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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	7560
authors	Gomez, Nestor
year	1998
title	Conceptual Structural Design Through Knowledge Hierarchies
source	Carnegie Mellon University, Department of Civil and Environmental Engineering, Pittsburgh
summary	Computer support for conceptual design still lags behind software available for analysis and detailed design. The Software Environment to Support the Early Phases in Building Design (SEED) project has the goal of providing design generation and exploration capabilities to aid in the conceptual design of buildings, from architectural programming and layout to enclosure design and structural configuration. The current work presents a component of the efforts of the SEED-Config Structure group in providing computer support for conceptual structural design. The Building Entity and Technology (BENT) approach models data about building elements in a general, hierarchical form, where design evolution is represented by the growing specificity of the design description. Two methods of system-supported design generation are provided: case-based reasoning and application of knowledge rules. The knowledge rules, termed technologies, and how they are specified and used are the primary focus of this thesis. In the BENT approach, conceptual structural engineering knowledge is modularized into technology nodes arranged in a directed 'AND/OR' graph, where OR nodes represent alternative design decisions and AND nodes represent problem decomposition. In addition, nodes in the graph may also be specified as having AND/OR incoming arcs thus reducing the duplication of nodes and enhancing the representational power of the approach. In order to facilitate the incorporation of new knowledge into the system, and verify and/or change the knowledge already in the system, the data model and the interface allow for dynamic creation, browsing, and editing of technology nodes. Design generation through the use of the knowledge hierarchy involves the conditional application of nodes according to the design context as represented by the building element(s) under consideration. Each application of a technology node expands the design of building elements by increasing the detail of the design description or by decomposing the elements into less abstract components. In addition, support for simultaneous design of multiple elements and for iteration control are also provided. An important feature of the BENT approach is that the generative knowledge (i.e., the technology hierarchy) is detached from the information repository (i.e., the database of entities which make up the building). This allows the technology hierarchies to be used in a modular fashion from building problem to building problem.
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	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	852a
authors	Falabella, T., Fernández, L.R. and Goyeneche, H.
year	1998
title	Utilizacion de la Grafica Digital en la Gestion del Mantenimiento de Edificios (Use of Digital Graphics in the Management of the Maintenance of Buildings)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 446-451
summary	The study and development of an informatic application as part of the Research Project informatic application for the building maintenance action", consist on the peripheric and software surface outline, frequently used in this discipline, like the Data Base of the programs Access of Microsoft and Autocad of Autodesk. The outline of data base implies the concept of sensitive matrix, necessary for the systemic analysis of the information. This software not only let you make the initial diagnostic of the buildings, necessary for the Plan of Corrective Maintenance (PMC) and Plan of Preventive Maintenance (PMP), but also it is used as an efficient tool of the maintenance, which allow the constant up to date information, the exact on time diagnostic, to make the necessary adjustments to the PMC and PMP. Besides, a good technical documentation is necessary for an efficient maintenance action. The entail of the Data Base with the CAD Systems allows a fast access to a big volume of centralized information to consult or change. To formulate a pattern of integral maintenance action on buildings, implies the systematic conception of them and the Philosophy of the Preventive Maintenance. They are less than the Model and do not consider the former concepts. It is difficult to define and solve the matrix system (inside or outside the software) and the relations where the information run. The informatic application outline in its different steps (planning, operation, evaluation) with the elements (technical, administrative, of control) are the structural axis of a new form of the Maintenance Action.
series	SIGRADI
email
last changed	2016/03/10 09:51

_id	ac21
id	ac21
authors	Giddings B, Horne M
year	2008
title	The Changing Patterns of Architectural Design Education
source	Architecture and Modern Information Technologies, Vol. 3, No. 4. ISSN-1998-4839
summary	Digital technologies have been introduced to students of architecture for over two decades and at present it could be argued that students are producing some of the highest quality designs, and some of the most interesting forms ever to come from University Schools. The value of computer aided design (CAD) is also being demonstrated in architectural practice, with high profile, large budget, bespoke and iconic buildings designed by internationally renowned architects. This paper reviews the changing patterns of architectural design education and considers the contribution digital technologies could make to buildings with more commonplace uses. The study offers a perspective on different kinds of buildings and considers the influence that emerging technologies are having on building form. It outlines digital technologies, alongside students’ application for architectural design and considers the role they could play in the future, in developing a shared architectural language. It is suggested that some of the biggest opportunities for future research will be in the design of external spaces, often a neglected part of architectural design education.
keywords	architectural design education, digital technologies
series	other
type	normal paper
email
more	http://www.marhi.ru/AMIT
last changed	2008/11/02 20:38

_id	e380
authors	Maver, Thomas W.
year	1998
title	Space Odyssey by Computer - Journeys through the Environment
doi	https://doi.org/10.52842/conf.caadria.1998.001
source	CAADRIA ‘98 [Proceedings of The Third Conference on Computer Aided Architectural Design Research in Asia / ISBN 4-907662-009] Osaka (Japan) 22-24 April 1998, pp. 1-10
summary	The extraordinary characteristic of the city which thrills both its citizens and those who visit it, is the complex way in which multitudes of individual buildings, themselves each a complex of individual spaces, combine to form the weft and weave of the urban fabric. No two cities are alike but each and every one has its innate and endearing character: the grandeur of Vienna, the eternity of Rome, the simplicity of Tucson, the elegance of Edinburgh, the dynamic of Tokyo, the vibrancy of Hong Kong. This presentation illustrates how the emerging computer-based technologies can, in a manner hitherto impossible, explain to students of architecture and urban design (and to the public at large) how the design of individual buildings and their spatial relationship to each other, aggregate to create the environment which characterises the city; in a complementary way it demonstrates how the virtual urban voyager can not only identify and visit individual buildings, but enquire within - to observe, understand and even handle the contents.
series	CAADRIA
email
more	http://www.caadria.org
last changed	2022/06/07 07:58

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

_id	220b
authors	Potier, S., Malret, J.-L-. and Zoller, J.
year	1998
title	Computer Graphics: Assistance for Archaeological Hypotheses
doi	https://doi.org/10.52842/conf.acadia.1998.366
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. 366-383
summary	This paper is a contribution to the domain of computer tools for architectural and archeological restitution of ancient buildings. We describe an application of these tools to the modeling of the 14th century AD. Thermae of Constantin in Arles, south of France. It was a diploma project in School of Architecture of MarseilleLuminy, and took place in a context defined in the European ARELATE project. The general objective of this project is to emphasize the archeological and architectural heritage of the city of Arles; it aims, in particular, to equip the museum of ancient Arles with a computer tool enabling the storage and consultation of archaeological archives, the communication of information and exchange by specialized networks, and the creation of a virtual museum allowing a redescription of the monuments and a “virtual” visit of ancient Arles. Our approach involves a multidisciplinary approach, calling on architecture, archeology and computer science. The archeologist’s work is to collect information and interpret it; this is the starting point of the architect’s work who, using these elements, suggests an architectural reconstruction. This synthesis contains the functioning analysis of the structure and building. The potential provided by the computer as a tool (in this case, the POV-Ray software) with access to several three-dimensional visualizations, according to hypotheses formulated by the architect and archaeologists, necessitates the use of evolutive models which, thanks to the parametrization of dimensions of a building and its elements, can be adapted to all the changes desired by the architect. The specific contribution of POV-Ray in architectural reconstruction of thermae finds its expression in four forms of this modeling program, which correspond to the objectives set by the architect in agreement with archeologists: (a) The parametrization of dimensions, which contributes significantly in simplifying the reintervention process of the architectural data base; (b) Hierarchy and links between variables, allowing “grouped” modifications of modelized elements in order to preserve the consistency of the architectural building’s morphology; (c) The levels of modeling (with or without facing, for example), which admit of the exploration of all structural and architectural trails (relationship form/ function); and, (d) The “model-type,” facilitating the setting up of hypotheses by simple scaling and transformation of these models (e.g., roofing models) on an already modelled structure. The methodological validation of this modeling software’s particular use in architectural formulation of hypotheses shows that the software is the principal graphical medium of discussion between architect and archaeologist, thus confirming the hypotheses formulated at the beginning of this project.
series	ACADIA
email
last changed	2022/06/07 08:00

_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	253a
authors	Snyder, James Daniel
year	1998
title	Conceptual modeling and application integration in CAD: the essential elements
source	Camegie Mellon University, School of Architecture, Pittsburgh
summary	A research focus in design research has been the exchange of information between different participants in the design process. While information system automation has occurred in various areas, known as islands of informafion, significant software integration has yet to emerge. A current belief among researchers in this area is that support for information sharing will require shared resources, and more specifically, shared descriptions of the information to be exchanged. If buildings are viewed as a product, the notion of a product and process modeling system ought to support the electronic exchange of information between various design process participants. While significant research has been done, no consensus has emerged as to a satisfactory solution to design information exchange. Many important contributions have been discovered, however, no overall strategy has emerged that embraces both the research issues as well as the practical issues surrounding information exchange. To address the above issues in a specific context, a series of experiments were conducted utilizing a prototype modeling framework that supports product modeling via the Object Model Language (Om). The results of these experiments along with a literature survey allowed for a comprehensive set of product/process modeling requirements. The resulting requirements were then formalized into a product /process modeling environment that includes a modeling language called SPROUT (supported by a compiler) and an associated software architecture that can be targeted toward many different hardware and software platforms. A particularly unique capability supported in this environment is formal support for integrating existing software systems. Given a schematic description in SPROUT, a formal specification can be used to generate computer programs that provably map data to and from the application program.
series	thesis:PhD
last changed	2003/02/12 22:37

_id	30
authors	Vizcaino, M.S., Leal, M., Maria, L., Persia, M. and Tamagnini, A.
year	1998
title	Base de Datos Bodega (Data Base Warehouse)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 232-237
summary	The architectural objects and their site are an indivisible part of the concrete culture of a place.in order to achieve the protection of the Cultural Property, the indispensable previous step is the fulfilment of an inventory. If a good inventory is not available, serious tasks of public awareness could not be carried out, nor could be adopted policies or specific safeguard projects. Besides, neither criteria nor protective measurements in the plans of urban or regional development could be incorporated. Finally, we could not discuss with the sufficient scientific support. San Juan has climatic features typical of and regions with high seismic risk, scarce hydric resources, landscape diversity and singular vegetation. This favoured the cultivation of vineyards as well as the construction of important industrial buildings. In this sense, the Architecture of the Vine Production and Wine - making gave rise to establishments (buildings and sites), whose architectural characteristics, in a holistic consideration, are part of the Provincial Architectural Patrimony. A relational database structured by fields related to different levels of information was designed so as to fulfil this inventory. The data processing application used enables to search and ask for information by means of an easy access interface with the following possibilities :expansion, versatility in the design of visualization-printing plugs and readiness to migrate to other formats.
series	SIGRADI
email
last changed	2016/03/10 10:02

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

_id	ddssar0203
id	ddssar0203
authors	Alkass, Sabah and Jrade, Ahmad
year	2002
title	A Web-Based Virtual Reality Model for Preliminary Estimates of Hi-Rise Building Projects
source	Timmermans, Harry (Ed.), Sixth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings Avegoor, the Netherlands), 2002
summary	Cost estimating of a construction project at its early stage is considered to be very important task since it will be used as a base to commit or otherwise not to commit funds to that project. Preparation of a reliableand realistic preliminary estimate to aid the decision makers to commit funds for a specific project is a complicated assignment. Traditional methods and operations produced unsatisfactory aid due to lack ofaccuracy especially in the pre-design stage of a project. This participates in the increase of percentage of bankruptcy in the construction industry, which has dramatically climbed up and ranked as 15 percent of thewhole bankruptcies claimed in Canada (Statistic Canada 1998). This paper presents a methodology for developing and a Web-based model to automate preliminary cost estimates for hi-rise buildings. This is achieved by integrating a database with design drawings in a Virtual Reality (VR) environment. The model will automatically generate preliminary estimates after modifying a 3D CAD drawing. It provides the user the option to visualize and simulate the drawing and its cost data through VR environment. Having done that, it will allow owners, architects and cost engineers to view a constructed building project, change its geometric objects and shapes, and accordingly generate a new conceptual cost estimate.
series	DDSS
last changed	2003/11/21 15:15

_id	3
authors	Andia, Alfredo
year	1998
title	Computadoras y Arquitectura en la Era Digital (Computers and Architecture in the Digital Era)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 22-31
summary	It seems that when architects think, and talk about computers, they only reflect on very narrow images of the phenomenon. Architects think that the impact of computers in their profession is only related to how PCs, CAD/CAM, networks, software, peripherals, can improve the way they work today. Architects, by enlarge, are unable to reflect beyond the screen of their computers and the wall of their offices when it comes to recognize the real consequences resulting from the new technological advances. In this paper we argue that we should think differently. We must recognize that computers are having much more profound impact on the profession. Computers - the technology of the fantastic, par excellence - are changing the city! They are fundamentally transforming the way we use space, and buildings! Computers are beginning to create new kinds of urban cultures and infrastructures. Building types such as offices, banks, retail spaces, and museums are being transformed into virtual workplaces, telecommuting centers, networks of automated teller machines, home banking, smart stores and multimedia experiences. Computers are transforming the concept of working, the concept of banking, the concept of shopping, etc. In the end, something fundamental about the architecture of these activities.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	c373
authors	Baldwin, A.N., Austin, S.A., Hassan, T.M. and Thorpe, A.
year	1998
title	Planning building design by simulating information flow
source	Automation in Construction 8 (2) (1998) pp. 149-163
summary	Successful project management requires the effective control of the design teams and the exchange of information between them for successful design management. This paper describes a methodology involving discrete event simulation that can help the planning and control of building design. Discipline-based information flow models of the building design process are used to define the activities of the simulation model, concentrating on the concept and schematic design stages. Factors such as task durations and resources are then allocated along with any specific constraints that are to be evaluated. The model predicts the outcomes of the specific scenario of information related events, including design schedules and resource histograms. The paper describes the development and validation of the simulation model and discusses its potential application during the planning and design phases of building projects. It is concluded that this approach could form the basis of a useful tool for design managers responsible for multidisciplinary building design work.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	21
authors	Barroso, Jorge
year	1998
title	Reflexiones Sobre la EnseÒanza de la Arquitectura, la Informatica e Internet (Reflections on the Teaching of the Architecture, Computing and the Internet)
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 174-179
summary	This paper proposes a reflection upon the teaching of architecture as seen from the actual practice of the profession within the context of the changes caused by the widespread use of computers and Internet in recent years. This proposal designates the present time as "semic revolution", superseding denominations like post industrial" or information revolution", emphasizing that the "mental prosthesis" created by man represents the highest degree of exploitation of his innerness as a "semic subject". A brief epistemological framework serves to lay the foundation for the concepts of imagination, creation, and design, differentiating the creator by his characteristic of requiring or not, semic mediation in order to reach his goals. The dominant use of new instruments which serve to represent and operate the "primary virtual object" giving priority to the comprehension and function of the new tool over the acquisition of information and ability to use it, is proposed when carried over to the field of application. The integration of internal networks through email strives not only to facilitate document transmission, exercises, group work, etc. but to understand the new dimension in the intellectual activities of man.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	7436
authors	Barría Chateau, H., Muñoz Viveros, C. and Cerda Brintrup, G.
year	1999
title	Virtual Tour Through Modern Architecture in Conception
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 475-477
summary	This paper describes the development of a project that was selected and sponsoured by the Regional Competition FONDART 1998 (Funds for the Development of Arts of the Regional Secretary of Education) that follows the aim of cultural diffusion. Towards the middle of the 30s, the city of Concepción developed an architecture distinctly colonial, neoclassical and eclectic. An earthquake in 1939 abruptly interrupted this scene, destroying the enterity of its most important buildings. The reconstruction of the city followed the manifestoes of Modern Architecture, consolidating the urban importance of buildings such us the Law Courts, the Railway Station and the Regional Government, that emerged as the new architectural and cultural heritage of the city. The project consisted on the modeling of eleven buildings of the modern architectural heritage, and on the generation of 42 virtual tours through the buildings that were finally edited on a 16' video. This video allows the spectator to make a virtual tour through the original modern heritage of the city, nowadays demolished, altered, and sometimes, even forgotten. This project pretends to widen the ways of comprehension of our cultural identity by using computer modelling and animation as a tool for the conservation of the architectural heritage; and creating a record that can be used as a reference and as an instrument of cultural difussion.
series	SIGRADI
email
last changed	2016/03/10 09:47

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

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

_id	4
authors	Bollinger, Elizabeth and Alvarado, Rodrigo Garcia
year	1998
title	Archetypes as Precedent of Virtual Architectures
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 32-35
summary	Archetypes are psychological concepts described by the renowned Swiss psychologist Cari Jung. It is possible identify archetypal forms in eminent buildings of different regions and ages, recognizing archetypes as a multi-cultural liaison for various architectures. These concepts function as basic precedents of spatial design in different geographical and historical contexts. The emerging digital culture is establishing a plethora of virtual environments, through web-pages of the Internet, global TV, multimedia CD, video games and immersive devices. These virtual environments offer electronic activities and tools for architectural practice. In both senses, virtual architectures conforms to the visual and spatial characteristics of technologies. Thus, electronic capabilities establish digital habitats and references to contemporary architecture. Since virtual architectures are immaterial constructions, perceptual properties guide the spatial and formal design. In that sense, archetypes allow a basic vocabulary for the design of virtual architectures, linking them to cultural history and giving them a human orientation.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	ec50
authors	Bullock, D. and Heymsfield, E.
year	1998
title	Innovative application of directional boring procedures for replacing failed inductive loop detectors
source	Automation in Construction 8 (2) (1998) pp. 143-148
summary	Actuated traffic signal controllers typically depend on inductive loop detectors to determine demand for a particular signal phase. The basic philosophy of these controllers is to only provide a green indication to a particular lane group when there is a vehicle waiting. If an inductive loop detector fails, it must be put in recall mode so that the lane group with the corresponding failed detector is serviced every cycle. When actuated controllers operate in this mode, the performance of the signalized intersection degenerates. Since the vast majority of actuated intersections operate with inductive loop detectors it is useful to have maintenance procedures that can be used to replace loop detectors that have failed due to pavement distress. This paper describes a procedure that has been developed using directional boring equipment to install a micro loop below the surface of the pavement where it is not subject to pavement distress. The authors believe this procedure will provide a cost effective method of restoring actuated control on approaches or lanes groups where the pavement condition makes it unfeasible to install or re-install a traditional saw cut loop detector.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

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