Cumincad : CUMINCAD Papers : Search Results

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

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_id	ddss9807
id	ddss9807
authors	Boelen, A.J. and Lugt, Hermen J. van der
year	1998
title	Communication of design parameters within groups
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	This paper discusses the facilitation of worldwide concurrent design within the domains involved in environmental planning, urban design and civil engineering. Typical projects in these domains require the collaboration of many experts. Each of these has his reference framework for the taskat hand and for the variables used. The amount of variables makes it impossible for each project participant to take account for all possible impacts of proposed or planned actions. The typical project demands for a concurrent design process that enables all participants to concentrate ontheir domain of expertise. On the other hand the design process should enable them to have insight in the problems, within the domains of other experts. The system should provide a generic environment with the ability to attach domain specific knowledge. By providing this support thesystem integrates knowledge specific to various expert domains.In the PortPlan project within the LWI organization a system is being developed that supports the integration of various reference frameworks involved in environmental planning. We no longer need to develop a common language for the users. The system contains a dynamic set of scalebound reference objects for the domains involved. The system facilitates the communication of object characteristics. It also supports the presentation of these objects, in legends for each participant involved.We achieve the communication between participants using a dynamic legend. We also enable all participants to become informed on the interests of other participants. We achieve the technical communication using the exchange of interventions. We do not exchange results. This leads to alow "network traffic load" and thus enables the system to operate within the current Internet infrastructure. In this paper we present the problem area of concurrent design in environmental planning. We present this describing the background of our project, describing the overall architecture of the system and presenting the first findings of user studies.
keywords	Concurrent Design, Interfaces, Legends
series	DDSS
last changed	2003/11/21 15:16

_id	e537
authors	Heylighen, A., Segers, R. and Neuckermans, H.
year	1998
title	InterAction through Information
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 87-92
doi	https://doi.org/10.52842/conf.ecaade.1998.087
summary	Past designs have been recognised as a significant source of knowledge in architectural design. IT offers the opportunity to represent these designs not only by text, graphics and images, but also by 3D-models, computer animation, sound and video. In spite of the growing availability of multimedia archives, libraries and case bases, their contribution to the development of students? ?design craftsmanship? so far seems to be limited. If IT wants to make a valuable contribution to this development, the challenge is not to passively provide students with information on past designs, but to (inter)actively support the dynamic interplay between these designs and the student?s design process. We are developing a tool that fundamentally attempts to explore this potential by using information as a vehicle to initiate, nurture and improve this interplay. The tool, which is intended to assist (student-)architects during the early conceptual stage of design, is conceived as a an (inter)active workhouse rather than a passive warehouse: it is interactively developed by and actively develops its users? knowledge. We have implemented a working prototype of the tool, at first stage for the design studio, yet with the potential of expansion into the office setting.
series	eCAADe
email
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/08heylighen/index.htm
last changed	2022/06/07 07:51

_id	e35f
authors	Monedero, Javier
year	1998
title	The Role of the Architect in the Age of Automatic Reproduction
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 158-163
doi	https://doi.org/10.52842/conf.ecaade.1998.158
summary	This paper is a general reflection on the relationship between computer architectural education and professional practice or, in other words, the social role of architects. This reflection is grounded on the experience of the author as director of a Master program on computerized architectural projects and as professor of two general school courses: one consisting on a theoretical review of computer applications in architecture, the other consisting on a practical development of modeling and visualization techniques. The main argument is that little attention is being given in recent publications and CAAD conferences to the actual role of architect in society and that a big gap is growing between what is currently taught in architectural schools and what happens in real life. This gap has as one pole what is loosely called the "star system" of famous architects that create singular buildings and that constitute the main reference of our architectural culture and, as another pole, the rigid laws of the market that dictate the types of most residential buildings. This lack of attention manifests itself in the unbalanced weight of papers on multimedia, historical modeling or visualization techniques and papers on housing or architectural current elements analysis. Some very interesting lines of research, perhaps distorted due to an insufficient analysis of the general notion of type in architecture, have been abandoned without much comment. The conclusion is that a discussion on this line would perhaps help to define better the distance between computer craftsmanship and architectural education.
series	eCAADe
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/33monedero/index.htm
last changed	2022/06/07 07:58

_id	e071
authors	Ward, G. and Shakespeare, R.
year	1998
title	Rendering with Radiance: The Art and Science of Lighting Visualization
source	Morgan Kaufman
summary	Radiance is a collection of approximately 50 programs that do everything from object modeling to point calculation, rendering, image processing and display. This is the definitive reference on the radiance lighting simulation and rendering system.
series	other
last changed	2003/04/23 15:14

_id	254a
authors	Belz, C., Jung, H., Santos, L., Strack, R., and Latva-Rasku, P.
year	1998
title	Handling of Dynamic 2D/3-D Graphics in Narrow-Band Mobile Services
source	Virtual Worlds on the Internet, IEEE Computer Society, pp. 147-156
summary	The factors limiting the efficient delivery and presentation of multimedia material in the cellular environment are, among others, the low bandwidth of the transmission channel(s) and the modest capabilities of truly mobile terminals. The ACTS 1 project MObile Media and ENTertainment Services (MOMENTS) is leveraging the usage of state-of-the-art technique for the handling of vector graphics and animation contents, obtained through very low data transmission channels, in order to provide veru attractive multimedia services in that environment. This paper focuses on the achievements obtained within MOMENTS in regard to the handling of dynamic 2D/3D graphics for the projected wireless multimedia services.
series	other
last changed	2003/04/23 15:14

_id	e5a2
authors	Debevec, P.
year	1998
title	Rendering synthetic objects into real scenes: Bridging traditional and image-based graphics with global illumination and high dynamic range photography
source	Proc. ACM SIGGRAPH 98, M. Cohen, Ed., 189–198
summary	We present a method that uses measured scene radiance and global illumination in order to add new objects to light-based models with correct lighting. The method uses a high dynamic range imagebased model of the scene, rather than synthetic light sources, to illuminate the newobjects. To compute the illumination, the scene is considered as three components: the distant scene, the local scene, and the synthetic objects. The distant scene is assumed to be photometrically unaffected by the objects, obviating the need for re- flectance model information. The local scene is endowed with estimated reflectance model information so that it can catch shadows and receive reflected light from the new objects. Renderings are created with a standard global illumination method by simulating the interaction of light amongst the three components. A differential rendering technique allows for good results to be obtained when only an estimate of the local scene reflectance properties is known. We apply the general method to the problem of rendering synthetic objects into real scenes. The light-based model is constructed from an approximate geometric model of the scene and by using a light probe to measure the incident illumination at the location of the synthetic objects. The global illumination solution is then composited into a photograph of the scene using the differential rendering technique. We conclude by discussing the relevance of the technique to recovering surface reflectance properties in uncontrolled lighting situations. Applications of the method include visual effects, interior design, and architectural visualization.
series	other
last changed	2003/04/23 15:50

_id	a15e
authors	Dijkstra, J. and Timmermans, H.J.P.
year	1998
title	Conjoint Analysis and Virtual Reality - A Review
source	Timmermans (ed.), 4 Ih Design and Decision Support Systems in Architecture and Urban Planning Conference.
summary	This paper describes a review of an ongoing research project which aims to develop a conjoint analysis and virtual reality (CA&VR) system as part of a design information system in virtual reality. The research project aims to develop a design system that can be used for interactive design and evaluation of design alternatives. A virtual environment model and dynamic virtual objects representing the different design aspects of interest can present a design. The different design aspects are called attributes. Each attribute level is a different state of the concerned virtual object. In the case of a virtual walk through a building design, the system can be viewed as a visual simulation of the environment. The CA&VR system has the potential advantage that individuals' preferences can be measured in designed hypothetical choice situations. As part of the ongoing research project, principles underlying the CA&VR system will be illustrated by simple examples. The status of this research project, both in retrospect and in prospect will be described.
series	other
last changed	2003/04/23 15:50

_id	ddss9818
id	ddss9818
authors	Dijkstra, Jan and Timmermans, Harry J.P.
year	1998
title	Conjoint Analysis and Virtual Reality – a Review
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 describes a review of an ongoing research project which aims to develop a conjoint analysis and virtual reality (CA&VR) system as part of a design information system in virtual reality. The research project aims to develop a design system that can be used for interactive design and evaluation of design alternatives. A virtual environment model and dynamic virtual objects representing the different design aspects of interest can present a design. The different design aspects are called attributes. Each attribute level is a different state of the concerned virtual object. In the case of a virtual walk through a building design, the system can be viewed as a visual simulation of the environment. The CA&VR system has the potential advantage that individuals’ preferences can be measured indesigned hypothetical choice situations. As part of the ongoing research project, principles underlying the CA&VR system will be illustrated by simple examples. The status of this research project, both in retrospect and in prospect will be described.
series	DDSS
last changed	2003/08/07 16:36

_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	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	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	8dae
authors	Homma, R., Morozumi, M. and Iki, K.
year	1998
title	Network-Based Dynamic Evaluation Process for Urban Landscapes
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. 213-222
doi	https://doi.org/10.52842/conf.caadria.1998.213
summary	When designing large-scale projects that affect urban landscapes such as the construction of power stations, it is important for a designer, to be able to predict how the landscape will be changed and public opinion in regard to the design stage. In order to support the communication between the public and the designer in the design process, authors have proposed a Network-Based Dynamic Evaluation Process (NDEP) for urban landscapes with WEB. This process can achieve a consensus decision, by applying the interactive cycles of proposal and evaluation to the design process. In this paper the authors outlined the framework of the process, the evaluation method by AHP, and a case study of an experimental production system.
keywords	Decision Support Systems, Landscape Simulation, VRML, JAVA
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:50

_id	e380
authors	Maver, Thomas W.
year	1998
title	Space Odyssey by Computer - Journeys through the Environment
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. 1-10
doi	https://doi.org/10.52842/conf.caadria.1998.001
summary	The extraordinary characteristic of the city which thrills both its citizens and those who visit it, is the complex way in which multitudes of individual buildings, themselves each a complex of individual spaces, combine to form the weft and weave of the urban fabric. No two cities are alike but each and every one has its innate and endearing character: the grandeur of Vienna, the eternity of Rome, the simplicity of Tucson, the elegance of Edinburgh, the dynamic of Tokyo, the vibrancy of Hong Kong. This presentation illustrates how the emerging computer-based technologies can, in a manner hitherto impossible, explain to students of architecture and urban design (and to the public at large) how the design of individual buildings and their spatial relationship to each other, aggregate to create the environment which characterises the city; in a complementary way it demonstrates how the virtual urban voyager can not only identify and visit individual buildings, but enquire within - to observe, understand and even handle the contents.
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:58

_id	59
authors	Ozel, Filiz
year	1998
title	Geometric Modeling intThe Simulation of Fire - Smoke Spread in Buildings
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 438-445
summary	Since the performance simulation of buildings, such as fire/smoke spread, energy loss/gain, acoustics, etc. greatly rely on building geometry, the way the physical environment is modeled can substantially effect the reliability of the predictions made by such simulations. Most computer models that simulate fire and smoke spread in buildings limit the computer representation of the building to simpler geometries and define rooms as rectangular spaces or as spaces with uniform crossections. Such a definition does not account for the variety of building elements that can exist in a building such as large overhangs, half height walls, etc. Existing simulations are typically developed as mathematical models and use the principles of thermodynamics to represent the spread of the elements of fire through space over a given time period. For example, in zone models each room is defined as a two tier space with heat and smoke exchange between lower and upper tiers as the fire progresses. On the other hand, field models divide the space into small contiguous units where thermodynamic state of each unit is calculated as the simulated fire progresses. Dynamic processes such as fire and smoke spread must recognize both intangible (i.e. voids) and tangible (i.e. solids such as walls, balconies, ceiling, etc.) architectural entities. This paper explores the potential of solid modeling techniques in generating geometric definitions for both solid and void architectural entities that can interact With mathematical models of fire/smoke spread in buildings. The implications of cellular spatial partitioning techniques for zone or field models of fire/smoke spread are investigated, and the methods of creating cellular decomposftion models for architectural spaces as well as for spatial boundaries such as walls are explored. The size of each cellular partition, i.e. the resolution of the partition, and the material and heat transfer attributes of each cell were found to be very critical in modeling the spread fire through voids as well as through solids in a building.
series	SIGRADI
email
last changed	2016/03/10 09:57

_id	1373
authors	Pfaffenbichler, Paul C. and Emberger, Günter
year	2003
title	Are European cities becoming similar?
source	CORP 2003, Vienna University of Technology, 25.2.-28.2.2003 [Proceedings on CD-Rom]
summary	The paper discusses city specific development patterns to overcome todays transport problems. The results are based on recent andongoing research activities at TUW-IVV and ITS. At previous CORP-conferences, we presented the basics and the development of aplanning support tool to find optimal policy packages in urban transport and land use (Emberger, 1998), (Pfaffenbichler, Emberger, 2001). The core of this planning support tool is a dynamic land use and transport interaction model. This model, which we refer to as Sketch Planning Model (SPM), is embedded into an appraisal and optimisation framework. The SPM and this framework were developed in the recently finished European Union funded research project PROSPECTS1. Case studies with this planning supporttool were performed within PROSPECTS for the cities Edinburgh, Helsinki, Madrid, Oslo, Stockholm and Vienna. These cities are principally comparable in regards of their status (capitals and major business and education centres), but different in their size, population density, transport system etc. A set of policy instruments like public transport improvements, car traffic restrictions, and infrastructure provision was available to formulate strategies to reduce negative impacts of transport and to increase welfare. The overall objective was a sustainable development of the city. Although the instruments and the goals are similar in all investigatedcites, different solutions were adequate. The solutions vary in regard of spatial implementation, implementation time and level of implementation. The paper will highlight some reasons for the different development paths of the cities. As well the comparison of the do nothing scenario as the comparison of the most feasible policy strategies shows that European cities are different, need different solutions for their problems and will stay different in the future.
series	other
email
last changed	2003/03/11 20:39

_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	a545
authors	Wood, John B. and Chambers, Tom
year	1998
title	Value Added Learning: The Cadet Experience
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 165-172
doi	https://doi.org/10.52842/conf.ecaade.1998.165
summary	This paper reports on the integration of Information Technology in the Building Design Engineering Studio. It is based on the work carried out by the CADET Unit (CAD Education and Training), which promotes a better understanding of the built environment through an integrated approach to design studio teaching. This is achieved through a dynamic studio environment guided by a Building Design Engineering ethos that adopts a holistic approach to design; recognising that design in engineering, architecture and the visual arts demands an understanding of the challenges of a multidisciplinary approach that acknowledges a broader cultural dimension. There are increasing demands placed on students of architecture and engineering. They require skills in making physical as well as computer models, they must be able to draw in 18th & 19th century conventional media (paper, pen and pencil) as well as CAD and they must be proficient in rendering in full colour both conventionally and in the electronic media including animations. The creative use of the computer at the point of analysis and conceptualisation, as important as technical proficiency, is a necessary part of the design process. In recognition of the demands that we currently make of university students we are exploring two critical responses. In the first case we demonstrate an integrated approach to design studio practice, achieving a value added learning experience in the University Sector, and with a view to the longer term we are exploring the application of a similar design approach within the Secondary School Sector in order to raise the awareness of design at an earlier stage.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:57

_id	ddss9866
id	ddss9866
authors	Zacharias, John
year	1998
title	Virtual Shopping Centre Models and Path Choice
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	A three-dimensional computer model of a shopping center was navigated by participants who were unfamiliar with it. In the first experiment, an orthogonal and equally spaced grid was used. It was found that the great majority of the itineraries made simple and similar patterns which were remembered by the participants, although they often mistook theprecise path choices. In a second experiment, the width of the corridors was varied. Participants showed a distinct preference for wider corridors over narrow ones, resulting in a significantly different distribution of itineraries when compared with the results of the first experiment. Dimensional variation did not improve the ability of the participants toremember their itineraries, however. Also, individuals preferred to continue moving straight-ahead over turning. They also preferred to circumnavigate the shopping center, traveling along the outer edges, rather than head first into its center. The computer-based model is a low-cost way of testing preference in a dynamic way and could be mounted on multiple stations in computer laboratories as a way of increasing sample size. Thereremain some interface problems, however, that diminish somewhat the sensation of moving in real time. Further work will include refinements to the model and other variations in geometry and visual stimuli in the virtual shopping center, in addition to its validation in real environments.
series	DDSS
last changed	2003/08/07 16:36

_id	6672
authors	Af Klercker, Jonas
year	1998
title	A CAVE-Interface in CAAD-Education
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 110-115
doi	https://doi.org/10.52842/conf.ecaade.1998.110
summary	The so called "CAVE-interface" is a very interesting and thrilling development for architects! It supports a better illusion of space by exposing almost a 270° view of a computer model than the 60° which can be viewed on an ordinary computer screen. At the Lund University we have got the possibility to experiment with a CAVE-installation, using it in research and the education of CAAD. The technique and two experiments are discribed. The possibilities are discussed and some problems and questions are put forward.
series	eCAADe
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/31af_klercker/index.htm
last changed	2022/06/07 07:54

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