Trajectory of Light
Introduction to utilizing architectural visualization in the creative process
The purpose of this text is to discuss 3D visualization and modeling as part of the architectural creative process, revealing the aspects that can be an addition to the contemporary architect’s arsenal of tools, furthermore exploring possible drawbacks that result from the use of this approach.
Introduction
Architectural visualization is becoming an industry standard not only in the presentation of large scale projects but it can play an essential role in merchandising single family homes as well. Although the workflow of contemporary architects in most cases includes the use of 3D models, simulating reality is not common in the design phase.
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The product of rendering is the render.
This text is meant to discuss the third and final part – rendering, as in the author’s experience it represents a tool that is overlooked by most contemporary architects but which has the potential of being a valuable and versatile asset in creating architecture.
Trajectory of Light A camera creates images by intercepting the reflected rays of light from its surroundings. The color and trajectory of the reflected light depend on the color, material and shape of the object that reflects it. This process can be simulated digitally in a 3D environment. This study is based on Chaos Group VRay as the render engine and Autodesk 3D Studio Max as the software in which the 3D model is created, as a result the notions will be separated, treated and named as they appear in the two software. Nevertheless the ideas can be implemented in most every available software in this field. The behavior of light is divided in the rendering process. We differentiate a few types of behavior: Shadows, Reflection, Refraction, Indirect Illumination(GI), Ambient Occlusion, Caustics, Dispersion.
The examples are from the VRay Manual except if indicated
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This is useful for interior or semi-interior scenes whith lots of lights or small windows. The photon map usually does not produce good enough results to be used directly; however it can be used as a rough approximation to the lighting in the scene to speed the calculation of GI through direct computation or irradiance map. Compared to BR it is very fast, also view independent, but generally is not suitable for direct visualization.
- Light cache (LC) is a technique for approximating the global illumination in a scene. It is very similar to photon mapping, but without many of its limitations. The light map is built by tracing many many eye paths from the camera. Each of the bounces in the path stores the illumination from the rest of the path into a 3d structure, very similar to the photon map. The light map is a universal GI solution that can be used for both interior or exterior scenes, either directly or as a secondary bounce approximation when used with the irradiance map or the brute force GI
GIS is more efficient than drawing a map by hand. 4. Each type of information can be stored in a layer. 5.
Though Fred Wilson specializes in creating works of art that represent his perception of American history and American society as a whole, Wilson’s Drip Drop Plop came into creation as a representation, primarily, of Americas repetitive racial history against African Americans. When Fred Wilson was asked to be the American representative at the Venice Biennale, Wilson thought that it would be best to incorporate glass unto his work, something that Venice is well familiarized with, taking in mind that it is a city generally known for its glass manufacturing. The medium which Fred Wilson chose consisted of black glass shaped in the form of droplets and puddles. He chose to work particularly with black glass for his display as a representation
We all continue to live in a world surrounded by varyng forms of art, music, painting, literature, and all these are results of creative human activity in which materials are formed to show an idea or a thought of communication. I believe arts are meant to aid in understanding our past, describe the present and predict the future. “The Weather Project” by Olafur Eliasson managed to create an interesting presentation of the weather. The exposition seems to initiate an impressive tension between the city and nature. The room is encircled in natural elements sun, mist, light and by introducing these natural elements Ellison seems to persuade viewers to entirely appear themselve in the space and the exhibition.
The lighting in Donnie Darko movie is a key component of composition which creates our sense of illuminating for people and things. This movie uses two sources of lighting; natural light, such as daylight, when the scene is in an outdoor area for example, walking from school, at home, waiting at bus stop, or playing outside of the school on sunny days. Another source of light is artificial spotlight which is used in the movie indoors to cut and shape the light at the dining table, in the classroom or in the psychotherapist's house. Also, distinct shadows are used as an essentially smooth surface that reflects hard light in the Halloween party to feature deep shadows and scary areas in function of the plot. Three-points of lighting create ominous shadows in the horror genre for all the actors at Donnie and Elizabeth's Halloween party with lighting from below the cast to create monstrous objects in real life.
These different lighting techniques are applied in the movie to help set the tone and mood for the film scene. The
When lighting an exterior scene with a wide shot, not much could be done to balance levels. But when the director goes for a close-up or a medium shot, he uses diffusion or bouncing light to hide the hard quality of light from the sun. Diffusion and bounced light is in the movies since the late 1910’s and early 1920’s. Keeping the exposure of the actor’s face allows the audience to believe what is going on. The limitation of power on the non-studio shots makes lighting fixtures difficult to power.
The use of background light was an important focus in this picture, there was less attention to lighting the actors faces but in almost every frame there is well placed background light often combined with a moving light source. Repetition was also evident within the visual composition of the frame, the actors were rarely positioned within the center of the frame but always to the left or the right with a light source covering them from behind. Ridley Scott perfectly matches colorful high key light with low key lights creating impeccable contrast, this lighting used could be described as a modern Citizen Kane style. Although this is overall a very dark and low light film, the motif of shadows and darkness allows the beauty of light to truly be
Author Rasmussen’s book Experiencing Architecture further elaborates on this architectural experience by emphasizing “You must observe how it was designed for a special
Mankind has always faced many natural obstacles, one of them being the harsh elements of the weather. In order to protect themselves, humans began to build shelters to keep warm and survive. This acted as the roots that gave rise to the industry of architecture. As time has passed and societies have come and gone, the advancements in architecture have continued to grow, but never again has there been a time more influential and lasting on architecture than the era of the Greeks and Romans. Their architectural achievements revolutionized modern architecture in a way that is still being used to this day.
The Ontology of the Photographic Image André Bazin André Bazin through “The Ontology of the Photographic Image” examines how the mechanically produced photographic image is superior to the manual plastic arts for preserving humans and reality through representation. Bazin explores the existence of the photographic image through his essay. Plastic arts were used in the Egyptian civilization to preserve human beings.
New designs have been adopted since the onset of architecture, and thus, with the concentration of a history of architecture, new phenomenon and innovations are realized that would help in further explanation and address of other necessities in the same sector. A concentration in the History of architecture and landscape architecture as a course incorporates more than one element of
I. INTRODUCTION: Interest-catching opening. : Background: Shutter Island is a 2010 film directed by Martin Scorsese, starring Leonardo DiCaprio as a U.S. Marshall who goes to a mental hospital to solve the disappearance of a patient, and the person responsible for killing his wife. While investigation this disappearance he uncovers secrets and truths of his own, the most damming is the horror of losing all three of his children due to his wife killing them, leading him to kill her.
Tectonics is defined as the science or art of construction, both in relation to use and artistic design. It refers not just to the activity of making the materially requisite construction that answers certain needs but rather to the activity that raises this construction as an art form. It is concerned with the modeling of material to bring the material into presence - from the physical into the meta-physical world (Maulden, 1986). Since tectonics is primarily concerned with the making of architecture in a modern world, its value is seen as being a partial strategy for an architecture rooted in time and place therefore beginning to bring poetry in construction. Tectonics, however, has the capacity to create depth-ness of context resulting in the implicit story being told by the tectonic expression.
These sensory signals have a large impact on our relationship and experience of an environment because they are able to physically and emotionally engage and connect us to the architecture. Although these types of sensorial qualities may not make or break the successfulness of architecture, they must remain of high importance because of their ability to reinforce an individual’s personal connection to a place. Juhani Pallasmaa, claims that our design culture has forgotten the importance of the senses in engaging our whole being- physical and emotional- in an architectural experience. This theory speaks to an experience that goes beyond a visual relationship between a person and architecture.
The Architect working on a project is not only responsible for the design but is also expected to work as a link between different parties in involved in the process, most importantly the client and others for successful outcomes and to achieve client’s satisfaction in a project. With so many factors affecting the process, Architects find it difficult to explain the nature of their professional activities and their deliverables for successful project (Bali, 2009). Also, success can be viewed in different ways whereby what one perceives as a successful project outcome may be viewed quite differently by the next. A client’s judgement of a success may often be different to the architect.