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
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