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 20 of 533

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

_id	68fb
authors	Khemlani, L., Timerman, A., Benne, B. and Kalay, Y.E.
year	1998
title	Intelligent representation for computer-aided building design
source	Automation in Construction 8 (1) (1998) pp. 49-71
summary	At the core of any computational system that can support design development, analysis, and evaluation is an “intelligent” building representation which should be able to represent all the different components that make up a building, along with the manner in which they come together. In other words, the representation must be informationally complete and semantically rich. The paper discusses these two criteria and briefly reviews other research efforts aimed at developing building representations for computer-aided design that attempt to meet them. Our solution to this problem is then presented. It is aimed primarily at the schematic design phase, the rationale for which is also stated. Taking the view that buildings are unique assemblies of discrete, mostly standardized components, our representation is clearly divided into two components: the Object Database (ODB) which stores detailed information about various building elements, and the Project Database (PDB) which holds information about how these elements are assembled to make up a particular building. An ODB may be shared by many building projects, while the PDB must necessarily be unique to each. The data schemas of both the PDB and the ODB are described in detail and their computational implementation, to the extent that it has been completed, is illustrated.
series	journal paper
last changed	2003/03/05 13:12

_id	a037
authors	Aygen, Z. and Flemming, U.
year	1998
title	Classification of Precedents - A Hybrid Approach to Indexing and Retrieving Design Cases in SEED (a Software Environment for the Early Phases of Building Design)
doi	https://doi.org/10.52842/conf.caadria.1998.435
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. 435-444
summary	An efficient indexing of past solutions is crucial to case-based design (CBD) systems performing complex retrieval on large case-bases. This paper suggests a hybrid approach to the indexing and retrieval of design precedents. The suggested approach accounts for the issues of classification manifested in architectural discussions on type and CBD literature. The indexing scheme integrates description-logic based representation for classification and an object-based representation for precedents. The hybrid scheme constitutes a basis for the implementation of a generic case indexing and retrieval mechanism for SEED.
keywords	Case-Based Design, Classification, Typology
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:54

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	203b
authors	Jabi, Wassim M.
year	1998
title	The Role of Artifacts in Collaborative Design
doi	https://doi.org/10.52842/conf.caadria.1998.271
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
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	cba2
authors	Lewis, Rick and Séquin, Carlo
year	1998
title	Generation of 3D building models from 2D architectural plans
source	Computer-Aided Design, Vol. 30 (10) (1998) pp. 765-779
summary	A robust, semi-automatic way is presented to create 3D polyhedral building models from computer-drawn floor plans, requiring minimal user interaction. The modelsadhere to a consistent solids representation and can be used for computer rendering, visualization in interactive walkthroughs, and in various simulation and analysisprograms. The output of our prototype program is directly compatible with the Berkeley WALKTHRU system and with the NIST CFAST fire simulator. A consistentmodel of a seven-storey building with more than 300 rooms has been generated in the time span of a few days from original AutoCAD floor plans drawn by architects.
keywords	Building Visualization, Architectural CAD Models, Floor Plan Extrusion, Solid Model Generation
series	journal paper
last changed	2003/05/15 21:33

_id	acadia16_140
id	acadia16_140
authors	Nejur, Andrei; Steinfeld, Kyle
year	2016
title	Ivy: Bringing a Weighted-Mesh Representations to Bear on Generative Architectural Design Applications
doi	https://doi.org/10.52842/conf.acadia.2016.140
source	ACADIA // 2016: POSTHUMAN FRONTIERS: Data, Designers, and Cognitive Machines [Proceedings of the 36th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-692-77095-5] Ann Arbor 27-29 October, 2016, pp. 140-151
summary	Mesh segmentation has become an important and well-researched topic in computational geometry in recent years (Agathos et al. 2008). As a result, a number of new approaches have been developed that have led to innovations in a diverse set of problems in computer graphics (CG) (Sharmir 2008). Specifically, a range of effective methods for the division of a mesh have recently been proposed, including by K-means (Shlafman et al. 2002), graph cuts (Golovinskiy and Funkhouser 2008; Katz and Tal 2003), hierarchical clustering (Garland et al. 2001; Gelfand and Guibas 2004; Golovinskiy and Funkhouser 2008), primitive fitting (Athene et al. 2004), random walks (Lai et al.), core extraction (Katz et al.) tubular multi-scale analysis (Mortara et al. 2004), spectral clustering (Liu and Zhang 2004), and critical point analysis (Lin et al. 20070, all of which depend upon a weighted graph representation, typically the dual of a given mesh (Sharmir 2008). While these approaches have been proven effective within the narrowly defined domains of application for which they have been developed (Chen 2009), they have not been brought to bear on wider classes of problems in fields outside of CG, specifically on problems relevant to generative architectural design. Given the widespread use of meshes and the utility of segmentation in GAD, by surveying the relevant and recently matured approaches to mesh segmentation in CG that share a common representation of the mesh dual, this paper identifies and takes steps to address a heretofore unrealized transfer of technology that would resolve a missed opportunity for both subject areas. Meshes are often employed by architectural designers for purposes that are distinct from and present a unique set of requirements in relation to similar applications that have enjoyed more focused study in computer science. This paper presents a survey of similar applications, including thin-sheet fabrication (Mitani and Suzuki 2004), rendering optimization (Garland et al. 2001), 3D mesh compression (Taubin et al. 1998), morphin (Shapira et al. 2008) and mesh simplification (Kalvin and Taylor 1996), and distinguish the requirements of these applications from those presented by GAD, including non-refinement in advance of the constraining of mesh geometry to planar-quad faces, and the ability to address a diversity of mesh features that may or may not be preserved. Following this survey of existing approaches and unmet needs, the authors assert that if a generalized framework for working with graph representations of meshes is developed, allowing for the interactive adjustment of edge weights, then the recent developments in mesh segmentation may be better brought to bear on GAD problems. This paper presents work toward the development of just such a framework, implemented as a plug-in for the visual programming environment Grasshopper.
keywords	tool-building, design simulation, fabrication, computation, megalith
series	ACADIA
type	paper
email
last changed	2022/06/07 07:58

_id	c5bc
authors	Popova, Mina
year	1998
title	Model of Design Parts and its Use to the Design Team
doi	https://doi.org/10.52842/conf.caadria.1998.233
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. 233-242
summary	This paper discusses the impact of the choice of representation on the final result in design and construction projects. Representation is an integrated part of the design process used by architects as a communication tool to help them present a concept to their clients and other consultants. The representation choice, in addition, reflects the professional’s perception of the design process and the architectural artefact. Architects’ offices work with a wide range of problems - aesthetic and spatial issues, detailing, choice of materials, and systems design. The multiplicity of representations enriches the understanding of these issues. Today, the model-oriented approach in design is common among both architects and leading software producers for the construction industry. While STEP (Standard for the Exchange of Product Data) aims at developing very comprehensive product models, we examine the possibility of building up a small-scale model responding to the information needs of a design team. In our research work, we view a model of design parts as a suitable carrier of information allowing the designers to store data reflecting their accumulated and refined professional knowledge and experience. Besides, the team of architects can later easily retrieve information needed for future design reuse from the model. To reuse design solutions and learn from previous work is an essential part of the professional culture. The construction industry as a whole has been slow in implementing information technology to improve the work methods. Neither have architects’ offices used the full potential of this technology to structure information and rationalize the design process. The objective of this study is to examine whether information technology makes it possible to organize all the design information in an office archive. The proposed model of design parts relates to national standards and universal models for product data representation and exchange, such as STEP. Today, the construction sector is becoming increasingly aware of the potential of the model-oriented approach both to rationalize the design and construction process and offer designers new options to store, broaden and reuse professional knowledge. We have used the information modelling language EXPRESS to describe our concept.
keywords	Design and Construction Process, Model-oriented Approach, Representation, Information Technology, STEP
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 08:00

_id	4d85
authors	Shimokawa, Y., Morozumi, M., Iki, K. and Homma, R.
year	1998
title	Replacement and Transformation as a Key to Schematic Design Thinking - 3-D Modeling System which Supports Design Thinking
doi	https://doi.org/10.52842/conf.caadria.1998.365
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. 365-374
summary	This paper analyses a prototype of a 3D modeling system that can support schematic design development and begins with very abstract representation elaborates it step by step into a detailed representation. Using Mitchell's concept of a TOPDOWN system for 2D sketches as the basis, the authors proposed a design process model and a prototype that allows both bottom up additive processes in exploring the design frame and top down processes for the design refinement of each building element. Various utilities of replacing and transforming graphic objects as well as those that can control shapes and the location of those objects with construction lines have been proposed. The authors discussed possible use of the system and topics for future study by reviewing case studies.
keywords	Replacement Operation, Modeling System, Schematic Design, Design Thinking
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:56

_id	6c98
authors	Tsou, Jin-Yeu
year	1998
title	Applying Computational Fluid Dynamics to Architectural Design Development - Strategy and Implementation
doi	https://doi.org/10.52842/conf.caadria.1998.133
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. 133-142
summary	This paper presents the development process and preliminary results of several research projects that apply computational fluid dynamics (CFD) to architectural design. The CFD On-line Teaching project is developing a multimedia training course for architecture students to apply CFD simulation to their projects. Each lesson illus-trates basic principles regarding air flow in building design, and provides CFD sample files with pre-defined flow cells for students to test these concepts. The Chinese Temple project uses CFD simulation to study the wind resistance of a Tong Dynasty heavy timber structure, with particular attention to the roof form. Air flow information generated in the project includes the visual representation of the pressure distribution and velocity field on all slices through the temple, as well as particle tracks around and through the building. The Urban Housing Air Duct project focuses on air duct design for the China Experimental Urban Housing Scheme. The visual representation of the pressure distribution and velocity field in the ducts provides vital information for helping the China Housing Research Center improve the current design.
keywords	CFD, Scientific Visualization, Computer-Aided Architecture Design
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:57

_id	8b38
authors	Do, Ellen Yi-Luen and Gross, Mark D.
year	1998
title	The Sundance Lab- "Design Systems of the Future"
doi	https://doi.org/10.52842/conf.acadia.1998.008
source	ACADIA Quarterly, vol. 17, no. 4, pp. 8-10
summary	The last thirty years have seen the development of powerful new tools for architects and planners: CAD, 3D modeling, digital imaging, geographic information systems, and real time animated walkthroughs. That’s just the beginning. Based on our experience with CAD tools, analysis of design practice, and an understanding of computer hardware and software, we’re out to invent the next generation of tools. We think architects should be shakers and makers, not just consumers, of computer aided design. We started the Sundance Lab (for Computing in Design and Planning) in 1993 with a few people and machines. We’ve grown to more than a dozen people (mostly undergraduate students) and a diverse interdisciplinary array of projects. We’ve worked with architects and planners, anthropologists, civil engineers, geographers, computer scientists, and electrical engineers. Our work is about the built environment: its physical form and various information involved in making and inhabiting places. We cover a wide range of topics – from design information management to virtual space, from sketch recognition to design rationale capture, to communication between designer and computer. All start from the position that design is a knowledge based and information rich activity. Explicit representations of design information (knowledge, rationale, and rules) enables us to engage in more intelligent dialogues about design. The following describes some of our projects under various rubrics.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	46bb
authors	Gerzso, J. Michael
year	1998
title	Speculations on a Machine-Understandable Language for Architecture
doi	https://doi.org/10.52842/conf.acadia.1998.302
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. 302-314
summary	One of the objectives of research in computer-aided design in architecture has been to make computer tools or instruments for architectural design, not just drafting. There has been work presented at ACADIA and other conferences related to artificial intelligence, data bases, shape grammars, among others. In all of these cases, existence of a computer language in one form or another is implied. The purpose of this paper is to argue that the progress in the development of intelligent design systems (IDS) is closely linked to the progress of the languages used to implement such systems. In order to make the argument, we will adopt an approach of first specifying the characteristics of an IDS in terms of a conceptual framework of computer languages in a CAD system in general, and what it means to develop a machine-understandable language for architectural CAD in particular. The framework is useful for classifying research projects and for structuring a research agenda in architectural CAD.
series	ACADIA
email
last changed	2022/06/07 07:51

_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	f323
authors	Cha, Myung Yeol
year	1998
title	Architectural shape pattern representation and its applications for design computation
source	University of Sydney
keywords	Data Processing; Computer-Aided Design; Pattern Perception
series	thesis:PhD
last changed	2003/02/12 22:37

_id	64c9
authors	Dannettel, Mark E. and Bertin, Vito
year	1998
title	Integrating Electronic Media into the Architecture Studio -A Teaching Development Grant at the Chinese University of Hong Kong.
doi	https://doi.org/10.52842/conf.caadria.1998.031
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. 31-38
summary	Increasingly, architecture students and instructors are exposed to a widening array of softwares, hardwares, and strategies for the production and representation of architectural work. In an effort to promote the effective use of these tools within design education, instructors need to develop strategies for implementing them into the design studios. A teaching development grant which has been received by the Department of Architecture at CUHK is entitled Integrated Media Design Studio. This investigation involves multiple instructors, and levels of design studios. It provides an environment of a wide range of available equipment for producing, evaluating, documenting, and communicating architectural work in the studio. In addition to increasing the effective use of technology resources, and also raising the quality of studio instruction, this teaching development grant aims to create opportunities to further integrate other courses within the studio environment.
keywords	Multimedia, Architecture, Studio, Education
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:55

_id	6fdf
authors	Emdanat, Samir S. and Vakalo, Emmanuel-G.
year	1998
title	An Ontology for Conceptual Design in Architecture
doi	https://doi.org/10.52842/conf.caadria.1998.425
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. 425-434
summary	This paper presents ongoing efforts to formulate an ontology for conceptual design on the basis of shape algebras. The ontology includes definitions for spatial elements such as points, lines, planes, and volumes, as well as, non-spatial elements such as material properties. The ontology is intended to facilitate sharing knowledge of shapes and their properties among independent design agents. This paper describes the formulation of the ontology and discusses some of its underlying classes, axioms, and relations.
keywords	Ontologies, Knowledge Representation
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:56

_id	807b
authors	Kalisperis, Loukas N. and Pehlivanidou-Liakata, Anastasia
year	1998
title	Architectural Design Studio: Digital and Traditional
doi	https://doi.org/10.52842/conf.ecaade.1998.073
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 73-81
summary	The nature of the task of representing architecture alters to reflect the state of architecture at each period of time. In simulating architecture, the necessary conversion from that which is inhabitable, experiential, functional, and at times, indescribable to an abstraction in an entirely different media is often an imperfect procedure that centers on its translation rather than the actual design. The objective in visualizing any architectural design is to achieve a situational awareness that allows for meaningful criticism of the design. Computer-aided three-dimensional (3D) visualization technology has made available new representation techniques. Surpassing the traditional means of graphic illustration and scaled models, this technology has been primarily developed to decrease the amount of abstraction between architecture and its documentation. The general objective of this paper is to present a study carried out over the last six years in which the progress of students in a traditional studio was compared to the progress of similar students in a digital studio. We have assessed the effects of the tools over the six-year period (24 different projects) by evaluating solution-generation in trial-and-error process and learning problem-solving strategies based on the Cognitive Flexibility Theory paradigm. Students using the digital studio were found to generate more and various solutions consistently.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:52

_id	ddss9839
id	ddss9839
authors	Mahdavi, Ardeshir
year	1998
title	A Middle Way to Integration
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	Integration in computer-aided design denotes systematic incorporation of multiple domain applications within a unified computational design support environment. At one end of the spectrum of integration efforts, there is a top-down approach involving an all-encompassing maximal building representation. On the other end, there is bottom-up approach involving the ad hoc and as-needed production of translator and mediator routines to enable various existing applications to communicate with each other. This paper describes the development of a design support system which represents a middle way to integration: while it assumes that, at a fundamental level, some shared notation of the constitutive building entities and their spatial relationships is sine qua non, it assumes that this notation is not a primary necessity, but must be tested against the requirements of the "down-the-line" manipulators of the entities encapsulated by it.
series	DDSS
last changed	2003/08/07 16:36

_id	6
authors	Neiman, Bennett and Bermudez, J.
year	1998
title	Entre la Civilizacion Analoga y la Digital: El Workshop de Medios y Manipulacion Espacial (Between the Analogue and Digital Civilization: Workshop of Media and Space Manipulation)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 46-55
summary	As the power shift from material culture to media culture accelerates, architecture finds itself in the midst of a clash between centuries old analog design methods (such as tracing paper, vellum, graphite, ink, chipboard, clay, balsa wood, plastic, metal, etc.) and the new digital systems of production (such as scanning, video capture, image manipulation, visualization, solid modeling, computer aided drafting, animation, rendering, etc.). Moving forward requires a realization that a material interpretation of architecture proves limiting at a time when information and media environments are the major drivers of culture. It means to pro-actively incorporate the emerging digital world into our traditional analog work. It means to change. This paper presents the results of an intense design workshop that looks, probes, and builds at the very interface that is provoking the cultural and professional shifts. Media space is presented and used as an interpretive playground for design experimentation in which the poetics of representation (and not its technicalities) are the driving force to generate architectural ideas. The work discussed was originally developed as a starting exercise for a digital design course. The exercise was later conducted as a workshop at two schools of architecture by different faculty working in collaboration with it's inventor. The workshop is an effective sketch problem that gives students an immediate start into a non-traditional, hands-on, and integrated use of contemporary media in the design process. In doing so, it establishes a procedural foundation for a design studio dealing with digital media.
series	SIGRADI
email
more	http://www. arch.utah.edu/people/faculty/julio/studio.htm
last changed	2016/03/10 09:56

_id	338a
authors	Noble, Douglas and Hsu, Jason
year	1999
title	Computer Aided Animation in Architecture: Analysis of Use and the Views of the Profession
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 109-114
summary	A traditional way to present three-dimensional representations of architectural design has been through the use of manually drawn perspective drawings. The perspective representation assists in the comprehension of the forms and spaces, but is difficult to manually generate. The computer revolution made perspectives much easier to generate and led to a dramatically increased use of three-dimensional representation as a presentation technique. We are just now seeing substantial uses of animation as a communication and presentation tool in architecture. This paper documents the results of two surveys of the architectural profession that sought to discover the current and near future intentions for the use of computer animation. Our belief is that current levels of computer animation use are low, but that many firms intend to start using animation both as a design and presentation tool. In early 1998 we conducted a survey of the uses of computer animation by architectural firms. We posited a set of 14 related hypotheses. This paper represents the tabulated results from 82 completed surveys out of 620 requests. While some level of confidence can be obtained from this sample size, we are publishing in the hope of encouraging continued response to the survey.
series	SIGRADI
email
last changed	2016/03/10 09:56

_id	280e
authors	Park, Taeyeol and Miranda, Valerian
year	1998
title	Development of a Computer-Assisted Instruction System for Information Communication in Design Studio
doi	https://doi.org/10.52842/conf.caadria.1998.047
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. 47-56
summary	Design studio is the core of architectural education. An essential part of designing is using information and knowledge obtained from non-studio courses. However, as the complexity of buildings increases, the amount of this information increases and there is a danger that essential design information may be ruined and overlooked because of time and place constraints. As a means to bridge the gap between non-studio courses and design studios, some architectural educators suggest that design studios should bring knowledge to students in the process of designing so that they can apply this knowledge to their design. Most architectural studios, however, do not do enough to bring knowledge systematically into design projects when appropriate. Design projects generate need for additional knowledge about a number of topics, but too few studios systematically make knowledge available. Design studios should consider ways in which knowledge for design projects is integrally made available at the appropriate time. This paper describes a model for the delivery of design studio information which can be integral with any design projects. The model is demonstrated by a computer-assisted instruction (CAI) system designed and placed on the Web to introduce basic structural concepts and to teach an in-depth concept of spatial composition in a design studio and reports on its development, implementation, and testing. The system relies on many issues, such as access to relevant information, links between lessons for different subjects, representation of various design concepts, effective instructional methods for learning concepts, etc., which might be critical elements of designing an information communication system for design studio instruction. This paper tests the effectiveness of the system based on the results from responses of design studio students and observations of the researcher and the studio instructor, and concludes with the information that we hope will be useful in developing CAI materials for reflecting and acquiring information on a number of different subjects that have relevance to architectural design.
keywords	Computer-assisted Instruction (CAI), Design Studio Teaching, Information Delivery System
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:59

For more results click below: