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.

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).

Chair Animation

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.

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.

Renderings of Objects

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.

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).

Pencil Images

Pencil Models

The above models were made using a combination of modeling methods: primitives, sweeps, boolean, and instances.