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.

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.

Computer History Timeline

Assignment One

The fields of Architecture and Art share many commonalities in how they have been affected by the introduction of the computer and computer graphics. In reading both “Computing in Architectural Design” and “The Pioneers of Digital Art”, we can begin to see what these two professions have in common, how computers have made their first appearance and how they have earned their keep. If we look at both readings through a lens of “interaction” we can further understand the relationship between these two industries and computers.

In the reading “Computing in Architectural Design” (2004), it is presented that computers in this industry were first used for numerical analysis. It was not until 1963, when Ivan Sutherland created Sketchpad, that the human element in design was taken into account. This program and equipment changed the way a user interacted with a computer. Computer-aided design was in its beginning phases and continued to be driven by university research and large companies due to its size and cost. As technology advanced, the first personal computer was introduced, along with several CAD programs. The main concern presented in this reading was the lack of intelligence in CAD software. The programs dealt with shapes and representations, rather than objects and design information. As technology improves today we begin to see more programs that inform the design. There are several roles that computers play in the architectural field today. In “Computing for Architectural Design” (2004), computers act as a basic design tool, provide means of communication, assist with the design, provide design environments, assist with the management of physical environments, and allow for virtual environments. These roles are always evolving and as they change the interactions between computers and users will change as well.

In reading “The Pioneers of Digital Media” (2002), we again begin to understand the process that was taken for computers to be introduced into the art industry. In relation to the architectural industry, this process was received with quite a bit of hostility and controversy. Computer-Aided art began just as it had done in the architectural field with very large computers that were time consuming and cost consuming. The geometry used was very rudimentary compared to today’s standards. Animations seemed to be the first experiences that combined the science of computers and the element of art. Just as Ivan Sutherland’s Sketchpad had influenced CAD software in the architectural industry, Sketchpad also captivated many artists in that it was the first time that the artist’s hand could be seen in the art produced by a computer (Lewis & Luciana, 2002, p. 94).

As discussed before, universities were the main driving force behind the advancement of technology in both art and architecture, along with the military and large corporations. Universities were providing the research and making crucial design decisions in how the user interacts with these machines. Several studies conducted resulted in elements that drastically effect how we use and communicate with computers. The introduction and adaptation of the mouse is an excellent example. The development of “responsive environments” has changed the way we use computers with its first introduction in 1970, by Myron Kruegger (Lewis & Luciana, 2004, p. 98). Recently a public art display was installed in the EUC building on campus that featured a “responsive environment”. In this display a participant could interact with a projected image of falling pebbles on a wall.

Just as it is true in the field of architecture and interior design, in creating a successful computer you must understand the user and the relationship that will be developed between user and object. In 1972, Alan Kay preformed a study to determine the benefits of an image based programming language over a text based programming language (Lewis & Luciana, 2002, p. 101). This study was conducted using children as the participant and the study was called “smalltalk”. This study helped to form the computer into a machine that could be run by a multitude of users rather than limiting its users to only computer experts (Lewis & Luciana, 2002, p. 101).

With the development of the inkjet printer, the computer game, the World Wide Web, and virtual environments, one can see how computers are shaping our worlds. We have developed a relationship with computers that calls for daily interaction. In “Computing Architectural Design” (2004), the user at one point is referred to as “master”, which can directly imply a living relationship (p. 76). Through video gaming, computers have been able to evoke emotional responses. I can recall from my own childhood the fear I would experience in watching a relative of mine play the early video game known as Doom. By understanding the changes in the way users interact with computers, we can recognize how computers have changed how we interact with each other. The World Wide Web was introduced and forever changed interaction. For artists, it meant the possibility to reach a larger audience without having the obstacle of obtaining studio or gallery space (Lewis & Luciana, 2002, p. 111). For designers, it has given them the ability to communicate and send drawings at a quicker rate.

In our field of interior design, which can be combination of both art and architecture, computers play an enormous role and will continue to play an enormous role even more so in the future. Computers, just as they do now, will assist with designing and manufacturing. I feel that computers, although they are very integrated into our lives now, will continue to integrate even more. With the development of newer software, drafting will be improved and design visualization will enhance. Currently we have the technology to create photo-realistic images and the technology to create virtual environments. I see these two components combining with each other to allow for designers to view, with incredible accuracy, the design of an environment and product before being built or manufactured. Interaction with computers will only become more intimate as time progresses. As interior designers we must take advantage of this technology and embrace the changes that it may bring.


Kalay, Y. (2004). Computing in Architectural Design. In Architecture's News Media (pp. 63-81). The MIT Press.

Lewis, R., & Luciana, J. (2002). The Pioneers of Digital Art (pp. 90-112). Pearson Prentice Hall.