Saturday, May 8, 2010
Virtual Objects: Understanding the Child's Scale Through Immersive Virtual Product Design
INTRODUCTION
This research project involves the documentation and investigation of understanding the child’s perspective of a virtual product that can be viewed and interacted with in a natural way within a Cave Automatic Virtual Environment (CAVE) or an immersive virtual environment. This environment allows for multiple instances of a product to be placed, viewed and interacted with in an immersive virtual environment. The interactions that occur between users and the virtual objects include such activities as lifting, moving, rotating, and dropping.
The products tested were designed to be specifically used by children ages 6-8. The child’s perspective of classroom furniture is difficult for an adult to visualize due to the adult’s height and the product’s small scale and proportions. In an immersive virtual environment, the scale of the environment and objects within can be adjusted to allow an adult user to see the objects from a children’s perspective. Using mathematical equations to calculate the scale variance, the scene can be adjusted to put the viewer in the position of the child’s point of view.
Through this study, I hope to demonstrate how interior products can be field tested using computer visualization and rendering programs. I seek to explore how a scaled simulated virtual environment can enable an adult to understand the child’s point of view during simulated interaction with child-centered objects in a space. With the objects tested intended for use in an elementary classroom, there are multiple instances occurring within the space which enables the user to develop a variety of object arrangements and configurations during the testing sessions. By using this technology, the participants are able to visualize the repetition of the objects without having to produce multiple physical models and enabled to understand the scale at which a child will experience these objects.
Through this study, the point of view of a child can begin to be understood by adults and more importantly designers. The anticipated result is that this research and design will result in a collection of fully interactive virtual classroom furniture that will allow a user to move the objects contained in the room around to view different seating positions, seating arrangements, and colors. The final results will be written and documented through images to be shared with peers, designers, and researchers.
LITERATURE REVIEW
Immersive virtual product design (IVPD) is a relatively new visualization and simulation practice, which allows for simulations to be utilized for early product design phases (Bao, Jin, Gu, Yan & Ma, 2002). Immersive virtual product design allows for a realistic experience including interactive elements such as navigation and wand-controlled manipulation. Virtual prototypes have been used to demonstrate and visualize aspects of a product that would otherwise require a full-scale physical model to be fabricated and, in fact, this virtual method allows a designer to “design, simulate, prototype, and visualize the entire design in the digital world” (p. 594). This form of visualization and simulation is conducted in a CAVE Automatic virtual environment. In the CAVE a room is provided with “a 3D environment rear-projected onto several walls and viewed through stereoscopic glasses” (Spalter 1999, p. 313). The room allows for a number of users to be present and participate, either actively or passively (Bruno, Caruso, Li, Milite, & Muzzupappa, 2008), with virtual objects in “an intuitive manner” (Bao et al 2002, p. 592). The users of a virtual environment are equipped with a headset for virtual viewing and often with a wand or hand held device that controls movement and navigation from the head participant’s perspective.
In reviewing the discourse surrounding virtual prototyping, it is recognized that “a virtual prototype should be able to reproduce, as realistically as possible, the behavior of the product from any point of view” (Bruno, Caruso, Li, Milite, & Muzzupappa 2009, p. 620). This practice of utilizing CAVE environments or immersive environments for product design has alleviated cost concerns and time constraints with prototyping through eliminating the high expense of purchasing materials and fabricating the products (Bao et al, 2002). According to Bao (2009) there are four elements that are used in creating a virtual environment including Virtual reality, Computer-aided design, simulation, and toolkits. The challenges presented in the discourse of immersive virtual product design include limited access to expert understanding of programming and modeling conversions. The processes used in combination with the required software necessitate that the modeler and programmer work towards becoming an expert in the chosen software, or system of software used to product a virtual environment. There are numerous software programs that can work to create virtual environments such as Maya, SketchUp, and Virtools. The ability to master these programs takes time and often these projects involve collaboration between designers, programmers, and modelers.
The framework of the immersive environment enhances the process of product design due to its allowance of “real-time interaction” (Boa et al 2009, p. 593). With the immersive environment providing the ability to enhance design and evaluation, designers of courthouses have begun to adopt the practice of immersive environment into the design process to allow for themselves and their clients to visualize and experience sight lines (See: Dunston, Arns, & McGlothlin, 2007; Joch, 2005). The immersive environment has also been utilized in evaluating medical facilities to supplement the act of creating full-scale mockups which require a great deal of time and money to construct. Through this process designers and medical staff can test for clearances, layout options, distances, and design flaws, which can be realized and addressed prior to construction. One particular study of a medical patient room revealed that the amount of furniture provided was excessive compared to the size of the room, a fact which may be overlooked when viewing floor plans or even rendered perspectives of a space. These tests, due to the real-time interactivity, demonstrate a higher level of participant understanding in an immersive environment when compared to a projected image or a single screen viewing.
In addition to the benefits immersive simulation offers to the design phase, virtual reality has been utilized as both a teaching and learning tool for designers as well as users (See: Passig, Klein, & Noyman, 2001; Patera & Draper, 2007). The benefit in using the immersive virtual environment is that the file can be scaled to reflect varying proportions in relation to the head user and participants. This can be especially useful when designing objects for children. With being able to manipulate the scale, an adult user can visualize the physical point of view that a child holds in a given space. There are limitations to adult user truly adapting to the child’s frame of mind when viewing these objects but the virtual environment can be used as an instrument to test varying visual perspectives.
In addition to testing the visual aspects of a child, immersive virtual environments have been used to allow for adults to experience the child’s visual and cognitive perspective (Passig et al, 2001). It has been demonstrated that the ability to understand the child’s viewpoint is imperative in the early educational setting, with this period marking a drastic change in environmental experiences and growth in cognition. The immersive virtual environment provides an interactive platform that provides a multitude of perception opportunities including visual, haptic, scale, and audio. Child perception can be better understood through adjustment and design of these environments to mirror their scale and perception level. These environments can ultimately provide a tool to assist designers and teachers to better understand how children perceive environments and how to design environments and product for their world.
Adults, recognized as the gatekeepers to children’s worlds, are responsible for the assisting or hindering a child’s exploration of their world through designing environments that either meet their developmental need or lack the necessary affordances (Chak, 2002). Affordance is a visual perception that a user makes based on “the different characteristics of the individual, such as his or her physical dimensions and abilities, social needs, and personal intentions, are matched with the environments features” (Kytta 2006, p. 145). Through developing an understanding of child affordances, designers can provide children with environments and products that challenge their abilities and provide risks that advance the child’s development of cognitive and physical skills. There is a delicate balance that must be struck within these environments and products. The design decisions can be based on the ability, creativity, and past experiences of the child and is dependent on perceived affordances in the form and surfaces of the object in relation to their individual abilities stemming from size and perspective (Carreau & Pelletier, 2004)..
The question has been raised as to the possibility of planning for a higher number of child-related affordances through the incorporation of children in the planning of these environments due to the various differences perceived in affordances between children and adults (Kytta, 2006). It may then be proposed that through an immersive environment an adult may be able to participant with the objects and environments through the child’s perspective at a given scale, realizing affordances and design opportunities unseen from the adult vantage point.
METHODOLOGY
This study of the scale of a child in an immersive virtual environment was completed using a combination of qualitative and creative methods. The aims of the study were to a) develop a relationship with Duke University in an effort to work with expert technicians and access the DiVE , b) develop a 3D computer model to be viewed in the immersive virtual environment, c) work with expert technicians to apply scripts to objects, d) test model in DiVE, e) conduct a pilot study to gain feedback on assessment tools and virtual objects , f) conduct a participant study, and g) analyze information and provide a written discussion of results. The primary research question for the study is: How successfully can the use of immersive virtual products be used to convey the simulation of a child’s perspective of a product for an adult participant? The secondary research question for this study is: What is the process for creating an immersive virtual product and world?
Product Design
This object (see fig. 1) was previously designed in a Graduate Studio Course. The object was modeled both in digital form and as a physical full scale model. The object is meant to be used in the classroom environment and can be rotated to accommodate a variety of seating positions. The theory of despecialization and theory of affordance, along with a child’s imaginative abilities, were driving factors when determining the form of the object.
3D Modeling
A combination of software was used in this study including AutoCAD, SketchUp, Maya, and Virtools. AutoCAD is a drafting software program that has been used to create the profiles for the object. These drawings were then imported into SketchUp, which is a 3-D modeling program. Once in SketchUp, the lines were turned into plans which were then extruded. Once the basic shape was realized the shape was ‘booleaned’ to form contours. The final edges were smoothed away using the ‘follow me’ tool. The classroom background was created using SketchUp. The basic space was created using a combination of rectangles, push/pulls, and instances. The object and the environment were then separated in SketchUp and then exported as .fbx files.
These .fbx files were then imported into Maya and several changes were needed. The changes were made during a training session with Holton Thompson, an expert modeler at Duke University. The surfaces in the classroom environment were triangulated and the several materials were reapplied. Lighting was added through a combination of both directional lighting and ambient lighting. The object was imported into the same Maya file and then duplicated. Prior to the final duplication, the object was split into two parts to allow for a two bounding boxes to form the object. This practice of splitting the object into two piece was conducted to allow for greater manipulation and interact in a more realistic manner when the physics engine was applied the object.
Once finalized the Maya file was exported to Virtools as a .cmo file. The physics engine applied in Virtools was written by David Zelinski, an expert programmer with Duke University. The physics engine included gravity, physics, move, and rotation. Through Virtools the digital file was projected into the immersive virtual environment for both the testing sessions and the pilot sessions.
Immersive Virtual Simulation
The location for simulation took place at the DiVE, which is located on the campus of Duke University in the CINEMA Building. The DiVE is an immersive virtual environment which includes a 6-sided CAVE-like virtual reality theater (Visualization Technology Group, 2008). With the selection of this facility, experts in the software were available for consultation. Participants of the Pilot study included 3 fellow classmates and a professor. The participants to be used in the formal study will include 8 first and second grade teachers.
The pilot study began with a physical prototype experience session, followed by a virtual prototype experience session. The physical product experience (See Fig. 1.3) involved the participants working alone to arrange a pair of the physical prototypes in a variety of arrangements (See Appendix C). Once completed the participants then entered the DiVE, where the file opened to a basic classroom arrangement at the adult scale. The participant that was wearing the head-user glasses had a total of 3 minutes to become familiar with the interface and controls during the first task. The participants worked in pairs and were read a total of 5 tasks (See Appendix C). The paradigm consisted of a 15 minute allotment and the participants switched the role of head-user for each task. The participants were observed throughout the session in a semi-participatory approach (See fig. 1.4) with the student researcher present in the DiVE. Once the fifteen minute session was complete, the participants exited and participated in a brief questionnaire on the experience. The second pair of participants completed both the virtual product experience and the physical product experience but the order was reversed.
Questionnaire
Through arranging a pilot study and utilizing a pilot questionnaire (See Appendix B), a series of questions were analyzed to assess the questions to be asked to teachers. The questionnaire, just as questionnaires in previous studies such as this, sought to gain the participants emotional response to the environment and products (Dunston, 2007).The intention of the questionnaire, along with understanding emotional response, is to obtain whether participants were successful in adopting the child’s point of view and if this perspective can be used to understand how children perceive an environment differently in comparison to an adult.
Financial support
The cost of using the DiVE for the teacher participant sessions requires funding which has been granted by the College of Human Environmental Sciences.
Project Timeline
Fall Semester 2009: Design of objects
Spring Semester 2010: Import files into Maya
Import files into Virtools
Apply scripts to objects and classroom in Virtools
Create questionnaire and narrative
Conduct pilot study sessions
Provide written documentation
Summer Semester 2010: Address revisions from pilot study sessions
Conduct teacher participant sessions
Provide written documentation
RESULTS
The questionnaire and pilot study yielded a series of mixed results. The preference between adult versus child perspective is inconclusive although the preference for the adult perspective was due to the participants feeling more comfortable with the scale and size of the space.
The participants found the visuals to be comparative in both experiences although the haptic aspects in terms of touch and weight were found to be lacking in the virtual prototype interactions. The difference in perceived functions between an adult and child involved a mixed response, with some participants finding little differences and others concluding that the imaginative expression of children could be manifested through these objects.
The challenges recognized by the participants included the awkward manipulation of utilizing the wand to maneuver the objects. The time needed to adjust to the method of manipulation was not provided to the participants and this could have resulted in the inability for the participants to recognize the child’s perspective. The time needed to move the objects in the DiVE compared to the physical prototypes took longer. Simple movements that an adult participant has mastered with a physical prototype proved challenging with the virtual prototype. With the DiVE having been used throughout the day, the wand may have lost battery power, which made it prone to locking up. The combination of the difficulty in wand response and the time consuming movements, the DiVE was seen by a few participants as awkward and frustrating.
The virtual product was found to demonstrate the natural movement of the product in terms of rotation, pick up, movement, and throwing ability. The physics engine applied to the objects enabled the realistic interaction with the objects which included collision effects and gravity. The majority of participants adopted the child’s point of view claiming the view was more playful and enjoyable. The difference in appearance of the perspective was not noticeable at first for some of the participants; however this could be due to the fact that there were no changes in the environment other than the scale or their fixed attention on the interactivity obstacles created by the often unresponsive wand.
Despite the lack of sensory and haptic interactivity easily experienced with the physical prototypes, the ability for the virtual product to contribute to the participants overall understanding was successful in that it offered a new perspective, offered a new proportion of the object, and provided a visual of the products in the classroom in an immersive capacity.
CONCLUSION
The pilot study has offered insight into potential improvements to the overall study. A great deal of information still exists to be found through using the DiVE, especially qualitative data regarding object movement and positioning. Through the pilot study several issues were found with the format of the experiment involving time constraints and number of participants. The variation in the time limits for the two experiences resulted in mixed results. A constant time structure for both experiences is recommended. Since the study demonstrated that participants would have benefited in their understanding of the controls if more time were provided in experiencing the virtual prototypes, additional time will be utilized in the early stage of the virtual interactions to better understand controls.
The environment was kept simple and although multiple backgrounds were intended for this environment a single background was utilized in the pilot study due to time constraints and file complications. The researcher had no previous experience with Maya and learning the process of exporting from SketchUp to Maya took a period of trial and error. Several improvements can be made to the environment to improve the participant experience including sounds, which may or may not add to the intended experience of adopting the child’s point of view.
Ultimately, the student researcher found the DiVE to be an excellent tool for viewing and evaluating simple manipulations of the virtual products. The project was a success in developing a relationship with Duke and creating the immersive virtual environment. Using what has been learned through this process, further progress can be made in adopting the practice of immersive virtual product design when designing for children. The researcher will continue with the study which will comprise of a several revisions to the environment and questionnaire, along with a teacher participant session to gather further qualitative information regarding the experience of understanding the child’s point of view.
References
Bao, J., Jin, Y., Gu, M., Yan, J., & Ma, D. (2002). Immersive Virtual Product Development. Journal of Materials Processing Technology, 129, 592-596.
Bruno, F., Caruso, F., Li, K., Milite, A., & Muzzupappa, M. (2008). Dynamic simulation of virtual prototypes in immersive environment. The International Journal of Advanced Manufacturing Technology, 43(5-6), 620-630.
Carreau, P., & Pelletier, H. (2004). The despecialization of objects. Platform, Printemps/Spring 2004(Interior Design, In Other Words), 16-17.
Chak, A. (2002). Understanding Children's Curiosity and Exploration through the Lenses of Lewin's Field Theory: on Developing and Appraisal Framework. Early Child Development and Care, 172(1), 77-87
Dunston, P. S., Arns, L. L., & McGlothlin, J. D. (2007). An Immersive Virtual Reality Mock-Up For Design Review of Hospital Patient Rooms. Presented at the 7th International Conference on Construction Applications of Virtual Reality.
Gibson, J. (1979). The ecological approach to visual perception. Boston: Houghton Mifflin.
Joch, A. (2005). Virtual Reality and Digital Modeling Go on Trial for a Federal Courtroom Design. Architectural Record. Retrieved from http://archrecord.construction.com/features/digital/archives/0501dignews-1.asp
Kytta, M. (2006). Environmental Child-Friendliness in the Light of the Bullerby Model. In Children and their environments: learning, using, and designing spaces (pp. 141-158). Cambridge UK; New York: Cambridge University Press.
Oh, H., Yoon, S., & Hawley, J. (2004). What Virtual Reality Can Offer to the Furniture Industry. Journal of Textile and Apparel Technology and Management, 4(1), 2-17.
Passig, D., Klein, P., & Noyman, T. (2001). Awareness of Toddlers' Initial Cognitive Experiences with Virtual Reality. Journal of Computer Assisted Learning, 17, 332-344.
Patera, M., & Draper, S. W. (2007). Do Immersive Environments Improve Interior Design Students' Apprehension of Space? In Learning and Teaching with Technology in Art Design and Communication. Presented at the Design on eLearning. Retrieved from http://www.designsonelearning.net/conferences/face_to_face/sept2007/2007_papers/ps5_papers/patera_draper.pdf
Spalter, A. (1999). 3D Input and Output. In The Computer in the Visual Arts (pp. pp 297-316). Addison Wesley Longman Inc.
Visualization Technology Group. (2008). Retrieved from http://vis.duke.edu/dive
This research project involves the documentation and investigation of understanding the child’s perspective of a virtual product that can be viewed and interacted with in a natural way within a Cave Automatic Virtual Environment (CAVE) or an immersive virtual environment. This environment allows for multiple instances of a product to be placed, viewed and interacted with in an immersive virtual environment. The interactions that occur between users and the virtual objects include such activities as lifting, moving, rotating, and dropping.
The products tested were designed to be specifically used by children ages 6-8. The child’s perspective of classroom furniture is difficult for an adult to visualize due to the adult’s height and the product’s small scale and proportions. In an immersive virtual environment, the scale of the environment and objects within can be adjusted to allow an adult user to see the objects from a children’s perspective. Using mathematical equations to calculate the scale variance, the scene can be adjusted to put the viewer in the position of the child’s point of view.
Through this study, I hope to demonstrate how interior products can be field tested using computer visualization and rendering programs. I seek to explore how a scaled simulated virtual environment can enable an adult to understand the child’s point of view during simulated interaction with child-centered objects in a space. With the objects tested intended for use in an elementary classroom, there are multiple instances occurring within the space which enables the user to develop a variety of object arrangements and configurations during the testing sessions. By using this technology, the participants are able to visualize the repetition of the objects without having to produce multiple physical models and enabled to understand the scale at which a child will experience these objects.
Through this study, the point of view of a child can begin to be understood by adults and more importantly designers. The anticipated result is that this research and design will result in a collection of fully interactive virtual classroom furniture that will allow a user to move the objects contained in the room around to view different seating positions, seating arrangements, and colors. The final results will be written and documented through images to be shared with peers, designers, and researchers.
LITERATURE REVIEW
Immersive virtual product design (IVPD) is a relatively new visualization and simulation practice, which allows for simulations to be utilized for early product design phases (Bao, Jin, Gu, Yan & Ma, 2002). Immersive virtual product design allows for a realistic experience including interactive elements such as navigation and wand-controlled manipulation. Virtual prototypes have been used to demonstrate and visualize aspects of a product that would otherwise require a full-scale physical model to be fabricated and, in fact, this virtual method allows a designer to “design, simulate, prototype, and visualize the entire design in the digital world” (p. 594). This form of visualization and simulation is conducted in a CAVE Automatic virtual environment. In the CAVE a room is provided with “a 3D environment rear-projected onto several walls and viewed through stereoscopic glasses” (Spalter 1999, p. 313). The room allows for a number of users to be present and participate, either actively or passively (Bruno, Caruso, Li, Milite, & Muzzupappa, 2008), with virtual objects in “an intuitive manner” (Bao et al 2002, p. 592). The users of a virtual environment are equipped with a headset for virtual viewing and often with a wand or hand held device that controls movement and navigation from the head participant’s perspective.
In reviewing the discourse surrounding virtual prototyping, it is recognized that “a virtual prototype should be able to reproduce, as realistically as possible, the behavior of the product from any point of view” (Bruno, Caruso, Li, Milite, & Muzzupappa 2009, p. 620). This practice of utilizing CAVE environments or immersive environments for product design has alleviated cost concerns and time constraints with prototyping through eliminating the high expense of purchasing materials and fabricating the products (Bao et al, 2002). According to Bao (2009) there are four elements that are used in creating a virtual environment including Virtual reality, Computer-aided design, simulation, and toolkits. The challenges presented in the discourse of immersive virtual product design include limited access to expert understanding of programming and modeling conversions. The processes used in combination with the required software necessitate that the modeler and programmer work towards becoming an expert in the chosen software, or system of software used to product a virtual environment. There are numerous software programs that can work to create virtual environments such as Maya, SketchUp, and Virtools. The ability to master these programs takes time and often these projects involve collaboration between designers, programmers, and modelers.
The framework of the immersive environment enhances the process of product design due to its allowance of “real-time interaction” (Boa et al 2009, p. 593). With the immersive environment providing the ability to enhance design and evaluation, designers of courthouses have begun to adopt the practice of immersive environment into the design process to allow for themselves and their clients to visualize and experience sight lines (See: Dunston, Arns, & McGlothlin, 2007; Joch, 2005). The immersive environment has also been utilized in evaluating medical facilities to supplement the act of creating full-scale mockups which require a great deal of time and money to construct. Through this process designers and medical staff can test for clearances, layout options, distances, and design flaws, which can be realized and addressed prior to construction. One particular study of a medical patient room revealed that the amount of furniture provided was excessive compared to the size of the room, a fact which may be overlooked when viewing floor plans or even rendered perspectives of a space. These tests, due to the real-time interactivity, demonstrate a higher level of participant understanding in an immersive environment when compared to a projected image or a single screen viewing.
In addition to the benefits immersive simulation offers to the design phase, virtual reality has been utilized as both a teaching and learning tool for designers as well as users (See: Passig, Klein, & Noyman, 2001; Patera & Draper, 2007). The benefit in using the immersive virtual environment is that the file can be scaled to reflect varying proportions in relation to the head user and participants. This can be especially useful when designing objects for children. With being able to manipulate the scale, an adult user can visualize the physical point of view that a child holds in a given space. There are limitations to adult user truly adapting to the child’s frame of mind when viewing these objects but the virtual environment can be used as an instrument to test varying visual perspectives.
In addition to testing the visual aspects of a child, immersive virtual environments have been used to allow for adults to experience the child’s visual and cognitive perspective (Passig et al, 2001). It has been demonstrated that the ability to understand the child’s viewpoint is imperative in the early educational setting, with this period marking a drastic change in environmental experiences and growth in cognition. The immersive virtual environment provides an interactive platform that provides a multitude of perception opportunities including visual, haptic, scale, and audio. Child perception can be better understood through adjustment and design of these environments to mirror their scale and perception level. These environments can ultimately provide a tool to assist designers and teachers to better understand how children perceive environments and how to design environments and product for their world.
Adults, recognized as the gatekeepers to children’s worlds, are responsible for the assisting or hindering a child’s exploration of their world through designing environments that either meet their developmental need or lack the necessary affordances (Chak, 2002). Affordance is a visual perception that a user makes based on “the different characteristics of the individual, such as his or her physical dimensions and abilities, social needs, and personal intentions, are matched with the environments features” (Kytta 2006, p. 145). Through developing an understanding of child affordances, designers can provide children with environments and products that challenge their abilities and provide risks that advance the child’s development of cognitive and physical skills. There is a delicate balance that must be struck within these environments and products. The design decisions can be based on the ability, creativity, and past experiences of the child and is dependent on perceived affordances in the form and surfaces of the object in relation to their individual abilities stemming from size and perspective (Carreau & Pelletier, 2004)..
The question has been raised as to the possibility of planning for a higher number of child-related affordances through the incorporation of children in the planning of these environments due to the various differences perceived in affordances between children and adults (Kytta, 2006). It may then be proposed that through an immersive environment an adult may be able to participant with the objects and environments through the child’s perspective at a given scale, realizing affordances and design opportunities unseen from the adult vantage point.
METHODOLOGY
This study of the scale of a child in an immersive virtual environment was completed using a combination of qualitative and creative methods. The aims of the study were to a) develop a relationship with Duke University in an effort to work with expert technicians and access the DiVE , b) develop a 3D computer model to be viewed in the immersive virtual environment, c) work with expert technicians to apply scripts to objects, d) test model in DiVE, e) conduct a pilot study to gain feedback on assessment tools and virtual objects , f) conduct a participant study, and g) analyze information and provide a written discussion of results. The primary research question for the study is: How successfully can the use of immersive virtual products be used to convey the simulation of a child’s perspective of a product for an adult participant? The secondary research question for this study is: What is the process for creating an immersive virtual product and world?
Product Design
This object (see fig. 1) was previously designed in a Graduate Studio Course. The object was modeled both in digital form and as a physical full scale model. The object is meant to be used in the classroom environment and can be rotated to accommodate a variety of seating positions. The theory of despecialization and theory of affordance, along with a child’s imaginative abilities, were driving factors when determining the form of the object.
3D Modeling
A combination of software was used in this study including AutoCAD, SketchUp, Maya, and Virtools. AutoCAD is a drafting software program that has been used to create the profiles for the object. These drawings were then imported into SketchUp, which is a 3-D modeling program. Once in SketchUp, the lines were turned into plans which were then extruded. Once the basic shape was realized the shape was ‘booleaned’ to form contours. The final edges were smoothed away using the ‘follow me’ tool. The classroom background was created using SketchUp. The basic space was created using a combination of rectangles, push/pulls, and instances. The object and the environment were then separated in SketchUp and then exported as .fbx files.
These .fbx files were then imported into Maya and several changes were needed. The changes were made during a training session with Holton Thompson, an expert modeler at Duke University. The surfaces in the classroom environment were triangulated and the several materials were reapplied. Lighting was added through a combination of both directional lighting and ambient lighting. The object was imported into the same Maya file and then duplicated. Prior to the final duplication, the object was split into two parts to allow for a two bounding boxes to form the object. This practice of splitting the object into two piece was conducted to allow for greater manipulation and interact in a more realistic manner when the physics engine was applied the object.
Once finalized the Maya file was exported to Virtools as a .cmo file. The physics engine applied in Virtools was written by David Zelinski, an expert programmer with Duke University. The physics engine included gravity, physics, move, and rotation. Through Virtools the digital file was projected into the immersive virtual environment for both the testing sessions and the pilot sessions.
Immersive Virtual Simulation
The location for simulation took place at the DiVE, which is located on the campus of Duke University in the CINEMA Building. The DiVE is an immersive virtual environment which includes a 6-sided CAVE-like virtual reality theater (Visualization Technology Group, 2008). With the selection of this facility, experts in the software were available for consultation. Participants of the Pilot study included 3 fellow classmates and a professor. The participants to be used in the formal study will include 8 first and second grade teachers.
The pilot study began with a physical prototype experience session, followed by a virtual prototype experience session. The physical product experience (See Fig. 1.3) involved the participants working alone to arrange a pair of the physical prototypes in a variety of arrangements (See Appendix C). Once completed the participants then entered the DiVE, where the file opened to a basic classroom arrangement at the adult scale. The participant that was wearing the head-user glasses had a total of 3 minutes to become familiar with the interface and controls during the first task. The participants worked in pairs and were read a total of 5 tasks (See Appendix C). The paradigm consisted of a 15 minute allotment and the participants switched the role of head-user for each task. The participants were observed throughout the session in a semi-participatory approach (See fig. 1.4) with the student researcher present in the DiVE. Once the fifteen minute session was complete, the participants exited and participated in a brief questionnaire on the experience. The second pair of participants completed both the virtual product experience and the physical product experience but the order was reversed.
Questionnaire
Through arranging a pilot study and utilizing a pilot questionnaire (See Appendix B), a series of questions were analyzed to assess the questions to be asked to teachers. The questionnaire, just as questionnaires in previous studies such as this, sought to gain the participants emotional response to the environment and products (Dunston, 2007).The intention of the questionnaire, along with understanding emotional response, is to obtain whether participants were successful in adopting the child’s point of view and if this perspective can be used to understand how children perceive an environment differently in comparison to an adult.
Financial support
The cost of using the DiVE for the teacher participant sessions requires funding which has been granted by the College of Human Environmental Sciences.
Project Timeline
Fall Semester 2009: Design of objects
Spring Semester 2010: Import files into Maya
Import files into Virtools
Apply scripts to objects and classroom in Virtools
Create questionnaire and narrative
Conduct pilot study sessions
Provide written documentation
Summer Semester 2010: Address revisions from pilot study sessions
Conduct teacher participant sessions
Provide written documentation
RESULTS
The questionnaire and pilot study yielded a series of mixed results. The preference between adult versus child perspective is inconclusive although the preference for the adult perspective was due to the participants feeling more comfortable with the scale and size of the space.
The participants found the visuals to be comparative in both experiences although the haptic aspects in terms of touch and weight were found to be lacking in the virtual prototype interactions. The difference in perceived functions between an adult and child involved a mixed response, with some participants finding little differences and others concluding that the imaginative expression of children could be manifested through these objects.
The challenges recognized by the participants included the awkward manipulation of utilizing the wand to maneuver the objects. The time needed to adjust to the method of manipulation was not provided to the participants and this could have resulted in the inability for the participants to recognize the child’s perspective. The time needed to move the objects in the DiVE compared to the physical prototypes took longer. Simple movements that an adult participant has mastered with a physical prototype proved challenging with the virtual prototype. With the DiVE having been used throughout the day, the wand may have lost battery power, which made it prone to locking up. The combination of the difficulty in wand response and the time consuming movements, the DiVE was seen by a few participants as awkward and frustrating.
The virtual product was found to demonstrate the natural movement of the product in terms of rotation, pick up, movement, and throwing ability. The physics engine applied to the objects enabled the realistic interaction with the objects which included collision effects and gravity. The majority of participants adopted the child’s point of view claiming the view was more playful and enjoyable. The difference in appearance of the perspective was not noticeable at first for some of the participants; however this could be due to the fact that there were no changes in the environment other than the scale or their fixed attention on the interactivity obstacles created by the often unresponsive wand.
Despite the lack of sensory and haptic interactivity easily experienced with the physical prototypes, the ability for the virtual product to contribute to the participants overall understanding was successful in that it offered a new perspective, offered a new proportion of the object, and provided a visual of the products in the classroom in an immersive capacity.
CONCLUSION
The pilot study has offered insight into potential improvements to the overall study. A great deal of information still exists to be found through using the DiVE, especially qualitative data regarding object movement and positioning. Through the pilot study several issues were found with the format of the experiment involving time constraints and number of participants. The variation in the time limits for the two experiences resulted in mixed results. A constant time structure for both experiences is recommended. Since the study demonstrated that participants would have benefited in their understanding of the controls if more time were provided in experiencing the virtual prototypes, additional time will be utilized in the early stage of the virtual interactions to better understand controls.
The environment was kept simple and although multiple backgrounds were intended for this environment a single background was utilized in the pilot study due to time constraints and file complications. The researcher had no previous experience with Maya and learning the process of exporting from SketchUp to Maya took a period of trial and error. Several improvements can be made to the environment to improve the participant experience including sounds, which may or may not add to the intended experience of adopting the child’s point of view.
Ultimately, the student researcher found the DiVE to be an excellent tool for viewing and evaluating simple manipulations of the virtual products. The project was a success in developing a relationship with Duke and creating the immersive virtual environment. Using what has been learned through this process, further progress can be made in adopting the practice of immersive virtual product design when designing for children. The researcher will continue with the study which will comprise of a several revisions to the environment and questionnaire, along with a teacher participant session to gather further qualitative information regarding the experience of understanding the child’s point of view.
References
Bao, J., Jin, Y., Gu, M., Yan, J., & Ma, D. (2002). Immersive Virtual Product Development. Journal of Materials Processing Technology, 129, 592-596.
Bruno, F., Caruso, F., Li, K., Milite, A., & Muzzupappa, M. (2008). Dynamic simulation of virtual prototypes in immersive environment. The International Journal of Advanced Manufacturing Technology, 43(5-6), 620-630.
Carreau, P., & Pelletier, H. (2004). The despecialization of objects. Platform, Printemps/Spring 2004(Interior Design, In Other Words), 16-17.
Chak, A. (2002). Understanding Children's Curiosity and Exploration through the Lenses of Lewin's Field Theory: on Developing and Appraisal Framework. Early Child Development and Care, 172(1), 77-87
Dunston, P. S., Arns, L. L., & McGlothlin, J. D. (2007). An Immersive Virtual Reality Mock-Up For Design Review of Hospital Patient Rooms. Presented at the 7th International Conference on Construction Applications of Virtual Reality.
Gibson, J. (1979). The ecological approach to visual perception. Boston: Houghton Mifflin.
Joch, A. (2005). Virtual Reality and Digital Modeling Go on Trial for a Federal Courtroom Design. Architectural Record. Retrieved from http://archrecord.construction.com/features/digital/archives/0501dignews-1.asp
Kytta, M. (2006). Environmental Child-Friendliness in the Light of the Bullerby Model. In Children and their environments: learning, using, and designing spaces (pp. 141-158). Cambridge UK; New York: Cambridge University Press.
Oh, H., Yoon, S., & Hawley, J. (2004). What Virtual Reality Can Offer to the Furniture Industry. Journal of Textile and Apparel Technology and Management, 4(1), 2-17.
Passig, D., Klein, P., & Noyman, T. (2001). Awareness of Toddlers' Initial Cognitive Experiences with Virtual Reality. Journal of Computer Assisted Learning, 17, 332-344.
Patera, M., & Draper, S. W. (2007). Do Immersive Environments Improve Interior Design Students' Apprehension of Space? In Learning and Teaching with Technology in Art Design and Communication. Presented at the Design on eLearning. Retrieved from http://www.designsonelearning.net/conferences/face_to_face/sept2007/2007_papers/ps5_papers/patera_draper.pdf
Spalter, A. (1999). 3D Input and Output. In The Computer in the Visual Arts (pp. pp 297-316). Addison Wesley Longman Inc.
Visualization Technology Group. (2008). Retrieved from http://vis.duke.edu/dive
Tuesday, April 20, 2010
Saturday, April 17, 2010
Friday, April 16, 2010
Notes from the Visit
After a visit to Duke University today, where I met with Holton Thompson, a few issues have been addressed in the process of importing a file from Maya to Virtools. The following issues were discussed:
Exporting to virtools process (drag select, Edit/delete by type/history, Modify/freeze transformation, center pivot, settings & preferences/plug-in manager/turn on maya to virtools, unit multiplier should read .1)
Adding lighting in Maya (Create, lighting, directional, duplicate [ctl + d])
Importing to Virtools (resources/import file)
Triangulating in Maya (Select object, Mesh/Triangulate)
Textures in Virtools to reattach texture (right click, texture setup/replace slot)
Saving documents, Maya saves as .nmo (geometry), Virtools saves as .cmo (programming)
In the DiVE, you can set start position in Virtools, along with physicalization, wall and floor barriers, and walk navigation. Scale can be set in different documents so a user can open to different scales (i.e. tall adult, adult, child, very small child, etc).
Scale in Virtools (level manager/3D object/ select children/lock/ to the centerpoint) NEVER USE SCALE TO OBJECT.
Texture images in Maya (1056 x 1056 max) (512 x 512 optimal)
Exporting to virtools process (drag select, Edit/delete by type/history, Modify/freeze transformation, center pivot, settings & preferences/plug-in manager/turn on maya to virtools, unit multiplier should read .1)
Adding lighting in Maya (Create, lighting, directional, duplicate [ctl + d])
Importing to Virtools (resources/import file)
Triangulating in Maya (Select object, Mesh/Triangulate)
Textures in Virtools to reattach texture (right click, texture setup/replace slot)
Saving documents, Maya saves as .nmo (geometry), Virtools saves as .cmo (programming)
In the DiVE, you can set start position in Virtools, along with physicalization, wall and floor barriers, and walk navigation. Scale can be set in different documents so a user can open to different scales (i.e. tall adult, adult, child, very small child, etc).
Scale in Virtools (level manager/3D object/ select children/lock/ to the centerpoint) NEVER USE SCALE TO OBJECT.
Texture images in Maya (1056 x 1056 max) (512 x 512 optimal)
Preliminary Viewing in the DiVE
It is amazing how the space transforms from these flat unfocused images into a realistic environment when you put on the stereo glasses. You have to be in the space to get the full effect. These image are meant to show process.Preliminary Viewing in the DiVE
After searching the internet for proposed processes in exporting a SketchUp file into Maya, it was found that the best option is exporting the SketchUp file as a .fbx. This process enables materials to be exported as well and arranged elements in Maya in the original componens created in SketchUp.
Monday, April 12, 2010
Tuesday, April 6, 2010
Process Image
Process image from importing several .dwg files into Maya to create the basic classroom to be viewed in the immersive virtual environment.Wednesday, March 31, 2010
Alternative Project
Brief Description
This project will seek to capture the view of the child through an animation presentation in comparision to an adult viewpoint.
The animations will be analyzed to capture different experiences and understand what each view offers that is lost in the other.
Timeline:
March 29th
This project will seek to capture the view of the child through an animation presentation in comparision to an adult viewpoint.
The animations will be analyzed to capture different experiences and understand what each view offers that is lost in the other.
Timeline:
March 29th
- Create back up project
April 5th
- Create scenes and walk throughs
- Make revisions
- Create rendered animations
April 12th
- create movies
- conduct comparison study
- create poster
April 19th
- Write up documetation
- Create final animation showing results
April 26th
- Wrap up project
- Present poster
Project Timeline for Primary Project
March 29th -
- Apply for funding
- put elements into Maya
- Apply Textures
- Send Maya documents to Holton,
- observe process of putting objects in Virtools
- write narrative and
- create survey
- complete IRB application and gather participants
April 12th
- Conduct test runs
- Make any revisions
- document process
April 19th
- conduct participant sessions
- analyze results
- document process
- complete poster
April 26th
- wrap up project
- complete write-up
Saturday, March 27, 2010
Project Draft Update
Introduction
Immersive virtual product design (IVPD) is a relatively new practice. The practice of IVPD is a form of visualization and simulation. “Simulations are used for the testing and evaluation of performance in the early stages of product development” (Bao, Jin, Gu, Yan & Ma 2002, p. 593). IVPD allows “users to navigate and interact with 3D peripherals with the display system” (p. 592). IVPD has been used to virtually test designs and digital prototypes that otherwise would have to be evaluated by manufacturing a full scale physical model and, in fact, this method allows a designer to “design, simulate, prototype, and visualize the entire design in the digital world” (p. 594). This practice has alleviated cost concerns and time constraints with prototyping in that it eliminates the expense of manufacturing, supplies, and tooling. This virtual environment (VE) provides the opportunity for users to interact and participant with virtual objects in “an intuitive manner” (p. 592). There are four elements that are used in creating a virtual environment which are 1) Virtual reality, 2) Computer-aided design (CAD), 3) simulation, and 4) toolkits (Bao et al, 2002). The nature of the IVPD methods allows for the collection of both qualitative and quantitative research methods. Two challenges are presented in the discourse of IVPD the first of which deals with model conversions. The process used in combination with the required software necessitate that the modeler work towards becoming an expert in the software. There are numerous software programs that can work to create a VE such as Maya and SketchUp. The second challenge is geometric modeling, which again requires the user to work towards even a basic understanding of how the formatting of the software works. Both of these challenges, which are associated with the “human-machine interactive technologies” (p. 593), are a result of the different file formats of the software available for IVPD practices. The framework of the immersive environment enhances the process of product design due to its allowance of “real-time interaction” and “reviewing of concept design” (p. 593). The system behind IVPD enables both design and evaluation. The user of an VE is equipped with a headset for virtual viewing and often with a wand or hand held device that simulates movement and navigation from the participants point of view.
Just as CAD has been used to create virtual environments that can be navigated and explored, these aspects are incorporated into the IVE. The benefit in using the IVE is that the file can be scaled to reflect varying proportions in relation to the head user and participants. This can be especially useful when design objects for children. With being able to manipulate the scale, an adult user can visualize the physical point of view that a child holds. However, that is the challenge of manifesting the child’s mindset in the adult user.
Project Description
The research project will involve the documentation and investigation of creating a virtual environment that can be viewed and interacted with in a Cave Automatic Virtual Environment (CAVE). This environment will allow for multiple versions of a product to be placed inside and viewed. The interactions to occur between users and the virtual objects will include such activities as lifting, moving, and rotating. The products to be tested are designed to specifically to be used by children ages 6-8. Through using the instrument of a CAVE, the scale of the environment will be adjusted to allow an adult user to see the objects from a children’s perspective. Using mathematical equations to calculate the scale variance, the scene can be adjusted to put the viewer in the position of the child’s point of view.
Through this study, I hope to demonstrate how product can be field tested using computer visualization and rendering programs. I seek to explore how a simulated virtual environment can enable a represented interaction with objects in a space. The objects to be tested in this research project are meant for use in a classroom where the object will be used by multiple users and repeated throughout the space resulting in about twenty instances of this object present in the virtual classroom at one time. The technology and representation will allow for the visualization of the repetition an object has on a space without having to manufacture and product the finished models in large quantities during the schematic and developmental phases of interior product design. This project is not meant to capture 2D images of a space but rather provide an interactive 3D virtual environment.
The scope of this research will include the modeling of this object. The environment will be used as the setting to test an object designed by the researcher in a Graduate studio course. The object is designed for use in an early elementary classroom. This project will involve the modeling of various classroom environments for the backdrop, and the marriage of these objects and environments in a third program that enables the ability for unlimited interactions. The limitations of the research will be marked by time constraints, as this project is to be completed over the course of the next two months, and the access to a CAVE environment for process and final viewings.
The anticipated expectation is that this research and design will result in a fully interactive virtual classroom environment that will allow a multitude of users to move the objects contained in the room around to view different seating positions, view different seating arrangements, view different colors, and view different classroom environments or backgrounds from a child’s point of view. The final results will be presented in a written document to allow for review by peers, designers, researchers.
Methods
Approach. The methodological approach is a participatory approach.
Constraints. With having to complete the project in a semesters time, there are strict time constraints for this study. The cost of using the DiVE will require financial funding.
Tools and techniques. The DiVE is an immersive virtual environment “is a 6-sided CAVE-like virtual reality theater” (Website). The DiVE claims that “[n]o text or video description can do justice to the DiVE, you must experience it yourself” (Website). More information can be found at http://vis.pratt.duke.edu/
Specific steps. A combination of software was used in this study including AutoCAD, SketchUp, Maya, and Virtool. AutoCAD is a drafting software that has been used to create the profiles for the object. These drawings were then imported into SketchUp, which is a 3-D modeling program. Once in SketchUp, the lines were turned into plans which were then extruded using the ‘push-pull’ tool. Once the basic shape was realized the shape was ‘booleaned’ to form contours. The final edges were smoothed away using the ‘follow me’ tool. The classroom background was created using SketchUp. The basic space was created using a combination of rectangles, push/pulls, and instances. The object and the environment were then both placed into Maya. Through Maya scripts were then added to the object to allow for animations. These scripts applied included gravity, physics, move, and rotate. The final documents created in Maya are then put into Virtool. Through Virtool the digital file is projected into the immersive virtual environment and ready for participant interaction.
Immersive Virtual Environment Organization. The software will open to one of four classroom configurations including: rows, pairs, circle, and stacked. These configurations were previously illustrated in a studio presentation and will be incorporated into this study to assess a users reaction to the products configurations. The initial document will open to a particular arrangement and during a ten minute familiarity period with the space the rest of the three arrangements will be introduced. This will work as a demonstration. The paradigm will consist of a 10 minute allotment for play and familiarity of user followed by a 20 minute study, where a user will have the opportunity to experiment with arrangements. The user will be observed throughout the session in a semi-participatory approach in which the researcher will accompany user. Once the thirty minute session is complete, the participant will exit and participate in a questionnaire.
Assessments Used. During the participation session, the following quantitative data will be collected: object orientation, patterns of movement, and patterns created. A qualitative questionnaire will be used and presented to participants immediately following their virtual product interaction session.
References
Bao, J., Jin, Y., Gu, M., Yan, J., & Ma, D. (2002). Immersive Virtual Product Development. Journal of Materials Processing Technology, 129, 592-596.
Immersive virtual product design (IVPD) is a relatively new practice. The practice of IVPD is a form of visualization and simulation. “Simulations are used for the testing and evaluation of performance in the early stages of product development” (Bao, Jin, Gu, Yan & Ma 2002, p. 593). IVPD allows “users to navigate and interact with 3D peripherals with the display system” (p. 592). IVPD has been used to virtually test designs and digital prototypes that otherwise would have to be evaluated by manufacturing a full scale physical model and, in fact, this method allows a designer to “design, simulate, prototype, and visualize the entire design in the digital world” (p. 594). This practice has alleviated cost concerns and time constraints with prototyping in that it eliminates the expense of manufacturing, supplies, and tooling. This virtual environment (VE) provides the opportunity for users to interact and participant with virtual objects in “an intuitive manner” (p. 592). There are four elements that are used in creating a virtual environment which are 1) Virtual reality, 2) Computer-aided design (CAD), 3) simulation, and 4) toolkits (Bao et al, 2002). The nature of the IVPD methods allows for the collection of both qualitative and quantitative research methods. Two challenges are presented in the discourse of IVPD the first of which deals with model conversions. The process used in combination with the required software necessitate that the modeler work towards becoming an expert in the software. There are numerous software programs that can work to create a VE such as Maya and SketchUp. The second challenge is geometric modeling, which again requires the user to work towards even a basic understanding of how the formatting of the software works. Both of these challenges, which are associated with the “human-machine interactive technologies” (p. 593), are a result of the different file formats of the software available for IVPD practices. The framework of the immersive environment enhances the process of product design due to its allowance of “real-time interaction” and “reviewing of concept design” (p. 593). The system behind IVPD enables both design and evaluation. The user of an VE is equipped with a headset for virtual viewing and often with a wand or hand held device that simulates movement and navigation from the participants point of view.
Just as CAD has been used to create virtual environments that can be navigated and explored, these aspects are incorporated into the IVE. The benefit in using the IVE is that the file can be scaled to reflect varying proportions in relation to the head user and participants. This can be especially useful when design objects for children. With being able to manipulate the scale, an adult user can visualize the physical point of view that a child holds. However, that is the challenge of manifesting the child’s mindset in the adult user.
Project Description
The research project will involve the documentation and investigation of creating a virtual environment that can be viewed and interacted with in a Cave Automatic Virtual Environment (CAVE). This environment will allow for multiple versions of a product to be placed inside and viewed. The interactions to occur between users and the virtual objects will include such activities as lifting, moving, and rotating. The products to be tested are designed to specifically to be used by children ages 6-8. Through using the instrument of a CAVE, the scale of the environment will be adjusted to allow an adult user to see the objects from a children’s perspective. Using mathematical equations to calculate the scale variance, the scene can be adjusted to put the viewer in the position of the child’s point of view.
Through this study, I hope to demonstrate how product can be field tested using computer visualization and rendering programs. I seek to explore how a simulated virtual environment can enable a represented interaction with objects in a space. The objects to be tested in this research project are meant for use in a classroom where the object will be used by multiple users and repeated throughout the space resulting in about twenty instances of this object present in the virtual classroom at one time. The technology and representation will allow for the visualization of the repetition an object has on a space without having to manufacture and product the finished models in large quantities during the schematic and developmental phases of interior product design. This project is not meant to capture 2D images of a space but rather provide an interactive 3D virtual environment.
The scope of this research will include the modeling of this object. The environment will be used as the setting to test an object designed by the researcher in a Graduate studio course. The object is designed for use in an early elementary classroom. This project will involve the modeling of various classroom environments for the backdrop, and the marriage of these objects and environments in a third program that enables the ability for unlimited interactions. The limitations of the research will be marked by time constraints, as this project is to be completed over the course of the next two months, and the access to a CAVE environment for process and final viewings.
The anticipated expectation is that this research and design will result in a fully interactive virtual classroom environment that will allow a multitude of users to move the objects contained in the room around to view different seating positions, view different seating arrangements, view different colors, and view different classroom environments or backgrounds from a child’s point of view. The final results will be presented in a written document to allow for review by peers, designers, researchers.
Methods
Approach. The methodological approach is a participatory approach.
Constraints. With having to complete the project in a semesters time, there are strict time constraints for this study. The cost of using the DiVE will require financial funding.
Tools and techniques. The DiVE is an immersive virtual environment “is a 6-sided CAVE-like virtual reality theater” (Website). The DiVE claims that “[n]o text or video description can do justice to the DiVE, you must experience it yourself” (Website). More information can be found at http://vis.pratt.duke.edu/
Specific steps. A combination of software was used in this study including AutoCAD, SketchUp, Maya, and Virtool. AutoCAD is a drafting software that has been used to create the profiles for the object. These drawings were then imported into SketchUp, which is a 3-D modeling program. Once in SketchUp, the lines were turned into plans which were then extruded using the ‘push-pull’ tool. Once the basic shape was realized the shape was ‘booleaned’ to form contours. The final edges were smoothed away using the ‘follow me’ tool. The classroom background was created using SketchUp. The basic space was created using a combination of rectangles, push/pulls, and instances. The object and the environment were then both placed into Maya. Through Maya scripts were then added to the object to allow for animations. These scripts applied included gravity, physics, move, and rotate. The final documents created in Maya are then put into Virtool. Through Virtool the digital file is projected into the immersive virtual environment and ready for participant interaction.
Immersive Virtual Environment Organization. The software will open to one of four classroom configurations including: rows, pairs, circle, and stacked. These configurations were previously illustrated in a studio presentation and will be incorporated into this study to assess a users reaction to the products configurations. The initial document will open to a particular arrangement and during a ten minute familiarity period with the space the rest of the three arrangements will be introduced. This will work as a demonstration. The paradigm will consist of a 10 minute allotment for play and familiarity of user followed by a 20 minute study, where a user will have the opportunity to experiment with arrangements. The user will be observed throughout the session in a semi-participatory approach in which the researcher will accompany user. Once the thirty minute session is complete, the participant will exit and participate in a questionnaire.
Assessments Used. During the participation session, the following quantitative data will be collected: object orientation, patterns of movement, and patterns created. A qualitative questionnaire will be used and presented to participants immediately following their virtual product interaction session.
References
Bao, J., Jin, Y., Gu, M., Yan, J., & Ma, D. (2002). Immersive Virtual Product Development. Journal of Materials Processing Technology, 129, 592-596.
Tuesday, February 23, 2010
Revised Proposal
The research project will involve the documentation and investigation of creating a virtual environment that can be viewed and interacted with in a Cave Automatic Virtual Environment (CAVE). This environment will allow for multiple versions of a product to be placed inside and viewed. The interactions to occur between users and the virtual objects will include such activities as lifting, moving, and rotating. The products to be tested are designed to specifically be used by children in the first and second grade classroom. Through using the instrument of a CAVE, the scale of the environment will be adjusted to allow an adult user to see the objects from a children’s perspective. Using mathematical equations to calculate the scale variance, the scene can be adjusted to put the viewer in the position of the child’s point of view.
Through this study, I hope to demonstrate how through the use of computer visualization and rendering programs, products can be field tested. With this project, I seek to explore how, through the use of computers, a simulated virtual environment can enable a represented interaction with objects in a space. The objects to be tested in this research project are meant for use in a classroom where the object will be used by multiple users and repeated throughout the space. To estimate, about twenty instances of this object will be used in any given classroom at one time. The technology and representation will provide the ability to visualize the effects that the repetition of an object, such as the one to be modeled, will have on a space without having to manufacture and product the finished models in large quantities. This project is not meant to capture 2D images of a space but rather allow for a 3D virtual environment.
The scope of this research will include the modeling of this object, which was previously designed in a Fall Graduate Studio, the modeling of various classroom environments for the backdrop, and the marriage of these objects and environments in a third program that enables the ability for unlimited interactions. The limitations of the research will be marked by time constraints, as this project is to be completed over the course of the next three months and the access to a CAVE environment for process and final viewings.
The anticipated expectation is that this research and design will result in a fully interactive virtual classroom environment that will allow a multitude of users to move the objects contained in the room around to view different seating positions, view different seating arrangements, view different colors, and view different classroom environments or backgrounds from a child’s point of view. The final results will be displayed through an interactive flash file to be tested by peers, designers, researchers, and eventually children.
Saturday, February 20, 2010
Simulation
Computers are a valuable tool in the design industry that not only allow designers to create drawings and models, but aid in the collection of data through simulation studies. In reading the three articles, Computer Virtualization as a Tool for Critical Analysis, Model Behavior: Anticipation Great Design, and Let the (Indirect) Sun Shine In, this concept is discussed using specific examples where computers have been used to determine ventilation conditions, lighting conditions, and climate conditions.
Computers have been used as an instrument for building, site, and product analysis. Maddalina (1999) contributed to the idea that computers can be used to enhance the design process and analyze existing designs through computer graphics and simulation studies. These computer programs allow for designers and design analysts to see forms in ways that are not capable at the 2D drawing stage. In the study discussed by Maddalina, the Martin House, designed by Wright is analyzed to study its complexity which is shown through a series of “transparent” volumes inserted into a 3D model of the house. The overlapping areas show a complexity unable to be captured in detail through the means of a two dimensional drawing or scale model.
Dubai is a city that is exploding with new gigantic architectural monuments. Minutillo (2008) using the architecture revolution in Dubai, discusses how testing environmental elements with computer software can contribute to how buildings are being designed and implemented. A series of ventilation cones were conceived of to be used in a new building. To test the success of the cones a computer simulation was used to show how hot air could be ventilated out of the structure. Another facility set to be constructed in Dubai was also analyzed through computer simulation to test the exterior material to be used on the façade of a building. This building was proposed to be constructed atop an oil doom, in a predominantly sandy area prone to high winds. To test if the material could withstand the abrasions, a program was used to simulate the condition. To validate this information a physical scale model was used in a wind tunnel, creating a physical simulation, where data was again collected and analyzed.
In addition to these new structures, a bridge has been proposed in Dubai revolving around the concept where the nighttime lighting will mimic that of the waxing and waning moon. This concept, although seemingly unnecessary, has been evaluated using simulation software to test the lighting conditions needed and test how the lighting should be configures.
With continuing this discourse of lighting and simulation, Gonchar (2008) brings to light the interest of daylighting in museum exhibitions. In the past museums have been susceptible to artificial lighting due to the fading effect that natural light has on a piece of art and visitor comfort. In an attempt to satisfy a need for reciprocity, meaning conservation of art pieces and a desire for daylighting, museum designers have begun to develop methods to including daylighting into galleries through a controlled means. The BCAM building has done just this through the use of a sawtooth roof. The configuration of the roof and sunshading system allows for maximum control of daylighting in the museum space. A simulation study was conducted to provide an illumination vector analysis, while a luminance study was incorporated to understand the levels of the light leaving a surface which can affect visitor’s sight and vision comfort. In looking back on a physical models use in simulation analysis, a physical model was created to test the light levels on sight and collect measurment data.
The discourse surrounding these simulation studies is paramount in the field of design, specifically interiors and architecture. Simulation studies can aid in developing an understanding of how environmental aspects, such as air flow, lighting, and temperature, not only affect the materials and structure, but imagine how they affect occupants and visitors. Using simulation software, particularly lighting, can significantly increase a designer’s knowledge of how lighting, both artificial and daylighting, will work in a space.
There is, however, always the risk of miscalculation or over reliance on computers. The model studies are important because they demonstrate that multiple simulations are needed to verify a situational outcome. There is always the human element in computers in that they are designed by humans, operated by humans, and the information is interpreted by humans. This idea of computer simulation can be beneficial to designers but should also be questioned in order to better understand output and abilities. Above all, designers must remember that simulations are artificial representations of reality and should always be viewed as such.
Gonchar, J. (2008). Let the (Indirect) Sun Shine In. Architectural Record, (May).
Maddalina, M. (1999). Computer Visualization as a Tool for Critical Analysis. Architecture Week.
Minutillo, J. (2008). Model Behavior: Anticipating Great Design. Architectural Record, (Dec).
Tuesday, February 16, 2010
Monday, February 15, 2010
Assignment Four
In the two readings, 2D and 3D Animation and Video and The World Wide Web, there is a discussion taking place pertaining to the progression of computers and art. With the unlimited methods to create animation, the first reading points out the main elements used in many animation software programs today. Along with this animation technology, the readings illustrate how the introduction of the World Wide Web has further added to the exposure of computer arts to the global public.
In the discussion of animation, several new elements were introduced such as inbetweening, key frames, linear interpolation, easing, and motion blur. Key frames are used to “describe the extremes of an object’s motion. Inbetweening is then used to fill in the gaps between these key frames, while linear interpolation is the path taken during inbetweening. The path can be linear and non-linear. In a situation where a non-linear path is taken, in which an object either accelerates or decelerates, it is referred to as easing. To further illustrate that an object is moving, a motion blur is often added.
The techniques mentioned above apply to an object that appear to be moving, however it should be mentioned that in addition to having the objects appear to move, the view can also move in an animation. In an art form known as Filmography, there is a still 3D image taken in which the view is animated and travels through the scene on a motion path. This can be especially beneficial in interior design and architecture. Although elements in a space may not necessarily be moving the designer can simulate the path traveled through a building or room.
It should be noted that although my experience with Adobe Flash has been very introductory, I have been exposed to such terms as morphing and tracks. Also with previous experience with programs such as PowerPoint, I am familiar with the concept of animation transitions, which are often more distracting then beneficial to a presentation.
In discussing animation’s place in interior architecture, it is important to mention the idea that “motion implies space.” As interior designers, we are designing spaces for human movement. It is important for designers to illustrate a space to a client in 3D. Animation is a valuable tool and can give a broader picture of a space. Understanding how animations are constructed can only benefit the designer’s use of time and the quality of the animation.
As mentioned in previous readings in regards to computer renderings, creating a system of hierarchy is extremely important. The control of the animation and ease of movement rest on the successful organization of the objects included.
In the reading on the World Wide Web, many basic concepts are mentioned. Most of the terminology is second nature with having used the internet for well over a decade. The importance of how the web has offered a platform for artistic sharing ties in with a much earlier reading titled The Pioneers of Digital Art. When comparing these two readings we see an overlap in the popularity of the web being used as a catalyst to publically display and sell art to a greater audience. One practice highlighted in the recent reading revolves around a sharing of artistic experience. The internet in this situation provide the user with the ability to communicate and work together with global artists to be involved in the process of creating a piece of art. A starter image is presented and then the image is worked on my numerous artists in a digital environment.
This communication provided by the World Wide Web is a benefit to all professions. In interior design and architecture the internet provides for immediate communication and immediate transfer to digital work. This digital work can include anything from client information and existing photographs to finished renderings and construction documents. This ability to instantly communicate work and ideas has changed the way practices and educational programs function in the 21st century.
Spalter, A. (1999). 2D and 3D Animation and Video. In The Computer in the Visual Arts (pp. 212-253). Addison Wesley Longman Inc.
Spalter, A. (1999). The World Wide Web. In The Computer in the Visual Arts (pp. 212-253). Addison Wesley Longman Inc.
Lewis, R., & Luciana, J. (2002). The Pioneers of Digital Art (pp. 90-112). Pearson Prentice Hall.
Wednesday, February 10, 2010
Rendered Scenes
Sketchup and Podium were used to create these rendered scenes seen above and in the post below. In my opinion, The scenes with the lower light levels seem to take on a more realistic look. Due to the file size and large number of planes, a reflectance was unable to be placed on the object to simulate a reflective material such as a shiny plastic or a shiny metal.Tuesday, February 9, 2010
Modeling of Object
The model was created using a combination of basic primitives, soap skin bubbles, and tapers.
Research Project Proposal
The research project I propose will involve the design a virtual environment in which multiple versions of a product can be placed in and can be interacted with in different ways such as lifting, moving, and rotating. This information can be used to further explain the unlimited functions of the product under investigation and collect information regarding product testing and aesthetics. Through this study, I hope to demonstrate how through the use of computer visualization and rendering programs, products can be field tested.
With this project, I seek to explore how, through the use of computers, a simulated virtual environment can enable a represented interaction with objects in a space. The objects to be tested in this research project are meant for use in a classroom where the object will be used by multiple users and repeated throughout the space. To estimate, about twenty instances of this object will be used in any given classroom at one time. The technology and representation will provide the ability to visualize the effects that the repetition of an object, such as the one to be modeled, will have on a space without having to manufacture and product the finished models in large quantities. This project is not meant to capture 2D images of a space but rather allow for an easy-to-use 3D virtual environment.
The scope of this research will include the modeling of this object, which was previously designed in a Fall Graduate Studio, the modeling of various classroom environments for the backdrop, and the marriage of these objects and environments in a third program that enables the ability for unlimited interactions. The limitations of the research will be marked by time constraints, as this project is to be completed over the course of the next three months.
The anticipated expectation is that this research and design will result in a fully interactive virtual classroom environment that will allow a multitude of users to move the objects contained in the room around to view different seating positions, view different seating arrangements, view different colors, and view different classroom environments or backgrounds. The final results will be displayed through an interactive flash file to be tested by peers, designers, researchers, and possibly children, for whom the object was originally design.
Sunday, February 7, 2010
Rendering Assignment
The three readings, “Rendering 3D Worlds – 3D Geometric Graphics II”, “Once and Future Graphics Pioneer”, and “Once and Future Graphics Pioneer Part II”, all contained extremely relevant information pertaining to digital renderings and interior architecture. The readings discussed materials, lighting, new technology, and visualization methods. These concepts are all highly relevant to the field of interior design and architecture both in academics and professional practices.
In reference to materials and texture, the first reading offered a plethora of insight with regards to solid textures, bump mapping, and displacement mapping, all which are new terms that I have added to my vocabulary in 3D computer design. Bump mapping and displacement mapping, although they both are used to achieve a similar heavy textured look in a light rendering, work in different ways. Bump mapping works by “redefining the angles of the surface normals” while displacement mapping “literally displaces the surface” (Spalter, 1999).
In discussing light, all three publications references similar techniques and methods. The discussion begins with defining simple terms such as diffuse and specular. Diffuse refers to an even distribution of light being reflected while specular refers to a reflection in a specific direction, often creating a highlighted area on the surface (Spalter, 1999). There are several types of lighting, many of which I have been previously introduced to such as ambient, point, and spotlight, along with two new types, directional and area.
Several rendering methods were brought up that had been proposed before in this CAD seminar. Phong lighting, Phong shading, and Gourand shading were all points of reference provided in the timeline created earlier in the semester. Phong lighting and shading are rendering techniques that take into account the eye of the viewer, while the Gourand shading focused on creating gradient color to shadowing (Spalter, 1999).
When looking to render several objects, one would use a global lighting model which calculates a reflectance using several methods for a more accurate finished rendering (Spalter, 1999). The model is produced using a variety of rays, such as recursive ray tracing, shadow rays, reflection rays, and transmitted rays. The titles hint at the role of the given ray, however, it would be helpful to clarify that the recursive ray tracing starts from the viewer’s eye including only information that can be directly seen (Spalter, 1999).
In contrast to the techniques discussed above, the Radiosity approach renders all forms included in a model not matter where the viewer’s eye is (Spalter, 1999). This is generally used in animations and fly thoughts but is time consuming, often utilizing “rendering farms” for overnight durations (Spalter, 1999).
To create the realistic nature of a 3D model, image based rendering has become highly popular in films, architectural presentations, and research. This type of software allows the designer to combine photographic images with 3D models for a context based image (Spalter, 1999). In one academic setting, third year students were given the opportunity to work with this type of software to create a building that was very reliant on its context and site (Novitski, 2000). The students were able to successfully use this software along with a large projection viewing to see their creations nearly full-scale in photorealistic quality (Novitski, 2000). The articled quoted the instructed as saying “students learn to model and render within the context of design thinking” (Novitski, 2000). This is a constructive practice that should be considered at all academic design based institutes.
Along these lines of combining design thinking and technology, the research surrounding a new piece of electronic drafting and design equipment, currently estimated at $55,000 per unit (Novitski, 2000). The unit will act as a drafting board, modeling software, and sketchbook with internet capabilities. The goal is to provide technology the feeds the design process not simply provide another computer (Novitski, 2000).
Timing is always considered when selecting materials, lighting, and methods when not only in the rendering stage but also in the schematic stage, documentation stage, and construction stage. There is always a compromise taking place between quality and efficiency. With understanding many techniques discussed in this essay and the readings, designers can begin to understand how to better balance quality and efficiency. With the idea of incorporating design modeling with design thinking at the beginning stages of education, designers can build the skills to allow the two elements to complement each other instead of hindering the task at hand. Lastly, with new software and equipment under research, the possibilities and quality of work will continue to improve across the board.
Spalter, A. (1999). Rendering 3D Worlds - 3D Geometric Graphics II. In The Computer in the Visual Arts (pp. 257-293). Addison Wesley Longman Inc.
Novitski, B. (2000). Once and Future Graphics Pioneers. Architectural Record, (June).
Novitski, B. (2000). Once and Furture Graphics Pioneers Part II. Architectural Record, (June).
Thursday, February 4, 2010
Tuesday, February 2, 2010
Pencil Models
The above models were made using a combination of modeling methods: primitives, sweeps, boolean, and instances.Sunday, January 31, 2010
Assignment Two
In reading the book sections “Building 3D Worlds - 3D Geometric Graphics I” and “Geometric Modeling”, one can see that both readings are informative in their discourse surrounding 3D computer modeling. The readings have been both reaffirmed the information I have attained through the practice of computer modeling and introduced several new elements regarding 3D modeling. These readings were comprehensive in their ability to inform the reader about the vocabulary and abilities entailed in 3D modeling. In reviewing these pieces, I was able to recognize many of the techniques including creating primitives, sweeps, revolves, boolean, scaling, components, and instances. Through my own experience with 3D modeling programs, I have become familiar with modeling by adopting a hierarchy approach to object organization. My understanding of the general categories is consistent with those discussed in “Geometric Modeling” (2004), which included wire frame, surface, and solid (p. 141).
Along with reviewing these modeling methods and modeling types, several new bits of information were gathered from these readings. New vocabulary terms, the concept of joints, the process of nature modeling and evolutionary art, and the specific representation types in geometric modeling are novel ideas to me in some ways. Though familiar with the basic methods, I was unfamiliar with several of the vocabulary terms used for basic modeling such as sweeps, which would apply to the “push/pull” and “follow me” tools in Sketchup. The information referring to joints is a method that I have not yet had the opportunity to explore. I am cognizant of the use of a “component within a component”, however, I feel this tool would deal more with animation, an area in which I would be labeled a beginner. The introduction of the techniques used to create random patterns was enlightening along with the different representation types in modeling.
In their discourse, the authors have raised various points that relate to interior architecture with referencing model production. In interior architecture model making is an essential element in the design curriculum and the practice of interior design and architecture. It is important to understand when to use a physical model and when a digital model is appropriate. The writing “Building 3D Worlds - 3D Geometric Graphics I” touches on this point in a practical way through introducing both the positive and negative aspects to both types of modeling. According to “Building 3D Worlds – 3D Geometric Graphics I”, a physical model allows for a 360 degree viewing and is tactile, however, it is time consuming and cannot not be easily manipulated (p. 213). In using a digital model, you can have the model in numerous locations at once, make changes easily, and, if the software allows, analyze data (Splater, 1999, p. 213). In our class visit to CDI, we witnessed the ability to construct both a digital and physical model from a single design file, which efficiently uses the designer’s time and resources.
With design professionals beginning to relying heavily on digital work, as opposed to hand-crafted models and drawing, this information is highly relevant and necessary to the field of interior design and architecture. Although some negative aspects of adapting to digital models are discussed in the readings such as size and scale, viewing angles, and operator understanding. The ability to see proportion and scale in a model has been something designers have been constantly challenged with. The designer takes on the responsibility of assuring proper proportion and successfully conveying that through renderings. With the ability to skew a perspective, the audience does not always get a realistic, or true to life, image of the space or site. We as designers must understand the correct degrees at which a person would view a space. Lastly, the ability to use the 3D software to the best of its ability depends on the operator and their understanding of the process. It is a great benefit that 3D digital models can be shared via the internet with design team members, but the versatility in 3D model construction often makes it difficult for several designers to work on the same model and avoid any confusion. As 3D modeling programs continue to be a staple item in Interior design and architectural practices, these challenges, just as the challenges in early design software, will be addressed and it is certain that as new software is developed more challenges will arise.
Sources:
Spalter, A. (1999). Building 3D Worlds - 3D Geometric Graphics I. In The Computer in the Visual Arts (pp. 212-253). Addison Wesley Longman Inc.
Kalay, Y. (2004). Geometric Modeling. In Modeling (pp. 141-147). The MIT Press.
Kalay, Y. (2004). Geometric Modeling. In Modeling (pp. 141-147). The MIT Press.
Saturday, January 30, 2010
Trip to CDI
The class took a field trip to the Center for Design Innovation, CDI, in Winston-Salem this past Wednesday. We met with the director, Carol Strohecker, and design researcher, Nickolay Hristov. During a brief presentation and tour, we were shown several rapid prototyping machines and models made from plaster and plastic. It was interesting to hear about the process behind creating these models and the detail able to be achieved. We were also given a computer presentation of motion capture by Nickolay in which he demonstrated the range of wing movement in the Brazilian bat. To capture these images they used a stereoscopic camera.
It was encouraging to see that CDI is currently looking for interns and graduate students to assist with their research and prototyping. The opportunity to intern with CDI is one I will pursue.
Wednesday, January 27, 2010
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