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 554

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

_id	ga9921
id	ga9921
authors	Coates, P.S. and Hazarika, L.
year	1999
title	The use of genetic programming for applications in the field of spatial composition
source	International Conference on Generative Art
summary	Architectural design teaching using computers has been a preoccupation of CECA since 1991. All design tutors provide their students with a set of models and ways to form, and we have explored a set of approaches including cellular automata, genetic programming ,agent based modelling and shape grammars as additional tools with which to explore architectural ( and architectonic) ideas.This paper discusses the use of genetic programming (G.P.) for applications in the field of spatial composition. CECA has been developing the use of Genetic Programming for some time ( see references ) and has covered the evolution of L-Systems production rules( coates 1997, 1999b), and the evolution of generative grammars of form (Coates 1998 1999a). The G.P. was used to generate three-dimensional spatial forms from a set of geometrical structures .The approach uses genetic programming with a Genetic Library (G.Lib) .G.P. provides a way to genetically breed a computer program to solve a problem.G. Lib. enables genetic programming to define potentially useful subroutines dynamically during a run .* Exploring a shape grammar consisting of simple solid primitives and transformations. * Applying a simple fitness function to the solid breeding G.P.* Exploring a shape grammar of composite surface objects. * Developing grammarsfor existing buildings, and creating hybrids. * Exploring the shape grammar of abuilding within a G.P.We will report on new work using a range of different morphologies ( boolean operations, surface operations and grammars of style ) and describe the use of objective functions ( natural selection) and the "eyeball test" ( artificial selection) as ways of controlling and exploring the design spaces thus defined.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	de62
authors	Eriksson, Joakim
year	1998
title	Planning of Environments for People with Physical Disabilities Using Computer Aided Design
source	Lund Institute of Technology, School of Architecture
summary	In the area of environment adaptations for people with physical disabilities, it is of vital importance that the design is optimized considering the human-environment interactions. All involved persons in such a planning process must be given sufficient support in understanding the information, so that everyone can participate actively. There is an apparent risk that discussions will be kept between experts, due to difficulties in understanding the complex and technical adaptation issues. This thesis investigates the use of computer-based tools for planning/designing environments for physically disabled people. A software prototype, and a method to use such a tool in the planning process, was developed and evaluated, based on the findings from six case studies of real planning situations. The case studies indicated that although such a tool would support the design, as well as the dialog between the participants, a certain level of technical and economical efficiency must be obtained. To facilitate the professional planner's work, an important issue is to maintain a large library of 3D objects. With the latest prototype implementation, it was found that such a planning tool can be produced, even when using consumer-oriented computers. One previous critical factor, interactive manipulation of 3D objects, can now be achieved if utilizing modern graphic cards with 3D acceleration. A usability test was performed to evaluate the prototype's basic operations, involving two groups of future users: five occupational therapist students, and four persons with major physical impairments. It was found that although the usability was satisfactory for the basic tasks, several items needed to be improved or added in future versions. It is important with an integrated support for manikins, in order to evaluate, e.g., wheelchair accessibility, reach ability, positioning of handrails, etc. This thesis reviews and compiles published anthropometrical and biomechanical data into a uniform segment-by-segment structure, in order to aid the design and modifications of manikins. The compilation was implemented as a spreadsheet document. An MRI investigation of the neck-shoulder region was performed on 20 healthy Scandinavian, female volunteers, measuring various musculoskeletal properties. These measurements can be used for further refinements of manikin specifications and biomechanical models.
keywords	Rehabilitation; Disability; Adaptation; Participatory Planning; Design Tool; 3D Graphics; Computer Aided Design; Virtual Reality; Manikin; Anthropometry; Biomechanics; Magnetic Resonance Imaging; Cervical Spine Kinematics
series	thesis:PhD
email
more	http://www.lub.lu.se/cgi-bin/show_diss.pl?db=global&fname=tec_250.html
last changed	2003/02/26 09:21

_id	0471
authors	Bruton, B.
year	1998
title	Grammars and Pedagogy - Towards new Media Art and Design Education Strategies
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. 385-394
doi	https://doi.org/10.52842/conf.caadria.1998.385
summary	The impact of computational grammatical design on pedagogy has received little attention in art education due to the dominant modes of traditional approaches to art and design education. This paper explores the pedagogical implications of grammatical strategies using computers for judgements of design within an art educational setting. Grammatical strategies are studied for their effect on the judgements of novice artists in a new media educational context. It is argued that concepts of grammar and views of contingency are used in a variety of senses in the conception and form making of artists; that finding methods for discussing and utilising complex visual information is aided by grammatical formalisation; that these strategies are evidently effective at both early and mature stages of the realisation of a project. The research explores the relation between computer and art on three levels in which grammar is used: as a sense of grammar, as a computational paradigm and as a description of a kind of computer program. Grammatical formalism is apparent in two dimensional linear and non-linear animations using Photoshop, Premiere and Director, and in solid modelling programs such as Extreme 3D, Form Z, Strata Studio Pro, 3D Studio Max and SoftImage. Web site construction also impacts on the judgements of 2D and 3D design. Computational grammatical programs generate forms that reflect alternative understandings of art and design. Art practise is defined in terms of developing consistent and appropriate design language for the contingency at hand. Form making using grammatical tools, both recursive and array types, is discussed in terms of their applicability and educative value. Reference is made to formal qualities for critique and strategic capability of alternative pedagogy for generation of forms. Examples provided show how simple rule sets develop into complex derivational sequences that challenge traditional strategies for computer imaging. The paper demonstrates the value of a sense of grammars for novice art and design practitioners by using first hand examples of experimental work at the South Australian School of Art, University of South Australia. For novice artists and designers, grammars in conjunction with reflective practice is offered as a useful mind set that supports an interest in actively defining a new kind of art. Illustrations provided show the utility of a contingent sense of grammar for pedagogy and highlights the significant role of grammar in pedagogy.
keywords	Grammar, Pedagogy, Computer, Art, Design
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:54

_id	ddss9822
id	ddss9822
authors	Gribnau, M.W., Verstijnen, I.M. and Hennessey, J.M.
year	1998
title	Three Dimensional Object Orientation Using the Non-Dominant Hand
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 paper presents the “Turntable”, a 3D input device for orienting objects using the non-dominant hand. The device supports two-handed manipulation by allowing the non-dominant hand to orient an object while leaving the dominant hand free to perform other actions. Two-handed input is a technique that can enhance the performance, simplicity and intuitiveness of CAD systems. These properties are obligatory for CAD systems dedicated to support the conceptual phase of the design process. Anexperiment has been conducted in which the performance of the Turntable was compared to that of a well known 3D orientation method, known in literature as the “virtual sphere”. The virtual sphere is operated with the mouse using the dominant hand and is documented to be easy to use and efficient. The experiment establishes that a performance gain can be expected from a two-handed user interface that employs the Turntable for 3D object orientation with the non-dominant hand. In a single-handedinterface users must switch between rotating and manipulating an object. In a two-handed interface however, task switching is unnecessary and an additional performance benefit can be achieved when there is temporal overlap in the execution of the two tasks. Experimental results show that the Turntable, operated by the non-dominant hand, is easy to learn and its performance and accuracy are nearly equal to that of the virtual sphere operated by the dominant hand. With these results it can now be expected that a two-handed interface utilizing the Turntable performs better than a single-handed one for manipulating objects in 3D.
series	DDSS
last changed	2003/08/07 16:36

_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	6f74
authors	Norman, Richard
year	1998
title	Teaching Computation for Design
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 115-122
doi	https://doi.org/10.52842/conf.ecaade.1998.115
summary	Modeling the formal idea has long been problematic in schools. Renaissance tools, however inspired by the invention of perspective, usually result in two-dimensional sketches. Cardboard and small pieces of wood occasionally become the three-dimensional media of first visualization in studios; modeling on the computer is a newer idea. This paper examines two experiments, one where design fundamentals and solid modeling are introduced in a common studio, the other where instruction is removed from the studio environment and made an adjunct elective. In the first case the course is an introduction to both design and computation, an electronic investigation of Paul Klee’s first principles: point, line, shape, form and space—adding, subtracting, rotating and multiplying objects using Beaux Arts principles to create the design. The result is architectural form-making that was not possible in the studio-past. The second case is a course which isolates computer instruction from the studio, making it a separate academic discipline. Fantasy projects then demonstrate computational principle, exploring pure form without burden of technical or social obligation that studio imposes; alternative methods are presented for introducing design computation to the architectural student.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:58

_id	40
authors	Prieto, Carlos and Serrentino, Roberto
year	1998
title	Configuraciones Urbanas Recursivas (Recursive Urban Configurations)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 300-309
summary	A method to develop skills using digital techniques in architectural and design fields is proposed. Recursive procedures in successive cycles of abstraction are used applied for the urban layout design process. Each configurational cycle (master plan, urban modules, buildings, habitational units) is separated and exaggerated to face the process with pedagogical goals. Urban factors that conform the city are identified in order to classify repetitive urban problems. A patch of the city, in which a master plan is developed, is isolated and is submitted the measurable tests related to the Architectural and Design projecting process, enfatizating the following aspects., its systemic structures, its geometry and its growing. Alometric concepts and growing form analogies are used as scale control method in transformations and in recursive cycles. Based in two potentially recursive theories, fractals and tessellation's theories, a pedagogic procedure oriented to the use of tessellations is proposed using CAD systems tools.
series	SIGRADI
email
last changed	2016/03/10 09:58

_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	34
authors	Regot, Joaquin and De Mesa, Andres
year	1998
title	Modelado de Superficies Complejas. La Casa Mila de Antonio Gaudi (Modeling of Complex Surfaces. The House Mila of Antonio Gaudi)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 258-265
summary	This paper explains the three-dimensional representation procedure of one fragment of Mil· house elevation designed by the architect Antoni GaudÌ. The generation process of an architectonic virtual model constituted by free form surfaces like this, represents a paradigm of high level difficulty in CAD modeling. The main objective of our research has been not only construct a model that shows the complex form of its architecture, but also verify the performance of the different tools supported by computer aided design programs in the management of surface modeling.We obtained an accurate information of the real surface elevation with a photogrammetric survey using contour lines. The transformation of this kind of data in a three-dimensional model was not immediately Thus, we have had study different ways to generate the three-dimensional model solution. The process began with the construction of different surface models supported by analytic functions, but the obtained surfaces made with this system were deficient and not too much satisfactory. That's why, we use a polyhedron mesh surface method in order to improve these results.in spite of this methodology reductive performance, (compared with analytic function systems), the obtained surface demonstrated that this technique was the best way to satisfy the requirement of a free form surface previously established as we want to construct. From this point the principal problem was generate a surface defined by two-dimensional data, (contour lines), applying an automatic process sufficiently fast to compete with the analytic function systems.To satisfy the demand was necessary make complementary software to improve the process and allow more fluidity to resolve this typology of surfaces. We achieved this phase thanks to Joan Miquel Quilez collaboration and the constant dedication in the elaboration of complementary software to computer aided design. Finally, the introduction of render systems with lights, shadows, textures and reflected images, allowed show the studied elevation area of Mil· house with more accuracy. Thus, the limits and contours of the finally surface were more evident and help us to known the properties of a non- materialized free form surface successfully.
series	SIGRADI
email
last changed	2016/03/10 09:58

_id	ba1b
authors	Schnier, T. and Gero, J.S.
year	1998
title	From Frank Lloyd Wright to Mondrian: Transforming evolving representations
source	I. Parmee (Ed.), Adaptive Computing in Design and Manufacture, Springer, London, pp. 207-219
summary	If a computer is to create designs with the goal of following a certain style it has to have information about this style. Unfortunately, the most often used method of formal representations of style, shape grammars, does not lend itself to automated implementation. However, It has been shown how an evolutionary system with evolving representation can provide an alternative approach that allows a system to learn style knowledge automatically and without the need for an explicit representation. This paper shows how the applicability of evolved representation can be extended by the introduction of transformations of the representation. One such transformation allows mixing of style knowledge, similar to the cross-breeding of animals of different races, with the added possibility of controlling exactly what features are used from which source. This can be achieved through different ways of mixing representations learned from different examples and then using the new, combined representation to create new designs. In a similar manner, information learned in one application domain can be used in a different domain. To achieve this, either the representation or the genotype-phenotype transformation has to be adapted. The same operations also allow mixing of knowledge from different domains. As an example, we show how style information learned from a set of Mondrian paintings can be combined with style information from a Frank Lloyd Wright window design, to create new window designs. Also, we show how the combined style information can then be used to create three-dimensional objects, showing style features similar to the newly designed windows.
keywords	Genetic Engineering, Learning
series	other
email
last changed	2003/04/06 09:02

_id	e031
authors	Stannard, Sandy
year	1998
title	Computers in Design Exploring Light and Time
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. 26-35
doi	https://doi.org/10.52842/conf.acadia.1998.026
summary	Computers have helped bring architectural education to a digital crossroads. This new tool is effecting architectural education on numerous levels, from the simplest word processing of research papers to more complex interactive modeling. This casestudy paper will focus on the new and changing role of the computer in the design studio. In this case, the approach to integrating the computer into the studio revolves around its application simply as another tool for a designer’s use. Clearly, the use of computers in design studios is not a new development. However, as the computer’s use in design education is not yet widespread, a dialogue about methods of application is valuable for design educators. The intent behind computer use in this case was not to replace traditional design methods but to complement and enhance them. In this spirit, this case study focuses on the use of computers to investigate two aspects of design that are challenging to model: light and time. In the studios to be examined here, students were required to explore their designs with both traditional tools (sketches on trace, physical study models as well as final finish models, etc.) and with newer digital tools (lighting simulation programs, threedimensional modeling programs, and animation). Students worked in teams in most cases. The computer was used both as a design tool as well as a representational tool, with varying degrees of success, depending on the student’s expertise, comfort using the computer as a design tool and access to appropriate hardware and software. In the first studio case study, the “new” medium of the computer was a perfect complement for the focus of the studio, entitled “Space and Light.” In addition to utilizing large scale physical models traditionally used for lighting design, three-dimensional computer models using Lightscape enriched the design results. Both sets of tools were vital for the design processes of the studio assignments. In the second studio case study, a traditional fourth year studio was required to use the computer to explore the dimension of time in their designs, which in this case translated into animation modeling. Integrating the computer into the design studio promises to be a complex task. As these examples will illustrate, the advantages and the disadvantages require continual balancing. Philosophical disagreement, potential discomfort, or a general lack of knowledge of digital tools may inhibit design educators from testing the potential of these ever-changing tools. Despite the challenges, this case study reveals the educational value of continued experimental use of digital tools in the design studio.
series	ACADIA
email
last changed	2022/06/07 07:56

_id	ddss9802
id	ddss9802
authors	Akin, O., Aygen, Z., Cumming, M., Donia, M., Sen, R. and Zhang, Y.
year	1998
title	Computational Specification of Building Requirements in theEarly Stages of 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	We have been exploring computational techniques to help building designers to specify design requirements during the early stages of design. In the past, little has been accomplished in this area either in terms of innovative computational technologies or the improvement of design performance.The prospect of improving design productivity and creating a seamless process between requirements specification and formal design are our primary motivations. This research has been conducted as partof a larger project entitled SEED (Software Environment to Support Early Phases in Building Design). SEED features an open-ended modular architecture, where each module provides support for a design activity that takes place in early design stages. Each module is supported by a database to store and retrieve information, as well as a user interface to support the interaction with designers. The module described in this paper, SEED-Pro (the architectural programming module of SEED), is a workingprototype for building design requirements specification. It can be used by other modules in SEED or by design systems in other domains, such as mechanical engineering, civil engineering, industrial designand electrical engineering. Our approach to SEED-Pro is divided into two phases: core, and support functionalities. The core functionalities operate in an interactive mode relying on a case-based approach to retrieve and adapt complex specification records to the problem at hand. The supportfunctionalities include the case-base, the data-base, and the standards processing environment for building specification tasks. Our findings indicate that SEED-Pro: (1) is a tool that structures the unstructured domain of design requirements; (2) enables the integration of design requirements with the rest of the design process, (3) leads to the creation of complex case-bases and (4) enables the observation of their performance in the context of real world design problems.
series	DDSS
last changed	2003/11/21 15:15

_id	0f4c
authors	Asanowicz, Aleksander
year	1998
title	From Real to Cyber Reality
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 11-19
summary	Human activity takes place in two planes, at two levels. Practical activity is present in one of the planes, the other level is occupied by purely cognitive activity. When observing sufficiently long sequences of practical and cognitive activities, one notices transitions between them, which prove true the suspicions of their functional relationship. Because on both of these planes of human activity there is always one and the same element present - an informative element - which on the first plane functions as subordinate, and in the other as an independent one, one can search for a common characteristic for both planes. Such common characteristic for both levels of human activity can be perceived in the fact that in both situations the activity of a human is based on CREATION. Human thinking is based on transitions between what is accessible through experience and what is referred to conceptually. The human thought exists only and exclusively in the vertical motion: from the phenomenal level to the structural level direction of abstraction) and from the conceptual level to the empirical level direction of concretisation). All human activity is multilayered or, more precisely, it is an activity within many layers: the sensual one as well as the structural one. The appearance of conceptual thinking has created a qualitatively new type of a situation. This novelty can be easily seen both in the sphere of the practical cognitive activity as well as in the sphere of the pure cognitive activity. In both cases, the cognitive activity of a human is of a "double-decker" character: image and concept. It is necessary to note here that the "image" does not only mean structural, concrete, but also one which is purely visual, abstract, of no physical form. Therefore, the human experience, being the result of the cognitive activity, is being expressed, becoming objective, materialising in two different but compatible ways. Firstly, in the material structures of practical significance - this way the material culture is created. Secondly - in material structures which have no practical meaning but are solely used for expressing the spiritual contents - thus creating the spiritual culture. Humans have developed an extraordinarily strong need for spiritual activity, which is manifested by the material activity, redundant from the point of view of the material needs.
series	plCAD
email
last changed	2003/05/17 10:01

_id	c304
authors	Barber, T.and Hanna, R.
year	1998
title	Appraisal of Design Studio Methodologies
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. 21-30
doi	https://doi.org/10.52842/conf.caadria.1998.021
summary	This paper investigates the relationship between different design approaches and their effectiveness in the formulation of design concepts. This inquiry will focus on the computer as the sole design and developmental tool. The research employs a short design programme, a small building with a given urban site, as its investigative vehicle. Nineteen second year students of the Mackintosh School of Architecture were monitored and their design progress evaluated. They were split into two groups: one used CAD and AEC as the only drawing and modelling tool, tutorial and review, and another used conventional tools of drawing and model making (mixed media). Structured interviews and personal observations were used as a means for data collection. Questionnaires were administered to students and their response was analysed using the statistical programme SPSS (Statistical Package for the Social Sciences). The Mann-Whitney test was used to test the Null Hypothesis that different design approaches will not produce different design outcomes. Correlation, Regression and the X2 test of independence were also employed to screen data and identify patterns of relationships.
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:54

_id	a136
authors	Blaise, J.Y., Dudek, I. and Drap, P.
year	1998
title	Java collaborative interface for architectural simulations A case study on wooden ceilings of Krakow
source	International Conference On Conservation - Krakow 2000, 23-24 November 1998, Krakow, Poland
summary	Concern for the architectural and urban preservation problems has been considerably increasing in the past decades, and with it the necessity to investigate the consequences and opportunities opened for the conservation discipline by the development of computer-based systems. Architectural interventions on historical edifices or in preserved urban fabric face conservationists and architects with specific problems related to the handling and exchange of a variety of historical documents and representations. The recent development of information technologies offers opportunities to favour a better access to such data, as well as means to represent architectural hypothesis or design. Developing applications for the Internet also introduces a greater capacity to exchange experiences or ideas and to invest on low-cost collaborative working platforms. In the field of the architectural heritage, our research addresses two problems: historical data and documentation of the edifice, methods of representation (knowledge modelling and visualisation) of the edifice. This research is connected with the ARKIW POLONIUM co-operation program that links the MAP-GAMSAU CNRS laboratory (Marseilles, France) and the Institute HAiKZ of Kraków's Faculty of Architecture. The ARKIW programme deals with questions related to the use of information technologies in the recording, protection and studying of the architectural heritage. Case studies are chosen in order to experience and validate a technical platform dedicated to the formalisation and exchange of knowledge related to the architectural heritage (architectural data management, representation and simulation tools, survey methods, ...). A special focus is put on the evolution of the urban fabric and on the simulation of reconstructional hypothesis. Our contribution will introduce current ARKIW internet applications and experiences: The ARPENTEUR architectural survey experiment on Wie¿a Ratuszowa (a photogrammetrical survey based on an architectural model). A Gothic and Renaissance reconstruction of the Ratusz Krakowski using a commercial modelisation and animation software (MAYA). The SOL on line documentation interface for Kraków's Rynek G_ówny. Internet analytical approach in the presentation of morphological informations about Kraków's Kramy Bogate Rynku Krakowskiego. Object-Orientation approach in the modelling of the architectural corpus. The VALIDEUR and HUBLOT Virtual Reality modellers for the simulation and representation of reconstructional hypothesis and corpus analysis.
series	other
last changed	2003/04/23 15:14

_id	07c5
authors	Burry, Mark
year	1998
title	Handcraft and Machine Metaphysics
source	Computers in Design Studio Teaching [EAAE/eCAADe International Workshop Proceedings / ISBN 09523687-7-3] Leuven (Belgium) 13-14 November 1998, pp. 41-50
doi	https://doi.org/10.52842/conf.ecaade.1998.041
summary	As the cost of 3D digitisers drops and PC price performance rises, opportunities for hand - computer co-operation improve. Architectural form may now be experimentally moulded or carved using manual techniques in close association with the computer. At any stage the model can be mechanically digitised and translated to a computer database for explorations that go beyond simple physical manipulation. In the virtual environment, the resulting forms can be rationalised using an ordering geometry or further de-rationalised. This potential for debasing intuitive, sensually haptic and responsive handwork through its translation into numerically cogent formulations is risky business. But it may also bring new and unlikely rewards. This paper considers the implications and aesthetics of negotiations between handcraft and consecutive or synchronous computer digitalisation of intentions. Two situations will be discussed and compared. The first is the nature of computer modelling and its representation per se, and the second is the relevance of using handcraft as a sponsor for computer-based manipulation and morphological experimenting.
series	eCAADe
email
more	http://www.eaae.be/
last changed	2022/06/07 07:54

_id	18
authors	Castane, D., Leirado, E.R., Tessier, C. and Martinez.R.
year	1998
title	El Docente y la Utilizacion de Sistemas Multimediales en Redes Telematicas Aplicados a la Ensenanza 3D en Diseno Arquitectonico (The Teacher and the use of Multimedia Systems in Telematicas Networks Applied to the Teaching of 3D in Architectonic Design)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 154-159
summary	The remarkable advances in the technology of computer systems, including software, hardware, and networks, continuously give us new avenues to be utilized in education. The pedagogic strategy to be developed in the utilization of digital graphic systems applied to three-dimensional design in architecture (both in the design and virtual expression of objects or already designed architectural groups) is still changing with the times.Therefore, the Department, as an extension of its experience with this type of development and as a response to deal with special situations such as large numbers of students, develops this new proposal, which is currently being used. This project uses the implementation, structuring, and building of a virtual site as an informatics classroom, utilizing multimedia systems, to be used as a support for acquiring knowledge during the learning that takes place doing the coursework. This setting would allow for the feedback between the instructor and the student to be on-going, hence both groups being efficiently motivated through examples and opportunities of how to do the following: utilize appropriate technology, manipulate the right information, utilize the right kind of software programs and techniques, revamp the knowledge, and benefit from using the appropriate digital techniques for each specific case of architectural design and expression.
series	SIGRADI
email
last changed	2016/03/10 09:48

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

_id	ddss9813
id	ddss9813
authors	Cordan, Ozge and Besgen, Asu
year	1998
title	No Times But Principles, A Case Study From Priene, Anatolia
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	To emphasise the reusing of the local identities and cultural effects on contemporary designs, this paper is believed to have an important role for architects and for further designs. In this paper design theories in 1000's BC from Priene is held. The theories in urban and architectural design took place. From the intersection point of Ancient Greek and Western Anatolia, a city named "Priene" is chosen as a point of view because of its speciallocation on the Aegean Sea Coasts; Asia Minor and its design principles on urban and housing scale which were used during 1000's and are still common. Also, in this paper, an analysis is done on urban and housing scale. The analysis has two main parts. In the first part, the important buildings in Priene and their settlement decisions take part. And in the second part, the houses of Priene are explained. The general outputs of the study can be put under two titles: urbanism and architecture. In terms of urbanism, those features of a city image reflecting onto today’s world have been examined and the city of Priene has been analysed in the content of Lynch’s elements ensuring formation of a city image. In terms of architecture, results obtained have been separately examined in the content of today’s architecture as public buildings reflecting unique characteristics of Hellenistic architecture and as settlements. In short, the result that it is wished to reach in terms of city scale of the city of Priene in this study isthe expression of the essence of the historical heritage using a modern language to ensure historical continuity.
series	DDSS
last changed	2003/08/07 16:36

For more results click below: