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CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
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_id	483a
authors	Yu, K. Froese, Th. and Grobler, F.
year	2000
title	A development framework for data models for computer-integrated facilities management
source	Automation in Construction 9 (2) (2000) pp. 145-167
summary	Open computer-integrated facilities management systems hold the promise to improve facilities management practice, but they require extensive underlying technical foundations: particularly standardized data models to enable information sharing among computer applications. The International Alliance for Interoperability is developing Industry Foundation Classes to provide this type of support for all architecture, engineering, construction, and facilities management industries. Facilities Management Classes are a similar effort in advance of, and in extension to, the Industry Foundation Classes for facilities management. This paper presents a framework for the development of Facilities Management Classes and computer-integrated facilities management systems, including objectives, methodologies, implementation issues, etc.
series	journal paper
more	http://www.elsevier.com/locate/autcon
last changed	2003/05/15 21:23

_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	976f
authors	Cheng, Nancy and Kvan, Thomas
year	2000
title	Design Collaboration Strategies
source	Proceedings of the Fifth International Conference on Design and Decision Support Systems in Architecture, pp. 62-73
summary	This paper explains the logistical and technical issues involved in design collaboration and how toaddress them strategically in projects for design, teaching and research. Five years of arrangingprojects, studying peer results and involving novices in exchanges point out the benefits and pitfallsof Internet partnering. Rather than a single universal technical solution, multiple solutions exist: Technical means must betailored to specifics concerning the task and participants. The following factors need to be consideredin finding the best fit between technology and group design: 1) Collaboratorsí profiles, 2) Mutualvalue of produced information, 3) Collaboration structure, and 4) Logistical opportunities. Thesuccess of a virtual studio depends upon clear task definition, aligned participant expectations andsuitable engagement methods. We question the efforts required in the installation of expensive technologies for communication andvisualization. Often technical systems support ancillary and non-beneficial activity.
series	other
email
last changed	2003/05/15 10:29

_id	27e1
authors	Janssen, P., Frazer, J. and Tang, M.X.
year	2000
title	Evolutionary design systems: a conceptual framework for the creation of generative processes
source	Proceedings of the 5th International Conference on Design Decision Support Systems in Architecture and Urban Planning, Nijkerk, The Netherlands, pp. 190-200
summary	Design tools that aim not only to analyse and evaluate, but also to generate and explore alternative design proposals are now under development. An evolutionary paradigm is presented as a basis for creating such tools. First, the evolutionary paradigm is shown to be the only successful design system on which this new phase of design tool could be based. Secondly, any characterisation of design as a search problem is argued to be a serious misconception. Instead it is proposed that evolutionary design systems should be seen as generative processes that are able to evaluate their own output. Thirdly, a generic framework for generative evolutionary design systems is presented. Fourth, the generative process is introduced as key element within this generic framework. The role of the environment within this process is fundamental. Finally, the direction of future research within the evolutionary design paradigm is discussed with possible short and long term goals being presented.
series	other
last changed	2003/04/23 15:14

_id	30e3
authors	Karhu, V.
year	2000
title	Proposed New Method for Construction Process Modelling
source	CIDAC, Volume 2 Issue 3 August 2000, pp. 166-182
summary	Numerous modelling methods have been developed for defining aspects of industrial and other processes. Furthermore, such methods have been either used or proposed for modelling construction processes. As part of the international MoPo-project, the requirements of industrial endusers for such tools, as well as the characteristics of available methods, have been studied. In this paper an analysis of six such methods is presented. The concepts and graphical notation of each method are illustrated using a simple example of making the basement of a summerhouse with a sauna. Additionally, the concepts of each method have been modelled using a uniform methodology, the EXPRESS information modelling language. Based on the analysis a new method called GEPM (generic process modelling method) is proposed. The method is defined on the semantic level, as its main purpose would be to enable the storing of process descriptions in a database format, enabling multiple-user views to the same information. A simple prototype application has been developed to demonstrate the functionality of the method.
keywords	Construction Process, Modelling, Generic, Method
series	journal paper
last changed	2003/05/15 21:23

_id	ga0005
id	ga0005
authors	Kubasiewicz, Jan and Jang, DK
year	2000
title	InfoGEOMETRY. Conceptual Prototype for Navigating InfoSPACE
source	International Conference on Generative Art
summary	InfoGEOMETRY is the word the authors use to describe the concept of utilizing geometric patterns and dynamic symmetry in graphical user interface design for navigating complex information. This paper refers to a specific collaborative project in which the concept of infoGeometry was first introduced as an alternative tool of information architecture. In their design process, the authors tried to reconcile the visual nature of geometric vocabulary with parametric nature of interface design and dynamic nature of information organization. The project resulted in experimental interactive tools for information search and navigating complex information structures. 2. YOU ARE HERE. A study in interactivity. This paper refers to a studio project in interface design, conducted at the Massachusetts College of Art in Boston, where individual designers explored essential concepts in navigating complex structures of information. Taking the notion of You-Are-Here as a point of departure, individual designers explored various definitions and interpretations of the notion's three components: You(We/They, etc)-Are(Will Be/Have Been, etc)-Here(in Time/in Space). Exploring specific instances of parametric design and developing linked, multiple representations for information display resulted in a broad spectrum of contexts associated with navigation. Specific descriptions of individual instances will accompany the final presentation of the project.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	8b8e
authors	Kvan, Th., Wong, J.T.H. and Vera, A.H.
year	2000
title	Supporting Structural Activities in Design: A Multiple-Case Study
source	Proceedings, Fifth International Conference on Computer Supported Cooperative Work in Design (CSCWD2000), Hong Kong, November 29 – December 2, 2000, pp. 116-120
summary	This paper describes case studies in design teaching and their analysis; examining the role of structural activities and other solution searching activities in design learning and problem solving. The case studies follow students working on the same problem under two conditions – one group is taught using traditional face-to-face teaching while the other group is supported by a text-based web board. The design activities of two students were followed in each condition through a semester; followed by in-depth interviews at the end of semester. Interviews and logs were coded according to an activity-based model of design activity. The results show that cases with above average design work involved more structural activities than the mediocre cases. It also showed that design problem dissections are more organized in the better cases. These successful cases engaged in textual expression of their design solutions. Computer tools for design should therefore support textual representation in addition to graphic; video or audio.
keywords	Collaborative Design; Computer Supported Collaborative Work; Structure Activities; Text
series	other
email
last changed	2002/11/15 18:29

_id	6bf6
authors	Lee, E., Paterson, I. and Maver, T.
year	2000
title	Visualisation of Historic Village of New Lanark
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. 177-178
summary	The existing historic city attracts the attention of architects and educators for its architectural value and history. In addition, many researches on visualisation of historic sites such as world heritage sites are in progress in order to represent the importance of preservation and restoration. New Lanark is the best-preserved example of a cotton-spinning village from the early period of Britain’s industrialisation, and is of international significance in terms of economic, architectural and social history. The village has also been nominated for inclusion in UNESCO’s list of World Heritage Sites. This paper aims to describe development procedure of virtual historic village of New Lanark for educating people about its significant social history and a unique type of building. A multimedia environment is useful for this purpose considering dynamic links among different kinds of resources such as text, images, 3D models and animations. Through this environment people can access from where they are to virtual heritage and navigate 3D space by animation with virtual guidance.
keywords	3D City modeling
series	SIGRADI
email
last changed	2016/03/10 09:54

_id	cdc4
authors	Lemos Motta, Maria Inês and Spitz, Rejane
year	2000
title	Webdesign e Inclusão Social: em Busca de uma Sociedade Melhor Conectada (Web Design and Social Inclusion: In Search for a Better Connected Society)
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. 27-29
summary	The expanding use of computers in developing countries - alongside the results of surveys revealing dramatic social indicators for illiteracy - demands careful analysis of the necessary education and training for people to be able to take part and to survive in the information society.”For a citizen of international society, it is no longer enough to know how to read and write, or to have learned a skill. One must have access to information, know how to look for it and find it, master the usage, organize it, understand its organizational forms and, above all, make appropriate, adequate and effective use of it. “ (Spitz, 2000). In this article we raise issues concerning the use of the Internet by low-income classes in Brazil, aiming at discussing the fundamental role Design plays in terms of the inclusion of people from these classes in the inter-connected society.
series	SIGRADI
email
last changed	2016/03/10 09:54

_id	ga0009
id	ga0009
authors	Lewis, Matthew
year	2000
title	Aesthetic Evolutionary Design with Data Flow Networks
source	International Conference on Generative Art
summary	For a little over a decade, software has been created which allows for the design of visual content by aesthetic evolutionary design (AED) [3]. The great majority of these AED systems involve custom software intended for breeding entities within one fairly narrow problem domain, e.g., certain classes of buildings, cars, images, etc. [5]. Only a very few generic AED systems have been attempted, and extending them to a new design problem domain can require a significant amount of custom software development [6][8]. High end computer graphics software packages have in recent years become sufficiently robust to allow for flexible specification and construction of high level procedural models. These packages also provide extensibility, allowing for the creation of new software tools. One component of these systems which enables rapid development of new generative models and tools is the visual data flow network [1][2][7]. One of the first CG packages to employ this paradigm was Houdini. A system constructed within Houdini which allows for very fast generic specification of evolvable parametric prototypes is described [4]. The real-time nature of the software, when combined with the interlocking data networks, allows not only for vertical ancestor/child populations within the design space to be explored, but also allows for fast "horizontal" exploration of the potential population surface. Several example problem domains will be presented and discussed. References: [1] Alias \| Wavefront. Maya. 2000, http://www.aliaswavefront.com [2] Avid. SOFTIMAGE. 2000, http://www.softimage.com [3] Bentley, Peter J. Evolutionary Design by Computers. Morgan Kaufmann, 1999. [4] Lewis, Matthew. "Metavolve Home Page". 2000, http://www.cgrg.ohio-state.edu/~mlewis/AED/Metavolve/ [5] Lewis, Matthew. "Visual Aesthetic Evolutionary Design Links". 2000, http://www.cgrg.ohio-state.edu/~mlewis/aed.html [6] Rowley, Timothy. "A Toolkit for Visual Genetic Programming". Technical Report GCG-74, The Geometry Center, University of Minnesota, 1994. [7] Side Effects Software. Houdini. 2000, http://www.sidefx.com [8] Todd, Stephen and William Latham. "The Mutation and Growth of Art by Computers" in Evolutionary Design by Computers, Peter Bentley ed., pp. 221-250, Chapter 9, Morgan Kaufmann, 1999.
series	other
email
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	ga0003
id	ga0003
authors	Riley, Howard
year	2000
title	Algorithms of the Mind. The generative art of drawing
source	International Conference on Generative Art
summary	Throughout the disciplines of art and design, interest in the possibilities of algorithmic methods for generating two- and three-dimensional visual forms grows apace. Evidence supporting this observation may be found in the increasingly diverse range of contributions to the Generative Art conferences. Two research scenarios may be identified: 1 in which the generative process itself is the object of research, 2 in which the forms generated are the objects of research. The question of what criteria may be appropriate to the evaluation of such research is addressed in this paper. Lincoln and Guba's term "criteria of authenticity" is elaborated in a case study based on the author's research into teaching drawing to fine art undergraduates. Although the drawings produced are not computer-generated, it is argued that the concept of 'algorithm' as a set of rules for the generating of visual representations may be usefully applied to the mental ontological constructions, or 'mind-set', of the student. Such mind-sets affect the ways that drawings are constructed. It is suggested that a teaching method which enables students to recognise their mental algorithms as cultural constructions, may also empower them to reconstruct those algorithms in order to generate visual representations previously unimagined.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	38ff
authors	Van den Heuvel, F.A.
year	2000
title	Trends in CAD-based photogrammetric measurement
source	International Archives of Photogrammetry and Remote Sensing, Vol. 33, Part 5/2, pp. 852-863
summary	In the past few decades, Computer Aided Design (CAD) systems have evolved from 2D tools that assist in construction design to the basis of software systems for a variety of applications, such as (re)design, manufacturing, quality control, and facility management. The basic functions of a modern CAD system are storage and retrieval of 3D data, their construction, manipulation, and visualisation. All these functions are needed in a photogrammetric measurement system. Therefore, photogrammetry benefits from integration with CAD, and thereby from developments in this field. There are two main interpretations of the term CAD-based photogrammetry. The first interpretation is on a system level: there is a trend towards integration of photogrammetric tools in existing CAD systems. The second interpretation is on an algorithmic level: developments in the field of CAD regarding object modelling techniques are being implemented in photogrammetric systems. In practice, the two interpretations overlap to a varying extent. The integrated photogrammetric processing of geometry and topology is defined as a minimum requirement for CAD-based photogrammetry. The paper discusses the relation between CAD and photogrammetry with an emphasis on close-range photogrammetry. Several approaches for the integration of CAD and photogrammetry are briefly reviewed, and trends in CAD-based photogrammetry are outlined. First of all, the trend towards CAD-based photogrammetry is observed. The integration of photogrammetry and CAD increases the efficiency of photogrammetric modelling. One of the reasons for this is the improvement of the user-interface, which allows better interaction with the data. A more fundamental improvement is the use of advanced object modelling techniques such as Constructive Solid Geometry, and the incorporation of geometric object constraints. Furthermore, research emphasis is on CAD-based matching techniques for automatic precise measurement of CAD-models. An overall conclusion remains: the integration of photogrammetry and CAD has great potential for widening the acceptance of photogrammetry, especially in industry. This is firstly because of the improvement in efficiency, and secondly because of the established and well-known concept of CAD.
series	journal paper
last changed	2003/04/23 15:50

_id	caadria2006_573
id	caadria2006_573
authors	WEN-YEN TANG, SHENG-KAI TANG
year	2006
title	THE DEVELOPMENT OF A TACTILE MODELING INTERFACE
doi	https://doi.org/10.52842/conf.caadria.2006.x.o8n
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 573-575
summary	Recently, more and more researchers dedicated in the development of human computer interaction for CAD systems, such as gestural input of three dimensional coordinates (Lee, Hu, and Selker, 2005), flexible manipulation of NURBS objects (Cohen, Markosian, Zeleznik, Hughes, and Barzel, 1999; Emmerik, 1990), and the creation of force feedback (Wu, 2003). These research results indicated that the more intuitive control the device can provide in modeling process, the more creative solutions can be generated (Lee, Hu, and Selker, 2005; Schweikardt and Gross, 2000; Wu, 2003).
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	946b
authors	Zhou, Q., Krawczyk, R.J. and Schipporeit, G.
year	2002
title	From CAD to IAD: A Working Model of the Internet-based Engineering Consulting in Architecture
doi	https://doi.org/10.52842/conf.caadria.2002.073
source	CAADRIA 2002 [Proceedings of the 7th International Conference on Computer Aided Architectural Design Research in Asia / ISBN 983-2473-42-X] Cyberjaya (Malaysia) 18–20 April 2002, pp. 073-80
summary	Information technology has become so powerful that what is conventionally called CAD might evolve into iAD (Internet Aided Design) in the near future (Zhou 2000). For Internet applications in the AEC industry, most of the efforts and success have been concentrated on project management and collaboration, while in the design and engineering consulting area, limited progress has been made. During the period of Internet development, the nature of the fragmentation of the AEC industry has not been changed. Based on previous research of surveys of development of Internet applications in the AEC industry (Zhou 2001), and the study of information technology both available today and in the near future, we propose a general abstracted model of an Internet-based consulting system by integrating a variety of disciplines and functions of design and construction processes. This model will cover a range of design phases, such as, information gathering, automatic remote consultation, specific problem solving, and collaboration. Finally, in future follow up research, we will apply the proposed model to steel construction in architectural design, and develop a prototype simulation by selecting one type of structural system.
series	CAADRIA
email
last changed	2022/06/07 07:57

_id	ac81
authors	Brown, A.G.P.
year	1991
title	Review of Building IT 2000
doi	https://doi.org/10.52842/conf.ecaade.1991.x.q2c
source	Experiences with CAAD in Education and Practice [eCAADe Conference Proceedings] Munich (Germany) 17-19 October 1991
summary	Building IT2000 is a Building and Information Technology database which is presented in Hypertextformat. Its production has been co-ordinated by the CICA (the Construction Industry Computer Association), an independent association serving the needs of computer users, specifiers and suppliers in the Construction Industry. The stack is a collection of structured information prepared by a group of experts in computing and the construction industry. As such it represents an interesting advance from two points of view: (1.) It is a valuable source of information in its own right. It could provide a resource for students of architecture which could be used as a self-teaching package. (2.) It points a possible way forward for the development of similar hypertext based teaching packages which could be developed by academics within the European teaching community.
series	eCAADe
email
more	http://www.mediatecture.at/ecaade/91/brown.pdf
last changed	2022/06/07 07:50

_id	ec4d
authors	Croser, J.
year	2001
title	GDL Object
source	The Architect’s Journal, 14 June 2001, pp. 49-50
summary	It is all too common for technology companies to seek a new route to solving the same problem but for the most part the solutions address the effect and not the cause. The good old-fashioned pencil is the perfect example where inventors have sought to design-out the effect of the inherent brittleness of lead. Traditionally different methods of sharpening were suggested and more recently the propelling pencil has reigned king, the lead being supported by the dispensing sleeve thus reducing the likelihood of breakage. Developers convinced by the Single Building Model approach to design development have each embarked on a difficult journey to create an easy to use feature packed application. Unfortunately it seems that the two are not mutually compatible if we are to believe what we see emanating from Technology giants Autodesk in the guise of Architectural Desktop 3. The effect of their development is a feature rich environment but the cost and in this case the cause is a tool which is far from easy to use. However, this is only a small part of a much bigger problem, Interoperability. You see when one designer develops a model with one tool the information is typically locked in that environment. Of course the geometry can be distributed and shared amongst the team for use with their tools but the properties, or as often misquoted, the intelligence is lost along the way. The effect is the technological version of rubble; the cause is the low quality of data-translation available to us. Fortunately there is one company, which is making rapid advancements on the whole issue of collaboration, and data sharing. An old timer (Graphisoft - famous for ArchiCAD) has just donned a smart new suit, set up a new company called GDL Technology and stepped into the ring to do battle, with a difference. The difference is that GDL Technology does not rely on conquering the competition, quite the opposite in fact their success relies upon the continued success of all the major CAD platforms including AutoCAD, MicroStation and ArchiCAD (of course). GDL Technology have created a standard data format for manufacturers called GDL Objects. Product manufacturers such as Velux are now able to develop product libraries using GDL Objects, which can then be placed in a CAD model, or drawing using almost any CAD tool. The product libraries can be stored on the web or on CD giving easy download access to any building industry professional. These objects are created using scripts which makes them tiny for downloading from the web. Each object contains 3 important types of information: · Parametric scale dependant 2d plan symbols · Full 3d geometric data · Manufacturers information such as material, colour and price Whilst manufacturers are racing to GDL Technologies door to sign up, developers and clients are quick to see the benefit too. Porsche are using GDL Objects to manage their brand identity as they build over 300 new showrooms worldwide. Having defined the building style and interior Porsche, in conjunction with the product suppliers, have produced a CD-ROM with all of the selected building components such as cladding, doors, furniture, and finishes. Designing and detailing the various schemes will therefore be as straightforward as using Lego. To ease the process of accessing, sizing and placing the product libraries GDL Technology have developed a product called GDL Object Explorer, a free-standing application which can be placed on the CD with the product libraries. Furthermore, whilst the Object Explorer gives access to the GDL Objects it also enables the user to save the object in one of many file formats including DWG, DGN, DXF, 3DS and even the IAI's IFC. However, if you are an AutoCAD user there is another tool, which has been designed especially for you, it is called the Object Adapter and it works inside of AutoCAD 14 and 2000. The Object Adapter will dynamically convert all GDL Objects to AutoCAD Blocks during placement, which means that they can be controlled with standard AutoCAD commands. Furthermore, each object can be linked to an online document from the manufacturer web site, which is ideal for more extensive product information. Other tools, which have been developed to make the most of the objects, are the Web Plug-in and SalesCAD. The Plug-in enables objects to be dynamically modified and displayed on web pages and Sales CAD is an easy to learn and use design tool for sales teams to explore, develop and cost designs on a Notebook PC whilst sitting in the architects office. All sales quotations are directly extracted from the model and presented in HTML format as a mixture of product images, product descriptions and tables identifying quantities and costs. With full lifecycle information stored in each GDL Object it is no surprise that GDL Technology see their objects as the future for building design. Indeed they are not alone, the IAI have already said that they are going to explore the possibility of associating GDL Objects with their own data sharing format the IFC. So down to the dirty stuff, money and how much it costs? Well, at the risk of sounding like a market trader in Petticoat Lane, "To you guv? Nuffin". That's right as a user of this technology it will cost you nothing! Not a penny, it is gratis, free. The product manufacturer pays for the license to host their libraries on the web or on CD and even then their costs are small costing from as little as 50p for each CD filled with objects. GDL Technology has come up trumps with their GDL Objects. They have developed a new way to solve old problems. If CAD were a pencil then GDL Objects would be ballistic lead, which would never break or loose its point. A much better alternative to the strategy used by many of their competitors who seek to avoid breaking the pencil by persuading the artist not to press down so hard. If you are still reading and you have not already dropped the magazine and run off to find out if your favorite product supplier has already signed up then I suggest you check out the following web sites www.gdlcentral.com and www.gdltechnology.com. If you do not see them there, pick up the phone and ask them why.
series	journal paper
email
last changed	2003/04/23 15:14

_id	567d
authors	Farrag, C., Pinna Braga, F. and Teixeira, P.
year	2000
title	Investigação de Metodologia de Ensino de Informática Aplicada à Arquitetura (Research on the Methodology for Teaching Computer Applications in Architecture)
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. 347-349
summary	Description of class research from 1997-2 to 2000-1 in “Applied Computing in Architecture” conducted in the sixth semester of the Architecture Program at Faculdade de Belas Artes de São Paulo. The study is intended to analyze, evaluate and discover new paradigms in the introduction/application of class methodologies of teaching the use of computer in the design process. Our intention is to verify the students natural understanding of the principles of 3D digital modeling by introducing new tools for defining space and form, using the computer as a communication/representation system, and not only as a mimetized production tool. The challenge was to find a natural syntony between the digital projectual process and the learning process. At the end of each semester we evaluated the results and redirected the class proposals.
series	SIGRADI
email
last changed	2016/03/10 09:51

_id	6b25
authors	Pini, E.L., Abades, I.S. and Paolucci, A.L.
year	2000
title	El Modelo Digital en los Primeros Años de la Enseñanza de la Arquitectura (The Digital Model in the First Years of the Architectural Education)
source	SIGraDi’2000 - Construindo (n)o espacio digital (constructing the digital Space) [4th SIGRADI Conference Proceedings / ISBN 85-88027-02-X] Rio de Janeiro (Brazil) 25-28 september 2000, pp. 336-338
summary	We will analyze a pedagogic exercise that joined together both the Informatics and Morphology Courses, required in the second year of Architecture School. The objective of the analysis is to explore the possibilities of the computer as a tool for design, and also to contribute some ideas for planning, curriculum development, and the necessary training to introduce the use of computer graphics in the Architecture School. We based our analysis on some preliminary hypotheses: (1) Students must learn to use digital models with a certain degree of simultaneity with learning design and the other techniques used to develop models. (2) Professors of Design, Representation, and Morphology are main actors in this learning process; they do not have to become experts in informatics, but have some understanding of the topic. (3) Many universities and professional associations are offering students and professionals courses based in the use of programs, instead of addressing their real needs.
series	SIGRADI
email
last changed	2016/03/10 09:57

_id	191a
authors	Plácido, Isabel and Eloy, Sara
year	2000
title	Um Modelo Planar para a Comunicação à Obra do Projecto de Arquitectura (A Planar Model for the Communication of Architectural Design's Artifacts)
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. 227-229
summary	We report on a method that has been tested to produce the working drawings for site communication of the architectural project. The advantage of using such a method is that it allows improving the architect’s control over design while maintaining the traditional role of drawings; at the end, it will be possible the delivering of a flexible set of information more suitable to the building needs. This work is part of larger efforts to investigate the conventional methods that architects use to communicate their ideas to the builder and the potential of information technologies for partially automating this process. The research described in this paper was developed at LNEC. Funds were granted by FCT, under a Portuguese program for promoting scientific research within architecture and urbanism (PRAXIS XXI/2/2.1).
series	SIGRADI
email
last changed	2016/03/10 09:57

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