Cumincad : CUMINCAD Papers : Search Results

CumInCAD is a Cumulative Index about publications in Computer Aided Architectural Design
supported by the sibling associations ACADIA, CAADRIA, eCAADe, SIGraDi, ASCAAD and CAAD futures

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_id	6072
authors	Orzechowski, M.A., Timmermans, H.J.P. and De Vries, B.
year	2000
title	Measuring user satisfaction for design variations through virtual reality
source	Timmermans, H.J.P. & Vries, B. de (eds.) Design & Decision Support Systems in Architecture - Proceedings of the 5th International Conference, August 22-25 2000, Nijkerk, pp. 278-288
summary	Virtual Reality (VR), and Artificial Intelligence (AI) technology have become increasingly more common in all disciplines of modern life. These new technologies range from simple software assistants to sophisticated modeling of human behavior. In this research project, we are creating an AI agent environment that helps architects to identify user preferences through a Virtual Reality Interface. At the current stage of development, the research project has resulted in a VR application - MuseV2 that allows users to instantly modify an architectural design. The distinctive feature of this application is that a space is considered as a base for all user modifications and as a connection between all design elements. In this paper we provide some technical information about MuseV2. Presentation of a design through VR allows AI agents to observe user-induced modifications and to gather preference information. In addition to allowing for an individualized design, this information generalized across a sample of users should provide the basis for developing basic designs for particular market segments and predict the market potential of those designs. The system that we envision should not become an automated design tool, but an adviser and viewer for users, who have limited knowledge or no knowledge at all about CAD systems, and architectural design. This tool should help investors to assess preferences for new community housing in order to meet the needs of future inhabitants.
series	other
email
last changed	2003/04/23 15:50

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

_id	ddss2004_ra-213
id	ddss2004_ra-213
authors	Penn, A., C. Mottram, A. Fatah gen. Schieck, M. Wittkämper, M. Störring, O. Romell, A. Strothmann, and F. Aish
year	2004
title	AUGMENTED REALITY MEETING TABLE: A NOVEL MULTI-USER INTERFACE FOR ARCHITECTURAL DESIGN
source	Van Leeuwen, J.P. and H.J.P. Timmermans (eds.) Recent Advances in Design & Decision Support Systems in Architecture and Urban Planning, Dordrecht: Kluwer Academic Publishers, ISBN: 1-4020-2408-8, p. 213-231
summary	Immersive virtual environments have received widespread attention as providing possible replacements for the media and systems that designers traditionally use, as well as, more generally, in providing support for collaborative work. Relatively little attention has been given to date however to the problem of how to merge immersive virtual environments into real world work settings, and so to add to the media at the disposal of the designer and the design team, rather than to replace it. In this paper we report on a research project in which optical see-through augmented reality displays have been developed together with prototype decision support software for architectural and urban design. We suggest that a critical characteristic of multi user augmented reality is its ability to generate visualisations from a first person perspective in which the scale of rendition of the design model follows many of the conventions that designers are used to. Different scales of model appear to allow designers to focus on different aspects of the design under consideration. Augmenting the scene with simulations of pedestrian movement appears to assist both in scale recognition, and in moving from a first person to a third person understanding of the design. This research project is funded by the European Commission IST program (IST-2000-28559).
keywords	Design Collaboration, Tangible Interface, Gesture, Agent Simulation, Augmented Reality
series	DDSS
type	normal paper
last changed	2004/07/03 23:11

_id	735b
authors	Tolone, W.J.
year	2000
title	Virtual situation rooms: connecting people across enterprises for supply-chain agility
source	Computer-Aided Design, Vol. 32 (2) (2000) pp. 109-117
summary	Agility and time-based manufacturing are critical success factors for today's manufacturing enterprise. To be competitive, enterprises must integrate their supply chains moreeffectively and forge close memberships with customers and suppliers more quickly. Consequently, technologies must be developed that enable enterprises to respond toconsumer demand more quickly, integrate with suppliers more effectively, adapt to market variations more efficiently and evolve product designs with manufacturing practicesmore seamlessly. The mission of the Extended-Enterprise Coalition for Integrated Collaborative Manufacturing Systems coalition is to research, develop, and demonstratetechnologies to enable the integration of manufacturing applications in a multi-company supply chain planning and execution environment. We believe real-time andasynchronous collaboration technology will play a critical role in allowing manufacturers to increase their supply chain agility. We are realizing our efforts through our VirtualSituation Room (VSR) technology. The primary goal of the VSR technology is to enhance current ad-hoc, limited methods and mechanisms for spontaneous, real-timecommunication using feature-rich, industry standards-based building blocks and network protocols. VSR technology is being designed to find and engage quickly all relevantmembers of a problem solving team supported by highly interactive, conversational access to information and control and enabled by business processes, security policies andtechnologies, intelligence, and integration tools.
keywords	Collaborative Systems, Supply Chain Integration, Real-Time Conferencing
series	journal paper
email
last changed	2003/05/15 21:33

_id	f8a3
authors	Tuzmen, Ayca
year	2000
title	Collaborative Building 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. 93-99
doi	https://doi.org/10.52842/conf.ecaade.2000.093
summary	Studies on team performance have observed that some teams at the same stage in their development perform better than other teams, even of the same composition. Why is this? One of the main reasons is found to be a good team process. Researchers argue that collaborative process is an ideal case through which parties who see different aspects of a problem can constructively explore their differences and search for solutions that go beyond their own limited vision of what is possible. Much attention is now being paid to improvement of the design team process by establishing a collaborative environment in building design practice. Many scholars have prescribed various techniques and technology as ways of achieving collaboration in building design practice. A combination of these prescriptions does support design teams by facilitating one or more of the following: (a) team internal communication, (b) team external communication, (c) information sharing, and (d) decision making. Only recently have there been studies that have provided the strategies for integrating these techniques and technology for the establishment of a collaborative work environment. Researchers from various areas of research have this intention. This includes studies in Business Process Management (BPM), Business Process Re-Engineering (BPR), Total Quality Management (TQM), Project Management (PM), Workflow Management (WfM). All of these studies share one common feature. They all contribute to the study of the management of the team process. Despite the power of the concept and the history of successful application of process management techniques in building practice, the process management strategies are not a panacea. Rather it is a tool which, when properly used under appropriate circumstances, can aid design teams in the achievement of a collaborative design environment. The successful implementation or enactment of process management strategies in building design practice requires a mediator, a facilitator, or a project manager with a variety of managerial skills. However, it is not only enough to support major facilitators in the implementation or in the enactment of a design process that is planned for that teamwork. The performance of a design process should not only be depended on the skills or capabilities of tools that managers use to enact design processes. In order to achieve a collaborative design environment, members of the design team should also be given the support for monitoring and implementing of a collaborative design process. Team members should also have the ability to define, implement and track their personal subprocesses. Team members should also be able to monitor the process and be able to resolve the conflicts between their actions and other members' actions. A distributed process management environment is required in order to facilitate the management and control of the enactment of a collaborative design process. Such an environment should enable the control and monitoring of the enactment of a process and the resources required for its enactment. This paper presents the conceptual model of a process management environment that is developed in order to establish such a process management environment. It also discusses the findings of a study that is conducted for the validation and verification of this conceptual model.
keywords	Collaborative Design, Process Management, Workflow Management
series	eCAADe
type	normal paper
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:58

_id	b5f3
authors	Johnson, Brian R.
year	2000
title	Sustaining Studio Culture: How Well Do Internet Tools Meet the Needs of Virtual Design Studios?
source	Promise and Reality: State of the Art versus State of Practice in Computing for the Design and Planning Process [18th eCAADe Conference Proceedings / ISBN 0-9523687-6-5] Weimar (Germany) 22-24 June 2000, pp. 15-22
doi	https://doi.org/10.52842/conf.ecaade.2000.015
summary	The Internet beckons seductively to students. The prospect of nearly instantaneous communication with acquaintances spread across the face of the earth is alluring. The ease with which rich graphical content can be made available to the world is stunning. The possibility of a design being seen by friends, family, and famous architects is tantalizing. Faculty are drawn by the potent synergy and learning that can be found in the opposition and cooperation of different cultural roots. It is probable that entire design studio sequences will be offered through distance-learning programs in the near future. Is that a good idea? Much has been written about "virtual design studios" in architecture schools and "virtual offices" in practice. Most offices have largely or totally abandoned drafting boards in favor of digital tools of production. Yet, regarding design, Ken Sanders, author of The Digital Architect, and Manager of Information Services at Zimmer Gunsul Frasca Partnership (ZGF), of Portland, Oregon, has written "we still make an effort to locate project teams together and always will". Production CAD work requires different kinds of interaction than design and design instruction. The experiments have been invaluable in developing strategies for use of the Internet as a component of a design studio series, but rarely depend entirely on use of the Internet for all course communications. In fact, most describe fairly isolated efforts to augment some aspect of traditional design environments using Internet tools (ftp, email, web). A few have implemented new pedagogic or collaboration paradigms (e.g., ETH’s phase(x)). This paper considers the traditional design studio in terms of formal and informal activities, characterizes the major Internet technologies with regard to the resulting interaction issues. In particular, it describes an area of informal work group communications that appears to be ill-supported with existing tools. The paper goes on to describe a web-based collaboration tool which was developed to address the need for less formal communication. The context for this development is the concept of a fully distributed collaboration environment with particular attention to questions of informal communication. Finally, it describes how the tool was deployed in an experimental "web studio" setting and student responses to use of the tool.
keywords	Virtual Design Studio, Collaboration, Online Communities, Web Tools
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:52

_id	f08d
authors	Abrahamson, S., Wallace, D., Senin, N. and Sferro, P.
year	2000
title	Integrated design in a service marketplace
source	Computer-Aided Design, Vol. 32 (2) (2000) pp. 97-107
summary	This paper presents a service marketplace vision for enterprise-wide integrated design modeling. In this environment, expert participants and product developmentorganizations are empowered to publish their geometric design, CAE, manufacturing, or marketing capabilities as live services that are operable over the Internet. Theseservices are made available through a service marketplace. Product developers, small or large, can subscribe to and flexibly inter-relate these services to embody adistributed product development organization, while simultaneously creating system models that allow the prediction and analysis of integrated product performance. It ishypothesized that product development services will become commodities, much like many component-level products are today. It will be possible to rapidly interchangeequivalent design service providers so that the development of the product and the definition of the product development organization become part of the same process.Computer-aided design tools will evolve to facilitate the publishing of live design services. A research prototype system called DOME is used to illustrate the concept and apilot study with Ford Motor Company is used in a preliminary assessment of the vision.
keywords	Integrated Modeling, System Modeling, Design Service Marketplace
series	journal paper
email
last changed	2003/05/15 21:33

_id	125a
authors	Dikbas, Attila
year	1999
title	An Evaluating Model for the Usage of Web-based Information Technology in Computer Aided Architectural Design and Engineering Education
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 349-352
doi	https://doi.org/10.52842/conf.ecaade.1999.349
summary	New technologies often reshape expectations, needs and Opportunities so as to develop strategic Plans for the implementation of Information Techniques in education and research. The widespread acceptance of the internet and more specifically the World Wide Web (WWW) has raised the awareness of educators to the potential for online education, virtual classrooms and even virtual universities. With the advent of computer mediated communication, especially the widespread adoption of the web as a publishing medium, educators see the advantages and potential of delivering educational material over the Internet. The Web offers an excellent medium for content delivery with full text, colour graphics support and hyperlinks. The Purpose of this paper is to present a model for the usage of web-based information technology in computer aided architectural design and engineering education. It involves the key features of a full educational system that is capable of offering the teacher and the student flexibility with which to approach their teaching and learning tasks in ways most appropriate to the architectural design and engineering education. Web-based educational system aims at creating quality in on-line educational materials taking collaboration, support, new skills, and, most of all, time. The paper concludes with a discussion of the benefits of such an education system suggesting directions for further work needed to improve the quality of architectural design and engineering education.
keywords	Web-based Information Technology, Online Education, Virtual Campus, Computer Aided Architectural Design, Engineering Education
series	eCAADe
last changed	2022/06/07 07:55

_id	1ead
authors	Dinand, Munevver Ozgur and Ozersay, Fevzi
year	1999
title	CAAD Education under the Lens of Critical Communication Theories and Critical Pedagogy: Towards a Critical Computer Aided Architectural Design Education (CCAADE)
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 86-93
doi	https://doi.org/10.52842/conf.ecaade.1999.086
summary	Understanding the dominant ethos of our age is imperative but not easy. However it is quite evident that new technologies have altered our times. Every discipline is now forced to be critical in developing new concepts according to the realities of our times. Implementing a critical worldview and consciousness is now more essential than ever. Latest changes in information technology are creating pressure on change both in societal and cultural terms. With its direct relation to these technologies, computer aided architectural design education, is obviously an outstanding / prominent case within contemporary debate. This paper aims to name some critical points related to computer aided architectural design education (CAADE) from the perspective of critical communication studies and critical education theories. It tries to relate these three areas, by introducing their common concepts to each other. In this way, it hopes to open a path for a language of critique. A critique that supports and promotes experimentation, negotiation, creativity, social consciousness and active participation in architectural education in general, and CAADE in specific. It suggests that CAADE might become critical and produce meta-discourses [1 ] in two ways. Firstly, by being critical about the context it exists in, that is to say, its relationships to the existing institutional and social structures and secondly by being critical about the content it handles; in other words by questioning its ideological dimensions. This study considers that analysing the role of CAADE in this scheme can provide architectural education with the opportunity to make healthy projections for the future.
keywords	Critical Theories, Critical Pedagogy, Critical CAADE
series	eCAADe
email
last changed	2022/06/07 07:55

_id	389b
authors	Do, Ellen Yi-Luen
year	2000
title	Sketch that Scene for Me: Creating Virtual Worlds by Freehand Drawing
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. 265-268
doi	https://doi.org/10.52842/conf.ecaade.2000.265
summary	With the Web people can now view virtual threedimensional worlds and explore virtual space. Increasingly, novice users are interested in creating 3D Web sites. Virtual Reality Modeling Language gained ISO status in 1997, although it is being supplanted by the compatible Java3D API and alternative 3D Web technologies compete. Viewing VRML scenes is relatively straightforward on most hardware platforms and browsers, but currently there are only two ways to create 3D virtual scenes: One is to code the scene directly using VRML. The other is to use existing CAD and modeling software, and save the world in VRML format or convert to VRML from some other format. Both methods are time consuming, cumbersome, and have steep learning curves. Pen-based user interfaces, on the other hand, are for many an easy and intuitive method for graphics input. Not only are people familiar with the look and feel of paper and pencil, novice users also find it less intimidating to draw what they want, where they want it instead of using a complicated tool palette and pull-down menus. Architects and designers use sketches as a primary tool to generate design ideas and to explore alternatives, and numerous computer-based interfaces have played on the concept of "sketch". However, we restrict the notion of sketch to freehand drawing, which we believe helps people to think, to envision, and to recognize properties of the objects with which they are working. SKETCH employs a pen interface to create three-dimensional models, but it uses a simple language of gestures to control a three-dimensional modeler; it does not attempt to interpret freehand drawings. In contrast, our support of 3D world creation using freehand drawing depend on users’ traditional understanding of a floor plan representation. Igarashi et al. used a pen interface to drive browsing in a 3D world, by projecting the user’s marks on the ground plane in the virtual world. Our Sketch-3D project extends this approach, investigating an interface that allows direct interpretation of the drawing marks (what you draw is what you get) and serves as a rapid prototyping tool for creating 3D virtual scenes.
keywords	Freehand Sketching, Pen-Based User Interface, Interaction, VRML, Navigation
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:55

_id	ga0021
id	ga0021
authors	Eacott, John
year	2000
title	Generative music composition in practice - a critical evaluation
source	International Conference on Generative Art
summary	This critical evaluation will discuss 4 computer based musical works which, for reasons I shall explain, I describe as non-linear or generative. The works have been constructed by me and publicly performed or exhibited during a two year period from October 1998 to October 2000. ‘In the beginning…’ interactive music installation, strangeAttraction, Morley Gallery, London. July 1999 ‘jnrtv’ live generative dance music May 1999 to Dec 2000 ‘jazz’ interactive music installation, another strangeAttraction Morley Gallery, London. July 2000-09-26 ‘the street’ architectural interactive music installation, University of Westminster Oct 2000 Introduction I have always loved the practice of composing, particularly when it means scoring a work to be played by a live ensemble. There is something about taking a fresh sheet of manuscript , ruling the bar lines, adding clefs, key and time signatures and beginning the gradual process of adding notes, one at a time to the score until it is complete that is gratifying and compensates for the enormous effort involved. The process of scoring however is actually one distinct act within the more general task of creating music. Recently, the notion of ‘composing’ has met challenges through an increased interest in non-linear compositional methods. It is actually the presence of Chaotic or uncontrolable elements which add real beauty to music and many if not all of the things we value. If we think of a sunset, waves lapping on the shore, plants, trees a human face and the sound of the human voice, these things are not perfect and more importantly perhaps, they are transient, constantly changing and evolving. Last year and again this year, I have organised an exhibition of interactive , non-linear music installations called 'strangeAttraction'. The title refers to what Edward Lorenz called a ‘strange attractor’ the phenomenon that despite vast degrees of Chaos and uncertainty within a system, there is a degree of predictability, the tendency for chaotic behaviour to ‘attract’ towards a probable set of outcomes. Composition that deals with 'attractors' or probable outcomes rather than specific details which are set in stone is an increasingly intriguing notion.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	fa1b
authors	Haapasalo, H.
year	2000
title	Creative computer aided architectural design An internal approach to the design process
source	University of Oulu (Finland)
summary	This survey can be seen as quite multidisciplinary research. The basis for this study has been inapplicability of different CAD user interfaces in architectural design. The objective of this research is to improve architectural design from the creative problem-solving viewpoint, where the main goal is to intensify architectural design by using information technology. The research is linked to theory of methods, where an internal approach to design process means studying the actions and thinking of architects in the design process. The research approach has been inspired by hermeneutics. The human thinking process is divided into subconscious and conscious thinking. The subconscious plays a crucial role in creative work. The opposite of creative work is systematic work, which attempts to find solutions by means of logical inference. Both creative and systematic problem solving have had periods of predominance in the history of Finnish architecture. The perceptions in the present study indicate that neither method alone can produce optimal results. Logic is one of the tools of creativity, since the analysis and implementation of creative solutions require logical thinking. The creative process cannot be controlled directly, but by creating favourable work conditions for creativity, it can be enhanced. Present user interfaces can make draughting and the creation of alternatives quicker and more effective in the final stages of designing. Only two thirds of the architects use computers in working design, even the CAD system is being acquired in greater number of offices. User interfaces are at present inflexible in sketching. Draughting and sketching are the basic methods of creative work for architects. When working with the mouse, keyboard and screen the natural communication channel is impaired, since there is only a weak connection between the hand and the line being drawn on the screen. There is no direct correspondence between hand movements and the lines that appear on the screen, and the important items cannot be emphasized by, for example, pressing the pencil more heavily than normally. In traditional sketching the pen is a natural extension of the hand, as sketching can sometimes be controlled entirely by the unconscious. Conscious efforts in using the computer shift the attention away from the actual design process. However, some architects have reached a sufficiently high level of skill in the use of computer applications in order to be able to use them effectively in designing without any harmful effect on the creative process. There are several possibilities in developing CAD systems aimed at architectural design, but the practical creative design process has developed during a long period of time, in which case changing it in a short period of time would be very difficult. Although CAD has had, and will have, some evolutionary influences on the design process of architects as an entity, the future CAD user interface should adopt its features from the architect's practical and creative design process, and not vice versa.
keywords	Creativity, Systematicism, Sketching
series	thesis:PhD
email
more	http://herkules.oulu.fi/isbn9514257545/
last changed	2003/02/12 22:37

_id	ddssar0014
id	ddssar0014
authors	Janssen, P., Frazer, J. and Ming-xi, T.
year	2000
title	Evolutionary design systems: a conceptual framework for the creation of generative processes
source	Timmermans, Harry (Ed.), Fifth Design and Decision Support Systems in Architecture and Urban Planning - Part one: Architecture Proceedings (Nijkerk, the Netherlands)
summary	This paper presents an conceptual framework for the construction of generative mapping processes as a basis for creating active design tools in the domain of architecture. Such generative processes are seen as key components within evolutionary systems that manipulate populations of alternative solutions in order to discover previously unexplored possibilities. Solutions are represented in two forms: as highly encoded genotypes referred to as design seeds and as decoded phenotypes referred to as design proposals. The generative process maps the design seed to the design proposal. The discussion of generative processes is in two parts. In the first part it is argued that any generative process that aims to create a wide range of solutions that differ from each other in fundamental ways must focus on a limited subcategory of possible designs. It is proposed that the endeavour to create active design tools demands that the focus be on the designer's highly personalised style, called a design-schema. The second part discusses how to uncover the essence of an architectural design-schema. In particular, it is argued that implicit and familiar aspects of buildings must be scrutinised in order to reveal the knowledge that is essential to capturing and codifying a design-schema. A range of rationalisations and conceptualisations of built form are presented with examples to illustrate possible routes of analysis. Finally, in conclusion, the possibility of discovering universal generators common to many divers generative processes are discussed.
series	DDSS
last changed	2003/08/07 16:36

_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	sigradi2008_081
id	sigradi2008_081
authors	Kirschner, Ursula
year	2008
title	Study of digital morphing tools during the design process - Application of freeware software and of tools in commercial products as well as their integration in AutoCAD
source	SIGraDi 2008 - [Proceedings of the 12th Iberoamerican Congress of Digital Graphics] La Habana - Cuba 1-5 December 2008
summary	This research work examines methods of experimental designing with CAAD in a CAD laboratory with architecture students as the testing persons. Thereby the main focus is on the early phase of finding forms, in which different techniques with digital media are tried out in the didactic architectural design lessons. In these work have been traced the influences of the media employed on the design processes and combined the approaches of current CAAD research with aspects from classic design theory. For mathematical rules of proportion, atmospheric influence factors and analogy concepts in architecture, I have developed design methods which have been applied and verified in several series of seminars. (Kirschner, U.: 2000, Thesis, a CAAD supported architectural design teaching, Hamburg, school of arts). Previous experimental exercises showed that morphological sequences of modeling are effective sources for playful designing processes. In the current work these approaches are enhanced and supplemented by different morphological architectural concepts for creating shapes. For this purpose 2D based software like Morphit, Winmorph and other freeware were used. Whereas in the further development of this design technique we used 3D freeware morphing programs like zhu3D or Blender. The resulting morphological shapes were imported in CAD and refined. Ideally the morphing tool is integrated in the modeling environment of the standard software AutoCAD. A digital city model is the starting basis of the design process to guarantee the reference to the reality. The applied design didactic is predicated on the theories of Bernhard Hoesli. The act of designing viewed as „waiting for a good idea“ is, according to him, unteachable; students should, in contrast, learn to judge the „the force of an idea“. On the subject of morphology a form-generating method in the pre-design phase has been tested. Starting from urban-planning lines on an area map, two simple geometric initial images were produced which were merged by means of morphing software. Selected images from this film sequence were extruded with CAAD to produce solid models as sectional drawings. The high motivation of the students and the quality of the design results produced with these simple morphing techniques were the reason for the integration of the artistic and scientific software into the creative shape modeling process with the computer. The students learned in addition to the „bottom up “and „ top down” new design methods. In the presentation the properties and benefits of the morphing tools are presented in tables and are analyzed with regard to the architectural shape generating in an urban context. A catalogue of criteria with the following topics was developed: user friendliness, the ability of integrating the tools or as the case may be the import of data into a CAD environment, the artistic aspects in terms of the flexibility of shape generating as well as the evaluation of the aesthetic consideration of shapes.
keywords	Architectural design, freeware morphing software, AutoCAD
series	SIGRADI
email
last changed	2016/03/10 09:53

_id	00d5
authors	Liou, ShuennRen and Chyn, TaRen
year	2000
title	Constructing Geometric Regularity underlying Building Facades
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. 313-315
doi	https://doi.org/10.52842/conf.ecaade.2000.313
summary	Geometric regularity constitutes a basis for designers to initiate the formulation of building shapes and urban forms. For example, Le Corbusier considers the regulating line "an inevitable element of architecture" and uses it as a "means" for understanding and creating good designs. Thomas Beeby argues that the acquisition of knowledge on geometric construction plays a crucial role in the education of architecture design. This paper illustrates a computational approach to constructing the regularity of architectural geometry. The formal structure underlying a single façade and continuous façades are examined.
keywords	Geometric Regularity, Building Facades, Cluster Analysis, CAAD
series	eCAADe
email
more	http://www.uni-weimar.de/ecaade/
last changed	2022/06/07 07:59

_id	ga0014
id	ga0014
authors	McGuire, Kevin
year	2000
title	Controlling Chaos: a Simple Deterministic System for Creating Complex Organic Shapes
source	International Conference on Generative Art
summary	It is difficult and frustrating to create complex organic shapes using the current set of computer graphic programs. One reason is because the geometry of nature is different from that of our tools. Its self-similarity and fine detail are derived from growth processes that are very different from the working process imposed by drawing programs. This mismatch makesit difficult to create natural looking artifacts. Drawing programs provide a palette of shapes that may be manipulated in a variety ways, but the palette is limited and based on a cold Euclidean geometry. Clouds, rivers, and rocks are not lines or circles. Paint programs provide interesting filters and effects, but require great skill and effort. Always, the details must be arduously managed by the artist. This limits the artist's expressive power. Fractals have stunning visual richness, but the artist's techniques are limited to those of choosing colours and searching the fractal space. Genetic algorithms provide a powerful means for exploring a space of variations, but the artist's skill is limited by the very difficult ability to arrive at the correct fitness function. It is hard to get the picture you wanted. Ideally, the artist should have macroscopic control over the creation while leaving the computer to manage the microscopic details. For the result to feel organic, the details should be rich, consistent and varied, cohesive but not repetitious. For the results to be reproducible, the system should be deterministic. For it to be expressive there should be a cause-effect relationship between the actions in the program and change in the resulting picture. Finally, it would be interesting if the way we drew was more closely related to the way things grew. We present a simple drawing program which provides this mixture of macroscopic control with free microscopic detail. Through use of an accretion growth model, the artist controls large scale structure while varied details emerge naturally from senstive dependence in the system. Its algorithms are simple and deterministic, so its results are predictable and reproducible. The overall resulting structure can be anticipated, but it can also surprise. Despite its simplicity, it has been used to generate a surprisingly rich assortment of complex organic looking pictures.
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	0c63
authors	Montagu, Arturo, Rodriguez Barros, Diana and Chernobilsky, Lilia B.
year	1999
title	Design, Qualitative Analysis and Digital Media: An Experimental Pedagogic Approach to the Cultural Evaluation and Integration of Media
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 127-135
doi	https://doi.org/10.52842/conf.ecaade.1999.127
summary	Globalization is a multidimensional process which impregnates all the facts and events of our present culture and, as a by-product of this situation, there is a set of complex relationships where "intuitive behavior plus knowledge and information technology" are central issues of the new pedagogic procedures of our times. In this paper we assume by "knowledge" the data obtained from a set of relationships orientated towards the "heuristic approach" from the point of view of "qualitative analysis" concepts (Muhr 91). Our main "provisional hypothesis" is to use this methodology to control the analysis-synthesis process as a continuous procedure during the design stages. One particular aspect of this view is going through the "informatic culture phenomena" which is the base of the present "turning point" of design procedures in most of the architectural and design schools around the world. This paper discusses how "media" is affecting the "design process" regarding three aspects: the conceptual, the instrumental and the representational one. These aspects are affecting also the cultural models and creating new paradigms in the way how new design methodologies combine "heuristics procedures" with the growing set of computer graphics parameters.
keywords	Architecture, Design, Qualitative Analysis, Digital Media
series	eCAADe
email
last changed	2022/06/07 07:58

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

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

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