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	ga0009
id	ga0009
authors	Lewis, Matthew
year	2000
title	Aesthetic Evolutionary Design with Data Flow Networks
source	International Conference on Generative Art
summary	For a little over a decade, software has been created which allows for the design of visual content by aesthetic evolutionary design (AED) [3]. The great majority of these AED systems involve custom software intended for breeding entities within one fairly narrow problem domain, e.g., certain classes of buildings, cars, images, etc. [5]. Only a very few generic AED systems have been attempted, and extending them to a new design problem domain can require a significant amount of custom software development [6][8]. High end computer graphics software packages have in recent years become sufficiently robust to allow for flexible specification and construction of high level procedural models. These packages also provide extensibility, allowing for the creation of new software tools. One component of these systems which enables rapid development of new generative models and tools is the visual data flow network [1][2][7]. One of the first CG packages to employ this paradigm was Houdini. A system constructed within Houdini which allows for very fast generic specification of evolvable parametric prototypes is described [4]. The real-time nature of the software, when combined with the interlocking data networks, allows not only for vertical ancestor/child populations within the design space to be explored, but also allows for fast "horizontal" exploration of the potential population surface. Several example problem domains will be presented and discussed. References: [1] Alias \| Wavefront. Maya. 2000, http://www.aliaswavefront.com [2] Avid. SOFTIMAGE. 2000, http://www.softimage.com [3] Bentley, Peter J. Evolutionary Design by Computers. Morgan Kaufmann, 1999. [4] Lewis, Matthew. "Metavolve Home Page". 2000, http://www.cgrg.ohio-state.edu/~mlewis/AED/Metavolve/ [5] Lewis, Matthew. "Visual Aesthetic Evolutionary Design Links". 2000, http://www.cgrg.ohio-state.edu/~mlewis/aed.html [6] Rowley, Timothy. "A Toolkit for Visual Genetic Programming". Technical Report GCG-74, The Geometry Center, University of Minnesota, 1994. [7] Side Effects Software. Houdini. 2000, http://www.sidefx.com [8] Todd, Stephen and William Latham. "The Mutation and Growth of Art by Computers" in Evolutionary Design by Computers, Peter Bentley ed., pp. 221-250, Chapter 9, Morgan Kaufmann, 1999.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	0c9c
authors	Tweed, Christopher
year	1999
title	Prescribing Designs
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 51-57
doi	https://doi.org/10.52842/conf.ecaade.1999.051
summary	Much of the debate and argument among CAAD researchers has turned on the degree to which CAAD systems limit the ways in which designers can express themselves. By defining representations for design objects and design functions, systems determine what it is possible to describe. Aart Bijl used the term 'prescriptiveness' to refer to this property of systems, and the need to overcome it was a major preoccupation of research at EdCAAD during the 1980s, including the development of the MOLE (Modelling Objects with Logic Expressions) system. But in trying to offer designers the freedom that was judged to be essential to evolving design practices, MOLE transferred much of the burden of programming from system developers to end-users - you can have any design objects you want, as long as you write the code. Close examination of MOLE's logic reveals that it too had to rely on fundamental definitions that, even if not domain-specific, are certainly historically contingent. This paper will return to the issue of prescriptiveness, summarising the lessons learned from the MOLE 'experiment,' and identifying new prescriptions that are deciding what designs can be. Looking beyond computer representations, we find that designs are shaped by much larger, and arguably more powerful, historical, social and cultural forces surrounding design practice. These forces are shaping the way CAAD is used and how new systems are conceived and developed.
keywords	Bijl, Prescriptiveness
series	eCAADe
email
last changed	2022/06/07 07:58

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

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

_id	89bb
authors	Ataman, Osman and Richey, Thomas
year	1999
title	ArchiDATA: A Hypermedia Tool for Architecture
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 496-500
summary	Design is a cooperative activity at several levels. At one level, clients, architects, financiers, and construction engineers and contractors, all play important roles in creating the design for the building. At another level, the design team may contain architects, interior and landscape designers, lighting experts, heating, ventilation, and air-conditioning experts, etc. At a third level, individual architects cooperate with computer-based design tools in creating portions of a complex design. This paper describes an ongoing project called ArchiDATA, in which we are developing a computational Case-Based Design Aid (CBDA) for architectural design. This project, which is collaboration between cognitive scientists and architectural researchers, builds on an artificial intelligence paradigm called case-based reasoning and work in post-occupancy evaluation and other case study research in architecture.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	1c5c
authors	Balmaceda, M.A., Deiana, S.M., Quiroga, G. and Toro, M.
year	1999
title	Modelo Virtual Abierto de la Ciudad de San Juan (Open Virtual Model of the City of San Juan)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 470-474
summary	The purpose of the present work is to virtually rebuild the city of san juan that was completely destroyed by an earthquake in 1944. From an audiovisual, multimedial approach, it tries to be a contribution to the recovering of the collective memory. Through virtual reality techniques, a three dimensional model of the city central area has been built, as it was before the earthquake. It has been achieved a multidisciplinary, open model that sums up a great deal of information and allows: 1.) From a pedagogic approach: an opened window to new ways of knowledgement transmission, through visual virtual information. The virtual rebuilt has been reconsidered as a pedagogic and communicational tool; 2.) From a historic and morphologic approach: to obtain multiple readings and to revolution the way to manage categories in different analysis scales; 3.) In the future, the model would allow the possibility of an unlimited improvement by working in different scales. Furthermore it would allow to add information, an so to increase the research area or to go deeper into details not only in the phenomenological dimension of the objects but also in their logic significant dimension.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	21c8
authors	Bargiela, Beatriz and Bausset, Raúl Abad
year	1999
title	Sistemas multimediales aplicados a la arquitectura y su conocimiento (Multimedia Systems Applied to Architecture and its Knowledge Base)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 186-191
summary	This text makes a careful description of a great part of the components of the vocabulary of architecture and their syntax. It's structured in two parts, one textual and the other graphic. Due to the acknowledged contribution of the author on the subject of description of vocabulary of the elements of architecture and the research and development works that are entered upon in the master in computer graphics in the informatic field, it was proposed the development of an interactive system that allowed by means of links to connect the different parts of text and their respective graphics. Having as a basis the idiomatic equivalent term in Spanish and English, carried out in another research work, it was considered the possibility to link the text in these two languages besides the original one, french. That's why we've decided to propose the navigation through numeric text and images. This navigation has been already inferred from the reading of the text as intended from the author's that was why our task has been the interpretation of this intention and its translation in an informatic system. The product presented in this work is limited to having designed a methodology and showing its performance with some terms and images, able to make evident the sketch of our idea. The work is made out of the description of the following phases: 1.) Design of its interface; 2.) Compilation and classification of images compilation and classification of text; 3.) Coordination of textual and graphic elements; 4.) Programming of events in the interactive system.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	bfc2
authors	Bessone, Miriam and Mantovani, Graciela
year	1999
title	Integración del Medio Digital a la Enseñanza del Diseño Arquitectónico. Huellas de un Taller Experimental (Integration of Digital Media in the Teaching of Architectural Design. Tracks of an Experimental Studio)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 289-294
summary	This paper presents the searching of new building modes for the knowledge of design in curriculum workshops at Facultad de Arquitectura, Diseno y Urbanismo of the Universidad Nacional del Litoral the proposed “research action” program articulates longitudinally in the three cycles of the career, understanding architecture as metaknowledge within a new paradigm of subjectivity, complexity and multidimensionality. In other words, it is recognized a new scenery tending to modify didactic relations. This experimental field looks for conscientious equilibrium between “written culture/audiovisual culture”, and “analog instruments/digital media”. We focus our interest on the “machine interacting with and for men”, looking for harmonious synthesis through a new way of thinking, to allow “real progress”. For turning this idea into action, we organized an alternative and plural team-work in architecture. We called it “experimental workshop”. In this first level the students worked. On a preliminary plan of a “kindergarden”. They developed a divergent process through the 3D simulations (using the software 3DS MAX v2), scale models and sensible sketches. For conclusions, the paper addresses the characteristics of the pedagogic model used and the results achieved.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	ga9915
id	ga9915
authors	Calio, F. and Marchetti, E.
year	1999
title	Linear algebra and creative process
source	International Conference on Generative Art
summary	Mathematical methods providing metamorphosis of three-dimensional objects are considered. Linear algebra is the basic tool : precisely linear transformations depending on a parameter are the way to produce the basic surface, moreover logic rules of manipulation of its parametric equations allow the realization of the generative process. We think that mathematical methods introduced into a generative approach can increase the performances in the designing evolution. This paper illustrates an example realized by modifying mathematically a three-dimensional form, whose initial idea is recognisable at every step.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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

_id	acac
authors	Chan, Chiu-Shui, and Browning, Todd R.
year	1999
title	Design Simulation
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. 243-252
doi	https://doi.org/10.52842/conf.caadria.1999.243
summary	This paper intends to explore methods of constructing a design simulator. Two methodologies, approached differently, imitate the human design processes. The first component is an algorithmic method which has a cognitive model embedded. This cognitive model hypothesizes that human design has certain design logic applied. The design rationales are based on knowledge stored in a designer_ memory. Each time a similar design task is encountered, the same design procedures will be repeated for completion. What makes the results different are the design information used and sequences of processing it. A kitchen design using procedural algorithms is developed to simulate this design aspect. The second component simulates an intuitive design approach. Intuition is defined as design by rules of thumb, or heuristic design. This study investigated how to simulate an intuitive design process. The method involves building up a set of inductive rules symbolizing cultural aspects that need to be addressed in a design. A residential foyer design is the simulation task. The driving force is the heuristics. Results in this study have shown that there are many variables to include but impossible to capture and simulate any of the design processes, which are the reasons why studies in this area are difficult.
series	CAADRIA
email
more	http://www.public.iastate.edu/~cschan
last changed	2022/06/07 07:56

_id	ad51
authors	Chastain, Th., Kalay, Y.E. and Peri, Ch.
year	1999
title	Square Peg in a Round Hole or Horseless Carriage? Reflections on the Use of Computing in Architecture
source	Media and Design Process [ACADIA ‘99 / ISBN 1-880250-08-X] Salt Lake City 29-31 October 1999, pp. 4-15
doi	https://doi.org/10.52842/conf.acadia.1999.004
summary	We start with two paradigms that have been used to describe the relationship of computation methods and tools to the production of architecture. The first is that of forcing a square peg into a round hole — implying that the use of a tool is mis-directed, or at least poorly fits the processes that have traditionally been part of an architectural design practice. In doing so, the design practice suffers from the use of new technology. The other paradigm describes a state of transformation in relation-ship to new technology as a horseless carriage in which the process is described in obsolete and ‘backward’ terms. The impli-cation is that there is a lack of appreciation for the emerging potentials of technology to change our relationship with the task. The paper demonstrates these two paradigms through the invention of drawings in the 14th century, which helped to define the profession of Architecture. It then goes on to argue that modern computational tools follow the same paradigms, and like draw-ings, stand to bring profound changes to the profession of architecture as we know it.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	9a1e
authors	Clayton, Mark J. and Vasquez de Velasco, Guillermo
year	1999
title	Stumbling, Backtracking, and Leapfrogging: Two Decades of Introductory Architectural Computing
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 151-158
doi	https://doi.org/10.52842/conf.ecaade.1999.151
summary	Our collective concept of computing and its relevance to architecture has undergone dramatic shifts in emphasis. A review of popular texts from the past reveals the biases and emphases that were current. In the seventies, architectural computing was generally seen as an elective for data processing specialists. In the early eighties, personal computers and commercial CAD systems were widely adopted. Architectural computing diverged from the "batch" world into the "interactive" world. As personal computing matured, introductory architectural computing courses turned away from a foundation in programming toward instruction in CAD software. By the late eighties, Graphic User Interfaces and windowing operating systems had appeared, leading to a profusion of architecturally relevant applications that needed to be addressed in introductory computing. The introduction of desktop 3D modeling in the early nineties led to increased emphasis upon rendering and animation. The past few years have added new emphases, particularly in the area of network communications, the World Wide Web and Virtual Design Studios. On the horizon are topics of electronic commerce and knowledge markets. This paper reviews these past and current trends and presents an outline for an introductory computing course that is relevant to the year 2000.
keywords	Computer-Aided Architectural Design, Computer-Aided Design, Computing Education, Introductory Courses
series	eCAADe
email
last changed	2022/06/07 07:56

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

_id	ga9920
id	ga9920
authors	Daru, Roel
year	1999
title	Hunting Design Memes in the Architectural Studio, student projects as a source of memetic analysis
source	International Conference on Generative Art
summary	The current practice in design programming is to generate forms based on preconceptions of what architectural design is supposed to be. But to offer adequate morphogenetic programs for architectural design processes, we should identify the diversity of types of cultural replicators applied by a variety of architectural designers. In order to explore the variety of replicators actually used, around hundred 4th year architectural students were asked to analyse two or three of their own past design assignments. The students were invited to look for the occurrence of evolutionary design processes. They were requested to try and find some traces of 'transmission', 'variation' and 'selection' in their own design assignments. The paper will present an overview of their answers, the arguments applied and the diversity of the found types of verbal and visual design memes as cultural replicators. A discussion about the applicability of the found results in the genotypes and phenotypes of morphogenetic design software will conclude the presentation.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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

_id	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	99ce
authors	Forowicz, T.
year	1999
title	Modeling of energy demands for residential buildings with HTML interface
source	Automation in Construction 8 (4) (1999) pp. 481-487
summary	This paper presents the package for calculation of energy and cost demands for heating, cooling and hot water. The package represents a new kind of approach to developing software, employing user (client) and server (program provider) computers connected by Internet. It is mounted on the owner server and is available to the whole world through the Web browser. The package was developed as a simplified tool for estimating energy use in four types of new and old houses, located in 900 US cities. The computing engine utilizes the database that was compiled by LBL in support of the 'Affordable Housing through Energy Conservation' Project with over 10000 DOE-2.1 simulations. The package consists of 69 routines and scripts coded in four languages: HTML, Perl, C, and FORTRAN. The modeling, the programming, and the future perspectives of the new kind of computational tool are presented. The paper discusses further technical limitations, as well as suggestions for further improvements and development. Especially important is the problem of multi-user access; ways for its solution are proposed.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	b9d3
authors	Galán, B., Argumedo, C. and Paganini, A.
year	1999
title	Possibilities of the Computer for the Simulation of the Designer's Constructive Strategies
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 74-78
summary	The dynamic analysis (prospective), of products and systems, it is a methodological resource of the design that allows synthetically, and with great economy of investigation resources and time, to put in evidence the tendencies in the evolution of the object. Finally, the design strategies are defined as postures in front of these tendencies of evolution of the significant variables in the cycle of the product. Having as theoretical context the theory of systems,we explored the dynamic analysis of products and systems, taking their evolution along a temporary series that embraces a complete cycle, from the birth of the object until their maturation in the period of saturation of the market. Starting from the analysis of the evolution of the diverse subsystems, and the conflicts among the world of the necessities, (as pressure exercised from the context), and the technical agreement, it shows the evolutionary dynamics,the underlying conflicts to the logic of the system for each product. They are revealed to the design like a cultural operation that should keep in mind the processes of transformation of the mental representations of the object whose evolution should respect certain rules for its as, clearly such as the well-known maya threshold, (most advanced, yet accepted).
series	SIGRADI
email
last changed	2016/03/10 09:52

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