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

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_id	8f39
authors	Laiserin, Jerry
year	1999
title	CAD in Practice Profile: Polshek Partnership Architects LLP
doi	https://doi.org/10.52842/conf.acadia.1999.010
source	ACADIA Quarterly, vol. 18, no. 3, pp. 10-14
summary	Since the advent of computers for architecture, James Stewart Polshek, FAIA, founding partner of Polshek Partnership Architects LLP, has insisted that his firm's technology standards match the same high level they maintain for their awardwinning designs. As explained by Senior Associate Don Weinreich, AIA, this objective translates into computing priorities that differ significantly from those of the average firm. Weinreich observes that many "typical" firms use computer technology for profitability first, consistency of documentation second, and enhancement of the design process last. At Polshek Partnership these priorities are reversed. Supporting and enriching the design process is the overriding objective of all computing activity at the firm. Consistency of documentation, as a second-level priority, is pursued not just for routine coordination and quality control, but in a proactive effort to maintain control over every detail in the process of communicating design intent—in other words, to further support design. The potential to increase profitability through computerization (e.g., by doing the same work in less time) ranks low among the computing priorities at Polshek Partnership. According to Weinreich, "the guiding principle is to do no harm," that is, to exploit the maximum potential of computers to support the design process without incurring additional net costs. In effect, the firm is taking the time and effort that computerization can save on many routine, procedural tasks and reinvesting those savings in additional design studies and details. This approach to computers for design is consistent with that of other AIA Firm Award-winning practices profiled in this series. (1)(2)
series	ACADIA
email
last changed	2022/06/07 07:52

_id	avocaad_2001_22
id	avocaad_2001_22
authors	Jos van Leeuwen, Joran Jessurun
year	2001
title	XML for Flexibility an Extensibility of Design Information Models
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	The VR-DIS research programme aims at the development of a Virtual Reality – Design Information System. This is a design and decision support system for collaborative design that provides a VR interface for the interaction with both the geometric representation of a design and the non-geometric information concerning the design throughout the design process. The major part of the research programme focuses on early stages of design. The programme is carried out by a large number of researchers from a variety of disciplines in the domain of construction and architecture, including architectural design, building physics, structural design, construction management, etc.Management of design information is at the core of this design and decision support system. Much effort in the development of the system has been and still is dedicated to the underlying theory for information management and its implementation in an Application Programming Interface (API) that the various modules of the system use. The theory is based on a so-called Feature-based modelling approach and is described in the PhD thesis by [first author, 1999] and in [first author et al., 2000a]. This information modelling approach provides three major capabilities: (1) it allows for extensibility of conceptual schemas, which is used to enable a designer to define new typologies to model with; (2) it supports sharing of conceptual schemas, called type-libraries; and (3) it provides a high level of flexibility that offers the designer the opportunity to easily reuse design information and to model information constructs that are not foreseen in any existing typologies. The latter aspect involves the capability to expand information entities in a model with relationships and properties that are not typologically defined but applicable to a particular design situation only; this helps the designer to represent the actual design concepts more accurately.The functional design of the information modelling system is based on a three-layered framework. In the bottom layer, the actual design data is stored in so-called Feature Instances. The middle layer defines the typologies of these instances in so-called Feature Types. The top layer is called the meta-layer because it provides the class definitions for both the Types layer and the Instances layer; both Feature Types and Feature Instances are objects of the classes defined in the top layer. This top layer ensures that types can be defined on the fly and that instances can be created from these types, as well as expanded with non-typological properties and relationships while still conforming to the information structures laid out in the meta-layer.The VR-DIS system consists of a growing number of modules for different kinds of functionality in relation with the design task. These modules access the design information through the API that implements the meta-layer of the framework. This API has previously been implemented using an Object-Oriented Database (OODB), but this implementation had a number of disadvantages. The dependency of the OODB, a commercial software library, was considered the most problematic. Not only are licenses of the OODB library rather expensive, also the fact that this library is not common technology that can easily be shared among a wide range of applications, including existing applications, reduces its suitability for a system with the aforementioned specifications. In addition, the OODB approach required a relatively large effort to implement the desired functionality. It lacked adequate support to generate unique identifications for worldwide information sources that were understandable for human interpretation. This strongly limited the capabilities of the system to share conceptual schemas.The approach that is currently being implemented for the core of the VR-DIS system is based on eXtensible Markup Language (XML). Rather than implementing the meta-layer of the framework into classes of Feature Types and Feature Instances, this level of meta-definitions is provided in a document type definition (DTD). The DTD is complemented with a set of rules that are implemented into a parser API, based on the Document Object Model (DOM). The advantages of the XML approach for the modelling framework are immediate. Type-libraries distributed through Internet are now supported through the mechanisms of namespaces and XLink. The implementation of the API is no longer dependent of a particular database system. This provides much more flexibility in the implementation of the various modules of the VR-DIS system. Being based on the (supposed to become) standard of XML the implementation is much more versatile in its future usage, specifically in a distributed, Internet-based environment.These immediate advantages of the XML approach opened the door to a wide range of applications that are and will be developed on top of the VR-DIS core. Examples of these are the VR-based 3D sketching module [VR-DIS ref., 2000]; the VR-based information-modelling tool that allows the management and manipulation of information models for design in a VR environment [VR-DIS ref., 2000]; and a design-knowledge capturing module that is now under development [first author et al., 2000a and 2000b]. The latter module aims to assist the designer in the recognition and utilisation of existing and new typologies in a design situation. The replacement of the OODB implementation of the API by the XML implementation enables these modules to use distributed Feature databases through Internet, without many changes to their own code, and without the loss of the flexibility and extensibility of conceptual schemas that are implemented as part of the API. Research in the near future will result in Internet-based applications that support designers in the utilisation of distributed libraries of product-information, design-knowledge, case-bases, etc.The paper roughly follows the outline of the abstract, starting with an introduction to the VR-DIS project, its objectives, and the developed theory of the Feature-modelling framework that forms the core of it. It briefly discusses the necessity of schema evolution, flexibility and extensibility of conceptual schemas, and how these capabilities have been addressed in the framework. The major part of the paper describes how the previously mentioned aspects of the framework are implemented in the XML-based approach, providing details on the so-called meta-layer, its definition in the DTD, and the parser rules that complement it. The impact of the XML approach on the functionality of the VR-DIS modules and the system as a whole is demonstrated by a discussion of these modules and scenarios of their usage for design tasks. The paper is concluded with an overview of future work on the sharing of Internet-based design information and design knowledge.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	3d23
authors	Sellgren, Ulf
year	1999
title	Simulation-driven Design
source	KTH Stockholm
summary	Efficiency and innovative problem solving are contradictory requirements for productdevelopment (PD), and both requirements must be satisfied in companies that strive to remainor to become competitive. Efficiency is strongly related to ”doing things right”, whereasinnovative problem solving and creativity is focused on ”doing the right things”.Engineering design, which is a sub-process within PD, can be viewed as problem solving or adecision-making process. New technologies in computer science and new software tools openthe way to new approaches for the solution of mechanical problems. Product datamanagement (PDM) technology and tools can enable concurrent engineering (CE) bymanaging the formal product data, the relations between the individual data objects, and theirrelation to the PD process. Many engineering activities deal with the relation betweenbehavior and shape. Modern CAD systems are highly productive tools for conceptembodiment and detailing. The finite element (FE) method is a general tool used to study thephysical behavior of objects with arbitrary shapes. Since a modern CAD technology enablesdesign modification and change, it can support the innovative dimension of engineering aswell as the verification of physical properties and behavior. Concepts and detailed solutionshave traditionally been evaluated and verified with physical testing. Numerical modeling andsimulation is in many cases a far more time efficient method than testing to verify theproperties of an artifact. Numerical modeling can also support the innovative dimension ofproblem solving by enabling parameter studies and observations of real and syntheticbehavior. Simulation-driven design is defined as a design process where decisions related tothe behavior and performance of the artifact are significantly supported by computer-basedproduct modeling and simulation.A framework for product modeling, that is based on a modern CAD system with fullyintegrated FE modeling and simulation functionality provides the engineer with tools capableof supporting a number of engineering steps in all life-cycle phases of a product. Such aconceptual framework, that is based on a moderately coupled approach to integratecommercial PDM, CAD, and FE software, is presented. An object model and a supportingmodular modeling methodology are also presented. Two industrial cases are used to illustratethe possibilities and some of the opportunities given by simulation-driven design with thepresented methodology and framework.
keywords	CAE; FE Method; Metamodel; Object Model; PDM; Physical Behavior, System
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	e719
authors	Achten, Henri and Turksma, Arthur
year	1999
title	Virtual Reality in Early Design: the Design Studio Experiences
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 327-335
summary	The Design Systems group of the Eindhoven University of Technology started a new kind of design studio teaching. With the use of high-end equipment, students use Virtual Reality from the very start of the design process. Virtual Reality technology up to now was primarily used for giving presentations. We use the same technology in the design process itself by means of reducing the time span in which one gets results in Virtual Reality. The method is based on a very brief cycle of modelling in AutoCAD, assigning materials in 3DStudio Viz, and then making a walkthrough in Virtual Reality in a standard landscape. Due to this cycle, which takes about 15 seconds, the student gets immediate feedback on design decisions which facilitates evaluation of the design in three dimensions much faster than usual. Usually the learning curve of this kind of software is quite steep, but with the use of templates the number of required steps to achieve results is reduced significantly. In this way, the potential of Virtual Reality is not only explored in research projects, but also in education. This paper discusses the general set-up of the design studio and shows how, via short workshops, students acquire knowledge of the cycle in a short time. The paper focuses on the added value of using Virtual Reality technology in this manner: improved spatial reasoning, translation from two-dimensional to three-dimensional representations, and VR feedback on design decisions. It discusses the needs for new design representations in this design environment, and shows how fast feedback in Virtual Reality can improve the spatial design at an early stage of the design process.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	6d88
authors	Achten, Henri H. and Van Leeuwen, Jos P.
year	1999
title	Feature-Based High Level Design Tools - A Classification
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 275-290
summary	The VR-DIS project aims to provide design support in the early design stage using a Virtual Reality environment. The initial brief of the design system is based on an analysis of a design case. The paper describes the process of analysis and extraction of design knowledge and design concepts in terms of Features. It is demonstrated how the analysis has lead to a classification of design concepts. This classification forms one of the main specifications for the VR-based design aid system that is being developed in the VR-DIS programme. The paper concludes by discussing the particular approach used in the case analysis and discusses future work in the VR-DIS research programme.
keywords	Features, Feature-Based modelling, Architectural Design, Design Process, Design Support
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	ga9922
id	ga9922
authors	Annunziato, M. and Pierucci, P.
year	1999
title	The Art of Emergence
source	International Conference on Generative Art
summary	Since several years, the term emergence is mentioned in the paradigm of chaos and complexity. Following this approach, complex system constituted by multitude of individual develop global behavioral properties on the base of local chaotic interactions (self-organization). These theories, developed in scientific and philosophical milieus are rapidly spreading as a "way of thinking" in the several fields of cognitive activities. According to this "way of thinking" it is possible revise some fundamental themes as the economic systems, the cultural systems, the scientific paths, the communication nets under a new approach where nothing is pre-determined, but the global evolution is determined by specific mechanisms of interaction and fundamental events (bifurcation). With a jump in scale of the life, also other basic concepts related to the individuals as intelligence, consciousness, psyche can be revised as self-organizing phenomena. Such a conceptual fertility has been the base for the revision of the artistic activities as flexible instruments for the investigation of imaginary worlds, metaphor of related real worlds. In this sense we claim to the artist a role of "researcher". Through the free exploration of new concepts, he can evoke qualities, configurations and hypothesis which have an esthetical and expressive value and in the most significant cases, they can induce nucleation of cultural and scientific bifurcation. Our vision of the art-science relation is of cooperative type instead of the conflict of the past decades. In this paper we describe some of the most significant realized artworks in order to make explicit the concepts and basic themes. One of the fundamental topics is the way to generate and think to the artwork. Our characterization is to see the artwork not as a static finished product, but as an instance or a dynamic sequence of instances of a creative process which continuously evolves. In this sense, the attention is focused on the "generative idea" which constitutes the envelop of the artworks generable by the process. In this approach the role of technology (computers, synthesizers) is fundamental to create the dimension of the generative environment. Another characterizing aspect of our artworks is derived by the previous approach and specifically related to the interactive installations. The classical relation between artist, artwork and observers is viewed as an unidirectional flux of messages from the artist to the observer through the artwork. In our approach artist, artwork and observer are autonomous entities provided with own personality which jointly intervene to determine the creative paths. The artist which generate the environment in not longer the "owner" of the artwork; simply he dialectically bring the generative environment (provided by a certain degree of autonomy) towards cultural and creative "void" spaces (not still discovered). The observers start from these platforms to generate other creative paths, sometimes absolutely unexpected , developing their new dialectical relations with the artwork itself. The results derived by these positions characterize the expressive elements of the artworks (images, sequences and sounds) as the outcomes of emergent behavior or dynamics both in the sense of esthetical shapes emergent from fertile generative environments, either in terms of emergent relations between artist, artwork and observer, either in terms of concepts which emerge by the metaphor of artificial worlds to produce imaginary hypothesis for the real worlds.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ga9926
id	ga9926
authors	Antonini, Riccardo
year	1999
title	Let's Improvise Together
source	International Conference on Generative Art
summary	The creators of ‘Let's-Improvise-Together’ adhere to the idea that while there is a multitude of online games now available in cyberspace, it appears that relatively few are focused on providing a positive, friendly and productive experience for the user. Producing this kind of experience is one the goals of our Amusement Project.To this end, the creation of ‘Let's Improvise Together’ has been guided by dedication to the importance of three themes:* the importance of cooperation,* the importance of creativity, and* the importance of emotion.Description of the GameThe avatar arrives in a certain area where there are many sound-blocks/objects. Or he may add sound "property" to existing ones. He can add new objects at will. Each object may represents a different sound, they do not have to though. The avatar walks around and chooses which objects he likes. Makes copies of these and add sounds or change the sounds on existing ones, then with all of the sound-blocks combined make his personalized "instrument". Now any player can make sounds on the instrument by approaching or bumping into a sound-block. The way that the avatar makes sounds on the instrument can vary. At the end of the improvising session, the ‘composition’ will be saved on the instrument site, along with the personalized instrument. In this way, each user of the Amusement Center will leave behind him a unique instrumental creation, that others who visit the Center later will be able to play on and listen to. The fully creative experience of making a new instrument can be obtained connecting to Active Worlds world ‘Amuse’ and ‘Amuse2’.Animated colorful sounding objects can be assembled by the user in the Virtual Environment as a sort of sounding instrument. We refrain here deliberately from using the word musical instrument, because the level of control we have on the sound in terms of rythm and melody, among other parameters, is very limited. It resembles instead, very closely, to the primitive instruments used by humans in some civilizations or to the experience made by children making sound out of ordinary objects. The dimension of cooperation is of paramount importance in the process of building and using the virtual sounding instrument. The instrument can be built on ones own effort but preferably by a team of cooperating users. The cooperation has as an important corolary: the sharing of the experience. The shared experience finds its permanence in the collective memory of the sounding instruments built. The sounding instrument can be seen also as a virtual sculpture, indeed this sculpture is a multimedial one. The objects have properties that ranges from video animation to sound to virtual physical properties like solidity. The role of the user representation in the Virtual World, called avatar, is important because it conveys, among other things, the user’s emotions. It is worth pointing out that the Avatar has no emotions on its own but it simply expresses the emotions of the user behind it. In a way it could be considered a sort of actor performing the script that the user gives it in real-time while playing.The other important element of the integration is related to the memory of the experience left by the user into the Virtual World. The new layout is explored and experienced. The layout is a permanent editable memory. The generative aspects of Let's improvise together are the following.The multi-media virtual sculpture left behind any participating avatar is not the creation of a single author/artist. The outcome of the sinergic interaction of various authors is not deterministic, nor predictable. The authors can indeed use generative algorythm in order to create the texture to be used on the objects. Usually, in our experience, the visitors of the Amuse worlds use shareware programs in order to generate their texture. In most cases the shareware programs are simple fractals generators. In principle, it is possible to generate also the shape of the object in a generative way. Taking into account the usual audience of our world, we expected visitors to use very simple algorythm that could generate shapes as .rwx files. Indeed, noone has attempted to do so insofar. As far as the music is concerned, the availability of shareware programs that allow simple generation of sounds sequences has made possible, for some users, to generate sounds sequences to be put in our world. In conclusion, the Let's improvise section of the Amuse worlds could be open for experimentation on generative art as a very simple entry point platform. We will be very happy to help anybody that for educational purposes would try to use our platform in order to create and exhibit generative forms of art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	f317
authors	Arvin, Scott A. and House, Donald H.
year	1999
title	Modeling Architectural Design Objectives in Physically Based Space Planning
doi	https://doi.org/10.52842/conf.acadia.1999.212
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 212-225
summary	Physically based space planning is a means for automating the conceptual design process by applying the physics of motion to space plan elements. This methodology provides for a responsive design process, which allows a designer to easily make decisions whose consequences immediately propagate throughout the design. It combines the speed of automated design methods with the flexibility of manual design methods, while adding a highly interactive quality and a sense of collaboration with the design itself. In our approach, the designer creates a space plan by specifying and modifying graphic design objectives rather than by directly manipulating primitive geometry. The plan adapts to the changing state of objectives by applying the physics of motion to its elements. For design objectives to have an effect on a physically based space plan, they need to be able to apply appropriate forces to space plan elements. Space planning can be separated into two problems, determining topological properties and determining geometric properties. Design objectives can then be categorized as topological or geometric objectives. Topological objectives influence the location of individual spaces, affecting how one space relates to another. Geometric objectives influence the size and shape of space boundaries, affecting the dimensions of individual walls. This paper focuses on how to model a variety of design objectives for use in a physically based space planning system. We describe how topological objectives, such as adjacency and orientation, can be modeled to apply forces to space locations, and how geometric objectives, such as area, proportion, and alignment, can be modeled to apply forces to boundary edges.
series	ACADIA
email
last changed	2022/06/07 07:54

_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	1206
authors	Cabezas, M., Mariano, C., Mitolo, S. and Oliva, S.
year	1999
title	Transformaciones en el Proceso Enseñanza-Aprendizaje de la Geometría Descriptiva con la Apliacación de los Medios Digitales (Transformations in the Teaching/Learning Process of Descriptive Geometry with the Aplplication of Digital Media)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 347-348
summary	The insert of the digital technologies in the atmosphere Áulico has left generalizing in a significant way. An example constitutes it the high percentage of students that they manifested general knowledge in the software handling in the introductory course of visual communication, as well as the voluntary presentation of practical works developed with digital means. The necessity of an answer to the requirements that arise of the students sinks to the certainty of a pedagogic compatibility among the matter to try and the teaching attended by the personal computer that would increase the Iconidad and the understanding of a topic of certain complexity like it is the geometry of the space. An educational program designed for the teaching of the Sistema Monge whose general characteristics were presented in the II Ibero-American Seminar of Digital Graph and that it will be applied as experience pilot in the course 2000, it will allow us to respond to the following queries: what place it will be given to the educational program in the formation process in connection with the other pedagogic means.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	b4d2
authors	Caldas, Luisa G. and Norford, Leslie K.
year	1999
title	A Genetic Algorithm Tool for Design Optimization
doi	https://doi.org/10.52842/conf.acadia.1999.260
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 260-271
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	ga9924
id	ga9924
authors	Cardalda, Juan Jesus Romero J.J.
year	1999
title	Artificial Music Composer
source	International Conference on Generative Art
summary	Traditional Musical Computation Systems had to face the differences between the computational techniques and the characteristics of musical creation. Characteristics such as a high degree of subjectivity, a great irrational component, and a learning process based on the use of examples and environmental absorption, have made music difficult to be formalized through algorithmic methods or classical Artificial Intelligence methods such as Expert Systems. We propose the creation of a cybernetic model of a human composer in a primeval stage of human musical evolution, following a paradigm of cognitive complex models creation, based on the use of the human reference, not only in a static point of view but also considering its evolution through time. Therefore, the proposed system simulates musical creation in one of the first stages of musical evolution, whose main characteristics are the percussive and choral aspects. The system is based on Genetic Algorithms, whose genetic population is integrated by several tribes. This model carries out the task of musical composition, led by the user who expresses his/her musical taste assigning a punctuation to each tribe. The GA selects the worse tribes as individuals to be eliminated. In order to select those tribes which are going to be used as parents, a random function is used, having each tribe a probality proportional to its punctuation. The new tribe is produced by crossing the parent tribes in each individual. Afterwards, mutation takes place in the created individuals. The experiments carried out with this system have proved its functionality in the composition of rhythmic patterns. It is intended to enlarge the experiment's scope by communicating the system via Internet. This would enable its use by users of different musical cultures, taking into account that the system is user-friendly, since it requires no musical knowledge.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	7921
authors	Carp, John
year	1999
title	Discovering Theory
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 347-348
summary	This abstract describes a course in design theory and methods for students in architecture. It deals with the principles of Morphogenetic Design, in a didactical setting. The course is special in the way that theory and methods are not being taught formally, but discovered by the students themselves. The mechanism for acquiring this knowledge is by means of a series of exercises the students have to carry out. Each exercise is put before the students with a minimum of explanation. The purpose of the exercise is explained afterwards, making maximal use of group discussions on the results of the exercise. The discussion is being focused on comparing the similarities and differences in the variants the students have produced. The aim of the discussion is firstly to discover the structural properties of these variants (the theory) and secondly to discover the most appropriate way of establishing these structural properties (the methods). The variants have come on the table by means of the group effort. The habitual reluctance of architects, when required to produce variants, is thus being overcome. Morphogenetic themes like creation, evaluation and selection are being dealt with in a natural way.
series	AVOCAAD
last changed	2005/09/09 10:48

_id	a9b0
authors	Cha, Myung Yeol and Gero, John
year	1999
title	Style Learning: Inductive Generalisation of Architectural Shape Patterns
doi	https://doi.org/10.52842/conf.ecaade.1999.629
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 629-644
summary	Art historians and critics have defined the style as common features appeared in a class of objects. Abstract common features from a set of objects have been used as a bench mark for date and location of original works. Common features in shapes are identified by relationships as well as physical properties from shape descriptions. This paper will focus on how the computer recognises common shape properties from a class of shape objects to learn style. Shape representation using schema theory has been explored and possible inductive generalisation from shape descriptions has been investigated.
keywords	Style, Inductive Generalisation, Knowledge Representation, Shape
series	eCAADe
email
last changed	2022/06/07 07:55

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	3db8
authors	Clarke, Keith
year	1999
title	Getting Started with GIS
source	2nd ed., Prentice Hall Series in Geographic Information Science, ed. Kieth Clarke. Upper Saddle River, NJ: Prentice Hall, 1999, 2-3
summary	This best-selling non-technical, reader-friendly introduction to GIS makes the complexity of this rapidly growing high-tech field accessible to beginners. It uses a "learn-by-seeing" approach that features clear, simple explanations, an abundance of illustrations and photos, and generic practice labs for use with any GIS software. What Is a GIS? GIS's Roots in Cartography. Maps as Numbers. Getting the Map into the Computer. What Is Where? Why Is It There? Making Maps with GIS. How to Pick a GIS. GIS in Action. The Future of GIS. For anyone interested in a hands-on introduction to Geographic Information Systems.
series	other
last changed	2003/04/23 15:14

_id	2f1a
authors	Dabney, M.K., Wright, J.C. and Sanders, D.H.
year	1999
title	Virtual Reality and the Future of Publishing Archaeological Excavations: the multimedia publication of the prehistoric settlement on Tsoungiza at Ancient Nemea
source	New York: The Metropolitan Museum of Art
summary	The Nemea Valley Archaeological Project is a study of settlement and land use in a regional valley system in Greece extending from the Upper Paleolithic until the present. Active field research was conducted by four teams between 1981 and 1990. The first component was a regional archaeological survey. Second, and closely related to the first, was a social anthropological study of modern settlement and land use. Next was a team assigned to excavate the succession of prehistoric settlements of Ancient Nemea on Tsoungiza. Last, historical ecologists, a palynologist, and a geologist formed the environmental component of the research. As a result of advances in electronic publishing, plans for the final publication of the Nemea Valley Archaeological Project have evolved. Complete publication of the excavation of the prehistoric settlements of Ancient Nemea on Tsoungiza will appear in an interactive multimedia format on CD/DVD in Fall 2000. This project is planned to be the first electronic publication of the American School of Classical Studies at Athens. We have chosen to publish in electronic format because it will meet the needs and interests of a wider audience, including avocational archaeologists, advanced high school and college students, graduate students, and professional archaeologists. The multimedia format on CD/DVD will permit the inclusion of text, databases, color and black-and-white images, two and three-dimensional graphics, and videos. This publication is being developed in cooperation with Learning Sites, Inc., which specializes in interactive three-dimensional reconstructions of ancient worlds http://www.learningsites.com. The Nemea Valley Archaeological Project is particularly well prepared for the shift towards electronic publishing because the project's field records were designed for and entered in computer databases from the inception of the project. Attention to recording precise locational information for all excavated objects enables us to place reconstructions of objects in their reconstructed architectural settings. Three-dimensional images of architectural remains and associated features will appear both as excavated and as reconstructed. Viewers will be able to navigate these images through the use of virtual reality. Viewers will also be able to reference all original drawings, photographs, and descriptions of the reconstructed architecture and objects. In this way a large audience will be able to view architectural remains, artifacts, and information that are otherwise inaccessible.
series	other
last changed	2003/04/23 15:14

_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	80f0
authors	Dokonal, Wolfgang
year	1999
title	Three Dimensional Computer Models in Development Planning
doi	https://doi.org/10.52842/conf.ecaade.1999.685
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 685-693
summary	The paper shows a way to use computer generated spatial models in planning to increase the quality of development planning inside a community and to enable a better vision of future developments in showing the spatial impact of possible solutions inside a bandwidth of surface utilisation and density. It describes the application of this technique to give the specialists and the members of a community a comparatively easy to use tool to show the impact of planning decisions and therefore increase the discussion about a desirable future.
keywords	3D City Modeling, Planning, Spatial Models, Development
series	eCAADe
email
last changed	2022/06/07 07:55

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