Connection & Interaction: An Introduction of the Design Process and Craft to a Community of End- Users by Kimberlie Wade
Introduction
This project explores the usage of digital media to introduce the design and craft process of interior products to a community of end users. Providing access to the knowledge of the design processes helps in the market development of interior products by creating a sense of community among designers and consumers through digital media and co-design practices. Interior products are increasingly marketed online in addition to the traditional print format, since digital media and mass production are becoming more effective in the accessibility and marketing of well-crafted and designed products. Photorealistic representation infused with the interactive web provides a new tool for emerging product designers to convey their design ideas and intent to consumers. Therefore, the ability to virtually produce an object as a form of a collaborative design process allows for a greater level of communication to be established among designers, consumers, and manufacturers. The experience of collaboratively designing objects, in a physically or virtually environment can foster a sense of community while appropriately introducing the design process to consumers (Mitchell 1993). This project investigation required a review of marketing strategies utilized through interactive interfaces over the past 10 years. This information informed the designer’s exploration of digital representation methods. The scope of this research will be limited to the time constraints of conducting this project within a semester and the learning curve associated with utilizing new software programs and interfaces.
Literature Review: Background and Significance
The emerging concept of meta-design practice incorporates a relationship based holistic approach to include consumers in the design process (Inns 2007). The meta-design practice is primarily achieved through social and technical infrastructures that allow the end user to become an active partner in the design process (Chapman & Gant, 2007a). This concept of the end-user as the designer emerged from the collaborative or co-design design practice that allowed the end- user of a designed object or environment to have an active voice in the design process of that particular object of environment. Additionally, participating in the actual design experience of a particular product creates memories that connect the consumer to the brand or product that they are designing. This builds the sentimental value of a product before it is even purchased and develops a deeper sense of brand loyalty, which is a critical component to marketing strategies. Additionally, the design knowledge shared in social design practices builds the validity of design practices for non-designers (Chapman & Gant, 2007a, 2007b; Margolin, 2002).
Methodology: The Project Design and Procedures
Existing prototypes produced during the previous graduate studio provided a foundation for this project in regards to the selection of interior products that were modeled in Sketch Up Pro 7. The digital manipulation of cutting and folding flat sheets of paper (representing steel sheet metal) was utilized to visually recreate the original prototypes and develop new variations. The design derives and emulates the characteristics of origami paper folds. Variations of the previous designs were developed within the parameter of designing dinnerware and tableware products. The inspiration of these products originally transpired from the desire to foster community through products used during social gatherings and activities, therefore the digital representation of these products is geared towards the interactive representation of interior products as a continuation this effort. Marketing strategies for these interior products include photorealistic renderings, co-design practices and the inclusion of design knowledge between the designer and potential end-users.
Locations. The primary location for viewing and experiencing the digital media for this project is a simulated version of the virtual web.
Participants. Participants will include fellow design students, design professors, design professionals, and potential end-users of the interior products.
Assessments Used. Design critique was used to document participant’s reactions to the aesthetic and digital quality of digitally represented interior products in a web format.
Constraints. The main constraints of this project included time restrictions and the learning curve of using digital programs such as Adobe Flash CS3 and appropriate rendering techniques.
Tools and Techniques. Google Sketch Up Pro 7, Podium US, Adobe Flash CS3, Adobe Illustrator CS3, Adobe Photoshop C4 and Apple i Movie HD were utilized during the completion of this project.
Specific Steps. Sketch Up was used to replicate final existing prototypes using the sandbox tool. Screen captures also recorded the digital design process and served as a visual aid for putting the process scenes of the products into Adobe Flash CS3. Each process scene for the individual objects was placed in the same location and scene within a Google Sketch Up file and rendered with simulated omni and three-point lighting techniques. Individual scenes of each process were saved and digitally rendered using SU Podium. Adobe Flash CS3 was initially used to animate the craft process. Each file that documented a process step was overlapped within a timeline and placed into a motion tween animation. The backdrop for a simulated web interface was created in Adobe Illustrator CS3 to be integrated into Adobe CS3 Flash in order to produce a template for an interactive web scene of each product.
Project Timeline
Fall 2009: Interior objects will be designed
Spring 2010: Modeling of objects in Sketch Up Pro (including modeling of process for prototype construction)
Digital Rendering of final objects and process scenes
Import process scenes into Flash Motion Tween movie
Merge Flash Motion Tweens with Illustrator background files to stimulate interactive web interface
Revise production of animations by implementing rendered scenes into Apple i Movie HD
Document response from critique
Importance of the Research
Social design practices are providing new ways for the general public to be involved in the design process, which creates a new source of validation for the design profession. By including end users in the design process, knowledge is shared between designers and the communities that they design for and provides a socially connection between designers and the individuals who benefit the most from their design initiatives (Bernasconi, MacDonald, & Mendoza, 2007; Chapman & Gant, 2007c). Additionally, social connections formed through digital media applications assist designers in understanding their potential user group and validates the necessity of quality design among non-design professionals (Margolin, 2002).
Results
The expectation of this project was to learn the proper navigation of Sketch Up, Podium and Adobe Flash in order to digitally simulate the design and craft that has previously been accomplished through the physical manipulation of sheet metal. By providing an interactive interface for potential consumers to explore the digital cutting and folding process of the material, consumers were engaged in the act of collaborative co-design while gaining a greater understanding of the designer’s process. The collective utilization among consumers of the interface fostered conversations about the design process. In a larger scope the developed knowledge gained through this research investigation will also aid designers in assessing the appropriate forms of digital media for marketing interior products (Inns, 2007; Wood & Landry, 2008a, 2008b). After an initial animation was created in Adobe Flash CS3, the designer and professor concluded that using Apple I Movie HD would produce a higher quality animation and allow for further investigation of digital rendering qualities and techniques. Additionally the use of an animation in Apple i Movie HD simulates the co-design experience for potential consumers in a user friendly interface for the designer. The initial consumer experience was documented as potential end-users relayed their reactions based on their experience of viewing the design process in an animation form.
Conclusions
Technology can be utilized to create new venues for social interactions to occur as a form of collaborative and contextual design (Inns, 2007). The intellectual and creative process of design can be openly expanded to the public through interactive software. The success of this project will embody opportunities for knowledge and community to occur through the interactive process of product design and digital representation.
Table 1: Digitally Rendered Food Scoop and Serving Dish
References
Inns, T. (2007). Designing for the 21st Century: Interdisciplinary Questions and Insights. Burlington,VT: Gower Publishing Limited.
Mitchell, T. C. (1993). Redefining Designing: From Form to Experience. New York, New York: Van Nostrand Reinhold.
Spalter, A. (1999). The World Wide Web. In The Computer in the Visual Arts (pp. 432-435). Addision Wesley Longman Inc.
Wood, P., & Landry, C. (2008a). Shopping as Social Linking. In The Intercultural City: Planning for Diversity Challenge (pp. 150-3). Sterling, VA: Earthscan.
Wood, P., & Landry, C. (2008b). The Nature of Modern Retailing. In The Intercultural City: Planning for Diversity Challenge (pp. 149-150). Sterling, VA: Earthscan.
Wednesday, May 12, 2010
Saturday, May 8, 2010
Wednesday, April 21, 2010
Wednesday, April 14, 2010
Wednesday, April 7, 2010
Timeline
3.31.10 – Discuss Flash issues, find additional flash tutorials, seek Flash Tutor/ tutoring session, create timeline and Storyboard for project
work on morphing square sheets into finished pieces in flash - review action buttons
4.7.10 – continue modeling pieces in sketch up and rendered w/ Podium includes:
scoops
serving dish
serving tray
cooking untensil
mini spoon
continue working on morphing square sheets into finished pieces in flash
incorporate additional actions into folding actions
schedule trouble shooting appt. with Shawn
4.14.10 – continue additional actions button/ scripts in flash
create movie timeline/ clip
begin putting clips into illustrator files
4.21.10
develop presentation (using storyboard outline) in illustrator
create PDF files add text and additional graphic images as needed
4.28.10
presentation in storyboard format – of 5 animated pieces
pieces will start on flat sheets and morph into finished pieces
work on morphing square sheets into finished pieces in flash - review action buttons
4.7.10 – continue modeling pieces in sketch up and rendered w/ Podium includes:
scoops
serving dish
serving tray
cooking untensil
mini spoon
continue working on morphing square sheets into finished pieces in flash
incorporate additional actions into folding actions
schedule trouble shooting appt. with Shawn
4.14.10 – continue additional actions button/ scripts in flash
create movie timeline/ clip
begin putting clips into illustrator files
4.21.10
develop presentation (using storyboard outline) in illustrator
create PDF files add text and additional graphic images as needed
4.28.10
presentation in storyboard format – of 5 animated pieces
pieces will start on flat sheets and morph into finished pieces
Monday, March 29, 2010
online sketch up resource
http://sites.google.com/site/sketchupsage/tweak/sandbox#TOC-Flip-Edge-Tool
Wednesday, March 24, 2010
Revised Proposal
Research Project
Abstract
This project will explore the usage of digital media to develop the marketability of interior products and foster community among designers and consumers. Consumer goods are increasingly marketed online in addition to the traditional print format as digital media and mass production have become effective in the accessibility and marketing of well crafted and designed products. Photorealistic representations infused with the interactive web provide a new tool for emerging product designers to thoroughly convey their design ideas to consumers. The ability to virtually produce an object as a form of collaborative design allows a greater level of communication to be established among designers, consumers, and manufacturers. This potential level of communication then becomes a digital aid for the representation of a designer’s original intent as it relates to both the aesthetics and craft (Spalter, 1999, pp. 432-5). Essentially, this project will embody attributes of both contextual and intangible design. The experience of collaboratively designing objects, physically and virtually can foster a sense of community while appropriately introducing the design process to consumers (Mitchell, 1993).
This project investigation may require a review of marketing strategies utilized through interactive interfaces over the past 10 years. Information of this nature will inform the exploration of optimal digital representation. The scope of this research will be limited to the time constraints remaining in the semester, which includes time constraints associated with the learning curve of new software programs and interfaces.
Project Description
Existing prototypes produced during the previous graduate studio will provide the foundation for this investigation. Digital manipulation of cutting and folding material (representing steel sheet metal) will be utilized to re-create the original prototypes and develop new variations of product design. The aesthetic design is expected to emulate the characteristics of origami paper folds. Variations will be developed within the parameter of designs inspired by possible dinnerware or tableware products. The inspiration of these products originally transpired from the desire to foster community through products used during social gatherings and activities.
Method
Sketch Up will first be utilized to replicate the existing prototypes. Screen captures will be utilized to record the digital design process and serve as a visual aid for imputing the products into Adobe Flash. Material qualities will be rendered through programs such as Podium or 3D S Max. Utilization of Adobe Flash will create an interactive method of digitally stimulating the original design process. Additionally the utilization of Flash will stimulate the co-design experience for potential consumers. The initial consumer experience may be documented; time constraints permitting. This documentation would occur as end-users record their reactions based on their experience of digitally designing their own products.
Results
The expectation of this project is to learn the proper navigation of Sketch Up, Podium and Adobe Flash in order to digitally simulate the design and craft that has previously been accomplished through the physical manipulation of sheet metal. By providing an interactive interface for potential consumers to explore the digital cutting and folding process of the material, consumers will be engaged in the act of collaborative co-design while gaining a greater understanding of the designer’s intent. The collective utilization among consumers of the interface can potentially foster conversations about the design process. In a larger scope the developed knowledge gained through this research investigation will also aid designers in assessing the appropriate forms of digital media for marketing interior products (Inns, 2007; Wood & Landry, 2008a, 2008b).
Conclusions
Technology can be utilized to create new venues for social interactions to occur as a form of collaborative and contextual design (Inns, 2007). The intellectual and creative process of design can be openly expanded to the public through interactive software. The success of this project will embody opportunities for knowledge and community to occur through the interactive process of product design and digital representation.
References
Inns, T. (2007). Designing for the 21st Century: Interdisciplinary Questions and Insights. Burlington,VT: Gower Publishing Limited.
Mitchell, T. C. (1993). Redefining Designing: From Form to Experience. New York, New York: Van Nostrand Reinhold.
Spalter, A. (1999). The World Wide Web. In The Computer in the Visual Arts (pp. 432-435). Addision Wesley Longman Inc.
Wood, P., & Landry, C. (2008a). Shopping as Social Linking. In The Intercultural City: Planning for Diversity Challenge (pp. 150-3). Sterling, VA: Earthscan.
Wood, P., & Landry, C. (2008b). The Nature of Modern Retailing. In The Intercultural City: Planning for Diversity Challenge (pp. 149-150). Sterling, VA: Earthscan.
Abstract
This project will explore the usage of digital media to develop the marketability of interior products and foster community among designers and consumers. Consumer goods are increasingly marketed online in addition to the traditional print format as digital media and mass production have become effective in the accessibility and marketing of well crafted and designed products. Photorealistic representations infused with the interactive web provide a new tool for emerging product designers to thoroughly convey their design ideas to consumers. The ability to virtually produce an object as a form of collaborative design allows a greater level of communication to be established among designers, consumers, and manufacturers. This potential level of communication then becomes a digital aid for the representation of a designer’s original intent as it relates to both the aesthetics and craft (Spalter, 1999, pp. 432-5). Essentially, this project will embody attributes of both contextual and intangible design. The experience of collaboratively designing objects, physically and virtually can foster a sense of community while appropriately introducing the design process to consumers (Mitchell, 1993).
This project investigation may require a review of marketing strategies utilized through interactive interfaces over the past 10 years. Information of this nature will inform the exploration of optimal digital representation. The scope of this research will be limited to the time constraints remaining in the semester, which includes time constraints associated with the learning curve of new software programs and interfaces.
Project Description
Existing prototypes produced during the previous graduate studio will provide the foundation for this investigation. Digital manipulation of cutting and folding material (representing steel sheet metal) will be utilized to re-create the original prototypes and develop new variations of product design. The aesthetic design is expected to emulate the characteristics of origami paper folds. Variations will be developed within the parameter of designs inspired by possible dinnerware or tableware products. The inspiration of these products originally transpired from the desire to foster community through products used during social gatherings and activities.
Method
Sketch Up will first be utilized to replicate the existing prototypes. Screen captures will be utilized to record the digital design process and serve as a visual aid for imputing the products into Adobe Flash. Material qualities will be rendered through programs such as Podium or 3D S Max. Utilization of Adobe Flash will create an interactive method of digitally stimulating the original design process. Additionally the utilization of Flash will stimulate the co-design experience for potential consumers. The initial consumer experience may be documented; time constraints permitting. This documentation would occur as end-users record their reactions based on their experience of digitally designing their own products.
Results
The expectation of this project is to learn the proper navigation of Sketch Up, Podium and Adobe Flash in order to digitally simulate the design and craft that has previously been accomplished through the physical manipulation of sheet metal. By providing an interactive interface for potential consumers to explore the digital cutting and folding process of the material, consumers will be engaged in the act of collaborative co-design while gaining a greater understanding of the designer’s intent. The collective utilization among consumers of the interface can potentially foster conversations about the design process. In a larger scope the developed knowledge gained through this research investigation will also aid designers in assessing the appropriate forms of digital media for marketing interior products (Inns, 2007; Wood & Landry, 2008a, 2008b).
Conclusions
Technology can be utilized to create new venues for social interactions to occur as a form of collaborative and contextual design (Inns, 2007). The intellectual and creative process of design can be openly expanded to the public through interactive software. The success of this project will embody opportunities for knowledge and community to occur through the interactive process of product design and digital representation.
References
Inns, T. (2007). Designing for the 21st Century: Interdisciplinary Questions and Insights. Burlington,VT: Gower Publishing Limited.
Mitchell, T. C. (1993). Redefining Designing: From Form to Experience. New York, New York: Van Nostrand Reinhold.
Spalter, A. (1999). The World Wide Web. In The Computer in the Visual Arts (pp. 432-435). Addision Wesley Longman Inc.
Wood, P., & Landry, C. (2008a). Shopping as Social Linking. In The Intercultural City: Planning for Diversity Challenge (pp. 150-3). Sterling, VA: Earthscan.
Wood, P., & Landry, C. (2008b). The Nature of Modern Retailing. In The Intercultural City: Planning for Diversity Challenge (pp. 149-150). Sterling, VA: Earthscan.
Proposal
Research Project
Abstract
This project will explore the usage of digital media to develop the marketability of interior products and foster community among designers and consumers. Digital media and mass production have become increasingly effective in the accessibility and marketing of well crafted and designed products. Respectively, consumer goods are increasingly marketed online in addition to the traditional print format. Photorealistic representation infused with the inactive web provides a new tool for emerging product designers to connect their design ideas to consumers. The ability to virtually produce an object as a form of collaborative design allows a greater level of communication of the design intent to be established among designers, consumers, and manufacturers. This potential level of communication then becomes a digital aid for the representation of a designer’s original intent as it relates to both the aesthetics and craft (Spalter, 1999, pp. 432-5). Essentially, this project will embody attributes of both contextual and intangible design. The experience of collaboratively designing objects both physically and virtually can foster a sense of community while designers’ facilitating the design can appropriately introduce the design process to consumers (Mitchell, 1993).
This project investigation may require a review of marketing strategies utilized through interactive interfaces between 2000 and 2010. Information of this nature will inform my exploration of optimal digital representation. The scope of this research will be limited to the time constraints of the semester, including the time constraints associated with the learning curve of new software programs and interfaces.
Project Description
Existing prototypes produced during the previous graduate studio will provide the foundation for this investigation. Digital manipulation of cutting and folding material (representing steel sheet metal) will be utilized to re-create the original prototypes and develop new variations of the existing prototypes. The aesthetic design will continue to emulate that of origami paper folds. Variations will be developed within the parameter of designs inspired by possible dinnerware or cookware products. The Inspiration of these products was originally transpired from the desire to foster community through products used during social activities.
Method
Sketch Up will first be utilized to replicate the existing prototypes. Screen captures will be utilized to record the digital design process and serve as a visual aid for imputing the products into flash and creating a interactive method of digitally stimulating the original design process. Material qualities will be rendered through programs such as Podium or 3D s Max. Additionally the utilization of Flash will stimulate the co-design experience for potential consumers. The initial consumer experience may be documented provided that time remains for potential end-users to practice digitally designing their own products.
Results
The expectation of this project is to learn the proper navigation of Sketch Up, Podium and Adobe Flash in order to digitally simulate the design and craft that has previously been accomplished through the physical manipulation of sheet metal. By providing an interactive interface for potential consumers to explore the digital cutting and folding process of the material, consumers will be engaged in the act of collaborative co-design while gaining a greater understanding of the design intent. The collective utilization of the interface can potentially foster conversations about the design process among various consumers. In a larger scope the developed knowledge gained through this research investigation will also aid designers in assessing the appropriate forms of digital media for marketing products digitally (Inns, 2007; Wood & Landry, 2008a, 2008b).
Conclusions
Technology can be utilized to create new venues for social interactions to occur as forms of collaborative and contextual design (Inns, 2007). The intellectual and creative process of design can be openly expanded to the public through interactive software. The success of this project will embody opportunities for knowledge and community to occur through the process of product design and digital representation.
References
Inns, T. (2007). Designing for the 21st Century: Interdisciplinary Questions and Insights. Burlington,VT: Gower Publishing Limited.
Mitchell, T. C. (1993). Redefining Designing: From Form to Experience. New York, New York: Van Nostrand Reinhold.
Spalter, A. (1999). The World Wide Web. In The Computer in the Visual Arts (pp. 432-435). Addision Wesley Longman Inc.
Wood, P., & Landry, C. (2008a). Shopping as Social Linking. In The Intercultural City: Planning for Diversity Challenge (pp. 150-3). Sterling, VA: Earthscan.
Wood, P., & Landry, C. (2008b). The Nature of Modern Retailing. In The Intercultural City: Planning for Diversity Challenge (pp. 149-150). Sterling, VA: Earthscan.
Abstract
This project will explore the usage of digital media to develop the marketability of interior products and foster community among designers and consumers. Digital media and mass production have become increasingly effective in the accessibility and marketing of well crafted and designed products. Respectively, consumer goods are increasingly marketed online in addition to the traditional print format. Photorealistic representation infused with the inactive web provides a new tool for emerging product designers to connect their design ideas to consumers. The ability to virtually produce an object as a form of collaborative design allows a greater level of communication of the design intent to be established among designers, consumers, and manufacturers. This potential level of communication then becomes a digital aid for the representation of a designer’s original intent as it relates to both the aesthetics and craft (Spalter, 1999, pp. 432-5). Essentially, this project will embody attributes of both contextual and intangible design. The experience of collaboratively designing objects both physically and virtually can foster a sense of community while designers’ facilitating the design can appropriately introduce the design process to consumers (Mitchell, 1993).
This project investigation may require a review of marketing strategies utilized through interactive interfaces between 2000 and 2010. Information of this nature will inform my exploration of optimal digital representation. The scope of this research will be limited to the time constraints of the semester, including the time constraints associated with the learning curve of new software programs and interfaces.
Project Description
Existing prototypes produced during the previous graduate studio will provide the foundation for this investigation. Digital manipulation of cutting and folding material (representing steel sheet metal) will be utilized to re-create the original prototypes and develop new variations of the existing prototypes. The aesthetic design will continue to emulate that of origami paper folds. Variations will be developed within the parameter of designs inspired by possible dinnerware or cookware products. The Inspiration of these products was originally transpired from the desire to foster community through products used during social activities.
Method
Sketch Up will first be utilized to replicate the existing prototypes. Screen captures will be utilized to record the digital design process and serve as a visual aid for imputing the products into flash and creating a interactive method of digitally stimulating the original design process. Material qualities will be rendered through programs such as Podium or 3D s Max. Additionally the utilization of Flash will stimulate the co-design experience for potential consumers. The initial consumer experience may be documented provided that time remains for potential end-users to practice digitally designing their own products.
Results
The expectation of this project is to learn the proper navigation of Sketch Up, Podium and Adobe Flash in order to digitally simulate the design and craft that has previously been accomplished through the physical manipulation of sheet metal. By providing an interactive interface for potential consumers to explore the digital cutting and folding process of the material, consumers will be engaged in the act of collaborative co-design while gaining a greater understanding of the design intent. The collective utilization of the interface can potentially foster conversations about the design process among various consumers. In a larger scope the developed knowledge gained through this research investigation will also aid designers in assessing the appropriate forms of digital media for marketing products digitally (Inns, 2007; Wood & Landry, 2008a, 2008b).
Conclusions
Technology can be utilized to create new venues for social interactions to occur as forms of collaborative and contextual design (Inns, 2007). The intellectual and creative process of design can be openly expanded to the public through interactive software. The success of this project will embody opportunities for knowledge and community to occur through the process of product design and digital representation.
References
Inns, T. (2007). Designing for the 21st Century: Interdisciplinary Questions and Insights. Burlington,VT: Gower Publishing Limited.
Mitchell, T. C. (1993). Redefining Designing: From Form to Experience. New York, New York: Van Nostrand Reinhold.
Spalter, A. (1999). The World Wide Web. In The Computer in the Visual Arts (pp. 432-435). Addision Wesley Longman Inc.
Wood, P., & Landry, C. (2008a). Shopping as Social Linking. In The Intercultural City: Planning for Diversity Challenge (pp. 150-3). Sterling, VA: Earthscan.
Wood, P., & Landry, C. (2008b). The Nature of Modern Retailing. In The Intercultural City: Planning for Diversity Challenge (pp. 149-150). Sterling, VA: Earthscan.
Tuesday, February 23, 2010
Monday, February 22, 2010
A Response to “ Model Behavior: Anticipating Great Design” by Josephine Minutillo, “Let the (Indirect) Sun Shine In” by Joann Gonchar, and “Computer V
The articles within Architectural Record and Architecture Week describe the validation of both digital and lighting analysis in order to interpret the integrity of exterior and interior built environments. In Architecture Week, Maddalina provides a case study of Frank Lloyd Wright’s Darwin Martin House as an example to explore the relationship of space and volume within his original design. The article expresses that significant critical analysis of Wright’s work may have misinterpreted the spatial qualities of the Martin House along with the interdependent qualities of structures within the first, second, and basement levels (Maddalina 1999). The “transparency” represented in the structural quality of the Martin House as described through the Ullmann analysis has since been re-evaluated in the removal of certain vertical layers through CAD software. The technology of computer aided design and graphic programs now provides a lens in which to examine the structural qualities of architecture that has previously been examined by conferring only the visible layers of a structure. In fact Maddalina argues based on the CAD study that the structural state of the Martin House is not as it has been previously stated by design scholars such as Sigfried Giedion in Space, Time and Architecture (Maddalina 1999).
Additionally, digital modeling and stimulation provide a valuable tool for re-evaluating the initial exterior design as it relates to the effects of natural elements and proposed site conditions (Minutillo 2008). Within the article, In Model Behavior: Anticipating Great Design, architects utilize software such as Autodesk’s Ecotect and eQUEST to pre-determine the energy consumption of large buildings. This technology then further creates an avenue for architects and engineers to design solutions and strategies for innovative conservation techniques (Minutillo 2008). Essentially, designers are able to create optimal designs that combine cultural and conservation attributes into urban design (Minutillo 2008). As designers are availed new technologies to address the exterior adjustments of a proposed building, virtual stimulation also avails the techniques to address the interior lighting qualities and proposed natural lighting within newly constructed and existing environments (Gonchar 2008). Although some museums have previously incorporated natural light into the building design, digital technology now allows for a more innovative utilization of lighting design and manipulation. Therefore, daytime lighting can now be regularly integrated into museum design whereas before it was often viewed as a threat to the proposed design of a museum interior (Gonchar 2008).
The relevance in interior architecture as it relates to re-examining architecture creates a tremendous impact on the education of design students and how they are taught to evaluate the work of previous architects and designers. The premise for this component within academia provides design students with an additional method in which they can study and understand the structural components of architecture (Maddalina 1999). Additionally, the digital technologies provide a greater means of proactive design application and research towards sustainable design choices in urban planning and strategies (Minutillo 2008).
I suspect that the utilization of CAD programs and other digital technologies will further change how we examine architecture and teach architectural history on the university level. Since digital technologies can be utilized to study architectural components it is also relevant that it becomes a standard tool in creating the bone structure of buildings (Maddalina 1999 & Minutillo 2008). Especially on geographical sites the structural components of a building and how they will respond to environmental qualities can be virtually studied in a manner that is unachievable with traditional site models (Minutillo 2008). This exploration of digital media to assess lighting and structural qualities may further lend itself to in-depth collaborations amongst multiple disciplines while the ease of file sharing capabilities of digital media could pose a threat to the argument for traditional site and study models (Maddalina, Minutillo, and Gonchar). In addition to the further visualization of light quality, interior elements within a proposed design may be digital assessed in regards to their sustainable contributions within a building structure. Further advancements in lighting analysis will allow designers to accurately incorporate the optimal inclusion of natural lighting within a structure (Gonchar 2008).
-Kimberlie Wade
Articles:
“Computer Visualization as a Tool for Critical Analysis” by Mark Maddalina.
http://www.architectureweek.com/2000/0705/tools_1-1.html
“Let the (Indirect) Sun Shine In” by Joann Gonchar
Architectural Record – May 2008
“ Model Behavior: Anticipating Great Design” by Josephine Minutillo
Architectural Record - December 2008
Additionally, digital modeling and stimulation provide a valuable tool for re-evaluating the initial exterior design as it relates to the effects of natural elements and proposed site conditions (Minutillo 2008). Within the article, In Model Behavior: Anticipating Great Design, architects utilize software such as Autodesk’s Ecotect and eQUEST to pre-determine the energy consumption of large buildings. This technology then further creates an avenue for architects and engineers to design solutions and strategies for innovative conservation techniques (Minutillo 2008). Essentially, designers are able to create optimal designs that combine cultural and conservation attributes into urban design (Minutillo 2008). As designers are availed new technologies to address the exterior adjustments of a proposed building, virtual stimulation also avails the techniques to address the interior lighting qualities and proposed natural lighting within newly constructed and existing environments (Gonchar 2008). Although some museums have previously incorporated natural light into the building design, digital technology now allows for a more innovative utilization of lighting design and manipulation. Therefore, daytime lighting can now be regularly integrated into museum design whereas before it was often viewed as a threat to the proposed design of a museum interior (Gonchar 2008).
The relevance in interior architecture as it relates to re-examining architecture creates a tremendous impact on the education of design students and how they are taught to evaluate the work of previous architects and designers. The premise for this component within academia provides design students with an additional method in which they can study and understand the structural components of architecture (Maddalina 1999). Additionally, the digital technologies provide a greater means of proactive design application and research towards sustainable design choices in urban planning and strategies (Minutillo 2008).
I suspect that the utilization of CAD programs and other digital technologies will further change how we examine architecture and teach architectural history on the university level. Since digital technologies can be utilized to study architectural components it is also relevant that it becomes a standard tool in creating the bone structure of buildings (Maddalina 1999 & Minutillo 2008). Especially on geographical sites the structural components of a building and how they will respond to environmental qualities can be virtually studied in a manner that is unachievable with traditional site models (Minutillo 2008). This exploration of digital media to assess lighting and structural qualities may further lend itself to in-depth collaborations amongst multiple disciplines while the ease of file sharing capabilities of digital media could pose a threat to the argument for traditional site and study models (Maddalina, Minutillo, and Gonchar). In addition to the further visualization of light quality, interior elements within a proposed design may be digital assessed in regards to their sustainable contributions within a building structure. Further advancements in lighting analysis will allow designers to accurately incorporate the optimal inclusion of natural lighting within a structure (Gonchar 2008).
-Kimberlie Wade
Articles:
“Computer Visualization as a Tool for Critical Analysis” by Mark Maddalina.
http://www.architectureweek.com/2000/0705/tools_1-1.html
“Let the (Indirect) Sun Shine In” by Joann Gonchar
Architectural Record – May 2008
“ Model Behavior: Anticipating Great Design” by Josephine Minutillo
Architectural Record - December 2008
Wednesday, February 17, 2010
Monday, February 15, 2010
A Response to “2D and 3D Animation and Video” by Anne Spalter and “The World Wide Web” by Anne Spalter
The motion within computer graphics is manipulated through various means which often includes a combination of traditional animation, film, and video. Additionally, principles of effective cinema are shared amongst the industries of photography, animation, and video (Spalter pg. 325). Motion graphics otherwise known as video editing and special effects are 2D animation programs utilized for creating the motion of both hand-drawn figures and still graphics, while three dimensional animation programs however, focus on capturing a collaboration of the motion between objects, lights, and various camera views. The illusion of motion is still developed through traditional forms of animation by vision persistence and visual closure in addition to the available technologies of graphic and digital modeling. Vision persistence, specifically, allows our eyes to remember an image for a fraction of time before it is replaced with a new image, which then creates the illusion of visual motion (Spalter pg. 326).
Additionally, key-frames and in-between frames serve as a means to control the ‘motion’ of an object, in order to create the animation. These in-between frames are calculated by linear intervals equally spaced (referred to as interpolation) which also controls additional changes in the appearance of an object such as the scale, rotation, and color (Spalter pg. 329). The non-linear version of this adaption calculates the changes and movements within a curved path, allowing for the animation of natural elements such as wind, clouds, and various bodies of water. These interfaces of animation vary between frame-like cells and visible timelines to control the motion quality of the animation through techniques such as morphing both 2D and 3D images.
The history of web interfaces and internet browsing also provides unique opportunities for the manipulation of 3D and interactive graphics. Not surprisingly, as the internet was originally provided for by the government and expanded through ARPANET (Advanced Research Project Agency) in order to create larger high speed networks, speculation of it being conceived for military usage and nuclear wars occurred through the media. However the purpose of internet expansion served to create a means for faster connections and accessibility in file creation, file sharing, and email and image readability (Spalter pg 415-16). As technology has expanded the graphic ability of web pages and portals, the original creativity of artists has found a foundational place on the web through programs such as Adobe Page Mill, Microsoft Front Page, and Macromedia Dreamweaver (Spalter pg. 424).
As technology continues to expand through the local area networks (LANs), hyperlinks, java scripts, and bandwidths, multimedia art work has become an interactive tool amongst designers, artists, and consumers (Spalter pg. 418-21). The development of 3D modeling, web graphics, and virtual pages has also increased the potential for graphic representation within both art/design work and the visual context within websites, animation and general modeling capabilities. This provides the ability for designers and artists to commission their art work and designs to a vast community of potential consumers. In fact, potential clients are currently able to access the web to create appointments and inquire about information through a web supported calendars (Spalter pg. 434-35).
As technology continues to expand I would foresee the availability of consumers being able to virtually preview an art piece or designed product or new construction within their home or other environment. It wouldn’t be surprising to view an animated hologram of a painting, object, furniture or newly constructed wall as a potential client stands in the middle of their living room and browses the internet. The potential for exposure to new forms of art will most likely increase over the next few years; however the encouragement to still view works of art and designed objects within their original environment and context should still be encouraged in addition to accessing the emerging technologies of the web and 2D/3D digital modeling (Spalter pg. 434-35). -Kimberlie Wade
Articles:
Spalter, A. (1999). 2D and 3D Animation and Video. In The Computer in the Visual Arts (pp. 324 - 358). Addison Wesley Longman Inc.
Spalter, A. (1999). The World Wide Web. In The Computer in the Visual Arts (pp. 414 - 437). Addison Wesley Longman Inc.
Additionally, key-frames and in-between frames serve as a means to control the ‘motion’ of an object, in order to create the animation. These in-between frames are calculated by linear intervals equally spaced (referred to as interpolation) which also controls additional changes in the appearance of an object such as the scale, rotation, and color (Spalter pg. 329). The non-linear version of this adaption calculates the changes and movements within a curved path, allowing for the animation of natural elements such as wind, clouds, and various bodies of water. These interfaces of animation vary between frame-like cells and visible timelines to control the motion quality of the animation through techniques such as morphing both 2D and 3D images.
The history of web interfaces and internet browsing also provides unique opportunities for the manipulation of 3D and interactive graphics. Not surprisingly, as the internet was originally provided for by the government and expanded through ARPANET (Advanced Research Project Agency) in order to create larger high speed networks, speculation of it being conceived for military usage and nuclear wars occurred through the media. However the purpose of internet expansion served to create a means for faster connections and accessibility in file creation, file sharing, and email and image readability (Spalter pg 415-16). As technology has expanded the graphic ability of web pages and portals, the original creativity of artists has found a foundational place on the web through programs such as Adobe Page Mill, Microsoft Front Page, and Macromedia Dreamweaver (Spalter pg. 424).
As technology continues to expand through the local area networks (LANs), hyperlinks, java scripts, and bandwidths, multimedia art work has become an interactive tool amongst designers, artists, and consumers (Spalter pg. 418-21). The development of 3D modeling, web graphics, and virtual pages has also increased the potential for graphic representation within both art/design work and the visual context within websites, animation and general modeling capabilities. This provides the ability for designers and artists to commission their art work and designs to a vast community of potential consumers. In fact, potential clients are currently able to access the web to create appointments and inquire about information through a web supported calendars (Spalter pg. 434-35).
As technology continues to expand I would foresee the availability of consumers being able to virtually preview an art piece or designed product or new construction within their home or other environment. It wouldn’t be surprising to view an animated hologram of a painting, object, furniture or newly constructed wall as a potential client stands in the middle of their living room and browses the internet. The potential for exposure to new forms of art will most likely increase over the next few years; however the encouragement to still view works of art and designed objects within their original environment and context should still be encouraged in addition to accessing the emerging technologies of the web and 2D/3D digital modeling (Spalter pg. 434-35). -Kimberlie Wade
Articles:
Spalter, A. (1999). 2D and 3D Animation and Video. In The Computer in the Visual Arts (pp. 324 - 358). Addison Wesley Longman Inc.
Spalter, A. (1999). The World Wide Web. In The Computer in the Visual Arts (pp. 414 - 437). Addison Wesley Longman Inc.
Wednesday, February 10, 2010
Monday, February 8, 2010
A Response to “Rendering 3D Worlds – 3D Geometric Graphics II” by Anne Spalter and “Once and Future Graphics Pioneer Part I and Part II” by B.J. Novit
‘Rendering 3D Worlds’ addresses topics relating to the colorization and rendering results of surface reflection within in 3D programs (Spalter pg. 259 -63). The effect of rendering textures differs based on the characteristics of the rendered surface. The contrast between diffusion and specular reflection creates a variance between matte and mirror like reflections. Due to the mirror like quality, specular reflections are also known as highlights. Highlighting qualities are inherently controlled by factors such as the position of the viewer and the material quality of the item subject to be highlighted. In addition to the qualities of surface reflection, the properties of surface transmission are used to create transparencies within material renderings. (Spalter pg.261) While texture mapping applies a 2D graphic three dimensionally it is does not apply the texture of a material throughout the core of an object in the same manner as solid texturing. (Spalter pg. 262-5) In similarity to photography the effects of lighting are critical to the overall appreciation of 3D objects modeled through computer graphic software. Therefore, understanding and proper placement of ambient light, point sources, spotlights, area sources, directional and remote lights along with the proper selection of a view can drastically alter the overall illumination and readability of an object or environment. The primary difference in the views portrayed by real cameras verses a digital camera lies in the pre-chosen perspective projection verses the ability to opt for the parallel projection created by a virtual camera. These parallel projections fall into the categories of orthographic, axonometric, and oblique projections (Spalter pg. 267-271). Rendering timeframes and techniques although quite engaged can be altered slightly by the artist according to the materials and selection of lighting once a perspective or parallel projection is chosen. Lighting selections are often made based on various shading methods and the decision to render in the format of either a local lighting method (lighting for a single item in a space) or a global lighting method (lighting qualities reflected through various items in a space)(Splatter pg. 279).
“Once and Future Graphic Pioneer I and II”, provide insight on the achievability of technical accuracy in computer rendering and stimulated light quality through the developmental work of Cornell University. The Program of Computer Graphics at Cornell seeks ways in which architects and designers can utilize their training in spatial arrangement, hand drawings and then mirror that through the accuracy of computer programming (Novitski -Article I). The importance of photo-realistic modeling and rendering is that it allows the architect/designer to effectively communicate their conceptual ideas and collaborate beyond the abilities of pen and paper, yet without discounting the qualities of traditional media (Novitski -Article II).
Spalter comments in her article that, “Despite all the technology involved, a handmade line drawing usually is much easier to read than a computer-generated wireframe rendering since the artist can easily vary the line weights” (pg. 275). This comment fosters the idea that both hand drafting and rendering still play a valuable role in the communication of architectural drawings even though the majority of work by designers is viewed in its finality through digital media. The further development of PCG’s work in the realm of ‘precise simulation’ will allow designers to capture necessary adaptations to an environment prior to the cost of constructing a physical space and proves to be a great asset in the placement of natural and synthetic lighting techniques.
It seems as though the overall technology found in computer graphics is becoming more readily available to the general public without the compromise of being diluted down (Spalter pg. 293). This inclusion of the general public makes smarter software programs readily available for designers and artists, the challenge however is to not forget that the quality of hand rendering and drawing coupled with 3D technology is what really makes digital media such a powerful tool. The advancement of digital technology and vast availability will definitely enhance the work of designers and allow for a more accurate perception of light quality within a proposed environment (Novitski -Article I &II). However, the common availability of 3D graphics and modeling within off-the-shelf computers could potentially cause non-designers to view architects and designers as less essential to creating a built environment. -Kimberlie Wade
Articles:
“Once and Future Graphics Pioneer”, B.J. Novitski
http://www.architectureweek.com/2000/0913/tools_1-1.html
“Once and Future Graphics Pioneer II”, B.J. Novitski
http://www.architectureweek.com/2000/0920/tools_1-1.html
Spalter, A. (1999). Rendering 3D Worlds – 3D Geometric Graphics II. In The Computer in the Visual Arts (pp. 257- 293). Addison Wesley Longman Inc.
“Once and Future Graphic Pioneer I and II”, provide insight on the achievability of technical accuracy in computer rendering and stimulated light quality through the developmental work of Cornell University. The Program of Computer Graphics at Cornell seeks ways in which architects and designers can utilize their training in spatial arrangement, hand drawings and then mirror that through the accuracy of computer programming (Novitski -Article I). The importance of photo-realistic modeling and rendering is that it allows the architect/designer to effectively communicate their conceptual ideas and collaborate beyond the abilities of pen and paper, yet without discounting the qualities of traditional media (Novitski -Article II).
Spalter comments in her article that, “Despite all the technology involved, a handmade line drawing usually is much easier to read than a computer-generated wireframe rendering since the artist can easily vary the line weights” (pg. 275). This comment fosters the idea that both hand drafting and rendering still play a valuable role in the communication of architectural drawings even though the majority of work by designers is viewed in its finality through digital media. The further development of PCG’s work in the realm of ‘precise simulation’ will allow designers to capture necessary adaptations to an environment prior to the cost of constructing a physical space and proves to be a great asset in the placement of natural and synthetic lighting techniques.
It seems as though the overall technology found in computer graphics is becoming more readily available to the general public without the compromise of being diluted down (Spalter pg. 293). This inclusion of the general public makes smarter software programs readily available for designers and artists, the challenge however is to not forget that the quality of hand rendering and drawing coupled with 3D technology is what really makes digital media such a powerful tool. The advancement of digital technology and vast availability will definitely enhance the work of designers and allow for a more accurate perception of light quality within a proposed environment (Novitski -Article I &II). However, the common availability of 3D graphics and modeling within off-the-shelf computers could potentially cause non-designers to view architects and designers as less essential to creating a built environment. -Kimberlie Wade
Articles:
“Once and Future Graphics Pioneer”, B.J. Novitski
http://www.architectureweek.com/2000/0913/tools_1-1.html
“Once and Future Graphics Pioneer II”, B.J. Novitski
http://www.architectureweek.com/2000/0920/tools_1-1.html
Spalter, A. (1999). Rendering 3D Worlds – 3D Geometric Graphics II. In The Computer in the Visual Arts (pp. 257- 293). Addison Wesley Longman Inc.
Friday, February 5, 2010
IAR 560 Project Investigation Abstract
Significance of Issues
This project will explore the aid of digital media in relationship to the marketability and connections between a specific user group and the design intent of interior products. As digital media and mass production becomes increasingly effective in the accessibility and marketing of well designed products, a greater understanding of photo-realistic representation infused through digital media will provide a working model for emerging product designers. Respectively, consumer goods are increasingly marketed online in addition to the traditional print format. However, it is the ability to virtually produce an object before it is physically produced that allows a greater level of communication to be established amongst the designer, manufacturer, and consumer/client. This potential level of communication then becomes a formalized digital aid for the representation of a product designer’s original intent as it relates to the overall aesthetics and craft for the intended end-user.
Scope of Limitations / Research Methodology
The scope of this research will be limited to one specific user group due to the time constraints of fully investigating more than one user group within the remaining course of a semester. Due to the current nature of my overall design thesis, the selected user group for this investigation will be focused within urban communities. Additional limitations that will inherently be addressed through the process of this project will be the lack of experience with elected rendering software applications that operate as digital aids to the current marketing techniques of interior products for individuals within the demographics of urban settings. Therefore, the acquired knowledge of additional digital software programs that have not been previously utilized will be essential to the development of this research investigation. Additionally, the research methods for this investigation will include collecting data in regards to marketing standards and abilities through photo-realistic rendering previous to the year 2000. This collection of data can then be compared to the current photo-realistic rendering and marketing standards in order to obtain a greater comprehension of optimal digital representation techniques.
Outcome Expectations
The expected outcome of this project will provide a coherent model for designers to analyze the productivity of marketing their original design intent through the aid of digital photo-realistic representation. The developed knowledge as a result of this research investigation will also aid designers in assessing the appropriate forms of digital media for marketing and promoting a product verses the appropriate media necessary for the sole communication of acquired production techniques. – Kimberlie Wade
This project will explore the aid of digital media in relationship to the marketability and connections between a specific user group and the design intent of interior products. As digital media and mass production becomes increasingly effective in the accessibility and marketing of well designed products, a greater understanding of photo-realistic representation infused through digital media will provide a working model for emerging product designers. Respectively, consumer goods are increasingly marketed online in addition to the traditional print format. However, it is the ability to virtually produce an object before it is physically produced that allows a greater level of communication to be established amongst the designer, manufacturer, and consumer/client. This potential level of communication then becomes a formalized digital aid for the representation of a product designer’s original intent as it relates to the overall aesthetics and craft for the intended end-user.
Scope of Limitations / Research Methodology
The scope of this research will be limited to one specific user group due to the time constraints of fully investigating more than one user group within the remaining course of a semester. Due to the current nature of my overall design thesis, the selected user group for this investigation will be focused within urban communities. Additional limitations that will inherently be addressed through the process of this project will be the lack of experience with elected rendering software applications that operate as digital aids to the current marketing techniques of interior products for individuals within the demographics of urban settings. Therefore, the acquired knowledge of additional digital software programs that have not been previously utilized will be essential to the development of this research investigation. Additionally, the research methods for this investigation will include collecting data in regards to marketing standards and abilities through photo-realistic rendering previous to the year 2000. This collection of data can then be compared to the current photo-realistic rendering and marketing standards in order to obtain a greater comprehension of optimal digital representation techniques.
Outcome Expectations
The expected outcome of this project will provide a coherent model for designers to analyze the productivity of marketing their original design intent through the aid of digital photo-realistic representation. The developed knowledge as a result of this research investigation will also aid designers in assessing the appropriate forms of digital media for marketing and promoting a product verses the appropriate media necessary for the sole communication of acquired production techniques. – Kimberlie Wade
Wednesday, February 3, 2010
Useful Sketch Up Blog
http://images.google.com/imgres?imgurl=http://img293.imageshack.us/img293/1373/potty7kq2.
Monday, February 1, 2010
A Response to “Building 3D Worlds – 3D Geometric Graphics I” by Anne Spalter and “Geometric Modeling” by Yehuda Kalay
The argument for complexity within digital representation is supported through Kalay’s article,“ Geometric Modeling” as real-life objects within their realistic settings are described as “a well informed balance of various attributes including generality, efficiency, and completeness” (Kalay pg. 141). Additionally, the introduction of wire-frame, surface, and solid modeling provides a basis for further discussion of the various approaches to the completion of 3D modeling techniques.
While the approach to modeling through wire frame is classified as the most simplistic and dated form of graphical computation, it still requires the inferring of the viewer who is typically trained to comprehend the visual representation of data (Kalay pg.141-142). However, due to the lack of ‘completeness’ found within this modeling technique the ability to fully discern the relationship amongst various objects in wire-frame construction is greatly compromised even for those trained to view through an interring lens (Kalay pg.142). In contrast, surface modeling provides a clearer view of the visual relationship formed through the connection of multiple objects, yet it still lacks a definite reading of adjacencies, surface area, and volume amongst various objects (Kalay pg. 142 -143). Therefore, solid modeling offers the greatest level of completeness in the readability and discernment of a model and becomes the closest digital representation of the physical model that allows the support of Boolean operations (including: union, intersection, and subtraction). These approaches for completing solid forms are described as spatial occupancy enumeration, constructive solid geometry (CSG) and boundary representation (B-rep) and are completed through various techniques. While spatial occupancy enumeration is accomplished through a grid (spatial array) and cells that are assigned to the object and provides an accurate calculation of volume, it lacks a clear view of relationship between cells since these cells are essentially grouped together as belonging to one particular object (Kalay pg.143 -144). Constructive Solid Geometry is also achieved through the combination of simplistic objects to re-create another form or object yet, the efficiency in this modeling technique occurs as Boolean operations (i.e. union) are simply recorded on the surfaces and structural data of primitive objects (Kalay pg. 144-45). Furthermore, Boundary Representation differs from both SOE and CSG due to the fact that it’s representation of exclusive points within a boundary includes a specific arrangement of vertices, edges, and faces. The accuracy of Boundary Representation is restricted to obtaining a non-self penetrating bounding surface in order to provide a concise representation. As a result, B-rep modeling combines both surface and volumetric modeling, while providing optimal surface visualization of the model (Kalay pg.146).
Spalter’s article, “Building 3D Worlds – 3D Geometric Graphics I” provides a valuable discourse regarding the usage and adaptability of 3-D modeling software. ‘Scientific Visualization’, described as a representative image based on the collection of data essentially, provides the allowance for modeling of the 3D world as it relates to an object, light interaction, as well as behavioral attributes (pg.216). These allowances are created through the performance of duties described as: the creation of basic elements of an object, the assembly, the arrangement of scenery, selection of materials and lighting, and selection of viewpoints and rendering attributes. Additionally, the dependency of medical research creates an additional avenue for both the realistic modeling of volume visualization (modeling of object’s interiors) and volumetric sculpting (sculpting of voxel-based models) while providing a venue for 3D painting to further formulate (pg. 218). In regards to the realistic demands of digital modeling, the methods of digital clay and 3D sculpting can also incorporate spline patches that create linear contours in complex forms. Coupled with realistic modeling curves and NURBS-based modeling, spline modeling provides one of the most accurate forms of pre-planned detailing and editing (pg. 228-29).
The planned acuteness of digital modeling is critical to the completeness of 3D representation. For example the moving of vertices within an object will create a non-symmetrical shape that is well adaptable to future sculpting. Yet in contrast, the rotation of a 2D profile will create a symmetrical object that also is available for future editing of the final object, but does not provide the same editing abilities of the original attributes found in lofted modeling (Spalter pg.230). Respectively, the planning of final appearance, editing, and hierarchy prove to be critical components of holistic 3D modeling.
Kalay’s and Spalter’s articles provide a basis for determining which initial modeling techniques are most appropriate for modeling both objects and buildings. The degree of visualization required by the viewer and the expectation of future manipulation can greatly influence the modeling of an interior object and a building’s interior and exterior components (Kalay 2004.) Essentially, the various techniques of digital modeling create a new tool palette for architects and designers that enhance the informative efficiencies of modeling.
While there are great efficiencies to be gained through 3D modeling, the effectiveness of 3D modeling can become diluted if the attributes of physical modeling are re-missed. Since there is little room for exploration during the 3D modeling phase, physical modeling still creates a viable venue for the exploration of ideals, concepts, and even materials. In retrospect, the danger of deficient exploratory process can also be alleviated through programs such as Sketch (produced by Robert Zeleznik), which provides a medium between hand sketches and computer-based modeling software (Spalter pg. 232-33). Thus, the manipulation of future digital modeling techniques creates an opportunity for the improvement of concise modeling and readability within digital conceptualization (Kalay 2004). As technology becomes more readily available architects, designers, and artists will obtain more efficient and accurate means to develop meaningful and holistic 3D models.
– Kimberlie M. Wade
Articles:
Kalay, Y. (2004). Geometric Modeling. In Modeling – Architecture’s New Media (pp. 141-147). The MIT Press.
Spalter, A. (1999). Building 3D Worlds – 3D Geometric Graphics I. The Computer in the Visual Arts (pp. 212-253). Addison Wesley Longman Inc.
The argument for complexity within digital representation is supported through Kalay’s article,“ Geometric Modeling” as real-life objects within their realistic settings are described as “a well informed balance of various attributes including generality, efficiency, and completeness” (Kalay pg. 141). Additionally, the introduction of wire-frame, surface, and solid modeling provides a basis for further discussion of the various approaches to the completion of 3D modeling techniques.
While the approach to modeling through wire frame is classified as the most simplistic and dated form of graphical computation, it still requires the inferring of the viewer who is typically trained to comprehend the visual representation of data (Kalay pg.141-142). However, due to the lack of ‘completeness’ found within this modeling technique the ability to fully discern the relationship amongst various objects in wire-frame construction is greatly compromised even for those trained to view through an interring lens (Kalay pg.142). In contrast, surface modeling provides a clearer view of the visual relationship formed through the connection of multiple objects, yet it still lacks a definite reading of adjacencies, surface area, and volume amongst various objects (Kalay pg. 142 -143). Therefore, solid modeling offers the greatest level of completeness in the readability and discernment of a model and becomes the closest digital representation of the physical model that allows the support of Boolean operations (including: union, intersection, and subtraction). These approaches for completing solid forms are described as spatial occupancy enumeration, constructive solid geometry (CSG) and boundary representation (B-rep) and are completed through various techniques. While spatial occupancy enumeration is accomplished through a grid (spatial array) and cells that are assigned to the object and provides an accurate calculation of volume, it lacks a clear view of relationship between cells since these cells are essentially grouped together as belonging to one particular object (Kalay pg.143 -144). Constructive Solid Geometry is also achieved through the combination of simplistic objects to re-create another form or object yet, the efficiency in this modeling technique occurs as Boolean operations (i.e. union) are simply recorded on the surfaces and structural data of primitive objects (Kalay pg. 144-45). Furthermore, Boundary Representation differs from both SOE and CSG due to the fact that it’s representation of exclusive points within a boundary includes a specific arrangement of vertices, edges, and faces. The accuracy of Boundary Representation is restricted to obtaining a non-self penetrating bounding surface in order to provide a concise representation. As a result, B-rep modeling combines both surface and volumetric modeling, while providing optimal surface visualization of the model (Kalay pg.146).
Spalter’s article, “Building 3D Worlds – 3D Geometric Graphics I” provides a valuable discourse regarding the usage and adaptability of 3-D modeling software. ‘Scientific Visualization’, described as a representative image based on the collection of data essentially, provides the allowance for modeling of the 3D world as it relates to an object, light interaction, as well as behavioral attributes (pg.216). These allowances are created through the performance of duties described as: the creation of basic elements of an object, the assembly, the arrangement of scenery, selection of materials and lighting, and selection of viewpoints and rendering attributes. Additionally, the dependency of medical research creates an additional avenue for both the realistic modeling of volume visualization (modeling of object’s interiors) and volumetric sculpting (sculpting of voxel-based models) while providing a venue for 3D painting to further formulate (pg. 218). In regards to the realistic demands of digital modeling, the methods of digital clay and 3D sculpting can also incorporate spline patches that create linear contours in complex forms. Coupled with realistic modeling curves and NURBS-based modeling, spline modeling provides one of the most accurate forms of pre-planned detailing and editing (pg. 228-29).
The planned acuteness of digital modeling is critical to the completeness of 3D representation. For example the moving of vertices within an object will create a non-symmetrical shape that is well adaptable to future sculpting. Yet in contrast, the rotation of a 2D profile will create a symmetrical object that also is available for future editing of the final object, but does not provide the same editing abilities of the original attributes found in lofted modeling (Spalter pg.230). Respectively, the planning of final appearance, editing, and hierarchy prove to be critical components of holistic 3D modeling.
Kalay’s and Spalter’s articles provide a basis for determining which initial modeling techniques are most appropriate for modeling both objects and buildings. The degree of visualization required by the viewer and the expectation of future manipulation can greatly influence the modeling of an interior object and a building’s interior and exterior components (Kalay 2004.) Essentially, the various techniques of digital modeling create a new tool palette for architects and designers that enhance the informative efficiencies of modeling.
While there are great efficiencies to be gained through 3D modeling, the effectiveness of 3D modeling can become diluted if the attributes of physical modeling are re-missed. Since there is little room for exploration during the 3D modeling phase, physical modeling still creates a viable venue for the exploration of ideals, concepts, and even materials. In retrospect, the danger of deficient exploratory process can also be alleviated through programs such as Sketch (produced by Robert Zeleznik), which provides a medium between hand sketches and computer-based modeling software (Spalter pg. 232-33). Thus, the manipulation of future digital modeling techniques creates an opportunity for the improvement of concise modeling and readability within digital conceptualization (Kalay 2004). As technology becomes more readily available architects, designers, and artists will obtain more efficient and accurate means to develop meaningful and holistic 3D models.
– Kimberlie M. Wade
Articles:
Kalay, Y. (2004). Geometric Modeling. In Modeling – Architecture’s New Media (pp. 141-147). The MIT Press.
Spalter, A. (1999). Building 3D Worlds – 3D Geometric Graphics I. The Computer in the Visual Arts (pp. 212-253). Addison Wesley Longman Inc.
Saturday, January 30, 2010
This visit to CDI (Center of Design Innovation) in Winston was very informative.
I believe that the center will prove to be a great resource to the UNCG community now as well as in the near future. After visiting, I realize that I have been limited in the amount of digital programs that I currently operate in. I look forward to becoming more familiar with various modeling, rendering, and prototyping abilities even within the local triad area. - Kimberlie Wade
I believe that the center will prove to be a great resource to the UNCG community now as well as in the near future. After visiting, I realize that I have been limited in the amount of digital programs that I currently operate in. I look forward to becoming more familiar with various modeling, rendering, and prototyping abilities even within the local triad area. - Kimberlie Wade
Monday, January 25, 2010
A Response to “Computing in Architectural Design” and “The Pioneers of Digital Art”
A Response to “Computing in Architectural Design” and “The Pioneers of Digital Art”
While Kalay’s article “Computing in Architectural Design” and “The Pioneers of Digital Art” by R. Lewis and J. Luciana both provide a source of historical relevance for the usage and exploration of advanced tools for design professionals and scholars, the latter creates a greater focus on the collaboration of artists within the realm of digital media and the accessibility of digital manipulation by the general public. Kalay’s article expresses the progression of computing aids as the primary needs and ideals of design, engineering, and other professions continue to evolve and advance. Essentially digital technology is therefore created in response to newly acquired territories within a profession. For example, as a concept such as the ‘Vitruvian’ ideal of human portions and architectural relationship is received, a tool that can aid in the accurate expression of that idea is then acquired or created such as the ‘compass’ or ‘straight-edge’. These tools are then utilized further as a means to cultivate additional expressions of architecture, graphics, and general design. While the article, “Computing in Architectural Design” is comparable to viewing the development of computer aids in response to the advancement of architectural design, the authors of “The Pioneers of Digital Art” provide a written appreciation for the collaborating efficiencies of design and digital art. The effectiveness of digital collaboration amongst artist, designers, engineers, and other professionals provides an avenue for the public to appreciate art and the knowledge of creativity in a traditional realm in which they are already accustomed to. Additionally, this type of exposure continues to develop into the desire for those outside of the design world to grasp their own sense of design ability and creativity through the use of their home computers and software programs. This marriage of collaboration and accessibility create a venue for both acceptance and validation.
The relevance of computer aided design throughout the history of interior design and architecture has essentially become an arena that has formed the standard for visual expression and communication of design knowledge. As asserted within Kalay’s article, the introduction of geometry as a prominent path to visually articulate the components of architecture and anatomy creates a valuable venue for the initial discourse of digital computation. This expression of geometry results in new proportions and the ability to further convey a ‘Vitruvian’ depiction within architecture and graphic communication while beginning a stepping stone for the relevance of computer aids and other new tools. The accessibility of new tools creates an array of innovative venues for the artist-designer to produce relevant work that is cultivated through the collaboration of man and machine. Although some previous inventions of computer aided design were created with the intent to replace the intellect of designers, computer aided design is now accepted as an operational aid and not a sole replacement for the knowledgeable intentions of the designer.
The expectation for design to continue as a means in which digital technology can be explored as it benefits the artists or designers of multiple disciplinary work is validated through the previous history of computer aided design. The visual quality of media essentially becomes the direct communication of the designers’ intent and creates an avenue to establish a captive audience. Traditionally, technically driven professions have naturally acquired an unquestionable sense of esteem in the view of the general public in contrast to professions that are creatively driven and marketed. It is often assumed that a profession acquiring the utilization of computer-aided devices requires a granted proportion of knowledge and insight. This assumption, however, often does not require the validation of whether the knowledge is obtained as a means to operate and understand a machine versus a means to convey through a device the knowledge captivated within human creativity. Both means of knowledge are viable to various professions while serving different purposes.
As digital design aids become increasingly accessible, they will continue to operate as a catalyst for multiple disciplines to collaborate and educate public arenas of the validity within the artistic intellect of creatively driven professions. Imperatively, as the advancement of computational devices and software permeates the fields of professional design, art, and public arenas, it will serve as a means of distribution of human intellect and a continued connection of human relationship.
- Kimberlie M. Wade
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