needs ofthe organizations. The conceptualization of the information system to support decision-making in an RDBMS framework provides the advantage of a very low 'disk seek' time and facilitates frequent generation of reports.
series	DDSS
last changed	2003/08/07 16:36

_id	a8dc
authors	Will, B.F., Li, T.S., Leung, W.S. and Lee, K.Y.
year	1998
title	A Computer System for Designing Noise Resisting Buildings
doi	https://doi.org/10.52842/conf.caadria.1998.153
source	CAADRIA ‘98 [Proceedings of The Third Conference on Computer Aided Architectural Design Research in Asia / ISBN 4-907662-009] Osaka (Japan) 22-24 April 1998, pp. 153-162
summary	This paper proposes a computer aided system that will allow the design to respond to the predicted traffic noises associated with the given site. This system is a part of a comprehensive interactive system for Environmental Impact Assessment called IOTA. Designers can have real-time feedback on their designs with respect to the environmental impact from the IOTA. Traffic flow, traffic speed, percentage of heavy vehicles, gradient, site layout, etc. are implemented in this system. The noise level at the facade is computed in real-time. The designers can see the distribution of the noise level at the facade of the buildings in a 3D virtual environment while the buildings or the infrastructures are still evolving. It is envisaged that this system is not only good for the design of buildings but also good for the design of new infrastructures and town planning.
keywords	Environmental Impact Assessment, Noise, Prediction, Evaluation, Computer-aided Decision Making
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:57

_id	67b0
authors	Young, Robert A.
year	1998
title	Climatic Factors in Regional Design: An Interactive Tool for Design Education
doi	https://doi.org/10.52842/conf.acadia.1998.188
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. 188-201
summary	This paper describes the development of an interactive computerized module developed as a digital resource for architectural design students that incorporates the premise of using architectural form as a primary environmental control system in a building. The first in a series of such modules, Climactic Factors in Regional Design illustrates the factors involved in regional design strategies. With the recognition that many design practices of the latter twentieth century are not environmentally sustainable, this module is to be used in a curriculum which recognizes that sustainable architecture begins by using architectural form as the primary environmental control system and the mechanical and electrical systems supplement that system not dominate it. With recent advances in recognizing sustainability issues, the country is now more willing to embrace environmental stewardship. The path to reduce environmental problems is through the integration of practices recognize architectural form as a primary environmental control system. As such, the latest generation of designers must view design comprehensively. If future building designers are to succeed, environmental control integration needs to be included pro-actively within the initial design rather than reactively appended to the end. Climatic Factors in Regional Design is designed to foster this paradigm shift and is divided into several topics and subtopic sections which include Introduction, Regional Design, Microclimate, Regional Guidelines, Design Strategies, Glossary, and Sample Examination. The module contains 260 screen displays and more than 250 illustrations, figures, and diagrams. Users can progress through the module in any sequence as their needs warrant. The module was developed using the academic version of Authorware Star by Macromedia.
series	ACADIA
email
last changed	2022/06/07 07:57

_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

_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

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