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	437d
authors	Hsu, Ying-Chun
year	2000
title	Constraint Based Space Planning: A Case Study
doi	https://doi.org/10.52842/conf.acadia.2000.002
source	ACADIA Quarterly, vol. 19, no. 3, pp. 2-3
summary	The initial design process usually requires a long incubation time for architects to bring together form and function. In this exciting and painful process, architects use their professional training to adjust the relationship between spaces, and include the requirements from the clients. The computer has the potential to be the key and the most powerful tool in this long process. In the software market, the software packages for architecture now are mostly for computing values or drafting. They are not very helpful in the design process.
series	ACADIA
last changed	2022/06/07 07:50

_id	d83d
authors	Hsu, Ying-Chun
year	2000
title	Constraint Based Space Planning: A Case Study
doi	https://doi.org/10.52842/conf.acadia.2000.002.3
source	ACADIA Quarterly, vol. 19, no. 3, pp. 2-3
summary	The initial design process usually requires a long incubation time for architects to bring together form and function. In this exciting and painful process, architects use their professional training to adjust the relationship between spaces, and include the requirements from the clients. The computer has the potential to be the key and the most powerful tool in this long process. In the software market, the software packages for architecture now are mostly for computing values or drafting. They are not very helpful in the design process.
series	ACADIA
last changed	2022/06/07 07:50

_id	eadd
authors	Oxman, R.E.
year	2000
title	Visual Reasoning in Case-Based Design
source	AID’00 Workshop, Worcester (Mass.)
summary	The interest in CBR as a relevant paradigm for design has led to a series of successful AID workshops over the last few years. Most of these workshops were focused on traditional issues and topics in CBR such as indexing, retrieval, and adaptation. Despite the long-term effort to establish the theoretical foundations for CBR in design, we have yet to achieve the promise of this affinity (CBR and Design). Though there is a general consensus of the cognitive significance of CBR to design and general optimism regarding the promise of CBR technologies for the advancement of design systems, we have yet to realize this potential. In order to strengthen the field in design it appears that additional theoretical efforts are needed in the following two directions. First, we must re-consider the complexity of design and design reasoning as it relates to CBR. One possible direction for future exploration is to view CBR as part of the complex, hybrid reasoning processes in design. This can be done by the integration of other significant cognitive aspects of design which are investigated in relevant fields in AI. Visual reasoning is a fundamental attribute of design, and therefor combining these two research areas may provide significant results for the field. The second direction is to investigate the possible integration of CBR paradigms and techniques with existing computational technologies, including CAD, and electronic media. These two subjects are the main objectives of the workshop. The first section of the workshop will focus on Re-formulating Theoretical Foundations for CBR in Design; within this part of the workshop it is proposed that special emphasis be placed upon Visual Reasoning and Case-Based Design The second part of the workshop will discuss the applicative implications of these re-formulations. The workshop aims to bring together researchers who work on visual and case-based reasoning. It aims to provide a forum for intensive interaction among researchers in these areas. We expect that a diverse background of participants (from AI as well as related cognitive and design domains) will lead to a rich and lively exchange of points of view and will contribute to the identification of significant research issues.
series	other
email
last changed	2003/04/23 15:14

_id	3888
authors	Reffat, Rabee M.
year	2000
title	Computational Situated Learning in Designing - Application to Architectural Shape Semantics
source	The University of Sydney, Faculty of Architecture
summary	Learning the situatedness (applicability conditions), of design knowledge recognised from design compositions is the central tenet of the research presented in this thesis. This thesis develops and implements a computational system of situated learning and investigates its utility in designing. Situated learning is based on the concept that "knowledge is contextually situated and is fundamentally influenced by its situation". In this sense learning is tuned to the situations within which "what you do when you do matters". Designing cannot be predicted and the results of designing are not based on actions independent of what is being designed or independent of when, where and how it was designed. Designers' actions are situation dependent (situated), such that designers work actively with the design environment within the specific conditions of the situation where neither the goal state nor the solution space is completely predetermined. In designing, design solutions are fluid and emergent entities generated by dynamic and situated activities instead of fixed design plans. Since it is not possible in advance to know what knowledge to use in relation to any situation we need to learn knowledge in relation to its situation, i.e. learn the applicability conditions of knowledge. This leads towards the notion of the situation as having the potential role of guiding the use of knowledge. Situated Learning in Designing (SLiDe) is developed and implemented within the domain of architectural shape composition (in the form of floor plans), to construct the situatedness of shape semantics. An architectural shape semantic is a set of characteristics with a semantic meaning based on a particular view of a shape such as reflection symmetry, adjacency, rotation and linearity. Each shape semantic has preconditions without which it cannot be recognised. Such preconditions indicate nothing about the situation within which this shape semantic was recognised. The situatedness or the applicability conditions of a shape semantic is viewed as, the interdependent relationships between this shape semantic as the design knowledge in focus, and other shape semantics across the observations of a design composition. While designing, various shape semantics and relationships among them emerge in different representations of a design composition. Multiple representations of a design composition by re-interpretation have been proposed to serve as a platform for SLiDe. Multiple representations provide the opportunity for different shape semantics and relationships among them to be found from a single design composition. This is important if these relationships are to be used later because it is not known in advance which of the possible relationships could be constructed are likely to be useful. Hence, multiple representations provide a platform for different situations to be encountered. A symbolic representation of shape and shape semantics is used in which the infinite maximal lines form the representative primitives of the shape. SLiDe is concerned with learning the applicability conditions (situatedness), of shape semantics locating them in relation to situations within which they were recognised (situation dependent), and updating the situatedness of shape semantics in response to new observations of the design composition. SLiDe consists of three primary modules: Generator, Recogniser and Incremental Situator. The Generator is used by the designer to develop a set of multiple representations of a design composition. This set of representations forms the initial design environment of SLiDe. The Recogniser detects shape semantics in each representation and produces a set of observations, each of which is comprised of a group of shape semantics recognised at each corresponding representation. The Incremental Situator module consists of two sub-modules, Situator and Restructuring Situator, and utilises an unsupervised incremental clustering mechanism not affected by concept drift. The Situator module locates recognised shape semantics in relation to their situations by finding regularities of relationships among them across observations of a design composition and clustering them into situational categories organised in a hierarchical tree structure. Such relationships change over time due to the changes taken place in the design environment whenever further representations are developed using the Generator module and new observations are constructed by the Recogniser module. The Restructuring Situator module updates previously learned situational categories and restructures the hierarchical tree accordingly in response to new observations. Learning the situatedness shape semantics may play a crucial role in designing if designers pursue further some of these shape semantics. This thesis illustrates an approach in which SLiDe can be utilised in designing to explore the shapes in a design composition in various ways; bring designers! attention to potentially hidden features and shape semantics of their designs; and maintain the integrity of the design composition by using the situatedness of shape semantics. The thesis concludes by outlining future directions for this research to learn and update the situatedness of design knowledge within the context of use; considering the role of functional knowledge while learning the situatedness of design knowledge; and developing an autonomous situated agent-based designing system.
series	thesis:PhD
email
last changed	2003/05/06 11:34

_id	7ee9
authors	Wood, J. B. and Chambers, Tom
year	2000
title	CAD - Enabled by the Organisation of Science and the Poetics of a Visual Language
doi	https://doi.org/10.52842/conf.ecaade.2000.327
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. 327-329
summary	CADET, CAD education and training, a research unit with the Department of Architecture and Building Science (Faculty of Engineering, University of Strathclyde) promotes an integrated approach to the built environment, seeking to bring together the rational and expressive modes of thought by teaching design through IT and CAD. In recent years this has been introduced as a pilot project within the primary and secondary school sector as well as Year 1 and Year 2 of the Building Design Engineering (BDE). The presentations discussed in this paper demonstrate recent projects in a social context - modelling possible spaces via virtual reality on behalf of clients in education and social work environments. The motivation for such a creative and participatory dialogue in a community context acknowledges that, in the wake of post industrialisation, the reconstruction of our urban environments demands that we develop the tools required for a meaningful participation in the design process. The nature of a participatory process demands a demystification of the design process, which is a reality made possible by CAD.
keywords	Teaching, Organisation, Participation, Knowledge and Demystification
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:57

_id	cef3
authors	Bridges, Alan H.
year	1992
title	Computing and Problem Based Learning at Delft University of Technology Faculty of Architecture
doi	https://doi.org/10.52842/conf.ecaade.1992.289
source	CAAD Instruction: The New Teaching of an Architect? [eCAADe Conference Proceedings] Barcelona (Spain) 12-14 November 1992, pp. 289-294
summary	Delft University of Technology, founded in 1842, is the oldest and largest technical university in the Netherlands. It provides education for more than 13,000 students in fifteen main subject areas. The Faculty of Architecture, Housing, Urban Design and Planning is one of the largest faculties of the DUT with some 2000 students and over 500 staff members. The course of study takes four academic years: a first year (Propaedeuse) and a further three years (Doctoraal) leading to the "ingenieur" qualification. The basic course material is delivered in the first two years and is taken by all students. The third and fourth years consist of a smaller number of compulsory subjects in each of the department's specialist areas together with a wide range of option choices. The five main subject areas the students may choose from for their specialisation are Architecture, Building and Project Management, Building Technology, Urban Design and Planning, and Housing. The curriculum of the Faculty has been radically revised over the last two years and is now based on the concept of "Problem-Based Learning". The subject matter taught is divided thematically into specific issues that are taught in six week blocks. The vehicles for these blocks are specially selected and adapted case studies prepared by teams of staff members. These provide a focus for integrating specialist subjects around a studio based design theme. In the case of second year this studio is largely computer-based: many drawings are produced by computer and several specially written computer applications are used in association with the specialist inputs. This paper describes the "block structure" used in second year, giving examples of the special computer programs used, but also raises a number of broader educational issues. Introduction of the block system arose as a method of curriculum integration in response to difficulties emerging from the independent functioning of strong discipline areas in the traditional work groups. The need for a greater level of selfdirected learning was recognised as opposed to the "passive information model" of student learning in which the students are seen as empty vessels to be filled with knowledge - which they are then usually unable to apply in design related contexts in the studio. Furthermore, the value of electives had been questioned: whilst enabling some diversity of choice, they may also be seen as diverting attention and resources from the real problems of teaching architecture.
series	eCAADe
email
last changed	2022/06/07 07:54

_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	b5f3
authors	Johnson, Brian R.
year	2000
title	Sustaining Studio Culture: How Well Do Internet Tools Meet the Needs of Virtual Design Studios?
doi	https://doi.org/10.52842/conf.ecaade.2000.015
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. 15-22
summary	The Internet beckons seductively to students. The prospect of nearly instantaneous communication with acquaintances spread across the face of the earth is alluring. The ease with which rich graphical content can be made available to the world is stunning. The possibility of a design being seen by friends, family, and famous architects is tantalizing. Faculty are drawn by the potent synergy and learning that can be found in the opposition and cooperation of different cultural roots. It is probable that entire design studio sequences will be offered through distance-learning programs in the near future. Is that a good idea? Much has been written about "virtual design studios" in architecture schools and "virtual offices" in practice. Most offices have largely or totally abandoned drafting boards in favor of digital tools of production. Yet, regarding design, Ken Sanders, author of The Digital Architect, and Manager of Information Services at Zimmer Gunsul Frasca Partnership (ZGF), of Portland, Oregon, has written "we still make an effort to locate project teams together and always will". Production CAD work requires different kinds of interaction than design and design instruction. The experiments have been invaluable in developing strategies for use of the Internet as a component of a design studio series, but rarely depend entirely on use of the Internet for all course communications. In fact, most describe fairly isolated efforts to augment some aspect of traditional design environments using Internet tools (ftp, email, web). A few have implemented new pedagogic or collaboration paradigms (e.g., ETH’s phase(x)). This paper considers the traditional design studio in terms of formal and informal activities, characterizes the major Internet technologies with regard to the resulting interaction issues. In particular, it describes an area of informal work group communications that appears to be ill-supported with existing tools. The paper goes on to describe a web-based collaboration tool which was developed to address the need for less formal communication. The context for this development is the concept of a fully distributed collaboration environment with particular attention to questions of informal communication. Finally, it describes how the tool was deployed in an experimental "web studio" setting and student responses to use of the tool.
keywords	Virtual Design Studio, Collaboration, Online Communities, Web Tools
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:52

_id	6b25
authors	Pini, E.L., Abades, I.S. and Paolucci, A.L.
year	2000
title	El Modelo Digital en los Primeros Años de la Enseñanza de la Arquitectura (The Digital Model in the First Years of the Architectural Education)
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. 336-338
summary	We will analyze a pedagogic exercise that joined together both the Informatics and Morphology Courses, required in the second year of Architecture School. The objective of the analysis is to explore the possibilities of the computer as a tool for design, and also to contribute some ideas for planning, curriculum development, and the necessary training to introduce the use of computer graphics in the Architecture School. We based our analysis on some preliminary hypotheses: (1) Students must learn to use digital models with a certain degree of simultaneity with learning design and the other techniques used to develop models. (2) Professors of Design, Representation, and Morphology are main actors in this learning process; they do not have to become experts in informatics, but have some understanding of the topic. (3) Many universities and professional associations are offering students and professionals courses based in the use of programs, instead of addressing their real needs.
series	SIGRADI
email
last changed	2016/03/10 09:57

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

_id	36dc
authors	Reffat, Rabee M. and Gero, John S.
year	1999
title	Situatedness: A New Dimension for Learning Systems in Design
doi	https://doi.org/10.52842/conf.ecaade.1999.252
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 252-261
summary	In this paper we adopt the approach that designing is a series of situated acts, ie designing cannot be pre-planned to completion. This is based on ideas from situated cognition theory that claims that what people perceive, how they conceive and what they do develop together and are adapted to the environment. For a system to be useful for human designers it must have the ability to associate what is learned to its environment. In order for a system to do that such a system must be able to acquire knowledge of the environment that a design constructs. Therefore, acknowledging the notion of situatedness is of importance to provide a system with such capability and add on a new dimension to existing learning systems in design. We will call such a learning system within the design domain a Situated Learning Design System (SLDS). A SLDS should be able to create its own situational categories from its perceptual experiences and modify them if encountered again to link the learned knowledge to its corresponding situation. We have chosen architectural shapes as the vehicle to demonstrate our ideas and used multiple representations to build a platform for a SLDS to learn from. In this paper the notion of situatedness and its role in both designing and learning is discussed. The overall architecture of a SLDS is introduced and how the potential outcome of such a system will support human designers while designing is discussed.
keywords	Designing, Situated Knowledge, Multiple Representations, Situated Learning
series	eCAADe
email
last changed	2022/06/07 08:00

_id	avocaad_2001_02
id	avocaad_2001_02
authors	Cheng-Yuan Lin, Yu-Tung Liu
year	2001
title	A digital Procedure of Building Construction: A practical project
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	In earlier times in which computers have not yet been developed well, there has been some researches regarding representation using conventional media (Gombrich, 1960; Arnheim, 1970). For ancient architects, the design process was described abstractly by text (Hewitt, 1985; Cable, 1983); the process evolved from unselfconscious to conscious ways (Alexander, 1964). Till the appearance of 2D drawings, these drawings could only express abstract visual thinking and visually conceptualized vocabulary (Goldschmidt, 1999). Then with the massive use of physical models in the Renaissance, the form and space of architecture was given better precision (Millon, 1994). Researches continued their attempts to identify the nature of different design tools (Eastman and Fereshe, 1994). Simon (1981) figured out that human increasingly relies on other specialists, computational agents, and materials referred to augment their cognitive abilities. This discourse was verified by recent research on conception of design and the expression using digital technologies (McCullough, 1996; Perez-Gomez and Pelletier, 1997). While other design tools did not change as much as representation (Panofsky, 1991; Koch, 1997), the involvement of computers in conventional architecture design arouses a new design thinking of digital architecture (Liu, 1996; Krawczyk, 1997; Murray, 1997; Wertheim, 1999). The notion of the link between ideas and media is emphasized throughout various fields, such as architectural education (Radford, 2000), Internet, and restoration of historical architecture (Potier et al., 2000). Information technology is also an important tool for civil engineering projects (Choi and Ibbs, 1989). Compared with conventional design media, computers avoid some errors in the process (Zaera, 1997). However, most of the application of computers to construction is restricted to simulations in building process (Halpin, 1990). It is worth studying how to employ computer technology meaningfully to bring significant changes to concept stage during the process of building construction (Madazo, 2000; Dave, 2000) and communication (Haymaker, 2000).In architectural design, concept design was achieved through drawings and models (Mitchell, 1997), while the working drawings and even shop drawings were brewed and communicated through drawings only. However, the most effective method of shaping building elements is to build models by computer (Madrazo, 1999). With the trend of 3D visualization (Johnson and Clayton, 1998) and the difference of designing between the physical environment and virtual environment (Maher et al. 2000), we intend to study the possibilities of using digital models, in addition to drawings, as a critical media in the conceptual stage of building construction process in the near future (just as the critical role that physical models played in early design process in the Renaissance). This research is combined with two practical building projects, following the progress of construction by using digital models and animations to simulate the structural layouts of the projects. We also tried to solve the complicated and even conflicting problems in the detail and piping design process through an easily accessible and precise interface. An attempt was made to delineate the hierarchy of the elements in a single structural and constructional system, and the corresponding relations among the systems. Since building construction is often complicated and even conflicting, precision needed to complete the projects can not be based merely on 2D drawings with some imagination. The purpose of this paper is to describe all the related elements according to precision and correctness, to discuss every possibility of different thinking in design of electric-mechanical engineering, to receive feedback from the construction projects in the real world, and to compare the digital models with conventional drawings.Through the application of this research, the subtle relations between the conventional drawings and digital models can be used in the area of building construction. Moreover, a theoretical model and standard process is proposed by using conventional drawings, digital models and physical buildings. By introducing the intervention of digital media in design process of working drawings and shop drawings, there is an opportune chance to use the digital media as a prominent design tool. This study extends the use of digital model and animation from design process to construction process. However, the entire construction process involves various details and exceptions, which are not discussed in this paper. These limitations should be explored in future studies.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	d11a
authors	Den Hartog, J. P. and Koutamanis, A.
year	2000
title	Teaching design simulation
doi	https://doi.org/10.52842/conf.ecaade.2000.197
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. 197-200
summary	The democratization of information and communication technologies (ICT) has promoted integration of computing in the design studio and of design activities in the CAAD courses. In addition it has also shifted the focus of CAAD courses from technical skills and general theoretical issues to current, specific design issues, such as the relationship between geometric modeling and construction, design communication and design analysis. CAAD courses (especially advanced ones) increasingly attempt to introduce these issues and corresponding advanced ICT in a design context that outlines the possibilities of these technologies and the underlying computational design methodology and bring research closer to teaching. One such issue is design analysis, especially in the early design stages when many fundamental decisions are taken on the basis of incomplete and insecure information. Simulation provides the computational means for projecting building behaviour and performance. The paper describes the application of a specific simulation technique, computational fluid dynamics (CFD), for the analysis of airflow in and around buildings in the context of an advanced CAAD course. In this course students are required to design a multifunctional exposition building. Even though students are unfamiliar with the particular CFD system, as well as with part of the simulation subject matter, they are able to produce descriptions of their designs with effectiveness and efficiency.
keywords	Design Analysis, Simulation, CFD, Airflow
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:55

_id	3940
authors	Hall, Rick
year	1999
title	Realtime 3D visual Analysis of Very Large Models at Low Cost
doi	https://doi.org/10.52842/conf.ecaade.1999.437
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 437-441
summary	Computer based visualisation of 3D models in architecture has been possible for 20 years or more, and the software technology has steadily improved during this time so that now incredibly realistic images can be generated from any viewpoint in a model, and impressive fly through sequences can bring a model to life in ways previously not possible. Virtual reality is with us and multi-media enables us to present a finished design in increasingly seductive ways. However, these forms of output from a 3D model offer much more limited benefits during the design process and particularly on large complex models because they are so computing intensive and it often require many hours to produce just one image. Anything other than a small and relatively simple model cannot be viewed dynamically in real-time on a desktop PC of the type commonly used by architects in a design office. Until now the solution to this problem has meant investing in expensive design review hardware and software with its inherent need for trained, skilled labour. As a result, design review products are often viewed as a luxury or costly necessity.
keywords	Visual Analysis, Low Cost, 3D Modelling
series	eCAADe
last changed	2022/06/07 07:50

_id	dcb9
authors	Kolarevic, Branko
year	2000
title	Digital Architectures
doi	https://doi.org/10.52842/conf.acadia.2000.251
source	Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 251-256
summary	This paper surveys different approaches in contemporary architectural design in which digital media is used not as a representational tool for visualization but as a generative tool for the derivation of form and its transformation. Such approaches are referred to as digital architectures – the computationally based processes of form origination and transformations. The paper examines the digital generative processes based on concepts such as topological space, motion dynamics, parametric design and genetic algorithms. It emphasizes the possibilities for the “finding of form,” which the emergence of various digitally based generative techniques seem to bring about.
series	ACADIA
email
last changed	2022/06/07 07:51

_id	4077
authors	Kolarevic, Branko
year	2000
title	Digital Morphogenesis and Computational Architectures
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. 98-103
summary	This paper examines methods in which digital media is employed not as a representational tool for visualization but as a generative tool for the derivation of form and its transformation - the digital morphogenesis. It explores the possibilities for the “finding of form”, which the emergence of various digitally based generative techniques seem to bring about. It surveys the digital generative processes - the computational architectures - based on concepts such as topological space, isomorphic surfaces, kinematics and dynamics, keyshape animation, parametric design, and genetic algorithms.
series	SIGRADI
email
last changed	2016/03/10 09:54

_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	1743
authors	Ozel, Filiz
year	2000
title	Spatial Databases and the Analysis of Dynamic Processes in Buildings
doi	https://doi.org/10.52842/conf.caadria.2000.097
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. 97-106
summary	This article investigates the potential applications of geographic information systems (GIS) in the analysis and simulation of dynamic processes in buildings and explores it within the context of life safety analysis of buildings. In doing so, the primary focus of the article is to look at how architectural components and spaces can be represented in a spatial database system and what types of methods must be used in the analysis of such a database. Until now GIS applications have primarily been seen as tools suitable for the analysis of urban design and planning problems, therefore an additional objective here is to bring GIS to the attention of architectural researchers as a potential tool for the representation and analysis of spatial data in architecture.
series	CAADRIA
email
last changed	2022/06/07 08:00

_id	a6a6
authors	Peyret, F., Jurasz, J., Carrel, A., Zekri, E. and Gorham, B.
year	2000
title	The Computer Integrated Road Construction project
source	Automation in Construction 9 (5-6) (2000) pp. 447-461
summary	This paper is about the "Computer Integrated Road Construction" (CIRC) project, which is a Brite-EuRam III funded project, lasting 1997–1999, aiming at introducing a new generation of control and monitoring tools for road pavements construction. These new tools are designed to bring on the sites significant improvements by creating a digital link between design office and job site. The first part of the paper describes the background of the project, which gathers seven European partners from five different countries, and gives the objectives of the project, in general and for each of the two targeted products: one for the compactors (CIRCOM) and one for the asphalt pavers (CIRPAV). Then, the two prototypes are described, each of them being broken down into three main sub-systems: the ground sub-system (GSS), the on-board sub-system (OB) and the positioning sub-system (POS). The expected benefits for the different users are also presented and quantified. The central part of the paper is devoted to the main technical innovations that have been developed in the frame of the project: universal vector database for road equipment guidance, multi-machine functionalities of CIRCOM and the two positioning systems which are actually the technological keys of the systems. Finally, the state of progress of the developments of the two CIRC products and the first commercial success achieved in parallel are presented.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:23

_id	4cd1
authors	Abdelmawla, S., Elnimeiri, M. and Krawczyk, R.
year	2000
title	Structural Gizmos
doi	https://doi.org/10.52842/conf.acadia.2000.115
source	Eternity, Infinity and Virtuality in Architecture [Proceedings of the 22nd Annual Conference of the Association for Computer-Aided Design in Architecture / 1-880250-09-8] Washington D.C. 19-22 October 2000, pp. 115-121
summary	Architects are visual learners. The Internet has enabled interactive learning tools that can be used to assist in visual thinking of structural concepts, especially at the introductory levels. Here, we propose a visual approach for understanding structures through a series of interactive learning modules, or ’gizmos’. These gizmos, are the tools that the student may use to examine one structural concept at a time. Being interactive, they offer many more possibilities beyond what one static problem can show. The approach aims to enhance students’ visual intuition, and hence understanding of structural concepts and the parameters affecting design. This paper will present selected structural gizmos, how they work, and how they can enhance structural education for architects.
series	ACADIA
email
last changed	2022/06/07 07:54

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