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
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