Cumincad : CUMINCAD Papers : Search Results

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

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_id	ga9917
id	ga9917
authors	Maia Jr., A., Valle, R. do, Manzolli, J. and Pereira, L.N.S.
year	1999
title	Generative Polymodal Music Process
source	International Conference on Generative Art
summary	We present underlying ideas used to develop an Algorithmic Composition software named KYKLOS. It was designed to generate music based on generalised musical scales and modes. It is an interactive sonic device to be applied in composition as well in performance. The sonic output of the whole process can be described as generalised polymodal music since “synthetic scales” are generated by the algorithm. This environment can be used in a Computer Assisted Composition manner in order to generate MIDI files. On the other hand, it can equally be used as a performance environment in which a dynamic change of parameters enables a real time control of the sonic process. Recently, we advocated that several mathematical applications in Computer Music can be understood as Sound Functors [1]. In extension, we describe here a sound functor used to model scales and modes. As can be verified, part of early investigations on mathematical structures in music studied musical scales and modes using Combinatorics, Fibonacci Series and Golden Mean in order to understand compositional processes which use modal concepts. Using the Functor definition it is possible to enumerate n-scales as a sequence of integers. Each value in that sequence gives the distance (in half tones) between two consecutive tones. For example, the sequence 3:2:2:3 is interpreted as a pentatonic scale C-Eb-F-G-Bb, and as defined above it is a C mode. So, if we apply cyclical permutations, (n-1)-sequences of numbers should be interpreted as n-modes of tones. Our algorithmic implementation is described briefly. A n-mode is defined as an array with n-1 integers [a1, a2, ...an-1]. Each array generated at k-th step can be read as a number a1a2a3 ....an-1 in decimal representation, where ai is a integer between 1 and 9. We denote the number obtained at k-th step as (a1a2a3 ...an-1)(k) . The rules to implement the algorithm are the following:1) V0 = (1, 1, 1, 1 ......,1) (initial n-mode)2) ? ai ? 11 with i= 1, 2...n-1 (octave range constraint)3) Vk = (a1a2a3 ...an-1)(k) < (b1b2b3 ...bn-1)(k+1) = Vk+1 where aj ?bj , 1? j ? n-1.4) Vmax = (13 – n, 1, 1, ...,1)In this paper we start with a theoretical view and an introduction on the algorithmic mechanism used. Further, we present a concept of man ? machine interaction used to create the composition environment. We also describe the compositional graphic interface developed and general functions of the system. Finally there is a set of music examples generated by KYKLOS as MIDI files.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	e679
authors	Seichter, H., Donath, D. and Petzold, F.
year	2002
title	TAP – The Architectural Playground - C++ framework for scalable distributed collaborative architectural virtual environments
doi	https://doi.org/10.52842/conf.ecaade.2002.422
source	Connecting the Real and the Virtual - design e-ducation [20th eCAADe Conference Proceedings / ISBN 0-9541183-0-8] Warsaw (Poland) 18-20 September 2002, pp. 422-426
summary	Architecture is built information (Schmitt, 1999). Architects have the task of restructuring and translating information into buildable designs. The beginning of the design process where the briefing is transformed into an idea is a crucial phase in the design process. It is where the architect makes decisions which influence the rest of the design development process (Vries et al., 1998). It is at this stage where most information is unstructured but has to be integrated into a broad context. This is where TAP is positioned – to support the architect in finding solutions through the creation of spatially structured information sets without impairing thereby the creative development. We want to enrich the inspiration of an architect with a new kind of information design. A further aspect is workflow in a distributed process where the architect’s work becomes one aspect of a decentralised working patterns. The software supports collaborative work with models, sketches and text messages within an uniform surface. The representations of the various media are connected and combined with each other and the user is free to combine them according to his or her needs.
series	eCAADe
email
last changed	2022/06/07 07:59

_id	9745
authors	De Paoli, Giovanni and Bogdan, Marius
year	1999
title	The Backstage of Vitruvius' Roman Theatre: A New Method of Computer-Aided Design that Reduces the Gap between the Functional and the Operational
doi	https://doi.org/10.52842/conf.caadria.1999.411
source	CAADRIA '99 [Proceedings of The Fourth Conference on Computer Aided Architectural Design Research in Asia / ISBN 7-5439-1233-3] Shanghai (China) 5-7 May 1999, pp. 411-422
summary	Computers are increasingly being used in professional design studios and by students of Architecture. However, their use is limited to technical functions (tekhne); what one usually calls computer-aided design is often no more than computer-aided drawing. In this research paper we reflect on the architect's work methods, and suggest an approach to design based on the "projection" of properties of the object (i.e. operators), rather than by geometric primitives. We propose a method of design using procedural models, and encourage a reevaluation of current programs of study with their traditional subdivision into separate disciplines. By means of a procedural model of Vitruvius' Roman theatre, we show that, from a generic model we can produce a three dimensional (volumetric) model with all the characteristics belonging to a single family of objects. In order to clarify the method of construction, we use a functional language that allows us to model the actions. Similarly, we can use this functional language to encapsulate the properties of the building. The scientific result of this experiment is the understanding and confirmation of the hypothesis that, by means of computers, we can find operators that help the architect assimilate a complex building design.
keywords	Architecture, CAD, Discipline, Functions, Modeling, Operator
series	CAADRIA
last changed	2022/06/07 07:55

_id	762b
authors	De Paoli, Giovanni and Bogdan, Marius
year	1999
title	The Front of the Stage of Vitruvius' Roman Theatre - A new Approach of Computer Aided Design that Transforms Geometric Operators to Semantic Operators
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 321-333
summary	The driving force of all researches where the systems of computation are used, is the utilization of an intelligent method for the representation of building. The use of computer, in design process, is often limited to technical functions (tekhne), and what one usually calls computer-aided design is often no more than computer-aided drawing. In this research paper we continue a reflection on the architect's work methods, and suggest an approach to design based on the semantic properties of the object (i.e. semantic operators), rather than by geometric operators. We propose a method of computer aid design using procedural models where the initial state of design is vague and undefined. We operate from a paradigm that leads to represent a building by means of parametric functions that, expressed algorithmically, give a procedural model to facilitate the design process. This approach opens new avenues that would permit to add the logos (semantic properties) and lead to a metaphorical representation. By means of procedural models, we show that, from a generic model we can produce a four dimensional model that encapsulate a volumetric model with semantic characteristics. We use a meta-functional language that allows us to model the actions and encapsulate detailed information about various building elements. This descriptive mechanism is extremely powerful. It helps to establish relations between the functions, contributes to a better understanding of the project's aim, and encapsulates the building properties by recalling characteristics of common classes which give rise to a new configuration and a completely original design. The scientific result of this experiment is the understanding and confirmation of the hypothesis that it is possible to encapsulate, by means of computing process, the links between design moves during conceptual and figural decisions and transform the geometric operators in semantic operators.
keywords	Architecture, CAD, Function, Modeling, Semantic Operator, Geometric Operator
series	CAAD Futures
last changed	2006/11/07 07:22

_id	2720
authors	Magyar, Peter and Temkin, Aron
year	2000
title	Developing an Algorithm for Topological Transformation
source	SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 203-205
summary	This research intends to test the architectural application of Jean Piaget’s clinical observations, described in the book: The Child’s Conception of Space (Piaget, 1956), according to which topology is an ordering discipline, active in the human psyche. Earlier attempts, based on the principles of graph-theory, were able to cover only a narrow aspect of spatial relations, i.e. connectivity, and were mostly a-perceptional, visually mute. The “Spaceprint” method, explained and illustrated in co-author’s book: Thought Palaces (Magyar, 1999), through dimensional reduction, investigates volumetric, 3D characteristics and relationships with planar 2D configurations. These configurations, however, represent dual values: they are simultaneously the formal descriptors of both finite matter and (fragments of) infinite space. The so- called “Particular Spaceprint”, as a tool of design development in building, object, or urban scales, with the help of digital technology, could express - again simultaneously - qualities of an idea-gram and the visual, even tactile aspects of material reality. With topological surface-transformations, the “General Spaceprints”, these abstract yet visually active spatial formulas can be obtained.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	c36d
authors	Mahdavi, A.
year	1999
title	A comprehensive computational environment for performance based reasoning in building design and evaluation
source	Automation in Construction 8 (4) (1999) pp. 427-435
summary	This paper introduces a comprehensive computational implementation effort toward the incorporation of simulation-based performance evaluation in building design. Specifically, the computational design support system `SEMPER' will be described. SEMPER's main objectives are: (i) a methodologically consistent (first-principles-based) and flexible performance modeling approach through the entire building design and engineering process; (ii) provision of comprehensive, i.e., multi-domain building performance evaluation support; (iii) seamless and dynamic communication between the simulation model and the general building representation in an object-oriented space-based design environment; and (iv) active convergence support via a bi-directional inference mechanism that provides not only the conventional design-to-performance mapping option but also a `preference-based' performance-to-design mapping technology.
series	journal paper
email
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	473d
authors	Maver, Tom and Petric, Jelena
year	1999
title	Virtual Heritage: Is There a Future for the Past?
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 482-487
summary	This paper attempts an overview of the contribution which emerging information technologies - viz CAD, Multimedia, Virtual Reality and the Internet - can make to the presentation, understanding and preservation of the rich architectural heritage which exists (pro-term) in almost every cultural context. In the UK, the growing interest in sites such as Stonehenge has, through the threat of greater physical presence, increasingly kept the public at bay - a curious paradox which Virtual Reality (VR) has the potential to address. Virtual Reality (-an overly used and underly understood term-) is an information technology which can provide a convincing experience of environments which: i) exist, but are too remote, costly or hazardous, to visit. ii) don't yet exist but are planned, such as architectural designs or urban plans. iii) never will exist, other than in the imagination. iv) existed in the past and are now threatened or already lost. // This paper has its focus on the latter category, i.e. what is now becoming known as Virtual Heritage (VH), but it puts VH in the context of the broader spectrum of simulated experiences of past, present and future environments of cultural significance. The paper draws largely on the work of ABACUS, the Architecture and Building Aids Computer Unit, Strathclyde. The examples of the application of IT to VH include: i) a virtual reality experience of Historic Scotland's premier historical site: Skara Brae, the most complete neolithic settlement in Northern Europe. ii) a multimedia CD-ROM featuring some 50 of the most wonderful interiors of Glasgow's architectural treasures. iii) a computer based archive of rare and normally inaccessible 17C and 18C drawings of Scottish buildings from three seminal sources. iv) a massive 3-D model of Glasgow (some 10,000 buildings located on the hilly terrain of the city), which is now accessible on the Internet. // The paper concludes with conjectures based on the examples given of how emerging information technologies can help secure a future for the past.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	d2b4
authors	Maver, Tom and Petric, Jelena
year	1999
title	Media in Mediation: Prospects for Computer Assisted Design Participation
doi	https://doi.org/10.52842/conf.acadia.1999.138
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 138-147
summary	One of the most consistent, powerful and philosophical ideas which has run like a silk thread through the short and erratic history of the development of computer aided architectural design is that of user participation in the design decision-making process. It is not an idea with which the architectural profession is particularly comfortable but it is, the authors claim, one which is central to the professional ethic and, therefore, to its ultimate survival. Design decision-making is, if addressed properly, a hugely, complex multi-variety, multi-person process on which precious little serious research has been focused. In the late 1960's the Design Methods Group in the USA and the Design Research Society in the UK formulated paper-based models of the design process and anticipated, in some regards with un-nerving accuracy, the way in which the application of information technologies would impinge beneficially on the process of design decision-making and, therefore, on the quality of the built environment. One concept expressed at that time was as follows: (•) the application of computers to the modeling and prediction of the cost and performance behavior of alternative design solutions allows subjective value judgements to be better informed and more explicitly audited, and that (•) such subjective value judgements should be made by those most affected by them, i.e. the future owners and users of buildings. // This paper is devoted to the critical re-examination of this concept, on the seminal research and development which has kept the notion alive over 30 years, and, most importantly in the context of the theme of ACADIA 1999, how the current advances in multimedia, virtual reality and internet access are not yet making its ubiquitous adoption inevitable: in short, a plea for Media in Mediation.
series	ACADIA
email
last changed	2022/06/07 07:58

_id	41d4
authors	Medjdoub, Benachir
year	1999
title	Interactive 2D Constraint-Based Geometric Construction System
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 197-212
summary	This paper presents a 2D Constraint-Based Geometric Construction System where positioning and manipulating geometry is very precise. An unusually simple interface makes this system particularly interactive and easy to use. In our approach, the geometry types supported are: points, lines, circles, ellipses, circular arcs and b-spline curves. All the fundamental topologic constraints, i.e. tangent, parallel, perpendicular, coincident and concentric, are provided. Metric constraints, i.e. dividing the shapes into equal parts or fixing the geometric parameters, are also provided. These constraints are automatically applied by the application in response to the implied intentions of the end- user. Dynamic modifications of partially dimensioned models are supported, whereby the design is modified while enforcing the constraints. A graph-constructive approach is used to solve the model. As we are dealing with partial modifications, this resolution technique is quite sufficient, and makes our system stable and flexible. Our approach focuses highly on interactivity. Positioning a shape constrained to another is made directly through the graphic interface. Constraint relaxation is also done by direct manipulations. Modifications are made by dragging the geometry, or by typing into a numerical panel displaying the free shape parameters. Again, existing constraints are maintained as those numbers are applied. Well -constrained and under-constrained problems are discussed. This approach was developed in Java, JDK 3.0.1 of SGI's Java software.
keywords	Sketching, Geometric Constraints, Interactivity, Geometric construction, Dynamic Modifications
series	CAAD Futures
email
last changed	2006/11/07 07:22

_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	avocaad_2001_17
id	avocaad_2001_17
authors	Ying-Hsiu Huang, Yu-Tung Liu, Cheng-Yuan Lin, Yi-Ting Cheng, Yu-Chen Chiu
year	2001
title	The comparison of animation, virtual reality, and scenario scripting in design process
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	Design media is a fundamental tool, which can incubate concrete ideas from ambiguous concepts. Evolved from freehand sketches, physical models to computerized drafting, modeling (Dave, 2000), animations (Woo, et al., 1999), and virtual reality (Chiu, 1999; Klercker, 1999; Emdanat, 1999), different media are used to communicate to designers or users with different conceptual levels¡@during the design process. Extensively employed in design process, physical models help designers in managing forms and spaces more precisely and more freely (Millon, 1994; Liu, 1996).Computerized drafting, models, animations, and VR have gradually replaced conventional media, freehand sketches and physical models. Diversely used in the design process, computerized media allow designers to handle more divergent levels of space than conventional media do. The rapid emergence of computers in design process has ushered in efforts to the visual impact of this media, particularly (Rahman, 1992). He also emphasized the use of computerized media: modeling and animations. Moreover, based on Rahman's study, Bai and Liu (1998) applied a new design media¡Xvirtual reality, to the design process. In doing so, they proposed an evaluation process to examine the visual impact of this new media in the design process. That same investigation pointed towards the facilitative role of the computerized media in enhancing topical comprehension, concept realization, and development of ideas.Computer technology fosters the growth of emerging media. A new computerized media, scenario scripting (Sasada, 2000; Jozen, 2000), markedly enhances computer animations and, in doing so, positively impacts design processes. For the three latest media, i.e., computerized animation, virtual reality, and scenario scripting, the following question arises: What role does visual impact play in different design phases of these media. Moreover, what is the origin of such an impact? Furthermore, what are the similarities and variances of computing techniques, principles of interaction, and practical applications among these computerized media?This study investigates the similarities and variances among computing techniques, interacting principles, and their applications in the above three media. Different computerized media in the design process are also adopted to explore related phenomenon by using these three media in two projects. First, a renewal planning project of the old district of Hsinchu City is inspected, in which animations and scenario scripting are used. Second, the renewal project is compared with a progressive design project for the Hsinchu Digital Museum, as designed by Peter Eisenman. Finally, similarity and variance among these computerized media are discussed.This study also examines the visual impact of these three computerized media in the design process. In computerized animation, although other designers can realize the spatial concept in design, users cannot fully comprehend the concept. On the other hand, other media such as virtual reality and scenario scripting enable users to more directly comprehend what the designer's presentation.Future studies should more closely examine how these three media impact the design process. This study not only provides further insight into the fundamental characteristics of the three computerized media discussed herein, but also enables designers to adopt different media in the design stages. Both designers and users can more fully understand design-related concepts.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	acadia21_530
id	acadia21_530
authors	Adel, Arash; Augustynowicz, Edyta; Wehrle, Thomas
year	2021
title	Robotic Timber Construction
doi	https://doi.org/10.52842/conf.acadia.2021.530
source	ACADIA 2021: Realignments: Toward Critical Computation [Proceedings of the 41st Annual Conference of the Association of Computer Aided Design in Architecture (ACADIA) ISBN 979-8-986-08056-7]. Online and Global. 3-6 November 2021. edited by S. Parascho, J. Scott, and K. Dörfler. 530-537.
summary	Several research projects (Gramazio et al. 2014; Willmann et al. 2015; Helm et al. 2017; Adel et al. 2018; Adel Ahmadian 2020) have investigated the use of automated assembly technologies (e.g., industrial robotic arms) for the fabrication of nonstandard timber structures. Building on these projects, we present a novel and transferable process for the robotic fabrication of bespoke timber subassemblies made of off-the-shelf standard timber elements. A nonstandard timber structure (Figure 2), consisting of four bespoke subassemblies: three vertical supports and a Zollinger (Allen 1999) roof structure, acts as the case study for the research and validates the feasibility of the proposed process.
series	ACADIA
type	project
email
last changed	2023/10/22 12:06

_id	48a7
authors	Brooks
year	1999
title	What's Real About Virtual Reality
source	IEEE Computer Graphics and Applications, Vol. 19, no. 6, Nov/Dec, 27
summary	As is usual with infant technologies, the realization of the early dreams for VR and harnessing it to real work has taken longer than the wild hype predicted, but it is now happening. I assess the current state of the art, addressing the perennial questions of technology and applications. By 1994, one could honestly say that VR "almost works." Many workers at many centers could doe quite exciting demos. Nevertheless, the enabling technologies had limitations that seriously impeded building VR systems for any real work except entertainment and vehicle simulators. Some of the worst problems were end-to-end system latencies, low-resolution head-mounted displays, limited tracker range and accuracy, and costs. The technologies have made great strides. Today one can get satisfying VR experiences with commercial off-the-shelf equipment. Moreover, technical advances have been accompanied by dropping costs, so it is both technically and economically feasible to do significant application. VR really works. That is not to say that all the technological problems and limitations have been solved. VR technology today "barely works." Nevertheless, coming over the mountain pass from "almost works" to "barely works" is a major transition for the discipline. I have sought out applications that are now in daily productive use, in order to find out exactly what is real. Separating these from prototype systems and feasibility demos is not always easy. People doing daily production applications have been forthcoming about lessons learned and surprises encountered. As one would expect, the initial production applications are those offering high value over alternate approaches. These applications fall into a few classes. I estimate that there are about a hundred installations in daily productive use worldwide.
series	journal paper
email
last changed	2003/04/23 15:14

_id	ga0020
id	ga0020
authors	Codignola, G.Matteo
year	2000
title	[Title missing]
source	International Conference on Generative Art
summary	This paper is a summary of my last degree in architecture (discussed in December 1999) with Prof. Celestino Soddu and Prof. Enrica Colabella. In this work I had the possibility to reach complexity by a generative approach with the construction of a paradigm that organizes the different codes of project identity. My general objective was to design shape complexity in variable categories : 3d space surfaces, 2d drawings and 2d textures. I was to discover the identity of one of my favourite architects of the 20th century : Antoni Gaudì, by constructing codes relative to shape complexity. I defined my particular objective in the possibility to abduct from Gaudì's imaginary reference the generatives codes that operate in the logical processing I use to create a possible species project. The next step was to verify the exact working of the new generative codes by means of 3d scenaries, that are recognizable as "Antoni Gaudì specie's architecture". Whit project processing on the generative codes and not on a possible resulting shape design, I was able to organize by my general paradigm the attributes of the project's species : different shapes, different attributes (color, scale, proportion), to get to possible and different scenarys, all recognizable by the relative class codes. I chose three examples in Barcellona built during the period 1902 to 1914 : The Parco Guell, Casa Batllò and Casa Milà are the three reference sceneryes that I used to create the generative codes. In the second step I defined different codes that operate in sequence (it is defined in the paradigm) : The generatives codes are only subjective; they are one possible solution of my interpretation of Antoni Gaudì's identity. This codes operate in four differents ways : Geometrical codes for 2d shapes Geometrical codes for interface relations Spatial codes for 3d extrusion of 2d shapes Geometrical codes for 2d and 3d texturing of generated surfaces. By a stratified application of this codes I arrived at one idea for all the generative processes but many different, possible scenaryes, all recognizable in Gaudì's species. So, my final result has made possible sceneryes belonging to related species defined previously. At the end of my research I designed a project by combination : using Antoni Gaudì's generative codes on a new 3d scenary with a shape catalyst : the Frank Lloyd Wright Guggenheim Museum of New York. In this process I created a "hybrid scenary" : a new species of architectural look; a Guggenheim museum planned by Wright with a god pinch of Gaudì.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	sigradi2016_499
id	sigradi2016_499
authors	Crivelli, Juliana de Mello; Vizioli, Simone Helena Tanoue
year	2016
title	Gamificaç?o na educaç?o patrimonial: Escola Álvaro Gui?o (SP-BR) [Gamification in patrimonial education: Escola Álvaro Gui?o (SP-BR)]
source	SIGraDi 2016 [Proceedings of the 20th Conference of the Iberoamerican Society of Digital Graphics - ISBN: 978-956-7051-86-1] Argentina, Buenos Aires 9 - 11 November 2016, pp.860-864
summary	This article integrates works developed in the Núcleo de Apoio em Pesquisa em Estudos de Linguagem em Arquitetura e Cidade (N.elac) of the Instituto de Arquitetura e Urbanismo da Universidade de S?o Paulo, and aims to evaluate the contribution of the game as an auxiliary instrument to the patrimonial education (Horta, Grunberg & Monteiro, 1999). Games present themselves as one of the constitutive elements of culture, and many are the authors that discuss the theme. Between them, Huizinga, 2000; Callois, 1990 and Broug?re, 2004. The developed game is an interactive narrative inside a building listed as herritage by the Conselho Municipal de Defesa do Patrimônio Histórico, Arquitetônico, Artístico e Turístico (CONDESPHAASC): the Escola Estadual Dr. Álvaro Gui?o.
series	SIGRADI
email
last changed	2021/03/28 19:58

_id	ga9901
id	ga9901
authors	Dehlinger, H.E.
year	1999
title	Minimial generative principles for large scale drawings: an experimental approach and its results
source	International Conference on Generative Art
summary	The line as an element or linear structures as such can be observed in many circumstances and in many places of our daily life´s. Lines have poly semantic characteristics and the word line is denoting much more than a long thin mark made by a pencil. The concept of a line is a very rich concept, and it seems, each epoch of art is developing its own codes for lines to deposit its world views within them. The emergence of generative approaches is characteristic of our epoch, and it is lines as elements of drawings generated by algorithms, executed on machines, and drawn with a pen equipped plotter on which this work is based.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	54a6
authors	Eastman, C. and Jeng, T.S.
year	1999
title	A database supporting evolutionary product model development for design
source	Automation in Construction 8 (3) (1999) pp. 305-323
summary	This paper presents the facilities in the EDM-2 product modeling and database language that support model evolution. It reviews the need for model evolution as a system and/or language requirement to support product modeling. Four types of model evolution are considered: (1) translation between distinct models, (2) deriving views from a central model, (3) modification of an existing model, and (4) model evolution based on writable views associated with each application. While the facilities described support all for types of evolution, the last type is emphasized. The language based modeling capabilities described in EDM-2 include: (a) mapping facilities for defining derivations and views within a single model or between different models; (b) procedural language capabilities supporting model addition, deletion and modification; (c) support for object instance migration so as to partition the set of class instances into multiple classes; (d) support for managing practical deletion of portions of a model; (e) explicit specification and automatic management of integrity between a building model and various views. The rationale and language features, and in some cases, the implementation strategy for the features, are presented.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	a38c
authors	Emdanat, S., Vakalo, E.G. and Birmingham, W.
year	1999
title	Solving Form-Making Problems Using Shape Algebras and Constraint Satisfaction
doi	https://doi.org/10.52842/conf.ecaade.1999.620
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 620-625
summary	Shape grammars are well known approaches in design space exploration. This paper reviews the current work on shape grammars in design and suggests that considerable gains can be attained by integrating parametric shape grammar based design approaches with distributed constraint-based problem solving. Parametric grammars are represent design topologies while distributed constrain satisfaction can be used to maintain consistency and produce the space of feasible design solutions. Designers' decision making can be coordinated such that constraints cannot be violated and designs that exhibit the highest utility (value) are selected.
keywords	Shape Grammar, Shape Algebra, Constraint Satisfaction
series	eCAADe
email
last changed	2022/06/07 07:55

_id	993c
authors	Fruchter, Renate
year	1999
title	A/E/C Teamwork: A Collaborative Design and Learning Space
source	Journal of Computing in Civil Engineering -- October 1999 -- Volume 13, Issue 4, pp. 261-269
summary	This paper describes an ongoing effort focused on combined research and curriculum development for multidisciplinary, geographically distributed architecture/engineering/construction (A/E/C) teamwork. Itpresents a model for a distributed A/E/C learning environment and an Internet-based Web-mediated collaboration tool kit. The distributed learning environment includes six universities from Europe, Japan, andthe United States. The tool kit is aimed to assist team members and owners (1) capture and share knowledge and information related to a specific project; (2) navigate through the archived knowledge andinformation; and (3) evaluate and explain the product's performance. The A/E/C course offered at Stanford University acts as a testbed for cutting-edge information technologies and a forum to teach newgenerations of professionals how to team up with practitioners from other disciplines and take advantage of information technology to produce a better, faster, more economical product. The paper presents newassessment metrics to monitor students' cross-disciplinary learning experience and track programmatic changes. The paper concludes with challenges and quandaries regarding the impact of informationtechnologies on team performance and behavior.
series	journal paper
last changed	2003/05/15 21:45

_id	df70
authors	Goel, V.
year	1999
title	Cognitive Role of Ill-Structured Representations in Preliminary Design
source	Visual and Spatial Reasoning in Design, eds. J. S. Gero, and B. Tversky. Sydney: Key Centre of Design Computing and Cognition, University of Sydney
summary	I have previously argued that cognitive processes involved in preliminary design require "lateral" transformations or mental state shifts, and that "ill-structured" mental representations are necessary to support these transformations. I review the argument and provide additional support for it by appealing to some neuropsychological data.
series	other
last changed	2003/04/23 15:50

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