Radiance Simulation Program
Images references:
http://continuingeducation.construction.com/article.php?L=5&C=406&P=1
http://continuingeducation.construction.com/article.php?L=5&C=406&P=5
Sunday, February 27, 2011
Readings: Gonchar, McGarigle, & Minutilla---Topic: GIS, BIM, & Simulation
Summary:
GIS
Author McGarigle discuses the advantages of GIS in regards to urban design, planning, and architecture. He explains the how GIS informs urban design. The data collected for visual presentation in a GIS model allows for city planners to better evaluate possible environmental impacts that would not be as apparent when observing GIS data independent from the system. GIS maps out a larger scope of the environmental impact of the surrounding communities located near proposed development areas. McGarigle also indicates that ArcView’s GIS combined with 3D Studio Viz results in construction models that “could be viewed in both time and space” with 3D city features. This feature allows for analysis of the constructive events, and helps to determine the proper sequence of these events. Brian McGrath, University of Columbia architecture professor states “It is in defining the social, historical, political, and environmental context of architecture that GIS has relevance to architecture.” He stresses that the information GIS provides to architects is to help inform them in ways that aid in problem solving.
BIM
Joann Gonchar (2009) illustrates the advantages of Building Information Modeling programs, such as Revit by referencing Miller Hull Partnership and BN builder’s King County Library project. She explains the advantages of BIM as it relates to the design process. The information derived enables designer to analyze environmental elements as they relate to the building, such as lighting, wind, and rain. In addition, energy simulations can be administered and storage capacity may be evaluated. Much of the information BIM provides designer helps in making decisions early on in the design process. This is beneficial whether one or multiple teams are able to work on different project spaces simultaneously.
SIMULATION
Minutillo (2008) reviews several Middle Eastern architectural projects to show how ventilation, wind speed, solar radiation, and moonlighting are analyzed through simulation. CFD is used for analyzing ventilation and particle movement patterns. CFX helps to investigate wind speed issues as they relate a building. Ecotect analyzes solar radiation of surfaces at various times. AGI32 is a lighting analysis program used for day lighting, electric, and moonlighting.
Contextualize:
McGarigle’s article related to GIS explains the idea is for the GIS model to act as a 3D database, with CAD characteristics. One of the most significant features would be the similar CAD xReference capability, in which one project can be worked on and updated simultaneously by multiple users. This similar ability to xReference is utilized in BIM programs. Gonchar (2009) reflects the same attitude. BIM programs are 3D, but go a step further in architecture by making not only construction documents available, but also data details including materials, lighting, environmental elements, etc. It also has the capability to by used by multiple users at the same time, to save time in a constructive manner. In Minutillo’s (2008) article Robert Goodwin, AIA believes in the same idea in respect to simulation, that the programs can contribute analyses early on the design process.
Argument:
A combination of GIS, BIM, and Simulation software would allow for a thorough examination in the initial phases of architectural designs, whether interior or exterior. The multiple use of various programs would enable designers to address specific site concerns and integrate the information to produce a design that takes into account many facets of the environment, materials, and construction as it relates to a projects surrounding areas and to the building(s). While GIS and BIM designs are being conducted for one design, the same design could be analyzed with Simulation programs. Instead of these being separate databases from one another, the hope is that in the future all of the information gained from GIS, BIM, and simulation can be combined in to one model database.
Evidence:
Author Minutillo’s opinion that “The architect’s job is to integrate the information provided by these simulation programs into their design” is one that I extend to an architect’s job integrating not only simulation, but also GIS and BIM. In the same article Buro Happold’s Herman states, “That’s when the input from these types of analytical programs is truly successful”. “Ideally, you’d never know that changes to the design had ever happened. Everything about the finished structure would simply look like it was always meant to be there.” This is the goal of my argument that each of the programs benefit architectural designs by delivering a much more accurate model of the final construction.
References:
Gonchar, J. (2009, December). Diving into BIM. Continuing Education Center. Retrieved February 27, 2011, from http://continuingeducation.construction.com/article.php?L=5&C=625
Wednesday, February 23, 2011
2nd Draft of Project Proposal
Abstract
This digital design exploration involves investigation into high quality rendering techniques for furniture textiles and upholstery. Many 3D modeling programs do not have the built-in capabilities for photorealistic renderings. However, the 3D modeling program 3D Studio Max enables designers to produce photorealistic depictions of interior product materials. The efficient realistic depiction is in large part due to the programs dominant use amongst current day animators and video game designers, where there is a push for more realistic illustrations. For this same reason, it has been incorporated into the furniture design industry. Successful renderings of designer Patricia Urquiola’s work have been developed in 3Ds Max, which is why I have chosen to explore its capability to help portray one of my full scale projects.
3Ds Max will aid in the simulation of textile and upholstery textures, forms, and features. The work of Patricia Urquiola has been depicted this way, as shown below.
My focus will be to include the 3Ds Max modeling in my design process and vision for a full-scale chair project deliverable. There will be some back and forth designing of the 3D model and the full-scale model. Though I do know the primary structure’s material will be fiberglass, the color of the fiberglass and selection of other materials has not been determined. After a resin pour, there will not be much sanding applied to the surface. The reasoning for this is because since the nature of the project is based on a hand crafted construction, the fiberglass fabric in its harden natural stage will best balance the visual characteristics of the chair. 3Ds Max will allow me visualize the natural surface of the material before final physical production. In order to make a final choice of chair materials, the program allow me to add materials to surfaces for various preliminary aesthetic assessments. Additionally, the hands-on work will inform the photo realistic model. Therefore, adjustments will be made in the size and the transition of the undulating surface (See picture below).
Method
The methods for developing a 3D model in 3Ds Max, include: (a) learning 3Ds max, (b) hands-on experience with pattern making and sewing, (c) fabric and substructure material selection, (d) sketching design ideas, (e) hand rendering, (f) designing the product in 3Ds Max. There is a time constraint for all that is involved in the process. However, the goal is to gain as much insight as possible from each step of the process to create a rich and aesthetically beautiful image of the product. I will learn the program’s interface, in addition to modeling, materials, lighting and rendering tools and techniques. The program may include rendering and material limitations that I am not yet aware of, but will be once I’ve begun modeling. Roadblocks will occur when I struggle to figure out why a particular operation I’m performing is not working. Revision to the design may need to be made once I create the product 3 dimensionally as compared to when it is sketched or hand rendered. Also, questions regarding construction of the substructure that I may have not answered early might arise during 3D modeling.
Monday, February 21, 2011
Readings: Spalter & Wesley---Topic: Animation & Virtual Reality
Summary:
Chapters 9 and 10 in Spalter & Wesley’s The Computer in the Visual Arts, covers the topics of virtual reality and animation. For the most part, the chapter on virtual reality is not completely new to me. However, the depth to which the authors explained a CAVE room is informative. The chapter on animation reveals many functions I was unfamiliar with. They include key frames, inbetweening, linear interpolation, non-linear interpolation, and forward/inverse kinematics.
Spalter & Wesley touch on many of the input limitations of virtual reality. A large portion of the problems exists with the tools used to work within the virtual environment (Spalter & Wesley, 1999). The design of tools such as a 3D mouse, sensor-filled gloves, force feedback devices, and tracking systems are not ergonomically comfortable for extended use (Spalter & Wesley, 1999). In some cases, like that of the force feedback devices, improer tool use may lead to user injury (Spalter & Wesley, 1999). Limitations of the sensor filled glove is its inability to recognize hand tracking and finger positioning well enough for more complex designs (Spalter & Wesley, 1999).
Some output devices for presenting a virtual environment are more successful than others. The Ivan Sutherland head mounted display and the binocular monitors are very bulky. They are used for single users (Spalter & Wesley, 1999). However, a “CAVE automatic virtual environment” is for multiple users (Spalter & Wesley, 1999). Users wear stereo glasses to interact with the environment (Spalter & Wesley, 1999).
Animation terms such key frames, inbetweening, linear interpolation, non-linear interpolation, and forward/inverse kinematics are various ways in which 2D and 3D animations are approached. Key frames are layered images used create a smooth transitional animation (Spalter & Wesley, 1999). This works best for less complex animations because the process is time consuming (Spalter & Wesley, 1999). Also, for less complex animations, use inbetweening (Spalter & Wesley, 1999). If used on a highly detailed animation, the result may appear very mechanical (Spalter & Wesley, 1999). The difference between linear and non linear interpolation is that the object position for linear is located in a straight line, while in a curvre for non linear (Spalter & Wesley, 1999). Forward kinematics is a tool used to designate the start position and direct of the movement of an object (Spalter & Wesley, 1999). Inverse kinematics uses constraints to identify the motion and final position (Spalter & Wesley, 1999).
Contextualize:
Both virtual reality and animation are beneficial to Interior Architecture. The virtual output devices help to convey not only a designers idea, but also leads them to discover a user’s interaction in a specific setting or with a specific object. Environments created with the CAVE output tool allow users to walk thorough an interior space. Through this application, designers are able to identify obstacles and effective wayfinding tools.
Animation used for Interior Architecture may consist of demonstrating walkthroughs of a space to clients, while not only referencing the interior elements, but also animating visible outside activities occurring within the scenes. Additionally, animations are successful in illustrating the mechanics of interior products.
Argument:
Some of the technical tools designers chose for representing interior products will be more successful than with others. Inverse kinematics and morphing allow for a greater understanding on the mechanics of interior products. However, inverse kinematics is a truer representation. This is ideal for chairs that fold and tables that extend or flip down. Most of all, for products like these and for ones that have 2 in 1 functions, such as a chair that becomes a table, or a sofa that becomes a bed, the use of kinematics and morphing provides a visual presentation of a designer’s intent for function and operation. Motion capture would help to address the user within the animation. However, designers still would not know the true interactions users would experience. The possibility of integrating the object animation with tactile properties the user can feel would be something for future exploration not only with animation, but also with virtual reality.
Evidence:
The tools used for animation and virtual reality environments have their limitations. As stated before inbetweening works best with less complicated animations (Spalter & Wesley, 1999). In addition, morphing shows only a true representation of the desired initial image and final image (Spalter & Wesley, 1999). The technique fills in all of the other stages (Spalter & Wesley, 1999). Therefore, designers must determine the appropriate tools to use for successfully demonstrating their products in a 3D environment.
References:
Spalter, A., & Wesley, A. (1999). In The Computer in The Visual Arts (pp. 298-365). Longman Inc.
Monday, February 14, 2011
Site Visit: Center for Design Innovation (CDI)
Location: The Center For Design Innovation (CDI)
301 North Main St.
Winston-Salem, NC, 27101 USA
Site visit Coordinators: Tina Sarawgi (professor UNC-Greensboro)
and Carol Strohecker (Director of CDI)
The Center for Design Innovation is a research center involved in collaborative efforts with surrounding North Carolina Universities and communities. The relationships they have promote, research, education, design development, and community. The center works with surrounding Universities and Colleges to provide professional design experiences for students. These experiences involve internships, seminars, presentations, and design discussions.
The academic collaborations CDI engages in encourages students to not only work with the center on its design research, but also for students to explore the possibilities of their design work. Recently UNCG graduate student Stephanie Brooker interned for the center, along with several other students. The job experience of redesigning and product envisioning for CDI afforded her the opportunity to work in a professional environment and utilize current day design technologies. These technologies included Z Corporation and Dimensions prototype printers. The Z corp printer uses a standard Lexmark ink to produce colored prototypes. material used to create object is plaster-like. The objects produced are much more delicate. The Dimensions printer layers thins strings of ABS plastic and surrounds it with a support material that is later dissolved with sodium hydroxide. The accessibility of these design tools allowed Stephanie to further explore and envision a product she was proposing for their interior environment.
In addition, CDI works with educators to develop interactive educational training tools. The image below is animated character Kenny Twist. Its arms and legs can be twisted, turned, and interlocked with another Kenny Twist. This activity and visual tool enables children to understand DNA and other molecular constructs.
Overall, the site visit was very informative on not only the technology, but also on the growth of the research deign community that CDI has successfully contribute too.
3D Modeling Render Assignment: A 3Ds Max Studio Exploration
The appearance of all the materials changes based on their properties. Thus, the properties of a material helps to determine the material's settings in a 3D modeling program, such as with 3Ds Max Studio. Designers achieve photorealistic rendering when the output from the settings matches their product vision. Though this was my first rendering and lighting experience with 3Ds Max, the renderings resulted in high quality photo-realtistc 3D Models. The experience and outcome was extremely enriching.
Differences in Materials based on object properties:
The materials differ because of their compositions. Properties of glass give it transparency, depth, contrast in highlights and lowlights, and visible back shadows, while still preserving a contoured appearance. The characteristics of chrome result in a material that is metallic, highly reflective, exhibits a high contrast, and mirrors surrounding objects. When glossy, plastics have a highly reflective surface for lighting , but
don't work well for mirroring other objects because of the chemical composition of polymer molecules. An abundance of light washes out the color of the material, giving more drasticly highlighted areas. A translucent plastic, such as plastic film, appears to be a lightweight material. The contrast of light and dark is extremely subtle, so unlike glass, plastic film doesn't exhibit a greater depth, but appears to be lightweight. The last material, brushed nickel, is less reflective than chrome because of its non-polished finish. This finish creates much more contoured highlights on the materials surface, unlike the spotted high lights of chrome.
Brushed Nickel
Glossy Plastic
Transparent Glass (Physical)
Translucent Plastic Film
Materials Side by Side Rendered Views (Ambient/Spotlight Lighting):
Rendered with Ambient Light, Default Material Settings
Rendered with Spotlight, Default Material Setting
Rendered with Spotlight, Reflection Transparency changed to 2 for Metals
When compared to ambient lighting, spotlighting created the most dramatic rendered results. The color is richer. The shadows are more distinct and even display the color of the object, as with the glass material.
In the last image, I increased the reflection transparency of the metal objects to 2. As a result, the materials rendered a much more polished finish. This change in material's property settings would work well for designer who works with rendering inflated metals (Fig. 1). Therefore, material settings change based upon the envisioned object(s) that designers plan to photo-realistically represent.
Fig.1
Sunday, February 13, 2011
Readings: Spalter & Wesley / Novitski---Topic: 3D Rendering
Summary:
Chapter 8 in Rendering 3D Worlds - 3D Geometric Graphics II by Spalter & Wesley and articles Once and Future Graphics Pioneer & Once and Future Graphics Pioneer Part II by Novitski discuss 3D rendering with regard to materials and lighting. Spalter & Wesley’s writing delves more into the current state of 3D rendering technology, while Novitski looks at the future state of 3D rendering by investigating the innovation technologies Cornell University’s Program of Computer Graphics offers.
Materials and lighting all play important roles for rendering photorealistic products and environments. A textured material surface is achieved through texture mapping, applying a 2D image to a 3D modeled surface (Spalter & Wesley, 1999). 3D painting allows users to paint/draw a 2D texture map onto a 3D object’s surface (Spalter & Wesley, 1999). Displacement mapping changes the configuration of the object’s geometry (Spalter & Wesley, 1999). Bump mapping identifies the relief of a material (Spalter & Wesley, 1999). There are times when it is necessary to display a materials inner material, such as in a cross section view. The application of a solid texture implies a material existing throughout an object (Spalter & Wesley, 1999). All of the above modeling and texturing techniques are further transformed through the use of 3D modeling lighting applications. The type of lighting, a viewer’s perspective to the lit object, the material of the object, and the geometry of the object/material all influence how light is dispersed on and object or in an environment (Spalter & Wesley, 1999). Ray tracing produces an end result lighting quality, based on only the rays that will reach the eye, by bouncing light off surfaces (Spalter & Wesley, 1999). Also, the type of lighting and characteristics of the material surface determines shadows viewable with the eye (Spalter & Wesley, 1999). The research at Cornell’s Program of Computer Graphics combines ray tracing and radiosity for achieving a more successful photorealistic model (Novitski, September 13, 2000).
Contextualize:
The ability to create a photorealistic 3D rendering has many uses for interior architecture. The realistic quality enables designers to see how a product image from their imagination comes to life and translates into an environmental setting. The more realistic the portrayal, the greater the accuracy for a final end product to appear as it was intended too.
Argument:
3D rendering applications change the workflow of a design. A truly realistic product/environment presentation allows for designers/manufacturers/engineers to identify and resolve issue that normally would only be apparent during a later project phase. This implies a process of designing and manufacturing that is more cost effective. However, if a 3D modeling program normally used for simply and quick envisioning of a product produces photorealistic images, communication between designers and clients could be misinterpreted.
Evidence:
The Program of Computer Graphics at Cornell University utilizes and helps to create some of the most innovative 3D rendering technology. During 2000, Professor Moreno Picolotto was developing a digital sketch pad that would allow designers to collaborate at the same time, via internet, on the same project (Novitski, September 13, 2000). The ability to simultaneous digitally design with others, cuts down on design time, printing, emailing, etc. ultimately contributing to a faster problem solving and productive workflow. Applications like these provide designers with a clearer sense of feedback (Novitski, September 20, 2000).
References:
Novitski, B. (2000a, September 13). Once and Future Graphics Pioneer. Architecture Week. Retrieved February 13, 2011, from http://www.architectureweek.com/2000/0913/tools_1-1.html
Monday, February 7, 2011
Project Proposal: 1st draft
Abstract
This digital design exploration involves investigation into high quality rendering techniques for furniture textiles and upholstery. Many 3D modeling programs do not have the built-in capabilities for lifelike renderings. However, the 3D modeling program 3D Studio Max enables designers to produce lifelike depictions of interior product materials. The efficient realistic depiction is in large part due to the programs dominant use amongst current day animators and video game designers, where there is a push for more realistic illustrations. For this same reason, it has been incorporated into the furniture design industry. Successful renderings of designer Patricia Urquiola’s work have been developed in 3Ds Max, which is why I have chosen to explore its capability to help portray one of my full scale projects.
Introduction/Project Description
The 3Ds Max will aid visually in the development of simulating realistic textile and upholstery textures, forms, and features. The work of Patricia Urquiola has been depicted this way.
My focus will be to include the 3Ds Max modeling in my design process and vision for a full scale seating project deliverable.
Method
The methods for developing a 3D model in 3Ds Max, include: (a) learning 3Ds max, (b) hands-on experience with pattern making and sewing, (c) fabric and substructure material selection, (d) sketching design ideas, (e) hand rendering, (f) designing the product in 3Ds Max. There is a time constraint for all that is involved in the process. However, the goal is to gain as much insight as possible from each step of the process to create a rich and aesthetically beautiful image of the product. I will learn the program’s interface, in addition to it’s modeling, materials, lighting and rendering tools and techniques. The program may include rendering and material limitations that I am not yet aware of, but will be once I’ve begun modeling. Roadblocks will occur when I struggle to figure out why a particular operation I’m performing is not working. Revisions to the design may need to be made once I create the product 3 dimensionally as compared to when it is sketched or hand rendered. Also, questions regarding construction of the substructure that I may have not answered early on, might arise during 3D modeling.
References
Images:
http://www.turbosquid.com/3d-models/maya-moroso-smock-chair/433767
http://www.turbosquid.com/3d-models/3d-antibodi-flower-chair-design-model/424538
http://www.turbosquid.com/3d-models/3d-antibodi-flower-chair-design-model/424538
http://www.turbosquid.com/3d-models/antibodi-chair-design-3d-max/424359
Sunday, February 6, 2011
Readings: Doscher, Minutillo, and Spalter & Wesley---Topic: CAD/CAM
Summary:
The readings by Doscher, Minutillo, and Spalter & Wesley discuss how technology has changed the face of design construction, whether in its final stages or early modeling stages. Automatic fabrication devices used for rapid prototyping, computer-numerical-control (CNC) milling, stereolithography, laminated object manufacturing (LOM), fused deposition modeling (FDM), and selective laser sintering (SLS) all contribute to today’s design fabrication technology. “Automatic fabrication includes all automated processes for fabricating 3D objects from raw materials” (Burns, 1993). “Stereolithography involves the use of lasers to solidify layers of clear or colored resin”, resulting “in amber-colored, lightweight and translucent, and quite strong” physical models (Spalter & Wesley, 1999). The process of LOM stacks and laser cuts material (Spalter & Wesley, 1999). “Instead of hardening a resin to create solid material for each layer, LOM starts with solid layers of material, most often plain butcher paper, and then cuts away the unnecessary areas. Heat is used to fuse the layers” (Spalter & Wesley, 1999). “FDM is a robotically guided extrusion machine” (Spalter & Wesley, 1999). Materials such as plastics are extruded through a tip to place the material “where the object should be solid and cross-hatching looser areas or using a different substance for areas that will be removed later (Spalter & Wesley, 1999). SLS “is a laser sintering process” that fuses spliced sections of a model from powder layers (Spalter & Wesley, 1999).
Contextualize:
The application for automatic fabrication methods within Interior Architecture would be greatly advantageous to Interior Product Design. This is evident especially in the articles by Doscher and Minutillo where they demonstrate the successfulness of 3D printers and CNC machines in the product development and construction processes. In order to get a true hands-on feel for a product, designers develop numerous physical models. However, now 3D printers allow for a machine to handle the physical construction of the model, saving and freeing up time and “design thinking” (Doscher, 2004). The possibilities are endless for producing full-scale and smaller scale models, especially when the fabrication processes are used in conjunction with building information models to provide for more in-depth product development information.
Argument:
Though the automatic fabrication processes discussed enable designers to dedicate more time to other design issues, the model constructs from these machines will still need to be understood, revised, and explored. The systems are still human operated, so in order to achieve an accurate portrayal of an interior product, designers must be informed about the operations and limitations of the machines. This knowledge will push the design and the designer’s imagination further, while at the same time allowing for informed choices to be made. In all, the possibilities of the 3D modeling processes to help problem solve, construct, and produce a more fluid design process are endless.
Evidence:
Doscher and Minutillo have cited instances where automatic fabrication machines provide for smoother design development and construction. Doscher (2004) states, “it is imperative that we have tools that enhance the designer's ability not only to conceive complex forms, but also to think intelligently about how the final product is made”. Therefore, an informed designer’s thinking starts and aims directly for the most successful solution. The 3D modeling devices increases the accuracy of the modeled products (Doscher, 2004). The machines also lead to success for the final construction of a product. Since must of the product construction occurs off-site, the dominant activity on-site is installation (Minutillo, 2009). Even complex designs are capable of being successfully constructed off-site and later installed on-site. This is in large part due to the ability of automatic fabrication to help with troubleshooting and with communication amongst a design team. This communication occurs “as design progresses and multiple schemes are developed in parallel, scale building models are "printed" and sent to the remote locations” (Doscher, 2004). Thus, various design decisions, by different designers, in different locations, can be made based upon the same models, at the same time within a design phase.
Burns, M. (1993). Automated Fabrication: Improving Productivity in Manufacturing. Prentice Hall.
Doscher, M. (2004, September). Morphosis Prints Models. Architecture Week. Retrieved February 7, 2011, from http://www.architectureweek.com/2004/0915/tools_2-1.html
Minutillo, J. (2009, September). When the Whole Is Greater Than the Sum of Its Parts. Continuing Education Center. Retrieved February 7, 2011, from http://continuingeducation.construction.com/article.php?L=5&C=588&P=1
Spalter, A., & Wesley, A. (1999). 3D Input and Output. In The Computer in The Visual Arts (pp. 317-321). Longman Inc.
Wednesday, February 2, 2011
Tuesday, February 1, 2011
Readings: Spalter, Wesley, & Kalay Reading Response and Modeling Assignment---Topic: 3D modeling
Summary:
The book chapters “Building 3D Worlds-3D Geometric Graphics I” (Spalter & Wesley) and “On Geometric Modeling” (Kalay) deal specifically with mechanisms of computer aided 3D modeling tools and the pros and cons of each. Topics include volumetric sculpting, primitives, sweeps, polygonal meshes, NURBS, Boolean operations, digital clay/3D sculpting, sketch, and hierarchies. All of the operations benefit the field of interior architecture and its design process because of the 3d modelers they contain. Volumetric sculpting is achieved when “tools act like 3d painting brushes and erasers to buildup and sculpt away material” (Spalter & Wesley,1999). Primitives are premade general 3D shape tools like a sphere, cone, cube, torus, cylinder, a banana, and a dodecahedron (Spalter & Wesley,1999). All of these shapes are tools within 3D modeling programs. Sweeps include several commands, such as revolving, extrusion, and lofting (Spalter & Wesley,1999). Polygonal meshes describe the geometry of an object (Spalter & Wesley,1999). Digital clay/3D sculpting occurs when “pushing and pulling on the vertices and connecting lines of the object’s polygonal mesh” (Spalter & Wesley,1999). Sketch “produces 3D polygonal models” based on the user’s hand movements (Spalter & Wesley,1999). Hierarchies deal with more mechanical operations by organizing “model components by their ability to control each other” (Spalter & Wesley,1999).
Contextualize:
The benefit of these 3D modeling tools directly relates to interior architecture’s design process for product design. The utilization of the applications allows the designer to view products overall, generally, in-depth, and extremely realistically. 3D modeling acts as a visualization tool. Volumetric sculpting helps to build organic shapes, which are generally asymmetrical and much more difficult to achieve with other commands (Spalter & Wesley,1999). Primitives work well when an object possesses an overall symmetrical shape buildable with simplified objects. Instead of forming a primitive shape using several steps, it is done in one, delivering faster results. Sweeps allow for a similar time savings. A solid shape forms from designating the direction for the silhouette line of an object to follow. After drawing the 3D shape, the object’s surface contains a polygonal mesh. The process of NURBS uses the polygonal mesh containing nodes that a designer highlights and moves to contort and manipulate the object’s shape, a much simpler way to alter the object than with pen or pencil. Boolean operations “makes complex models by joining simpler ones (Kalay, 2004). These Boolean operations make any part of “a computational solid model” contain a measureable “surface, volume and other geometric properties” (Kalay, 2004). “Digital clay/3D sculpting enables designers to actually build upon or subtract from an object by using a pen tool that identifies the surface with pressure resistance that the modeler feels. Sketch acts as a digital sketchbook page for designers. Lastly, hierarchies demonstrate the actions of a moving or mechanical product.
Arugment:
Even with the usefulness of 3D modelers, there are some pitfalls. The design programs allow designers to attach a multitude of information into one file, yet too much information creates extremely large file sizes. It’s not as difficult as a physical model to make changes to, explore, and are easily “shared among interested parties indifferent geographical locations at the same or different times” (Spalter & Wesley,1999). The design process for thinking turns to generating new outcomes from avenues we may have never explored otherwise (Spalter & Wesley,1999). In addition, modelers like Sketch, complete object assemblies by automatically grouping components, unlike a physical model (Spalter & Wesley,1999). The display of objects is extremely realistic, such as with displaying textures. However, the display device used for viewng a 3D model is still 2D (Spalter & Wesley,1999). Also, the user’s feelings about the interaction with a space or product can only be assumed in any model or animation. Even topics that sound easy, like Boolean modelers are much more difficult to achieve because it depends on the complexities of the objects and what steps have been done prior to the operation. Many of these programs want to be all things for all people, but with the diversity within the design industry, many times the ability of each to help create and render lacks for certain disciplines. Therefore, the tools should never replace other forms of idea generation, but rather partner with to help push the imagination and process.
Evidence:
The argument that 3d modelers should be an additional tool and not the primary used for design exploration is because there are program issues that the 3D model still cannot address, whether due to program limitations or ‘operator error’. An example is Sketch. The hand renderings it produces seem accurate, but it has no numeric input so the 3D models are “only approximate models of a final ideas” (Spalter & Wesley,1999). In addition, Boolean operations cannot model all shapes (Spalter & Wesley,1999). This means with a digital print, separate shapes would need to made and attached, just like a physical model. Some of the most powerful information designers gather is user interaction, and currently the Behavior modeling models an object’s behavior, such as a stone falling to the ground if dropped, moving in an arc through the air when thrown, or colliding with other objects. Behavior modeling models come the closest in animating articulated attributes (Spalter & Wesley,1999).
References:
Kalay, Y. (2004). On Geometric Modeling. In “Modeling”, Architecture’s New Media (pp. 141-147). MIT Press.
Splater, A., & Wesley, A. (1999). Building 3D Worlds – 3D Geometric Graphics I. In The Computer in The Visual Arts (pp. 212-253). Longman Inc.
Primitives
Boolean Difference Before
Boolean Difference After
Fillet Edge Before
Fillet Edge After
Sweep Before
Sweep After
Chamfer Before
Chamfer After
Final
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