Tuesday, April 26, 2011
Final Proposal - Art Reshaping Space
INTRODUCTION/ PRODUCT DESCRIPTION
This study focuses on the benefits of 3D rendering and animation, with 3ds Max, and modeling, with Rhino and Revit Architecture, through their application to an interactive wall system. Currently the state of animation covers a range of different areas in the market, and it is not strictly centered on cartoons, “even the most realistic movies call on animations to simulate an ungettable shot or to make a moment just a smidge more perfect” (Brady, 2006). Conceptually the driving factors of this design are based on organic forms, more specifically radiolarian structures. Radiolaria, a marine protozoa, produce sets of intricate skeletal type structures that can be manipulated, stretching and pulling, which is what the design of the wall will be based upon. Through the application of animations to this design it will enable a clearer understanding of how the user can interact with the environment that the wall is placed. Through the creation of an animated environment the user can also understand how the wall affects its surroundings by varying conditions such as the natural or general lighting that is used within the space to create shadow-play to alter the appearance of the surrounding environment. Changing lighting conditions, dependent on times of day and year, can be applied through the use of 3ds max with light studies which can show the reflectiveness of materials, manipulation of shadows, and how the environment is altered.
LITERATURE REVIEW
REVIT ARCHITECTURE
The use of BIM technology has multiple benefits to both architects and designers through the visualization of a two-dimensional drawing to three-dimensional model. The exploration of this software and its uses in the field are important to the understanding of the capabilities of using this software for the development of the context for the biomorphic wall system. Jones (2011) states that “Building Information Modeling (BIM) is dramatically changing the process of designing, documenting, constructing, and maintaining buildings globally” (pg. 1). The power of BIM gives the user the opportunity to access the physical and functional characteristics of a building rather than just drawings that have no intelligence. Therefore the intelligence of BIM technology can be associated with the objects of a building, its elements and products, to assemble and create a virtual model of a building.
BIM is not only the geometry of the space; Jones (2011) finds that it is also a variety of other relevant data such as material strengths, finishes, reflectivity, and light transmission. Attributes of BIM models are stored within the object making them machine readable, consequently leading to their extraction and use in software programs. These model-based programs then use the attributes for processes including developing specifications, achieving accurate appearances from various perspectives, simulating environmental conditions, and conducting lighting analyses. The development of specifications and the various perspective views that are created in BIM software, Revit, for this project are the most important features that BIM technology provides to this study.
As for its uses in the field of architecture, Gonchar (2009) discusses how the adoption of BIM is becoming more appealing to architects and builders through the discovery of the benefits of using this type of software. Since the technology of BIM is more advanced than those of CAD systems, this technology is proving its ability to perform tasks that were difficult to achieve in CAD. Differing from CAD systems, BIM technology has made it is possible to create 3D views that aid in the understanding of complex geometries that are presented in space while also providing other analysis in the early design phases to discover potential conflicts in both structure and mechanical systems.
Today, there has been a rise in the use of BIM technology, but its use has yet to become widely used in the field; many firms are just waiting for the right opportunity to use this type of technology. In one of the cases, architect Miller Hull and contractor, BN builders, found that the design and construction of five libraries in Washington was the perfect time to implement BIM technology. Similar features used throughout these five different buildings enabled the builder and designer to work with a “kit-of-parts approach” (Gonchar, 2009, p. 2) where the similar parts could be transferred from one model to another. BIM software also proved its advantages over CAD in the identification of problematic issues with details which could be addressed before construction.
With the use of BIM technology, Revit, the development of spatial patterns are created to inform the design process of the wall system. The floor plans created of the Gatewood Lobby provide dimensions of the space upon which the dimensions of the wall form are constructed. The three-dimensionality of the plans enables their importation into 3ds max to supply the context for the placement of the wall design. This context can consequently be altered to create various lighting conditions for rendering and animation in order to simulate its actual position in the space.
RHINO
Rhino has a variety of different uses in the area of design, used by industrial designers, architects and furniture designers. For the modeling of the components of the wall system, Rhino was used and projects were researched to observe how other designers used the program for their own design development, such as Minutillo’s (2009) study of the Conga Room, a Latin dance club in downtown L.A. In her investigation of how Belzberg Architects used CNC milling to assemble over a thousand small panels to create an articulated surface over the club’s dance floor and lobby, their use of Rhino established how important this software was to the panels creation and placement. From the tornado designed entry, to its transformation into flowers over the dance floor, the acoustics were a very important concern. With the use of Ecotect, a building and analysis software, an acoustical-simulation was developed which extracted quantitative data from a parametric model. This information was then used to plug into the digital model and fabrication drawings that were created with the use of Rhino.
Gonchar (2007) finds that architects use numerous software tools to exploit their strengths in order to achieve their desired outcome; one of these cases is New York’s SHoP Architects. SHoP used four different programs, from separate companies, for the design of a 26,000 square foot building in Manhattan, Rhino being one of these programs. For the sketching of the complex surfaces with the use of 3D modeling, Rhino was able to create a quick representation of the cladding of the buildings faceted panels. But in order to obtain an understanding of the relationship between the bricks that composed the surface a parametric tool, Generative Components (GC), was used. In the end Rhino serves as the medium between the development of models through sketches and the analyzation of the model itself.
In terms of this project Rhino serves as a vital software component in the 3d modeling and development of the patterning and the wall form. The biomorphic pattern and skeletal structure upon which this wall system is based on was created through the use of this modeling system. The manipulation of each individual tile for the generation of the pattern for the wall was aided by the use of the modeling tools, “stretch” and “flow along curve.” Each tile could be selected and altered individually, or “joined” to manipulate the entire structure together. Once the final manipulated pattern was applied to the surface of the wall form, NURBS could be used to create a dense mesh for the walls identification in 3ds max.
3DS MAX
In a review, Animation Magazine (2009) presented an article that allowed its readers to pick their favorites for 2008’s top ten software packages, which included Autodesk’s 3ds Max (pg. 47). It is stated that many Hollywood film productions, video games, and commercials utilize this software that incorporates “…3D modeling, animation, rendering and effects” (pg. 47) to create high quality content. An investigation of literature, such as Animation Magazine’s review and others like it, in the areas of animation and rendering with 3Ds Max an understanding of its history and uses can be developed. Project specific uses, such as case studies, of this software also clearly define the application of this software to areas in the field of animation and rendering.
The website AREA (2011) covers a breakdown of over twenty years of the development of Autodesk’s 3ds Max starting in 1988 with the Yost Group’s joining with Dan Silva which to create the 3D Studio module of their project which then turned into a 3D animation program. 3D Studio was released two years later at a price that has not changed since, $3495, which allowed for 3D modeling, rendering and animation from a home PC. In the years following until 1994 Autodesk released a new version of 3D Studio R every year until a new version was unveiled in 1995, 3D Studio MAX which offered features such as 32-bit applications and the new HEIDI interface.
As Autodesk’s Multimedia Division is being renamed to Kinetix in 1996, 3D Studio Max was finding its way to Hollywood for its first uses for visual effects in films. And just like in the years before new versions were developed yearly in the form of 3D Studio Max R until the Millennium. The year 2000 brought about a new name for 3D Studio Max, 3ds max, in all lower case to meet the conventions of Discreet products, a company that Autodesk acquired in 1999. The new features of the new version of 3ds max created by Discreet Logic included Active Shade, a new IK system, and DirectX Shader. It was not until 3ds max 5’s release in 2002 that the program was completely done by Autodesk.
In the years following the 2002 release of the Autodesk exclusive 3ds max until 2005, Discreet started to include some of the most notable features of 3ds max. This began with 2003’s new features including the mental ray renderer and particle flow, 2004’s SkinMorph and Edit Poly modifier, and 2005’s Hair and Fur, Cloth and Skinning. This integration of significant features resulted in the culmination in 2006, with the renaming of the software to the name we know it as today, Autodesk 3ds Max. And with the release of Autodesk 3ds Max 2008 it was the “first release to adopt an annual naming convention rather than a version number” (AREA, 2001, sec. 2007). In recent years Autodesk 3ds Max is finding much notoriety not only in the gaming industry but also in film. With the area of digital effects playing more of a significant role in film, we are sure to not see the end of the advancements in 3ds Max.
In terms of these advancements for the use of 3ds max for this project, the rendering and animation effects proved to be important in the generation of accurate in context images for the final outcome of this investigation. 3ds max’s material editor was used to apply variations of concrete, glass, and paint onto the imported site model and the wall system (figure 12). These materials were then adjusted to the desired reflectivity and color to simulate their actual appearance within the space. Lighting placements, including omni and daylighting (figure 13), were then used to create reflections and the general lighting for the lobby. Adjustments to generate adequate amounts of lighting for the interior lights were changed using the multiplier, controlling the light intensity of each omni light placed in the building. Lastly, rendering and the creation animations of each scene were dependent on the placement of cameras in the model. After each camera placement, modifications of their location on the X,Y, and Z axis and lens selections determined the outcome of the view of the final renderings.
METHODOLOGY
Tools and Techniques
Each of the tools that were used in the creation of this design demonstrates the different and significant features each software provides for its digital development. The use of Revit, Rhino, and 3ds max assisted in the creation of the context of the site, the design of the wall system, and the lighting, material selection, and renderings. While each program offered various tools to complete the design, the importation of the three files into a single program was imperative for the final result. Without the merging of these files each program would only be able to provide data for its development in a single program.
Revit Architecture was used for the creation of floor plans and 3D views of the front portion of the Gatewood Arts Building. For the creation of these plans measurements of the site were taken and entered into Revit to create a three-dimensional section of the space. Although the wall system was to be placed solely in the lobby, the front section of the building was still simulated in order to create an accurate feel of the overall space. Lighting conditions of the lobby were also directly influenced by its surrounding structure and therefore played a role in accurately portraying light. This was an important tool for understanding the conditions that affect the outcome of the space, not just designing not just for a specific site, but the conditions that surround it.
Due to the significant amount of time invested into the learning of Rhino I found it was crucial to the modeling and manipulation of the radioloarian honeycomb pattern of the structure. Therefore, the pattern and the wall form were created in Rhino and then combined using the “flow along curve” feature. Flat planes were modeled that each honeycomb tile was individually placed upon to create a pattern. After the pattered planes were completed the plane and pattern were selected using the “flow along curve.” Rhino then prompts the section of the curved wall section in order for Rhino to apply these patterns to the wall curves. The planes of the wall section and the patterning were then removed, leaving the final form of the biomorphic wall system. For exportation of these files NURBS meshing of the final form was required for its importation into 3ds max.
3ds max provides the foundation upon which all of the files were compiled on, the Rhino wall form and the Gatewood lobby plans created in Revit. The material editor was then used to apply site specific materials to both of these models. Variations in reflectivity, texture, and color were edited in an attempt to match the materials that are present in the lobby and the desired look and feel of the wall form. The accessibility to alter specific elements, such as materials, and create high quality renderings and animations gave substantial reasoning for choosing 3ds max for the importation and editing of files. Although both Rhino and Revit offer rendering and animation capabilities, 3ds max was far more advanced, being used in gaming and movie industries. Achieving the most realistic renderings and animations was vital to the formation of representations of the biomorphic wall system and site in order to convey to the visitor the most realistic experience without the actual installation.
Limitations and Constraints
There was the assumption that with the introduction of 3D media into to the design of a wall installation it would communicate user interaction, such as what the space will look like as the user walks through the space. Upon the implementation of the design into these different programs the constraints of this study arose including computing power, time to learn the software, and communicating how the user can interact through animation. In terms of computing power there were issues with the amount of time necessary to produce high quality images. The larger and more complex the views the longer rendering times required to complete the image, which varied from three hours, for high quality images, to twenty six hours, for animations. Secondly there was the matter of time constrains in terms of learning the three programs. In the time allotted, there was not a lot of time to do an in depth study to efficiently learn all of the capabilities of each software. This proved to be most problematic in the use of 3ds max due to not having any prior knowledge of the program. With the learning of the software being self guided, through tutorials on the internet and books on the subject, there was limited availability for help when troubleshooting problems that are encountered through the process. Lastly there are limitations with the use of animations which can keep the user from understanding their own personal interaction with installation. An animation developed as the designer’s view of how the user will interact with the space does not allow the viewer to determine their own personal investigation around the object or through the space. Therefore this restricts the viewer from forming their own identification with the installation being limited to only what the animation allows them to see.
RESULTS AND OBSERVATIONS
The results of this investigation are renderings and an animation of a biomorphic wall system from the importation of 3D plans of the site from Revit and the proposed wall design from Rhino into 3ds max. Light study renderings, seen in different iterations through the alteration of the surrounding environment, provide information about impact of the installation on the interior space as affected by materials, general lighting, and outdoor lighting. Going a step further, a flythrough animation of the lobby attempts to offer a view of movement around the wall system in its environment instead of just stationary images from one location within the space. Together the renderings and animation demonstrate how the use of 3d media is helpful in the development stages of the design of a product that is affected by its surroundings.
The light study renderings, conducted at three hour time intervals, beginning at 9AM and ending at 9PM, provided representations of how the material of the wall system and its shadow casting play a role in how the user will experience the space. 3ds max’s daylighting system was placed in the scene which allowed for the selection of the location of the building, based upon longitude and latitude coordinates, the month, day and year, and also the time of day. For the final renderings, the day of the presentation, April 20, 2011, was chosen to simulate that day’s effects upon the installation. The results established that, due to the western exposure of the building, the most considerable light alterations occurred later in the day when both outdoor and indoor lighting entered the room.
The flythrough animation of the lobby offers movement around the structure, giving an onlooker the idea of what the actual wall installation would look like once constructed. The camera used to set up the animation was guided along a curved line through the scene that, while using the walkthough assistant, could be controlled based on head movements and camera height. Keys were chosen as the animation played through the sixty frames which determined the direction of the camera, from left to right, and the field of view that was seen in the final rendering. The outcome resulted in high fly through view of the wall installation in the lobby which shows a movement through the space instead of individual images.
The use of 3D media for this study supplies valuable information for the design and installation of a proposed wall system such as the effects of the wall on its environment and issues that may arise in the design of the system itself. Environmental conditions, that vary from site to site, can be simulated for the creation of accurate digital representations of spaces that are proposed for wall installations. Consequently, these factors can be taken into consideration during the design phase to create a desired experience of a space. Also, digital media provides foresight into issues that may arise during the design process. Through the creation and placement of a design into context flaws in the design will arise that can be resolved before the wall system moves from digital to development. Overall, from idealization to final rendering, the use of 3D media for this investigation uses aspects of various software’s to achieve a desired product while also taking into consideration the factors that contribute to its construction.
CONCLUSIONS
Troubleshooting
Importing
Issues encountered in the initial design phases resulted in a few setbacks with learning 3Ds max. Importing models from Rhino was one of these issues encountered that caused some difficulty. Files imported into 3Ds Max from Rhino as 3dm files only import a wireframe model into Max, which does not allow the application of materials or rendering. I found that exporting in Rhino was the key to the problem. NURBS meshes must be created before the object is exported from Rhino. Once the creation of NURBS is selected and the polysurfaces to mesh are chosen you have the option to choose the amount of polygons to include in the mesh. Rhino then calculates the meshes and the polygons can be seen on the faces of the object. Then the object can be exported into 3Ds Max and surfaces can be seen for materials to be applied and renderings to appear.
Applying Object to Surface
Another issue that was encountered was the application of patterning work to a surface. When the pattern was created and applied to the surface in 3ds max from Rhino, the shapes were distorted and stretched across the entire surface instead of being applied to particular areas. It was then determined that the patterning was going to have to be created in the shape of the wall instead of the pattern being applied to the wall form surface. After some research on applying objects to surfaces in Rhino, tutorials provided a solution to this problem, “flow along surface.”
The flow along surface feature allows the user to select an object and then apply it to a selected surface. One issue that arose with this feature is the need for a flat plane that is the same length and width of the desired surface to apply the objects to. This plane can either be over or under the objects, or through the object so that it will flow through the desired surface. When the operation is done correctly, as in the case with this project, the pattern that was created was applied to the curved surface that was created to form the wall.
Future Uses of 3D Media
In the future, I believe that digital media will be an integral part of the creation of work for my thesis through not only the ability to design wall systems for site specific spaces with the aid of floor plans/measurements, but also the placement of different design iterations into those sites without construction. This will also prove important when working out initial design issues before installation, such as placement, lighting variations, and the obstruction of walk areas. During construction these factors will be vital to the success of the placement and assembly of the wall system. Overall, this study has advanced my understanding of the uses of digital media and how it will affect both my current work and my work in the future; proving to be a critical tool in the generation of my designs.
REFERENCES
Brady, M. (2006, March). Wired 14.03: How Digital Animation Conquered Hollywood. Wired. Retrieved February 7, 2011, from http://www.wired.com/wired/archive/14.03/animation.html
Gonchar, J. (2009, December). Diving Into BIM. McGraw_Hill Construction: Continuing Education Center. Retrieved February 25, 2011, from http://continuingeducation.construction.com/article.php?L=5&C=625
Gonchar, J. (2007, April). Transformative Tools Start to Take Hold. McGraw_Hill Construction: Continuing Education Center. Retrieved April 26, 2011, from http://continuingeducation.construction.com/article.php?L=5&C=207
History of Autodesk 3ds Max. (2011). AREA: Digital Entertainment & Visualization Community. Retrieved March 10, 2011, from http://www.the-area.com/maxturns20/history
Jones, S. A. (2011, April). Building Products in BIM. McGraw_Hill Construction: Continuing Education Center. Retrieved April 8, 2011, from http://continuingeducation.construction.com/article.php?L=251&C=775
Minutillo, J. (2008, December). Model Behavior: Anticipating Great Design n Center. McGraw_Hill Construction: Continuing Education Center. Retrieved February 25, 2011, from http://continuingeducation.construction.com/article.php?L=5&C=471
Minutillo, J. (2009, September). When the Whole Is Greater Than the Sum of Its Parts. McGraw_Hill Construction: Continuing Education Center. Retrieved April 26, 2011, from http://continuingeducation.construction.com/article.php?L=5&C=588&P=2
Top 10 Animation/VFX Tools of the Year. (2009, February). Animation, 23(2), 46-47.
Friday, April 22, 2011
Monday, March 28, 2011
Origins of the Internet and the Computer
The article Computing in Architectural Design (2004) discusses the history of Computer-Aided Design starting with the first use of computers in the building industry for engineering analysis. In 1963 with Sutherland’s invention of the sketch pad, he hoped to integrate the evolution of design and analysis programs. Although this system was created from the interest in using computers for architecture design, there were also talks among academic circles that created considerable influences in the development of computer-aided design. Later in the 1970’s, the presence of computers began to appear in architectural practices taking on two different approaches: geometric modeling and building specific. Many of the programs were used by the industry giants, such as General Motors, nut there were also university based research groups investigating CAD developments. Universities such as Carnegie Melon, University of Michigan and MIT were all contributors to the developments in the field of computer-aided design through programs such as building description and space planning; habitability, energy, and building specification analysis; and artificial intelligence.
With both universities and practicing industry giants researching developments in the field of computer-aided design CAD systems evolved into two other generations of systems. The appearance of second generation systems can attribute their growth to faster processors allowing for larger storage capacity, resolution of display screens and the invention of ink-jet printers. But even though these developments helped in the evolution of CAD systems, the second generation was far more graphically poorer than the first. As the third generation of these systems emerged there was a merging of research and graphic-oriented software, as seen in the projects SPICE from Carnegie-Melon University where nongeometric attributes created geometric shapes. This evolution in the development of the CAD systems has created an interface that, while some reluctance in the architectural community, have lead to continued efforts to expand knowledge and research in CAD development.
The article Pioneers of Digital Art (2004) discusses many different uses of computer graphics through identifying instances throughout history where digital means have contributed to the evolution of art. One of these instances is the 70’ Expo in Osaka, Japan where a Pepsi-Cola commissioned EAT created a pavilion that would house collaborations between artists, choreographers, musicians, scientists, and engineers in the area of art. Visitors to the pavilion were exposed to a geometric dome that was lit by spotlights which resembled a cloud type sculpture surrounded by pod structures that emitted sounds ranging from a whale singing to a truck engine. Although the experiences that this structure created both structurally externally and collaboratively internally were unique the cost of the project proved to create costly stress and event disputes for its corporate sponsors. This experience proved to mark the beginnings of digital media to be filled with high ambitions and expenses until the personal computer arrived in the 1980’s that shows that artist could not take on the task alone, it also required the help of engineers that had access to expensive hardware.
Other developments in computer projects such as military research, the Whirlwind project and digital drawings provide other significant developments in the area of digital arts. The military developments in their air defense system, SAGE, which was used to track Soviet aircraft in the mid 1950’s, paved the way for other developments in the digital media such as the creation of the Internet. The project Whirlwind, developed by MIT, marked the first time that the computer monitor was attached to the mainframe computer. The result was the generated sequence of a ball bouncing up and down and the first digital music creation programmed to play the song “Jingle Bells.” Lastly is the use of algorithms to create interior drawings of the cockpits by Boeing Airplanes. These computer generated designs not only contributed to the field of digital media, but also helping designing ergonomically.
Throughout the years many new advancements in the world of computers, from the creation of the mouse and the origins of the internet, provided a digital arena for the creation of new forms of art. But although these new art forms were gaining momentum in the art world, there was a tremendous disapproval from both critics and art fans alike. There was also the issue of high prices and limited availability during the 1980’s that along with the disapproval, contributed to a standstill in the development of tools for the digital media. Therefore the computer access that was needed for the research needed for advancements was limited to the military, industry and research universities.
20 Things I Learned About Browsers & the Web (2010) discuses the origins of the many capabilities of the Internet. Cloud Computing is one area that the article covers which the way that thousands of people and their computers connect to the Internet to provide all of the information that you are able to view. This ultimately creates a supercomputer at you disposal accessed directly from you desktop or laptop. But when connecting to the Internet there are risks involved, your information is exposed for attackers to access through the creations of malicious websites. Now that the developers of browsers are more conscientious of these threats most modern browsers are built to protect you against online threats by checking the websites, providing notifications of updates, and using the browser sandbox to curb codes. With this and more new developments in the Internet there is a vast possibility of what the future will hold for the Internet user.
All of these articles suggest that the future of computer-aided design/internet is evolving at a rapid pace. With the needs of both artists and designers driving the market for the development of design tools, artists are now becoming the engineers and programmers of their own software. But since the era of new technologies is still emerging there is still the need for collaborations between researchers, technology experts and artists. Looking ahead, these collaborations prove to provide great new creations through the knowledge of both art and science.
Chan, M. L., Holznagel, F., & Krantz, M. (2010). 20 Things I Learned About Browsers and the Web. 20 Things I Learned About Browsers and the Web. Retrieved March 29, 2011, from http://www.20thingsilearned.com/web-apps/1#/theend/1
Kalay, Y. (2004). Architecture's New Media: Principles, Theories, and Methods of Computer-Aided Design. The MIT Press.
Lewis, R. L., & Luciana, J. (2004). Digital Media: An Introduction (1st ed.). Prentice Hall.
Tuesday, March 1, 2011
Sunday, February 27, 2011
Research Topic Proposal (Revised II)
INTRODUCTION/ PRODUCT DESCRIPTION:
This study focuses on the benefits of 3D rendering and animation, with 3ds Max, and modeling, with Rhino, through their application to an interactive wall/screen system. Currently the state of animation covers a range of different areas in the market, and it is not strictly centered on cartoons, “even the most realistic movies call on animations to simulate an ungettable shot or to make a moment just a smidge more perfect” (Brady, 2006). Conceptually the driving factors of this design are based on organic forms, more specifically radiolarian structures. Radiolaria, a marine protozoa, produce sets of intricate skeletal type structures that can be manipulated, stretching and pulling, which is what the design of the wall screen will be based upon. Through the application of animations to this design it will enable a clearer understanding of how the user can interact with the environment that the wall/screen is placed. The creation of an animated environment the user can also understand how the wall/screen is affected by varying conditions which include natural, such as lighting, and human, the different ways the user can be involved with the product. Changing lighting conditions dependent on times of day and year can be applied through the use of 3ds max with light studies, which can show the reflectiveness of materials, manipulation of shadows, and how the environment is altered. Moveable elements can also be shown to represent the different manipulations of the product within the space.
METHOD:
Tools and Techniques
The tools that will be used to create this wall/screen in an environment will be Rhino and 3Ds Max. There has been a significant amount of time invested into the self-learning of Rhino which will be beneficial to the modeling and manipulation of this design. The basis of this manipulation is founded on the fundamental structure of the radiolarian, a honeycomb pattern. Therefore the honeycomb structure will be created in Rhino and then stretched and twisted to create the form on which the design is built upon. After the modeling and manipulation is completed it will then be imported into 3Ds Max where an environment is created which will hold the structure. Materials and lighting can then be applied which will give the wall/screen system an in-site view of an installed finished product through renderings. Walkthrough animations will also be created to show how users can move through and around the system within the space, which can change the dynamics of the space itself.
Limitations and Constraints
There is the assumption that through introducing 3D animation to the design of a wall/screen system it will communicate user interaction, such as what the space will look like as the user walks through the space. But there are some possible constraints in implementation; these can include computing power, time to learn the software, and communicating how the user can interact through animation. In terms of computing power there may be a problem with the size of the file that is being loaded into the program. The larger and more complex the file size, the slower it will run, therefore there is the possibility that once rendering and animation is introduced, the file may be so large or complex it may have difficulty running properly. There is also an issue of time constrains in which to learn the software. In the time allotted, there is not a lot of time to do an in depth study to efficiently learn all of the capabilities of the software. Another issue with time is also the fact that learning the software is self guided, through tutorials found on Lynda.com and books on the subject. There will be a limited availability for help when troubleshooting problems that are encountered through the process. Lastly there are limitations in the software which can possibly keep the user from understanding their interaction with the product.
RESULTS/OUTCOME:
The results of this study will be a wall/screen system shown in different iterations through the alteration of the environment. Through the digital exploration of this system I will be able to understand the impact on the physical product through interactive studies. Animations will allow a walkthrough of an environment where the wall/screen is installed and how it can be affected by natural and human responses. Problems with the system an also be addressed based on how the installation is installed and designed, which will determine whether elements should be moved around or changed based on how I would like to manipulate the environment.
CONCLUSIONS:
Troubleshooting
Issues encountered in the initial design phases resulted in a few setbacks with learning 3Ds max. Importing models from Rhino was one of these issues encountered that caused some difficulty. Files imported into 3Ds Max from Rhino as 3dm files only import a wireframe model into Max, which does not allow the application of materials or rendering. I found that exporting in Rhino was the key to the problem. NURBS meshes must be created before the object is exported from Rhino. Once the creation of NURBS is selected and the polysurfaces to mesh are chosen you have the option to choose the amount of polygons to include in the mesh. Rhino then calculates the meshes and the polygons can be seen on the faces of the object. Then the object can be exported into 3Ds Max and surfaces can be seen for materials to be applied and renderings to appear.
Uses of 3D Media
The benefits of using 3D media to design, render and animate a found in the creation of these radioloria based structures through the manipulation of elements in the programs, the understanding of how these forms will alter the space within they are placed, and different variations that can be developed without the creation of a model.
REFERENCES:
Brady, M. (2006, March). Wired 14.03: How Digital Animation Conquered Hollywood. Wired. Retrieved February 7, 2011, from http://www.wired.com/wired/archive/14.03/animation.html
Week 7 Readings
McGarigle states: “Geographical information systems are important tools for defining the social and environmental contexts of urban design, planning, and architecture” (McGarigle, 2011, p. 1) GIS systems can be best explained as software that allows for geographical information to be linked based on a set of coordinates. Information can then be analyzed in 2D or 3D layers that are representative of different types of data such as demographics or crime statistics. In recent years the use of GIS has become a growing part of the way structures are being built. This type of software has enabled developers to see designs in surroundings therefore designers can understand the affects on cities. An example of how this is being applied to real projects can be seen in the Los Angeles’ environmental analysis for the Los Angeles International Airport. Demographic information was used to identify communities close to LAX that might be affected by noise from aircraft and construction. Noise contours were then overlaid on area maps to determine communities that would be directly impacted. “Throughout the design and construction process, the GIS-based context serves as a platform for collaboration among all project participants and provides source data that both informs and is shaped by them” (McGarigle, 2011, p. 6).
Gonchar article discusses how the adoption of BIM is becoming more appealing architects and builders through the discovery of the benefits of using this software. Since the technology of BIM is more advanced than that of CAD systems this technology is proving its ability to perform tasks that were difficult to achieve in CAD. Today there has been a rise in the use of BIM technology, but its use has yet to become widely used in the field; many firms are just waiting for the right opportunity (project) to use this type of technology. In one of the cases architect Miller Hull and contractor BN builders found that the design and construction of five libraries in Washington was the perfect time to implement BIM technology. Similar features used throughout these five different buildings enabled the builder and designer to work with a “kit-of-parts approach” (Gonchar, 2009, p. 2) where the similar parts could be transferred from one model to another. Another benefit of the use of BIM software was the identification of problematic issues with details which could be addressed before construction.
Minutillo notes that in the Middle East, where some of the most innovative structures in the world are built, architects are relying on simulation technology to determine feasibility of designs. Many simulation systems are discussed including cone designs that cool and support a structure, ventilation using FloVENT, airflow patterns, and moonlighting. Moonlighting I found to be the most interesting in the design of Saeed Crossing in Dubai Sheikh Rashid. This bridge that span Dubai Creek will consist of six lanes and an arch that will be considered the longest and tallest spanning arch in the world. Moonlight simulations are configured to determine how as the moon gets brighter so does the bridge. AWA later developed different lighting scenes to simulate the phases of the moons differing illuminations on five settings. Wadhwa clarifies: “Each setting has a different zone of light on it, so when we do the calculations and simulations, we have to do it for all five zones” (Minutillo, 2008, p. 4). Based on which phase of the moon is seen, different zones are turned on which show different illuminations of the bridge.
In McGarigle article discussing the relevance of GIS technology he references Brian McGrath stating: “It is in defining the social, historical, political, and environmental context of architecture that GIS has relevance to architecture” (McGarigle, 2011, p. 4). In terms of interior architecture this is important because with the building of a structure the effects on these contexts are taken into consideration, creating a more conscious structure, both environmentally and socially. In the Model Behavior article Wadhwa states” “Painting a pretty picture is one thing…Being able to deliver it is really what the simulation software is about” (Minutillo, 2008, p. 4). This suggests that the creations of real time simulated images are beneficial to the modeling and creation of structures so that users can see what conditions affect it.
In the future the movement to these types of systems is likely to become industry wide. In Diving into BIM it is stated: “…neither BNB nor Miller Hull has any interest in returning to traditional 2D CAD” (Gonchar, 2009, p. 4), after having the opportunity to use BIM software. I believe that this will become the norm when companies have the exposure to these types of systems.
Gonchar, J. (2009, December). Diving Into BIM. McGraw_Hill Construction: Continuing Education Center. Retrieved February 25, 2011, from http://continuingeducation.construction.com/article.php?L=5&C=625
McGarigle, B. (2011). Mapping Places and Spaces. Architectural Record. Retrieved February 25, 2011, from http://archrecord.construction.com/features/digital/archives/0206feature-4.asp
Minutillo, J. (2008, December). Model Behavior: Anticipating Great Design n Center. McGraw_Hill Construction: Continuing Education Center. Retrieved February 25, 2011, from http://continuingeducation.construction.com/article.php?L=5&C=471
Wednesday, February 23, 2011
Research Topic Proposal (Revised)
Introduction/ Project Description:
This study focuses on the benefits of 3D rendering and animation with the Autodesk software 3ds Max. Currently the state of animation covers a range of different areas in the market, and it is not strictly centered on cartoons, “even the most realistic movies call on animations to simulate an ungettable shot or to make a moment just a smidge more perfect” (Brady, 2006). By applying animations to my design it will enable a clearer understanding of how the user can interact with the product and the environment. With the creation of an animated environment the user can understand how an interactive product is affected by varying conditions which include natural, such as lighting, and human, the different ways the user can be involved with the product. The changing lighting conditions dependent on times of day and year can be applied through the use of 3ds max with light studies, which can show the reflectiveness of materials and manipulation of shadows that are created within a space. Moveable elements can also be shown to represent the different manipulations of the product.
Method:
There is the assumption that through introducing 3D animation to one of my designs it will communicate user interaction. But there are some possible constraints in implementation; these can include computing power, time to learn the software, and communicating how the user can interact through animation. In terms of computing power there may be a problem with the size of the file that is being loaded into the program. The larger and more complex the file size, the slower it will run, therefore there is the possibility that once rendering and animation is introduced, the file may be so large or complex it may have difficulty running properly. There is also an issue of time constrains in which to learn the software. In the time allotted, there is not a lot of time to do an in depth study to efficiently learn all of the capabilities of the software. Another issue with time is also the fact that learning the software is self guided, through tutorials found on Lynda.com and books on the subject. There will be a limited availability for help when troubleshooting problems that are encountered through the process. Lastly there are limitations in the software which can possibly keep the user from understanding their interaction with the product.
The tools that will be used to create and implement the design will include rendering and animation in 3ds Max and Rhino. The design will be modeled in Rhino and imported into 3ds Max for the rendering and animation.
Results/ Outcome:
The results of this study will be a fully interactive system that shows different iterations of configurations as controlled by the user or environment. With this digital exploration of my design I will be able to understand the impact on the physical product through interactive studies. Animations will allow a walkthrough of an environment where the design is installed and how it is affected by natural and human responses. Problems with the design an also be addressed based on how the installation is installed and designed, which will determine whether elements should be moved around or changed based on how I would like to manipulate the environment.
References:
Brady, M. (2006, March). Wired 14.03: How Digital Animation Conquered Hollywood. Wired. Retrieved February 7, 2011, from http://www.wired.com/wired/archive/14.03/animation.html
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