Cumincad : CUMINCAD Papers : Search Results

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

PDF papers
References

Hits 1 to 20 of 366

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

_id	1a3d
authors	Willey, David
year	1999
title	Sketchpad to 2000: From Computer Systems to Digital Environments
source	Architectural Computing from Turing to 2000 [eCAADe Conference Proceedings / ISBN 0-9523687-5-7] Liverpool (UK) 15-17 September 1999, pp. 526-532
doi	https://doi.org/10.52842/conf.ecaade.1999.526
summary	It can be argued that over the last thirty five years computer aided architectural design (CAAD) has made little impact in terms of aiding design. The paper provides a broadbrush review of the last 35 years of CAAD research and suggests that the SKETCHPAD notion that has dominated CAAD since 1963 is now a flawed concept. Then the discipline was replete with Modernist concepts of optimal solutions, objective design criteria and universal design standards. Now CAD needs to proceed on the basis of the Post Modern ways of thinking and designing opened up by digital techniques - the Internet, multimedia, virtual reality, electronic games, distance learning. Computers facilitate information flow and storage. In the late seventies and eighties the CAAD research community's response to the difficulties it had identified with the construction of integrated digital building models was to attempt to improve the intelligence of the computer systems to better match the understanding of designers. Now it is clear that the future could easily lie with CAAD systems that have almost no intelligence and make no attempt to aid the designer. Communication is much more central to designing than computing.
keywords	History, Intelligence, Interface, Sketchpad, Web
series	eCAADe
email
last changed	2022/06/07 07:56

_id	8d59
authors	Andersen, J.M.
year	1983
title	CAD in Architectural Practice
source	Mechanical Engineering. July, 1983. pp. 48-54 : ill. includes a short bibliography
summary	A leading architecture/engineering firm has made use of in- house computer system since 1963. This paper discusses some special topics in using computers for the design of HVAC systems, and the process of implementing CAD in the HVAC engineering practice
keywords	computer graphics, HVAC, applications, practice, architecture
series	CADline
last changed	2003/06/02 13:58

_id	cf2011_p051
id	cf2011_p051
authors	Cote, Pierre; Mohamed-Ahmed Ashraf, Tremblay Sebastien
year	2011
title	A Quantitative Method to Compare the Impact of Design Mediums on the Architectural Ideation Process.
source	Computer Aided Architectural Design Futures 2011 [Proceedings of the 14th International Conference on Computer Aided Architectural Design Futures / ISBN 9782874561429] Liege (Belgium) 4-8 July 2011, pp. 539-556.
summary	If we compare the architectural design process to a black box system, we can assume that we now know quite well both inputs and outputs of the system. Indeed, everything about the early project either feasibility studies, programming, context integration, site analysis (urban, rural or natural), as well as the integration of participants in a collaborative process can all be considered to initiate and sustain the architectural design and ideation process. Similarly, outputs from that process are also, and to some extent, well known and identifiable. We are referring here, among others, to the project representations or even to the concrete building construction and its post-evaluation. But what about the black box itself that produces the ideation. This is the question that attempts to answer the research. Currently, very few research works linger to identify how the human brain accomplishes those tasks; how to identify the cognitive functions that are playing this role; to what extent they operate and complement each other, and among other things, whether there possibly a chain of causality between these functions. Therefore, this study proposes to define a model that reflects the activity of the black box based on the cognitive activity of the human brain. From an extensive literature review, two cognitive functions have been identified and are investigated to account for some of the complex cognitive activity that occurs during a design process, namely the mental workload and mental imagery. These two variables are measured quantitatively in the context of real design task. Essentially, the mental load is measured using a Bakan's test and the mental imagery with eyes tracking. The statistical software G-Power was used to identify the necessary subject number to obtain for significant variance and correlation result analysis. Thus, in the context of an exploratory research, to ensure effective sample of 0.25 and a statistical power of 0.80, 32 participants are needed. All these participants are students from 3rd, 4th or 5th grade in architecture. They are also very familiar with the architectural design process and the design mediums used, i.e., analog model, freehand drawing and CAD software, SketchUp. In three experimental sessions, participants were asked to design three different projects, namely, a bus shelter, a recycling station and a public toilet. These projects were selected and defined for their complexity similarity, taking into account the available time of 22 minutes, using all three mediums of design, and this in a randomly manner to avoid the order effect. To analyze the two cognitive functions (mental load and mental imagery), two instruments are used. Mental imagery is measured using eye movement tracking with monitoring and quantitative analysis of scan paths and the resulting number and duration of participant eye fixations (Johansson et al, 2005). The mental workload is measured using the performance of a modality hearing secondary task inspired by Bakan'sworks (Bakan et al.; 1963). Each of these three experimental sessions, lasting 90 minutes, was composed of two phases: 1. After calibrating the glasses for eye movement, the subject had to exercise freely for 3 minutes while wearing the glasses and headphones (Bakan task) to get use to the wearing hardware. Then, after reading the guidelines and criteria for the design project (¬± 5 minutes), he had 22 minutes to execute the design task on a drawing table allowing an upright posture. Once the task is completed, the subject had to take the NASA TLX Test, on the assessment of mental load (¬± 5 minutes) and a written post-experimental questionnaire on his impressions of the experiment (¬± 10 minutes). 2. After a break of 5-10 minutes, the participant answered a psychometric test, which is different for each session. These tests (¬± 20 minutes) are administered in the same order to each participant. Thus, in the first experimental session, the subject had to take the psychometric test from Ekstrom et al. (1978), on spatial performance (Factor-Referenced Cognitive Tests Kit). During the second session, the cognitive style is evaluated using Oltman's test (1971). Finally, in the third and final session, participant creativity is evaluated using Delis-Kaplan test (D-KEFS), Delis et al. (2001). Thus, this study will present the first results of quantitative measures to establish and validate the proposed model. Furthermore, the paper will also discuss the relevance of the proposed approach, considering that currently teaching of ideation in ours schools of architecture in North America is essentially done in a holistic manner through the architectural project.
keywords	design, ideation process, mental workload, mental imagery, quantitative mesure
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	b88f
authors	Heywood, Ian and Cornelius, Sarah
year	1963
title	An Introduction to GIS
source	Prentice Hall Series in Geographic Information Science, ed. Keith Clarke. Upper Saddle River, NJ: Prentice Hall
summary	This authoritative book offers an up-to-date introduction to the world of Geographical Information Systems. It is designed to be easy to use for students at all levels, from undergraduates to professionals retraining in GIS. The book focuses on the practical applications of GIS, and considers how the technology works. Each chapter addresses a specific theme and is backed up with examples, case studies, directed reading and additional resources on a web site. The book can be used to give the reader a quick tour through the world of GIS, to help the reader develop a thorough understanding of GIS or as a source of reference information. Introduction to Geographical Information Systems is an ideal text for undergraduates, postgraduates and professionals following courses in GIS. It has been adopted as a set text for the international UNIGIS Postgraduate Diploma in GIS by distance learning.
series	other
last changed	2003/04/23 15:14

_id	1d2b
authors	Minsky, M.
year	1963
title	Steps toward artificial intelligence
source	E.A. Feigenbaum & J. Feldman, eds., Computers and Thought (McGraw-Hill, New York) 406-450.
summary	The problems of heuristic programming-of making computers solve really difficult problems-are divided into five main areas: Search, Pattern-Recognition, Learning, Planning, and Induction. Wherever appropriate, the discussion is supported by extensive citation of the literature and by descriptions of a few of the most successful heuristic (problem-solving) programs constructed to date. The adjective "heuristic," as used here and widely in the literature, means related to improving problem-solving performance; as a noun it is also used in regard to any method or trick used to improve the efficiency of a problem-solving system. A "heuristic program," to be considered successful, must work well on a variety of problems, and may often be excused if it fails on some. We often find it worthwhile to introduce a heuristic method, which happens to cause occasional failures, if there is an over-all improvement in performance. But imperfect methods are not necessarily heuristic, nor vice versa. Hence "heuristic" should not be regarded as opposite to "foolproof"; this has caused some confusion in the literature.
series	other
email
last changed	2003/04/23 15:50

_id	2
authors	Montagu, Arturo
year	1998
title	Desde La Computacion Grafica a los Sistemas CAD Actuales. Una Vision Historica de la Revolucion Producida en los Sistemas de Representacion Grafica (1966-1998) (From Graphical Computation to Present CAD Systems. An Historical Vision of the Revolution Produced in the Systems of Graphical Representation (1966-1998))
source	II Seminario Iberoamericano de Grafico Digital [SIGRADI Conference Proceedings / ISBN 978-97190-0-X] Mar del Plata (Argentina) 9-11 september 1998, pp. 14-21
summary	Throughout these pages are made known the persons, the projects and the books that have influenced my actions and that they will be mentioned in form underlined in this paper. I have to emphasize that since 1965 to 1970, and in the continuous search that I was accomplishing to find data and bibliography adapted to the topic of computer graphics, only two series of publications contained topics related to this matter at that time: one was the IBM Journal and the other series was the communications of the ACM. The purpose of this work is to make known an experience accomplished throughout 30 years of intense activity in finding new methods of drawing and design, based on the use of digital computers, mainly in Argentina, and during certain periods of time in Great Britain and since 1971 during short visits to the United States and also in France. The first idea emerged in the year 1965 when I was assistant teacher at the School of Architecture of the University of Buenos Aires, as a combination of ideas between the concepts of spatial geometry and the current morphological studies that we taught in the Course of professor Gaston Breyer. However the idea of automatic drawing emerged observing the operation of the first scientific digital computer installed in the Computing Institute of the Faculty of Sciences of the University of Buenos Aires in 1963 (Sadosky 1963). At the beginning, the approach to the computer were not accomplished from a strictly scientific point of view, but it was implying a kind of "sincresis" (Koheler 1940) it is more than a synthesis, because I was tried to combine ideas that have had its origin in different worlds of thinking, the analogous world and the digital world, and this situation was very difficult to accept at that time.The designing procedures in the decade 1960's was deeply rooted (and still continues) in the architectural design field as a result of a drawing process based in heuristic techniques.
series	SIGRADI
email
last changed	2016/03/10 09:55

_id	5680
authors	Sutherland, E.
year	1963
title	Sketchpad, A Man-Machine Graphical Communication System
source	Proceedings 1963 Spring Joint Computer Conference AFIPS, 1963: Vol. 23
summary	The Sketchpad system makes it possible for a man and a computer to converse rapidly through the medium of line drawings. Heretofore, most interaction between man and computers has been slowed down by the need to reduce all communication to written statements that can be typed; in the past, we have been writing letters to rather than conferring with our computers, For many types of communication, such as describing the shape of a mechanical part or the connections of an electrical circuit, typed statements can prove cumbersome. The Sketehpad system, by eliminating typed statements (except for legends) in favor of line drawings, opens up a new area of man-machine communication.
series	other
last changed	2003/04/23 15:50

_id	d1ed
authors	Sutherland, Ivan Edward
year	1963
title	SKETCHPAD: A MAN-MACHINE GRAPHICAL COMMUNICATION SYSTEM
source	Massachusetts Institute of Technology, Lincoln Laboratory, Lexington, Mass.
keywords	Sketchpad (Computer Program); Computer Graphics
series	thesis:PhD
type	normal paper
last changed	2005/09/12 17:06

_id	1963
authors	Tweed, Chris and Woolley, Tom
year	1992
title	USER PARTICIPATION IN DESIGN: TECHNIQUES FOR DIALOGUE
source	Proceedings of the 4rd European Full-Scale Modelling Conference / Lausanne (Switzerland) 9-12 September 1992, Part B, pp. 17-24
summary	Many projects in which users participate in the design process are merely examples of professionals communicating their ideas to their clients. Conventional computer systems can be powerful tools for helping designers to present design informations to lay audiences, but when combined with computer modelling and simulation, they create opportunities for users to construct their own sequences of images and thus explore designs from their own viewpoint. Building on extensive experience of traditional methods of user participation, this paper explores the use of narratives to create dialogues between users, designers and computers. The concept of "design stories" as a route to fully shared creativity is explained. The paper also argues that this approach is needed to bring into focus design issues that cannot be described or resolved by computer modelling alone.
keywords	Full-scale Modeling, Model Simulation, Real Environments
series	other
type	normal paper
more	http://info.tuwien.ac.at/efa
last changed	2004/05/04 15:41

_id	acadia08_390
id	acadia08_390
authors	Vrana, Andrew; Joe Meppelink; Ben Nicholson
year	2008
title	New Harmony Grotto
source	Silicon + Skin: Biological Processes and Computation, [Proceedings of the 28th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) / ISBN 978-0-9789463-4-0] Minneapolis 16-19 October 2008, 390-399
doi	https://doi.org/10.52842/conf.acadia.2008.390
summary	With the expanding wave of contemporary architecture inspired and informed by biomorphic design and biomimetic processes, the re-evaluation of work of Frederick Kiesler has become immanent. Throughout the mid 20th century he became increasingly interested in the relationship of natural form and structure to architectural space and organization. The Grotto for Meditation proposed in 1963 for New Harmony, Indiana commissioned by Mrs. Jane Blaffer-Owen was the culmination of his life’s work. Though the project was not realized, it embodies all of the influences of his time from surrealism to biology and cybernetic theory. Through our university and the Blaffer Foundation, we engaged in formal research and tectonic resolution of the project employing digital modeling and fabrication technologies at our College and in Houston where Mrs. Owen lives when she is not in New Harmony. We based this project on the full catalog of archival material made available to us with support from the Blaffer and Kielser Foundations. Our exploration also was influenced by discussions with Mrs. Blaffer-Owen who is still very interested in realizing this profoundly interesting and enigmatic project. Our university has opened the door to the opportunity that our reinterpreted Grotto become a permanent fixture on the campus next to a wetland landscape that it is currently under construction. Our research into Kiesler has engaged his esoteric concepts of “co-realism” and “continuous tension” as well as his early use of recursive geometry and biomorphic form in design. From reverse engineering and digital fabrication via 3D scanning to generative structural articulation, we are experimenting with a structural/spatial system that closely aligns with Kiesler’s originally proposed tile patterning dilated into a minimal structure. Our prototypes and the final version will be fabricated by one of the largest commercially for-hire water jet cutter in country and assembled on the site.
keywords	Biomorphic; Digital Fabrication; Prototype; Structure
series	ACADIA
last changed	2022/06/07 07:58

_id	caadria2006_633
id	caadria2006_633
authors	WAN-YU LIU
year	2006
title	THE EMERGING DIGITAL STYLE: Attention shift in architectural style recognition
source	CAADRIA 2006 [Proceedings of the 11th International Conference on Computer Aided Architectural Design Research in Asia] Kumamoto (Japan) March 30th - April 2nd 2006, 633-635
doi	https://doi.org/10.52842/conf.caadria.2006.x.g4f
summary	“Style” has long been an important index to observe the design thinking of designers in architecture. Gombrich (1968) defined style as a particular selection from the alternatives when doing things; Ackerman (1963) considered that a distiguishable ensemble of certain characteristics we call a style; Schapiro (1961) pointed out that style is constant forms, and sometimes the constant elements, qualities and expression; Kirsch (1998), Cha and Gero (1999) thought of style as a form element and shape pattern. As Simon and others referred to, style emerged from the process of problem solving, Chan (1994, 2001) ever devised a serious of experiments to set up the operational definitions of style, further five factors that relate to generating styles. Owing to that the greater part of sketches and drawings in the design process couldn’t be replaced by computer-aided design systems (Eisentraut, 1997), designers must shift between different problem-solving methods while facing different design problems. The purpose in this research is to discuss the influences of computer usage on style generation and style recognition: The employment of certain procedural factors that occurred in the design processes that using conventional media is different from the ones that using computer media? Do personal styles emerge while designers shifting between different media in the design processes? Does any unusual phenomenon emerge while accustomed CAD-systems designers recognizing a style?
series	CAADRIA
email
last changed	2022/06/07 07:49

_id	acadia13_281
id	acadia13_281
authors	Ahlquist, Sean; Menges, Achim
year	2013
title	Frameworks for Computational Design of Textile Micro-Architectures and Material Behavior in Forming Complex Force-Active Structures
source	ACADIA 13: Adaptive Architecture [Proceedings of the 33rd Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-1-926724-22-5] Cambridge 24-26 October, 2013), pp. 281-292
doi	https://doi.org/10.52842/conf.acadia.2013.281
summary	Material behavior can be defined as the confluence of associative rules, contextual pressures and constraints of materialization. In more general terms, it can be parameterized as topologies, forces and materiality. Forming behavior means resolving the intricate matrix of deterministic and indeterministic factors that comprise and interrelate each subset of these material- nherent conditions. This requires a concise design framework which accumulates the confluent behavior through successive and cyclical exchange of multiple design modes, rather than through a single design environment or set of prescribed procedures. This paper unfolds a sequencing of individual methods as part of a larger design framework, described through the development of a series of complex hybrid- structure material morphologies. The “hybrid” nature reflects the integration of multiple force-active structural concepts within a single continuous material system, devising both self-organized yet highly articulated spatial conditions. This leads primarily to the development of what is termed a “textile hybrid” system: an equilibrium state of tensile surfaces and bending-active meshes. The research described in this paper looks to expose the structure of the textile as an indeterministic design parameter, where its architecture can be manipulated as means for exploring and differentiating behavior. This is done through experimentation with weft-knitting technologies, in which the variability of individual knit logics is instrumentalized for simultaneously articulating and structuring form. Such relationships are shown through an installation constructed at the ggggallery in Copenhagen, Denmark.
keywords	Material Behavior, Spring-based Simulation, CNC Knitting, Form- and Bending-Active, Textile Hybrid Structures.
series	ACADIA
type	Normal Paper
email
last changed	2022/06/07 07:54

_id	ga9926
id	ga9926
authors	Antonini, Riccardo
year	1999
title	Let's Improvise Together
source	International Conference on Generative Art
summary	The creators of ‘Let's-Improvise-Together’ adhere to the idea that while there is a multitude of online games now available in cyberspace, it appears that relatively few are focused on providing a positive, friendly and productive experience for the user. Producing this kind of experience is one the goals of our Amusement Project.To this end, the creation of ‘Let's Improvise Together’ has been guided by dedication to the importance of three themes:* the importance of cooperation,* the importance of creativity, and* the importance of emotion.Description of the GameThe avatar arrives in a certain area where there are many sound-blocks/objects. Or he may add sound "property" to existing ones. He can add new objects at will. Each object may represents a different sound, they do not have to though. The avatar walks around and chooses which objects he likes. Makes copies of these and add sounds or change the sounds on existing ones, then with all of the sound-blocks combined make his personalized "instrument". Now any player can make sounds on the instrument by approaching or bumping into a sound-block. The way that the avatar makes sounds on the instrument can vary. At the end of the improvising session, the ‘composition’ will be saved on the instrument site, along with the personalized instrument. In this way, each user of the Amusement Center will leave behind him a unique instrumental creation, that others who visit the Center later will be able to play on and listen to. The fully creative experience of making a new instrument can be obtained connecting to Active Worlds world ‘Amuse’ and ‘Amuse2’.Animated colorful sounding objects can be assembled by the user in the Virtual Environment as a sort of sounding instrument. We refrain here deliberately from using the word musical instrument, because the level of control we have on the sound in terms of rythm and melody, among other parameters, is very limited. It resembles instead, very closely, to the primitive instruments used by humans in some civilizations or to the experience made by children making sound out of ordinary objects. The dimension of cooperation is of paramount importance in the process of building and using the virtual sounding instrument. The instrument can be built on ones own effort but preferably by a team of cooperating users. The cooperation has as an important corolary: the sharing of the experience. The shared experience finds its permanence in the collective memory of the sounding instruments built. The sounding instrument can be seen also as a virtual sculpture, indeed this sculpture is a multimedial one. The objects have properties that ranges from video animation to sound to virtual physical properties like solidity. The role of the user representation in the Virtual World, called avatar, is important because it conveys, among other things, the user’s emotions. It is worth pointing out that the Avatar has no emotions on its own but it simply expresses the emotions of the user behind it. In a way it could be considered a sort of actor performing the script that the user gives it in real-time while playing.The other important element of the integration is related to the memory of the experience left by the user into the Virtual World. The new layout is explored and experienced. The layout is a permanent editable memory. The generative aspects of Let's improvise together are the following.The multi-media virtual sculpture left behind any participating avatar is not the creation of a single author/artist. The outcome of the sinergic interaction of various authors is not deterministic, nor predictable. The authors can indeed use generative algorythm in order to create the texture to be used on the objects. Usually, in our experience, the visitors of the Amuse worlds use shareware programs in order to generate their texture. In most cases the shareware programs are simple fractals generators. In principle, it is possible to generate also the shape of the object in a generative way. Taking into account the usual audience of our world, we expected visitors to use very simple algorythm that could generate shapes as .rwx files. Indeed, noone has attempted to do so insofar. As far as the music is concerned, the availability of shareware programs that allow simple generation of sounds sequences has made possible, for some users, to generate sounds sequences to be put in our world. In conclusion, the Let's improvise section of the Amuse worlds could be open for experimentation on generative art as a very simple entry point platform. We will be very happy to help anybody that for educational purposes would try to use our platform in order to create and exhibit generative forms of art.
series	other
email
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	ascaad2012_022
id	ascaad2012_022
authors	Borham, Ahmad; Lobna Sherif and Osama Tolba
year	2012
title	Resilient Rules - Culture and Computation in Traditional Built Environments
source	CAAD \| INNOVATION \| PRACTICE [6th International Conference Proceedings of the Arab Society for Computer Aided Architectural Design (ASCAAD 2012 / ISBN 978-99958-2-063-3], Manama (Kingdom of Bahrain), 21-23 February 2012, pp. 211-221
summary	This study explores the influence of the socio-cultural rules, based upon Islamic jurisprudence (fiqh), on the complexity of the traditional built environment. This system of rules organized the societal activities, including decisions and activities related to design and construction in the Arab-Islamic city. Considering the city as a complex system, the study will try to show how this rules system made the Arab-Islamic city resilient and adaptive. Complex Adaptive Systems (CAS) are non-linear, self-organizing systems that have the ability to adapt to changing conditions through changing the rules that organize the random autonomous interactions between agents in the environment. This adaptation takes place through gradual gained experience that is reflected in the behavior of agents. This study attempts to interrelate different bodies of literature (Complexity/Chaos theory and built environment studies) in a single framework that aims to show that the socio-cultural rules system based on fiqh was a major factor in the resilience of the traditional built environment. These interrelations are illustrated using a graph called Computational Rules Graph (CRG). The CRG relates the traditional rules system to attributes of complex systems in a graph that can be modeled computationally. Traditional rules (codes of conduct) are proscriptive (non-deterministic), defining what is prohibited, thereby producing autonomous environments where agents had control over their immediate environment. In comparison, contemporary rules of the built environment (building codes) are prescriptive (deterministic), subscribing definite actions that need to take place by the stake-holder (agent) neglecting user needs and preferences. The application of these traditional rules system increased the agent’s autonomy and freedom of action. It also helped establish stronger social networks among agents, which resulted in a resilient environment.
series	ASCAAD
email
more	http://www.ascaad.org/conference/2012/papers/ascaad2012_022.pdf
last changed	2012/05/15 20:46

_id	caadria2020_412
id	caadria2020_412
authors	Capunaman, Ozguc Bertug
year	2020
title	CAM as a Tool for Creative Expression - Informing Digital Fabrication through Human Interaction
source	D. Holzer, W. Nakapan, A. Globa, I. Koh (eds.), RE: Anthropocene, Design in the Age of Humans - Proceedings of the 25th CAADRIA Conference - Volume 1, Chulalongkorn University, Bangkok, Thailand, 5-6 August 2020, pp. 243-252
doi	https://doi.org/10.52842/conf.caadria.2020.1.243
summary	Contemporary digital design and fabrication tools often present deterministic and pre-programmed workflows. This limits the potential for developing a deeper understanding of materials within the process. This paper presents an interactive and adaptive design-fabrication workflow where the user can actively take turns in the fabrication process. The proposed experimental setup utilizes paste extrusion additive manufacturing in tandem with real-time control of an industrial robotic arm. By incorporating a computer-vision based feedback loop, it captures momentary changes in the fabricated artifact introduced by the users to inform the digital representation. Using the updated digital representation, the proposed system can offer simple design hypotheses for the user to evaluate and adapt future toolpaths accordingly. This paper presents the development of the experimental setup and delineates critical concepts and their motivation.
keywords	Computer-Aided Design (CAD) and Manufacturing (CAM); Human Computer Interaction; 3D Printing; Interactive Digital Fabrication; Robotic Fabrication
series	CAADRIA
email
last changed	2022/06/07 07:54

_id	sigradi2006_e070c
id	sigradi2006_e070c
authors	Cardoso, Daniel
year	2006
title	Controlled Unpredictability: Constraining Stochastic Search as a Form-Finding Method for Architectural Design
source	SIGraDi 2006 - [Proceedings of the 10th Iberoamerican Congress of Digital Graphics] Santiago de Chile - Chile 21-23 November 2006, pp. 263-267
summary	Provided with a strict set of rules a computer program can perform the role of a simple designer. Taking advantage of a computer’s processing power, it can also provide an unlimited number of variations in the form while following a given set of constraints. This paper delineates a model for interrelating a rule-based system based on purely architectural considerations with non-deterministic computational procedures in order to provide controlled variations and constrained unpredictability. The experimental model consists of a verisimilar architectural problem, the design of a residential tower with a strict program of 200 units of different types in a given site. Following the interpretation of the program, a set of rules is defined by considering architectural concerns such as lighting, dimensions, circulations, etc. These rules are then encoded in a program that generates form in an unsupervised manner by means of a stochastic search algorithm. Once the program generates a design it’s evaluated, and the parameters on the constraints are adjusted in order to produce a new design. This paper presents a description of the architectural problem and of the rule building process, images and descriptions of three different towers produced, and the code for the stochastic-search algorithm used for generating the form. The succesful evolution of the experiments show how in a computation-oriented design process the interpretation of the problem and the rule setting process play a major role in the production of meaningful form, outlining the shifting role of human designers from form-makers to rule-builders in a computation-oriented design endeavour.
keywords	Architectural Design; Stochastic; Random; Rule-based systems; Form-generation
series	SIGRADI
email
last changed	2016/03/10 09:48

_id	4abb
authors	Carlson, Christopher
year	1993
title	Describing Spaces of Rectangular Dissections via Grammatical Programming
source	CAAD Futures ‘93 [Conference Proceedings / ISBN 0-444-89922-7] (Pittsburgh / USA), 1993, pp. 143-158
summary	For the description of design spaces, grammatical programs offer several advantages over conventional grammars: (1) they integrate rewrite rules with more general non-deterministic functions, (2) they permit a range of programming styles from purely declarative to purely procedural, (3) they can describe spaces Of constrained, parametric designs, and (4) they permit design space descriptions to be developed modularly. We demonstrate these features of grammatical programming by way of a simple example that generates spaces of rectangular dissections.
keywords	Generative Systems, Grammars, Design Spaces, Functional Logic Programming
series	CAAD Futures
last changed	1999/04/07 12:03

_id	ga0019
id	ga0019
authors	Ceccato, Cristiano
year	2000
title	On the Translation of Design Data into Design Form in Evolutionary Design
source	International Conference on Generative Art
summary	The marriage of advanced computational methods and new manufacturing technologies give rise to new paradigms in design process and execution. Specifically, the research concerns itself with the application of Generative and Evolutionary computation to the production of mass-customized products and building components. The work is based on the premise that CAD-CAM should evolve into a dynamic, intelligent, multi-user environment that encourages creativity and actively supports the evolution of individual, mass-customized designs that exhibit common features. The concept of Parametric Design is well established, and chiefly concerns itself with generating design sets that exists within the boundaries of pre-set parametric values. Evolutionary Design extends the notion of parametric control by using rule-based generative algorithms to evolve common families of individual design solutions. These can be optimized according to particular criteria, or can form a wide variety of hierarchically related design solutions, while supporting design intuition. The integration of Evolutionary Design with CAD-CAM, in particular the areas of flexible manufacturing and mass-customization, creates a unique scenario which exploits the full power of both approaches to create a new design-process paradigm that can generate limitless possibilities in a non-deterministic manner within a variable search-space of possible solutions.This paper concerns itself with the technical and philosophical aspects of the codification, generation and translation of data within the evolutionary-parametric design process. The efficiency and relevance of different methods for treating design data form the most fundamental aspect within the realm of CAD/CAM and are crucial to the successful implementation of Evolutionary Design mechanisms. This begins at the level of seeding and progresses through the entire evolutionary sequence, including the codification for evaluation criteria. Furthermore, the integration of digital design mechanisms with CAM and CNC technologies requires further translation of data into manufacturable formats. This paper examines different methods available to system designers and discussed their effect on new paradigms of digital design methods.
keywords	Evolutionary, Parametric, Generative, Data, Format, Objects, Codification
series	other
more	http://www.generativeart.com/
last changed	2003/08/07 17:25

_id	acadia03_033
id	acadia03_033
authors	Ceccato, Cristiano
year	2003
title	From Emergence of Form to the Forming of Logic
source	Connecting >> Crossroads of Digital Discourse [Proceedings of the 2003 Annual Conference of the Association for Computer Aided Design In Architecture / ISBN 1-880250-12-8] Indianapolis (Indiana) 24-27 October 2003, pp. 254-255
doi	https://doi.org/10.52842/conf.acadia.2003.254
summary	Driven by digital design tools and production methods, the interplay of theory and practice in architecture is converging on the notion of process. Process definition and process tools are now an essential part of design, design development, fabrication and construction. The word process itself can be interpreted in different ways, as being deterministic or non-deterministic. Computer programming can be understood as a design process and a structuring mechanism. Rather than making finite designs (products), architects are beginning to understand their roles as toolmakers, developing algorithmic processes that incorporate constraints and intents into software / procedures / programming. New methodologies such as parametric-associative design hierarchies are a clear example of semantic design structuring (a form of grammatical ordering); the creation of hierarchical parametric models can be understood as a form of visual programming. In a deterministic sense, it can be argued that if a process is correct and critical, then by definition so will be the product.
series	ACADIA
email
last changed	2022/06/07 07:55

_id	8cdd
authors	Coyne, Richard
year	1995
title	Multimedia Metaphors in the Design Studio
source	Multimedia and Architectural Disciplines [Proceedings of the 13th European Conference on Education in Computer Aided Architectural Design in Europe / ISBN 0-9523687-1-4] Palermo (Italy) 16-18 November 1995, pp. 129-138
doi	https://doi.org/10.52842/conf.ecaade.1995.129
summary	In this paper I examine some of he ways that multimedia impacts upon the design studio. I show how multimedia affects design products and processes in so far as it is caught up in the metaphors we use in structuring design tasks. But this influence is far from deterministic. Metaphors entail various oppositions, the resolution of which sets the problems for the designer in the particular design situation. The article describes two cases of using multimedia in a design studio teaching situation. The first explores how multimedia brings to light the opposition between the design and the presentation of the design. I explore how students cope with the tensions that arise when using multimedia. The second case study looks at the conventional privileging of the visual over the other senses in architectural design. I describe a design studio in which we deliberately privileged the audile sense over the visual. This was established through the way we set the brief, hut also through the use of multimedia technology. Students used sound recorded from the site in conjunction with MIDI keyboard and sound processing technology to analyse and synthesise sound pertinent to the design of a pavilion at the Circular Quay area on the busy Sydney foreshore. We examine what difference this emphasis upon the audile made to the design process and to the design product, and how multimedia affects design.
series	eCAADe
email
more	http://dpce.ing.unipa.it/Webshare/Wwwroot/ecaade95/Pag_17.htm
last changed	2022/06/07 07:56

For more results click below: