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

PDF papers
References

Hits 1 to 20 of 738

Reformat results as: short short into frame detailed detailed into frame

_id	1bf8
authors	Martens, B., Uhl, M., Tschuppik, W.-M. and Voigt, A.
year	2000
title	Synagogue Neudeggergasse: A Virtual Reconstruction in Vienna
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. 213-218
doi	https://doi.org/10.52842/conf.acadia.2000.213
summary	Issues associated with virtual reconstruction are first dealt within this paper. Visualizing of no longer existent (architecture-) objects and their surroundings practically amounts to a “virtual comeback”. Furthermore, special attention is given to the description of the working procedure for a case study of reconstruction sounding out the potentials of QuickTime VR. The paper ends up with a set of conclusions, taking a close look at the “pros” and “cons” of this type of re-construction. 1 Introduction Irreversible destruction having removed identity-establishing buildings from the urban surface for all times is the principal cause for the attempt of renewed “imaginating.” When dealing with such reconstruction first the problem of reliability concerning the existing basic material has to be tackled. Due to their two-dimensional recording photographs only supply us with restricted information content of the object under consideration. Thus the missing part has to be supplemented or substituted by additional sources. Within the process of assembling and overlaying of differing data sets the way of dealing with such fragmentations becomes of major importance. Priority is given to the choice of information. One of the most elementary items of information regarding perception of three-dimensional objects surely is the effect that color and material furnishes. It seems to suggest itself that black-and-white shots hardly will prove valid in this respect. The three-dimensional object doubtlessly provides us with a by far greater variety of possibilities in the following working process than the “cardboard model with pasted-on facade photography”. Only the completely designed model structure makes for visualizing the plastic representation form of architecture in a sustainable manner. Furthermore, a virtual model can be dismantled into part models without amounting to a destruction process thereof. Apart therefrom the virtual model permits the generation of differing reconstruction variants regarding color and material. Moreover, architecture models of a physical nature are inherently connected to locality as such.
series	ACADIA
email
last changed	2022/06/07 07:59

_id	2e50
authors	Ozersay, Fevzi and Szalapaj, Peter
year	1999
title	Theorising a Sustainable Computer Aided Architectural Education Model
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 186-195
doi	https://doi.org/10.52842/conf.ecaade.1999.186
summary	The dogmatic structure of architectural education has meant that the production and application of new educational theories, leading to educational models that use computer technology as their central medium of education, is still a relatively under-explored area. Partial models cannot deliver the expected bigger steps, but only bits and pieces. Curricula developments, at many schools of architecture, have been carried out within the closed circuit manner of architectural education, through expanding the traditional curricula and integrating computers into them. There is still no agreed curriculum in schools of architecture, which defines, at least conceptually, the use of computers within it. Do we really know what we are doing? In the words of Aart Bijl; 'If I want to know what I am doing, I need a separate description of my doing it, a theory' [Bijl, 1989]. The word 'sustainability' is defined as understanding the past and responding to the present with concern for the future. Applying this definition to architectural education, this paper aims to outline the necessity and the principles for the construction of a theory of a sustainable computer aided architectural education model, which could lead to an architectural education that is lasting.
keywords	Architectural Education, Educational Theories, Computers, Sustainable Models
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	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	038b
authors	Barron, Alicia
year	2000
title	Generación de Objetos Autónomos en Mundos Virtuales (Generation of Autonomous Objects in Virtual Worlds)
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. 310-312
summary	The goal of this paper is to define the processes that enable the simulation of an autonomous pedestrian’s journeys in confined spaces; and to determine their paths beginning with random processes under preset parameters in a generic fashion as well as doing so in a manner independent from walking movement. We present a conceptual model designed to generate pedestrian journeys, taking into account the focuses of attraction and their influence in the paths taken. In order to implement this model, we add to an architectural blueprint the elements necessary to recognize the geometric characteristics of the World (Limits, Focuses and Portals) that affect the displacements of pedestrians. These characteristics enable us to determine the paths to be taken in the World. The issues of the simulation (the position that each pedestrian occupies for unit of time) can be used by other applications, to generate animations or to verify critical situations.
series	SIGRADI
email
last changed	2016/03/10 09:47

_id	ga0012
id	ga0012
authors	Galanter, Philip
year	2000
title	GA2: a Programming Environment for Abstract Generative Fine Art
source	International Conference on Generative Art
summary	Fine artists looking to use computers to create generative works, especially those artists inclined towards abstraction, often face an uncomfortable choice in the selection of software tools. On the one hand there are a number of commercial and shareware programs available which implement a few techniques in an easy to use GUI environment. Unfortunately such programs often impose a certain look or style and are not terribly versatile or expressive. The other choice seems to be writing code from scratch, in a language such as c or Java. This can be very time consuming as every new work seems to demand a new program, and the artist's ability to write code can seldom keep pace with his ability to imagine new visual ideas. This paper describes a software system created by the author called GA2 which has been implemented in the Matlab software environment. By layering GA2 over Matlab the artist can take advantage of a very mature programming environment which includes extensive mathematical libraries, simple graphics routines, GUI construction tools, built-in help facilities, and command line, batch mode, and GUI modes of interaction. In addition, GA2 is very portable and can run on Macintosh, Windows, and Unix systems with almost no incremental effort for multi-platform support. GA2 is a work in progress and an extension of the completed GA1 environment. It is medium independent, and can be used for all manner of image, animation, and sound production. GA1 includes a complete set of genetic algorithm operations for breeding families of graphical marks, a database function for managing and recalling various genes, a set of statistical operations for creating various distributions of marks on a canvas or animation frame, a unique Markov-chain-likeoperator for generating families of visually similar lines or paths, and a complete L-system implementation. GA2 extends GA1 by adding more generative techniques such as tiling and symmetry operations, Thom's cusp catastrophe, and mechanisms inspired by complexity science notions such as cellular automata, fractals, artificial life, and chaos. All of these techniques are encapulated in genetic representations. This paper is supplemented with examples from the authors art work, and comments on the philosophy behind this method of working, and its relation towards the reinvigoration of abstraction after post-modernism.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	326c
authors	Hirschberg, U., Gramazio, F., H¾ger, K., Liaropoulos Legendre, G., Milano, M. and Stöger, B.
year	2000
title	EventSpaces. A Multi-Author Game And Design Environment
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. 65-72
doi	https://doi.org/10.52842/conf.ecaade.2000.065
summary	EventSpaces is a web-based collaborative teaching environment we developed for our elective CAAD course. Its goal is to let the students collectively design a prototypical application - the EventSpaces.Game. The work students do to produce this game and the process of how they interact is actually a game in its own right. It is a process that is enabled by the EventSpaces.System, which combines work, learning, competition and play in a shared virtual environment. The EventSpaces.System allows students to criticize, evaluate, and rate each otherÕs contributions, thereby distributing the authorship credits of the game. The content of the game is therefore created in a collaborative as well as competitive manner. In the EventSpaces.System, the students form a community that shares a common interest in the development of the EventSpaces.Game. At the same time they are competing to secure as much credit as possible for themselves. This playful incentive in turn helps to improve the overall quality of the EventSpaces.Game, which is in the interest of all authors. This whole, rather intricate functionality, which also includes a messaging system for all EventSpaces activities, is achieved by means of a database driven online working environment that manages and displays all works produced. It preserves and showcases each authorÕs contributions in relation to the whole and allows for the emergence of coherence from the multiplicity of solutions. This Paper first presents the motivation for the project and gives a short technical summary of how the project was implemented. Then it describes the nature of the exercises and discusses possible implications that this approach to collaboration and teaching might have.
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:50

_id	0014
authors	Hsu, W. and Liu, B.
year	2000
title	Conceptual design: issues and challenges
source	Computer-Aided Design, Vol. 32 (14) (2000) pp. 849-850
summary	Decisions made during conceptual design have significant influence on the cost, performance, reliability, safety and environmental impact of a product. It has been estimated that design decisions account for more than 75% of final product costs. It is, therefore, vital that designers have access to the right tools to support such design activities. In the early 1980s, researchers began to realize the impact of design decisions on downstream activities. As a result, different methodologies such as design for assembly, design for manufacturing and concurrent engineering, have been proposed. Software tools that implement these methodologies have also been developed. However, most of these tools are only applicable in the detailed design phase. Yet, even the highest standard of detailed design cannot compensate for a poor design concept formulated at the conceptual design phase. In spite of this, few CAD tools have been developed to support conceptual design activities. This is because knowledge of the design requirements and constraints during this early phase of a product's life cycle is usually imprecise and incomplete, making it difficult to utilize computer-based systems or prototypes. However, recent advances in fields such as fuzzy logic, computational geometry, constraints programming and so on have now made it possible for researchers to tackle some of the challenging issues in dealing with conceptual design activities. In this special issue, we have gathered together discussions on various aspects of conceptual design phase: from the capturing of the designer's intent, to modelling design constraints and solving them in an efficient manner, to verifying the correctness of the design.
series	journal paper
email
last changed	2003/05/15 10:54

_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	63b9
authors	Jabi, Wassim
year	2000
title	Visualizing and Investigating Architectural Space Using Spherical Panoramic Imaging
source	Emerging Technologies and Design: The Intersection of Design and Technology, Proceedings of the 2000 ACSA Technology Conference, Massachusetts Institute of Technology, Cambridge, Massachusetts, July 14-17, 2000
summary	This paper reports on the use of immersive spherical imaging techniques to document, visualize and investigate architectural space. This technology can be used in the classrooms and design studios to augment traditional instructional and design investigation tools. As opposed to cylindrical imaging found in the popular QuickTime VR format, spherical imaging provides a 360-degree view in all directions – horizontally and vertically. The ability to capture and display a full sphere can be crucial for many interior architectural spaces. Spherical panoramas can originate from real, synthetic or hybrid source images. In addition to the ability to embed links to web pages or other panoramas, a unique feature of this technology allows the viewer to navigate through a scene as well as pause at any point and view the space in all directions. In addition, the technology allows the user to sketch over the scene in an intelligent manner such that the sketched artifacts rotate correctly when the target view shifts. The software also integrates with collaborative tools to allow synchronous viewing of shared panoramas over the Internet. These features allow for a truly immersive and interactive experience of the space that can be quite useful in a design studio setting. Finally, this paper describes ongoing efforts to integrate this technology with an interactive web-based, databasedriven virtual slide tray system for the storage, sorting, and display of multimedia content.
keywords	Spherical Panoramic Imaging
series	other
email
last changed	2002/03/05 19:55

_id	ga0008
id	ga0008
authors	Koutamanis, Alexander
year	2000
title	Redirecting design generation in architecture
source	International Conference on Generative Art
summary	Design generation has been the traditional culmination of computational design theory in architecture. Motivated either by programmatic and functional complexity (as in space allocation) or by the elegance and power of representational analyses (shape grammars, rectangular arrangements), research has produced generative systems capable of producing new designs that satisfied certain conditions or of reproducing exhaustively entire classes (such as all possible Palladian villas), comprising known and plausible new designs. Most generative systems aimed at a complete spatial design (detailing being an unpopular subject), with minimal if any intervention by the human user / designer. The reason for doing so was either to give a demonstration of the elegance, power and completeness of a system or simply that the replacement of the designer with the computer was the fundamental purpose of the system. In other words, the problem was deemed either already resolved by the generative system or too complex for the human designer. The ongoing democratization of the computer stimulates reconsideration of the principles underlying existing design generation in architecture. While the domain analysis upon which most systems are based is insightful and interesting, jumping to a generative conclusion was almost always based on a very sketchy understanding of human creativity and of the computer's role in designing and creativity. Our current perception of such matters suggests a different approach, based on the augmentation of intuitive creative capabilities with computational extensions. The paper proposes that architectural generative design systems can be redirected towards design exploration, including the development of alternatives and variations. Human designers are known to follow inconsistent strategies when confronted with conflicts in their designs. These strategies are not made more consistent by the emerging forms of design analysis. The use of analytical means such as simulation, couple to the necessity of considering a rapidly growing number of aspects, means that the designer is confronted with huge amounts of information that have to be processed and integrated in the design. Generative design exploration that can combine the analysis results in directed and responsive redesigning seems an effective method for the early stages of the design process, as well as for partial (local) problems in later stages. The transformation of generative systems into feedback support and background assistance for the human designer presupposes re-orientation of design generation with respect to the issues of local intelligence and autonomy. Design generation has made extensive use of local intelligence but has always kept it subservient to global schemes that tended to be holistic, rigid or deterministic. The acceptance of local conditions as largely independent structures (local coordinating devices) affords a more flexible attitude that permits not only the emergence of internal conflicts but also the resolution of such conflicts in a transparent manner. The resulting autonomy of local coordinating devices can be expanded to practically all aspects and abstraction levels. The ability to have intelligent behaviour built in components of the design representation, as well as in the spatial and building elements they signify, means that we can create the new, sharper tools required by the complexity resulting from the interpretation of the built environment as a dynamic configuration of co-operating yet autonomous parts that have to be considered independently and in conjunction with each other. P.S. The content of the paper will be illustrated by a couple of computer programs that demonstrate the princples of local intelligence and autonomy in redesigning. It is possible that these programs could be presented as independent interactive exhibits but it all depends upon the time we can make free for the development of self-sufficient, self-running demonstrations until December.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	97fc
authors	Lonsway, Brian
year	2000
title	Testing the Space of the Virtual
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. 51-61
doi	https://doi.org/10.52842/conf.acadia.2000.051
summary	Various modes of electronically mediated communication, perception, and immersive bodily engagement, generally categorized as “virtual experiences,” have offered the designer of space a new array of spatial conditions to address. Each of these modes of virtual experience, from text-based discussion forums to immersive virtual reality environments, presents challenges to traditional assumptions about space and its inhabitation. These challenges require design theorization which extends beyond the notions of design within the electronic space (the textual description of the chat forum, the appearance of the computer generated imagery, etc.), and require a reconsideration of the entire electronic and physical apparatus of the mediating devices (the physical spaces which facilitate the interaction, the manner of their connection to the virtual spaces, etc.). In light of the lack of spatial theorization in this area, this paper presents both an experimental framework for understanding this complete space of the virtual and outlines a current research project addressing these theoretical challenges through the spatial implementation of a synthetic environment.
series	ACADIA
last changed	2022/06/07 07:52

_id	cf2009_poster_43
id	cf2009_poster_43
authors	Oh, Yeonjoo; Ellen Yi-Luen Do, Mark D Gross, and Suguru Ishizaki
year	2009
title	Delivery Types And Communication Modalities In The Flat-Pack Furniture Design Critic
source	T. Tidafi and T. Dorta (eds) Joining Languages Cultures and Visions: CAADFutures 2009 CD-Rom
summary	A computer-based design critiquing system analyzes a proposed solution and offers critiques (Robbins 1998). Critiques help designers identify problems as well as opportunities to improve their designs. Compared with human critics, today’s computer-based critiquing systems deliver feedback in quite restricted manner. Most systems provide only negative evaluations in text; whereas studio teachers critique by interpreting the student’s design, introducing new ideas, demonstrating and giving examples, and offering evaluations (Bailey 2004; Uluoglu 2000) using speech, writing, and drawing to communicate (Anthony 1991; Schön 1983). This article presents a computer-based critiquing system, Flat-pack Furniture Design Critic (FFDC). This system supports multiple delivery types and modalities, adapting the typical system architecture of constraint-based intelligent tutors (Mitrovic et al. 2007).
keywords	Critiquing system, design critiquing
series	CAAD Futures
type	poster
email
last changed	2009/07/08 22:12

_id	9834
authors	Tibaut, A., Kaucic, B. and Rebolj, D.
year	2000
title	Design visualisation using product data technology
source	CIDAC, Volume 2 Issue 4 November 2000, pp. 251-258
summary	Because of its monolitic nature, visualisation software, integrated with legacy engineering applications, contains every possible feature one might use, whether or not a user really wants them. With the advent of distributed objects and interpreted platform-independent languages such as Java and VRML, it is possible to develop cross-platform portable visualisation software and components that work in plug and play manner. Adopting these advances, rapid visualisation can considerably simplify the job of maintaining the lifecycle activities of a product. This paper aims to introduce new levels of support to engineers throughout the integrated product life cycle process by dealing with issues such as rapid platform independent visualisation and product data technology. The paper demonstrates the visualisation of product models using roads as an example.
series	journal paper
last changed	2003/05/15 21:23

_id	c51f
authors	Voigt, A., Walchhofer, H.P. and Linzer, H.
year	2000
title	City Experimental Lab
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. 143-146
summary	The present contribution deals with the required scale of performances regarding an adequate simulation environment for recent and future challenges of urban development planning based on the concept “City Experimental Lab, CEL”. This paper issues concrete project experience covering the capital city of Upper Austria, Linz. Such CEL could and should act as an “expert system” in the preliminary stages of decision-finding, making available all particulars regarding decisions to the politicians, the planning administration, outside advisors and particularly to the citizens concerned in the suited present-day manner. It could be used for work sessions of planning- or design councils, expert hearings, for the continuous information of citizens on present planning work at the various degrees of concreteness and commitment, etc.. Thus those possibilities are to be enhanced which turn the present city configuration into a virtual experience by integrating visions, utopias and the future developments.
series	SIGRADI
email
last changed	2016/03/10 10:02

_id	f73b
authors	Brady, Darlene A.
year	2000
title	Percept vs. Precept: Digital Media & the Creative Process
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. 261-264
doi	https://doi.org/10.52842/conf.ecaade.2000.261
summary	The design of architecture, as well as all of the arts, is a creative act concerned with the expression of ideas through culturally significant and relevant form. In order for the creative act to transcend the authority or dictates of precedents or trends, it must be informed and guided by a process and not a product; one which reveals, but does not dictate, expressive, functional form. The initial impact of digital media on architectural design has been the ability to render the look of a final project or to create shapes that reflect the facility of the tool. Digital media also enables the composition and structure of space and form to be discovered simultaneously and relationally with the phenomena of color and kinetics, to generate and visualize an idea as form, and to represent form as experience. This requires interweaving computing with a creative process in which percept, rather than precept, is the driving force of the investigation. This paper explores the role of ideation, tectonic color and kinetics as an intentional design strategy and formgiver for architecture. The role of the computer is to enable the designer to generate meaningful architecture beyond precepts of image and style. Design as a making in the mind uses our rational and imaginative faculties. Complete freedom is not a necessity for inventiveness. Research on creativity indicates that "constraining options and focusing thought in a specific, rigorous and discerning direction" play an important role. The key is a balance of structured and discursive inquiry that encourages a speculative, free association of ideas. Tim Berners-Lee, one of the creators of the World Wide Web, likened creativity to a weblike process that is nonlinear but also not random; which when placed in an environment rich with information will float ideas so the mind "can jiggle them into an insight." Geoffrey Vickers in his essay, "Rationality and Intuition" described this symbiotic relationship as "...two functions which in practice are never wholly separated but which are, nonetheless, logically distinct as two reciprocating phases in a recurrent process of mental activity." The rational is formative and intuition is generative; both are essential to creativity.
keywords	Percept, Creativity, Ideation, Tectonic Color, Kinetics
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:54

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

_id	8802
authors	Burry, Mark, Dawson, Tony and Woodbury, Robert
year	1999
title	Learning about Architecture with the Computer, and Learning about the Computer in Architecture
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 374-382
doi	https://doi.org/10.52842/conf.ecaade.1999.374
summary	Most students commencing their university studies in architecture must confront and master two new modes of thought. The first, widely known as reflection-in-action, is a continuous cycle of self-criticism and creation that produces both learning and improved work. The second, which we call here design making, is a process which considers building construction as an integral part of architectural designing. Beginning students in Australia tend to do neither very well; their largely analytic secondary education leaves the majority ill-prepared for these new forms of learning and working. Computers have both complicated and offered opportunities to improve this situation. An increasing number of entering students have significant computing skill, yet university architecture programs do little in developing such skill into sound and extensible knowledge. Computing offers new ways to engage both reflection-in-action and design making. The collaboration between two Schools in Australia described in detail here pools computer-based learning resources to provide a wider scope for the education in each institution, which we capture in the phrase: Learn to use computers in architecture (not use computers to learn architecture). The two shared learning resources are Form Making Games (Adelaide University), aimed at reflection-in-action and The Construction Primer (Deakin University and Victoria University of Wellington), aimed at design making. Through contributing to and customising the resources themselves, students learn how designing and computing relate. This paper outlines the collaborative project in detail and locates the initiative at a time when the computer seems to have become less self-consciously assimilated within the wider architectural program.
keywords	Reflection-In-Action, Design Making, Customising Computers
series	eCAADe
email
last changed	2022/06/07 07:54

_id	b4c4
authors	Carrara, G., Fioravanti, A. and Novembri, G.
year	2000
title	A framework for an Architectural Collaborative Design
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. 57-60
doi	https://doi.org/10.52842/conf.ecaade.2000.057
summary	The building industry involves a larger number of disciplines, operators and professionals than other industrial processes. Its peculiarity is that the products (building objects) have a number of parts (building elements) that does not differ much from the number of classes into which building objects can be conceptually subdivided. Another important characteristic is that the building industry produces unique products (de Vries and van Zutphen, 1992). This is not an isolated situation but indeed one that is spreading also in other industrial fields. For example, production niches have proved successful in the automotive and computer industries (Carrara, Fioravanti, & Novembri, 1989). Building design is a complex multi-disciplinary process, which demands a high degree of co-ordination and co-operation among separate teams, each having its own specific knowledge and its own set of specific design tools. Establishing an environment for design tool integration is a prerequisite for network-based distributed work. It was attempted to solve the problem of efficient, user-friendly, and fast information exchange among operators by treating it simply as an exchange of data. But the failure of IGES, CGM, PHIGS confirms that data have different meanings and importance in different contexts. The STandard for Exchange of Product data, ISO 10303 Part 106 BCCM, relating to AEC field (Wix, 1997), seems to be too complex to be applied to professional studios. Moreover its structure is too deep and the conceptual classifications based on it do not allow multi-inheritance (Ekholm, 1996). From now on we shall adopt the BCCM semantic that defines the actor as "a functional participant in building construction"; and we shall define designer as "every member of the class formed by designers" (architects, engineers, town-planners, construction managers, etc.).
keywords	Architectural Design Process, Collaborative Design, Knowledge Engineering, Dynamic Object Oriented Programming
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:55

For more results click below: