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.
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