Cumincad : CUMINCAD Papers : Search Results

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

PDF papers
References

Hits 1 to 10 of 10

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

_id	cf6a
authors	Lynn, G.
year	1998
title	Folds, Bodies and Blobs – Collected Essays
source	La Lettre Volee, Brussels
summary	Again we should be amazed at these wonderful algorithmic creatures that have continued to sprawl for the last half a century or more. The innovation about this type of experimentation if at all it is anymore should lie on the reality and materiality of the projects. We cannot let technology invent architecture but to at least keep up if not produce it. Lynns dialogues will only be convincing if the show doesnt end up or formulate by gyp board.
series	other
last changed	2003/04/23 15:14

_id	ddss9830
id	ddss9830
authors	Kato, K., Iwasaki Y. and GONDA K.
year	1998
title	The Influence of Changing Planning Methods on the Characteristics ofIndustrial Activities in Japan
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	The object of this paper is to clarify the scope of planning method for industrial supporting facilities through the analysis of the characteristics of services and questionnaire survey. The results are as follows: 1) For upgrading of needs from the firms, establishment bodies that organize the ISFs shifts from government-leading toward non-government-leading. 2) The industrial supporting facilities in the industrial park has higher tendency to offer services required for the business creation and exchanges.3) The most important point secures the flexible communicational environment, carry out communicational service in consideration of changing the industrial supporting facilities’s organization for planning method.
series	DDSS
last changed	2003/08/07 16:36

_id	ddss9849
id	ddss9849
authors	Sariyildiz, S. Ciftcioglu, Ö. and Veer, Peter van der
year	1998
title	Information Ordering for decision support in building design
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	A systematic approach for the application of AI-based information processing for information ordering in architectural building design is described. For this purpose fuzzy associative memory (FAM) method is considered. In this system FAM is used for knowledge representation in building design concerning the functional & technical requirements information and its graded relevance to individuals concerned in the same context. A set of FAM rules having been established as a knowledge base for use, a pattern of information in the form of a fuzzy vector is fed to each FAM rule. Here, a decision support system is aimed to convey the information to the respective individuals and/or bodies involved, in a graded form, according to their capacity of involvement in the building design. By exploiting the binary logic, each FAM rule is fired in parallel but to a different degree so that each rule generates an m-dimensional output fuzzy vector Pi. The union of these vectors creates m-dimensional fuzzy decision vector D that provides the ordered information addressed to respective individuals and/or bodies mentioned. Using simulated data, a verification procedure for the performance of the approach is investigated and by means of the work, the role that artificial intelligence in architecture and building design might play, is pointed out.
series	DDSS
last changed	2003/08/07 16:36

_id	37ae
authors	Tarandi, Väino
year	1998
title	Neutral intelligent CAD communication: information exchange in construction based upon a minimal schema
source	KTH Stockholm
summary	An improved information exchange is frequently proposed as one solution to the inefficiency problems which the construction industry is suffering from today. Such an improvement is very dependent of the use of information technology, IT. To enable an advanced use of IT, there is a need for integrated project communications frameworks and integrated industry wide information. This thesis discusses how product models can be used to improve the information exchange from design to construction. Today there are several approaches to product modelling. Some researchers propose very detailed models whereas others propose generic models with fewer concepts. In this area there is a close connection between research and standardisation, which is carried out by organisations such as the ISO STEP committee and the International Alliance for Interoperability. To get acceptance for a standard proposal, it has to be accepted by both users and standardisation bodies. Thus this research, in addition to the technical requirements on information content and structure, also discusses success factors for standardisation, implementation and usage. In order to define important requirements on a product model for information exchange between design and construction, current research, development and standardisation in the field of product modelling was studied. This thesis advocates a minimal approach in the number of concepts used in a product model, in combination with an external building element classification, following national industry practice. The minimal NICC schema, developed during this research, was tested in a prototype and test study. Three applications were tested: PreFacto (planning tool), Microsoft Project (time scheduling tool) and Calc3(cost estimation tool). From the CAD-system MCAD, NICC files with the building objects were created and transferred into a relational database from which the three applications received their specific input files. The results of the evaluation of the NICC schema and the test study demonstrated that a product model based on few concepts can manage the required information exchange.
keywords	Construction; Product Models; Standardisation; Minimal Models; Requirements; Conceptual Schema
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	ddss9809
id	ddss9809
authors	Brondino, Nair Cristina Margarido and Da Silva, Antônio Nélson Rodrigues
year	1998
title	A comparison of land valuation methods supported by GIS
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	The purpose of this work was to study three different strategies for the appraisal of urban land. The first, a theoretical strategy created by the authors of this study to reproduce the common conditions of Brazilian cities, uses increments and reductions in the value of a square meter of land according to each lot’s individual features. The second method, based on Multiple Regression techniques, is widely used for valuation purposes. Finally, the effectiveness of Artificial Neural Networks to deal with thiskind of problem is studied. A sample of 157 lots was collected from several neighbourhoods of a small Brazilian city for the case study. The lot features recorded were area, width, shape, distance to the downtown district of the city through the street network, existence of fences and paved sidewalks, and market price. Prediction errors have been estimated for each of the three methods in order to compare their results. Predicted and error values, added to Geographical Information Systems, may be used to build thematic maps and to check how each strategy applies to different areas of the city. The analyses of error values conducted in this study showed that Artificial Neural Networks presented the best performance as a land appraisal method for the case studied.
series	DDSS
email
last changed	2003/11/21 15:16

_id	203b
authors	Jabi, Wassim M.
year	1998
title	The Role of Artifacts in Collaborative Design
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. 271-280
doi	https://doi.org/10.52842/conf.caadria.1998.271
summary	With the proliferation of digital technology, a new category of design artifacts, usually described with the term virtual, has emerged. Virtual artifacts have gained further prominence due to the advances made in collaboration software and networking technologies. These technologies have made it easier to communicate design intentions through the transfer and sharing of virtual rather than physical artifacts. This becomes particularly true in the case of long-distance or international collaborative efforts. This paper compares the two major categories of artifacts – the physical and the computer-based – and places them in relationship to an observed collaborative design process. In order to get at their specific roles in collaboration, two case studies were conducted in which designers in academic and professional settings were observed using a methodology which focused on participation in the everydayness of the designer as well as casual discussions, collection of artifacts, note-taking, and detailed descriptions of insightful events. The collected artifacts were then categorized according to the setting in which they were created and the setting in which they were intended to be used. These two attributes could have one of two values, private or public, which yield a matrix of four possible categories. It was observed that artifacts belonging in the same quadrant shared common qualities such as parsimony, completeness, and ambiguity. This paper finds that distinguishing between physical and virtual artifacts according to their material and imagined attributes is neither accurate nor useful. This research illustrates how virtual artifacts can obtain the qualities of their physical counterparts and vice versa. It also demonstrates how a new meta-artifact can emerge from the inclusion and unification of its material and imagined components. In conclusion, the paper calls for a seamless continuity in the representation and management of physical and virtual artifacts as a prerequisite to the success of: (1) computer-supported collaborative design processes, (2) academic instruction dealing with making and artifact building, and (3) executive policies in architectural practice addressing the management of architectural documents.
keywords	Collaborative Design Process
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:50

_id	ddss9838
id	ddss9838
authors	Mallory-Hill, Shauna
year	1998
title	Building a Case-Based Design Assistant forWorkplace Environment Design
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	This paper reports on the early stages of development of a case-based design tool. The purpose of this tool, called the Workplace Environment Design Advisor (WEDA), is to support architects in the conceptual design of workplace environments. The objective of this system is to provide electronic storage, retrieval and the exploration of post-occupancy performance knowledge of workplace environments. The paper provides a description of the reasoning behind choosing a case-based approach and thesteps used to develop a prototype case-based system. This includes recent efforts to collect and structure real case data. This experience led to observations about issues such as case content (the availability and format of post-occupancy data) and retrieval strategies. The data collected for use in the system is based on a building-in-use study of the Centre ofBuilding Research’s office rooms located at the University of Eindhoven, the Netherlands.
series	DDSS
last changed	2003/08/07 16:36

_id	20f7
authors	Moorhouse, John
year	1998
title	Categorisation of Computer-Aide-Design Actions Through Visual Exemplification
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 164-171
doi	https://doi.org/10.52842/conf.ecaade.1998.164
summary	This paper summarises, in a preliminary announcement, some outcomes arising from the author?s research ?A Developed Methodology for Recording, Evaluating and Presenting CAAD as a Vehicle for Designing?, in which a methodology for making visually explicit the design actions of architects has been designed, developed and tested. Specifically it describes the categorisation of computer-aided design actions through visual exemplification, whereby ?Categories of Action? of creative computer activity are constructed from, and defined by, grouped visual records of ?Design Moves? which exhibit similarity in character. The value of examining design actions as a means to stimulate and enhance creativity for other designers is explained, and the methodology developed and employed in order to construct a resource to do this is outlined. The main body of the paper focuses on descriptions of selected, constructed ?Categories of Action? which are outcomes from analysis of material collected as part of this research. Conclusions are drawn on their relevance to the designer and suggestions for further synthesis of the Categories of Action are offered.
series	eCAADe
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/06moorhouse/index.htm
last changed	2022/06/07 07:58

_id	24df
authors	Saggio, Antonino
year	1998
title	HyperArchitecture
source	Computerised Craftsmanship [eCAADe Conference Proceedings] Paris (France) 24-26 September 1998, pp. 224-227
doi	https://doi.org/10.52842/conf.ecaade.1998.224
summary	The "Universale d?architettura" is a pocket book series which is now arrived at 40 titles. Printed by Testo&Immagine in Turin it is directed by Bruno Zevi. It has a very large public, being distributed in newstands, in bookstores and mailed to subscribers at a very convenient price (6 dollars each). Many of its titles will soon appear in English, French, Spanish and German. The book series is divided into different sections (monographs, essays, architectural guides, anthologies) and in April 1988 a new section has been introduced. "La rivoluzione informatica" ("The Information revolution") is the title and Antonino Saggio is the curator. Scope of this new section is to bring closer architecture and computers by providing intellectual and cultural tools to orient the reader in a fast growing filed. The first book (Luigi Prestinenza Puglisi, Hyperarchitecture. Spaces in the electronic era) is an essay that combines a critical overview of most recent projects by Ito, Arakama, Koolhaas, Libeskind with epistemological consideration and researches coming from conceptual art. Three key words organized the material: projection, mutation, simulation. The next book (Gerhard Schmitt, Information architecture) deals with foundation and future of Caad systems and it can be seen from one side as an extremely updated manual and from the other as the construction of the developing lines of Caad research. Other forthcoming titles include: Virtual Terragni, How works the Eisenman Office, Design and Build with Computers. "La rivoluzione informatica" is (not only in Italy but also, quite probably, anywhere) the only book series which addresses the theme of architectural design in the electronic era. To better understand its scope, character and goals, it follows the Afterward by Saggio to the first book.
series	eCAADe
email
more	http://www.paris-valdemarne.archi.fr/archive/ecaade98/html/11saggio/index.htm
last changed	2022/06/07 07:56

No more hits.