Spalter identifies that many of the devices that are described in this article, 3D Input and Output, are expensive and difficult to access. And although some artists have the ability to use these types of programs through art residence programs, adjusting to the institution is still an issue. But with advancements in the field these devices are eventually going to become easier to access and learn. In terms of different types of 3D devices Spalter discusses many options. 3D input which allows the user to see translations of gestures in motions within three dimensions. 3D mice and trackballs offer the artist six “degrees of freedoms” (Spalter, 1998, pg. 300) when moving an object but are not efficient because of the difficultly of holding objects still in your hand over long periods of time. Trackers are used to record positions by transmitting and receiving signals of ranges of motion. In the systems of tracking there are a few different options examples of these are puppets, which are moveable models and eye tracking, follow the view of the user. In the area covering output virtual reality is an important point. And finding yourself in the world of virtual reality can be achieved in a variety of ways, either by viewing devices that incorporated in a helmet or areas such as the CAVE environment that project the simulation on different walls.
In Spalter’s chapter on 2D and 3D animation and video common concepts within these areas are discussed. Linear interpolation is important when calculating “new positions at equal intervals along a straight line” (Spalter, 1998, pg. 328). This is an interesting aspect of animation since this is found in every type of computer graphics. This is also contributes to the appearance of an object such as its color, shape or transparency. But this does method does not create realistic animations where nonlinear interpolation, which uses curves to define motion, can. When breaking down the workings of an animation program the interface either uses cels or a timeline for controlling the animation process. There are also the aspects of the differences between the design and display spaces, the design space representing the 3D world and the display scene as the sequence of 2D images that represent, which are important in working and production spaces in a program.
Alan Joch’s article discuses the uses of 3D representations in the design of courtrooms and how it can enable design teams to find problems with costly issues that can arise after construction. The walkthroughs that are generated by PC do not allow for the full view of sight, you are only given a straightforward sightline. CAVE environments were then used in the process to set sightlines in a wraparound screen to reproduce a life-size virtual courtroom to help with the engineering. Not only does it give a life size view, but it also has the capability of rearranging elements within the space. These models are not only limited to the visual aspects of the space, but also the acoustics. A 3D sound model was also used to simulate speech which aided in the adjustments of sound absorbing materials.
I find that these authors are using 3D animation and Virtual Reality in the context of interior architecture in through their applications to real world environments. Through the use of these types of programs it enables the designer to interact with the environment or product that they are creating. Being able to be immersed within these virtual environments also helps deal with problematic areas, such as lines of sight in the courtroom seen in Joch’s article, or manipulating pieces of furniture around a space to achieve the best possible solution. Animations can benefit the area of product design through showing the different capabilities of pieces of furniture with moveable parts.
Although many of these machines that are discussed in theses selections are very expensive and difficult to access without special permissions, I believe that through learning and accessibility the use of these programs will become more main stream. In today’s animations it is evident that the possibility of artists being able to access these programs is becoming more attainable. With the advancements that are already being seen in animations such as Disney cartoons, I am sure that in the future the already life-like images that are generated by computers will get to a point were there will be no distinction between life and computer generated.
Anne Morgan, S. (1998). The Computer in the Visual Arts. Reading, Massachusetts: Addison-Wesley Professional.
Joch, A. (2011). Virtual reality and digital modeling go on trial for a federal courtroom design. Architectural Record. Retrieved February 21, 2011, from http://archrecord.construction.com/features/digital/archives/0501dignews-1.asp
Rendering with different types of lighting came up with varying results due to lighting types and materials used. Here the scene was rendered with a spotlight which illuminated the sides of the knots directly on one side. This not only altered the way the scene was lit, but it also had a affect on the way the materials were viewed in the scene.
Here ambient light was used to illuminate the scene. Differing from the spotlight, the reflectance of the floor material is more noticeable with ambient lighting. The materials in the scene are also seen differently, the glossy texture that is applied to the blue knot is more noticeable and the metal material has a smoother finish where under spotlight the brush strokes in the metal can be seen.
Here overhead lighting was applied to the scene. I believe that this type of lighting was the most effective in showing the differences in the types of materials used. The translucency of the glass can be seen as well as the brush strokes in the metal material. Matte and glossy finishes can also be differentiated as seen in the matte silver finish and the glossy ceramic finish.
Lastly, day lighting was used which was the most ineffective in showing texture but effective in illuminating the scene without glare. The reflectiveness of the flooring is still visible but it is hard to tell what types of materials are applied to the surfaces, even the glass knot doesn't seem to appear to be glass.
3dPrinter
Novitski’s information on Greenburg’s development of a system that works with a sketch pad type device that can be rotated in three dimensions is an important step in the development of design interface. This interface seems to focus on collaborative efforts in the fact that this system “enables two or more designers to work on the same sketch” (Novitski, 2000a) through the internet. Although the software is out of reach for many architects due to the price, there are other possibilities that are available that are based on the same concept for much less. Other developments by Greenburg like the light measurement lab provide advancements in photorealistic rendering capabilities. With the ability to have precision light simulations in renderings, interior spaces can be altered, such as the placement of a window, in order to improve the quality of the space.
In Novitski’s second article he points out the drawbacks of technologies that map textures onto a surface in a geometric model and animations that give 360 point views around a viewpoint. The shortcomings identified in each are being overcome through identifying the errors and refining the algorithms. In Cornell’s Department of Architecture design studios were given the project to develop projects for Indian Culture museum using computers. Although the students did not have much experience in CAD, Autodesk software was used to get physically accurate renderings. They were also encouraged to “blend traditional, manual media with their computer work whenever it is appropriate or more comfortable, such as initial idea sketches” (Novitski, 2000b). This idea of educating students in the most advanced technologies has proven beneficial because some of the programs graduates have became leaders in the development of 3D modelers.
Spalter discusses many issues with rendering 3D graphics. In the section on surface reflection properties she explains two types of refection properties diffuse and specular, diffuse being dull/matte surface reflection and specular which is a mirror-like reflection. Texture mapping is another concept that is covered and it is said to be more than just the wrapping of a texture around an object. Textures can also, “be stretched or tiled over the entire model, and it can be scaled and rotated” (Spalter, pg. 262). Lighting elements of rendering are also covered which include ambient lighting, when light is equally distributed on all of the surfaces coming from no specific direction; point sources, light from a point in all directions creating light and dark spots; spotlight, when light from other angles is blocked. Environment mapping is also discussed, radiosity, a lighting model that deals with the physics of lighting surface interactions deal with lighting a scenes objects. Form factors are then calculated and lighting calculations are run then the scene can be viewed interactively.
These authors present their information on rendering as being an important tool for interior architecture. Novitski’s articles focus on how models and animations can give the user the capability to see full views of photorealistic images of their products or spaces. And with the development of new kinds of interfaces it encourages artists and architects to work on collaborative projects which expand the knowledge base of people in the field. Spalter covers many aspects of rendering that are important to the field of interior architecture. Aspects of rendering such as lighting conditions and environment mapping are important to the creation of realistic images. The simulation of lighting conditions can aid in determining window positioning or determine interior lighting placement and environment mapping can determine the effects of mirroring on an object.
Rendering is important to the field of architecture or product design mainly for the reason of production. Rendering allows for the designer to view, in context and simulated material, what the outcome will look like which can determine the alteration of materials of structure of a design. Spalter states, “with rendering techniques such as radiosity and ray tracing and effects such as fog, computer-based models today can be so realistic that the viewer cannot determine whether the resulting 2D image is a real or synthetic photography” (pg. 289). I believe that the future of rendering is now, with the advancements in current techniques, there are many instances where there is a fine line between reality and a rendered image. Although this process is usually only achievable by the seasoned professional, I believe there will be a time when anyone, with the simplest software will be able to accomplish these same kinds of images.
Novitski, B. (2000). Once and Future Graphics Pioneer. Architecture Week. Retrieved February 9, 2011, from http://www.architectureweek.com/2000/0913/tools_1-2.html
Novitski, B. (2000). Once and Future Graphics Pioneer, Part II. Architecture Week. Retrieved February 9, 2011, from http://www.architectureweek.com/2000/0920/tools_1-1.html
"Rendering 3D worlds - 3D Geometric Graphics II" by Anne Spalter, Addison Wesley Longman Inc. 1999, pp 257-293.
images courtesy of: http://www.dexigner.com/news/21995This study focuses on the benefits of 3D rendering and animation with the Autodesk software 3ds Max. Through applying this software to my designs it will enable a clearer understanding of how the user can interact with the product. 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).
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, rendering and animation of this project will include 3ds Max or Rhino for the design process and 3ds Max for the rendering and animation.
Results/ Out
come:
The results of this study will be a fully interactive system that shows different iterations of configurations as controlled by the user.
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
I found the article about 3D printing a very informative overview of the printing capabilities that are available today. The definitions of the common terms for the processes and different types of 3D printing systems were also helpful, especially since many of the internships that I have investigated were interested in things such as rapid prototyping, “the rapid creation of a part that may not have the accuracy or durability necessary in final applications” (pg. 317). This article also brought to my attention that there were other forms of printing other than just 3-D Printing.
Josephine Minutillo’s article provided some interesting information on CNC machines that I was not aware of such as being “originally developed for the aerospace industry” (pg. 1). The investigation into Belzberg’s “tornado” was also a great case study considering that it relates very closely to what I researching for my thesis. The panels that are intumescent painted plywood, which is used as an acoustic element that also lures visitors up a stairwell to a dance floor where the panels morph into a flower shape.
Doscher’s article discusses the other uses of 3D printers, creating models. It shows that it isn’t as easy as sending information to the printer; the models require other work after their printing, “20 percent of out models need touching up” (pg. 2). But much of the finishing of models is dependent upon ones preference, whether it is primed in epoxy or plated in a copper or nickel bath.
Much of what Minutillo and Doscher speak of in their articles is presented for being used for interior architecture. The use of CNC in the installation of the “tornado” shows the direct application of the uses of types of printing machines. Also, in terms of model making, it is evident that these systems are extremely beneficial in both visual conception and saving time for the design process. The attention to detail that is required to accurately provide information to these machines is also important; “It takes us about a day to prepare a digital model for printing breaking it into appropriate pieces, carving voids into solids to save material, and subtracting parts that will be built manually” (pg.1).
I found much of this information useful in understanding the field of 3D printing in product design and architecture. With the different systems that are available to the industry for product creation it enables the designer to have the ability to see design flaws in post production, which makes the design stronger. Spalter states: “many 3D input devices are not yet available commercially, but this situation will surely change” (pg. 321). In the future I believe that these systems will be more widely used in the creation of art, architecture and product development. The more widely available these types of systems become, the demand for their use will be greater. Therefore the time that was used to create models can instead be spent on designing a better product. Spalter also suggests that the advancements in 3D printing may not only move us past the information age, but into a new age for humankind. Here ideas of manipulating matter, things that are seen in syfi movies, move into possible reality of the future.
On 3D printing: Excerpt from "3D Input and Output" from The Computer in The Visual Arts by Anne Spalter, Addison Wesley Longman Inc. 1999, pp 317-321.
“When the Whole Is Greater Than the Sum of Its Parts” By Josephine Minutillohttp://continuingeducation.construction.com/article.php?L=5&C=588&P=1
“Morphosis Prints Models” by Martin Doscherhttp://www.architectureweek.com/2004/0915/tools_2-1.html
