Week 8- Origins and Early Expectation of Computers Reading

ORIGINS AND EARLY EXPECTATION OF COMPUTERS:
 
Readings:

"The Pioneers of Digital Art" by R. Lewis and J. Luciana, Pearson Prentice Hall, 2002, pp 90-112.
“Computing in Architectural Design” from Architecture’s New Media by Yehuda Kalay, The MIT Press, 2004, pp 63-81.
“20 Things I learned about the browsers and the Web”: http://www.20thingsilearned.com/web-apps/1
Site on the history of computer-aided design: http://mbinfo.mbdesign.net/CAD-History.htm
A historical timeline of computer-aided design: http://accad.osu.edu/~waynec/history/timeline.html
The machine that changed the world: http://ei.cs.vt.edu/~history/TMTCTW.html

A quick comparison of the various articles brings to mind the fact the different key innovations within digital art are often left out of computer history. Also, it is important to be reminded of the innovation with internet and CAD that have allowed for instant and detailed project team analysis of complex building designs to occur simultaneously throughout the world.  The paths of these innovations are interestingly very interlinked with the American Universities. A lot of the innovation work in computers throughout various times of history has been found to start on the campus. These breakthroughs are often not upheld and celebrated as a model for future students to embrace.

Further development of the internet browser has also brought with it great advantage.  With the access and ease to information it offers (and the great trial with the viruses), it has become an important part of our daily lives. Today, we would be unable to enjoy life without this technology. It is the phenomena of once you have a privilege it is so hard to give it up. With the ability for computers to take on repetitive tasks and/or mathematical computations, AutoCAD has allowed for a more informed platform for design work and it has greatly benefited the designer trying to create more responsible and informed designs.

Question #1- What aspects of the history of computer graphics is relevant to interior design and architecture?

Knowing the background development of technology used in interior design, including computer graphics, allows for a greater depth of knowledge when utilizing and designing with computers. The proliferation and reliance upon the computer is as pronounced in interior design as it is in most other graphic based industries. I think to move forward it is often best to know the past. It can inform the development and also avoid reliving mistakes learned, like the short sided views of Xerox. With this information, I feel better prepared to incorporate new technology as it comes along through having a more informed background. I think it can help with also not feeling overwhelmed when discussing and exploring new areas of computing, like animation. Animation has become so advanced, that when looking at it as a beginner it is easy to feel overwhelmed. Seeing the past allows me to feel encouraged to continue learning and trying new ideas, programs, and designs.  Exploration and design research can help catapult design forward at any moment, by any source. It can only happen, though, when someone is out there trying and doing new things. I feel that this is a universal principle that easily applies to interior design and architecture. It is through innovation that we are continually inspired and challenged as humans in our experiences in our interior environment. The interior environment impacts how we develop and how we view the world and it is subsequently how we can learn to attain a restorative environmental design philosophy.  Technology is a tool that we can use toward that goal.

Question #2- What will the future of computer-aided design/ internet be?

The future of computer-aided design is going to continue to grow with our reliance upon it in our daily lives as designers in both the work place and away. The use of internet will be a similar integration. We are incorporating these in greater measures every year and I think that it is going to be their separate and joined function(s) that will bring us into more advanced and knowledgeable buildings. I also feel that the internet can be the gateway for creating spaces that are more knowledgeable of worldwide design and innovation, and also knowledgeable of worldwide trends.  The internet has brought a limitless supply of information and it will aid in producing more educated and demanding clients. Thus, the importance of maintaining and increasing relevant skills and knowledge, I think, will be one of the major challenges of the future for designers. I see that computer-aided design will also be more interactive and more web-based with global access by customers and global based information incorporated within the building, by the use of case studies for example. The market will continue to trend toward global and environmentally responsible design and the use of computer-aided design and the internet will be the leading portals to this future.

Other thoughts and commentary-

I am always interested to see the way history ends up being both heralded and forgotten. There have been so many people in the history of the computer who are basically unknown and yet were major innovators in their time. Of course, it is the famous and big names that are mostly talked about. I think that the other people who worked so hard and ended up not being famous are the most interesting stories of them all. Ivan Sullivan and Doug Englebart are two of my favorite stories. The other is Babbage and his Analytical Engine. I think their major breakthroughs are not really known to the public, yet they were major innovators. 

 The three emerging effects of computers on environments mentioned in the Kalay reading are interesting. In the first phase of changing the culture of the design profession does continue to occur. With our lives revolving around the computer, its portability and accessibility is another adjustment that we continue to make. We are no longer chained to shared shift work on one computer, but we seem to always need them around us now. The second effect of computers being inhabitable physical environments is in the day to day control they have.  It is normally seen as aiding in comfort and habitability with climate control and safety mechanisms. It can create almost impersonal and automated environments that as designers we have paid little attention to in regards to how all the technology can make spaces feel psychologically.   Thirdly, the use of cyberspace has become a place that interior designers have had little involvement with and can become a new frontier for the profession.  There is more work ahead.

Week 7- GIS, BIM, & Simulation Reading

GIS, BIM and Simulation

GIS:

Mapping Places and Spaces

http://archrecord.construction.com/features/digital/archives/0206feature-1.asp

BIM:

Diving Into BIM

http://continuingeducation.construction.com/article.php?L=5&C=625

Simulation:

Main Reading:

Model Behavior: Anticipating Great Design

http://continuingeducation.construction.com/article.php?L=5&C=471

 

                What is GIS? It is a “type of software system, [which] enables a user to link any amount or kind of data to a location with either geographic- or user-defined coordinates" (McGarigle, n.d.). This can be used to show the massing of buildings among the surrounding environment.  This allows for site lines and other contextual information to be reviewed, with projects from a large scale including Boston’s Big Dig on down to the size of a single building.  The information is often stored in state or city databases like the GIS Division of the City of Greensboro, which has the city’s assets mapped. One of the ways they use it is to efficiently respond to service requests. Their website is http://images.greensboro-nc.gov/maingisviewer/.  The architect will be able to use this type of information to look at broader issues of developing within the community. It allows for more informed decisions on site development and will most likely continue to increase in adaptation.

                BIM is defined by The American Institute of Architects as "a database in the visual form of a virtual building" (Gonchar, 2009).   BIM or Building Information Modeling has greatly improved the architect’s ability to create sustainable designs. “Architects and building engineers are moving away from using conventional CAD software and applying the BIM approach to building design by coordinating with the surroundings and environmental data” (Gonchar, 2009).  Creating 3d models that include information attached to the model unit allows for more thoughtful project analysis upfront, meaning avoiding costly change orders.  Adding the addition of time or scheduling to the model aids project management and creates a 4D info model.

                In the beginning of the project, the modeling process requires more responsibility to be placed on the designer, which requires more details and information to be gathered and processed.  Another change is that BIM integrates the design development with the construction document creation.  They are really one and the same, as the modeled building contains the information and drawings inherently within the model. All of this revises the process of how the project is approached and managed which equals the pains of change. However, more good news with BIM is the better coordination of data among the project team. Some of the ways BIM is helpful is 4d, the design team can visually explore the entire assembly and can include storyboards, animations, and details like exploded section views. Because of the addition of plug-ins like the energy analysis software used in the article, BIM helps to make it easier to pursue more environmentally responsible buildings. The use of use of energy analysis allows for these types of analysis to be done more often throughout the project so that the designer can evaluate design changes. Traditionally this was outsourced and only occurred once. If the design changes, the resulting impact on the energy use for the building was unknown. This all helps to keep environmentally friendly buildings working toward systems that create well designed, well managed and well-built buildings that have fewer costly mistakes.

                In Model Behavior: Anticipating Great Design, the modeling of the Masdar Headquarters is discussed. It is slated to be the world’s largest scale, mixed-use, positive-energy building, which means that the building will produce more energy than it consumes. The modeling of this uniquely shaped building is a major part of creating a successful outcome. The massive cones used in the building design impact the flow of cool air through the building and naturally expel the warmer air from the top. Design exploration for the shape and placement of equipment are all attributed to the use of advanced modeling software with abilities to simulate computation fluid dynamics (CFD), which showed how the air flowed through these cones and what performed best.  The Al-Birr Foundation Headquarters is also using modeling. Perkins + Will has used both physical and virtual modeling for this project, through thermal modeling analysis the quantification of solar impact on each side of the building benefited the siting of the building and the overall design. Wind is also being studied and how it may react and impact the site.  Another great project using simulation is Dubai’s Sheikh Rashid bin Saeed Crossing, a bridge that is incorporating moonlighting in its lighting design. It adjusts to simulate the moon cycle and how the bridge should glow correspondingly.  With advances in computing and modeling, the continued development of GIS, BIM, and simulations is a way that we will be able to achieve headway into the use of restorative environmental design.

Week 6- Animation and Virtual Reality Reading

ANIMATION AND VIRTUAL REALITY

Animation:

"2D and 3D Animation and Video" from The Computer in The Visual Arts by Anne Spalter, Addison Wesley Longman Inc. 1999, pp 323-358 (pages 358-365 have additional information which are not required to be read.)

Virtual Reality

"3D Input and Output" from The Computer in The Visual Arts by Anne Spalter, Addison Wesley Longman Inc. 1999, pp 297-316.

Summary:  “3D Input and Output” has an interesting overview of 3D devices used for inputs and outputs that filled some of the gaps in my own knowledge. One interesting point is how with the movie makers and the universities are major innovators in this field. This is supported by Funiss (1998) in showing the movie industry as a major player, but the university has had a quiet impact. A new terminology for me was the 6 DOF.  For 3D input “one generally needs at least six degrees of freedom (6 DOF), three for X, Y, and Z translation and three for 3D rotation” (Zhai, 1998, p. 50).  In the reading “2D and 3D animation and video", a lot of the terminology was new to me, but most of the functions I was able to relate to the experience in animation that I have had in 3ds Max. The use of timelines and keyframes are new terms, but I have previously explored these feature in 3ds Max. The artistic adaptation of these techniques was surprising to see that it has had such vast interest and mixed use. The Sigrid Hackenberg image (Spalter, 1999, p. 346) is “hauntingly beautiful through her editing techniques”(Spalter, 1999, p. 347) and is in great contrast to the Alex Rivera images (Spalter, 1999, pp. 351-351), which are from a video with images related only thematically and shown rapidly together without transitions. Both of these are again different from the morphing work of Joseph Santarromana work (Spalter, 1999, p. 339).

Contextualize: The animation of interior spaces can be a very communicative method for clients to understand the intended design plan. It can also be a beneficial visual model for showcasing various features of a design that when animated visually explain the design purpose. Examples within furniture design would be opening and closing of a drawer and the ability to show inner details of the drawer and its construction. Using the ability to view stereographic representations of an interior is a feature that can also benefit the design process as Joch (Joch, 2005) explains that the client was able to analyze potential sight lines problems before the construction with the use of 3D.

Argument: The integration of technology, as shown in the article, highlights the interesting push the government can have on bringing new technology into the building arena. Having high budget government projects under extreme scrutiny can force design innovation forward due to the fact that the parties involved want to mitigate any potential loss due to design or communication error. Plus, the “GSA always wants the best price you have ever given to anyone- GSA calls this Most Favored Customer prices- and then a little bit more”(“Negotiating Profitable General Services Administration (GSA) Schedule Prices,” n.d.). So, in the end there usually is a low profit margin to start with. This new technology can help up front with more accurate design development. The future will most likely bring more multi-sensory 3-D animation and virtual reality to architecture for a total sensory experience that allows fully virtual buildings to be created and tested before construction begins. This would go further in bringing design and build project teams together earlier in the building design process. This is a strategy that is emphasized by the USGBC and LEED for minimizing change orders and inefficient building design (U.S. Green Building Council., 2007). The upfront communication allows everyone to see what the end goal is and how everyone else is working toward that goal. Better system integration is often a result. With the need for up front analytical development of requirements, innovations may be needed and can be pursued.

Evidence: There are several online outlets that will provide architectural 3-D flythroughs, like Archmania at http://www.archmania.com/. Archmania supports the above argument with the following website quote: “This technology has been found to be highly useful and can result in various improvements in terms of architecture as well as attracting more customers.”  Additionally, with the recent successes in the movie industry with animated 3D films, the future of 3D animation will continue to be pressed. “The 3D aspect at that point simply becomes the icing on the cinematic cake. ‘I think at some point 3D will become to animated films what navigation systems are to cars,’ Dergarabedian says. ‘You’re just going to have to have it in every single one. Otherwise you’re going to feel like you’re missing out’”(Avila, 2009). It will then similarly be pressed into the architectural field through large clients like GSA.

Animation example- using 3ds Max and a concept model for my research screen project.

A little bit 'o fun with Windows Live Movie Maker. A very little bit.

Rendering Excercise

3ds Max Rendering



Image 1

 Image 1 shows a basic capsule geometric shape that has a solid colored material map applied to give it the look of dull plastic. The second object is the same capsule shape with an added twist modifier applied to. It has a matte metal material applied, with a bitmap for added texture. The default lighting is shown.


 

Image 2




Image 3

 Image 2 shows the addition of a plane with a marble looking map applied to it and then the UVW Map is added. The UVW Mapping is scaled to create the look of tile flooring and changed to box mapping. The wall is a box with a flat solid color applied to look like flat paint.  Together they help create a more relateable image and show the additional shadows created from two new omni lights added for ambient lighting. One of the lights has the shadow option selected in the Light Lister properties. The right object here has its material transparency set to 0% and its transluceny at 100%.
 

Image 3 shows the material transparency at 100% and transluceny at 100%. This highlights the ability to apply different materials while concurrently varying the levels of transparency and translucency. There are many other alterations that can be made throught the material modifer to help with more realistic material representation. The use of the UVW Mapping also has many impacts on the overall look. Here the bumpy chrome material needed to have the mapping modifer changed to spherical and then the UVW scaled again.  

Image 4

The lighting design is an important part of the overall rendering outcome. Together, with the material mapping, they can show all of the details that you have added to the scene. In Image 4 the results show moving the twisted object in front of the other. The addition of a focal spotlight adds another set of shadows.

One note is that you may need to work much harder to get a more natural looking material wrapping on things that are modified. Also, the scale of the material usually needs to be scaled and altered between the various mapping options. To obtain the tranparency of the twisted object shown, the actual properties of the object needed to be modified. The material mapping of this object was actually set at 94% for the tranparency and 0% translucency. 

Image 5

Image 5 is the same rendering as Image 4, but the material transparency was changed to 0%. This another example of how you can get a great deal of customization in your designs with 3ds Max and that modeling can allow for photorealistic interior and exterior images that help showcase the design intent.

CDI Trip Review

CDI review

http://www.centerfordesigninnovation.org/Services/Prototyping.php  

Medical prototype created at CDI

 The Center for Design Innovation in Winston-Salem is part of the University of North Carolina system. Their goal as stated on their website is "to catalyze economic transformation of the state's Piedmont area through design-focused activity based on advanced digital technologies" They have diverse equipment and resources to support technology driven research. They are in the midst of funding and building a new location which will be an even greater addition to the university system.

Motion study at CDI

The trip to the Center for Design Innovation was a great way to show the realities of the equipment that we have studied. The example output samples that they were able to share really gave me a better sense of what the process and equipment is like. The really interesting aspect of CDI is what it was created to be. It is a multi-campus research center. They are not there for mass production of products, but for research and design development and as such they partner with several local schools. CDI also offers a large reconfigureable space for use. They offer, in addition to the prototype printing, media production and a variety of equipment and computers to support research like motion detection and data analysis.      

   

   

Z Corp 510 3-d color printer



Dimension 3-d printer

These two images are examples of two of the 3d machines that they have and they also have a large format Epson color printer shown below. They have already been producing various models. The uses for rapid prototyping has diverse industries looking at these types of machines. Examples they had on hand included medical, furniture, and art models. The ability to create a complicated object practically overnight is a major advantage to the design process. Another advantage is then being able to quickly study and modify the model because of the tactile exploration that a physical model affords you. There facilities close proximity is a valueable tool to add to UNCG's CAMstudio.  Together there is a great ability for model production and learning through advanced digital fabrication that is demanded in the architectural industry, and other industries as stated above.  I am glad that we were able to meet the people behind the name and experience what their culture is like in person. It is a beneficial reference.

 

Epson Stylus Pro 9800 2D printer



Image credits:

CDI object and woman-http://www.centerfordesigninnovation.org/Services/Prototyping.php

Dimension- http://www.dimensionprinting.com/

Z corp- http://machinedesign.com/article/first-high-definition-color-3d-printer-introduced-0120

Epson- http://www.creativeheartworks.com/











Week 5- Modeling Reading

Week 5 Reading

"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

Summary:

                Many of the various terms used in the assigned writing on 3d modeling are not new to me, as I have already been using some of these principles in 3dsMax.  The further explanation of terms that is covered in Spalter’s writings was very helpful in laying a foundation to move forward in learning more advanced modeling and lighting concepts.  One point that is explained is that geometry, being a main computational component for modeling, allows for portraying “three-dimensional bodies in two dimensions (projective systems, like eye and axonometric perspective)”(Madrazo, 2006, p. 73).The environment mapping, another term I looked up online, is used in 3dsMax.  With the advanced computing capacity of new computers, there are subsequently new rendering software improvements that allow for more advanced rendering methods to be used.  A lot of that development has been spawned by the Program of Computer Graphics at Cornell University.  The extent of their computing capabilities is very impressive. It shows that when you have a group of passionate people with the tools they need to ideate, there is a ripple effect that ends up benefiting many others. This use of computers in architecture and design is also affecting the educational system and how teachers teach and what students are expected to know upon graduation.

Contextualized:

                3d rendering software is already being used for interior architecture to show the client what the space would feel like through interior and exterior 3d models that are beautifully rendered. It also is used to help the designer to develop the design as well as be used as an innovation tool through the unique capabilities of the software. The improvement of the equipment and software is going to continue to impact interior designers using modeling and how the design process is explored. Development of easier to use interfaces will help, like the effect SketchUp has had on 3d work. The idea of creating a large digitizing surface which works with a cordless pen and a high-resolution display to be able to sketch comfortably would probably greatly increase the desire to utilize modeling software and this will also impact multiple other software products aimed at a similar audience. “Computer-driven explorations are expanding the way both educators and students think about architecture. Schools embracing the new technology will lead the way to bring about emergent forms of practice” (Snoonian & Cuff, 2001).

Argument:

                The usefulness/ relevance of knowing and using rendering software is most prominent in being able to present realistic images of the future building to clients before the final construction has taken place so that the design can be fully explained to the client. A better level of communication is allowed to occur with renderings that make the design development afterward much more targeted to the correct goals of the client. Misinterpretation of what the designer is trying to convey by using other less photorealistic methods can miss the mark because the client is not trained to the think and see in 3-d like designers are. The cost of miscommunication can be significant and wasteful. Being able to clearly indicate materiality and other details can truly represent the designer’s vision. “These techniques are highly popular in the field of Architecture and are used for presenting a visual of how a building will look post construction; in fact 3d Rendering can give us a clear idea of the texture of wall, flooring etc.”(Gourge, n.d.). The downside for 3d modeling software is that it still takes considerable time and training to obtain photorealistic renderings and can also involve dedicating a high-end computer just for rendering. It can also be a problem when a client is presented a rendering and then demands to see many more views, angles, etc.  Multiple rounds of modifications inevitably follow and a great deal of energy, personnel, and capital can be tied up in this single job function. Management of the client’s expectations and knowing where to spend money on such visual aids is becoming an important part of practice today.

                 I think that with future technology, like the large digital drafting surface, the development of technology will prompt a rapid change in the way that the designer designs.  I think that “the ongoing debate between architects who embrace digital design tools and those who wish drawings were still executed by hand has been growing in scope” and that the increase in technology will actually start to confront this debate and eventually fuse the two together.

References:

Gourge, M. (n.d.). Why Is 3D Rendering an Impeccable Part in the Field of Architecture? EzineArticles. Retrieved February 13, 2011, from http://ezinearticles.com/?Why-Is-3D-Rendering-an-Impeccable-Part-in-the-Field-of-Architecture?&id=5054950

Madrazo, L. (2006). System of representation: A pedagogical model for design education in the information age. Digital Creativity, 17(2), 73-90.

Snoonian, D., & Cuff, D. (2001). Digital pedagogy: An essay. Architectural Record, 189(9), 200-205.

Research Project Proposal

Biophilic 3-dimensional designs with fractals

Research project iar560

Abstract:

                This is a study of a reiterative design process utilizing both digital modeling and rapid prototyping for developing new interior product designs. It is seen as significant by using both modeling avenues  combined to  produce hand-on prototypes for tactile and visual exploration to further inform biophilic design decisions aimed for use in children’s healthcare play spaces. This will be explored in the context of the current trend in interior product manufacturing to use computer based 3d model generation to increase the speed of physical model production. This informs the design process and the speed of the overall product development process. The scope of the project is three fold. The first objective is documenting the design process for the creation of a new interior architecture screen product. The second is the use of modeling software to assist in the 3-d digital study of the object and exploring modeling software that is fully able to model biophilic complex fractal geometry and then import this for physical modeling and production. Third is the actual production of a new screen product based upon the design process and prototyping explored.  The limitations will included the predetermined time limit, type of equipment available, and access to the equipment that will be needed for the production of a completed product.

Introduction:

                The hypothesis of this research is that by using physical model prototypes from a 3d digital modeling software the design development that occurs will advance the design toward a completed biophilic design.  “Product information sharing and exchange between various stages of PD [product design] processes can lead to optimal solutions for developing a product, thus, it has become paramount for a company to succeed”(Yang, Xie, & Zhou, 2008, p. 6055). This expresses the economic need for companies to produce pieces with optimized process. It has also been said that current industry use of rapid prototyping "is emerging as a key prototyping technology with its ability to produce even complicated parts virtually overnight” (Chua, Teh, & Gay, 1999, p. 593). Thus, the focus of this study is on using3d modeling to create the needed computer files for making prototypes that include organic design parameters and it will also test the relevance of the software and machinery for my future use of it in new biophilic product designs.

Methodology:

               The initial design component concept will be through selecting a fractal shape for development and used to create, or be an addition to, an overall frame.  The frame and components will be developed according to design parameters selected from the biophilic design elements.  The design will be based upon Hildebrand’s six elements of biophilia that are paired: prospect and refuge, enticement and peril, and order and complexity. (Kellert, 2005) Prospect and refuge will be dictated by the manipulation of the z-axis in the Cartesian coordinate system. They will be the highest priority elements to inform the design.  Secondarily, the order and complexity will be sought after through utilizing a fractal type unit for creating the basic block.  The enticement and peril will be the explored through the overall curvilinear complexity of the x- and y-axis. 

  

Figure1: Fractal Images



                       This research will then be conducted by using Autodesk’s 3dsMax digital modeling software to explore the fractal geometry (Figure 1) and its relevance. “3ds Max gives you a more streamlined, artist-friendly modeling workflow through a collection of hands-on modeling UI options that let you focus more on the creative process” (“The world's most widely used professional 3D modeling software. -,” n.d.). Next, the files generated are converted into an acceptable format for the production equipment.  The equipment may include the Computer Numerically Controlled (CNC) and the laser cutter.  The design process will include initial sketch studies that will be further developed in 3dsMax.  Along with the initial design being modeled, a scale version or various specific components may be further investigated also. This exploration will then be refined to completion. Another study looking at the actual design process using prototypes to inform the design process noted that this type of design process “involved a reciprocal action between the visual and physical realms which continuously fed each other, were highly productive, and led to creative novel results and further developed until final production is achieved”(Arpak, Sass, & Knight, 2009, p. 480)

                A constraint to the research is the available computing power of the computer used for modeling, and the production equipment’s limited availability for use. Additionally, the schedule is predetermined, so work will need to be complete by the due date.  The schedule for the study will be as shown in Figure 2. 

Figure 2: Process diagram

                 Additional techniques used may include hand production for alteration or production of models. Digital representation of the progress and process of the design will include the final product design and will be presented in hard copy and web format for a presentation in class..

Results:

Figure 3- Possible nature based image for idea generation

                A pattern like the one shown in Figure 3 may start the ideation process and result in a screen that is based on the individual unit found in the image. It is an image of a plant and could be manipulated to show a greater scale of fractal qualities in the final design.  An example of an installation that correlates is shown in Figure 4. The class presentation will provide feedback for product design success and possibilities for design advancement and discussion of new designs that may be developed.

Figure 4 Technicolor Bloom by Brennan Buck

Conclusions:

                This research using physical model prototype creation from a 3d digital model will aid in completing a biophilic design and will be assessed through digital image recording of the various stages of production. The feedback from looking at this will be self-reflective and will allow for greater awareness and reflectiveness in future design work. It will additionally be used as an appendix for my thesis showing additional biophilic product designs relative to children and healthcare play spaces. 

                Future development in this world of modeling will have the most impact on design development. This is an area that I see as continuing to be able to increase the effectiveness for companies in more  and more ways.  One example is as prices continue to become more affordable for purchase of various machines, the need to spend the money to send initial prototypes to China for manufacturing will decrease.  This current process many use causes delays and extra cost and may be eliminated.  This should help the designer make quicker and cheaper modifications with fewer variables in between each cycle of design, model, and modify. The final product will inevitably be of better final quality.

Image credit:

Image 1- http://mathworld.wolfram.com/Fractal.html

Image 3- http://www.spicelines.com/2009/03/baby_its_cold_outside_incompar.htm

Image 4- Iwamoto, L. (2009). Digital fabrications : architectural and material techniques. New York: Princeton Architectural Press.

References:

Arpak, A., Sass, L., & Knight, T. (2009). A meta-cognitive inquiry into digital fabrication: exploring the activity of designing and making of a wall screen. In Computation: The new realm of architectural design (pp. 475-482). Presented at the eCAADe, Istanbul.

Chua, C., Teh, S., & Gay, R. (1999). Rapid Prototyping Versus Virtual Prototyping in Product Design and Manufacturing. The International Journal of Advanced Manufacturing Technology, 15(8), 597-603. doi:10.1007/s001700050107

Kellert, S. (2005). Building for life : designing and understanding the human-nature connection. Washington  DC: Island Press.

The world's most widely used professional 3D modeling software. -. (n.d.). Autodesk 3ds Max 2011 13.0. Retrieved February 12, 2011, from http://www.softpedia.com/get/Multimedia/Graphic/Graphic-Editors/3D-Studio-Max.shtml

Yang, W., Xie, S., & Zhou, Z. (2008). Recent development on product modelling: a review. International Journal of Production Research, 46(21), 6055-6085.