Animation: assignment 4

In this animation I have made the door open as you walk into the space. I had trouble getting in to work with the interior space.

READINGS:

Summary:

 Animated graphics are used in virtually all time-based media work, from television, motion pictures, educational software, games, design, and art work. By using a sequence of slowly changing still images, the illusion of motion, or animation, is created. From the reading, I’ve found that the inbetween frames are critical in the animation process. Inbetweening is the frame, or image, that’s in between two frames. It helps create a cohesive animation, without showing the appearance of multiple frames. For example, if animating a ball in motion, as long as you have the three basic points to express that motion the start, end, and highest point, the computer program being used fills in the blanks automatically, creating a flawless animation (Animation&video pg6). To help with the spacing-out of the frames, there is a linear interpolation tool that allows you to calculate new positions at equal intervals along a straight line. Linear inbetweening uses the positions calculated with linear interpolation to position the object in the between frames (Animation&video pg6). As opposed to linear interpolation, which uses only straight lines, they’re us another tool, nonlinear interpolation that uses curves. This tool uses curves to define motion paths and other types of object transformations. By using this it greatly expands the usefulness and realism of automated inbetweening in the animation process (Animation&video pg10).

 Contextualize:

 After looking over the readings, I concluded that animated work implies motion, and motion implies space (Animation&video pg21). The relevancy of this software in the interior architecture program is crucial. Designing an interior space for a client is only half the battle. The way the design is presented and how well the designer conveys the space to the client is the other half of the battle. If the client is unable to understand the space from an interior perspective, they’re not going to stay interested very long. Without computer software programs, such as animation, rendering, and 3D modeling, expressing ones design is difficult. Without the realistic simulation of computer graphics and rendering programs, a designer would have a harder time selling their design work to a client or employer.

 Argument:

 Apart from the benefits of computer-aided software and design programs, there are some relevant issues related to this software. First off, computer rendering programs are very hard to grasp at first, and take a lot of practice to master. Seeing as the average designer most likely isn’t going to create amazing, photo-realistic renderings, the use of this software may not do their work any justice at all. If you aren’t extremely well with the design software, it can actually make your work appear worse than it actually is. However, it has kind of been accepted that computer renderings are considered better than hand-drawn. The use of these software programs has created inadequate thoughts related to hand-renderings. Hand-renderings are completely different than computer renderings and are great in their own respect. They can express more of the designer’s intentions for the space and what kind of feeling they are trying to portray. There are benefits to both types of rendering, and to create the most effective renderings, I believe computer renderings touched up by hand rendering gives the clean appearance of computer graphics, but a messy more realistically lived in space. Designers today are so reliant on 3D modeling and computer rendering programs that the practical hand-drawn approach has almost faded completely.

 

 

 

 

MODEL: building process

Rendered Images

Research Project Investigation

ABSTRACT

 What I’m proposing to undertake for my research project is somewhat intertwined with my studio project for this semester. Currently, my studio is working on a residential project that incorporates retail as well. What we are trying to accomplish is an urban residence that will attract people of all ages, in hopes that the city will develop and flourish. For this classes project, I want to focus on perfecting the model of the exterior structure, using sketch up. I will then place the perfected model in its existing location in Albemarle, NC using a map from google maps that I will place in sketch up. After I have completed both of these tasks I will render the model in Podium. By doing all of these things, I will have advanced my skills in computer aided programs and my eligibility in the practice of interior architecture. All of the computer programs I have listed above are used in the interior architecture practice, and it would be beneficial for me to learn them at a higher degree.

 METHODOLOGY

 To accomplish this project, I will first use sketch up, which I am fairly well at, to create the model of the residence. I will then have to learn how to take a geographical map of the city of Albemarle and crop it to the scale I need, and figure out how to import that image into sketch up. Importing the image into the 3D scene in sketch up is going to take a lot of altering when it comes to scaling it to look realistic, as well as making the map match the scale of my sketch up model of the residence. I will have to play with the opacity, and transparency of the image to make it look like the model I’ve built belongs in the image of the city. I want it to look like its been there and that’s where it belongs. By incorporating daylight, the collaboration of the 2D image and the 3D model should come together to look like one. The shadows that are cast and the highlights in the environment will help blend the two together to look like one cohesive image. By using Podium to render the finalized image, the viewer should not be able to distinguish between the 2D graphic, and the 3D model.

 OUTCOME

 What I hope to accomplish from this research project, is more knowledge of computer aided software and rendering programs. I hope to accomplish a finished product that “wows” the client and gives them a holistic view of the architectural structure in the environment for which it was designed. By doing so, and doing it well, I hope to win over the client with the exceptional renderings that are comprised of, attention to detail done by transparency, and opacity to blend different mediums into one 3D image of the model and its surrounding environment.

 

iar 560 assignment3

Computer graphics programs and advanced rendering programs are a key aspect of the interior architecture profession. Thanks to advanced research done by Donald P. Greenberg in the Program of Computer Graphics (PCG), many of the practical applications that are used by architects today, has been developed by Greenberg himself. His research led to the development of Lightscape, a rendering program capable of creating very realistic lighting effects by calculating the precise amount of light reflected from surfaces and materials within a scene: a very useful tool for designers and architects to use in the representation of their work.
Currently, research performed at PCG is focusing on three major areas. First, improving the user interfaces for architectural applications to make them more suitable for designers. Second, simulating the behavior of light in space and understanding the human visual perception system to refine the rendering algorithms. And third, developing methods for improving image capture and the quality of image-based rendering. For the architecture profession specifically, the PCG is concentrating on developing conceptual design tools, enabling architects to design in context, and enabling collaboration over the Internet. The development of the drawing-board sized device, which functions as both a sketchpad and display device, can be rotated and navigated in three dimensions and placed into an underlying 3D scene. This is a useful tool for designers of all types to help express design ideas to clients and help them visualize the interior space, as well as the environment in which it’s placed.
What I found interesting in the reading was the software’s unique ability to move smoothly between the realms of rough sketch, precision rendering, and real-time walkthroughs. The ability to sketch naturally and create accurate architectural drawings as well as 3D models connects the art of design directly with the science of architectural evaluation and development. Research has also allowed elaborate instrumentation to measure light within physical models as it reflects from surfaces and moves through various media such as air and glass. These measurements are then compared to the simulated light calculated by existing algorithms, which are then further refined according to the real world models. As a result, the software's ability to imitate visible reality increases in precision. This software will improve designer’s credibility when it comes to their work, and will help win over a job when there are multiple competitors.
Precision in light simulation, as in Lightscape, is important because it gives predictive credibility to the resulting renderings. For example, if an architect models an interior space that is supposed to be illuminated by a clerestory, a precise rendering will show whether the space does indeed receive enough light with that window configuration and orientation. If the space looks too dark, the architect using conventional renderers could simply modify the software settings to make the model look brighter. With a physically precise simulation, the architect must adjust the window size, shape, or the position of the glazing or the color or reflectivity of the interior surfaces to improve the quality of light in the space. In other words, the problem won't be solved until the architectural elements are correctly designed. This helps interior designers and architects to see things they may have not had the chance to see before. They can now fix problems when alarmed by the computer, instead of noticing it too far into the design process. This software will help tremendously with time constraints and also help the designer work faster.
A third area of research is in "image-based" techniques. These techniques are already familiar through currently available technologies. For example, a digital photograph of an object or material can be "texture-mapped" onto the surface of a geometric model, giving the rendering the appearance of realism without requiring much geometric complexity. Another common application is in the animation technology pioneered by Apple Computer with the QuickTime VR format. Using QuickTime VR, several still photos taken at regular intervals for 360-degrees around a stationary viewpoint can be stitched together to create a panorama. Viewers can "look" around a 360-degree space by moving the mouse. The application is becoming popular for displaying architectural spaces on the Web.
The advancements in computer software have made modeling and rendering of architectural environments more realistic and believable for the client. Having the ability to apply lighting effects that are accurate appeals to the client more, as well as helps give them a better idea of the space to be. Now being able to view the whole space in its entirety with the look around of 360 degrees helps the client feel as if they are walking through the space. Giving them the feeling of the space with these 3D renderings is a positive step toward the future.

Sources:
"Rendering 3D worlds - 3D Geometric Graphics II" by Anne Spalter, Addison Wesley Longman Inc. 1999, pp 257-293.

"Once and Future Graphics Pioneer", B.J. Novitski
http://www.architectureweek.com/2000/0913/tools_1-1.html

"Once and Future Graphics Pioneer Part II", B.J. Novitski
http://www.architectureweek.com/2000/0920/tools_1-1.html

Object to model: Pencil

iar 560 assignment2

After reading both articles, I have a new understanding for 3D modeling and everything that it consists of. After research I’ve come to find that there is so much more complexity to modeling than I knew about, yet more opportunity at the same time with all the different modeling programs and what they have to offer.
The purpose of 3D models is to use 3D geometry to define 2D and 3D shapes. These descriptions are then rasterized to create images for raster-based screens and printers. This is a very useful method for designers, architects, and mechanical engineers, especially when it comes to modeling their work to the best of its ability. However, there are challenges with 3D modeling programs and their unrealistic representations of day lighting and its effects on object surfaces.
Designers and model-makers have an important decision to make when deciding which features of the real object or other entity to incorporate in a 3D model. A good model captures information and relationships vital for a specific purpose, whether that purpose is functional or aesthetic (Building 3D Worlds pg.2). Today, scientific visualization allows visualizing a model in a 3D environment possible. Data from this model reveals information that would be nearly impossible to gather from looking at towering piles of numerical printouts (Building 3D Worlds pg3). There is also behavioral modeling, which gives the designer the ability to view an objects behavior in an environment, such as a stone falling to the ground if dropped, moving in an arc through the air when thrown, or colliding with other objects (Building 3D Worlds pg3). Artists and scientists still ponder the question of, when is a model good enough? A model should show 3D spatial information such as depth, but behavioral modeling and the modeling of other aspects of 3D reality, such as sound physical feedback, also can be important.
Visualization is the modeling of objects interiors. Objects interiors can be very useful for engineers and designers who want to understand the effects of stress or temperature on their materials. Advancements in computer-aided design have made 3D modeling possible for designers with voxel-based modeling. However, in order for voxel-based modeling to happen personal computers will need more memory, they will need faster algorithms for drawing voxel-based models on the screen, and better input and output devices are required (Building 3D Worlds pg5).
There are several important terms in the 3D modeling world that are important to know as designers, Boolean operation, primitives and sweeps. Boolean operations is adding and subtracting of shapes that can be performed with solid objects (Building 3D Worlds pg8). Primitives are 3D shapes that are not composed of any subsidiary 3D forms (and thus are usually quite simple). Primitives are pre-made and are defined in concise ways that take up less storage space. Programs use certain primitive shapes as useful starting points for creating components of more complex objects. Sweeps are Basic 3D forms, which can be created by drawing a 2D geometric shape, referred to as a profile, and then sweeping it through space to describe a 3D form (Building 3D Worlds pg7). All 3D programs understand polygons, and most 3D file-exchange formats are based on polygonal descriptions. For cube like forms with flat surfaces, a polygonal representation describes the desired shapes quite accurately. For curved forms, however, such spheres and cylinders, a polygonal representation can only approximate the desired surface. You can render polygonal models of curved objects to look smooth, but to model a curved surface more accurately you need real curved shapes, not linear approximations (Building 3D Worlds pg9).
To help make 3D modeling of real world objects easier, especially those in nature, which don’t look like a collection of geometric primitives or sweeps, digital clay and 3D sculpting have evolved. An approach to modifying simple objects called digital clay, or 3D sculpting (not related to volumetric sculpting), lets you click and drag on polygon vertices. By pushing and pulling on the vertices and connecting lines of objects polygonal mesh, you can warp a polyhedral object into various bent, twisted, and distorted new shapes (Building 3D Worlds pg10). Another useful tool for designers was the invention of Fractals. Many natural forms could not be described geometrically until the invention of fractals. Fractal objects mimic natural structures in a nonspecific way. Developed fractals as a geometric way to express seemingly irregular “non-geometric-looking” forms such as trees, coastlines, and clouds by noticing that they exhibited, at many levels of detail, patterns of self-similarity- the structure of a small section resembles the structure of the whole object (Building 3D Worlds pg16).
Particle systems is also a useful tool for designers, when it comes to modeling, for example, smoke, fire, air, bubbles, and the like which are not really single, distinct objects like a chair or a tree or self-similar structures like a plant, but can be thought of as dispersed particulate matter (Building 3D Worlds pg17). Such phenomena can be successfully represented with particle systems, or algorithmically controlled masses of individual shapes that are automatically created with hierarchies that can control movement of the entire system. (Building 3D Worlds pg18-19) Partical systems can be used to create natural forms such as plants and trees by defining the particles to look like branches, petals, or even parts of blades of grass.
Considering geometric modeling, a good data structure is one that is well formed, while balancing the attributes of generality, efficiency, and completeness in a manner that matches the needs of the application for which it is used. There are three general categories of geometric modeling, wire frames, surface models, and solid models. Wire frame models represent only the edges of shapes, leaving to the viewer the task of inferring the volume and other properties of the shape and form theses outlines. Surface models represent the vertices, edges, and faces of an object, but the structure they impose on these components is rather limited. They are relationships between the faces themselves; essentially collections of unrelated polygons (geometric modelingpg2). This approach supports hidden-line removal, the process where only those parts of the shape that are visible from a given point or view are displayed on the screen. Makes it possible to see the relationship between them. Lastly, solid models are the most complete, well formed, and general of all methods used to represent shapes. Its efficiency depends on the particular approach used to implement the model. Its surface, volume, and geometric properties can be calculated (geometric modelingpg3).
The use of these 3D modeling programs has evolved into something that designers and architects use daily to represent and communicate their work to their peers and the public. Without these programs, the modeling of complex structures would take far longer, and it would be much harder to visualize and express to other people. However, the difficulty of learning these programs is a downfall. Without the resources to be taught how to use these programs, trying to figure them out by yourself is nearly impossible. When you do know how to navigate these complex, 3D modeling programs you can get some extraordinary results and are very realistic.

Sources:
"Building 3D Worlds – 3D Geometric Graphics I" from The Computer in The
Visual Arts by Anne Spalter, Addison Wesley Longman Inc. 1999
On Geometric Modeling: Excerpt from “Modeling”. Architecture’s New Media by Yehuda Kalay, The MIT Press, 2004