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_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	ga0010
id	ga0010
authors	Moroni, A., Zuben, F. Von and Manzolli, J.
year	2000
title	ArTbitrariness in Music
source	International Conference on Generative Art
summary	Evolution is now considered not only powerful enough to bring about the biological entities as complex as humans and conciousness, but also useful in simulation to create algorithms and structures of higher levels of complexity than could easily be built by design. In the context of artistic domains, the process of human-machine interaction is analyzed as a good framework to explore creativity and to produce results that could not be obtained without this interaction. When evolutionary computation and other computational intelligence methodologies are involved, every attempt to improve aesthetic judgement we denote as ArTbitrariness, and is interpreted as an interactive iterative optimization process. ArTbitrariness is also suggested as an effective way to produce art through an efficient manipulation of information and a proper use of computational creativity to increase the complexity of the results without neglecting the aesthetic aspects [Moroni et al., 2000]. Our emphasis will be in an approach to interactive music composition. The problem of computer generation of musical material has received extensive attention and a subclass of the field of algorithmic composition includes those applications which use the computer as something in between an instrument, in which a user "plays" through the application's interface, and a compositional aid, which a user experiments with in order to generate stimulating and varying musical material. This approach was adopted in Vox Populi, a hybrid made up of an instrument and a compositional environment. Differently from other systems found in genetic algorithms or evolutionary computation, in which people have to listen to and judge the musical items, Vox Populi uses the computer and the mouse as real-time music controllers, acting as a new interactive computer-based musical instrument. The interface is designed to be flexible for the user to modify the music being generated. It explores evolutionary computation in the context of algorithmic composition and provides a graphical interface that allows to modify the tonal center and the voice range, changing the evolution of the music by using the mouse[Moroni et al., 1999]. A piece of music consists of several sets of musical material manipulated and exposed to the listener, for example pitches, harmonies, rhythms, timbres, etc. They are composed of a finite number of elements and basically, the aim of a composer is to organize those elements in an esthetic way. Modeling a piece as a dynamic system implies a view in which the composer draws trajectories or orbits using the elements of each set [Manzolli, 1991]. Nonlinear iterative mappings are associated with interface controls. In the next page two examples of nonlinear iterative mappings with their resulting musical pieces are shown.The mappings may give rise to attractors, defined as geometric figures that represent the set of stationary states of a non-linear dynamic system, or simply trajectories to which the system is attracted. The relevance of this approach goes beyond music applications per se. Computer music systems that are built on the basis of a solid theory can be coherently embedded into multimedia environments. The richness and specialty of the music domain are likely to initiate new thinking and ideas, which will have an impact on areas such as knowledge representation and planning, and on the design of visual formalisms and human-computer interfaces in general. Above and bellow, Vox Populi interface is depicted, showing two nonlinear iterative mappings with their resulting musical pieces. References [Manzolli, 1991] J. Manzolli. Harmonic Strange Attractors, CEM BULLETIN, Vol. 2, No. 2, 4 -- 7, 1991. [Moroni et al., 1999] Moroni, J. Manzolli, F. Von Zuben, R. Gudwin. Evolutionary Computation applied to Algorithmic Composition, Proceedings of CEC99 - IEEE International Conference on Evolutionary Computation, Washington D. C., p. 807 -- 811,1999. [Moroni et al., 2000] Moroni, A., Von Zuben, F. and Manzolli, J. ArTbitration, Las Vegas, USA: Proceedings of the 2000 Genetic and Evolutionary Computation Conference Workshop Program – GECCO, 143 -- 145, 2000.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	d423
authors	Arvin, Scott A. and House, Donald H.
year	1999
title	Making Designs Come Alive: Using Physically Based Modeling Techniques in Space Layout Planning
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 245-262
summary	This paper introduces the concept of responsive design. It elaborates this concept as an approach to free form, adaptable, automated design applying physically based modeling techniques to the design process. Our approach attempts to bridge the gap between totally automated design and the free form brainstorming designers normally employ. We do this by automating the initial placement and sizing of design elements, with an interactive engine that appears alive and highly responsive. We present a method for applying these techniques to architectural space layout planning, and preliminary implementation details for a prototype system for developing rectangular, two-dimensional, single- story floor plans.
keywords	Physically Based Space Layout, Physically Based Design, Responsive Design, Space Layout Planning, Computer-aided Design, Human-computer Interaction
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	20ab
authors	Yakeley, Megan
year	2000
title	Digitally Mediated Design: Using Computer Programming to Develop a Personal Design Process
source	Massachusetts Institute of Technology, Department of Architecture
summary	This thesis is based on the proposal that the current system of architectural design education confuses product and process. Students are assessed through, and therefore concentrate on, the former whilst the latter is left in many cases to chance. This thesis describes a new course taught by the author at MIT for the last three years whose aim is to teach the design process away from the complexities inherent in the studio system. This course draws a parallel between the design process and the Constructionist view of learning, and asserts that the design process is a constant learning activity. Therefore, learning about the design process necessarily involves learning the cognitive skills of this theoretical approach to education. These include concrete thinking and the creation of external artifacts to develop of ideas through iterative, experimental, incremental exploration. The course mimics the Constructionist model of using the computer programming environment LOGO to teach mathematics. It uses computer programming in a CAD environment, and specifically the development of a generative system, to teach the design process. The efficacy of such an approach to architectural design education has been studied using methodologies from educational research. The research design used an emergent qualitative model, employing Maykut and Morehouses interpretive descriptive approach (Maykut & Morehouse, 1994) and Glaser and Strausss Constant Comparative Method of data analysis (Glaser & Strauss, 1967). Six students joined the course in the Spring 1999 semester. The experience of these students, what and how they learned, and whether this understanding was transferred to other areas of their educational process, were studied. The findings demonstrated that computer programming in a particular pedagogical framework, can help transform the way in which students understand the process of designing. The following changes were observed in the students during the course of the year: Development of understanding of a personalized design process; move from using computer programming to solve quantifiable problems to using it to support qualitative design decisions; change in understanding of the paradigm for computers in the design process; awareness of the importance of intrapersonal and interpersonal communication skills; change in expectations of, their sense of control over, and appropriation of, the computer in the design process; evidence of transference of cognitive skills; change from a Behaviourist to a Constructionist model of learning Thesis Supervisor: William J. Mitchell Title: Professor of Architecture and Media Arts and Sciences, School of Architecture and Planning
series	thesis:PhD
last changed	2003/02/12 22:37

_id	fd25
authors	Homma, R., Iki, K., Morozumi, M. and Morisaki, T.
year	1999
title	Geographic Information Database for Landscape Evaluation
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. 143-152
doi	https://doi.org/10.52842/conf.caadria.1999.143
summary	In a landscape evaluation of a large-scale facilities construction such as garbage disposal facilities, it is necessary to grasp landscape characteristics of the area that is able to observe object facilities. This landscape characteristic consists of both a geographical characteristic (landscape resources, public space, districts designated by various urban planing laws, etc.) and a visual characteristic (visibility / invisibility range, distance from the object). The facilities design with consideration for landscape requires a geographic information database for the landscape characteristic, which enable planners to share the geographic information in the area. Authors proposed Network-based Dynamic Evaluation Process for urban landscapes in CAADRIA98, and illustrated the need of the common place that shares geographic information in the process. The system has function to provide the information of the area with layered maps simply. However the system developed with HTML Layer Function, that has limited to update data and boolean operate of layers. For using the system for practical purposes, it should conduct a GIS lookup and report back, via HTML. On the other hand, at present, there are various analogue thematic maps, digital maps are not prepared enough for landscape evaluation. It causes that landscape design process is not efficient. Also, a potential (importance) of viewpoints for evaluating facilities design have been defined by qualitative analysis so far, therefore a quantitative comparison of viewpoints was not available. As a solution of those problems, authors are tackling the development of Geographic Information Database (GIDB) by using GIS. In this paper authors give an outline of GIDB composed of overlaying various digital thematic maps included visual characteristic of the facilities. As a case study, in construction of the garbage disposal facilities in Kumamoto city, the important viewpoints was extracted by GIDB.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	6810
authors	Makkonen, Petri
year	1999
title	On multi body systems simulation in product design
source	KTH Stockholm
summary	The aim of this thesis is to provide a basis for efficient modelling and software use in simulation driven product development. The capabilities of modern commercial computer software for design are analysed experimentally and qualitatively. An integrated simulation model for design of mechanical systems, based on four different "simulation views" is proposed: An integrated CAE (Computer Aided Engineering) model using Solid Geometry (CAD), Finite Element Modelling (FEM), Multi Body Systems Modelling (MBS) and Dynamic System Simulation utilising Block System Modelling tools is presented. A theoretical design process model for simulation driven design based on the theory of product chromosome is introduced. This thesis comprises a summary and six papers. Paper A presents the general framework and a distributed model for simulation based on CAD, FEM, MBS and Block Systems modelling. Paper B outlines a framework to integrate all these models into MBS simulation for performance prediction and optimisation of mechanical systems, using a modular approach. This methodology has been applied to design of industrial robots of parallel robot type. During the development process, from concept design to detail design, models have been refined from kinematic to dynamic and to elastodynamic models, finally including joint backlash. A method for analysing the kinematic Jacobian by using MBS simulation is presented. Motor torque requirements are studied by varying major robot geometry parameters, in dimensionless form for generality. The robot TCP (Tool Center Point) path in time space, predicted from elastodynamic model simulations, has been transformed to the frequency space by Fourier analysis. By comparison of this result with linear (modal) eigen frequency analysis from the elastodynamic MBS model, internal model validation is obtained. Paper C presents a study of joint backlash. An impact model for joint clearance, utilised in paper B, has been developed and compared to a simplified spring-damper model. The impact model was found to predict contact loss over a wider range of rotational speed than the spring-damper model. Increased joint bearing stiffness was found to widen the speed region of chaotic behaviour, due to loss of contact, while increased damping will reduce the chaotic range. The impact model was found to have stable under- and overcritical speed ranges, around the loss of contact region. The undercritical limit depends on the gravitational load on the clearance joint. Papers D and E give examples of the distributed simulation model approach proposed in paper A. Paper D presents simulation and optimisation of linear servo drives for a 3-axis gantry robot, using block systems modelling. The specified kinematic behaviour is simulated with multi body modelling, while drive systems and control system are modelled using a block system model for each drive. The block system model has been used for optimisation of the transmission and motor selection. Paper E presents an approach for re-using CAD geometry for multi body modelling of a rock drilling rig boom. Paper F presents synthesis methods for mechanical systems. Joint and part number synthesis is performed using the Grübler and Euler equations. The synthesis is continued by applying the theory of generative grammar, from which the grammatical rules of planar mechanisms have been formulated. An example of topological synthesis of mechanisms utilising this grammar is presented. Finally, dimensional synthesis of the mechanism is carried out by utilising non-linear programming with addition of a penalty function to avoid singularities.
keywords	Simulation; Optimisation; Control Systems; Computer Aided Engineering; Multi Body Systems; Finite Element Method; Backslash; Clearance; Industrial Robots; Parallel Robots
series	thesis:PhD
last changed	2003/02/12 22:37

_id	b7ff
authors	Mullins, Michael and Van Zyl, Douw
year	2000
title	Self-Selecting Digital Design Students
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 85-88
doi	https://doi.org/10.52842/conf.ecaade.2000.085
summary	Recent years have seen the increasing use of digital media in undergraduate architectural education at UND, and which has been fuelled by students themselves taking up the tools available to practising architects. This process of self-selection may hold valuable lessons for the development of architectural curricula. An experimental design studio offered as an elective to UND undergraduates in 1999 has indicated that the design work produced therein, most often differed remarkably from the previous work of the same students using only traditional media. In so far as digital environments rapidly provide new and strange objects and images for students to encounter, those students are driven to interpret, transform or customise that environment in innovative ways, thereby making it their own. It is clear that the full integration of digital environments into architectural education will profoundly effect the outcomes of student work. We have observed that some self-selecting students struggle in expressing ideas through repre-sentative form in traditional studios. The question arises whether these students are "onto something" which they intuitively understand as better suited to their abilities, or whether in fact they are see digital tools as a means to avoid those areas in design in which they experience difficulties. Through observation of a group of "self-selectors" the authors attempt to lead useful generalisations; to develop a theory and method for facilitators to deal with specific students; and to work toward the development of suitable curricula for these cases.
keywords	Architectural Education, Digital Media, Learning Styles
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:59

_id	f9f7
authors	Mullins, Michael
year	1999
title	Forming, Planning, Imaging and Connecting
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 178-185
doi	https://doi.org/10.52842/conf.ecaade.1999.178
summary	This paper sets out to define aspects of the architectural design process, using historical precedent and architectural theory, and tests the relationship of those aspects to the application of computers in architectural design, particularly in an educational context. The design process sub-sets are defined as: Forming, Planning, Imaging and Connecting. Historical precedents are uncovered in Classical, Modern, Postmodern and Contemporary architecture. The defined categories of the design process are related to current usages of computers in architectural education towards elucidating the strengths and weaknesses of digital media in those areas. Indications of their concurrent usage in digital design will be demonstrated in analysis of design studio programs presented at recent ACADIA conferences. An example of a current design studio programme set at the School of Architecture University of Natal, South Africa in which the above described categories give an underlying structure to the introduction of 3D digital modelling to undergraduates through design process. The definition of this set of design activities may offer a useful method for other educators in assessing existing and future design programs where digital tools are used.
keywords	Design-Process, Digital-Media, Design-Programmes
series	eCAADe
email
last changed	2022/06/07 07:59

_id	b34d
authors	Russell, P., Kohler, N., Forgber, U., Koch, V. and Rügemer, J.
year	1999
title	Interactive Representation of Architectural Design: The Virtual Design Studio as an Architectural Graphics Laboratory
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 459-465
doi	https://doi.org/10.52842/conf.ecaade.1999.459
summary	This paper introduces the Virtual Design Studio (VDS), an internet based design studio environment established by ifib. VDS transfers lessons learned through research projects in the field of Computer Supported Co-operative Work (CSCW) being carried out at ifib into design education. By training for interdisciplinary co-operation within the design process, the students will become better prepared for the flexibility and co-operability required in planning situations. Increasing the communication and co-operation in the planning process can be achieved through the implementation of IT based virtual workspaces. In the design studio setting, this is done through the use of available internet software and technologies. The methodology of the VDS is briefly described including specific assignments intended to focus student investigations into specific areas including the representation of their work using the world wide web. The pedagogical expectations are discussed and anecdotal evidence precedes an general evaluation of the teaching method. The authors postulate that one of the unintended by-products of the studio is the evolution of an effective use of interactivity in the presentation of design concepts, ideas and solutions. A handful of student work is presented to describe the different approaches taken in using the world wide web (WWW) to display project work. A description of the local evolution (VDS specific) of graphical methods and technologies is followed by a comparison with those used in traditional settings. Representation is discussed with focus on the ability of the WWW to replace, augment or corrupt other methods of presentation. The interactive nature of web based presentations induces alterations to the narration of architectural work and can enhance the spatial perception of design space. Space Perception can be enabled through geometrically true VRML representations, the inclusion of auditory sensations, the abstraction of representation through the use of advertising techniques as well as the introduction of non-linear narrative concepts. Examples used by students are shown. A critical assessment of these new representational methods and the place of current new media within the context of architectural representation is discussed.
keywords	Virtual Design Studio, Architectural Graphics, Teaching
series	eCAADe
email
last changed	2022/06/07 07:56

_id	b4d2
authors	Caldas, Luisa G. and Norford, Leslie K.
year	1999
title	A Genetic Algorithm Tool for Design Optimization
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 260-271
doi	https://doi.org/10.52842/conf.acadia.1999.260
summary	Much interest has been recently devoted to generative processes in design. Advances in computational tools for design applications, coupled with techniques from the field of artificial intelligence, have lead to new possibilities in the way computers can inform and actively interact with the design process. In this paper we use the concepts of generative and goal-oriented design to propose a computer tool that can help the designer to generate and evaluate certain aspects of a solution towards an optimized behavior of the final configuration. This work focuses mostly on those aspects related to the environmental performance of the building. Genetic Algorithms are applied as a generative and search procedure to look for optimized design solutions in terms of thermal and lighting performance in a building. The Genetic Algorithm (GA) is first used to generate possible design solutions, which are then evaluated in terms of lighting and thermal behavior using a detailed thermal analysis program (DOE2.1E). The results from the simulations are subsequently used to further guide the GA search towards finding low-energy solutions to the problem under study. Solutions can be visualized using an AutoLisp routine. The specific problem addressed in this study is the placing and sizing of windows in an office building. The same method is applicable to a wide range of design problems like the choice of construction materials, design of shading elements, or sizing of lighting and mechanical systems for buildings.
series	ACADIA
email
last changed	2022/06/07 07:54

_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	b0c3
authors	Flanagan, Robert
year	1999
title	Designing by Simulation
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 25-30
summary	This article evaluates ‘simulation’ as a contributing factor in architectural design. While computers enhance simulation, they have yet to transform the art of architecture. A partial explanation is found at the extremes of design processes: Gaudí’s Sagrada Família Cathedral of Barcelona is an empiricist’s culminating achievement -- faith expressed in stone. By contrast, SOM’s Sear’s Tower of Chicago is the modernist monument to rational process -- (financial) faith engineered in steel and glass. Gaudí employed an understanding of the heritage of stone and masonry to fashion his design while SOM used precise relationships of mathematics and steel. However, the designs in both the Sear’s Tower and Sagrada Família are restricted by the solutions inherent in the methods. In contrast, student designs often have no inherent approach to building. While the solution may appear to be evident, the method must often be invented; this is potentially more costly and complex than the design itself. This issue is not new to computers, but its hyper--reality is potentially more complex and disruptive. In evaluating the role of computer simulation in architectural design, this article employs two methods: 1.) Exoskeletal design: A limited collection of connected plates is formed and designed through warping, bending and forming. Reference architect Buckminster Fuller. 2.) Endoskeletal design: Curtain wall construction is taken to its minimalist extreme, using pure structure and membrane. Reference artist Christo.
series	SIGRADI
email
last changed	2016/03/10 09:52

_id	0dc3
authors	Chambers, Tom and Wood, John B.
year	1999
title	Decoding to 2000 CAD as Mediator
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 210-216
doi	https://doi.org/10.52842/conf.ecaade.1999.210
summary	This paper will present examples of current practice in the Design Studio course of the BDE, University of Strathclyde. The paper will demonstrate an integrated approach to teaching design, which includes CAD among other visual communication techniques as a means to exploring design concepts and the presentation of complex information as part of the design process. It will indicate how the theoretical dimension is used to direct the student in their areas of independent study. Projects illustrated will include design precedents that have involved students in the review and assessment of landmarks in the history of design. There will be evidence of how students integrate DTP in the presentation of site analysis, research of appropriate design precedents and presentation of their design solutions. CADET underlines the importance of considering design solutions within the context of both our European cultural context and of assessing the environmental impact of design options, for which CAD is eminently suited. As much as a critical method is essential to the development of the design process, a historical perspective and an appreciation of the sophistication of communicative media will inform the analysis of structural form and meaning in a modem urban context. Conscious of the dynamic of social and historical influences in design practice, the student is enabled "to take a critical stand against the dogmatism of the school "(Gadamer, 1988) that inevitably insinuates itself in learning institutions and professional practice.
keywords	Design Studio, Communication, Integrated Teaching
series	eCAADe
email
last changed	2022/06/07 07:56

_id	d79a
authors	Ekholm, Anders and Fridqvist, Sverker
year	1999
title	The BAS*CAAD Information System for Design principles, Implementation, and a Design Scenario
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 149-164
summary	The objectives of the BAS-CAAD-project are to investigate into theories and methods for computer aided architectural design, with emphasis on requirements of early stages of the design process. Information systems can be characterised as static or dynamic concerning the definition of classes in the model schema, and concerning classification of model objects. The paper presents the BAS-CAAD system, a prototype software that implements the conceptually most important features of a dynamic information system for design. The BAS-CAAD information system is built on a generic ontological framework. The system allows a free combination of attributes, supporting the incremental way that knowledge is built up during design. It provides a generic library structure that allows definition of objects classes in different levels of generalisation that may originate from international standards or the individual designer. For example, in the construction context, it allows modelling of buildings and their parts, as well as user organisations and user activities. The function of the system is illustrated in two scenarios.
keywords	CAD, Design, Dynamic Schema Evolution, Information Systems, Object Oriented Modelling, Product Modelling, Design Scenario
series	CAAD Futures
email
last changed	2006/11/07 07:23

_id	ga9916
id	ga9916
authors	Elzenga, R. Neal and Pontecorvo, Michael S.
year	1999
title	Arties: Meta-Design as Evolving Colonies of Artistic Agents
source	International Conference on Generative Art
summary	Meta-design, the act of designing a system or species of design instead of a design instance, is an important concept in modern design practice and in the generative design paradigm. For meta-design to be a useful tool, the designer must have more formal support for both design species definition/expression and the abstract attributes which the designer is attempting to embody within a design. Arties is an exploration of one possible avenue for supporting meta-design. Arties is an artistic system emphasizing the co-evolution of colonies of Artificial Life design or artistic agents (called arties) and the environment they inhabit. Generative design systems have concentrated on biological genetics metaphors where a population of design instances are evolved directly from a set of ‘parent’ designs in a succession of generations. In Arties, the a-life agent which is evolved, produces the design instance as a byproduct of interacting with its environment. Arties utilize an attraction potential curve as their primary dynamic. They sense the relative attraction of entities in their environment, using multiple sensory channels. Arties then associate an attractiveness score to each entity. This attractiveness score is combined with a 'taste' function built into the artie that is sensitized to that observation channel, entity, and distance by a transfer function. Arties use this attraction to guide decisions and behaviors. A community of arties, with independent evolving attraction criteria can pass collective judgement on each point in an art space. As the Artie moves within this space it modifies the environment in reaction to what it senses. Arties support for Meta-design is in (A) the process of evolving arties, breeding their attraction potential curve parameters using a genetic algorithm and (B) their use of sensory channels to support abstract attributes geometries. Adjustment of these parameters tunes the attraction of the artie along various sensing channels. The multi-agent co-evolution of Arties is one approach to creating a system for supporting meta-design. Arties is part of an on-going exploration of how to support meta-design in computer augmented design systems. Our future work with Arties-like systems will be concerned with applications in areas such as modeling adaptive directives in Architecture, Object Structure Design, spatio-temporal behaviors design (for games and simulations), virtual ambient spaces, and representation and computation of abstract design attributes.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	6e38
authors	Hanna, A.S. and Lotfallah, W.B.
year	1999
title	A fuzzy logic approach to the selection of cranes
source	Automation in Construction 8 (5) (1999) pp. 597-608
summary	This paper presents a fuzzy logic approach to select the best crane type in a construction project from the main crane types, namely, mobile, tower and derrick cranes. Each factor of the project is classified as being dynamic or static according to whether the factor does or does not depend on the particular project. Linguistic information about the suitability of each crane type with respect to each factor of the project is translated into either fuzzy sets (for static factors) or fuzzy if–then rules (for dynamic factors). The fuzzy rules are then aggregated into a fuzzy relation between the space of factor property and the space of crane efficiency. In a particular project the experts describe the property as well as the relative importance of each factor. The rules are then fired using the max–min extension principle, and the resulting efficiencies are aggregated with their importance weights. The process identifies the best crane as the one with the highest expected overall efficiency.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	24f0
authors	Kram, Reed and Maeda, John
year	1999
title	Transducer: 3D Audio-Visual Form-Making as Performance
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 285-291
summary	This paper describes Transducer, a prototype digital system for live, audio-visual performance. Currently the process of editing sounds or crafting three-dimensional structures on a computer remains a frustratingly rigid process. Current tools for real-time audio or visual construction using computers involve obtuse controls, either heavily GUI'ed or overstylized. Transducer asks one to envision a space where the process of editing and creating on a computer becomes a dynamic performance. The content of this performance may be sufficiently complex to elicit multiple interpretations, but Transducer enforces the notion that the process of creation should itself be a fluid and transparent expression. The system allows a performer to build constructions of sampled audio and computational three-dimensional form simultaneously. Each sound clip is visualized as a "playable" cylinder of sound that can be manipulated both visually and aurally in real-time. The transducer system demonstrates a creative space with equal design detailing at both the construction and performance phase.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	diss_kuo
id	diss_kuo
authors	Kuo, C.J.
year	1999
title	Unsupervised Dynamic Concurrent Computer-Aided Design Assistant
source	Los Angeles: UCLA
summary	The increasing capability of computer-aided architectural design systems has strengthened the role that the computer plays in the workplace. Due to the complexity of developing new techniques and research, these systems are undertaken mostly by scientists and engineers without significant architectural input (Willey, 1991). The design concept of these systems may be based on a well-defined and well-understood process, which is not yet realized in architectural design (Galle, 1994). The output of such research may not be easily adapted into the design process. Most of the techniques assume a complete understanding of the design space (Gero and Maher, 1987) (Willey, 1991). The description or construction of the design space is always time and space consuming, and the result can never be complete due to the ever-changing nature of architectural design. This research intends to initiate a solution for the above problems. The proposed system is an unsupervised-dynamic-concurrent-computer-aided-design assistant. The “unsupervised” means the learning process is not supervised by the user because it is against the designer's nature to “think-aloud” in the design studio and it also increases the work load. It is dynamic because the size of the knowledge base is constantly changing. Concurrent means that there are multiple procedures active simultaneously. This research focuses on learning the operational knowledge from an individual designer and reapplying it in future designs. A computer system for this experiment is constructed. It is capable of The preliminary result shows a positive feedback from test subjects. The purpose of this research is to suggest a potent computational frame within which future developments may flourish.
series	thesis:PhD
last changed	2003/11/28 07:37

_id	6384
authors	Kurmann, David
year	1999
title	Informotion: Dynamic Representation of Information Structures
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. 133-141
doi	https://doi.org/10.52842/conf.caadria.1999.133
summary	Information is everywhere. We are flooded by information and one can observe peoples problems handling the amount of information. The relational table as the mean to present information as well as simple html pages are having their obvious depts. Therefore, people are looking into three-dimensional representations and entire virtual environments to visualize data contents. Within this papers it is proposed to visualize information and information structures in a dynamic fashion. Therefore, we will have a look at some principles of dynamic representations as well as the metaphors and methods used to enables dynamic representations. With Autonomous Objects in Sculptor and inforMotion two examples are implemented in our research projects using dynamic data visualization.
series	CAADRIA
email
last changed	2022/06/07 07:52

_id	0d5b
authors	Latch Craig, David and Zimring, Craig
year	1999
title	Practical Support for Collaborative Design Involving Divided Interests
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 126-137
doi	https://doi.org/10.52842/conf.acadia.1999.126
summary	Collaboration is common in design, yet relatively little is known about the cognitive reasoning processes that occur during collaboration. This paper discusses collaborative design, emphasizing the elaboration and transformations of the problem search space, and the roles that unstructured verbal communication and graphic communication can play in these processes. The paper discusses a prototype system called the Immersive Discussion Tool (IDT) that supports asynchronous design. IDT allows collaborators to mark-up 3-D models over the Internet using a variety of tools, including diagrammatic marks, dynamic simulations and text annotations. IDT relies on VRML to view the models, with an extensive Java-based interface on the backend powering the interactive construction and playback of graphical annotations, the management of threaded discussions, and the management of file input/output. The development of this tool has revealed the difficulty of constructing complex marks in a virtual 3-D space, and the initial implementation of IDT suggests several strategies for solving these problems.
series	ACADIA
email
last changed	2022/06/07 07:51

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