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CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
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_id	ga0026
id	ga0026
authors	Ransen, Owen F.
year	2000
title	Possible Futures in Computer Art Generation
source	International Conference on Generative Art
summary	Years of trying to create an "Image Idea Generator" program have convinced me that the perfect solution would be to have an artificial artistic person, a design slave. This paper describes how I came to that conclusion, realistic alternatives, and briefly, how it could possibly happen. 1. The history of Repligator and Gliftic 1.1 Repligator In 1996 I had the idea of creating an “image idea generator”. I wanted something which would create images out of nothing, but guided by the user. The biggest conceptual problem I had was “out of nothing”. What does that mean? So I put aside that problem and forced the user to give the program a starting image. This program eventually turned into Repligator, commercially described as an “easy to use graphical effects program”, but actually, to my mind, an Image Idea Generator. The first release came out in October 1997. In December 1998 I described Repligator V4 [1] and how I thought it could be developed away from simply being an effects program. In July 1999 Repligator V4 won the Shareware Industry Awards Foundation prize for "Best Graphics Program of 1999". Prize winners are never told why they won, but I am sure that it was because of two things: 1) Easy of use 2) Ease of experimentation "Ease of experimentation" means that Repligator does in fact come up with new graphics ideas. Once you have input your original image you can generate new versions of that image simply by pushing a single key. Repligator is currently at version 6, but, apart from adding many new effects and a few new features, is basically the same program as version 4. Following on from the ideas in [1] I started to develop Gliftic, which is closer to my original thoughts of an image idea generator which "starts from nothing". The Gliftic model of images was that they are composed of three components: 1. Layout or form, for example the outline of a mandala is a form. 2. Color scheme, for example colors selected from autumn leaves from an oak tree. 3. Interpretation, for example Van Gogh would paint a mandala with oak tree colors in a different way to Andy Warhol. There is a Van Gogh interpretation and an Andy Warhol interpretation. Further I wanted to be able to genetically breed images, for example crossing two layouts to produce a child layout. And the same with interpretations and color schemes. If I could achieve this then the program would be very powerful. 1.2 Getting to Gliftic Programming has an amazing way of crystalising ideas. If you want to put an idea into practice via a computer program you really have to understand the idea not only globally, but just as importantly, in detail. You have to make hard design decisions, there can be no vagueness, and so implementing what I had decribed above turned out to be a considerable challenge. I soon found out that the hardest thing to do would be the breeding of forms. What are the "genes" of a form? What are the genes of a circle, say, and how do they compare to the genes of the outline of the UK? I wanted the genotype representation (inside the computer program's data) to be directly linked to the phenotype representation (on the computer screen). This seemed to be the best way of making sure that bred-forms would bare some visual relationship to their parents. I also wanted symmetry to be preserved. For example if two symmetrical objects were bred then their children should be symmetrical. I decided to represent shapes as simply closed polygonal shapes, and the "genes" of these shapes were simply the list of points defining the polygon. Thus a circle would have to be represented by a regular polygon of, say, 100 sides. The outline of the UK could easily be represented as a list of points every 10 Kilometers along the coast line. Now for the important question: what do you get when you cross a circle with the outline of the UK? I tried various ways of combining the "genes" (i.e. coordinates) of the shapes, but none of them really ended up producing interesting shapes. And of the methods I used, many of them, applied over several "generations" simply resulted in amorphous blobs, with no distinct family characteristics. Or rather maybe I should say that no single method of breeding shapes gave decent results for all types of images. Figure 1 shows an example of breeding a mandala with 6 regular polygons: Figure 1 Mandala bred with array of regular polygons I did not try out all my ideas, and maybe in the future I will return to the problem, but it was clear to me that it is a non-trivial problem. And if the breeding of shapes is a non-trivial problem, then what about the breeding of interpretations? I abandoned the genetic (breeding) model of generating designs but retained the idea of the three components (form, color scheme, interpretation). 1.3 Gliftic today Gliftic Version 1.0 was released in May 2000. It allows the user to change a form, a color scheme and an interpretation. The user can experiment with combining different components together and can thus home in on an personally pleasing image. Just as in Repligator, pushing the F7 key make the program choose all the options. Unlike Repligator however the user can also easily experiment with the form (only) by pushing F4, the color scheme (only) by pushing F5 and the interpretation (only) by pushing F6. Figures 2, 3 and 4 show some example images created by Gliftic. Figure 2 Mandala interpreted with arabesques Figure 3 Trellis interpreted with "graphic ivy" Figure 4 Regular dots interpreted as "sparks" 1.4 Forms in Gliftic V1 Forms are simply collections of graphics primitives (points, lines, ellipses and polygons). The program generates these collections according to the user's instructions. Currently the forms are: Mandala, Regular Polygon, Random Dots, Random Sticks, Random Shapes, Grid Of Polygons, Trellis, Flying Leap, Sticks And Waves, Spoked Wheel, Biological Growth, Chequer Squares, Regular Dots, Single Line, Paisley, Random Circles, Chevrons. 1.5 Color Schemes in Gliftic V1 When combining a form with an interpretation (described later) the program needs to know what colors it can use. The range of colors is called a color scheme. Gliftic has three color scheme types: 1. Random colors: Colors for the various parts of the image are chosen purely at random. 2. Hue Saturation Value (HSV) colors: The user can choose the main hue (e.g. red or yellow), the saturation (purity) of the color scheme and the value (brightness/darkness) . The user also has to choose how much variation is allowed in the color scheme. A wide variation allows the various colors of the final image to depart a long way from the HSV settings. A smaller variation results in the final image using almost a single color. 3. Colors chosen from an image: The user can choose an image (for example a JPG file of a famous painting, or a digital photograph he took while on holiday in Greece) and Gliftic will select colors from that image. Only colors from the selected image will appear in the output image. 1.6 Interpretations in Gliftic V1 Interpretation in Gliftic is best decribed with a few examples. A pure geometric line could be interpreted as: 1) the branch of a tree 2) a long thin arabesque 3) a sequence of disks 4) a chain, 5) a row of diamonds. An pure geometric ellipse could be interpreted as 1) a lake, 2) a planet, 3) an eye. Gliftic V1 has the following interpretations: Standard, Circles, Flying Leap, Graphic Ivy, Diamond Bar, Sparkz, Ess Disk, Ribbons, George Haite, Arabesque, ZigZag. 1.7 Applications of Gliftic Currently Gliftic is mostly used for creating WEB graphics, often backgrounds as it has an option to enable "tiling" of the generated images. There is also a possibility that it will be used in the custom textile business sometime within the next year or two. The real application of Gliftic is that of generating new graphics ideas, and I suspect that, like Repligator, many users will only understand this later. 2. The future of Gliftic, 3 possibilties Completing Gliftic V1 gave me the experience to understand what problems and opportunities there will be in future development of the program. Here I divide my many ideas into three oversimplified possibilities, and the real result may be a mix of two or all three of them. 2.1 Continue the current development "linearly" Gliftic could grow simply by the addition of more forms and interpretations. In fact I am sure that initially it will grow like this. However this limits the possibilities to what is inside the program itself. These limits can be mitigated by allowing the user to add forms (as vector files). The user can already add color schemes (as images). The biggest problem with leaving the program in its current state is that there is no easy way to add interpretations. 2.2 Allow the artist to program Gliftic It would be interesting to add a language to Gliftic which allows the user to program his own form generators and interpreters. In this way Gliftic becomes a "platform" for the development of dynamic graphics styles by the artist. The advantage of not having to deal with the complexities of Windows programming could attract the more adventurous artists and designers. The choice of programming language of course needs to take into account the fact that the "programmer" is probably not be an expert computer scientist. I have seen how LISP (an not exactly easy artificial intelligence language) has become very popular among non programming users of AutoCAD. If, to complete a job which you do manually and repeatedly, you can write a LISP macro of only 5 lines, then you may be tempted to learn enough LISP to write those 5 lines. Imagine also the ability to publish (and/or sell) "style generators". An artist could develop a particular interpretation function, it creates images of a given character which others find appealing. The interpretation (which runs inside Gliftic as a routine) could be offered to interior designers (for example) to unify carpets, wallpaper, furniture coverings for single projects. As Adrian Ward [3] says on his WEB site: "Programming is no less an artform than painting is a technical process." Learning a computer language to create a single image is overkill and impractical. Learning a computer language to create your own artistic style which generates an infinite series of images in that style may well be attractive. 2.3 Add an artificial conciousness to Gliftic This is a wild science fiction idea which comes into my head regularly. Gliftic manages to surprise the users with the images it makes, but, currently, is limited by what gets programmed into it or by pure chance. How about adding a real artifical conciousness to the program? Creating an intelligent artificial designer? According to Igor Aleksander [1] conciousness is required for programs (computers) to really become usefully intelligent. Aleksander thinks that "the line has been drawn under the philosophical discussion of conciousness, and the way is open to sound scientific investigation". Without going into the details, and with great over-simplification, there are roughly two sorts of artificial intelligence: 1) Programmed intelligence, where, to all intents and purposes, the programmer is the "intelligence". The program may perform well (but often, in practice, doesn't) and any learning which is done is simply statistical and pre-programmed. There is no way that this type of program could become concious. 2) Neural network intelligence, where the programs are based roughly on a simple model of the brain, and the network learns how to do specific tasks. It is this sort of program which, according to Aleksander, could, in the future, become concious, and thus usefully intelligent. What could the advantages of an artificial artist be? 1) There would be no need for programming. Presumbably the human artist would dialog with the artificial artist, directing its development. 2) The artificial artist could be used as an apprentice, doing the "drudge" work of art, which needs intelligence, but is, anyway, monotonous for the human artist. 3) The human artist imagines "concepts", the artificial artist makes them concrete. 4) An concious artificial artist may come up with ideas of its own. Is this science fiction? Arthur C. Clarke's 1st Law: "If a famous scientist says that something can be done, then he is in all probability correct. If a famous scientist says that something cannot be done, then he is in all probability wrong". Arthur C Clarke's 2nd Law: "Only by trying to go beyond the current limits can you find out what the real limits are." One of Bertrand Russell's 10 commandments: "Do not fear to be eccentric in opinion, for every opinion now accepted was once eccentric" 3. References 1. "From Ramon Llull to Image Idea Generation". Ransen, Owen. Proceedings of the 1998 Milan First International Conference on Generative Art. 2. "How To Build A Mind" Aleksander, Igor. Wiedenfeld and Nicolson, 1999 3. "How I Drew One of My Pictures: or, The Authorship of Generative Art" by Adrian Ward and Geof Cox. Proceedings of the 1999 Milan 2nd International Conference on Generative Art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	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	b5a1
authors	Snijder, H.P.S. and Daru, R.
year	1999
title	Representing Floorplans for Interactive Evolutionary Design
source	AVOCAAD Second International Conference [AVOCAAD Conference Proceedings / ISBN 90-76101-02-07] Brussels (Belgium) 8-10 April 1999, pp. 343-346
summary	Computer tools that provide support in the early explorative phase of architectural design are rare. In order to explore the solution space of a design problem, architects in general rely on the use of paper and pencil. We are developing a system which will assist the designer in the exploration of a particular design problem, focusing initially on 2D floorplans. The format chosen for this system is one in which the computer, in interaction with the designer, "evolves" designs. A major obstacle associated with the use of an evolutionary approach is the adequate representation of a floorplan in a genome. We propose a tree-structure in which the nodes represent organising-principles that dictate how the leaves attached to it are organised. Figure 1 shows an example of a tree with four levels; the terminal nodes represent the elements to be placed. The first level no only represents an organising-principle, but also a contour; this contour is either fixed (e.g. dictated by the environment) or free to evolve. On either side of the tree-structure two interpretations of this tree are shown.
series	AVOCAAD
last changed	2005/09/09 10:48

_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	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	1ead
authors	Dinand, Munevver Ozgur and Ozersay, Fevzi
year	1999
title	CAAD Education under the Lens of Critical Communication Theories and Critical Pedagogy: Towards a Critical Computer Aided Architectural Design Education (CCAADE)
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 86-93
doi	https://doi.org/10.52842/conf.ecaade.1999.086
summary	Understanding the dominant ethos of our age is imperative but not easy. However it is quite evident that new technologies have altered our times. Every discipline is now forced to be critical in developing new concepts according to the realities of our times. Implementing a critical worldview and consciousness is now more essential than ever. Latest changes in information technology are creating pressure on change both in societal and cultural terms. With its direct relation to these technologies, computer aided architectural design education, is obviously an outstanding / prominent case within contemporary debate. This paper aims to name some critical points related to computer aided architectural design education (CAADE) from the perspective of critical communication studies and critical education theories. It tries to relate these three areas, by introducing their common concepts to each other. In this way, it hopes to open a path for a language of critique. A critique that supports and promotes experimentation, negotiation, creativity, social consciousness and active participation in architectural education in general, and CAADE in specific. It suggests that CAADE might become critical and produce meta-discourses [1 ] in two ways. Firstly, by being critical about the context it exists in, that is to say, its relationships to the existing institutional and social structures and secondly by being critical about the content it handles; in other words by questioning its ideological dimensions. This study considers that analysing the role of CAADE in this scheme can provide architectural education with the opportunity to make healthy projections for the future.
keywords	Critical Theories, Critical Pedagogy, Critical CAADE
series	eCAADe
email
last changed	2022/06/07 07:55

_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	5377
authors	Frazer, J.H., Tang, M.X. and Jian, S.
year	1999
title	Towards a Generative System for Intelligent Design Support
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. 285-294
doi	https://doi.org/10.52842/conf.caadria.1999.285
summary	In the development of intelligent computer aided design systems, three important issues need to considered. These issues are: how to support the generation of product concepts using evolutionary computation techniques; how to use intelligent databases and constraint management systems for detailed exploration of product embodiment; and how to integrate rapid prototyping facilities for product evaluation. In this paper, we present a brief review of knowledge based design and evolutionary design and discuss ways of integrating both in the development of a generative design system. Based on this review, we present the model and its applications of a generative design system utilizing a number of AI and evolutionary computation techniques. This generative design model is intended to provide a generic computational framework for the development of intelligent design support systems.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	170f
authors	Mora Padrón, Víctor Manuel
year	1999
title	Integration and Application of Technologies CAD in a Regional Reality - Methodological and Formative Experience in Industrial Design and Products Development
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 295-297
summary	The experience to present is begun and developed during the academic year 1998, together to the course of IV pupils level of the Industrial Design career in the Universidad del Bío-Bío, labor that I have continued assuming during the present year, with a new youths generation. We have accomplished our academic work taking as original of study and base, the industrial and economic situation of the VIII Region, context in the one which we outline and we commit our needs formative as well as methodological to the teaching of the discipline of the Industrial Design. Consequently, we have defined a high-priority factor among pupils and teachers to reach the objectives and activities program of the course, the one which envisages first of all a commitment of attitude and integrative reflection among our academic activity and the territorial human context in the one which we inhabit. In Chile the activity of the industrial designer, his knowledge and by so much his capacity of producing innovation, it has been something practically unknown in the industrial productive area. However, the current national development challenges and the search by widening our markets, they have created and established a conscience of the fact that the Chilean industrial product must have a modern and effective competitiveness if wants be made participates in segments of the international marketing. It is in this new vision where the design provides in decisive form to consider and add a commercial and cultural value in our products. To the university corresponds the role of transmitting the knowledge generated in his classrooms toward the society, for thus to promote a development in the widest sense of the word. Under this prism the small and median regional industry in their various areas, have not integrated in the national arrangement in what concerns to the design and development of new and integral products. The design and the innovation as motor concept for a competitiveness and permanency in new markets, it has not entered yet in the entrepreneurial culture. If we want to save this situation, it is necessary that the regional entrepreneur knows the importance of the Design with new models development and examples of application, through concrete cases and with demands, that serve of base to demonstrate that the alliance among Designer and Industry, opens new perspectives of growth upon offering innovation and value added factors as new competitiveness tools. Today the communication and the managing of the information is a strategic weapon, to the moment of making changes in a social dynamics, so much at local level as global. It is with this look that our efforts and objective are centered in forming to our pupils with an integration speech and direct application toward the industrial community of our region, using the communication and the technological information as a tool validates and effective to solve the receipt in the visualization of our projects, designs and solutions of products. As complement to the development of the proposed topic will be exhibited a series of projects accomplished by the pupils for some regional industries, in which the three dimensional modeling and the use of programs vectoriales demonstrate the efficiency of communication and comprehension of the proposals, its complexity and constructive possibilities.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	76ff
authors	Sorby, S.A.
year	1999
title	Developing 3-D Spatial Visualization Skills
source	Engineering Design Graphics Journal, vol. 63, no. 2 (Spring): 21-32
summary	This article brings up the point that 3-D spatial visualization skills are vital to graphics education. Instructors of graphics education, even though they have highly advanced spatial skills, rarely have the proper training on what spatial skills are or how the development of spatial skills takes place. As a result one must try to have a better understanding of spatial abilities. There are many interpretations as to what spatial skills really are and there is in therefore no one universal definition. As a way to better understand spatial abilities, Maier places them into five categories. The categories are spatial perception, spatial visualization, mental rotations, spatial rotations, and spatial orientation. These categories are vast. As a result of their vastness many of the categories overlap. Another step towards better understanding spatial skills involves differentiating how spatial skills are used while completing a task. Tartre makes a classification for how spatial skills are used while performing a task. The spatial skills are either used as spatial visualization that involves mentally moving the object, or as spatial orientation, which involves mentally moving the object. If the task involves spatial visualization then mental rotation can take place, which involves the entire object, or mental transformation can occur, which only involves part of an object. Visual thinking is a way to understand spatial skills. McKim offers the viewpoint that visual thinking occurs by three kinds of imagery. They are what one sees, what one can imagine, and what one can draw. All of these images interact with one another. Spatial skills are developed primarily in three different stages. This can be see be Piaget's theory on development. In the first stage, two dimensional, topological, skills are acquired. In the second stage, an understanding of 3-D objects, projective skills, from different viewpoints is achieved. Finally in the third stage, there is an understanding of area, volume, distance, translation, rotation and reflection, which is combined with projective skills. Spatial skills are evaluated in a variety of ways. There are tests that assess a person's projective skill level. Examples of these would be the Mental Cutting Test and the Differential Aptitude Test: Spatial Relation. Other tests assess mental rotation. Examples of mental rotation tests are the Purdue Spatial Visualization Test and the Mental Rotation Test. Results of these evaluations show mixed results as to whether there are gender differences in spatial skills. In order to enhance spatial skills, one must not only work with 3-D images, but they must also use concrete models and sketching. Overall I thought this article was very informative. It presented the information in a clear and concise manner. I summarized the information that I thought was especially useful for this class. The article really made me think how important it is not only to have spatial skills, but also to have an understanding of them.
series	journal paper
last changed	2003/04/23 15:14

_id	ga9919
id	ga9919
authors	Strehlke, Kai
year	1999
title	xWORLDS, the implementation of a three-dimensional collaborative sketch tool within the context of a third year design course
source	International Conference on Generative Art
summary	This work is the result of a postgraduate thesis done at the chair for Architecture and CAAD at the ETH in Zurich Switzerland. It proposes a prototype for a three-dimensional modelling tool in a networked environment. The work is composed of two distinct parts. (1) A modeling tool to create three-dimensional objects in an intuitive and interactive manner. (2) A database component to store and retrieve the objects. This modeller has been implemented for the first time in a design course, where students where using the modeller to sketch and interact within a large group to formulate aspects of their design. The Paper focuses on the modeller and on the experience from a one week workshop.1. Modelling Tool. The modeling tool operates in two different modes: (A). Composing cubic forms within a limited cubic space. (B). Deforming the composition of boxes by means of their interaction with a separate volume. For the composition of cubes, the user has to drag a cube with the mouse to continue placing cubes in space. Furthermore, he can move and delete the placed cubes. Simple and complex objects can be created this way, in an easy and intuitive manner. For the second mode, the forms are generated by intersecting a volume with an object created previously in the first mode. The volume can be scaled and moved. The part of the existing object located outside the volume remains unchanged, while the part that lies inside it is transformed in the same way as the volume. Complex forms can be created in this way with simple transformations. 2. Database Storage and Retrieval.The created objects can be stored in a database. Other users can access the objects stored in the database and continue working on them in the same modeling environment. There are two ways to interact with objects from the database. On one side it is possible to substitute the composition of cubes, and keep the distorted framestructure of the currently active object unchanged. On the other side it is possible to initiate a morphing process between the currently active framestructure and the framestructure of an object from the database. This process can be stopped at any time. It is always possible to switch back in the modeling modus and continue work on the object.3. Workshop at the the School of Design at the Hong Kong Polytechnic University.A Group of over 100 students were using the tool in a second year design course. The tool has been implemented as part of a workshop in the second half of the design studio. The workshop lasted for one week in which a collective dataset of over 1000 models has been created by the students. Afterwards, a possibility was given to the students to retrieve models from the database and to process them in different software packages or have them physically built by a 3D printer, and then continue working on the physical model.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	avocaad_2001_17
id	avocaad_2001_17
authors	Ying-Hsiu Huang, Yu-Tung Liu, Cheng-Yuan Lin, Yi-Ting Cheng, Yu-Chen Chiu
year	2001
title	The comparison of animation, virtual reality, and scenario scripting in design process
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	Design media is a fundamental tool, which can incubate concrete ideas from ambiguous concepts. Evolved from freehand sketches, physical models to computerized drafting, modeling (Dave, 2000), animations (Woo, et al., 1999), and virtual reality (Chiu, 1999; Klercker, 1999; Emdanat, 1999), different media are used to communicate to designers or users with different conceptual levels¡@during the design process. Extensively employed in design process, physical models help designers in managing forms and spaces more precisely and more freely (Millon, 1994; Liu, 1996).Computerized drafting, models, animations, and VR have gradually replaced conventional media, freehand sketches and physical models. Diversely used in the design process, computerized media allow designers to handle more divergent levels of space than conventional media do. The rapid emergence of computers in design process has ushered in efforts to the visual impact of this media, particularly (Rahman, 1992). He also emphasized the use of computerized media: modeling and animations. Moreover, based on Rahman's study, Bai and Liu (1998) applied a new design media¡Xvirtual reality, to the design process. In doing so, they proposed an evaluation process to examine the visual impact of this new media in the design process. That same investigation pointed towards the facilitative role of the computerized media in enhancing topical comprehension, concept realization, and development of ideas.Computer technology fosters the growth of emerging media. A new computerized media, scenario scripting (Sasada, 2000; Jozen, 2000), markedly enhances computer animations and, in doing so, positively impacts design processes. For the three latest media, i.e., computerized animation, virtual reality, and scenario scripting, the following question arises: What role does visual impact play in different design phases of these media. Moreover, what is the origin of such an impact? Furthermore, what are the similarities and variances of computing techniques, principles of interaction, and practical applications among these computerized media?This study investigates the similarities and variances among computing techniques, interacting principles, and their applications in the above three media. Different computerized media in the design process are also adopted to explore related phenomenon by using these three media in two projects. First, a renewal planning project of the old district of Hsinchu City is inspected, in which animations and scenario scripting are used. Second, the renewal project is compared with a progressive design project for the Hsinchu Digital Museum, as designed by Peter Eisenman. Finally, similarity and variance among these computerized media are discussed.This study also examines the visual impact of these three computerized media in the design process. In computerized animation, although other designers can realize the spatial concept in design, users cannot fully comprehend the concept. On the other hand, other media such as virtual reality and scenario scripting enable users to more directly comprehend what the designer's presentation.Future studies should more closely examine how these three media impact the design process. This study not only provides further insight into the fundamental characteristics of the three computerized media discussed herein, but also enables designers to adopt different media in the design stages. Both designers and users can more fully understand design-related concepts.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	7ccd
authors	Augenbroe, Godfried and Eastman, Chuck
year	1999
title	Computers in Building: Proceedings of the CAADfutures '99 Conference
source	Proceedings of the Eighth International Conference on Computer Aided Architectural Design Futures [ISBN 0-7923-8536-5] Atlanta, 7-8 June 1999, 398 p.
summary	This is the eight CAADfutures Conference. Each of these bi-annual conferences identifies the state of the art in computer application in architecture. Together, the series provides a good record of the evolving state of research in this area over the last fourteen years. Early conferences, for example, addressed project work, either for real construction or done in academic studios, that approached the teaching or use of CAD tools in innovative ways. By the early 1990s, such project-based examples of CAD use disappeared from the conferences, as this area was no longer considered a research contribution. Computer-based design has become a basic way of doing business. This conference is marked by a similar evolutionary change. More papers were submitted about Web- based applications than about any other area. Rather than having multiple sessions on Web-based applications and communications, we instead came to the conclusion that the Web now is an integral part of digital computing, as are CAD applications. Using the conference as a sample, Web-based projects have been integrated into most research areas. This does not mean that the application of the Web is not a research area, but rather that the Web itself is an integral tool in almost all areas of CAAD research.
series	CAAD Futures
email
last changed	2006/11/07 07:22

_id	avocaad_2001_09
id	avocaad_2001_09
authors	Yu-Tung Liu, Yung-Ching Yeh, Sheng-Cheng Shih
year	2001
title	Digital Architecture in CAD studio and Internet-based competition
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	Architectural design has been changing because of the vast and creative use of computer in different ways. From the viewpoint of designing itself, computer has been used as drawing tools in the latter phase of design (Mitchell 1977; Coyne et al. 1990), presentation and simulation tools in the middle phase (Liu and Bai 2000), and even critical media which triggers creative thinking in the very early phase (Maher et al. 2000; Liu 1999; Won 1999). All the various roles that computer can play have been adopted in a number of professional design corporations and so-called computer-aided design (CAD) studio in schools worldwide (Kvan 1997, 2000; Cheng 1998). The processes and outcomes of design have been continuously developing to capture the movement of the computer age. However, from the viewpoint of social-cultural theories of architecture, the evolvement of design cannot be achieved solely by designers or design processes. Any new idea of design can be accepted socially, culturally and historically only under one condition: The design outcomes could be reviewed and appreciated by critics in the field at the time of its production (Csikszentmihalyi 1986, 1988; Schon and Wiggins 1992; Liu 2000). In other words, aspects of design production (by designers in different design processes) are as critical as those of design appreciation (by critics in different review processes) in the observation of the future trends of architecture.Nevertheless, in the field of architectural design with computer and Internet, that is, so-called computer-aided design computer-mediated design, or internet-based design, most existing studies pay more attentions to producing design in design processes as mentioned above. Relatively few studies focus on how critics act and how they interact with designers in the review processes. Therefore, this study intends to investigate some evolving phenomena of the interaction between design production and appreciation in the environment of computer and Internet.This paper takes a CAD studio and an Internet-based competition as examples. The CAD studio includes 7 master's students and 2 critics, all from the same countries. The Internet-based competition, held in year 2000, includes 206 designers from 43 counties and 26 critics from 11 countries. 3 students and the 2 critics in the CAD studio are the competition participating designers and critics respectively. The methodological steps are as follows: 1. A qualitative analysis: observation and interview of the 3 participants and 2 reviewers who join both the CAD studio and the competition. The 4 analytical criteria are the kinds of presenting media, the kinds of supportive media (such as verbal and gesture/facial data), stages of the review processes, and interaction between the designer and critics. The behavioral data are acquired by recording the design presentation and dialogue within 3 months. 2. A quantitative analysis: statistical analysis of the detailed reviewing data in the CAD studio and the competition. The four 4 analytical factors are the reviewing time, the number of reviewing of the same project, the comparison between different projects, and grades/comments. 3. Both the qualitative and quantitative data are cross analyzed and discussed, based on the theories of design thinking, design production/appreciation, and the appreciative system (Goodman 1978, 1984).The result of this study indicates that the interaction between design production and appreciation during the review processes could differ significantly. The review processes could be either linear or cyclic due to the influences from the kinds of media, the environmental discrepancies between studio and Internet, as well as cognitive thinking/memory capacity. The design production and appreciation seem to be more linear in CAD studio whereas more cyclic in the Internet environment. This distinction coincides with the complementary observations of designing as a linear process (Jones 1970; Simon 1981) or a cyclic movement (Schon and Wiggins 1992). Some phenomena during the two processes are also illustrated in detail in this paper.This study is merely a starting point of the research in design production and appreciation in the computer and network age. The future direction of investigation is to establish a theoretical model for the interaction between design production and appreciation based on current findings. The model is expected to conduct using revised protocol analysis and interviews. The other future research is to explore how design computing creativity emerge from the process of producing and appreciating.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	avocaad_2001_16
id	avocaad_2001_16
authors	Yu-Ying Chang, Yu-Tung Liu, Chien-Hui Wong
year	2001
title	Some Phenomena of Spatial Characteristics of Cyberspace
source	AVOCAAD - ADDED VALUE OF COMPUTER AIDED ARCHITECTURAL DESIGN, Nys Koenraad, Provoost Tom, Verbeke Johan, Verleye Johan (Eds.), (2001) Hogeschool voor Wetenschap en Kunst - Departement Architectuur Sint-Lucas, Campus Brussel, ISBN 80-76101-05-1
summary	"Space," which has long been an important concept in architecture (Bloomer & Moore, 1977; Mitchell, 1995, 1999), has attracted interest of researchers from various academic disciplines in recent years (Agnew, 1993; Benko & Strohmayer, 1996; Chang, 1999; Foucault, 1982; Gould, 1998). Researchers from disciplines such as anthropology, geography, sociology, philosophy, and linguistics regard it as the basis of the discussion of various theories in social sciences and humanities (Chen, 1999). On the other hand, since the invention of Internet, Internet users have been experiencing a new and magic "world." According to the definitions in traditional architecture theories, "space" is generated whenever people define a finite void by some physical elements (Zevi, 1985). However, although Internet is a virtual, immense, invisible and intangible world, navigating in it, we can still sense the very presence of ourselves and others in a wonderland. This sense could be testified by our naming of Internet as Cyberspace -- an exotic kind of space. Therefore, as people nowadays rely more and more on the Internet in their daily life, and as more and more architectural scholars and designers begin to invest their efforts in the design of virtual places online (e.g., Maher, 1999; Li & Maher, 2000), we cannot help but ask whether there are indeed sensible spaces in Internet. And if yes, these spaces exist in terms of what forms and created by what ways?To join the current interdisciplinary discussion on the issue of space, and to obtain new definition as well as insightful understanding of "space", this study explores the spatial phenomena in Internet. We hope that our findings would ultimately be also useful for contemporary architectural designers and scholars in their designs in the real world.As a preliminary exploration, the main objective of this study is to discover the elements involved in the creation/construction of Internet spaces and to examine the relationship between human participants and Internet spaces. In addition, this study also attempts to investigate whether participants from different academic disciplines define or experience Internet spaces in different ways, and to find what spatial elements of Internet they emphasize the most.In order to achieve a more comprehensive understanding of the spatial phenomena in Internet and to overcome the subjectivity of the members of the research team, the research design of this study was divided into two stages. At the first stage, we conducted literature review to study existing theories of space (which are based on observations and investigations of the physical world). At the second stage of this study, we recruited 8 Internet regular users to approach this topic from different point of views, and to see whether people with different academic training would define and experience Internet spaces differently.The results of this study reveal that the relationship between human participants and Internet spaces is different from that between human participants and physical spaces. In the physical world, physical elements of space must be established first; it then begins to be regarded as a place after interaction between/among human participants or interaction between human participants and the physical environment. In contrast, in Internet, a sense of place is first created through human interactions (or activities), Internet participants then begin to sense the existence of a space. Therefore, it seems that, among the many spatial elements of Internet we found, "interaction/reciprocity" Ñ either between/among human participants or between human participants and the computer interface Ð seems to be the most crucial element.In addition, another interesting result of this study is that verbal (linguistic) elements could provoke a sense of space in a degree higher than 2D visual representation and no less than 3D visual simulations. Nevertheless, verbal and 3D visual elements seem to work in different ways in terms of cognitive behaviors: Verbal elements provoke visual imagery and other sensory perceptions by "imagining" and then excite personal experiences of space; visual elements, on the other hand, provoke and excite visual experiences of space directly by "mapping".Finally, it was found that participants with different academic training did experience and define space differently. For example, when experiencing and analyzing Internet spaces, architecture designers, the creators of the physical world, emphasize the design of circulation and orientation, while participants with linguistics training focus more on subtle language usage. Visual designers tend to analyze the graphical elements of virtual spaces based on traditional painting theories; industrial designers, on the other hand, tend to treat these spaces as industrial products, emphasizing concept of user-center and the control of the computer interface.The findings of this study seem to add new information to our understanding of virtual space. It would be interesting for future studies to investigate how this information influences architectural designers in their real-world practices in this digital age. In addition, to obtain a fuller picture of Internet space, further research is needed to study the same issue by examining more Internet participants who have no formal linguistics and graphical training.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	0f1e
authors	Barrionuevo, Luis F.
year	1999
title	Posicionamiento de Volúmenes Arquitectónicos Mediante Algoritmos Evolucionistas (Positioning of Architectural Volumes by Means of Evolutionist Algorithms)
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 176-181
summary	Configurational studies involve the groups of elements fulfilling restrictions defined by the designer in Architectural design. According to its necessities and intentions, the planner distributes the components of the group in a certain tridimensional way, establishing a composition. This operative procedure implies a classification system according to typologies that respond to a bigger system, and this in turn to another, until the whole is obtained. From the beginning the pattern should satisfy form restrictions, as well as dimensional and positional restrictions for each part that conforms the whole. Functional requirements are attended for each object satisfying relationships of connectivity and adjacency among them. In this work the parts are restricted by their relative position to a central element. Evolutionary Algorithms (EA) are used to solve this type of problem. Using evolutionary metaphors they originate concepts such as "genes", "chromosomes", "mutation", "crosses” and " population " (among other), which come closer to one of the solutions looked for by the designer, under combinatory stochastic methods. The most appropriate use of EA corresponds to problems of complexity NP-completeness (for example, problems of generation of cases of composition), allowing an efficient although not exhaustive analysis. Applying this technique to the generation of architectural volumes, some obtained results are exemplified.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	5bce
authors	Ceccato, Cristiano
year	1999
title	Evolutionary Design Tools for Mass-Customisation
source	III Congreso Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings] Montevideo (Uruguay) September 29th - October 1st 1999, pp. 152-156
summary	This paper describes an instance of the author’s ongoing research in the field of Generative Design. The work is based on the premise that computer-aided design (CAD) should evolve beyond its current limitation of one-way interaction, and become a dynamic, intelligent, multi-user environment that encourages creativity and actively supports the evolution of individual, mass-customised designs which exhibit common features. The understanding of fundamental shape-forming processes in nature inspires us to move beyond the existing CAD paradigms and re-examine the way we can benefit from the computers in design. We can use this knowledge to create a new generation of computer-based design tools which use evolutionary search algorithms to generate create a common family of individual designs optimised according to particular criteria, while supporting our design intuition. The author explores this idea by illustrating a research project between the Hong Kong Polytechnic University and Deakin University (Australia). The project implements a multi-user oriented design tool for evolutionary design, which was tailored to produce a simple object such as door handle. The paper first gives a short historical and philosophical to the work, then describes the technical and algorithmic requirements, and implementation of the system. It concludes by describing an experiment in which the system was used on a "live" test group of people to generate individual, mass-customised designs.
series	SIGRADI
email
last changed	2016/03/10 09:48

_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	0b84
authors	De Silva Garza, Andrés Gómez and Maher, Mary Lou
year	1999
title	Evolving Design Layout Cases to Satisfy Feng Shui Constraints
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. 115-124
doi	https://doi.org/10.52842/conf.caadria.1999.115
summary	We present a computational process model for design that combines the functionalities of case-based reasoning (CBR) and genetic algorithms (GAÌs). CBR provides a precedent-based framework in which prior design cases are retrieved and adapted in order to meet the requirements of a new design problem. GAÌs provide a general-purpose mechanism for randomly combining and modifying potential solutions to a new problem repeatedly until an adequate solution is found. In our model we use a GA to perform the case-adaptation subtask of CBR. In this manner, a gradual improvement in the overall quality of the proposed designs is obtained as more and more adaptations of the design cases originally retrieved from memory are evolved. We describe how these ideas can be used to perform layout design of residences such that the final designs satisfy the requirements imposed by feng shui, the Chinese art of placement.
series	CAADRIA
email
last changed	2022/06/07 07:55

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

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