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

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_id	a06a
authors	Gu, Jingwen and Xie, Guanghui
year	1998
title	Dynamic Database Management in Computer Aided Residential District Design System
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. 243-252
doi	https://doi.org/10.52842/conf.caadria.1998.243
summary	Compare with business database, the engineering database is much more difficult to be designed and implemented. In this paper the issues on the dynamic engineering component database and its management involved in implementation of an AutoCAD based experimental CAD system, Computer Aided Residential District Planning and Design System (CARPDS), are discussed. The discussions focus on the organization, access control of the database and the supporting environment.
keywords	Engineering Database, DBMS
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:51

_id	ga9811
id	ga9811
authors	Feuerstein, Penny L.
year	1998
title	Collage, Technology, and Creative Process
source	International Conference on Generative Art
summary	Since the turn of the twentieth century artists have been using collage to suggest new realities and changing concepts of time. Appropriation and simulation can be found in the earliest recycled scraps in Cubist collages. Picasso and Braque liberated the art world with cubism, which integrated all planes and surfaces of the artists' subjects and combined them into a new, radical form. The computer is a natural extension of their work on collage. The identifying characteristics of the computer are integration, simultaneity and evolution which are inherent in collage. Further, the computer is about "converting information". There is something very facinating about scanning an object into the computer, creating a texture brush and drawing with the object's texture. It is as if the computer not only integrates information but different levels of awareness as well. In the act of converting the object from atoms to bits the object is portrayed at the same conscious level as the spiritual act of drawing. The speed and malleability of transforming an image on the computer can be compared to the speed and malleability of thought processes of the mind. David Salle said, "one of the impulses in new art is the desire to be a mutant, whether it involves artificial intelligence, gender or robotic parts. It is about the desire to get outside the self and the desire to trandscend one's place." I use the computer to transcend, to work in different levels of awareness at the same time - the spiritual and the physical. In the creative process of working with computer, many new images are generated from previous ones. An image can be processed in unlimited ways without degradation of information. There is no concept of original and copy. The computer alters the image and changes it back to its original in seconds. Each image is not a fixed object in time, but the result of dynamic aspects which are acquired from previous works and each new moment. In this way, using the computer to assist the mind in the creative processes of making art mirrors the changing concepts of time, space, and reality that have evolved as the twentieth century has progressed. Nineteenth-century concepts of the monolithic truth have been replaced with dualism and pluralism. In other words, the objective world independent of the observer, that assumes the mind is separate from the body, has been replaced with the mind and body as inseparable, connected to the objective world through our perception and awareness. Marshall Mcluhan said, "All media as extensions of ourselves serve to provide new transforming vision and awareness." The computer can bring such complexities and at the same time be very calming because it can be ultrafocused, promoting a higher level of awareness where life can be experienced more vividly. Nicholas Negroponte pointed out that "we are passing into a post information age, often having an audience of just one." By using the computer to juxtapose disparate elements, I create an impossible coherence, a hodgepodge of imagery not wholly illusory. Interestingly, what separates the elements also joins them. Clement Greenberg states that "the collage medium has played a pivotal role in twentieth century painting and sculpture"(1) Perspective, developed by the renaissance archetect Alberti, echoed the optically perceived world as reality was replaced with Cubism. Cubism brought about the destruction of the illusionist means and effects that had characterized Western painting since the fifteenth century.(2) Clement Greenberg describes the way in which physical and spiritual realities are combined in cubist collages. "By pasting a piece of newspaper lettering to the canvas one called attention to the physical reality of the work of art and made that reality the same as the art."(3) Before I discuss some of the concepts that relate collage to working with computer, I would like to define some of the theories behind them. The French word collage means pasting, or gluing. Today the concept may include all forms of composite art and processes of photomontage and assemblage. In the Foreword on Katherine Hoffman's book on Collage Kim Levin writes: "This technique - which takes bits and pieces out of context to patch them into new contexts keeps changeng, adapting to various styles and concerns. And it's perfectly apt that interpretations of collage have varied according to the intellectual inquiries of the time. From our vantage point near the end of the century we can now begin to see that collage has all along carried postmodern genes."(4) Computer, on the other hand is not another medium. It is a visual tool that may be used in the creative process. Patrick D. Prince's views are," Computer art is not concrete. There is no artifact in digital art. The images exist in the computer's memory and can be viewed on a monitor: they are pure visual information."(5) In this way it relates more to conceptual art such as performance art. Timothy Binkley explains that,"I believe we will find the concept of the computer as a medium to be more misleading than useful. Computer art will be better understood and more readily accepted by a skeptical artworld if we acknowledge how different it is from traditional tools. The computer is an extension of the mind, not of the hand or eye,and ,unlike cinema or photography, it does not simply add a new medium to the artist's repertoire, based on a new technology.(6) Conceptual art marked a watershed between the progress of modern art and the pluralism of postmodernism(7) " Once the art is comes out of the computer, it can take a variety of forms or be used with many different media. The artist does not have to write his/her own program to be creative with the computer. The work may have the thumbprint of a specific program, but the creative possibilities are up to the artist. Computer artist John Pearson feels that,"One cannot overlook the fact that no matter how technically interesting the artwork is it has to withstand analysis. Only the creative imagination of the artist, cultivated from a solid conceptual base and tempered by a sophisticsated visual sensitivity, can develop and resolve the problems of art."(8) The artist has to be even more focused and selective by using the computer in the creative process because of the multitude of options it creates and its generative qualities.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	e6ca
authors	Curry, Michael
year	1998
title	Digital Places: Living With Geographic Information Technologies
source	N.Y.: Routledge
summary	The last twenty-five years have seen major changes in the nature and scope of geographical information. This has happened in one way in society at large, where computers, satellites and global positioning systems have made geographical information more extensive, more detailed and more available. It has happened in another way within the university, where rapidly evolving geographic information systems have been touted as tools useful in a wide range of disciplines, tools that will resolve problems as different as the nature of global climate change and the routing of mail. In both settings the move from manual to computer-based systems is viewed as having a natural trajectory, from less powerful to more powerful technologies. These systems are held to be increasingly able to model and represent all that is important in geographical knowledge and behaviour. They are seen as fitting into and supporting traditional scientific and social practices and institutions. Digital Places: Living with Geographic Information Technologies shows that on each score the systems have been misunderstood and their impacts underestimated. By offering an understanding of Geographic Information Systems within the social, economic, legal, political and ethical contexts within which they exist, the author shows that there are substantial limits to their ability to represent the very objects and relationships, people and places, that many believe to be most important. Focusing on the ramifications of GIS usage, Digital Places shows that they are associated with far-reaching changes in the institutions in which they exist, and in the lives of those they touch. In the end they call for a complete rethinking of basic ideas, like privacy and intellectual property and the nature of scientific practice, that have underpinned public life for the last one hundred years.
series	other
last changed	2003/04/23 15:14

_id	ddss9828
id	ddss9828
authors	Holmberg, Stig C.
year	1998
title	Anticipation in Evaluation and Assessment of Urban and Regional Plans
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 start a move toward better computer based supporting tools for the assessment of urban and regional plans, a new research and development endeavour is proposed. In so doing, anticipation andanticipatory computing, i.e. a technique applying modelling and simulation, is found to be an interesting and promising point of departure. Hence, a fuzzy cellular automata computer model (STF) for simulation and anticipation of geographical or physical space is constructed. The main idea is to map anurban plan onto the STF for its assessing. STF has a normalised and continuous, i.e. fuzzy, system variable while both the time and space dimensions take on discrete values. Further, while ordinary cellularautomata use local rules, global ones are employed in STF, i.e. there is a total interdependence among all the cells of the automata. Outcomes of STF can be interpreted more as possible future states than exact predictions. Preliminary results seem to be well in line with main characteristics of planned urban or regional geographical spaces. Further, for the managing of multi-criteria choice situations, a fuzzy procedure – the Ordered Weighted Average (OWA) procedure – with continuous control over the degree of ANDOR-ness and with independent control over the degree of tradeoff, is proposed.
keywords	Geographical space, Anticipatory Computing, Cellular Automata, Spatio Temporal Fuzzy Model (STF)
series	DDSS
last changed	2003/08/07 16:36

_id	ddss9834
id	ddss9834
authors	Kovács, László Béla and Kotsis, István
year	1998
title	Basic Concepts and Prototypes of a Land Usage Design and Decision Support System
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 presents the basic ideas of a computer system for supporting urban design and decisions on land use. We argue, that the high complexity of urban design - inherent in the its large number of interdependent views and aspects - seems to justify a flexible support system capable of reasoning and conceptual modelling. Such a system may be prohibitively resource demanding unless we are able to build it up from smaller and larger modules of different types and functionality and which canbe created basically in an incremental way without a complete plan in advance. Two prototypes concerning urban designs and a small flexible design rule interpreter/handler is presented for free standing buildings.
series	DDSS
email
last changed	2003/08/07 16:36

_id	497c
authors	Savage, J., Miles, C., Moore, C. and Miles, J.
year	1998
title	The interaction of time and cost constraints on the design process
source	Design Studies, 19[2]: 217-233, Apr
summary	This paper reports an experimental study investigating the influence of both `external' and `task inherent' constraints on simple design tasks. Subjects were required to complete each of 3 tasks in one of 4 conditions. The conditions comprised a control condition (no time or cost constraints imposed), a time constrained condition, a cost constrained condition and a time and cost constrained condition. The tasks required subjects to build structures predominantly from sheets of A4. For example, task one required subjects to `create a self supporting structure, which has a minimum height of 19 cm.' The pattern of results showed that the constraints of time and cost affected the design process both independently and in combination. In addition, the range of designs, completion times, and design costs were all affected differentially.
series	journal paper
last changed	2003/04/23 15:50

_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	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	ga9801
id	ga9801
authors	Soddu, Celestino
year	1998
title	Argenia, a Natural Generative Design
source	International Conference on Generative Art
summary	Leon Battista Alberti defines the Beauty of Architecture "a concert of all the parts together, performed with proportion and logic in something in which it is possible to find again each event, in a modality that will not allow the inserting, extracting out or changing anything without decreasing its Beauty". With generative art we can approach, directly, this complex paradigm of proportions and logic, and we can directly design the Beauty, or better our idea of beauty, before the realization of each single possible artificial event. This is the heart of generative approach. The Generative Art work for the beauty, in the sense of the humanistic approach of Renaissance, because the generative code, which is the project of generative design, is the real structure of the idea. It defines how to concert all the parts and the dynamic relationship among these parts in the evolution of complexity. The generative project defines which is the law of proportion and which logic the dynamic evolution will follow. All the events that this code can generate will be, in humanistic sense, beautiful, or, if we prefer, will belong and represent our Idea of world. And more. The generative art produces events that are unique and complex. The uniqueness and complexity are strongly related one each other. As in Nature, each event is generated through an artificial life, which, as in the natural life, produces uniqueness, identity and complexity during a identifiable time. This complexity is a natural-like complexity. We can recognise, in the artificial ware we produce through this generative approach, the harmony and the beauty of the natural-like complexity that refers to the Humanistic approach of Renaissance: Man, Geometry, and Nature as references for "the harmony which is not thought as an individual caprice but as conscious reasoning." (L.B.Alberti, De re aedificatoria).
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	10
authors	Bund, Elizabeth and Barros, Diana Rodriguez
year	1998
title	Imagen Digital: Proceso Proyectual Confluyente (Digital Image: Confluyent Design Process)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 84-93
summary	The introduction of new technologies in architectural projects causes, in first place, their adaptation as an operative and instrumental resource, without considering the deep changes that their use generates. The digital image, understood as a reference of this process, is spreading and conquering new fields on ideation, representation and communication. The absence of theoretical support, that would offered another point of view is evident, so consequently we believe that is necessary to consider approaches qualitatively new, from epistemologic, methodologic, perceptive and aesthetic fields, in order to transfer them into professional an teaching practice. Today, the annulment of universal validity rules, and the different and contradictory interpretations, oblige to center our view in the interrelationships and,connections, rather than in the definition of each entity. This work develops synthetically a study which confronts and compares traditional project process - composition and heuristic design supported by linear proceeding and analogic media, with confluent project process, based on digital data and hypermedia links, generated simultaneously. The variants of the topics analyzed are at the same time the project itself, the underlying thinking model, and the project communication strategies.
series	SIGRADI
email
last changed	2016/03/10 09:47

_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	2d33
authors	Gabryszewski, A.B.
year	1998
title	Conception of Computer-Aided Study of Determinants
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 85-92
summary	Computer catalogues, files, digital maps and data bases are more and more widely used in planning studies not only in the world, but in Poland as well. They successfully replace manual and time- consuming elaboration of cartographic materials or uphill collecting of data, among others. The developing computerisation in architectural offices, physical planning or other area management centers will assure a studies results' transfer in the form of digital maps or computer data bases in the near future Computer technology forces changes of work technics and generates in the next step the demand for mathematical models used for examining of eco-social-economic systems functioning. The speed of data processing influences on the profitability of common usage of the source data available on magnetic recording media. Thus data processing and data aggregation according to the designers' needs are more simply and generating of new information essential for creating of updated constructive solutions is possible too. Sharply increasing information resources (like Internet) require the adoption of such techniques and models, which make easier to control still increasing number of over-complicated- structure data bases.
series	plCAD
last changed	1999/04/08 17:16

_id	b0d2
authors	Greenberg, S. and Roseman, M.
year	1998
title	Groupware Toolkits for Synchronous Work
source	Beaudouin-Lafon, M. (ed.) Computer - Supported Cooperative Work, Trends in Software Series, John Wiley
summary	Groupware toolkits let developers build applications for synchronous and distributed computer-based conferencing. This chapter describes four components that we believe toolkits must provide. A run-time architecture automatically manages the creation, interconnection, and communications of both centralized and distributed processes that comprise conference sessions. A set of groupware programming abstractions allows developers to control the behaviour of distributed processes, to take action on state changes, and to share relevant data. Groupware widgets let interface features of value to conference participants be added easily to groupware applications. Session managers let people create and manage their meetings and are built by developers to accommodate the group's working style. We illustrate the many ways these components can be designed by drawing on our own experiences with GroupKit, and by reviewing approaches taken by other toolkit developers.
series	other
last changed	2003/04/23 15:50

_id	220b
authors	Potier, S., Malret, J.-L-. and Zoller, J.
year	1998
title	Computer Graphics: Assistance for Archaeological Hypotheses
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. 366-383
doi	https://doi.org/10.52842/conf.acadia.1998.366
summary	This paper is a contribution to the domain of computer tools for architectural and archeological restitution of ancient buildings. We describe an application of these tools to the modeling of the 14th century AD. Thermae of Constantin in Arles, south of France. It was a diploma project in School of Architecture of MarseilleLuminy, and took place in a context defined in the European ARELATE project. The general objective of this project is to emphasize the archeological and architectural heritage of the city of Arles; it aims, in particular, to equip the museum of ancient Arles with a computer tool enabling the storage and consultation of archaeological archives, the communication of information and exchange by specialized networks, and the creation of a virtual museum allowing a redescription of the monuments and a “virtual” visit of ancient Arles. Our approach involves a multidisciplinary approach, calling on architecture, archeology and computer science. The archeologist’s work is to collect information and interpret it; this is the starting point of the architect’s work who, using these elements, suggests an architectural reconstruction. This synthesis contains the functioning analysis of the structure and building. The potential provided by the computer as a tool (in this case, the POV-Ray software) with access to several three-dimensional visualizations, according to hypotheses formulated by the architect and archaeologists, necessitates the use of evolutive models which, thanks to the parametrization of dimensions of a building and its elements, can be adapted to all the changes desired by the architect. The specific contribution of POV-Ray in architectural reconstruction of thermae finds its expression in four forms of this modeling program, which correspond to the objectives set by the architect in agreement with archeologists: (a) The parametrization of dimensions, which contributes significantly in simplifying the reintervention process of the architectural data base; (b) Hierarchy and links between variables, allowing “grouped” modifications of modelized elements in order to preserve the consistency of the architectural building’s morphology; (c) The levels of modeling (with or without facing, for example), which admit of the exploration of all structural and architectural trails (relationship form/ function); and, (d) The “model-type,” facilitating the setting up of hypotheses by simple scaling and transformation of these models (e.g., roofing models) on an already modelled structure. The methodological validation of this modeling software’s particular use in architectural formulation of hypotheses shows that the software is the principal graphical medium of discussion between architect and archaeologist, thus confirming the hypotheses formulated at the beginning of this project.
series	ACADIA
email
last changed	2022/06/07 08:00

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

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

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

_id	3542
authors	Cha, M.Y. and Gero, J.S.
year	1998
title	Shape pattern recognition using a computable shape pattern representation
source	J.S. Gero and F. Sudweeks (eds), Artificial Intelligence in Design '98, Kluwer, Dordrecht, pp. 169-188
summary	Properties of shapes and shape patterns are investigated in order to represent shape pattern knowledge for supporting shape pattern recognition. It is based on the notion that shape patterns are classified in terms of similarity of spatial relationships as well as physical properties. Methods for shape pattern recognition are explained and examples from an implementation are presented.
keywords	Shape Patterns, Shape Representation
series	other
email
last changed	2003/04/06 08:57

_id	fb22
authors	Chien, Sheng-Fen
year	1998
title	Supporting information navigation in generative design systems
source	Camegie Mellon University, School of Architecture
summary	Generative design systems make it easier for designers to generate and explore design altematives, but the amount of information generated during a design session can become very large. Intelligent navigation aids are needed to enable designers to access the information with ease. Such aids may improve the usability of generative design systems and encourage their use in architectural practice. This dissertation presents a comprehensive approach to support navigation in generative design systems. This approach takes account of studies related to human spatial cognition, wayfinding in physical environments, and information navigation in electronic media. It contains a general model of design space, basic navigation operations, and principles for designing navigation support. The design space model describes how the space may grow and evolve along predictable dimensions. The basic operations facilitate navigation activities in this multi-dimensional design space. The design principles aim at guiding system developers in creating navigation utilities tailored to the needs of individual design systems. This approach is validated through prototype implementations and limited pilot usability studies. The validity of the design space model and basic navigation operations is examined through the development of a design space navigation framework that encapsulates the model and operations in a software environment and provides the infrastructure and mechanisms for supporting navigation. Three prototype navigation tools are implemented using this framework. These tools are subjected to usability studies. The studies show that these tools are easy to leam and are efficient in assisting designers locating desired information. In summary, it can be demonstrated that through the prototype implementations and usability studies, this approach offers sufficient support for the design and implementation of navigation aids in a generative design system. The research effort is a pioneer study on navigation support in generative design systems. It demonstrates why navigation support is necessary; how to provide the support; and what types of user interaction it can offer. This research contributes to information navigation studies not only in the specific domain of generative design system research, but also in the general field of human-computer interaction.
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	05d5
authors	Corrao, R. and Fulantelli, G.
year	1998
title	Cognitive accessibility to information on the Web: insights from a system for teaching and learning Architecture through the Net
source	AA VV, Towards an Accesible Web, Proceedings of the IV ERCIM Workshop “User Interfaces for All”, Långholmen-Stockholm
summary	The question of accessibility to the Web takes on a special meaning in educational settings where access to information requires cognitive elaboration of the page contents. It is, therefore, a matter of "cognitive access" to the Web. The main efforts of the designers of Web Based Instruction (WBI) environments to encourage cognitive access are usually aimed at the organisation and presentation of Web documents and at specific cues which can improve the user's interaction, orientation and navigation through the pages. However, it is possible to improve this high-level access to the information by supporting study activities through specific "Working tools" which can be implemented in the Web environment. In this paper we report on the design solutions we have adopted to provide cognitive access to a WBI environment for university students studying Architecture and Town Planning. In particular, we introduce "Working tools" that can be used to support flexible and effective study activities. The adopted design solutions provide different classes of users (not only students) with different access facilities. Finally, it should be noted that the methodologies of the design of WBI systems should deal with this kind of high level access and support it through specific solutions at interface and implementation levels.
series	other
last changed	2003/04/23 15:50

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