Form as an abstraction of mechanism

There is an emergent body of research linking the nature of form to design, functionality and user experience. This paper builds on these recent studies to propose a new approach connecting conceptual-design with advanced manufacturing techniques. Using the properties of work materials and advanced forming manufacturing processes, radical approaches to design and production could be open to designers and engineers, offering novel modes of user experience. By firstly reviewing the literature on product form and its bond with the concepts within the fields of user interaction and user experience, a number of “functional mechanisms” are introduced that could potentially be integrated into this new and more homogeneous manufacturing framework

Fotogrametria ao alcance de todos: a modelagem 3d com celulares

Dominar as técnicas da fotogrametria para reconstituir objetos em três dimensões é uma excelente forma de modelar e criar protótipos antes de executá-los, identificando possíveis erros de concepção, escolher o melhor layout e/ou evitar incompatibilidades. Entender as etapas de desenvolvimento e o fluxo de trabalho, para que essa técnica seja desenvolvida a partir de fotos, obtidas por celulares comuns, e processadas por softwares gratuitos, é indispensável para que o produto final gerado apresente uma qualidade satisfatória e a fotogrametria se torne cada vez mais acessível. Este trabalho, portanto, apresenta os princípios fundamentais para realizar um levantamento fotogramétrico através de passos simples, de forma eficaz e econômica, sem deixar de lado os cuidados a serem adotados na obtenção das fotos e na escolha do software e pretende, em linhas gerais, divulgar a técnica para que se utilize na criação de modelos digitais 3D de objetos reais

Proces realizacije fotogrametrijskog projekta

Ideja rada je prezentirati međuodnos tehnologije i digitalnog (3D) dizajna. Ovim se radom nastoji prikazati procedure dokumentiranja materijala u raznim uvjetima okoline, istraživanje kapaciteta, preciznosti i sposobnosti programa za fotogrametriju, te post – produkcijska primjena modela nastalog ovim pristupom. Finalna poglavlja rada elaboriraju korisnost, isplativost i primjenu produkta nastalog fotogrametrijskim procesom, te njegovoj poziciji na današnjem suvremenom tržištu.Idea of this paper is to present interrelation between tehnology and digital (3D) design. This work tends to show procedures of documenting materials in different conditions of environment, to explore capacity, accuracy and compatibility of photogrammetry programs, and also to show applications in post – production procedure of a model created trough this approach. Final chapters are elaborating the usefulness, profitability and use of photogrammetry product and its position on today's contemporary market

3D scanning of Porto Alegre Museum Artifacts : the crockery of the Rocco Bakery

3D Scanning of Porto Alegre Museum Artifacts: The Crockery of the Rocco Bakery Antiques usually require careful handling, so these objects cannot be made available to the general public and are handled only by restoration specialists. This article focuses on the preservation of antiquities in terms of cultural heritage and the availability of these objects for access by visitors, it describes and evaluates the development of a method to support the digitisation of objects considered solids of revolution. The artifacts were provided by the Museu Joaquim José Felizardo in the city of Porto Alegre, Brazil, and were used to set the table in the former Confeitaria Rocco (bakery). The 3D process consisted of the following steps: laser scanning, data processing of the coordinates obtained from the surface of the object into point clouds, creation of the virtual model, creation of a physical model using additive manufacturing, and evaluation of the physical model in comparison with the original artifact. The obtained results show that highly accurate models can be created using the proposed method. Therefore, virtual data can be obtained for the conservation, restoration and creation of replicas for studies and accessibility

Sistema de estabilización electrónico de cámara digital para fotogrametría con vehículo aéreo no tripulado

Proyecto de Graduación (Licenciatura en Ingeniería Electrónica) Instituto Tecnológico de Costa Rica, Escuela de Ingeniería Electrónica, 2016.Mismanagement of land dedicated to agricultural activities, coupled with adverse weather conditions, generate erosion that wears the soil and pollute the surrounding water bodies. One of the methods used to quantify erosion is through runoff plots. Due to the complexity for data acquisition, they provide low precision and are characterized for been a very invasive method because of the considerable portion of land that is needed. The Agricultural Engineering and Electronic Engineering Departments, from the Costa Rica Institute of Technology, are joining efforts to create a methodology that does not have the problems involved in the use of runoff plots. The objective of this research is to use an unmanned aerial vehicle (UAV for short) that flies over and takes pictures of the terrain that has to be analyzed, and then, using photogrammetric techniques, generate digital elevation models with sufficient accuracy. A digital camera stabilization system is usually required to capture high quality pictures. The aim of this project is to develop an electronic stabilization for a digital camera, which allows to counter the movement of the UAV system. The above seeks to reduce the error associated with the change in the Euler angles as the system moves through the air, obtaining digital photographs with more reliable information and without visual distortion

On the popularization of digital close-range photogrammetry: a handbook for new users.

Εθνικό Μετσόβιο Πολυτεχνείο--Μεταπτυχιακή Εργασία. Διεπιστημονικό-Διατμηματικό Πρόγραμμα Μεταπτυχιακών Σπουδών (Δ.Π.Μ.Σ.) “Γεωπληροφορική

Estudo de caso da conceção de assets fotorrealistas em ambientes amadores

Os videojogos têm cada vez mais requerido por maior realismo nos seus títulos. Para tal, a área da modelação 3D tem procurado acompanhar com a contínua evolução dos softwares utilizados em produção. Porém, e apesar dos avanços significativos na tecnologia, constata-se que o pipeline de produção de modelos, mantêm-se tedioso e custoso para os artistas 3D. Surge nesta temática, a técnica de fotogrametria, que procura introduzir uma inovação à estrutura de desenvolvimento de assets fotorrealistas. Através do uso de fotografias, a fotogrametria, converte a informação 2D na criação de um modelo 3D, distanciando-se de uma composição artística para uma mais técnica. Como tal, neste projeto procurou-se compreender a viabilidade da mesma em replicar objetos reais, porém em ambiente amador, sem a quantidade e capacidade de recursos disponíveis às empresas triple A. Foi feito um levantamento e análise de pipelines existentes, sobretudo ao nível dos softwares utilizados nas diferentes fases, para a organização de um fluxo de trabalho para este projeto. Com essa finalidade aplicou-se a técnica de fotogrametria em sete objetos escolhidos, de modo a averiguar as vantagens e desvantagens que esta técnica traz para a área da modelação 3D e como ela é implementada nos pipelines de produção de jogos de hoje. Executou-se em um dos objetos a técnica padrão de modelação, para análise e comparação de resultados entre ambas. Através da análise dos resultados obtidos, constatou-se que apesar de algumas limitações e inconvenientes que a técnica de fotogrametria possui, como maiores custos de equipamento, necessidade de deslocações aos locais de captura, e uma alteração do foco da experiência de trabalho, as suas vantagens demonstram ser mais relevantes. A técnica permitiu, mesmo em condições amadores, a construção de assets com maior naturalidade de formas e com melhor qualidade de texturas, simultaneamente, reduzindo os tempos de produções do pipeline em quase metade do tempo em comparação à técnica tradicional. Comprovou-se que é uma opção viável, na construção de assets fotorrealistas encontrando-se como preferível na construção de ambientes ou objetos que procurem replicar com exatidão a realidade.Video games has increasingly been demanding greater realism in their titles. To this end, the area of 3D modeling has sought to keep up with the continuous evolution of the software’s used in production. However, despite significant advances in technology, it appears that the model production pipeline remains tedious and time consuming for 3D artists. It appears in this thematic, the technique of Photogrammetry, which seeks to introduce an innovation to the structure of development of photorealistic assets. Through the use of photographs, photogrammetry converts 2D information into the creation of a 3D model, distancing itself from an artistic composition to one more technical. Therefore, this project aimed to understand the viability of replicating real objects in an amateur environment, without the amount and capacity of resources available to triple A companies. A survey and analysis of the existing pipelines was made, especially in around the software’s used in the different phases, in order to organize a workflow for this project. For this purpose, the technique was applied to seven chosen objects, in order to ascertain the advantages and disadvantages that this technique brings to the area of 3D modeling and figure how it is implemented in today's game production pipelines. One of the objects, was also produced with the standard modeling technique to analyze and compare results between both techniques. Through the analysis of the results, it was found that despite some limitations and drawbacks that the photogrammetry technique has, such as higher equipment costs, the necessity to travel to the capture sites, and a change in the focus of the work experience, its advantages prove more relevant. Even in amateur conditions, the technique has allowed the construction of more naturally shaped and better texture quality assets, simultaneously reducing pipeline production times by almost half compared to the traditional technique. It has been proven to be a viable option in the construction of photorealistic assets and is preferable in the construction of environments or objects that seek to accurately replicate reality

Traces of emergence: an ontological unification of perception, artefact, and process

Objects are part of a complex matrix that contain emergent experiences and meanings. Ernesto Rogers once claimed that if a spoon was examined carefully enough, one could establish how the maker would design a city. While this observation from the great Italian architect may be an over-generalisation, it draws upon an important point – the objects that humans create are reflections of ourselves, our beliefs, our feelings, motivations, and drives. In short, our whole material and emotional culture. The study of design revolves around the dynamics between form, the processes of making and the diverse experiences of object interaction and use – ontologies of artefact emergence that articulate with the complex patterning structures and practices that produce all of material culture. There are two dominant narratives we must consider when examining design as a practice of making. One, as a narrative of form evolution derived principally from a hylomorphic designer-agent ontology1 and the other, as a narrative of making and manufacturing understood through ontologies of matter manipulation. The relationship between the two narratives, this work will argue, presents deep and poorly understood problems with respect to the current taxonomies and ontologies describing advanced manufacturing, limiting the conceptual evolution of design thinking and processes of making and manufacturing. Moreover, this work will argue that pattern and patterning motions is a key meta-concept for understanding design practice that has until this point, received a limited amount of attention. While there are emerging paradigms of research including Industry 4.0 and ‘new materialism’, these have not comprehensively addressed the core disconnect between understanding process and understanding perception. The new materialism mostly explores the making processes of ‘craft’ - which have an important relation to and are indeed antecedents of advanced industrial processes – that do not include the conceptual innovations of advanced process control, CAM for instance. Industry 4.0, while offering interesting insights and innovations in terms of process control does not tend to examine the assumptions that go into forming its conceptual landscape – process ‘optimization’ or defect minimization are for instance seen as by definition, good.Objects are part of a complex matrix that contain emergent experiences and meanings. Ernesto Rogers once claimed that if a spoon was examined carefully enough, one could establish how the maker would design a city. While this observation from the great Italian architect may be an over-generalisation, it draws upon an important point – the objects that humans create are reflections of ourselves, our beliefs, our feelings, motivations, and drives. In short, our whole material and emotional culture. The study of design revolves around the dynamics between form, the processes of making and the diverse experiences of object interaction and use – ontologies of artefact emergence that articulate with the complex patterning structures and practices that produce all of material culture. There are two dominant narratives we must consider when examining design as a practice of making. One, as a narrative of form evolution derived principally from a hylomorphic designer-agent ontology1 and the other, as a narrative of making and manufacturing understood through ontologies of matter manipulation. The relationship between the two narratives, this work will argue, presents deep and poorly understood problems with respect to the current taxonomies and ontologies describing advanced manufacturing, limiting the conceptual evolution of design thinking and processes of making and manufacturing. Moreover, this work will argue that pattern and patterning motions is a key meta-concept for understanding design practice that has until this point, received a limited amount of attention. While there are emerging paradigms of research including Industry 4.0 and ‘new materialism’, these have not comprehensively addressed the core disconnect between understanding process and understanding perception. The new materialism mostly explores the making processes of ‘craft’ - which have an important relation to and are indeed antecedents of advanced industrial processes – that do not include the conceptual innovations of advanced process control, CAM for instance. Industry 4.0, while offering interesting insights and innovations in terms of process control does not tend to examine the assumptions that go into forming its conceptual landscape – process ‘optimization’ or defect minimization are for instance seen as by definition, good