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	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

_id	f91f
authors	Elezkurtaj, Tomor and Franck, Georg
year	2000
title	Geometry and Topology. A User-Interface to Artificial Evolution in Architectural Design
doi	https://doi.org/10.52842/conf.ecaade.2000.309
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 309-312
summary	The paper presents a system that supports architectural floor plan design interactively. The method of problem solving implemented is a combination of an evolutionary strategy (ES) and a genetic algorithm (GA). The problem to be solved consists of fitting a number of rooms (n) into an outline by observing functional requirements. The rooms themselves are specified concerning size, function and preferred proportion. The functional requirements entering the fitness functions are expressed in terms of the proportions of the rooms and the neighbourhood relations between them. The system is designed to deal with one of the core problems of computer supported creativity in architecture. For architecture, form not only, but also function is relevant. Without specifying the function that a piece of architecture is supposed to fulfil, it is hard to support its design by computerised methods of problem solving and optimisation. In architecture, however, function relates to comfort, easiness of use, and aesthetics as well. Since it is extraordinary hard, if not impossible, to operationalise aesthetics, computer aided support of creative architectural design is still in its infancy.
keywords	New AI, Genetic Algorithms, Artificial Evolution, creative Architectural Design, Interactive Design, Topology
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:55

_id	ga0027
id	ga0027
authors	E. Bilotta, P. Pantano and V. Talarico
year	2000
title	Music Generation through Cellular Automata
source	International Conference on Generative Art
summary	Cellular automata (CA), like every other dynamical system, can be used to generate music. In fact, starting from any initial state and applying to them simple transition rules, such models are able to produce numerical sequences that can be successively associated to typically musical physical parameters. This approach is interesting because, maintaining fixed the set of rules and varying the initial data, many different, though correlated, numerical sequences can be originated (this recalls the genotype-phenotype dualism). Later on a musification (rendering) process can tie one or more physical parameters typical of music to various mathematical functions: as soon as the generative algorithm produces a numerical sequence this process modifies the physical parameter thus composing a sequence of sounds whose characteristic varies during the course of time. Many so obtained musical sequences can be selected by a genetic algorithm (CA) that promotes their evolution and refinement. The aim of this paper is to illustrate a series of musical pieces generated by CA. In the first part attention is focused on the effects coming from the application of various rendering processes to one dimensional multi state CA; typical behaviours of automata belonging to each of the four families discovered by Wolfram have been studied: CA evolving to a uniform state, CA evolving to a steady cycle, chaotic and complex CA. In order to make this part of the study Musical Dreams, a system for the simulation and musical rendering of one dimensional CA, has been used. In the second phase various CA obtained both by random generation and deriving from those studied in the first part are organised into families and, successively, made evolve through a genetic algorithm. This phase has been accomplished by using Harmony Seeker, a system for the generation of evolutionary music based on GA. The obtained results vary depending on the rendering systems used but, in general, automata belonging to the first family seem more indicated for the production of rhythmical patterns, while elements belonging to the second and fourth family seem to produce better harmonic patterns. Chaotic systems have been seen to produce good results only in presence of simple initial states. Experiments made in the second part have produced good harmonic results starting mainly from CA belonging to the second family.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	3cd1
authors	Friedman, Asaf
year	2000
title	Language and Movement in CAD Application
doi	https://doi.org/10.52842/conf.caadria.2000.423
source	CAADRIA 2000 [Proceedings of the Fifth Conference on Computer Aided Architectural Design Research in Asia / ISBN 981-04-2491-4] Singapore 18-19 May 2000, pp. 423-432
summary	The paper attempts to explain some of the fundamental concepts as they relate to the experience of movement in space and the representation of walking-through or fly-over in architectural space. My goal is towards improving existing movement-in-architectural-space representation tolls. This study involves current research in cognitive science, in the domain of vision and spatial reasoning, in which we attempt to built a rudimentary model of the apparatus through which people experience space, and, in particular, architectural space. These conceptions necessitated the analysis of language. From the studies we can draw up a small number of critical qualities that have to be present in an improved version of a new movement-in-space representation tool. As opposed to existing computational tools representing movement in space navigation, the tool we build can offer a more immersive interactive experience for evaluating design solution alternatives and predicting moving-in-space experience.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	3936
authors	Geroimenko, Vladimir
year	1999
title	Online Photorealistic VR with Interactive Architectural Objects
doi	https://doi.org/10.52842/conf.ecaade.1999.414
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 414-417
summary	This paper describes how Virtual Reality (VR) technologies can be used for modelling photorealistic environments with interactive and changeable architectural content. This application of VR allows us to create photograph-based panoramic models of real places that include a variety of interactive architectural objects and details. The user is able not only to navigate through a virtual environment (look around, up and down, zoom, jump to another viewpoint or location) but also to change buildings or their architectural details by clicking, moving or rotating. The following types of interactive objects are completely integrated with a virtual environment: 2D image-based objects, 3D image-based objects, 3D VRML-based objects and onscreen world controls. The application can be used effectively for teaching, including distance Internet-based education, project presentations and rapid prototyping. A sample VR environment is presented and some of the key creative and technological issues are discussed.
keywords	Virtual Reality Modelling, Architectural Design, Interactive Contents, Photorealistic Environments
series	eCAADe
email
last changed	2022/06/07 07:51

_id	57bd
authors	Inanc, B. Sinan
year	2000
title	Casebook. An Information Retrieval System for Housing Floor Plans
doi	https://doi.org/10.52842/conf.caadria.2000.389
source	CAADRIA 2000 [Proceedings of the Fifth Conference on Computer Aided Architectural Design Research in Asia / ISBN 981-04-2491-4] Singapore 18-19 May 2000, pp. 389-398
summary	Floor plans are representations of choice for spatial information in architectural practice. They are expressive, readable, and familiar. My research examines possible uses of floor plan layouts in architectural information systems. Classification problems that arise are addressed by lazy computation. A prototype in the domain of residential units, CaseBook, has been developed and implemented. CaseBook uses graphical floor plans as core representations for storage, classification and retrieval. To reflect the plasticity of interpretations inherent to the complex and ill-defined architectural domain, the focus is on the flexibility of classification schemes. Flexibility is achieved through the application of adaptable automatic feature extraction and classification-on-demand by user-selected criteria. Queries can be graphically expressed in example layouts. The system ranks layouts according to their similarity to a query based on weighted nearest neighbor algorithm.
series	CAADRIA
email
last changed	2022/06/07 07:50

_id	1b04
authors	Leu, S.-S., Yang, C.-H. and Huang, J.-C.
year	2000
title	Resource leveling in construction by genetic algorithm-based optimization and its decision support system application
source	Automation in Construction 10 (1) (2000) pp. 27-41
summary	Traditional analytical and heuristic approaches are inefficient and inflexible when solving construction resource leveling problems. A computational optimization technique, genetic algorithms (GAs), was employed in this study to overcome drawbacks of traditional construction resource leveling algorithms. The proposed algorithm can effectively provide the optimal or near-optimal combination of multiple construction resources, as well as starting and finishing dates of activities subjected to the objective of resource leveling. Furthermore, a prototype of a decision support system (DSS) for construction resource leveling was also developed. Construction planners can interact with the system to carry out ad hoc analysis through "what-if" queries.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	ga0004
id	ga0004
authors	Lund, Andreas
year	2000
title	Evolving the Shape of Things to Come - A Comparison of Interactive Evolution and Direct Manipulation for Creative Tasks
source	International Conference on Generative Art
summary	This paper is concerned with differences between direct manipulation and interactive evolutionary design as two fundamentally different interaction styles for creative tasks. Its main contribution to the field of generative design is the treatment of interactive evolutionary design as a general interaction style that can be used to support users in creative tasks. Direct manipulation interfaces, a term coined by Ben Shneiderman in the mid-seventies, are the kind of interface that is characteristic of most modern personal computer application user interfaces. Typically, direct manipulation interfaces incorporate a model of a context (such as a desktop environment) supposedly familiar to users. Rather than giving textual commands (i.e. "remove file.txt", "copy file1.txt file2.txt") to an imagined intermediary between the user and the computer, the user acts directly on the objects of interest to complete a task. Undoubtedly, direct manipulation has played an important role in making computers accessible to non-computer experts. Less certain are the reasons why direct manipulation interfaces are so successful. It has been suggested that this kind of interaction style caters for a sense of directness, control and engagement in the interaction with the computer. Also, the possibilities of incremental action with continuous feedback are believed to be an important factor of the attractiveness of direct manipulation. However, direct manipulation is also associated with a number of problems that make it a less than ideal interaction style in some situations. Recently, new interaction paradigms have emerged that address the shortcomings of direct manipulation in various ways. One example is so-called software agents that, quite the contrary to direct manipulation, act on behalf of the user and alleviate the user from some of the attention and cognitive load traditionally involved in the interaction with large quantities of information. However, this relief comes at the cost of lost user control and requires the user to put trust into a pseudo-autonomous piece of software. Another emerging style of human-computer interaction of special interest for creative tasks is that of interactive evolutionary design (sometimes referred to as aesthetic selection). Interactive evolutionary design is inspired by notions from biological evolution and may be described as a way of exploring a large – potentially infinite – space of possible design configurations based on the judgement of the user. Rather than, as is the case with direct manipulation, directly influencing the features of an object, the user influences the design by means of expressing her judgement of design examples. Variations of interactive evolutionary design have been employed to support design and creation of a variety of objects. Examples of such objects include artistic images, web advertising banners and facial expressions. In order to make an empirical investigation possible, two functional prototypes have been designed and implemented. Both prototypes are targeted at typeface design. The first prototype allows a user to directly manipulate a set of predefined attributes that govern the design of a typeface. The second prototype allows a user to iteratively influence the design of a typeface by means of expressing her judgement of typeface examples. Initially, these examples are randomly generated but will, during the course of interaction, converge upon design configurations that reflect the user’s expressed subjective judgement. In the evaluation of the prototypes, I am specifically interested in users’ sense of control, convergence and surprise. Is it possible to maintain a sense of control and convergence without sacrificing the possibilities of the unexpected in a design process? The empirical findings seem to suggest that direct manipulation caters for a high degree of control and convergence, but with a small amount of surprise and sense of novelty. The interactive evolutionary design prototype supported a lower degree of experienced control, but seems to provide both a sense of surprise and convergence. One plausible interpretation of this is that, on the one hand, direct manipulation is a good interaction style for realizing the user’s intentions. On the other hand, interactive evolutionary design has a potential to actually change the user’s intentions and pre-conceptions of that which is being designed and, in doing so, adds an important factor to the creative process. Based on the empirical findings, the paper discusses situations when interactive evolutionary design may be a serious contender with direct manipulation as the principal interaction style and also how a combination of both styles can be applied.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	2720
authors	Magyar, Peter and Temkin, Aron
year	2000
title	Developing an Algorithm for Topological Transformation
source	SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 203-205
summary	This research intends to test the architectural application of Jean Piaget’s clinical observations, described in the book: The Child’s Conception of Space (Piaget, 1956), according to which topology is an ordering discipline, active in the human psyche. Earlier attempts, based on the principles of graph-theory, were able to cover only a narrow aspect of spatial relations, i.e. connectivity, and were mostly a-perceptional, visually mute. The “Spaceprint” method, explained and illustrated in co-author’s book: Thought Palaces (Magyar, 1999), through dimensional reduction, investigates volumetric, 3D characteristics and relationships with planar 2D configurations. These configurations, however, represent dual values: they are simultaneously the formal descriptors of both finite matter and (fragments of) infinite space. The so- called “Particular Spaceprint”, as a tool of design development in building, object, or urban scales, with the help of digital technology, could express - again simultaneously - qualities of an idea-gram and the visual, even tactile aspects of material reality. With topological surface-transformations, the “General Spaceprints”, these abstract yet visually active spatial formulas can be obtained.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	5222
authors	Moloney, Jules
year	1999
title	Bike-R: Virtual Reality for the Financially Challenged
doi	https://doi.org/10.52842/conf.ecaade.1999.410
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 410-413
summary	This paper describes a 'low tech' approach to producing interactive virtual environments for the evaluation of design proposals. The aim was to produce a low cost alternative to such expensive installations as CAVE virtual reality systems. The system utilises a library of pre-rendered animation, video and audio files and hence is not reliant on powerful hardware to produce real time simulation. The participant sits astride a bicycle exercise machine and animation is triggered by the pedal revolution. Navigation is achieved by steering along and around the streets of the animated design. This project builds on the work of Desmond Hii. ( Hii, 1997) The innovations are the bicycle interface and the application to urban scale simulation.
keywords	Virtual, Design, Interface, Urban
series	eCAADe
email
last changed	2022/06/07 07:58

_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	e995
authors	Reffat, Rabee M., and Gero, John S.
year	2000
title	Towards Active Support Systems for Architectural Designing
doi	https://doi.org/10.52842/conf.ecaade.2000.143
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 143-147
summary	This paper proposes the application of a situated learning approach in designing integrated with a conventional CAD system. The approach is implemented in SLiDe (Situated Learning in Designing) and integrated as SLiDe-CAAD, to provide interactive support in designing exemplified within the composition of architectural shapes. SLiDe-CAAD is proposed to assist in maintaining the integrity of shape semantics or desired design concepts of interest in the design composition. SLiDe-CAAD is introduced to provide a collaboration between the designer and the computer during the process of designing.
keywords	CAAD Systems, Active Designing Support, Situatedness.
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 08:00

_id	ca3d
authors	Shakarchi, Ali Y.
year	2000
title	Tools for Distributed Design Practice
doi	https://doi.org/10.52842/conf.ecaade.2000.089
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 89-92
summary	During collaboration designers jointly solve problems as well as interact for critical feedback. Today’s heterogeneous, distributed and global market demands of designers collaboration in both synchronous and asynchronous mode. The management and control of such projects is frequently geographical and temporally distributed. Increasingly, efficient communication is becoming a vital component in the design process, whether in managing the project data or controlling the compatibility of different inputs by design team members or minimizing the revision cycles. Paper presents and discuss iSPACE, the mature prototype software application developed to serve different scenarios of communication between the distributed design team members. The iSPACE is web based application that can deliver an interactive environment over low-bandwidth connections. Application of iSPACE in the educational environment is monitored and discussed. Giving the potential of this technology to enhance and to streamline complex tasks associated with the design process, the quality of the design product is changing. The new style of design practice can be now practically further modeled, supported and enhanced.
keywords	Design Collaboration, Design Process, i-space, Digital Media
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:56

_id	96a7
authors	Li, Heng and Love, Peter E.D.
year	2000
title	Genetic search for solving construction site-level unequal-area facility layout problems
source	Automation in Construction 9 (2) (2000) pp. 217-226
summary	A construction site represents a conflux of concerns, constantly calling for a broad and multi-criteria approach to solving problems related to site planning and design. As an important part of site planning and design, the objective of site-level facility layout is to allocate appropriate locations and areas for accommodating temporary site-level facilities such as warehouses, job offices, workshops and batch plants. Depending on the size, location and nature of the project, the required temporary facilities may vary. The layout of facilities can influence on the production time and cost in projects. In this paper, a construction site-level facility layout problem is described as allocating a set of predetermined facilities into a set of predetermined places, while satisfying layout constraints and requirements. A genetic algorithm system, which is a computational model of Darwinian evolution theory, is employed to solve the facilities layout problem. A case study is presented to demonstrate the efficiency of the genetic algorithm system in solving the construction site-level facility layout problems.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:22

_id	ga0022
id	ga0022
authors	Tokui, Nao and Iba, Hitoshi
year	2000
title	Music Composition with Interactive Evolutionary Computation
source	International Conference on Generative Art
summary	Interactive Evolutionary Computation (IEC), i.e., Evolutionary Computation whose fitness function is provided by a user his/herself, has been applied to esthetic areas, such as art, design and music. We cannot necessarily define fitness functions explicitly in these areas. With IEC, however, we can embed the user's implicit preference into the optimization system. This paper describes a new approach to music composition, more precisely the composition of rhythms, by means of IEC. The main feature of our method is to combine Genetic Algorithms (GA) and Genetic Programming (GP). In our system, GA individuals represent short pieces of rhythmic patterns, while GP individuals express how these patterns are arranged in terms of their functions. Both populations are evolved interactively through the user's evaluation. The integration of interactive GA and GP makes it possible to search for musical structures effectively in the vast search space. In this paper, we show how successfully our proposed method can generate attractive musical rhythms. The effectiveness of our system is demonstrated by the evolved rhythm phrases, which are available from our web site as sound files.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	2fb3
authors	Bhavnani, S.K.
year	2000
title	Designs Conducive to the Use of Efficient Strategies
source	Proceedings of DIS'00, (2000), 338-345
summary	Studies on the widespread inefficient use of complex computer applications have suggested that users need to learn efficient strategies in addition to learning how to use tools. This paper argues that our growing understanding of strategic knowledge can be used to guide designers develop systems which are conducive to the use of efficient strategies. The paper first describes ten general strategies which appear to be useful across three computer application domains. Next, the paper discusses the functionalities required to execute the ten strategies, and what makes them conducive to strategy use. An analysis of six major computer applications in three domains reveals that these functionalities are not consistently offered, and how their absence directly affects the performance of complex tasks. The analysis leads to questions related to the generality of the results, the problem of featurism, and how strategy-conducive systems could facilitate the transfer of knowledge across applications. The paper concludes by briefly describing how we intend to use the strategy framework to develop analysis methods for designers and trainers.
keywords	Strategy; Strategic Knowledge; Efficiency; Design; Training
series	other
email
last changed	2003/11/21 15:16

_id	eabb
authors	Boeykens, St. Geebelen, B. and Neuckermans, H.
year	2002
title	Design phase transitions in object-oriented modeling of architecture
doi	https://doi.org/10.52842/conf.ecaade.2002.310
source	Connecting the Real and the Virtual - design e-ducation [20th eCAADe Conference Proceedings / ISBN 0-9541183-0-8] Warsaw (Poland) 18-20 September 2002, pp. 310-313
summary	The project IDEA+ aims to develop an “Integrated Design Environment for Architecture”. Its goal is providing a tool for the designer-architect that can be of assistance in the early-design phases. It should provide the possibility to perform tests (like heat or cost calculations) and simple simulations in the different (early) design phases, without the need for a fully detailed design or remodeling in a different application. The test for daylighting is already in development (Geebelen, to be published). The conceptual foundation for this design environment has been laid out in a scheme in which different design phases and scales are defined, together with appropriate tests at the different levels (Neuckermans, 1992). It is a translation of the “designerly” way of thinking of the architect (Cross, 1982). This conceptual model has been translated into a “Core Object Model” (Hendricx, 2000), which defines a structured object model to describe the necessary building model. These developments form the theoretical basis for the implementation of IDEA+ (both the data structure & prototype software), which is currently in progress. The research project addresses some issues, which are at the forefront of the architect’s interest while designing with CAAD. These are treated from the point of view of a practicing architect.
series	eCAADe
email
last changed	2022/06/07 07:52

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

_id	55f6
authors	Brown, André
year	2000
title	Alternative Histories: the creative application of VR in developing an architectural critique -
source	SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 265-267
summary	The idea of the creative fake (not forgery) in architecture parallels the ideas of creative faking in other disciplines such as art and design. The idea developed here is to use the vehicle of the virtual world as a device for creative thinking through mature ‚what-if?’ scenarios. This paper explores the potential for virtual architectural environments to be developed in such a way that they can be used in the critical appraisal and understanding of architecture.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	ga0019
id	ga0019
authors	Ceccato, Cristiano
year	2000
title	On the Translation of Design Data into Design Form in Evolutionary Design
source	International Conference on Generative Art
summary	The marriage of advanced computational methods and new manufacturing technologies give rise to new paradigms in design process and execution. Specifically, the research concerns itself with the application of Generative and Evolutionary computation to the production of mass-customized products and building components. The work is based on the premise that CAD-CAM should evolve into a dynamic, intelligent, multi-user environment that encourages creativity and actively supports the evolution of individual, mass-customized designs that exhibit common features. The concept of Parametric Design is well established, and chiefly concerns itself with generating design sets that exists within the boundaries of pre-set parametric values. Evolutionary Design extends the notion of parametric control by using rule-based generative algorithms to evolve common families of individual design solutions. These can be optimized according to particular criteria, or can form a wide variety of hierarchically related design solutions, while supporting design intuition. The integration of Evolutionary Design with CAD-CAM, in particular the areas of flexible manufacturing and mass-customization, creates a unique scenario which exploits the full power of both approaches to create a new design-process paradigm that can generate limitless possibilities in a non-deterministic manner within a variable search-space of possible solutions.This paper concerns itself with the technical and philosophical aspects of the codification, generation and translation of data within the evolutionary-parametric design process. The efficiency and relevance of different methods for treating design data form the most fundamental aspect within the realm of CAD/CAM and are crucial to the successful implementation of Evolutionary Design mechanisms. This begins at the level of seeding and progresses through the entire evolutionary sequence, including the codification for evaluation criteria. Furthermore, the integration of digital design mechanisms with CAM and CNC technologies requires further translation of data into manufacturable formats. This paper examines different methods available to system designers and discussed their effect on new paradigms of digital design methods.
keywords	Evolutionary, Parametric, Generative, Data, Format, Objects, Codification
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

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