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 931

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

_id	sigradi2010_121
id	sigradi2010_121
authors	Cújar, Vertel Angélica del Carmen; Soto de la Vega Diego Armando; Chica Urzola Juan Ángel
year	2010
title	Objeto virtual de aprendizaje para la didáctica en la enseñanza de modelos M;M;1: infinito y M;M;s: infinito [Virtual learning object for didactics in model teaching: M/M/1: infinite, and M/M/s: infinite]
source	SIGraDi 2010_Proceedings of the 14th Congress of the Iberoamerican Society of Digital Graphics, pp. Bogotá, Colombia, November 17-19, 2010, pp. 121-124
summary	This project presents a virtual learning object (VLO) to be used as systematic tool and virtual Adobe Flash Player, which allows both the public and exhibitors to see more clearly the subject at hand. The study material is based on queuing theory, and will explore a waiting line M/M/1 and infinite population characteristics, which are then transformed to a type M/M/S with infinite population to keep the system charged and to analyze the behavior of management indicators in each case.
keywords	virtual learning object, simulation, queuing theory
series	SIGRADI
email
last changed	2016/03/10 09:50

_id	sigradi2013_208
id	sigradi2013_208
authors	Granero, Adriana; Mabel Clara Brignone
year	2013
title	Educación en Diseño Arquitectónico Basada en el Nexo Cognitivo [Architectural Design Education based on Cognitive Link]
source	SIGraDi 2013 [Proceedings of the 17th Conference of the Iberoamerican Society of Digital Graphics - ISBN: 978-956-7051-86-1] Chile - Valparaíso 20 - 22 November 2013, pp. 542 - 546
summary	The proposed learning experience was intended to mean the creative act and establish a symbiotic perceptual in producing models of representation analogical, digital and digital-analogical manufacturing, this experience was made in the frame of Project DCI-ALA/19.09.01/10/21526/245-654/ALFA GAVIOTA ALFA III (2010) 149 and two developments of thesis. The experimentation was placed in a conceptual and operational level, with a search-oriented perceptual recognition of the limits of the figure. The reconfiguration from a line graph of signature linked to your identity, allowing formal ownership creator, then begin construction of architectural space limit according to these previous strokes.
keywords	Teaching cognitive; Models integrated; Interactivity
series	SIGRADI
email
last changed	2016/03/10 09:52

_id	cf2011_p027
id	cf2011_p027
authors	Herssens, Jasmien; Heylighen Ann
year	2011
title	A Framework of Haptic Design Parameters for Architects: Sensory Paradox Between Content and Representation
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. 685-700.
summary	Architects‚Äîlike other designers‚Äîtend to think, know and work in a visual way. In design research, this way of knowing and working is highly valued as paramount to design expertise (Cross 1982, 2006). In case of architecture, however, it is not only a particular strength, but may as well be regarded as a serious weakness. The absence of non-visual features in traditional architectural spatial representations indicates how these are disregarded as important elements in conceiving space (Dischinger 2006). This bias towards vision, and the suppression of other senses‚Äîin the way architecture is conceived, taught and critiqued‚Äîresults in a disappearance of sensory qualities (Pallasmaa 2005). Nevertheless, if architects design with more attention to non visual senses, they are able to contribute to more inclusive environments. Indeed if an environment offers a range of sensory triggers, people with different sensory capacities are able to navigate and enjoy it. Rather than implementing as many sensory triggers as possible, the intention is to make buildings and spaces accessible and enjoyable for more people, in line with the objective of inclusive design (Clarkson et al. 2007), also called Design for All or Universal Design (Ostroff 2001). Within this overall objective, the aim of our study is to develop haptic design parameters that support architects during design in paying more attention to the role of haptics, i.e. the sense of touch, in the built environment by informing them about the haptic implications of their design decisions. In the context of our study, haptic design parameters are defined as variables that can be decided upon by designers throughout the design process, and the value of which determines the haptic characteristics of the resulting design. These characteristics are based on the expertise of people who are congenitally blind, as they are more attentive to non visual information, and of professional caregivers working with them. The parameters do not intend to be prescriptive, nor to impose a particular method. Instead they seek to facilitate a more inclusive design attitude by informing designers and helping them to think differently. As the insights from the empirical studies with people born blind and caregivers have been reported elsewhere (Authors 2010), this paper starts by outlining the haptic design parameters resulting from them. Following the classification of haptics into active, dynamic and passive touch, the built environment unfolds into surfaces that can act as ‚Äúmovement‚Äù, ‚Äúguiding‚Äù and/or ‚Äúrest‚Äù plane. Furthermore design techniques are suggested to check the haptic qualities during the design process. Subsequently, the paper reports on a focus group interview/workshop with professional architects to assess the usability of the haptic design parameters for design practice. The architects were then asked to try out the parameters in the context of a concrete design project. The reactions suggest that the participating architects immediately picked up the underlying idea of the parameters, and recognized their relevance in relation to the design project at stake, but that their representation confronts us with a sensory paradox: although the parameters question the impact of the visual in architectural design, they are meant to be used by designers, who are used to think, know and work in a visual way.
keywords	blindness, design parameters, haptics, inclusive design, vision
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	caadria2010_026
id	caadria2010_026
authors	Kann, Jeff W. T. and John S. Gero
year	2010
title	Studying designers’ behaviour in collaborative virtual workspaces using quantitative methods
doi	https://doi.org/10.52842/conf.caadria.2010.273
source	Proceedings of the 15th International Conference on Computer Aided Architectural Design Research in Asia / Hong Kong 7-10 April 2010, pp. 273-282
summary	This paper presents a case study comparing the behaviour of designers in a collaborative 3D virtual environment with those in a face-to-face environment using quantitative tools to examine their design protocols. It starts with depicting a design ontology along with two methods of analysis for this investigation. The results in this case show that the 3D environment increases the designer’s Structure activities. The rate of meaningful design communication is slower than the base-line face-to-face session. This communication reflects the rate of design cognition when the design process is “close coupled”. Reviewing the design protocol suggests that the 3D design session composed of both “loosely coupled” and “close coupled” periods. This is consistent with other studies that 3D collaborative tools may encourage “loosely coupled” design process.
keywords	Design behaviour; virtual workspaces; protocol analysis; quantitative methods; design ontology
series	CAADRIA
email
last changed	2022/06/07 07:51

_id	ecaade2010_158
id	ecaade2010_158
authors	Kuo, Jeannette; Zausinger, Dominik
year	2010
title	Scale and Complexity: Multi-layered, multi-scalar agent networks in time-based urban design
doi	https://doi.org/10.52842/conf.ecaade.2010.651
source	FUTURE CITIES [28th eCAADe Conference Proceedings / ISBN 978-0-9541183-9-6] ETH Zurich (Switzerland) 15-18 September 2010, pp.651-657
summary	Urban design, perhaps even more than architecture, is a timedependent discipline. With its multi-layered complexities, from individual buildings to entire regions, decisions made at one level, that may not show effect immediately, may prove to have disastrous consequences further down the line. The need to incorporate time-based simulations in urban modeling, and the demand for a means of evaluating the changes have led to explorations with multi-agent systems in computation that allow for decisions to be decentralized. From the first basic rule-based system of Conway’s Game of Life [1] to recent urban simulations developed at institutions like the ETH Zurich [2], or UCL CASA [3], these programs synthesize the various exigencies into complex simulations so that the designer may make informed decisions. It is however not enough to simply use parametrics in urban design. Rules or desires implemented at one scale may not apply to another, while isolating each scalar layer for independent study reverts to the disjunctive and shortsighted practices of past planning decisions. Central to current parametric research in urban design is the need to deal with multiple scales of urbanism with specific intelligence that can then feed back into the collective system: a networked parametric environment. This paper will present the results from a city-generator, developed in Processing by Dino Rossi, Dominik Zausinger and Jeannette Kuo, using multiagent systems that operate interactively at various scales.
wos	WOS:000340629400070
keywords	Agent-based modeling; Cellular automata; Parametric urbanism; Neural network; Complexity; Genetic algorithm; Urban dynamics
series	eCAADe
email
last changed	2022/06/07 07:52

_id	caadria2010_006
id	caadria2010_006
authors	Martens, Bob and Herbert Peter
year	2010
title	Displacing the frontiers of reconstructed cultural heritage: representation of the non-existing within an urban context
doi	https://doi.org/10.52842/conf.caadria.2010.063
source	Proceedings of the 15th International Conference on Computer Aided Architectural Design Research in Asia / Hong Kong 7-10 April 2010, pp. 63-72
summary	Reconstruction work on more than twenty synagogues in Vienna has been ongoing for more than a decade. The fact that these sacred buildings no longer exist is a pivotal aspect in this undertaking. Research revealed archived material, however, which served as reliable basis for the reconstruction work. The paper focuses on the possibilities and limits of this exploration and discusses the long-term options for handling 3D models and the dissemination of results to a large audience. The appropriate illustration of spatial contexts is another aspect that has been explored. The publication of results in the form of a city guide is in line with the objective of conveying the reconstruction results to a large audience.
keywords	Virtual reconstruction; 3D modelling; visual representation; urban context
series	CAADRIA
type	normal paper
email
last changed	2022/06/07 07:59

_id	ijac20108201
id	ijac20108201
authors	Muslimin, Rizal
year	2010
title	Interweaving Grammar: Reconfiguring Vernacular Structure Through Parametric Shape Grammar
source	International Journal of Architectural Computing vol. 8 - no. 2, 93-110
summary	This paper re-examines the interweaving method to demonstrate how architectural computation can reinterpret the advantages of this traditional crafting techniques for its geometrical compatibility and rule generativity. Firstly, the technique analyzes and reconfigures load distribution of a traditional interwoven surface to mimic its structural principle. Secondly, from this structural reconfiguration, the study applies parametric shape grammar to define interweaving rules. The rules generate various patterns with rigid local materials that fit the size of human hand. The experiment in this study shows that interweaving grammar can generate ornamental-structural components with three different load distributions, three different segmented materials and in three different spatial dimensions (point, line and plane).
series	journal
last changed	2019/05/24 09:55

_id	ascaad2010_271
id	ascaad2010_271
authors	Sharkasi, Nour; Ramzi Hassan and Caroline M. Hagerhal
year	2010
title	Presence in Virtual Cave
source	CAAD - Cities - Sustainability [5th International Conference Proceedings of the Arab Society for Computer Aided Architectural Design (ASCAAD 2010 / ISBN 978-1-907349-02-7], Fez (Morocco), 19-21 October 2010, pp. 271-278
summary	Virtual Reality (VR) is usually recognized as a tool that enables the viewer to move freely in a three dimensional digital environment. In this virtual world, different levels of immersion could be reached. Using VR to visualize sites and places from the past, presents and future is widely acknowledged. This study is making use of a recently installed U-Cave theatre at Birzeit University (BZU) in Palestine and a Con-Cave VR theatre at the Norwegian University of Life Sciences (UMB).In the study, we test hypotheses connected to presence in virtual reality environments, using the case of historical sites. Historical sites in general are important for reasons of cultural identification and environmental integrity. In many historical sites, it is difficult for a layperson to read and understand the meaning of the site, for that the remaining ruins don’t provide enough information. This study will contribute to improving the public understanding for historical sites by unfolding the role of Virtual Reality to overcome the harsh reality of many damaged historical sites. The story-line of the site can be easily portrayed by re-constructing the original site in a virtual environment. The study also elaborates on the enriched sense of presence made possible by implementing different levels of details in the VR environment. Presence in VR environments is usually defined as “being there”, with high consideration of the physical ether of the virtual environment, the definition confines attention to the sensation of place. This study calls for expanding the attention to the dimension of time that is made possible by innovative design of VR environment. The study argues that virtual reality technology does not only provide a 3-D experience to subjects, it can also add a fourth dimension by conveying the unconsciousness of man from the meanwhile moment to a different timeframe. Based on the current knowledge on presence in virtual environments, we will use a questionnaire to measure subjective presence for the two VR theatre systems. The study will make use of the following factors in order to determine the degree of presence in the virtual environment: (1) naturalness of interface design and involvement, (2) control and interaction, (3) quality of technical capabilities, and (4) negative effects. The outcome of the study will verify or falsify some of the following hypotheses: • There is a correlation between modeling techniques and presence. The perception of the visual experience differs between traditional media and an immersive VR environment. • A presentation of a historical site in a VR-Cave environment will increase our subject’s awareness of the identity of the historical site. • The presence level is correlated to previous real exposure. Subjects who had been to a ruined historical site in real life, would experience higher level of presence toward the VR presentation than those who had not been to the historical site in reality. • Because of the display enclosure surround effect, it is believed that presence in a Con-Cave would be higher than of U-Cave VR environment.
series	ASCAAD
type	normal paper
email
last changed	2011/03/01 07:47

_id	acadia15_123
id	acadia15_123
authors	Askarinejad, Ali; Chaaraoui, Rizkallah
year	2015
title	Spatial Nets: the Computational and Material Study of Reticular Geometries
doi	https://doi.org/10.52842/conf.acadia.2015.123
source	ACADIA 2105: Computational Ecologies: Design in the Anthropocene [Proceedings of the 35th Annual Conference of the Association for Computer Aided Design in Architecture (ACADIA) ISBN 978-0-692-53726-8] Cincinnati 19-25 October, 2015), pp. 123-135
summary	Reticular systems are in many aspects a distinct taxonomy of volumetric geometries. In comparison with the conventional embodiment of a ‘volume’ that encapsulates a certain quantity of space with a shell reticular geometries emerge from the accumulation of micro elements to define a gradient of space. Observed in biological systems, such structures result from their material properties and formation processes as well as often ‘simple’ axioms that produce complex results. In micro or macro levels, from forest tree canopies to plant cell walls these porous volumes are not shaped to have a singular ‘solution’ for a purpose; they provide the fundamental geometric characteristics of a ‘line cloud’ that is simultaneously flexible in response to its environment, porous to other systems (light, air, liquids) and less susceptible to critical damage. The porosity of such systems and their volumetric depth also result in kinetic spatial qualities in a 4D architectural space. Built upon a ‘weaving’ organization and the high performance material properties of carbon fiber composite, this research focuses on a formal grammar that initiates the complex system of a reticular volume. A finite ‘lexical’ axiom is consisted of the basic characters of H, M and L responding to the anchor points on the highest, medium and lower levels of the extruding loom. The genome thus produces a string of data that in the second phase of programming are assigned to 624 points on the loom. The code aims to distribute the nodes across the flat line cloud and organize the sequence for the purpose of overlapping the tensioned strings. The virtually infinite results are then assessed through an evolutionary solver for confining an array of favorable results that can be then selected from by the designer. This research focuses on an approximate control over the fundamental geometric characteristics of a reticular system such as node density and directionality. The proposal frames the favorable result of the weave to be three-dimensional and volumetric – avoiding distinctly linear or surface formations.
keywords	Reticular Geometries, Weaving, Line Clouds, Three-dimensional Form-finding, Carbon fiber, Prepreg composite, Volumetric loom, Fiberous Materials, Weaving fabrication, Formal Language, Lexical design, Evolutionary solver
series	ACADIA
type	normal paper
email
last changed	2022/06/07 07:54

_id	9f35
authors	Bhavnani, S. K., Garrett, J.H., Flemming, U. and Shaw, D.S.
year	1999
title	Towards Active Assistance
source	Bridging the Generations. The Future of Computer-Aided Engineering (eds. J. H. Garrett and D. R. Rehak) Department of Civil and Environmental Engineering, Carnegie Mellon University, Pittsburgh, PA (1999), 199-203
summary	The exploding functionality of current computer-aided engineering (CAE) systems has provided today’s users with a vast, but under-utilized collection of tools and options. For example, MicroStation, a popular CAE system sold by Intergraph, offers more than 1000 commands including 16 ways to construct a line (in different contexts) and 28 ways to manipulate elements using a “fence”. This complex array of functionalities is bewildering and hardly exploited to its full extent even by frequent, experienced users. In a recent site visit to a federal design office, we observed ten architects and three draftsmen using MicroStation.
series	other
email
last changed	2003/11/21 15:16

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

_id	ddss9484
id	ddss9484
authors	Sklar, Hinda
year	1994
title	Opening Doors at Harvard's Graduate School of Design
source	Second Design and Decision Support Systems in Architecture & Urban Planning (Vaals, the Netherlands), August 15-19, 1994
summary	Design communication has many forms and employs a wide array of references. Design pedagogy uses a rich body of sources and is informed by deep communication between faculty and student. Advancing technology for distribution and manipulation of digital design media and a pervasive computer network at the Harvard Graduate School of Design provide an ideal environment for investigating new methods of access to design resources. A research initiative called the DOORS project (Design-Oriented On-line Resource System) will make a variety of design reference materials available over the GSD's computer network Potentially, DOORS will provide access to: - the Frances Loeb Library's visual and special collections; - slides, drawings, photographs, videos; - private faculty slide collections; - maps and geographic information systems of text, numeric and other visual databases of three- dimensional computer models; - computer-generated animations and digital video segments with sound of multimedia projects. As early pilot versions of DOORS are released, faculty and students will gather visual information for study and modification, analyze images and models, compare and link design documentation in different formats, develop lectures and make presentations from computers in offices, classrooms, and studio work areas. Emphasis will be placed on flexibility, as this particular tool's success will hinge on its ability to respond to different approaches to design and instruction. DOORS proposes to offer three modalities, browsing, composition and presentation, to enable searching, organizati-on, and display. Using established library standards for record format, subject access and keyword indexing, browsing will offer flexible and diverse search criteria. Composition will provide tools for linking, annotation and manipulation of assembled materials. Individual presentations will be viewed in classrooms, studios or offices. A pilot project to assemble some of the basic technology and expertise required is currently under way. The objective of the pilot is to deliver a slice of material over the GSD's local area network in order to raise awareness of the tool's potential among faculty and students, to evaluate its effectiveness, and to formulate technical specifications for later project phases.
series	DDSS
email
last changed	2003/08/07 16:36

_id	791f
id	791f
authors	Stellingwerff, M. C.
year	2005
title	VIRTUAL CONTEXT - INVESTIGATING THE CHARACTERISTICS AND OPPORTUNITIES OF DIGITAL VISUALISATION MEDIA FOR SITUATED APPROACHES TO ARCHITECTURAL DESIGN IN AN URBAN ENVIRONMENT
source	Delft University Press
summary	This research initiative addresses the issue of Design in relation to Virtual Context. Central to this study are the innovative potentials and instrumental opportunities of computer based media techniques, capable of generating interactive models and changing perspectives for the benefit of urban and architectural design. The ambition was to not only make a contribution to the existing body of knowledge concerning digital technologies and their applications, but explore theoretical conditions which might help define and stimulate further study. From the outset, the focus was on furthering the opportunities for computer based representation media in creative design. On the basis of a series of explorative studies the subject of this research was targeted: the issue of Design in Context, or more specifically: Design(ing) in a Virtual Context. During the process there was a marked shift in the conception of the subject from – more or less immersive – VR technologies in the direction of approaches which might be expected to become readily available in practice and education and could be effective in actual design processes. This insight also brought about a shift in emphasis from realism per-se towards creating a sense of situatedness. The design representation system which was developed was intended to not just allow for one type of model view, but to afford an array of different views, from which the designer would be able to choose freely, depending on the phase and focus of design as well as personal preferences. A series of interface prototypes and support tools were developed especially and successively tested experimentally. For the intended final design driven experimental study, different virtual context models were considered. Eventually, an integral – purely fictitious – design ‘environment’ was constructed in the computer, so that the workings of the proposed system and its components would be tested systematically. A conscious choice was made for an in depth study, on a relatively modest scale, which would a certain amount of mutual involvement between designer and researcher, to confront the participants with the finer aspects of the proposed system in a relatively short time and to gather detailed data. A half dozen design professionals were invited to participate in a closely monitored experimental exercise. The results of this study therefore do not offer straightforward, indisputable facts, to be considered representative for the design community as a whole, but indicate that the working methods of the individual designers – when discovering aspects of the site, developing and presenting proposals and reflecting on the qualities of represented designs – tend to vary considerably. For this reason the interactive representation system proved to be of value. Participants could express different view preferences, with more or less realistic image modes being used in different phases of their design developments, with varying experiences of situatedness. Some of the design professionals participants were very appreciative of the system’s opportunities, others tended to be more ‘set in their ways’. The results of this experimental study indicate that there may particularly be opportunities for interface applications which are able to function interactively, offering individual designers – as well as others involved in evaluating design proposals – a variety of tools with which to approach specific design artefacts in their changing contexts. Virtual models can play not only an important role as a ‘reminder’ for the designer but also to other parties playing an active role in the design and implementation processes. Interactive environment models are not only promising as exploration tools for existing sites, but could be valuable to test the impact of a design on its location. This could be especially interesting if the site is difficult or impossible to visit or as yet a virtual construction. In addition such an approach might be beneficial for objective comparison and evaluation of design proposals in competitions and in education as well as in on-line collaborative design projects where the context is still in the process of being developed.
series	thesis:PhD
type	normal paper
email
more	http://www.bk.tudelft.nl/users/stelling/internet/
last changed	2005/03/02 22:40

_id	lasg_hylozoicground_2010_fulltext
id	lasg_hylozoicground_2010_fulltext
year	2010
title	Hylozoic Ground; Liminal Responsive Architecture
source	Hylozoic Ground; Liminal Responsive Architecture [ISBN 978-1-926724-02-7] Riverside Architectural Press: Toronto, Canada 2010.
summary	Introductory summary of developing Hylozoic Series, a collection of life-like architectural structures
keywords	Hylozoism, Hylozoic series, components, assemblies, design process
last changed	2019/07/29 14:00

_id	cf2011_p109
id	cf2011_p109
authors	Abdelmohsen, Sherif; Lee Jinkook, Eastman Chuck
year	2011
title	Automated Cost Analysis of Concept Design BIM Models
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. 403-418.
summary	AUTOMATED COST ANALYSIS OF CONCEPT DESIGN BIM MODELS Interoperability: BIM models and cost models This paper introduces the automated cost analysis developed for the General Services Administration (GSA) and the analysis results of a case study involving a concept design courthouse BIM model. The purpose of this study is to investigate interoperability issues related to integrating design and analysis tools; specifically BIM models and cost models. Previous efforts to generate cost estimates from BIM models have focused on developing two necessary but disjoint processes: 1) extracting accurate quantity take off data from BIM models, and 2) manipulating cost analysis results to provide informative feedback. Some recent efforts involve developing detailed definitions, enhanced IFC-based formats and in-house standards for assemblies that encompass building models (e.g. US Corps of Engineers). Some commercial applications enhance the level of detail associated to BIM objects with assembly descriptions to produce lightweight BIM models that can be used by different applications for various purposes (e.g. Autodesk for design review, Navisworks for scheduling, Innovaya for visual estimating, etc.). This study suggests the integration of design and analysis tools by means of managing all building data in one shared repository accessible to multiple domains in the AEC industry (Eastman, 1999; Eastman et al., 2008; authors, 2010). Our approach aims at providing an integrated platform that incorporates a quantity take off extraction method from IFC models, a cost analysis model, and a comprehensive cost reporting scheme, using the Solibri Model Checker (SMC) development environment. Approach As part of the effort to improve the performance of federal buildings, GSA evaluates concept design alternatives based on their compliance with specific requirements, including cost analysis. Two basic challenges emerge in the process of automating cost analysis for BIM models: 1) At this early concept design stage, only minimal information is available to produce a reliable analysis, such as space names and areas, and building gross area, 2) design alternatives share a lot of programmatic requirements such as location, functional spaces and other data. It is thus crucial to integrate other factors that contribute to substantial cost differences such as perimeter, and exterior wall and roof areas. These are extracted from BIM models using IFC data and input through XML into the Parametric Cost Engineering System (PACES, 2010) software to generate cost analysis reports. PACES uses this limited dataset at a conceptual stage and RSMeans (2010) data to infer cost assemblies at different levels of detail. Functionalities Cost model import module The cost model import module has three main functionalities: generating the input dataset necessary for the cost model, performing a semantic mapping between building type specific names and name aggregation structures in PACES known as functional space areas (FSAs), and managing cost data external to the BIM model, such as location and construction duration. The module computes building data such as footprint, gross area, perimeter, external wall and roof area and building space areas. This data is generated through SMC in the form of an XML file and imported into PACES. Reporting module The reporting module uses the cost report generated by PACES to develop a comprehensive report in the form of an excel spreadsheet. This report consists of a systems-elemental estimate that shows the main systems of the building in terms of UniFormat categories, escalation, markups, overhead and conditions, a UniFormat Level III report, and a cost breakdown that provides a summary of material, equipment, labor and total costs. Building parameters are integrated in the report to provide insight on the variations among design alternatives.
keywords	building information modeling, interoperability, cost analysis, IFC
series	CAAD Futures
email
last changed	2012/02/11 19:21

_id	ascaad2010_241
id	ascaad2010_241
authors	Aboreeda, Faten; Dina Taha
year	2010
title	Using Case-Based Reasoning to Aid Sustainable Design
source	CAAD - Cities - Sustainability [5th International Conference Proceedings of the Arab Society for Computer Aided Architectural Design (ASCAAD 2010 / ISBN 978-1-907349-02-7], Fez (Morocco), 19-21 October 2010, pp. 241-246
summary	Since so far there exists only one planet, sustainable design is considered the (ethical) future in all fields of design. Although both architecture and construction are being considered major emitters of green house gases, a wise design not only can lead to minimizing this impact but it can also lead to restoring and regenerating the environment to a sustainable state. This paper presents an on-going research that aims at simplifying the elements and facilitating the process of sustainable design by using case-based reasoning. This is achieved through learning from past experiences; both good and bad ones, by providing a database application with a process-friendly interface which divides the main pillars of sustainable design into categories. Each building contains different stories related to different sustainable related issues. Each story can be repeated in /linked to many buildings. By providing designers with those past experiences, it is believed that deeper-studied designs can be more easily developed. Also a deeper analysis and understanding can be further implemented and produced with less effort for experienced and non-experienced architects in sustainable design. This would also decrease the consumption of time during the design process and encourage even more designers to integrate the sustainability concept into more designs. This research discusses the influence of sustainable design within the architectural domain, and suggests a computer application that aids architects during the preliminary design processes.
series	ASCAAD
email
last changed	2011/03/01 07:36

_id	ecaade2010_171
id	ecaade2010_171
authors	Achten, Henri; Kopriva, Milos
year	2010
title	A Design Methodological Framework for Interactive Architecture
doi	https://doi.org/10.52842/conf.ecaade.2010.169
source	FUTURE CITIES [28th eCAADe Conference Proceedings / ISBN 978-0-9541183-9-6] ETH Zurich (Switzerland) 15-18 September 2010, pp.169-177
summary	Interactive architecture is a fairly recent phenomenon enabled through new materials and technologies. Through experimentation architects are coping with questions of changeability, adaptability, and interaction. However, there are no comprehensive design methods to support this type of architecture. In this paper we aim to bring together methods that can support the design of interactive architecture. The methods are ordered in a methodological framework that provides an overview of possible approaches.
wos	WOS:000340629400018
keywords	Design methods; Interactive architecture
series	eCAADe
email
last changed	2022/06/07 07:54

_id	ecaade2010_040
id	ecaade2010_040
authors	Akdag, Suzan Girginkaya; Cagdas, Gulen; Guney, Caner
year	2010
title	Analyzing the Changes of Bosphorus Silhouette
doi	https://doi.org/10.52842/conf.ecaade.2010.815
source	FUTURE CITIES [28th eCAADe Conference Proceedings / ISBN 978-0-9541183-9-6] ETH Zurich (Switzerland) 15-18 September 2010, pp.815-823
summary	Due to improving technology and global competition today sky is the only limit for high towers of metropolitan areas. The increase in number of high rise has been ruining the silhouette of cities all over the world like Istanbul, whose identity and image have also been destroyed by skyscrapers dominating the seven slopes on which it was once built. The urbanization in Istanbul has somehow become homogenous and destructive over the topography. Despite of raising debates on the critical issue now and then, no analytical approach has ever been introduced. The research therefore, aims to analyze the change of Bosphorus silhouette caused by the emergence of high rise blocks in Zincirlikuyu-Maslak route since it was defined as a Central Business District and a high rise development area by Bosphorus Conservation Law in 1991. ArcGIS Desktop software and its analyst extensions are used for mapping, analyzing and evaluating the urban development within years. The application is considered to be the initial step for a decision support system which will assist in assigning ground for high rise buildings in Istanbul.
wos	WOS:000340629400087
keywords	GIS; Bosphorus; Silhouette analysis; High rise buildings
series	eCAADe
email
last changed	2022/06/07 07:54

_id	ijac20108403
id	ijac20108403
authors	Aksamija, Ajla; Ivanka Iordanova
year	2010
title	Computational Environments with Multimodal Representations of Architectural Design Knowledge
source	International Journal of Architectural Computing vol. 8 - no. 4, p. 439
summary	This article discusses interaction between multimodal representations of architectural design knowledge, particularly focusing on relating explicit and implicit types of information. The aim of the presented research is to develop a computational environment that combines several modes of representation, including and integrating different forms of architectural design knowledge. Development of an interactive digital-models library and ontological model of architectural design factors are discussed, which are complementary in nature. In a time when BIM software is seen as embodiment of domain knowledge and the future medium of architectural design, this paper presents an interaction between ontological representation of architectural design knowledge and its embodiment in interactive models, thus focusing on the process of design and design space exploration. In the digital environments that we propose, representation of different formats of knowledge, such as visual, linguistic or numeric, are integrated with relational and procedural information, design rules, and characteristics. Interactive search and query based on contextual constraints, and parametric variation of the model based on the information received from ontology are the underlying drivers for design exploration and development.
series	journal
last changed	2019/05/24 09:55

_id	caadria2011_052
id	caadria2011_052
authors	Al-Kazzaz, Dhuha A. and Alan Bridges
year	2011
title	Assessing innovation in hybrid designs using shape grammars
doi	https://doi.org/10.52842/conf.caadria.2011.545
source	Proceedings of the 16th International Conference on Computer Aided Architectural Design Research in Asia / The University of Newcastle, Australia 27-29 April 2011, pp. 545-554
summary	Al-kazzaz et al (2010) described hybrid adaption technique to generate innovative designs from heterogeneous precedents using shape grammars. An evaluation of the degree of innovation in the hybrid designs gave feedback to grammar users before and after applying a rule. Innovation was assessed using variables derived from the internal structure of the grammar such as: the number of antecedents in the corpus having the same rule; the number of rules in a subclass rule set having the same geometry; etc. However, the validity of the innovation assessment was unclear and the use of the feedback measures was not demonstrated. Accordingly, this study aims to verify the credibility of the innovation measures and to identify the independent variables that a user can control to achieve a significant impact on each innovation measure as a dependent variable.
keywords	Shape grammars; hybrid design; innovation assessment
series	CAADRIA
email
last changed	2022/06/07 07:54

For more results click below: