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

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_id	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	6eb1
authors	Lloyd, P. and Deasley, P.
year	1998
title	Ethnographic description of design networks
source	Automation in Construction 7 (2-3) (1998) pp. 101-110
summary	One of the central themes of a commercial design process is communication. Complex design artefacts, rather than being rationally thought out by individuals, evolve through designers negotiating and bargaining with clients and peers alike. Problems are resolved through discussion and explanation. The 'design process,' as a reified entity, cannot be apprehended by any individual. Understanding of the process is spread over a social network, and through the narratives and discourses that are forged from day to day. This is design as a social process. The focus of the present paper is twofold. First, we wish to establish the field of ethnography as a particularly useful method of describing design in its social form. Secondly, we describe the results of a design case study we have carried out, using ethnographic methods, in an aerospace manufacturing company. We observe informal structures determining work activity, and the use of subtle `role' playing in problem-solving.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	4b50
authors	Vera, A., Kvan, T., West, R. and Lai, S.
year	1998
title	Expertise, Collaboration and Bandwidth Usability of Groupware
source	Proceedings of ACM CHI 98 Conference on Human Factors in Computing Systems 1998 v.1 pp. 503-510
summary	This paper describes the results of a study evaluating the effects of computer mediation on collaboratively solving architectural design problems. Pairs of graduate design students were asked to work on a landscape architecture design problem via computer terminals. In one condition they were allowed to communicate with an electronic whiteboard and a chat-line while in the other, the chat-line was substituted with video-conferencing (real-time video and audio). The protocols were evaluated according to two models. First, they were coded according to the pattern of collaboration, distinguishing meta-planning, negotiation, evaluation, and individual work. No differences were found between the two groups when coded this way. The protocols were also coded in terms of the problem-solving content, distinguishing task-related exchanges, interface-related exchanges, low-level design exchanges, and high-level design exchanges. The results showed that in the bandwidth-limited chat-line condition, participants cut down task and interface-related as well as low-level design exchanges but attempted to maintain the same amount of high-level design exchanges. When the final designs were evaluated by professional architects, no differences were found between two conditions indicating that chat-line participants implicitly compensate for the narrower bandwidth interface.
keywords	Cognitive Models; Expertise; Collaboration; CSCW
series	other
last changed	2002/07/07 16:01

_id	581f
authors	Vera, A., Kvan, Th., West, R. and Lai, S.
year	1998
title	Expertise and collaborative design
source	CHI’98 Conference Proceedings. Los Angeles: ACM, 1998, pp. 503-510
summary	This paper describes the results of a study evaluating the effects of computer mediation on collaboratively solving architectural design problems. Pairs of graduate design students were asked to work on a landscape architecture design problem via computer terminals. In one condition they were allowed to communicate with an electronic whiteboard and a chat-line while in the other; the chat-line was substituted with video-conferencing (real-time video and audio). The protocols were evaluated according to two models. First; they were coded according to the pattern of collaboration; distinguishing meta-planning; negotiation; evaluation; and individual work. No differences were found between the two groups when coded this way. The protocols were also coded in terms of the problem-solving content; distinguishing task-related exchanges; interface-related exchanges; low-level design exchanges; and high-level design exchanges. The results showed that in the bandwidth-limited chat-line condition; participants cut down task and interface-related as well as low-level design exchanges but attempted to maintain the same amount of high-level design exchanges. When the final designs were evaluated by professional architects; no differences were found between two conditions indicating that chat-line participants implicitly compensate for the narrower bandwidth interface.
keywords	Cognitive Models; Expertise; Collaboration; CSCW
series	other
email
last changed	2002/11/15 18:29

_id	57
authors	Chernobilsky, Lilia B. and Arturo F. Montagu
year	1998
title	Desarrollo de un Sistema de Informacion de Infraestructura Edilicia (Development of an Information system of Municipal Infrastructure)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 426-431
summary	The Information System of Building Components -ISBC, consists of a set of activities to control the graphic data operation procedures of building plans and its storage in a data base. The system is specially prepared to be used by architects, engineers and cad operators who are dealing with a continuous flow of design problems, regarding the permanent adaptation and modification of office's layout in a great amount of buildings around the country. These constant changes bring out several types of architectural design problems that should be taken into consideration by the proposed system, particularly the reallocation of office furniture and the modification of building components. Therefore, the principal goal of the system is based on the inquiry and permanently updating of the data base composed by: furniture, technical equipment (computers and telecommunications networks), lights, air-conditioning, sanitary equipments and any other equipment that can be inventoried. The generation and operation of great amount of graphics and alphanumerical information bring out severe data inconsistency problems, particularly when graphic data is envolved. The task of "feeding" and modifying a data base produces errors that aren't easy to solve, even when specific consistency procedures are used. The ISBC provides the computer routines for the initial task of building up the required data base of each building, allowing to use an interactive algorithm among the digitized plans of each office and the data base of the enquiry system. An additional operation included in the system allows to compute the area of each section of the building in order to calculate several types of working spaces regarding ergonomical and functional performance specifications established by law regulations.
series	SIGRADI
email
last changed	2016/03/10 09:48

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

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

_id	e78b
authors	Akin, O. and Akin, C.
year	1998
title	On the process of creativity in puzzles, inventions, and designs
source	Automation in Construction 7 (2-3) (1998) pp. 123-138
summary	The most common means of identifying creativity has been through its products. In architecture, music, writing, art, even puzzle solving and scientific discovery, the prerequisite for considering creativity has been the presence of a creative product. Alternatively, anecdotal descriptions have been used to identify processes that are considered creative. Many scientific discoveries have been linked to a sudden realization or unexplainable revelation punctuated with the AHA! response. Outside of the creative product itself and the AHA! response, the kinds of concrete evidence that point to the process of creativity are precious few. Our purpose here is to further examine these phenomena and develop hypotheses about the nature of the creative process. Our ultimate aim is to develop a general theory of creativity. We intend to base this theory on a set of conditions that are necessary for the creative process to take place in a number of domains: puzzles, scientific discoveries, and design, with special emphasis on architectural design.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	10f9
authors	Kvan, Th., West, R. and Vera, A.
year	1998
title	Tools and Channels of Communication
source	International Journal of Virtual Reality, 3:3, 1998, pp. 21-33
summary	This paper proposes a methodology to evaluate the effects of computer-mediated communication on collaboratively solving design problems. When setting up a virtual design community; choices must be made between a variety of tools; choices dictated by budget; bandwidth; ability and availability. How do you choose between the tools; which is useful and how will each affect the outcome of the design exchanges you plan? A commonly used method is to analyze the work done and to identify tools which support this type of work. In general; research on the effects of computer-mediation on collaborative work has concentrated mainly on social-psychological factors such as deindividuation and attitude polarization; and used qualitative methods. In contrast; we propose to examine the process of collaboration itself; focusing on separating those component processes which primarily involve individual work from those that involve genuine interaction. Extending the cognitive metaphor of the brain as a computer; we view collaboration in terms of a network process; and examine issues of control; coordination; and delegation to separate sub-processors. Through this methodology we attempt to separate the individual problem-solving component from the larger process of collaboration.
keywords	Expertise; Collaboration; Novice
series	journal paper
email
last changed	2002/11/15 18:29

_id	650c
authors	Porada, S.
year	1998
title	Ouvoir - Of the Potential Architecture
source	Cyber-Real Design [Conference Proceedings / ISBN 83-905377-2-9] Bialystock (Poland), 23-25 April 1998, pp. 155-161
summary	Calculations are used to forecast urban flows of population, development of various activities, demography, and many other architectural programme constrains, and have been spontaneously the first field of computer intervention in urban and architectural project design. By analogy to engineering where computation is the base of decision making, architectural design process is seen as a problem solving process. <> constrains computer aided computation is seen as Computer Aided Architectural Design, CAAD. This way, a technological utopia called CAD in architecture is born. Nevertheless, the review of architectural design methods has clearly shown that programmatic models, since they are only used to evaluate spatial hypothesis, and do not have in themselves space production potentialities. In spite of the powerful methodological movement of the sixties, that have established this design constellation, the misunderstanding persists until now. Architect is a gestural and visual being. By using simultaneously metaphor, gesture and calculation, he calls for all his experiences and sensibility to realise plastic and poetic synthesis of form. To remedy to the major problem of the form synthesis, graphical instruments have been proposed. Why not utilise tools used in the field of engineering as computer aided drafting ? And so, computer aided drafting triumphaly entered the architectural design process. But, computer aided drafting is commonly seen as an instrument used on the - projection - stage, where drawings are produced for an already designed object. A new myth that assimilate architectural design to the drawing production activity arrives with the <>, containing thousands of drawings. All this aimed to facilitate, as it is proclaimed, communication between all the intervening in the project.
series	plCAD
last changed	1999/04/08 17:16

_id	48db
authors	Proctor, George
year	2001
title	CADD Curriculum - The Issue of Visual Acuity
doi	https://doi.org/10.52842/conf.ecaade.2001.192
source	Architectural Information Management [19th eCAADe Conference Proceedings / ISBN 0-9523687-8-1] Helsinki (Finland) 29-31 August 2001, pp. 192-200
summary	Design educators attempt to train the eyes and minds of students to see and comprehend the world around them with the intention of preparing those students to become good designers, critical thinkers and ultimately responsible architects. Over the last eight years we have been developing the digital media curriculum of our architecture program with these fundamental values. We have built digital media use and instruction on the foundation of our program which has historically been based in physical model making. Digital modeling has gradually replaced the capacity of physical models as an analytical and thinking tool, and as a communication and presentation device. The first year of our program provides a foundation and introduction to 2d and 3d design and composition, the second year explores larger buildings and history, the third year explores building systems and structure through design studies of public buildings, fourth year explores urbanism, theory and technology through topic studios and, during the fifth year students complete a capstone project. Digital media and CADD have and are being synchronized with the existing NAAB accredited regimen while also allowing for alternative career options for students. Given our location in the Los Angeles region, many students with a strong background in digital media have gone on to jobs in video game design and the movie industry. Clearly there is much a student of architecture must learn to attain a level of professional competency. A capacity to think visually is one of those skills and is arguably a skill that distinguishes members of the visual arts (including Architecture) from other disciplines. From a web search of information posted by the American Academy of Opthamology, Visual Acuity is defined as an ability to discriminate fine details when looking at something and is often measured with the Snellen Eye Chart (the 20/20 eye test). In the context of this paper visual acuity refers to a subject’s capacity to discriminate useful abstractions in a visual field for the purposes of Visual Thinking- problem solving through seeing (Arnheim, 1969, Laseau 1980, Hoffman 1998). The growing use of digital media and the expanding ability to assemble design ideas and images through point-and-click methods makes the cultivation and development of visual skills all the more important to today’s crop of young architects. The advent of digital media also brings into question the traditional, static 2d methods used to build visual skills in a design education instead of promoting active 3d methods for teaching, learning and developing visual skills. Interactive digital movies provide an excellent platform for promoting visual acuity, and correlating the innate mechanisms of visual perception with the abstractions and notational systems used in professional discourse. In the context of this paper, pedagogy for building visual acuity is being considered with regard to perception of the real world, for example the visual survey of an environment, a site or a street scene and how that visual survey works in conjunction with practice.
keywords	Curriculum, Seeing, Abstracting, Notation
series	eCAADe
email
last changed	2022/06/07 08:00

_id	f02d
authors	Vries, B. de, Achten, H. and Jessurun, J.
year	1998
title	What offers Virtual Reality to the Designer?
source	Proceedings of Conference on Integrated Design & Process Technology, Berlin, Germany
summary	Virtual Reality being a relatively new technology receives much attention in scientific research as well as in public news media. In the first case because of the technical problems that still have to be solved to offer the functionality and performance required by the application developers. In the second case because of the appealing interface between the application user and the computer system. Design in general and especially architectural design has a long-standing tradition in solving design problems by mixing artistic and scientific approaches. Research has resulted in design theories and methodologies in order to better understand the design process and from that to improve the quality of the designed product. Before applying Virtual Reality as an enabling technology for design, the characteristics of the technology and of the application must be specified. This is not an easy job since VR is not yet very 'stable' and design is a very complex process. From the knowledge and experience in the Calibre research group a first draft of a specification is presented so that we can draw some conclusions on the applicability of VR for design.
series	other
email
last changed	2003/04/23 15:50

_id	caadria2006_633
id	caadria2006_633
authors	WAN-YU LIU
year	2006
title	THE EMERGING DIGITAL STYLE: Attention shift in architectural style recognition
doi	https://doi.org/10.52842/conf.caadria.2006.x.g4f
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 633-635
summary	“Style” has long been an important index to observe the design thinking of designers in architecture. Gombrich (1968) defined style as a particular selection from the alternatives when doing things; Ackerman (1963) considered that a distiguishable ensemble of certain characteristics we call a style; Schapiro (1961) pointed out that style is constant forms, and sometimes the constant elements, qualities and expression; Kirsch (1998), Cha and Gero (1999) thought of style as a form element and shape pattern. As Simon and others referred to, style emerged from the process of problem solving, Chan (1994, 2001) ever devised a serious of experiments to set up the operational definitions of style, further five factors that relate to generating styles. Owing to that the greater part of sketches and drawings in the design process couldn’t be replaced by computer-aided design systems (Eisentraut, 1997), designers must shift between different problem-solving methods while facing different design problems. The purpose in this research is to discuss the influences of computer usage on style generation and style recognition: The employment of certain procedural factors that occurred in the design processes that using conventional media is different from the ones that using computer media? Do personal styles emerge while designers shifting between different media in the design processes? Does any unusual phenomenon emerge while accustomed CAD-systems designers recognizing a style?
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	ddss9808
id	ddss9808
authors	Boelen, A.J.
year	1998
title	Pattern Matching for Decision Support
source	Timmermans, Harry (Ed.), Fourth Design and Decision Support Systems in Architecture and Urban Planning Maastricht, the Netherlands), ISBN 90-6814-081-7, July 26-29, 1998
summary	In this paper is discussed how we can use pattern matching techniques in combination with object orientation to support decision makers in arranging offices and industrial and commercial facilities in existing urban areas. The method used is based on the findings of a Ph.D. project almost finishedwhen writing this. The tool under development is specifically useful for rehabilitation of deteriorated industrial or commercial areas.I consider such an area already occupied and surrounded with all kinds of urban objects and connected to all kinds of infrastructure. I can describe this area in available objects and facilities. Furthermore we can describe the areas capacity left within the infrastructure, the capacity in forexample work force or clients and the available band width in noise or pollution. By describing the area in terms of availability of capacity to absorb or produce flows of people, goods, energy and information we sketch the room available for certain types of industrial or commercial facilities. I developed a technique to describe industrial and commercial facilities in such a way that we enable the match between these and the characteristics of an area available. Pattern matching techniquesenable the system to generate best matches between available areas, locations and facilities. This model can be adapted in several object oriented geographical information systems and be integrated with other information systems that for example calculate the pollution of certain kinds of facilities. The rules to match with are partly based on objective, measurable data like available capacity on the electricity network and needed electrical power for certain facilities. Other matching rules are based on political norms on for example acceptable pollution levels and suggested pollution of facilities. The paper presents the problem area of industrial area rehabilitation, describes the architecture of the modeling technique and presents the first findings of implementation studies.
keywords	Pattern matching, Object GIS, Urban object modeling, Facility planning
series	DDSS
last changed	2003/11/21 15:16

_id	4942
authors	Gardner, Brian M.
year	1998
title	The Grid Sketcher: An AutoCAD Based Tool for Conceptual Design Processes
doi	https://doi.org/10.52842/conf.acadia.1998.222
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. 222-237
summary	Sketching with pencil and paper is reminiscent of the varied, rich, and loosely defined formal processes associated with conceptual design. Architects actively engage such creative paradigms in their exploration and development of conceptual design solutions. The Grid Sketcher, as a conceptual sketching tool, presents one possible computer implementation for enhancing and supporting these processes. It effectively demonstrates the facility with which current technology and the computing environment can enhance and simulate sketching intents and expectations. One pervasive and troubling undercurrent, however, is the conceptual barrier between the variable processes of human thought and those indigenous to computing. Typically with respect to design, the position taken is that the two are virtually void of any fundamental commonality. A designer’s thoughts are intuitive, at times irrational, and rarely follow consistently identifiable patterns. Conversely, computing requires predictability in just these endeavors. Computing is strictly an algorithmic process while thought is not always so predictable. Given these dichotomous relationships, the computing environment, as commonly defined, cannot reasonably expect to mimic the typically human domain of creative design. In this context, this thesis accentuates the computer’s role as a form generator as opposed to a form evaluator. The computer, under the influence of certain contextual parameters can, however, provide the designer with a rich and elegant set of forms that respond through algorithmics to the designer’s creative intents. The software presented in this thesis is written in AutoLISP and exploits AutoCAD’s capacious 3D environment. Designs and productions respond to a bounded framework where user selected parametric variables of size, scale, proportion, and proximity, all which reflect contextual issues, determine the characteristics of a unit form. Designer selected growth algorithms then arbitrate the spatial relationships between the unit forms and their propagation through the developing design. While the Sketcher implements only the GRID as an organizational discipline, many other paradigms are possible. Within this grid structure a robust set of editing features, supported by the computer’s inherent speed, allows the designer to analyze successive productions while refining ever more complex solutions. Through creative manipulation of these algorithmic structures ideas eventually coalesce to formalize images that represent a given design problem’s solution set.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	sigradi2009_903
id	sigradi2009_903
authors	Harris, Ana Lúcia Nogueira de Camargo
year	2009
title	O Uso da Técnica dos "Planos em Série" com o Desenvolvimento da Computação Gráfica - Uma Experência Didática [The Use of the 'Serial Plan' Technique with the Development of the Computer Graphic - A Teaching Experience]
source	SIGraDi 2009 - Proceedings of the 13th Congress of the Iberoamerican Society of Digital Graphics, Sao Paulo, Brazil, November 16-18, 2009
summary	This paper is about comparative didactic experiences where the “Serial plan Technique” defined by Wong (1998), was applied in 2001 and 2008 which computer resources from that time. In 2001 this technique was applied with the help of AutoCAD for generation of the planifications, but in 2008 the appliances of AutoCAd and Sketch Up were used for the virtual construction of objects. The quality of the results showed a didactic potential and an increasement in the possible creative rhythm, mainly because the facility of the three-dimensional virtual visualization and because the speed in the physical execution of the created project.
keywords	didactic experiences; serial plan technique; CAD; AutoCAD; Skecht Up
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	9951
authors	Johnson, R.E. and Clayton, M.J.
year	1998
title	The impact of information technology in design and construction: the owner's perspective
source	Automation in Construction 8 (1) (1998) pp. 3-14
summary	This paper reports on findings of a November 1996 exploratory survey of architecture–engineering clients (Fortune 500 corporate facility managers). This research investigated how the practices of corporate facility managers are being influenced by rapid changes in information technology. The conceptual model that served as a guide for this research hypothesized that information technology acts as both an enabler (that is, information technology provides an effective mechanism for managers to implement desired changes), as well as a source of innovation (that is, new information technology innovations create new facility management opportunities). The underlying assumption of this research is that information technology is evolving from a tool that incrementally improves `back-office' productivity to an essential component of strategic positioning that may alter the basic economics, organizational structure and operational practices of facility management organizations and their interactions with service providers (architects, engineers, and constructors). The paper concludes with a discussion of researchable issues.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	146a
authors	Johnson, Robert E.
year	2000
title	The Impact of E-Commerce on the Design and Construction Industry
doi	https://doi.org/10.52842/conf.acadia.2000.075
source	Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 75-83
summary	Historically, the design and construction industry has been slow to innovate. As a result, productivity in the construction industry has declined substantially compared to other industries. Inefficiencies in this industry are well documented. However, the potential for cost savings and increased efficiency through the use of the Internet and e-commerce may not only increase the efficiency of the design and construction industry, but it may also significantly change the structure and composition of the industry. This is suggested because effective implementations of e-commerce technologies are not limited to one aspect of one industry. E-commerce may be most effective when it is thought of and applied to multi-industry enterprises and in a global context. This paper continues the exploration of a concept that we have been working on for several years, namely that “…information technology is evolving from a tool that incrementally improves ‘backoffice’ productivity to an essential component of strategic positioning that may alter the basic economics, organizational structure and operational practices of facility management organizations and their interactions with service providers (architects, engineers and constructors).” (Johnson and Clayton 1998) This paper will utilize the case study methodology to explore these issues as they are affecting the AEC/FM industry.
series	ACADIA
last changed	2022/06/07 07:52

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