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	ddssar0002
id	ddssar0002
authors	Aoki, Yoshitsugu and Inage, Makoto
year	2000
title	Linguistic Operation System for Design of Architectural Form
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	In a process of architectural design, an architect not only draws by himself/herself but also lets another person modify a design by given a linguistic instruction expressing how the design ought to be. In the case of utilization of CAD systems, it is useful if the system modifies the design according to the linguistic instruction. On the other hand, because of the recent increase of the opportunities of designing a building whose roof has complicated curved surface, it extremely takes labor to change the design. This paper proposes a linguistic operation system that modifies a design according to the linguistic instruction of the modification by the user to support design of a complicated form with curved surface. The proposed system is expected to be integrated with a CAD system. First, the system presents a perspective sketch of a designed form. From the values of the design variables that characterize the form in the system, the system calculates the position of the form in “the association image space.” Second, the designer puts a linguistic instruction i.e., words as like as “let it be more light” to modify the form. The words used for the instruction have the position in the association image space. In the association image space, the system moves the position of the form to a new position that gets to be near the position of the given word. The system calculates the values of the design variables of the form corresponding to the new position. We need a mapping from every vector representing the position of the changed form in the association image space to the corresponding vector representing the values of the design variables. To find the mapping, we construct a neural network system with three levels. Finally, the system presents a perspective sketch of changed form using the calculated values of design variables.
series	DDSS
last changed	2003/11/21 15:15

_id	ga0101
id	ga0101
authors	Tanzini, Luca
year	2000
title	Universal City
source	International Conference on Generative Art
summary	"Universal City" is a multimedia performance that documents the evolution of the city in history. Whereas in the past the city was symbolically the world, today the world has become a city. The city rose up in an area once scattered and disorganized for so long that most of its ancient elements of culture were destroyed. It absorbed and re synthesized the remnants of this culture, cultivating power and efficiency. By means of this concentration of physical and cultural power, the city accelerated the rhythm of human relationships and converted their products into forms that are easily stockpiled and reproduced. Along with monuments, written documents and ordered associative organizations amplified the impact of all human activities, extending backwards and forwards over time. Since the beginning however, law and order stood alongside brute force, and power was always determined by these new institutions. Written law served to produce a canon of justice and equality that claimed a higher principle: the king's will, synonymous with divine command. The Urban Neolithic Revolution is comparable only to the Industrial Revolution, and the Media Technology in our own era. There is of course a substantial difference: ours is an era of immeasurable technological progress as an end in itself, which leads to the explosion of the city, and the consequent dissemination of its structure across the countryside. The old walled city has not only fallen, it's buried its foundations. Our civilization flees from every possibility of control, by means of its own extra resources not controllable by the egregious ambitions of man. The image of modern industrialization that Charlie Chaplin resurrected from the past in "Modern Times" is the exact opposite of contemporary metropolitan reality. He figured the worker as a slave chained to his machine and fed by machinery as he continued to work at maintaining the machine itself. Today the workplace is not so brutal, but automation has made it much more oppressive. Energy and dedication once directed towards the production process are today shifted towards consumption. The metropolis in the final phase of its evolution, is becoming a collective mechanism for maintaining the function of this system, and for giving the illusion of power, wealth, happiness, and total success, to those who are, in actuality, its victims. It is a concept foreign to the modern metropolitan mentality that life should be an occasion to Live, and not an excuse for generating newspaper articles, television interviews, or mass spectacles for those who know nothing better. Instead the process continues, until people prefer the simulacrum to the real, where image dominates over object, the copy over the original, representation over reality, appearance over Being. The first phase of the Economy's domination over social life brought about the visible degradation of every human accomplishment from "Being" into "Having". The present phase of social life's total occupation by the accumulated effects of the Economy is leading to a general downslide from "Having" into "Seeming". The performance is based on the instantaneous interaction between video and music: the video component is assembled in real time with RandomCinema a software that I developed and projected on a screen. The music-noise is the product of human radical improvisation togheter automatic-computer process. Everything is based on the consideration of the element of chance as a stimulus for the construction of the most options. The unpredictable helps to reveal things as they happen. The montage, the music, and their interaction, are born and die and the same moment: there are no stage directions or scripts.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ed0a
authors	Cuberos Mejía, R., Indriago, J.A. and Luengo, E.B.
year	2000
title	Nuevos Paradigmas em la Informática Aplicada al Diseño Urbano y Arquitectónico (New Paradigms in the Application of Computing in Urban and Architectural Design)
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. 123-125
summary	The incorporation of computer science in architecture has been happening in an evolutionary process where we can appreciate a transition from single tools of process automation to a hybrid and heterogeneous group of methods that radically are transforming professional labor. This paper describes experiences of authors in three instances of computer science applied to the urban and architectural design developed as well the university academic environment, and in professional consulting. The document not only makes emphasis on the nature and modality of each method, but even describes the philosophical and conceptual impact that each one of them implies in teaching and to making architecture.
series	SIGRADI
email
last changed	2016/03/10 09:49

_id	ga0015
id	ga0015
authors	Daru, R., Vreedenburgh, E. and Scha, R.
year	2000
title	Architectural Innovation as an evolutionary process
source	International Conference on Generative Art
summary	Traditionally in art and architectural history, innovation is treated as a history of ideas of individuals (pioneers), movements and schools. The monograph is in that context one of the most used forms of scientific exercise. History of architecture is then mostly seen as a succession of dominant architectural paradigms imposed by great architectural creators fighting at the beginning against mainstream establishment until they themselves come to be recognised. However, there have been attempts to place architectural innovation and creativity in an evolutionary perspective. Charles Jencks for example, has described the evolution of architectural and art movements according to a diagram inspired by ecological models. Philip Steadman, in his book "The Evolution of Designs. Biological analogy in architecture and the applied arts" (1979), sketches the history of various biological analogies and their impact on architectural theory: the organic, classificatory, anatomical, ecological and Darwinian or evolutionary analogies. This last analogy "explains the design of useful objects and buildings, particularly in primitive society and in the craft tradition, in terms of a sequence of repeated copyings (corresponding to inheritance), with small changes made at each stage ('variations'), which are then subjected to a testing process when the object is put into use ('selection')." However, Steadman has confined his study to a literature survey as the basis of a history of ideas. Since this pioneering work, new developments like Dawkins' concept of memes allow further steps in the field of cultural evolution of architectural innovation. The application of the concept of memes to architectural design has been put forward in a preceding "Generative Art" conference (Daru, 1999), showing its application in a pilot study on the analysis of projects of and by architectural students. This first empirical study is now followed by a study of 'real life' architectural practice. The case taken has a double implication for the evolutionary analogy. It takes a specific architectural innovative concept as a 'meme' and develops the analysis of the trajectory of this meme in the individual context of the designer and at large. At the same time, the architect involved (Eric Vreedenburgh, Archipel Ontwerpers) is knowledgeable about the theory of memetic evolution and is applying a computer tool (called 'Artificial') together with Remko Scha, the authoring computer scientist of the program who collaborates frequently with artists and architects. This case study (the penthouse in Dutch town planning and the application of 'Artificial') shall be discussed in the paper as presented. The theoretical and methodological problems of various models of diffusion of memes shall be discussed and a preliminary model shall be presented as a framework to account for not only Darwinian but also Lamarckian processes, and for individual as well as collective transmission, consumption and creative transformation of memes.
keywords	evolutionary design, architectural innovation, memetic diffusion, CAAD, penthouses, Dutch design, creativity, Darwinian and Lamarckian processes
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	9403
authors	De Carvalho, Silvana Sá
year	2000
title	A Telemática e o Meio Técnico- Científico-Informacional: Um Olhar sobre o Urbano (Telematics and Technical Scientific-Information Environment: An Urban View)
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. 160-162
summary	The instantaneous nature of globalized information has brought places closer together and homogenized space, eliminating regional differences. Contemporary urban architecture and the technical-scientific- informational quality of the human-made environment innovates the rationality of the dominant actors in society. The field of telecommunications has developed substantially in the last 30 years, and today we are participants in a digital era, that has not only shortened distances but revolutionized the concepts of time and space. Telematics is a fundamental element of cities at the end of the millennium and has become a new instrument of social control. Electronic vigilance systems, as an application of telematics, are now widely used in cities, and a new urban space is being configured based on this dynamic. This paper is an introductory essay on the topic, which is essential in the understanding of urban spatial dynamics, and its objective is to point out fields for future research.
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	gerardgabriel_phd
id	gerardgabriel_phd
authors	Gabriel, Gerard Caesar
year	2000
title	COMPUTER-MEDIATED COMMUNICATION IN DESIGN
source	PhD Thesis, Faculty of Architecture, University of Sydney
summary	Up till now, architects collaborating with other colleagues did so mostly face-to-face (FTF). They had to be in the same space (co-located) at the same time. Communication was ‘spontaneous’ and ideas were represented, whether verbal or nonverbal, by talking and using ‘traditional drawing tools’. If they were geographically displaced, the interaction was then space affected as well as the probability of being time affected. In this case communication was usually mediated through the telephone, and graphically represented ideas were sent by Fax or posted documents. Recently, some architectural firms started using modems and Internet connections to exchange information, by transferring CAD drawings as well as design information, through e-mail and file transfer protocol (FTP). Discussing ideas in architecture, as a more abstract notion, is different from discussing other more concrete arguments using video conferencing. It is more important to ‘see’ what is being discussed at hand than ‘watch’ the other person(s) involved in the discussion. In other words the data being conveyed might be of more importance than the mode of communication. Taking into consideration recent developments in computer and communication technologies this thesis investigates different communication channels utilised in architectural collaboration through Computer Mediated Collaborative Design (CMCD) sessions as opposed to FTF sessions. This thesis investigates the possible effects these different channels have on collaborative design in general and collaborative design communication in particular. We argue that successful CMCD does not necessarily mean emulating close proximity environments. Excluding certain communication channels in a CMCD environment might affect the flow and quantity of synchronous collaborative communication, but not necessarily the quality and content of mutually communicated and represented design ideas. Therefore different communication channels might affect the type of communication and not necessarily the content of the communication. We propose that audio and video are not essential communication channels in CMCD environments. We posit that architects will collaborate and communicate design representations effectively although with some differences, since those two channels might cause interruptions and successful collaborative sessions can take place without them. For this purpose we conducted twenty-four one-hour experiments involving final year architecture students all working to the same design brief. The experiments were divided into three categories, FTF, full computer mediated collaborative design sessions (CMCD-a; audio-video conferencing plus whiteboard as a shared drawing space) and limited computer mediated collaborative design sessions (CMCD-b; with Lambda MOO used as a chat medium plus whiteboard as a shared drawing space). The experiments were video and audio taped, transcribed and coded into a custom developed coding scheme. The results of the analysed coded data and observations of the videotapes provided evidence that there were noticeable differences between the three categories. There was more design communication and less communication control in the CMCD-b category compared to the FTF and CMCD-a categories. Verbal communication became shorter and straight to the point in CMCD-b as opposed to spontaneous non-stop chat in the other two categories. Moreover in CMCD-b the subjects were observed to be more reflective as well as choosing and re-examining their words to explain ideas to their partners. At times they were seen scrolling back through the text of the conversation in order to re-analyse or interpret the design ideas at hand. This was impossible in FTF and CMCD-a sessions, since the subjects were more spontaneous and audio representations were lost as soon as they were uttered. Also the video channel in the CMCD-a category was ignored and hardly used except for the first few minutes of the experiments, for a brief exchange of light humour on the appearance of each subject. The results obtained from analysing the experiments helped us conclude that different communication channels produce different collaborative environments. The three categories of communication for architectural collaboration explored in our experiments are indicative of the alternatives available to architects now. What is not clear to architects is why they would choose one category over another. We propose that each category has its own strengths and difficulties for architectural collaboration, and therefore should be selected on the basis of the type of communication considered to be most effective for the stage and tasks of the design project.
series	thesis:PhD
type	normal paper
email
last changed	2005/09/09 13:02

_id	146a
authors	Johnson, Robert E.
year	2000
title	The Impact of E-Commerce on the Design and Construction Industry
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. 75-83
doi	https://doi.org/10.52842/conf.acadia.2000.075
summary	Historically, the design and construction industry has been slow to innovate. As a result, productivity in the construction industry has declined substantially compared to other industries. Inefficiencies in this industry are well documented. However, the potential for cost savings and increased efficiency through the use of the Internet and e-commerce may not only increase the efficiency of the design and construction industry, but it may also significantly change the structure and composition of the industry. This is suggested because effective implementations of e-commerce technologies are not limited to one aspect of one industry. E-commerce may be most effective when it is thought of and applied to multi-industry enterprises and in a global context. This paper continues the exploration of a concept that we have been working on for several years, namely that “…information technology is evolving from a tool that incrementally improves ‘backoffice’ productivity to an essential component of strategic positioning that may alter the basic economics, organizational structure and operational practices of facility management organizations and their interactions with service providers (architects, engineers and constructors).” (Johnson and Clayton 1998) This paper will utilize the case study methodology to explore these issues as they are affecting the AEC/FM industry.
series	ACADIA
last changed	2022/06/07 07:52

_id	899f
authors	Papamichael, K., Pal, V., Bourassa, N., Loffeld, J. and Capeluto, I.G.
year	2000
title	An Expandable Software Model for Collaborative Decision-Making During the Whole Building Life Cycle
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. 19-28
doi	https://doi.org/10.52842/conf.acadia.2000.019
summary	Decisions throughout the life cycle of a building, from design through construction and commissioning to operation and demolition, require the involvement of multiple interested parties (e.g., architects, engineers, owners, occupants and facility managers). The performance of alternative designs and courses of action must be assessed with respect to multiple performance criteria, such as comfort, aesthetics, energy, cost and environmental impact. Several stand-alone computer tools are currently available that address specific performance issues during various stages of a building’s life cycle. Some of these tools support collaboration by providing means for synchronous and asynchronous communications, performance simulations, and monitoring of a variety of performance parameters involved in decisions about a building during building operation. However, these tools are not linked in any way, so significant work is required to maintain and distribute information to all parties. In this paper we describe a software model that provides the data management and process control required for collaborative decision-making throughout a building’s life cycle. The requirements for the model are delineated addressing data and process needs for decision making at different stages of a building’s life cycle. The software model meets these requirements and allows addition of any number of processes and support databases over time. What makes the model infinitely expandable is that it is a very generic conceptualization (or abstraction) of processes as relations among data. The software model supports multiple concurrent users, and facilitates discussion and debate leading to decision-making. The software allows users to define rules and functions for automating tasks and alerting all participants to issues that need attention. It supports management of simulated as well as real data and continuously generates information useful for improving performance prediction and understanding of the effects of proposed technologies and strategies.
keywords	Decision Making, Integration, Collaboration, Simulation, Building Life Cycle, Software.
series	ACADIA
email
last changed	2022/06/07 08:00

_id	ecaade2007_162
id	ecaade2007_162
authors	Ramirez, Joaquin; Russell, Peter
year	2007
title	Second City
source	Predicting the Future [25th eCAADe Conference Proceedings / ISBN 978-0-9541183-6-5] Frankfurt am Main (Germany) 26-29 September 2007, pp. 359-365
doi	https://doi.org/10.52842/conf.ecaade.2007.359
summary	In the era of communication, the participation in internet-communities has grown to become a motor for innovation in software and community platforms. The paper describes the hypothesis that, by creating a virtual city (or a second city) a new type of social, economic and scientific network is established, which is supported through visual communication technologies. The various users bring, per se, their own intrinsic motivation and requirements to the system. Nonetheless, a personal identification with a city/neighbourhood/house/apartment can be used to awake awareness and to foster participation. This is especially important when dealing with the city inhabitants. City modelling itself has been carried out for over a decade. Projects such as the city model of Graz have shown how city models can be established so as to be scalable for new information (Dokonal et al 2000). Furthermore, these city models have been used in the education of future architects and urban planners. The project described here moves in the opposite direction: the model moves out of the classroom to an interdisciplinary city-model-platform. The work described here is the conceptual model for a multi-dimensional data set that models the city. This has spawned a host of other projects using the model as a foundation for further interactivity development and the extension of the model itself. The paper describes the structure of the conceptual model and the first experience of incorporating diverse projects such those mentioned above. The model also is structured so as to be compatible with the XML standards being developed for city information (CityGML). The goal of the project is to create a data set describing the city that not only describes the geometry, but also the history (including planned histories) and nature of the city. In contrast to virtual realities, which attempt to create a separate world (e.g. Second Life), the Second City is intended as an interdisciplinary repository for the geometrical, historical and cultural information of the city.
keywords	City modelling, virtual environments, web 2.0
series	eCAADe
email
last changed	2022/06/07 08:00

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

_id	349e
authors	Durmisevic, Sanja
year	2002
title	Perception Aspects in Underground Spaces using Intelligent Knowledge Modeling
source	Delft University of Technology
summary	The intensification, combination and transformation are main strategies for future spatial development of the Netherlands, which are stated in the Fifth Bill regarding Spatial Planning. These strategies indicate that in the future, space should be utilized in a more compact and more efficient way requiring, at the same time, re-evaluation of the existing built environment and finding ways to improve it. In this context, the concept of multiple space usage is accentuated, which would focus on intensive 4-dimensional spatial exploration. The underground space is acknowledged as an important part of multiple space usage. In the document 'Spatial Exploration 2000', the underground space is recognized by policy makers as an important new 'frontier' that could provide significant contribution to future spatial requirements.In a relatively short period, the underground space became an important research area. Although among specialists there is appreciation of what underground space could provide for densely populated urban areas, there are still reserved feelings by the public, which mostly relate to the poor quality of these spaces. Many realized underground projects, namely subways, resulted in poor user satisfaction. Today, there is still a significant knowledge gap related to perception of underground space. There is also a lack of detailed documentation on actual applications of the theories, followed by research results and applied techniques. This is the case in different areas of architectural design, but for underground spaces perhaps most evident due to their infancv role in general architectural practice. In order to create better designs, diverse aspects, which are very often of qualitative nature, should be considered in perspective with the final goal to improve quality and image of underground space. In the architectural design process, one has to establish certain relations among design information in advance, to make design backed by sound rationale. The main difficulty at this point is that such relationships may not be determined due to various reasons. One example may be the vagueness of the architectural design data due to linguistic qualities in them. Another, may be vaguely defined design qualities. In this work, the problem was not only the initial fuzziness of the information but also the desired relevancy determination among all pieces of information given. Presently, to determine the existence of such relevancy is more or less a matter of architectural subjective judgement rather than systematic, non-subjective decision-making based on an existing design. This implies that the invocation of certain tools dealing with fuzzy information is essential for enhanced design decisions. Efficient methods and tools to deal with qualitative, soft data are scarce, especially in the architectural domain. Traditionally well established methods, such as statistical analysis, have been used mainly for data analysis focused on similar types to the present research. These methods mainly fall into a category of pattern recognition. Statistical regression methods are the most common approaches towards this goal. One essential drawback of this method is the inability of dealing efficiently with non-linear data. With statistical analysis, the linear relationships are established by regression analysis where dealing with non-linearity is mostly evaded. Concerning the presence of multi-dimensional data sets, it is evident that the assumption of linear relationships among all pieces of information would be a gross approximation, which one has no basis to assume. A starting point in this research was that there maybe both linearity and non-linearity present in the data and therefore the appropriate methods should be used in order to deal with that non-linearity. Therefore, some other commensurate methods were adopted for knowledge modeling. In that respect, soft computing techniques proved to match the quality of the multi-dimensional data-set subject to analysis, which is deemed to be 'soft'. There is yet another reason why soft-computing techniques were applied, which is related to the automation of knowledge modeling. In this respect, traditional models such as Decision Support Systems and Expert Systems have drawbacks. One important drawback is that the development of these systems is a time-consuming process. The programming part, in which various deliberations are required to form a consistent if-then rule knowledge based system, is also a time-consuming activity. For these reasons, the methods and tools from other disciplines, which also deal with soft data, should be integrated into architectural design. With fuzzy logic, the imprecision of data can be dealt with in a similar way to how humans do it. Artificial neural networks are deemed to some extent to model the human brain, and simulate its functions in the form of parallel information processing. They are considered important components of Artificial Intelligence (Al). With neural networks, it is possible to learn from examples, or more precisely to learn from input-output data samples. The combination of the neural and fuzzy approach proved to be a powerful combination for dealing with qualitative data. The problem of automated knowledge modeling is efficiently solved by employment of machine learning techniques. Here, the expertise of prof. dr. Ozer Ciftcioglu in the field of soft computing was crucial for tool development. By combining knowledge from two different disciplines a unique tool could be developed that would enable intelligent modeling of soft data needed for support of the building design process. In this respect, this research is a starting point in that direction. It is multidisciplinary and on the cutting edge between the field of Architecture and the field of Artificial Intelligence. From the architectural viewpoint, the perception of space is considered through relationship between a human being and a built environment. Techniques from the field of Artificial Intelligence are employed to model that relationship. Such an efficient combination of two disciplines makes it possible to extend our knowledge boundaries in the field of architecture and improve design quality. With additional techniques, meta know/edge, or in other words "knowledge about knowledge", can be created. Such techniques involve sensitivity analysis, which determines the amount of dependency of the output of a model (comfort and public safety) on the information fed into the model (input). Another technique is functional relationship modeling between aspects, which is derivation of dependency of a design parameter as a function of user's perceptions. With this technique, it is possible to determine functional relationships between dependent and independent variables. This thesis is a contribution to better understanding of users' perception of underground space, through the prism of public safety and comfort, which was achieved by means of intelligent knowledge modeling. In this respect, this thesis demonstrated an application of ICT (Information and Communication Technology) as a partner in the building design process by employing advanced modeling techniques. The method explained throughout this work is very generic and is possible to apply to not only different areas of architectural design, but also to other domains that involve qualitative data.
keywords	Underground Space; Perception; Soft Computing
series	thesis:PhD
email
last changed	2003/02/12 22:37

_id	ddssar0028
id	ddssar0028
authors	Uysal, V. Safak and Wilsing, Markus
year	2000
title	Embodying architecture, studying dance: movement as means of studying body-space relationship
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	Body, even at its most still form, is the most violent against the acclamations of architectural space formulated in terms of a “search for the order in the environment”. It leans against the wall, hits the table, falls over the bed, approaches the window case, shakes and trembles in empty space: in short, it moves; it is alive. However violently, the presence of the human being is the fundamental input for the architectural practice since it is an art of creating spaces to enhance the living conditions of the human being. In recognizing the violent character of the body, we must include not only the real bodily movement, but also the extensions of that movement which we make in imagination. In this study, the authors discuss the possibilities of studying theatrical dance in order to understand the body-space relationship, constructing an analogy to the contact improvisation technique. Use of space in performance is examined on a two dimensional model: one dimension marked by body and space at its extremes, and the other marked by the affirmative and the negative types of interaction. The schema provides one with a general categorization that classifies space as (1) background, (2) motivator, (3) partner in dialogue, (4) mental counterpart. The limitations brought about by the universal approach are mentioned at the end, in order to be approached within the following study.
series	DDSS
last changed	2003/08/07 16:36

_id	ddssar0008
id	ddssar0008
authors	Coyne, R., Lee, J. and Ofluoglu, S.
year	2000
title	E-commerce and on-line product information
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	The spread of the Internet has spurred the recent growth in e-commerce. E-commerce impinges on design in many ways, not least in encouraging the development of new tools for the presentation of product information: that is, information about the products that are used in design projects. (In the case of building design this might include information about standard doors, windows and fittings.) In this paper we present our development of three experimental tools for presenting and organising product information. The tools represent stages in the evolution of a prototype we call PLA(id) (Product Library Assistant – Intranet for Designers) involving the use of multimedia authoring, Java, and mobile computing. We discuss our experimental prototypes under several headings derived from what are commonly considered the key features of e-commerce: the marketplace, collaboration (the electronic marketplace as a community), geography (and geographical boundaries), navigation, regulation, integration and media (how in some cases e-commerce provides both the medium of transaction and the medium of delivery). So this account of our experimentation with product information tools provides a way of reviewing issues raised by e-commerce and their importance for design decision support systems.
series	DDSS
last changed	2003/08/07 16:36

_id	9b63
authors	De Mesa, A., Quilez, J. and Regot, J.
year	1999
title	Sunlight Energy Graphic and Analytic Control in 3D Modelling
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 733-738
doi	https://doi.org/10.52842/conf.ecaade.1999.733
summary	Linking solar positions with architecture is a traditional idea, but the use of graphical tools to control sunlight in urban surroundings or buildings is relatively recent. A three-dimensional working environment like the computer offers a new dimension to verify the relationships between the sun and the architecture. This paper shows a new way to calculate the incidence of solar energy in architectural environments using computer 3D modelling. The addition of virtual space visualisation to the analytic computation brings a new tool that simplifies the technical study of sunlight. We have developed several programs based upon the three-dimensional construction of the solar vault and the obstructing objects for a defined position. The first one draws the solar vault for a defined range of dates according to latitude, that is the basis of the energetic calculation. The second program computes the obstruction, i.e. the solar regions that are obstructed by any object. Finally, the third one, allow us to define an orientation to compute the energy that arrives to the analysed positioning. The last program returns the result of calculation in several ways: it shows the amount of energy through colours and makes a list of solar hours according to its energy.
keywords	Sunlight, Energy, 3D modelling
series	eCAADe
last changed	2022/06/07 07:56

_id	70c4
authors	Gross, M.D., Do, E.Y.-L. and Johnson, B.R.
year	2000
title	Beyond the low-hanging fruit: Information technology in architectural design past, present and future
source	W. Mitchell and J. Fernandez (eds), ACSA Technology Conference, MIT Press, Cambridge MA
summary	Today's commercial CAD software is the product of years of research that began in the 1960's and 1970's. These applications have found widespread use in the architectural marketplace; nevertheless they represent only the first fruits of research in computer aided design. New developments based on research in human-computer interaction (HCI), computer-supported collaborative work (CSCW), and virtual reality (VR) will result in a next generation of tools for architectural design. Although preliminary applications to design have been demonstrated in each of these areas, excellent opportunities remain to exploit new technologies and insights in service of better design software. In this paper we briefly examine each of these areas using examples from our own work to discuss the prospects for future research. We envision that future design technologies will develop from current and traditional conventions of practice combined with forward looking application of emerging technologies. In HCI, pen based interaction will allow architects to use the pencil again, without sacrificing the added power of computer aided design tools, and speech recognition will begin to play a role in capturing and retrieving design critique and discussion. In CSCW, a new generation of applications will address the needs of designers more closely than current general purpose meeting tools. In VR, applications are possible that use the technology not simply to provide a sense of three-dimensional presence, but that organize design information spatially, integrating it into the representation of artifacts and places.
series	other
email
last changed	2003/04/23 15:50

_id	b18b
authors	Hnat, B. and Chapman, S.C.
year	2000
title	Visualisation of multiscale datasets in numerical models of complex systems
source	CIDAC, Volume 2 Issue 4 November 2000, pp. 236-241
summary	Recently advanced visualisation techniques receive increasing attention among scientists and engineers. These techniques should not only allow a direct analysis of multidimensional structures to provide intiutive and quick comparison of experimental data with model results, but also yield quantitative measures to support or negate the model itself. A key phenomenology of complex systems is that they are multiscale, i.e. the structures of interest in the data are on the wide range of spatiotemporal scale. Here we examine a simple, yet generic, example, a sandpile (avalance model), the threshold coupled map lattice (CML). The emergent phenomenology is broadband, but is represented on a (finite) grid. To study the 3-dimensional evolution of the threshold CML model of a sandpile as a function of control parameters, a semi-immersive virtual reality (VR) environment has been used. Sandpile profiles are calculated in real time and are superimposed over the colour grid respresenting one of the control parameters. This represents a generic problem of visualising multiscale structures in datasets derived from non-linear systems. The software models were developed in OpenGL and Glut library and will ultimately be implemented in semi-immersive VR on ImmersaDesk. To achieve sufficient speed in real-time display and to ultimately facilitate computational steering, the full data set must be represented geographically in a compact form without loss of information.
keywords	Semi-Immersive Virtual Reality, 3-Dimensional Visualisation, OpenGL, CML
series	journal paper
last changed	2003/05/15 21:23

_id	2004_024
id	2004_024
authors	Holmgren, S., Rüdiger, B., Storgaard, K. and Tournay, B.
year	2004
title	The Electronic Neighbourhood - A New Urban Space
source	Architecture in the Network Society [22nd eCAADe Conference Proceedings / ISBN 0-9541183-2-4] Copenhagen (Denmark) 15-18 September 2004, pp. 24-34
doi	https://doi.org/10.52842/conf.ecaade.2004.024
summary	During the event Cultural Market Days on 23 and 24 August 2003 at Noerrebro Park in Copenhagen, visitors could also enter the marketplace from their home via the Internet, as a digital 3D model had been constructed that showed the marketplace with all its information booths and activities. This virtual marketplace functioned as an extension of the urban space, allowing you to take part in the flow of information, activities and experiences that were offered in the marketplace. And this just by a click on the Internet address: http://www.e-kvarter.dk. Furthermore at certain times of the day you could chat with people from some of the many working groups of the urban regeneration project in Noerrebro. The digital 3D model is similar to the marketplace, but it creates its own universe in the green surroundings of Noerrebro Park. And now, when the Cultural Market Days are finished and the booths and people have gone, the Electronic Marketplace still remains on the Internet, with a potential for developing a new public space for information, dialogue and cooperation between the actors of the urban regeneration project. This paper presents the results of a 3-year research project, The Electronic Neighbourhood (2000-2004). Researchers have developed and tested a digital model of the urban area and other digital tools for supporting the dialogue and cooperation between professionals and citizens in an urban regeneration project in Copenhagen. The Danish Agency for Enterprise and Housing, the Ministry for Refugees, Immigration and Integration and Copenhagen Municipality have financed the research, which is planned to be published 2004. The results can also be followed on the Internet www.e-kvarter.dk.
keywords	3D Modelling; Virtual Environments; Design Process; Human-Computer Interaction; Collaborative Design; Urban Planning
series	eCAADe
last changed	2022/06/07 07:50

_id	9554
authors	Jagbeck, A.
year	2000
title	Field test of a product-model-based construction planning tool
source	CIDAC, Volume 2 Issue 2 May 2000, pp. 80-91
summary	Over the past decade, more than a dozen papers describing proposals for product-model-based planning models have been published, but only a few of these proposals have been implemented in prototypes that have been tested in full-scale tests. PreFacto is a research-based software for production planning based on product model data, which has been developed and tested in close cooperation with a construction company. It is operational but still under development. Assessing the degree of functionality achieved so far is a natural part of a modern cyclical software development process. This paper describes a 6-month full-scale field trial of the PreFacto system undertaken by the site management in cooperation with the author. It was carried out as a parallel planning activity on a real ongoing project. The trial was documented and the system's usability for the construction planning process was analysed and evaluated using mainly qualitative methods. The evaluated planning activities include importing product model data and performing a range of planning activities. The evaluation addressed such usability aspects as system capacity, ease of use of the interface, and conceptual compliance with the use context and the various planning tasks. The test method was useful for checking the conceptual model from the user's point of view. At the same time, the field trial worked equally as a case study for developers, a study of a degree of reality that would not have been possible in a laboratory situation. Apart from the evaluation of the features of the software itself, there are some results of general interest. the main result was that all the advantages of the system derive from the connection between design and planning, i.e. the use of a product model as a basis for defining the result of production tasks. Allowing production managers to freely structure tasks and to apply resource recipes were the most relevant functions.
keywords	Integration, Information, Construction, Planning, Field Trial, Product Model
series	journal paper
last changed	2003/05/15 21:23

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