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

Week 6 Readings

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

Week 5 Readings

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.

Week 4 Readings

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

Building 3D Worlds

Reading this entry I found a lot of information to be new to me. Behavioral modeling is one of the aspects of 3D modeling which describes the behavior of an object in 3D space. The author states that “behaviors are also used to animate articulated characters, determining facial expressions and realistic skin folds” (pg. 216). Within the creating building blocks section it defines the building blocks of a computer graphics program. This includes the description of numerous ways programs create 3D shapes and these are made up of primitives, sweeps, extrusion, revolves, and lofting. Although I am familiar with a few of these through different modeling programs, it was interesting to know the different types of primary techniques that make up the fundamentals of 3D modeling. Digital clay or 3D sculpting was another approach to modeling that I am not familiar with. This form of modeling is used through the “pushing and pulling on the vertices and connecting line of the object’s polygonal mesh” (pg. 228), which then creates new shapes.

This information is beneficial when you are new to 3D modeling programs. By having an idea of the primary structures of a modeling program you have a basis to build on further knowledge of that program. There is also the fact that most modeling programs are built upon these same primary features. This can also benefit the user by having the ability to have basic knowledge of any program they encounter. I believe that in the now and in the future most modeling interfaces will be the same with very little difference other than layout, which is not far from the case today. With most modeling programs having the capability to produce the same work, most of the difference can only be seen in renderings.


"Building 3D Worlds – 3D Geometric Graphics I". The Computer in The Visual Arts by Anne Spalter, Addison Wesley Longman Inc. 1999, pp 212-253.

On Geometric Modeling

Geometric Modeling focuses on the categories that have represented data structures over the past forty years. The categories are made up of wire frame models, surface models, and solid models.

Wire frame models which are the oldest are representative of the shapes edge, which only allows the viewer to see outlines instead of the volume of the shape. Surface models give a representation of a limited edge or face of an object. Although surface modeling is easier to read than wireframe, the surface areas of a combined shape cannot be determined since it is not known where these surfaces are connected. Overall solid modeling is the best method to represent forms, all the information about a shape including edges, faces, and volume, can be determined.

Within solid modeling methods have been developed for creating shapes, spatial occupancy enumeration model (“voxel” model), structive solid geometry, and boundary representation model (B-rep). Spatial occupancy enumeration sees solids as sets of matter within a three-dimensional space. A grid (spatial array) is then placed within this space that is occupied by cubes or cells (voxels) that are representative of the form. Two of its shortcomings consist of the calculation of the relationship of parts and the expense of computing recourses. Constructive solid geometry creates the construction of solids through the union of different forms. CSG records operations that are then the end result of the unions of multiple shapes which is then processed through another operator which later determines what shapes are visible but the drawback of using CSG is the difficulty of using the end representation. Boundary representation determines the likelihood of points in space which makes up the edges and faces of a shape. This method, although more exact than the others, provides a more difficult model to construct and manipulate.

The author of this article refers to these types of modeling as advanced, methods that are only used and understood by the seasoned architect or engineer. But each type is broken down to explain its usefulness to the designer in creative situations. When speaking about surface modeling the author says: “its usability for design purposes, in architecture and in mechanical engineering, is limited to the visualization of finished products” (pg. 3). This can be helpful in identifying what modeling program will be best suited for different design circumstances, when visualizing surface modeling should be used, when needing a “geometrically complete” model, solid modeling should be used (pg. 3).

The usefulness for some of this information is relevant but also seems to use it in the context of creating designs using one method, instead of using them to build upon each other. Wireframe modeling, for example, is usually only used for creating the basis for a form. The author states: “representations are very familiar to architects and engineer, who are used to representing building and machines through their contours along, and are trained to “see” in their minds eye the surfaces and volumes they represent” (pg. 1). Without the wireframe there is no structure for which to build a surface or solid model, not having these forms gives the architects/engineers a base for the structure. Wireframing is the basis for which most models are built upon. Until programming is available that can identify the shape that the user intends to create, this method of modeling cannot be deemed obsolete.


“On Geometric Modeling”. Excerpt from “Modeling”, Architecture’s New Media by Yehuda Kalay, The MIT Press, 2004, pp 141-147.