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)

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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.

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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.

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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.

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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

Material Mappings Explored:

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.

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

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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

Novitski, B. (2000b, September 20). Once and Future Graphics Pioneer, Part II. Architecture Week. Retrieved February 13, 2011, from http://www.architectureweek.com/2000/0920/tools_1-1.html

Spalter, A., & Wesley, A. (1999). Rendering 3D worlds - 3D Geometric Graphics II. In The Computer in The Visual Arts (pp. 257-293). Longman Inc.

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

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.

References:

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.

FINAL PROJECT WORKFLOW DIAGRAM

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 AfterFillet Edge BeforeFillet Edge After
Sweep BeforeSweep After

Chamfer BeforeChamfer After

Final