Cumincad : CUMINCAD Papers : Search Results

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

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_id	69f5
authors	Chan, C., Maves, J. and Cruz-Neira, C.
year	1999
title	An Electronic Library for Teaching Architectural History
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. 335-344
doi	https://doi.org/10.52842/conf.caadria.1999.335
summary	This research project developed an electronic library of significant buildings chosen to represent seven selected periods of Western architectural history: Egyptian (Mortuary temple of Queen Hatshepsut), Greek (Parthenon), Roman (Pantheon), Romanesque (Speyer Cathedral), Gothic (Notre Dame Cathedral), Renaissance (Tempietto), and Modern (Des Moines Art Center). All buildings were reconstructed in their original or intended forms based on plans, drawings, photographs, and historical texts. Two products were generated by this project: (1) materials to be displayed on the World Wide Web, including rendered still images for perception, movies for a visual guide, and Virtual Reality Modeling Language (VRML) models for user navigation; and (2) virtual reality (VR) models to be displayed in the C2 (an improved version of the Cave Automatic Virtual Environment or CAVE facility). The benefits of these VR models displayed on the Web and in the C2 are their easy accessibility at any time from various geographic locations and the immersive experience that enhances viewersÌ understanding of the effects of spatial proportions on form and of colors on materials.
series	CAADRIA
more	http://archvr.design.iastate.edu/miller
last changed	2022/06/07 07:56

_id	504a
authors	Rodrigo Alvarado, García
year	1999
title	Design-Based on VR-Modeling of Environemntal Conditions
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 126-129
summary	The research on CAD has been looking for a long time a creative contribution to architectural design, including recently the use of virtual-reality as an immersive modeling system, but without much practical results. However, contemporary architecture is increasingly including digital characteristics based more on cultural influences than on the use of electronic tools. This shows an evolution of the discipline in relation to digital media and apparently distant from environmental concerns. But the works and reflexions reveal a common convergence in the role of body in architecture as a pivot between virtual and local dimension of design. Based on that relationship we propose to take advantage of virtual-reality for modeling environmental conditions of the location in order to guide architectural design, using for example the potential of representing characteristics not visible in reality or to simulate time cycles. Sun displacement, wind direction, temperature ranges, topography and landscape are specific conditions in design that define energy consumption and human comfort. Such characteristics can establish optimal shapes crossing the different variables with timelines. VR-modeling and interactive control allow an spatial evaluation of environmentally efficient forms. That is showed through an exercise of housing in different locations of Chile. This merger between digital media and ecological concerns represents a crossing of contemporary cultural trends to motivate exploration of new geometries, supported on the potential of technology and on sustainable human development
series	SIGRADI
email
last changed	2016/03/10 09:59

_id	ga9921
id	ga9921
authors	Coates, P.S. and Hazarika, L.
year	1999
title	The use of genetic programming for applications in the field of spatial composition
source	International Conference on Generative Art
summary	Architectural design teaching using computers has been a preoccupation of CECA since 1991. All design tutors provide their students with a set of models and ways to form, and we have explored a set of approaches including cellular automata, genetic programming ,agent based modelling and shape grammars as additional tools with which to explore architectural ( and architectonic) ideas.This paper discusses the use of genetic programming (G.P.) for applications in the field of spatial composition. CECA has been developing the use of Genetic Programming for some time ( see references ) and has covered the evolution of L-Systems production rules( coates 1997, 1999b), and the evolution of generative grammars of form (Coates 1998 1999a). The G.P. was used to generate three-dimensional spatial forms from a set of geometrical structures .The approach uses genetic programming with a Genetic Library (G.Lib) .G.P. provides a way to genetically breed a computer program to solve a problem.G. Lib. enables genetic programming to define potentially useful subroutines dynamically during a run .* Exploring a shape grammar consisting of simple solid primitives and transformations. * Applying a simple fitness function to the solid breeding G.P.* Exploring a shape grammar of composite surface objects. * Developing grammarsfor existing buildings, and creating hybrids. * Exploring the shape grammar of abuilding within a G.P.We will report on new work using a range of different morphologies ( boolean operations, surface operations and grammars of style ) and describe the use of objective functions ( natural selection) and the "eyeball test" ( artificial selection) as ways of controlling and exploring the design spaces thus defined.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	1b4d
authors	Ding, Lan
year	1999
title	An Evolutionary Model for Style Representation Emergence in Design
source	University of Sydney, Key Centre of Design Computing and Cognition
summary	This thesis is concerned with the development of an evolutionary process model for style representation emergence in design. It explores issues involved in the interpretation of style, the concept and process of style representation emergence, an evolutionary approach based on genetic engineering, and its computational implementation. Style is a complex phenomenon in design. Interpreting and formulating design style is a difficult task. This thesis proposes a language model which interprets style space utilising hierarchical levels that map onto syntax and semantics. The style space is then formulated using a genetic description. Current studies have discussed shape semantics emergence in design, but none has been proposed for the emergence of style representation. This thesis provides the concept of style representation emergence with the emphasis on the interpretative aspect of style as well as the emergence process. It explores the emergence process of style representation through an evolutionary approach. Simulation of biological evolution appears to be very useful for design problems. This thesis develops style representation emergence through evolutionary simulation based on genetic engineering. A hierarchical evolutionary process encompassing competition as well as discovery and an evolutionary combination is proposed and developed. A computational representation of style can then be derived by the computer system through the use of this evolutionary process. This model of style representation emergence is applied to traditional Chinese architecture. An evolutionary system is implemented and presented with some examples of traditional Chinese architectural facades. The results from the implementation of the system are analysed and the utility of this model is investigated. The implementation is developed in a Unix environment using the C language. The AutoCAD package is used for the graphic representation.
series	thesis:PhD
email
last changed	2003/05/15 07:25

_id	4b48
authors	Dourish, P.
year	1999
title	Where the Footprints Lead: Tracking down other roles for social navigation
source	Social Navigation of Information Space, eds. A. Munro, K. H. and D Benyon. London: Springer-Verlag, pp 15-34
summary	Collaborative Filtering was proposed in the early 1990's as a means of managing access to large information spaces by capturing and exploiting aspects of the experiences of previous users of the same information. Social navigation is a more general form of this style of interaction, and with the widening scope of the Internet as an information provider, systems of this sort have rapidly moved from early research prototypes to deployed services in everyday use. On the other hand, to most of the HCI community, the term social navigation" is largely synonymous with "recommendation systems": systems that match your interests to those of others and, on that basis, provide recommendations about such things as music, books, articles and films that you might enjoy. The challenge for social navigation, as an area of research and development endeavour, is to move beyond this rather limited view of the role of social navigation; and to do this, we must try to take a broader view of both our remit and our opportunities. This chapter will revisit the original motivations, and chart something of the path that recent developments have taken. Based on reflections on the original concerns that motivated research into social navigation, it will explore some new avenues of research. In particular, it will focus on two. The first is social navigation within the framework of "awareness" provisions in collaborative systems generally; and the second is the relationship of social navigation systems to spatial models and the ideas of "space" and "place" in collaborative settings. By exploring these two ideas, two related goals can be achieved. The first is to draw attention to ways in which current research into social navigation can be made relevant to other areas of research endeavour; and the second is to re-motivate the idea of "social navigation" as a fundamental model for collaboration in information-seeking."
series	other
last changed	2003/04/23 15:50

_id	acadia06_426
id	acadia06_426
authors	Garber, R., Robertson, N.
year	2006
title	The Pleated Cape: From the Mass-Standardization of Levittown to Mass Customization Today
source	Synthetic Landscapes [Proceedings of the 25th Annual Conference of the Association for Computer-Aided Design in Architecture] pp. 426-439
doi	https://doi.org/10.52842/conf.acadia.2006.426
summary	In the 1950’s, the Levitts put mass-production and the reverse assembly line into use in the building of thousands of single-family houses. However, the lack of variation that made their construction process so successful ultimately produced a mundane suburban landscape of sameness. While there were many attempts to differentiate these Levitt Cape Cods, none matched the ingenuity of their original construction process. The notion of mass-customization has been heavily theorized since the 1990’s, first appearing in the field of management and ultimately finding its way into the field of architecture. Greg Lynn used mass-customization in his design for the Embryological House in which thousands of unique houses could be generated using biological rules of differentiation (Lynn 1999). Other industries have embraced the premise that computer-numerically-controlled technologies allow for the production of variation, though it has not been thoroughly studied in architecture. While digital fabrication has been integral in the realization of several high-profile projects, the notion of large-scale mass-customization in the spec-housing market has yet to become a reality. Through the execution of an addition to a Cape Cod-style house, we examine the intersection between prefabricated standardized panels and digital fabrication to produce a mass-customized approach to housing design. Through illustrations and a detailed description of our design process, we will show how digital fabrication technologies allow for customization of mass produced products.
series	ACADIA
email
last changed	2022/06/07 07:50

_id	b5d9
authors	González, Guillermo and Gutiérrez, Liliana
year	1999
title	El TDE-AC: tecnología digital y estrategia pedagógica (The Tde-ac: Digital Technology and Pedagogical Strategy)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 269-271
summary	In 1995 the programming of a specialized, expert graphic software CA-TSD, began. The TSD acronym designates a graphic language derived from the theory of spatial delimitation, it systematizes all possibilities of selection and combination of flat and volumetric figures. It establishes necessary and sufficient morphic and tactic dimensions to account for all possible relationships of selection and combination. TSD proposes a syntactic reading of those formal, pure design operations underlying traditional representations. Tracings and complex configurations described by tree-hierarchical structures of simple configurations allow for a coherent syntactic analysis of the design structure of any object this will allow the construction of a pure design formula for the conscious and unconscious prefiguration operations of an artist or style in this presentation, we will use our proprietary CA-TSD software that will allow for fast verification of what's stated, including architecture and graphic design examples.
series	SIGRADI
email
last changed	2016/03/10 09:52

_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	ecc5
authors	Bassanino, May Nahab
year	1999
title	The perception of computer generated architectural images
source	Liverpool University
summary	The broad aim of the research is to examine the role of computer generated architectural images on the way different people perceive architecture, and within this field of interest I have established a list of specific tasks to define the specific points of interest to examine. The following list of the main research objectives served as a guide in designing the experimental tests undertaken as part of this research: () Study the effect of both representation techniques and the used media on perceiving architecture. () Establish the differences (if there are any) of perception between different groups of people; principally architects and non-architects, but also subsets of each of these two groups. () To suggest the appropriate technique for presenting architecture for a particular group in a particular stage in the design process. () To investigate the influence of CAAD in architectural education on the students’ perception for architectural images.
series	thesis:PhD
last changed	2003/11/21 15:16

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

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

_id	38cf
authors	Murty, Paul, Chase, Scott, and Nappa, Joseph
year	1999
title	Evaluating the Complexity of CAD Models in Education and Practice
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. 105-114
doi	https://doi.org/10.52842/conf.caadria.1999.105
summary	When educators or students estimate the complexity of proposed CAD projects, in order to judge feasibility, two conceptions of complexity may be considered. The first, design complexity, based on visible features of the object to be modelled, is the easier to assess beforehand, but is not very reliable. The second, CAD complexity, based on the actual CAD embodiment of the design, is suggested as potentially a more useful guide, in spite of evident difficulties with assessment in advance. Clearer articulation of this under utilised concept is proposed for both educational and more general reasons, and this becomes the focus of the paper.
series	CAADRIA
email
last changed	2022/06/07 07:59

_id	d8df
authors	Naticchia, Berardo
year	1999
title	Physical Knowledge in Patterns: Bayesian Network Models for Preliminary Design
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 611-619
doi	https://doi.org/10.52842/conf.ecaade.1999.611
summary	Computer applications in design have pursued two main development directions: analytical modelling and information technology. The former line has produced a large number of tools for reality simulation (i.e. finite element models), the latter is producing an equally large amount of advances in conceptual design support (i.e. artificial intelligence tools). Nevertheless we can trace rare interactions between computation models related to those different approaches. This lack of integration is the main reason of the difficulty of CAAD application to the preliminary stage of design, where logical and quantitative reasoning are closely related in a process that we often call 'qualitative evaluation'. This paper briefly surveys the current development of qualitative physical models applied in design and propose a general approach for modelling physical behaviour by means of Bayesian network we are employing to develop a tutoring and coaching system for natural ventilation preliminary design of halls, called VENTPad. This tool explores the possibility of modelling the causal mechanism that operate in real systems in order to allow a number of integrated logical and quantitative inference about the fluid-dynamic behaviour of an hall. This application could be an interesting connection tool between logical and analytical procedures in preliminary design aiding, able to help students or unskilled architects, both to guide them through the analysis process of numerical data (i.e. obtained with sophisticate Computational Fluid Dynamics software) or experimental data (i.e. obtained with laboratory test models) and to suggest improvements to the design.
keywords	Qualitative Physical Modelling, Preliminary Design, Bayesian Networks
series	eCAADe
email
last changed	2022/06/07 07:59

_id	53df
authors	Uddin, M.S.
year	1999
title	Hybrid Drawing Techniques by Contemporary Architects and Designers
source	John Wiley, New York,
summary	The complete hybrid drawing sourcebook Hybrid drawings offer limitless possibilities for the fusion and superimposition of ideas, media, and techniques-powerful creative tools for effective and innovative architectural graphic presentation. This unique guide offers a dynamic introduction to these drawings and how they are created, with a stunning color portfolio of presentation-quality examples that give full visual expression to the power and potential of hybrid drawing techniques. Featuring the work of dozens of internationally recognized architects and firms, including Takefumi Aida, Helmut Jahn of Murphy/Jahn Architects, Morphosis, Eric Owen Moss, NBBJ Sports & Entertainment, Smith-Miller & Hawkinson, and Bernard Tschumi Architects, the book's visual examples are accompanied by descriptive and analytical commentary that gives valuable practical insight into the background of each project, along with essential information on the design concept and the drawing process. Combining all of the best features of an idea resource and a how-to guide, Hybrid Drawing Techniques by Contemporary Architects and Designers is an important creative tool for students and professionals in architecture, design, illustration, and related areas
series	other
last changed	2003/04/23 15:14

_id	728c
authors	Wilson, John E.
year	1999
title	3D Modeling in AutoCAD: Creating and Using 3D Models in AutoCAD 2000
source	Miller Freeman Publishing
summary	From drawing plans for the latest car to a dream house, AutoCAD is the drafting and drawing program of choice. If you have a working knowledge of AutoCAD, this book with CD-ROM will help you advance to the program's next level -- its remarkably powerful capabilities in 3D. Leading you step by step toward mastering 3D design and drafting with AutoCAD 2000, John E. Wilson fully explains the concepts and principles of the program's 3D features, and provides useful illustrations, examples, and hands-on exercises. The book describes every 3D command in detail, reaching beyond AutoCAD's on-screen help and program manuals to guide you through working with 3D wireframe models in 3D space; building surface models; solid modeling; 2D output and paper space; and renderings from 3D models.
series	other
last changed	2003/02/26 18:58

_id	cf2011_p109
id	cf2011_p109
authors	Abdelmohsen, Sherif; Lee Jinkook, Eastman Chuck
year	2011
title	Automated Cost Analysis of Concept Design BIM Models
source	Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 403-418.
summary	AUTOMATED COST ANALYSIS OF CONCEPT DESIGN BIM MODELS Interoperability: BIM models and cost models This paper introduces the automated cost analysis developed for the General Services Administration (GSA) and the analysis results of a case study involving a concept design courthouse BIM model. The purpose of this study is to investigate interoperability issues related to integrating design and analysis tools; specifically BIM models and cost models. Previous efforts to generate cost estimates from BIM models have focused on developing two necessary but disjoint processes: 1) extracting accurate quantity take off data from BIM models, and 2) manipulating cost analysis results to provide informative feedback. Some recent efforts involve developing detailed definitions, enhanced IFC-based formats and in-house standards for assemblies that encompass building models (e.g. US Corps of Engineers). Some commercial applications enhance the level of detail associated to BIM objects with assembly descriptions to produce lightweight BIM models that can be used by different applications for various purposes (e.g. Autodesk for design review, Navisworks for scheduling, Innovaya for visual estimating, etc.). This study suggests the integration of design and analysis tools by means of managing all building data in one shared repository accessible to multiple domains in the AEC industry (Eastman, 1999; Eastman et al., 2008; authors, 2010). Our approach aims at providing an integrated platform that incorporates a quantity take off extraction method from IFC models, a cost analysis model, and a comprehensive cost reporting scheme, using the Solibri Model Checker (SMC) development environment. Approach As part of the effort to improve the performance of federal buildings, GSA evaluates concept design alternatives based on their compliance with specific requirements, including cost analysis. Two basic challenges emerge in the process of automating cost analysis for BIM models: 1) At this early concept design stage, only minimal information is available to produce a reliable analysis, such as space names and areas, and building gross area, 2) design alternatives share a lot of programmatic requirements such as location, functional spaces and other data. It is thus crucial to integrate other factors that contribute to substantial cost differences such as perimeter, and exterior wall and roof areas. These are extracted from BIM models using IFC data and input through XML into the Parametric Cost Engineering System (PACES, 2010) software to generate cost analysis reports. PACES uses this limited dataset at a conceptual stage and RSMeans (2010) data to infer cost assemblies at different levels of detail. Functionalities Cost model import module The cost model import module has three main functionalities: generating the input dataset necessary for the cost model, performing a semantic mapping between building type specific names and name aggregation structures in PACES known as functional space areas (FSAs), and managing cost data external to the BIM model, such as location and construction duration. The module computes building data such as footprint, gross area, perimeter, external wall and roof area and building space areas. This data is generated through SMC in the form of an XML file and imported into PACES. Reporting module The reporting module uses the cost report generated by PACES to develop a comprehensive report in the form of an excel spreadsheet. This report consists of a systems-elemental estimate that shows the main systems of the building in terms of UniFormat categories, escalation, markups, overhead and conditions, a UniFormat Level III report, and a cost breakdown that provides a summary of material, equipment, labor and total costs. Building parameters are integrated in the report to provide insight on the variations among design alternatives.
keywords	building information modeling, interoperability, cost analysis, IFC
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	37c2
authors	Ahmad Rafi, M.E.
year	1999
title	Visualisation of Design Using Animation for Virtual Prototyping
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 519-525
doi	https://doi.org/10.52842/conf.ecaade.1999.519
summary	Although recent technology in time-based representation has vastly improved, animation in virtual prototype design field remains the same. Some designers invest a huge amount of money in the latest visualisation and multimedia technology and yet may create even worse animation. They often cramp sequences resulting in many viewers failing to interpret the design positively as they miss a lot of vital information that explains the design. This paper basically reports the importance of film-making understanding for producing good virtual prototype animation. It will be based on a part of a research project on the use of time-based media in architectural practices. It also includes an empirical analysis of several architectural-based documentary films (including an interview with the film director) and past and present computer animation. This paper then concludes with recommendations of good techniques for making animated visualisation relative to the stage at which the animation is produced for better design decision.
keywords	Virtual Prototype, Animation, Time-Based, Film-Making
series	eCAADe
email
last changed	2022/06/07 07:54

_id	edf5
authors	Arnold, J.A., Teicholz, P. and Kunz, J.
year	1999
title	An approach for the interoperation of web-distributed applications with a design model
source	Automation in Construction 8 (3) (1999) pp. 291-303
summary	This paper defines the data and inference requirements for the integration of analysis applications with a product model described by a CAD/CAE application. Application input conditions often require sets of complex data that may be considered views of a product model database. We introduce a method that is compatible with the STEP and PLIB product description standards to define an intermediate model that selects, extracts, and validates views of information from a product model to serve as input for an engineering CAD/CAE application. The intermediate model framework was built and tested in a software prototype, the Internet Broker for Engineering Services (IBES). The first research case for IBES integrates applications that specify certain components, for example pumps and valves, with a CAD/CAE application. This paper therefore explores a sub-set of the general problem of integrating product data semantics between various engineering applications. The IBES integration method provides support for a general set of services that effectively assist interpretation and validate information from a product model for an engineering purpose. Such methods can enable application interoperation for the automation of typical engineering tasks, such as component specification and procurement.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	f317
authors	Arvin, Scott A. and House, Donald H.
year	1999
title	Modeling Architectural Design Objectives in Physically Based Space Planning
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 212-225
doi	https://doi.org/10.52842/conf.acadia.1999.212
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	d423
authors	Arvin, Scott A. and House, Donald H.
year	1999
title	Making Designs Come Alive: Using Physically Based Modeling Techniques in Space Layout Planning
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, pp. 245-262
summary	This paper introduces the concept of responsive design. It elaborates this concept as an approach to free form, adaptable, automated design applying physically based modeling techniques to the design process. Our approach attempts to bridge the gap between totally automated design and the free form brainstorming designers normally employ. We do this by automating the initial placement and sizing of design elements, with an interactive engine that appears alive and highly responsive. We present a method for applying these techniques to architectural space layout planning, and preliminary implementation details for a prototype system for developing rectangular, two-dimensional, single- story floor plans.
keywords	Physically Based Space Layout, Physically Based Design, Responsive Design, Space Layout Planning, Computer-aided Design, Human-computer Interaction
series	CAAD Futures
email
last changed	2006/11/07 07:22

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