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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	ga9913
id	ga9913
authors	Ceccato, Cristiano and Liauw, Laurence
year	1999
title	Parametric Urbanism: Explorations in Generative Urban Design
source	International Conference on Generative Art
summary	This paper is the result of several years of research by the Authors into the new field of generative design, as applied to urbanism. Its purpose is to formulate a concept of parametric urbanism and data-driven urban design, and how it departs from existing concepts of urban analysis and resulting design methods. This paper first gives a definition and description of the notion of generative urban design, and its relevance to current the practice of architecture and global political, sociological and economic developments. The difference between dogmatic forms of urban design and new parametric research methods is explained, and the Authors argue the fundamental relevance of using examples of post-colonial large-scale projects. In support of this, the Authors explore the widening field of research into parametric and data-driven architecture and urban design and the history of rule-based and evolutionary design methodologies. The paper illustrates examples of successful research in the field of parametric and rule-based urban design, by the Authors as well as colleagues within the field. It surveys the Authors’ work done at the Architectural Association School of Architecture, at the Hong Kong Polytechnic University School of Design, as well as in practice and research-oriented consultancy. The projects illustrated support the thesis of parametric urbanism by showing its power and versatility when applied to very large-scale projects, in particular within the People’s Republic of China.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	49b2
authors	Cuberos Mejia, Ricardo
year	1999
title	Some Experiences about CAAD on Design and Documentation Processes
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 237-249
summary	The manuscript proposes a qualification of the added value of CAAD according to the scope of application of such platforms, their implications in the own design process and the character of its end items. Each scope as well is defined in different dimensions, which explain and exemplify from a series of experiences developed by the author in the last 10 years, applying CAAD platforms in activities of architectural design, university teaching, investigation and consulting, or urban planning.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	db00
authors	Espina, Jane J.B.
year	2002
title	Base de datos de la arquitectura moderna de la ciudad de Maracaibo 1920-1990 [Database of the Modern Architecture of the City of Maracaibo 1920-1990]
source	SIGraDi 2002 - [Proceedings of the 6th Iberoamerican Congress of Digital Graphics] Caracas (Venezuela) 27-29 november 2002, pp. 133-139
summary	Bases de datos, Sistemas y Redes 134The purpose of this report is to present the achievements obtained in the use of the technologies of information andcommunication in the architecture, by means of the construction of a database to register the information on the modernarchitecture of the city of Maracaibo from 1920 until 1990, in reference to the constructions located in 5 of Julio, Sectorand to the most outstanding planners for its work, by means of the representation of the same ones in digital format.The objective of this investigation it was to elaborate a database for the registration of the information on the modernarchitecture in the period 1920-1990 of Maracaibo, by means of the design of an automated tool to organize the it datesrelated with the buildings, parcels and planners of the city. The investigation was carried out considering three methodologicalmoments: a) Gathering and classification of the information of the buildings and planners of the modern architectureto elaborate the databases, b) Design of the databases for the organization of the information and c) Design ofthe consultations, information, reports and the beginning menu. For the prosecution of the data files were generated inprograms attended by such computer as: AutoCAD R14 and 2000, Microsoft Word, Microsoft PowerPoint and MicrosoftAccess 2000, CorelDRAW V9.0 and Corel PHOTOPAINT V9.0.The investigation is related with the work developed in the class of Graphic Calculation II, belonging to the Departmentof Communication of the School of Architecture of the Faculty of Architecture and Design of The University of the Zulia(FADLUZ), carried out from the year 1999, using part of the obtained information of the works of the students generatedby means of the CAD systems for the representation in three dimensions of constructions with historical relevance in themodern architecture of Maracaibo, which are classified in the work of The Other City, generating different types ofisometric views, perspectives, representations photorealistics, plants and facades, among others.In what concerns to the thematic of this investigation, previous antecedents are ignored in our environment, and beingthe first time that incorporates the digital graph applied to the work carried out by the architects of “The Other City, thegenesis of the oil city of Maracaibo” carried out in the year 1994; of there the value of this research the field of thearchitecture and computer science. To point out that databases exist in the architecture field fits and of the design, alsoweb sites with information has more than enough architects and architecture works (Montagu, 1999).In The University of the Zulia, specifically in the Faculty of Architecture and Design, they have been carried out twoworks related with the thematic one of database, specifically in the years 1995 and 1996, in the first one a system wasdesigned to visualize, to classify and to analyze from the architectural point of view some historical buildings of Maracaiboand in the second an automated system of documental information was generated on the goods properties built insidethe urban area of Maracaibo. In the world environment it stands out the first database developed in Argentina, it is the database of the Modern andContemporary Architecture “Datarq 2000” elaborated by the Prof. Arturo Montagú of the University of Buenos Aires. The general objective of this work it was the use of new technologies for the prosecution in Architecture and Design (MONTAGU, Ob.cit). In the database, he intends to incorporate a complementary methodology and alternative of use of the informationthat habitually is used in the teaching of the architecture. When concluding this investigation, it was achieved: 1) analysis of projects of modern architecture, of which some form part of the historical patrimony of Maracaibo; 2) organized registrations of type text: historical, formal, space and technical data, and graph: you plant, facades, perspectives, pictures, among other, of the Moments of the Architecture of the Modernity in the city, general data and more excellent characteristics of the constructions, and general data of the Planners with their more important works, besides information on the parcels where the constructions are located, 3)construction in digital format and development of representations photorealistics of architecture projects already built. It is excellent to highlight the importance in the use of the Technologies of Information and Communication in this investigation, since it will allow to incorporate to the means digital part of the information of the modern architecturalconstructions that characterized the city of Maracaibo at the end of the XX century, and that in the last decades they have suffered changes, some of them have disappeared, destroying leaves of the modern historical patrimony of the city; therefore, the necessity arises of to register and to systematize in digital format the graphic information of those constructions. Also, to demonstrate the importance of the use of the computer and of the computer science in the representation and compression of the buildings of the modern architecture, to inclination texts, images, mapping, models in 3D and information organized in databases, and the relevance of the work from the pedagogic point of view,since it will be able to be used in the dictation of computer science classes and history in the teaching of the University studies of third level, allowing the learning with the use in new ways of transmission of the knowledge starting from the visual information on the part of the students in the elaboration of models in three dimensions or electronic scalemodels, also of the modern architecture and in a future to serve as support material for virtual recoveries of some buildings that at the present time they don’t exist or they are almost destroyed. In synthesis, the investigation will allow to know and to register the architecture of Maracaibo in this last decade, which arises under the parameters of the modernity and that through its organization and visualization in digital format, it will allow to the students, professors and interested in knowing it in a quicker and more efficient way, constituting a contribution to theteaching in the history area and calculation. Also, it can be of a lot of utility for the development of future investigation projects related with the thematic one and restoration of buildings of the modernity in Maracaibo.
keywords	database, digital format, modern architecture, model, mapping
series	SIGRADI
email
last changed	2016/03/10 09:51

_id	ga0015
id	ga0015
authors	Daru, R., Vreedenburgh, E. and Scha, R.
year	2000
title	Architectural Innovation as an evolutionary process
source	International Conference on Generative Art
summary	Traditionally in art and architectural history, innovation is treated as a history of ideas of individuals (pioneers), movements and schools. The monograph is in that context one of the most used forms of scientific exercise. History of architecture is then mostly seen as a succession of dominant architectural paradigms imposed by great architectural creators fighting at the beginning against mainstream establishment until they themselves come to be recognised. However, there have been attempts to place architectural innovation and creativity in an evolutionary perspective. Charles Jencks for example, has described the evolution of architectural and art movements according to a diagram inspired by ecological models. Philip Steadman, in his book "The Evolution of Designs. Biological analogy in architecture and the applied arts" (1979), sketches the history of various biological analogies and their impact on architectural theory: the organic, classificatory, anatomical, ecological and Darwinian or evolutionary analogies. This last analogy "explains the design of useful objects and buildings, particularly in primitive society and in the craft tradition, in terms of a sequence of repeated copyings (corresponding to inheritance), with small changes made at each stage ('variations'), which are then subjected to a testing process when the object is put into use ('selection')." However, Steadman has confined his study to a literature survey as the basis of a history of ideas. Since this pioneering work, new developments like Dawkins' concept of memes allow further steps in the field of cultural evolution of architectural innovation. The application of the concept of memes to architectural design has been put forward in a preceding "Generative Art" conference (Daru, 1999), showing its application in a pilot study on the analysis of projects of and by architectural students. This first empirical study is now followed by a study of 'real life' architectural practice. The case taken has a double implication for the evolutionary analogy. It takes a specific architectural innovative concept as a 'meme' and develops the analysis of the trajectory of this meme in the individual context of the designer and at large. At the same time, the architect involved (Eric Vreedenburgh, Archipel Ontwerpers) is knowledgeable about the theory of memetic evolution and is applying a computer tool (called 'Artificial') together with Remko Scha, the authoring computer scientist of the program who collaborates frequently with artists and architects. This case study (the penthouse in Dutch town planning and the application of 'Artificial') shall be discussed in the paper as presented. The theoretical and methodological problems of various models of diffusion of memes shall be discussed and a preliminary model shall be presented as a framework to account for not only Darwinian but also Lamarckian processes, and for individual as well as collective transmission, consumption and creative transformation of memes.
keywords	evolutionary design, architectural innovation, memetic diffusion, CAAD, penthouses, Dutch design, creativity, Darwinian and Lamarckian processes
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	f51a
authors	Del Pup, Claudio
year	1999
title	Carbon Pencil, Brush and Mouse, Three Tools in the Learning Process of New University Art Designers
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 420-425
summary	This article develops the introduction of computer technologies in the fine arts environment the use of these new tools, sharing the process of creation and interacting at the same level with older technics, breaks the myth of technology and tries to reach the right place according to current or modern advances. As an introduction, it explains the insertion in the current courses of study of the "computer languages area", its implementation, present situation and future stages. An important point we have developed is the teaching methodology, to solve the transition of those who, challenging their investigations in different areas, like fire arts, graphic arts, film or video, need the support of computers. The first steps consist in designing sample courses, which allow the measurement of results, the definition of concepts like extension, capacities, teaching hours and the most important, a methodology to share the enthusiasm of creation with the difficulties of learning a new technique it is necessary to discover limits, to avoid easy results as a creative tool one of the most important problems we have faced is the necessity of coordinating the process of creation with the individual time of a plastic artist, finding the right way that allows the integration of all the group, minimizing desertion and losing of motivation. Two years later, the first results in the field of digital image investigations and assistance in form design. Volume as a challenge and solutions supported in techniques of modeling in 3D (experiences of modeling a virtual volume from a revolution profile, its particular facts and the parallelism with potter's lathe the handling of image as the most important element, as an work of art itself, but also as a support in the transmission of knowledge (design of a CD as a tool for the department of embryology of medical school with the participation of people from the medical school, engineering school and school of fine arts). Time as a variable, movement, animation and its techniques, multimedia (design of short videos for the 150th anniversary of the Republic University). Conclusions, good hits, adjustments, new areas to include, problems to solve, the way of facing a constantly evolving technology.
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	b989
authors	Jahn, Gonzalo Vélez
year	1999
title	Realidad Virtual en Arquitectura - Actualidad y Futuro (Virtual Reality in Architecture - The Present and the Future)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 79-82
summary	During recent years, developments in the area of virtual reality and its applications in architecture have undergone a number of important transformations that point out the need of an updated revision and adjustment as regards its current situation status and also that which concerns its potentialities within a foreseeable future. This paper seeks to provide an ample vision about recent developments of VR in architectural applications and, also, about its potential developments within the settings provided by such imminent phenomena as the upcoming Internet II and its future impact on the three dimensional and multisensorial qualities of the information that will move within cyberspace in the next decades. The paper also comments on experiencies underway at the Laboratory of Advanced Techniques in Design, Faculty of Architecture and Urbanism, Universidad Central de Venezuela in collaboration with the Laboratory of Computer Graphics, School of Computing, also at UCV, Caracas. Finally, a number of considerations and conjectures are dedicated to the new field of VR multi-access worlds and its potential to virtual architectural modeling in the Intenet-WWW.
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	ee8a
authors	Porrúa, Marina and Rueda, Marta
year	1999
title	Innovación Didáctica. Digitalización de un ejercicio práctico cuya problemática central es la organización de la forma en el espacio bidimensional y la introducción al diseño textil (Didactic Innovation. Digitalization of a practical exercises whose Central Issue is the Organization of Form in Bidimensional Space and the Introduction to the Textile Design)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 285-288
summary	The projectual disciplines must respond with some grade of originality to a approached problem. In order to products of design be creative must be implemented a creative process of design and also from the teaching. The essence of creativity are the variations over a subject. A pedagogic way for this, is the one to recognise, individualise and represent the problem attributes, building upon them an "exploration space", to analyse and create new combinatorial alternatives or restructuring of the problem. The digital media incorporation as a new proyectual environment approaches the interactivity not only of the combinatorial variables, but, also to the hypermedia's. Both the digital documents, as the creative process, have a "no linear" or a "net" structure, that allows the construction of a himself way, self-managemented into this structure. The interactivity makes possible to work, as the divergent thought does, in a "polydirectional" field, that stimulates the fluency, the flexibility and the originality. The new- media's, used as didactic tool, open to "action", allow the students to convert them in "co- author", together professors, about themself learning process. >From this educational conception and its potential enrichment with the hypermedia, we are designing a project of digitising of an exercise to our didactic proposal and its later application into the course with our students.
series	SIGRADI
email
last changed	2016/03/10 09:57

_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	ga9902
id	ga9902
authors	Soddu, Celestino
year	1999
title	Recognizability of designer imprinting in Generative artwork
source	International Conference on Generative Art
summary	Design lives within two fundamental stages, the creative and the evolutionary. The first is that of producing the idea: this approach is built activating a logical jump between the existing and possible worlds that represent our wishes and thoughts. A design idea is the identification of a set of possibilities that goes beyond specific "solutions" but identifies the sense or the attainable quality. The field involved in this design stage is "how" the world may be transformed, not what the possible scenario may be. The second is the evolutionary stage, that of the development of the idea. This approach runs inside paths of refinement and increases in complexity of the projects. It involves the management of the project to reach the desired quality.Generative design is founded on the possibility to clearly separate the creative and the evolutionary stages of the idea. And the first is reserved for man (because creative processes, being activated from subjective interpretations and being abduptive paths and not deductive, inductive or analytical ones, can not be emulated by machines) and the second may be carried out using artificial devices able to emulate logical procedures. The emulation of evolutionary logics is useful for a very simple reason: for getting the best operative design control on complexity. Designers know very well that the quality of a project depends, very importantly, on the time spent designing. If the time is limited, the project can not evolve enough to attain the desired quality. If the available time is increased, the project acquires a higher quality due to the possibility of crossing various parallel evolutionary paths, to develop these and to verify their relative potential running through the cycle idea/evolution more times and in progress. (scheme1) This is not all. In a time-limited design activity, the architect is pressed into facing the formalization of performance requirements in terms of answering directly specific questions. He is pressed into analytically systematizing the requirements before him to quickly work on the evolution of the project. The design solution can be effective but absolutely not flexible. If the real need of the user is, even slightly, different to the hypothesized requirement, the quality of the project, as its ability to respond to needs, breaks down. Projects approached in this way, which we could call "analytical", are quickly obsolete, being tied up to the flow of fashion. A more "creative" approach, where we don't try to accelerate (therby simplifying) the design development path "deducting" from the requirements the formalization choices but we develop our idea using the requirements and the constraints as opportunities of increasing the complexity of the idea, enriching the design development path to reach a higher quality, needs, without doubt, more time. As well as being, of course, a creative and non-analytical approach. This design approach, which is "the" design path, is a voyage of discovery that is comparable to that of scientific research. The fundamental structure is the idea as a "not deducted" hypothesis concerning a quality and recognizability of attainable artwork, according to the architect's "subjective" point of view. The needs and the constraints, identified as fields of possible development of the project, are opportunities for the idea to develop and acquire a specific identity and complexity. Once possible scenarios of a project are formed, the same requirements and constraints will take part, as "verification of congruity", of the increase in quality. Then the cycle, once more, will be run again to reach more satisfactory results. It is, without doubt, an approach that requires time.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	44c0
authors	Van Leeuwen, Jos P.
year	1999
title	Modelling architectural design information by features : an approach to dynamic product modelling for application in architectural design
source	Eindhoven University of Technology
summary	Architectural design, like many other human activities, benefits more and more from the ongoing development of information and communication technologies. The traditional paper documents for the representation and communication of design are now replaced by digital media. CAD systems have replaced the drawing board and knowledge systems are used to integrate expert knowledge in the design process. Product modelling is one of the most promising approaches in the developments of the last two decades, aiming in the architectural context at the representation and communication of the information related to a building in all its aspects and during its complete life-cycle. However, after studying both the characteristics of the product modelling approach and the characteristics of architectural design, it is concluded in this research project that product modelling does not suffice for support of architectural design. Architectural design is characterised mainly as a problem solving process, involving illdefined problems that require a very dynamic way of dealing with information that concerns both the problem and emerging solutions. Furthermore, architectural design is in many ways an evolutionary process. In short term this is because of the incremental approach to problem solving in design projects; and in long term because of the stylistic development of designers and the continuous developments in the building and construction industry in general. The requirements that are posed by architectural design are concentrated in the keywords extensibility and flexibility of the design informationmodels. Extensibility means that designers can extend conceptual models with definitions that best suit the design concepts they wish to utilise. Flexibility means that information in design models can be structured in a way that accurately represents the design rationale. This includes the modelling of incidental characteristics and relationships of the entities in the model that are not necessarily predefined in a conceptual model. In general, product modelling does not adequately support this dynamic nature of design. Therefore, this research project has studied the concepts developed in the technology of Feature-based modelling, which originates from the area of mechanical engineering. These concepts include the usage of Features as the primitives for defining and reasoning about a product. Features have an autonomous function in the information model, which, as a result, constitutes a flexible network of relationships between Features that are established during the design process. The definition of Features can be specified by designers to formalise new design concepts. This allows the design tools to be adapted to the specific needs of the individual designer, enlarging the library of available resources for design. In addition to these key-concepts in Feature-based modelling as it is developed in the mechanical engineering context, the project has determined the following principles for a Feature-based approach in the architectural context. Features in mechanical engineering are used mainly to describe the lowest level of detail in a product's design, namely the characteristics of its parts. In architecture the design process does not normally follow a strictly hierarchical approach and therefore requires that the building be modelled as a whole. This implies that multiple levels of abstraction are modelled and that Features are used to describe information at the various abstraction levels. Furthermore, architectural design involves concepts that are non-physical as well as physical; Features are to be used for modelling both kinds. The term Feature is defined in this research project to reflect the above key-concepts for this modelling approach. A Feature is an autonomous, coherent collection of information, with semantic meaning to a designer and possibly emerging during design, that is defined to formalise a design concept at any level of abstraction, either physical or non-physical, as part of a building model. Feature models are built up entirely of Features and are structured in the form of a directed graph. The nodes in the graph are the Features, whereas the arcs are the relationships between the Features. Features can be of user-defined types and incidental relationships can be added that are not defined at the typological level. An inventory in this project of what kind of information is involved in the practice of modelling architectural design is based on the analysis of a selection of sources of architectural design information. This inventory is deepened by a case study and results in the proposition of a categorisation of architectural Feature types.
keywords	Automated Management Information Systems; Computer Aided Architectural Design; Information Systems; Modelling
series	thesis:PhD
email
more	http://www.ds.arch.tue.nl/jos/thesis/
last changed	2003/02/12 22:37

_id	2fe1
authors	Arroyo, Julio and Chiarella, Mauro
year	1999
title	Infographic: Its Incorporation and Relativity in Architectural Design Process
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 313-318
summary	This paper is about an architectural design workshop regularly held at a public university in Santa Fe, Argentina. The class is about 150 students large, with different informatic capabilities and hardware facilities. The design problem of the workshop, which is one year long, is the relationship between architectural project and the construction of the urbanity. This implies both a physical intervention and a cultural expression. Pedagogy seeks students to overcome individualism, characteristic that is hardly induced by PCs, making a socialized design experience. A complementary and simultaneous use of graphic and infographic data is one of the main criteria of the workshop. The idea is to look for students to reach a wide vision by means of the use of different representation systems and means of information. Digital graphic is introduced early in the design process as an electronic model of urban context. It is considered as a one among many other graphic resources and is used together with ordinary models, geometric drawings, aerial and regular photography and hand made sketches. This paper relates the results that have been obtained when students were asked to make an analytic and sensitive approach to the relationship site - urban situation. This relationship has a great importance for the workshop since its goal is to make students to understand the the value of designing in and for the city.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	6930
authors	Cattoni, Edson Luis and Santiago, Alina Goncalves
year	1999
title	Lagoa da Conceicao - Florianópolis - Ilha de Santa Catarina: Uma Paisagem em Transformacao II (Conceicao Lagoon - Florianópolis - Ilha of Santa Catarina Island: A Landscape in Transformation II)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 157-160
summary	This work presents the study and applied assays (or simulation tests) about the ordination of urban space in the region of Lagoa da Conceição. In the region pressures placed by the growth of urban area and urban network system are in contact conflict with a fragile ecosystem, and with a sustainable development based on tourism. Analysis procedures exploited different forms of Space Syntax trying to examine effects of spatial structure in relation to movement patterns of pedestrians and vehicles. This methodology allowed the comprehension of relation between spatial configuration, transport and soil use, and reveled the interdependence and performance of built space within the restrict regional scale (Lagoa da Conceição) and the total urban structure of the island. This understanding is not limited to the present. Is also includes the study of historic urban evolution, and simulation of existing projects for the future, being an important tool to support project decision process. Consequently, the obtained results bring a new approach for the problem, which makes possible the synthesis of design proposals verifying its implications and consequences.
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	26e4
authors	Da Rosa Sampaio, Andrea
year	1999
title	Design Thinking Proces and New Paradigms of Graphic Expression (Design Thinking Proces and New Paradigms of Graphic Expression)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 68-73
summary	It is undeniable that infotechnology has brought significant changes into architectural representation. Whether these changes has altered design conception proccess or are only media matters, is a discussion concerned with the role of graphic expression in architects designs. Is it just a language, or a design thinking tool, fully engaged with the formal solution? Thus, the investigation of the role of represententional systems in the design thinking proccess and the analysis of their intrinsic relationship will approach traditional methods facing the widespread use of Computer Aided Design. There are polemics about the issue: on the one hand, seductive simulations and a plethora of rendering choices available, on the other hand, impersonal expression, to name a few arguments for and against CAD use. Computers have not replaced the straight reciprocity between the acts of conceiving and drawing, between mind and image, which results in manual sketches, quite effective in embodying a design idea. Yet, we have to admit that manipulating complex forms such as Gehry's Guggenheim Museum quickly would not be feasible before CAD advent. We have been faced with new paradigms challenging the graphic expression of architects and urban designers. Besides the consequences of this new reality to design thinking, a crucial point to be stressed at this discussion is the possibility of achieving a balance between the cherished mind-hand intimacy and the available technological resources.
keywords	Traditional Representation, Design Thinking, CAD
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	aa44
authors	Martens, Bob and Voigt, Andreas
year	1999
title	Implementation of ATM-Based Collaborative Design
doi	https://doi.org/10.52842/conf.caadria.1999.201
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. 201-214
summary	The following contribution describes research work in progress within the context of the focal field of research and development "Remote Teamwork (RT)" at Vienna University of Technology. Current research work is aiming at the elaboration of suited collaborative remote-working structures for research and project transactions (incl. study projects) - within the context of spatial planning - on the basis of Asynchronous Transfer Mode (ATM, a technology of broad band telecommunications). The generation and manipulation of digital spatial models and their virtual transportation within large distances represent main objectives. The current subjects in architecture, urban and regional planning (e.g. master planning, building-up planning, urban design, interior design) act as test projects to be defined in the course of the research work in their contents and spatial context and to be represented as digital spatial working models. Special attention is given to consolidation, harmonizing and advancement of current single activities in the field of ATM (e.g. facilitation of the access to technology, definition of project partners at the global level, development of originary, planning- and design-relevant software on the basis of native-ATM).
series	CAADRIA
email
last changed	2022/06/07 07:59

_id	cf49
authors	Martínez, Javier Alberto
year	1999
title	Potencialidades del SIG 3D y los Modelos Urbanos Interactivos (The Potential of the SIG 3D and the Interactive Urban Models)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 225-229
summary	We are facing a constant growth in 3D GIS, and its interaction with CAD, VR and CG, influence each other more than ever. In this context, 3D urban models can interactively assist in any step of a decision making process. Urban planners can benefit from 3D urban models in a way never thought before. PC technology , free 3D interactive viewers and VRML offer low cost implementations. Data coming from cadastral updates in Argentina are an invaluable source of digital data and building height attributes are included on that. In that way, tabular or attribute data can be linked to 3D graphic data. Geographic Information Systems can add to these 3D urban models all the benefits of attribute data plus its spatial analysis capabilities. Queries of any kind, and links to hypertext, planning documents can enhance the information provided by this "virtual world". Finally, regarding communication aspects, Interactive design and decision making can be reached in a much easier way as 3D is better than 2D. If we consider that 3D urban models can easily be browsed in VRML we have then the enormous potential of collaborative design through internet and intranet.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	9eb6
authors	Peng C. and Blundell Jones, P.
year	1999
title	Hypermedia Authoring and Contextual Modeling in Architecture and Urban Design: Collaborative Reconstructing Historical Sheffield
doi	https://doi.org/10.52842/conf.acadia.1999.114
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 114-124
summary	Studies of historical architecture and urban contexts in preparation for contemporary design interventions are inherently rich in information, demanding versatile and efficient methods of documentation and retrieval. We report on a developing program to establish a hypermedia authoring approach to collaborative contextual modeling in architecture and urban design. The paper begins with a description of a large-scale urban history study project in which 95 students jointly built a physical model of the city center of Sheffield as it stood in 1900, at a scale of 1:500. Continuing work on the Sheffield urban study project, it appears to us desirable to adopt a digital approach to archiving the material and in making it both indexible and accessible via multiple routes. In our review of digital models of cities, some interesting yet unexplored issues were identified. Given the issues and tasks elicited, we investigated hypermedia authoring in HTML and VRML as a designer-centered modeling methodology. Conceptual clarity of the methodology was considered, intending that an individual or members of design groups with reasonable computing skills could learn to operate it quickly. The methodology shows that it is practicable to build a digital contextual databank by a group of architecture/urban designers rather than by specialized modeling teams. Contextual modeling with or without computers can be a research activity on its own. However, we intend to investigate further how hypermedia-based contextual models can be interrelated to design development and communication. We discuss three aspects that can be explored in a design education setting.
series	ACADIA
email
last changed	2022/06/07 07:59

_id	ddss2004_d-49
id	ddss2004_d-49
authors	Polidori, M. and R. Krafta
year	2004
title	Environment – Urban Interface within Urban Growth
source	Van Leeuwen, J.P. and H.J.P. Timmermans (eds.) Developments in Design & Decision Support Systems in Architecture and Urban Planning, Eindhoven: Eindhoven University of Technology, ISBN 90-6814-155-4, p. 49-62
summary	This work presents the synthesis of a model of urban growth dedicated to accomplish simulations of urban spatial dynamics, based on integrated urban and environmental factors and promoting simultaneity among external and internal growth. The city and surrounding environment are captured and modeled in computational ambient, by application of the centrality / potential model (Krafta, 1994 and 1999), with support of graph theory, cellular automata, GIS and geocomputation. The model assumes the city as a field of opportunities for obtaining income, mediated by the space, which is composed of urban and environmental attributes, that work as attractors or as resistances for the urban growth. The space configuration and the distribution of those attributes generate tensions that differentiate qualitatively and quantitatively the space, through the centrality measure (built with the support of graphs techniques), coming to provoke growth in places with larger potential of development (built with the help of techniques of CA – cellular automata). Growths above environmental thresholds are considered problems, generated and overcome in the same process of production of the urban space. Iterations of that process offer a dynamic behaviour to the model, allowing to observe the growth process along the time. The model presents several possibilities: a) urban - natural environment integration; b) internal and external growth integration; c) variety in the scale; d) GIS integration and geocomputation; e) user interface; f) calibration; g) theoretical possibilities; and h) practical possibilities.
keywords	Environment, Urban Growth, Urban Morphology, Simulation
series	DDSS
last changed	2004/07/03 22:13

_id	91c8
authors	Stellingwerff, Martijn
year	1999
title	Evocation and Serendipity in a Cyberreal World
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 181-188
summary	Adding two apples to three oranges is not possible in a purely computational way. It takes creativity to see that you have got five pieces of … fruit. Computation implies exact solutions while creativity is needed when there is an arbitrary gap or bias in a given situation. This paper is about the explicit introduction of gaps and biases in a visually simulated world. The computer is treated as a medium in which reference information from a virtual city model is confronted with sketch objects. The juxtaposition of referential information and sketch information delivers images that can evoke new ideas. The serendipity (gift to pick up ideas) of the designer transforms the given capricious cyber-real world into useful ideas and inventions. This process is supposed to trigger creativity for urban and architectural design.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	aef9
id	aef9
authors	Brown, A., Knight, M. and Berridge, P. (Eds.)
year	1999
title	Architectural Computing from Turing to 2000 [Conference Proceedings]
doi	https://doi.org/10.52842/conf.ecaade.1999
source	eCAADe Conference Proceedings / ISBN 0-9523687-5-7 / Liverpool (UK) 15-17 September 1999, 773 p.
summary	The core theme of this book is the idea of looking forward to where research and development in Computer Aided Architectural Design might be heading. The contention is that we can do so most effectively by using the developments that have taken place over the past three or four decades in Computing and Architectural Computing as our reference point; the past informing the future. The genesis of this theme is the fact that a new millennium is about to arrive. If we are ruthlessly objective the year 2000 holds no more significance than any other year; perhaps we should, instead, be preparing for the year 2048 (2k). In fact, whatever the justification, it is now timely to review where we stand in terms of the development of Architectural Computing. This book aims to do that. It is salutary to look back at what writers and researchers have said in the past about where they thought that the developments in computing were taking us. One of the common themes picked up in the sections of this book is the developments that have been spawned by the global linkup that the worldwide web offers us. In the past decade the scale and application of this new medium of communication has grown at a remarkable rate. There are few technological developments that have become so ubiquitous, so quickly. As a consequence there are particular sections in this book on Communication and the Virtual Design Studio which reflect the prominence of this new area, but examples of its application are scattered throughout the book. In 'Computer-Aided Architectural Design' (1977), Bill Mitchell did suggest that computer network accessibility from expensive centralised locations to affordable common, decentralised computing facilities would become more commonplace. But most pundits have been taken by surprise by just how powerful the explosive cocktail of networks, email and hypertext has proven to be. Each of the ingredients is interesting in its own right but together they have presented us with genuinely new ways of working. Perhaps, with foresight we can see what the next new explosive cocktail might be.
series	eCAADe
email
more	http://www.ecaade.org
last changed	2022/06/07 07:49

_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

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