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	fda4
authors	Jalkanen, Janne
year	2000
title	Building a spatially immersive display - HUTCAVE
source	Helsinki University of Technology, Espoo, Finland
summary	A spatially immersive display is a display that surrounds the user, thus removing or alleviating many disadvantages the common virtual reality systems, such as head-mounted displays have. The most common example of these spatially immersive displays is the CAVE, "CAVE Automatic Virtual Environment", first built at University of Illinois, in 1993. It combines a large field-of-view with high-resolution images and a high frame refresh rate. In this work, the current Virtual Reality (VR) and Virtual Environment (VE) systems are examined, and then the CAVE construction is presented. Principles of stereo vision are explained and current methods of obtaining both autostereoscopic and stereopsis-based vision are reviewed. Aspects of different projection methods, screens, mirrors, projectors, tracking equipment, and computing systems are examined. Also, recent work in CAVE audio, so far neglected in research, is presented. Some of the mathematics is also explained, since in most CAVE-systems some sort of optical folding is necessary. Two cases of CAVE construction are presented, both at the Helsinki University of Technology. The first is a single-wall installation built as a temporary system, and the second is a four-sided CAVE at a new location, superseding the temporary installation. Finally the conclusions are presented, both from the process management point of view, and from the technical point of view, examining the good and bad points of the chosen solutions.
series	thesis:MSc
last changed	2003/02/12 22:37

_id	5e85
authors	Heylighen, Ann and Neuckermans, Herman
year	1999
title	Learning from Experience: Promises, Problems and Side-effects of CBD in Architecture
doi	https://doi.org/10.52842/conf.ecaade.1999.567
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 567-575
summary	Learning from design experience is the essence of Case-Based Design (CBD). Because architects are said to learn design by experience, CBD seems to hold great promises for architectural design, which have inspired various CBD tools. Learning from the experience of developing and using these tools is the objective of this paper. On the one hand, the original expectations seem far from being accomplished today. Reasons for this limited success can be found at three different levels. Level one is the cognitive model underlying CBD, which raises some specific difficulties within the field of architecture. At the level of implementation, few tools manage to draw the full consequences of this view, thus leading to an oversimplification of CBD and/or architectural design. Level three has to do with introducing CBD tools in design education and assessing the effects of this introduction. On the other hand, CBD seems to have caused some interesting side effects, such as an increased interest in creativity and copyright, and the recent re-discovery of the key-role cases play inside and outside the field of CAAD. Thus, although its promises may not be fulfilled, CBD definitely can contribute to design education, be it sometimes without the support of computer technology.
keywords	Case-Based Design, Design Education
series	eCAADe
email
last changed	2022/06/07 07:50

_id	avocaad_2001_19
id	avocaad_2001_19
authors	Shen-Kai Tang, Yu-Tung Liu, Yu-Sheng Chung, Chi-Seng Chung
year	2001
title	The visual harmony between new and old materials in the restoration of historical architecture: A study of computer simulation
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 the research of historical architecture restoration, scholars respectively focus on the field of architectural context and architectural archeology (Shi, 1988, 1990, 1991, 1992, 1995; Fu, 1995, 1997; Chiu, 2000) or on architecture construction and the procedure of restoration (Shi, 1988, 1989; Chiu, 1990). How to choose materials and cope with their durability becomes an important issue in the restoration of historical architecture (Dasser, 1990; Wang, 1998).In the related research of the usage and durability of materials, some scholars deem that, instead of continuing the traditional ways that last for hundreds of years (that is to replace new materials with old ones), it might be better to keep the original materials (Dasser, 1990). However, unavoidably, some of the originals are much worn. Thus we have to first establish the standard of eliminating components, and secondly to replace identical or similar materials with the old components (Lee, 1990). After accomplishing the restoration, we often unexpectedly find out that the renewed historical building is too new that the sense of history is eliminated (Dasser, 1990; Fu, 1997). Actually this is the important factor that determines the accomplishment of restoration. In the past, some scholars find out that the contrast and conflict between new and old materials are contributed to the different time of manufacture and different coating, such as antiseptic, pattern, etc., which result in the discrepancy of the sense of visual perception (Lee, 1990; Fu, 1997; Dasser, 1990).In recent years, a number of researches and practice of computer technology have been done in the field of architectural design. We are able to proceed design communication more exactly by the application of some systematic softwares, such as image processing, computer graphic, computer modeling/rendering, animation, multimedia, virtual reality and so on (Lawson, 1995; Liu, 1996). The application of computer technology to the research of the preservation of historical architecture is comparatively late. Continually some researchers explore the procedure of restoration by computer simulation technology (Potier, 2000), or establish digital database of the investigation of historical architecture (Sasada, 2000; Wang, 1998). How to choose materials by the technology of computer simulation influences the sense of visual perception. Liu (2000) has a more complete result on visual impact analysis and assessment (VIAA) about the research of urban design projection. The main subjects of this research paper focuses on whether the technology of computer simulation can extenuate the conflict between new and old materials that imposed on visual perception.The objective of this paper is to propose a standard method of visual harmony effects for materials in historical architecture (taking the Gigi Train Station destroyed by the earthquake in last September as the operating example).There are five steps in this research: 1.Categorize the materials of historical architecture and establish the information in digital database. 2.Get new materials of historical architecture and establish the information in digital database. 3.According to the mixing amount of new and old materials, determinate their proportion of the building; mixing new and old materials in a certain way. 4.Assign the mixed materials to the computer model and proceed the simulation of lighting. 5.Make experts and the citizens to evaluate the accomplished computer model in order to propose the expected standard method.According to the experiment mentioned above, we first address a procedure of material simulation of the historical architecture restoration and then offer some suggestions of how to mix new and old materials.By this procedure of simulation, we offer a better view to control the restoration of historical architecture. And, the discrepancy and discordance by new and old materials can be released. Moreover, we thus avoid to reconstructing ¡§too new¡¨ historical architecture.
series	AVOCAAD
email
last changed	2005/09/09 10:48

_id	aeec
authors	Regenbrecht, H., Kruijff, E., Donath, D., Seichter, H. and Beetz, J.
year	2000
title	VRAM - A Virtual Reality Aided Modeller
doi	https://doi.org/10.52842/conf.ecaade.2000.235
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. 235-237
summary	This article describes VRAM, short for Virtual Reality Aided Modeler. VRAM is a conceptual design tool supported by Virtual Reality technology and an ongoing testbed for theory and methodology in the field of three dimensional user interfaces (3DUIs). The outcomes from the project should consist of an intuitive and comprehensive immersive surface modeler, next to a set of taxonomies and guidelines for the development of 3DUIs. Based on a modular structure, VRAMs program architecture allows the easy extension of functionality. The application consists of the seamless integration of four main functionality modules, namely system control, viewing & browsing, editing and modeling. Based on the premise of portability, the software environment runs on both SGI Irix and MS Windows NT platforms. To be relatively independent in developing 3DUI techniques, the VRAM environment supports a multiplicity of input and output devices. Due to the focus on immersive modeling, tracking devices, head mounted displays and stereoprojection devices are the main I/O channels. In this article, we will primary focus on the functionality of the virtual modeller.
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 08:00

_id	8a18
authors	Loose, Duane
year	2000
title	3D Studio Max 3.0 Workshop
source	Hayden Books
summary	3D Studio MAX 3.0 Workshop focuses on developing the skills of beginning and intermediate 31) Studio MAX users by teaching them how to take advantage of 3the first object-oriented animation system designed for Microsoft Windows NT . Written from the point of view of a professional industrial designer, art director, animator, and design educator, this book uses a single holistic project, composed of interrelated tutorials to guide you through a professional project development process. By beginning with the end in mind, this workshop will show you how to structure your use of MAX to create professional-quality imagery using the basic tools provided in MAX. 3D Studio MAX 3.0 Workshop boosts the beginning to intermediate user to a higher level of MAX proficiency in the shortest time possible. The workshop focuses on basic principles, elements, and tools used in MAX to create models, materials, lighting, special effects, and animation; and you will learn how professionals develop CGI shots in MAX by using layers and compositing.
series	other
last changed	2003/02/26 18:58

_id	8b5e
authors	Papamichael, Konstantinos
year	2000
title	Desktop Radiance A New Tool for Computer-Aided Daylighting Design
doi	https://doi.org/10.52842/conf.acadia.2000.009
source	ACADIA Quarterly, vol. 19, no. 2, pp. 9-11
summary	The use of daylight for the illumination of building interiors has the potential to enhance the quality of the environment while providing opportunities to save energy by replacing or supplementing electric lighting. Moreover, it has the potential to reduce heating and cooling loads, which offer additional energy saving opportunities, as well as reductions in HVAC equipment sizing and cost. All of these benefits, however, assume proper use of daylighting strategies and technologies, whose performance depends on the context of their application. On the other hand, improper use can have significant negative effects on both comfort and energy requirements, such as increased glare and cooling loads. To ensure proper use, designers need tools that model the dynamic nature of daylight and accurately predict performance with respect to a multitude of performance criteria, extending beyond comfort and energy to include aesthetics, cost, security, safety, etc.
series	ACADIA
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	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	ga0013
id	ga0013
authors	Annunziato, Mauro and Pierucci, Piero
year	2000
title	Artificial Worlds, Virtual Generations
source	International Conference on Generative Art
summary	The progress in the scientific understanding/simulation of the evolution mechanisms and the first technological realizations (artificial life environments, robots, intelligent toys, self reproducing machines, agents on the web) are creating the base of a new age: the coming of the artificial beings and artificial societies. Although this aspect could seems a technological conquest, by our point of view it represent the foundation of a new step in the human evolution. The anticipation of this change is the development of a new cultural paradigm inherited from the theories of evolution and complexity: a new way to think to the culture, aesthetics and intelligence seen as emergent self-organizing qualities of a collectivity evolved along the time through genetic and language evolution. For these reasons artificial life is going to be an anticipatory and incredibly creative area for the artistic expression and imagination. In this paper we try to correlate some elements of the present research in the field of artificial life, art and technological grow up in order to trace a path of development for the creation of digital worlds where the artificial beings are able to evolve own culture, language and aesthetics and they are able to interact con the human people.Finally we report our experience in the realization of an interactive audio-visual art installation based on two connected virtual worlds realized with artificial life environments. In these worlds,the digital individuals can interact, reproduce and evolve through the mechanisms of genetic mutations. The real people can interact with the artificial individuals creating an hybrid ecosystem and generating emergent shapes, colors, sound architectures and metaphors for imaginary societies, virtual reflections of the real worlds.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	4cc0
authors	Bouchlaghem, N., Khosowshahi, F. and White, J.
year	2000
title	Virtual reality as a visualisation tool: Benefits and constraints
source	CIDAC, Volume 2 Issue 4 November 2000 pp. 216-224
summary	The benefits and applications of virtual reality (VR) in the construction industry have been investigated for almost a decade. However, the practical implementation of VR in the construction industry has yet to reach maturity owing to technical constraints. The need for effective information management presents challenges: both transfer of building data to, and organisation of building information within, the virtual environment require consideration. This paper reviews the applications and benefits of VR in the built environment field and reports on a collaboration between Loughborough University and South Bank University to overcome constraints on the use of the overall VR model for whole lifecycle visualisation. The work at each research centre is concerned with an aspect of information management within VR applications for the built environment, and both data transfer and internal data organisation have been investigated. In this paper, similarities and differences between computer-aided design (CAD) and VR packages are first discussed. Three different approaches to the creation of VR models during the design stage are identified and described, with a view to providing sharing understanding across the interdiscipliary groups involved. The suitable organisation of building information within the virtual environment is then further investigated. This work focused on the visualisation of the degradation of a building, through its lifespan, with the view to provide a visual aid for developing an effective and economic project maintenance programme. Finally consideration is given to the potential of emerging standards to facilitate an integrated use of VR. The convergence towards similar data structures in VR and other construction packages may enable visualisation to be better utilised in the overall lifecycle model.
keywords	Virtual Reality, Information Management, Data Exchange, 3D Modelling, 4D Visualisation
series	journal paper
last changed	2003/05/15 21:23

_id	2f1a
authors	Dabney, M.K., Wright, J.C. and Sanders, D.H.
year	1999
title	Virtual Reality and the Future of Publishing Archaeological Excavations: the multimedia publication of the prehistoric settlement on Tsoungiza at Ancient Nemea
source	New York: The Metropolitan Museum of Art
summary	The Nemea Valley Archaeological Project is a study of settlement and land use in a regional valley system in Greece extending from the Upper Paleolithic until the present. Active field research was conducted by four teams between 1981 and 1990. The first component was a regional archaeological survey. Second, and closely related to the first, was a social anthropological study of modern settlement and land use. Next was a team assigned to excavate the succession of prehistoric settlements of Ancient Nemea on Tsoungiza. Last, historical ecologists, a palynologist, and a geologist formed the environmental component of the research. As a result of advances in electronic publishing, plans for the final publication of the Nemea Valley Archaeological Project have evolved. Complete publication of the excavation of the prehistoric settlements of Ancient Nemea on Tsoungiza will appear in an interactive multimedia format on CD/DVD in Fall 2000. This project is planned to be the first electronic publication of the American School of Classical Studies at Athens. We have chosen to publish in electronic format because it will meet the needs and interests of a wider audience, including avocational archaeologists, advanced high school and college students, graduate students, and professional archaeologists. The multimedia format on CD/DVD will permit the inclusion of text, databases, color and black-and-white images, two and three-dimensional graphics, and videos. This publication is being developed in cooperation with Learning Sites, Inc., which specializes in interactive three-dimensional reconstructions of ancient worlds http://www.learningsites.com. The Nemea Valley Archaeological Project is particularly well prepared for the shift towards electronic publishing because the project's field records were designed for and entered in computer databases from the inception of the project. Attention to recording precise locational information for all excavated objects enables us to place reconstructions of objects in their reconstructed architectural settings. Three-dimensional images of architectural remains and associated features will appear both as excavated and as reconstructed. Viewers will be able to navigate these images through the use of virtual reality. Viewers will also be able to reference all original drawings, photographs, and descriptions of the reconstructed architecture and objects. In this way a large audience will be able to view architectural remains, artifacts, and information that are otherwise inaccessible.
series	other
last changed	2003/04/23 15:14

_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	c6db
authors	Heylighen, Ann
year	2000
title	In Case of Architectural Design. Critique and Praise of Case-Based Design in Architecture
source	Dissertation - Doct. Toegepaste wetenschappen, KU Leuven, Fac. Toegepaste wetenschappen, Dep. architectuur, stedebouw en ruimtelijke ordening (ISBN 90-5682-248-9)
summary	Architects are said to learn design by experience. Learning design by experience is the essence of Case-Based Design (CBD), a sub-domain of Artificial Intelligence. Part I critically explores the CBD approach from an architectural point of view, tracing its origins in the Theory of Dynamic Memory and highlighting its potential for architectural design. Seven CBD systems are analysed, experienced architects and design teachers are interviewed, and an experiment is carried out to examine how cases affect the design performance of architecture students. The results of this exploration show that despite its sound view on how architects acquire (design) knowledge, CBD is limited in important respects: it reduces architectural design to problem solving, is difficult to implement and has to contend with prejudices among the target group. With a view to stretching these limits, part II covers the design, implementation and evaluation of DYNAMO (Dynamic Architectural Memory On-line). This Web-based design tool tailors the CBD approach to the complexity of architectural design by effecting three transformations: extending the concern with design products towards design processes, turning static case bases into dynamic memories and upgrading users from passive case consumers to active case-based designers.
keywords	Architectural Design; Case-Based Design
series	thesis:PhD
email
last changed	2002/12/14 19:29

_id	3338
authors	Heylighen, Ann and Neuckermans, Herman
year	2000
title	DYNAMO - Dynamic Architectural Memory On-line
source	Educational Technology and Society, Vol.3, No.2, April 2000 (ISSN 1436-4522), pp. 86-95
summary	This paper describes the current status of DYNAMO, a web-based design assistant for students and professional designers in the field of architecture. The tool can be considered a Case-Based Design (CBD) system in so far that it was inspired by the view of cognition underlying CBD. The paper points out how DYNAMO incorporates this view, and at the same time extrapolates it beyond the individual. In this way, the tool attempts to embrace and profit from several kinds of interaction that are crucial for the development and renewal of design knowledge. This should result in a design tool that both feels cognitively comfortable to (student-) designers, and offers them a platform for exchanging knowledge and insights with colleagues in different contexts and at different levels of experience. In addition, the paper describes the implementation of these theoretical ideas as a working prototype, which has recently been tested by 4th year design students. Finally, DYNAMO is situated in the context of other comparable tools that have been or are being developed in the field of architectural design.
keywords	Educational Multimedia, Interactive Learning Environments, Online Education
series	journal paper
email
more	http://ifets.gmd.de/periodical/vol_2_2000/heylighen.html
last changed	2002/11/14 08:40

_id	c839
authors	Hwang, Jie-Eun
year	2002
title	SpaceScope: Developing a Spatial Information Retrieval System - Focused on Apartment Unit Floor Plans -
source	Yonsei University, Dept. of Housing & Interior Design
summary	This research investigates the spatial information retrieval (IR) in architecture focused on constructing efficient metadata that is crucial for data retrieval. Generally speaking, metadata is ‘structured data about data’ to describe resources especially in a digital format. In this research, metadata is a sort of data object to be useful in searching spatial information. Metadata is also used to describe raw spatial data object as not only attribute data but also content structurally and semantic ally. There are two issues that motivate this research; 1) what is the spatial information – that materializes the intangible space as a data object, and 2) how we can search the information efficiently – the content-based information retrieval. Although knowledge of a building’s spatial content is most important in architecture, there has been no logical method to manage it. From the viewpoint of content-based retrieval, the researcher analyzes spatial information of a floor plan, with a focus on the apartment unit floor plan common in Korea. Then the metadata items are extracted in a structured manner. To manage the items efficiently, the researcher develops a data model for spatial information according to the concept of the “Structured Floor Plan”. The main object of content to retrieve is a spatial network that consists of nodes of spaces and their linkages. There are two ways to organize the metadata: the traditional index files and the RDF (Resource Description Framework). While the index files are still efficient with computability, the RDF applies greater options to retrieve, such as fuzzy predicates, semantic predicates, and so on. To exploit the metadata, this research shows several possibilities of query operations that present a set of sample queries about L-DK(Living room – Dining room – Kitchen). Implementation of the prototype system is divided into three parts: 1) a modeling module using Vitruvius; 2) an indexing module using MS SQL Server? 2000 in conjunction XML; and 3) a browsing module using the SpaceScope browser. The future works may consider XML-based databases and a knowledge based query language, such as RQL/XQL, working on such databases. The more specific domain knowledge is involved, the more practical systems would be. Even in architecture, there may be a diverse range of domain knowledge, such as design, building performance, facility management, energy management, post occupied evaluation, historical research, and so on. Also the issue of interface should be investigated in depth, so that it will be adequate to the needs of the architectural field.
keywords	Content-based Information Retrieval; Metadata; RDF; XML; Spatial Information; Apartment Floor Plan; Semantics
series	thesis:MSc
email
last changed	2003/04/25 07:27

_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

_id	ga0011
id	ga0011
authors	Maldonado, Gabriel
year	2000
title	Travels in Space and Time, Explorations of Virtual SoundScapes, Multi-dimensionalism of Digital Music
source	International Conference on Generative Art
summary	Composition and performance of Computer Music still keep some of the features of traditional music, together with new ones. Rhythm, melody, harmony can still be present in new paradigms (even if they are not necessarily required when dealing with computer music), but new compositional parameters are coming to light, causing the term «music» not always to be appropriate to describe new phenomena of sonic art. This paper will show some new paradigms of this kind of sonic art, as well as different view of old ones. Any past dogmas should be wiped out when dealing with digital arts. The rebellion against tonality of the first half of 20th century is surpassed now, and I believe that new music could use harmonic intervals without generating conflicts with the ideological problems which arose at that time (even if there are still many people who don’t admit it). Actually, digital domain opens a huge amount of unexplored worlds, making any past ideological dogma a prison we should free ourselves from. Nowadays, making music has many things in common with visual arts and scientific research. Many musical parameters can be applied to video arts, architecture, and vice-versa. Structure of sound has a lot of similarities with many other physical phenomena such as inner atomic structure, particle physics, astronomy, biology etc. This paper will deal with new uses and interpretations of old musical parameters (rhythm, harmony, melody) together with a presentation of some of the new ones. Debated topics are: ? Harmonic/inharmonic sounds, rhythm and melodies. The Deep Harmony (the harmony of spheres or cosmic harmony CYCLES). ? The inner structure and evolution of a single sound ? Interpretative music: Music generated by exploration of soundscapes or sonic architectures, generative processes constrained by interpreter’s gestures, state transitions between musical structures. ? Generative music: stocastic generation, algorithmic composition, levels of action. ? Music or non-music this is the problem (a terminology problem) ? Hyper-spatial music, virtual times, hyper-times. Time travels by means of sonic matter. ? Visual music. Generating 3D video by means of musical processes.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_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	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	ddssar0025
id	ddssar0025
authors	Smeets, J., Jessurun, J. and Zutphen, R. van
year	2000
title	An application of the REN manager in the field of housing management
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	There is a continuous and urgent need for standardisation of discussion about quality of real estate. On behalf of this discussion, a tool called REN Manager has been developed. REN is an abbreviation of Real Estate Norm, a client-oriented tool for measuring, planning and communication in the field of housing management. The development of the REN Manager is a continuation of REN research-project. In this paper we start with an introduction of the REN research project. Further we focus on the application of the REN tool in the field of housing management as part of a set of tools for strategic portfolio management. After this introduction we will elaborate more about the REN and the underlying analyses. One of the essential functions of REN is the match between the demanded and offered performance of a dwelling estate. By several surveys among tenants the relevant aspects and parameters are determined. These parameters are related to the performance level of a dwelling as well as to the weight of these levels. This part of the paper deals with the results of these analyses and the problems involved in the method used. The results are used as the input for the REN Manager. At the end we will discuss the functionality of the REN Manager as a decision support system on both operational level (matching) and strategic portfolio management (allocation of investment).
series	DDSS
last changed	2003/08/07 16:36

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