Modelling and Simulation of Lily flowers using PDE Surfaces

This paper presents a partial differential equation (PDE)-based surface modelling and simulation framework for lily flowers. We use a PDE-based surface modelling technique to represent shape of a lily flower and PDE-based dynamic simulation to animate blossom and decay processes of lily flowers. To this aim, we first automatically construct the geometry of lily flowers from photos to obtain feature curves. Second, we apply a PDE-based surface modelling technique to generate sweeping surfaces to obtain geometric models of the flowers. Then, we use a physics-driven and data-based method and introduce the flower shapes at the initial and final positions into our proposed dynamic deformation model to generate a realistic deformation of flower blossom and decay. The results demonstrate that our proposed technique can create realistic flower models and their movements and shape changes against time efficiently with a small data size

Simulation des plantes à fleurs

Plants have always intrigued scientists as besides of its sheer importance for the earth, their beauty and enormous variety of shapes tempt to thoroughly inquire about its nature. One of the aspects of this inquiry is the creation of the virtual model in order to mimic real plants to a high degree of accuracy. The focus of our study is the flowering plants, which play a huge role in our life from nutritive and medical purposes to beautifying the environment. Obtaining an accurate geometrical model of a flower is quite useful as it plays an important role in the validation of the virtual model. Besides, the visualization of parameters not traceable directly in living flowering plants is a stand-by in studying their physiology. A huge biological diversity both within and between individuals provides a vast area of objectives which the image synthesis must challenge.Flower modelling constitutes a part of a larger research area, plant modelling. Flowering plants have their particular structural features which are different from the structure of trees, bushes or grass. Still not a lot of emphasis has been placed to date on this problem, as it was categorized within the modelling of plants in general. We chose a procedural modeling using L-systems as a base of our research. L-system is a very powerful method of plant simulation. It provides a means of characterizing the topology of a plant at every stage of its growth. Grasping the plant structure with just several lines of grammar attracted immediate interest and later on evolved into several powerful geometrical interpretation system used in plant modelling. Our purpose is to study efficient ways of describing the structure of flowering plants by means of L-systems. First, we will propose to represent the shapes of leafs, petals, stamens, carpels, etc. with an extension of L-systems – a model based on three dimensional generalized maps – 3Gmaps L-systems, which can be successfully applied for the modelling of flowering plants. The grammar description of the structure of the flowering plants provides an unlimited number of its geometrical interpretations. Second, we will improve the process of grammar writing by adding a new functionality of interactive parameter adjustment. Third, we will propose a new method of inverse modelling of flowering plants, where the user can interactively define the flower characteristics. The algorithm uses this information as an input, which is then analyzed and coded as L-systems grammar. Finally, we will present a method for creating virtual glades of flowers using Kinect gestures. We want to remark that our work has been done with 3Gmaps L-system software platform developed in the scope of the thesis to integrate all the proposed techniques.Les plantes ont longtemps intrigué les scientifiques, qui, avec son importance vitale pour la planète, sa beauté et l'énorme quantité de formes ayant, les rend un sujet attrayant pour la recherche. Un aspect intéressant est la création d'un modèle virtuel capable de simuler de vraies plantes avec un degré élevé de précision. L'objectif de notre étude est les plantes à fleurs, qui jouent un rôle énorme dans notre vie de fins nutritives et médicales à l'embellissement de l'environnement . L'obtention d'un modèle géométrique exacte d'une fleur est très utile, car elle joue un rôle important dans la validation du modèle virtuel. Par ailleurs, la visualisation de paramètres non directement traçables dans les plantes à fleurs vivantes est d'une grande aide à l'étude de la physiologie. L'énorme biodiversité entre les différentes parties d'un spécimen et entre les différents spécimens fournit une vaste zone d'objectifs qui la synthèse d'image doit contester. Modéliser des fleurs est un sous-ensemble d'un espace de recherche beaucoup plus vaste que la modélisation de plantes. Les plantes à fleurs ont des caractéristiques structurelles qui les rendent différentes des structures d'arbres, d’arbustes ou de l’herbe. A ce jour, on ne tient pas une grande importance à essayer cette ligne de recherche d'une façon particulière et en général a été classé dans le contexte plus large de la modélisation des plantes. Nous avons choisi d’utiliser le «L-systems» pour la procédure de la modélisation, et comme base pour notre recherche. Il y a différents mécanismes de catégorisation topologie de la plante dans chacune des étapes de sa croissance. Pour construire le plan de la structure d'une plante, avec une courte grammaire, quelques lignes étaient quelque chose qui dès le premier moment a suscité l'intérêt et par la suite évolué en quelques systèmes d'interprétation géométriques pour la modélisation des plantes. Notre objectif est d'étudier les moyens efficaces de décrire la structure des plantes à fleurs en utilisant L-systems. Tout d'abord, nous proposons de représenter les formes des feuilles, pétales, étamines, carpelles, etc. Avec une extension de L-systems - un modèle basé sur trois cartes généralisées dimensions - 3Gmaps L-systèmes, qui peut être appliquée avec succès pour la modélisation des plantes à fleurs. La description de la grammaire de la structure des plantes à fleurs fournit un nombre illimité de ses interprétations géométriques. Deuxièmement, nous allons améliorer le processus d'écriture de la grammaire par l'ajout d'une nouvelle fonctionnalité de paramétrage interactif. Troisièmement, nous allons proposer une nouvelle méthode de modélisation inverse des plantes à fleurs, où l'utilisateur peut définir de manière interactive les caractéristiques des fleurs. L'algorithme utilise cette information comme une entrée, qui est ensuite analysée et codée en tant que L -systèmes grammaire. Enfin, nous allons présenter une méthode pour créer des clairières de fleurs virtuelles à l'aide de gestes Kinect. Nous voulons faire remarquer que notre travail a été fait avec la plateforme de logiciel 3Gmaps L- système développé dans le cadre de la thèse d'intégrer toutes les techniques proposées

Representing Korean Buddhist art and architecture - a 3D animated documentary installation

This practice-led research 'One Mind' - seeks to represent Korean Buddhist architectural aesthetics and Buddhist spiritual ideas using the animated documentary genre as a form of creative representation. It is intended that the piece be shown either as an installation in a gallery, or within a museum or cultural exhibition context. The key goal is to offer this digital artwork to European audiences, in a spirit of engendering the same feeling state as when present in the real monastery, encouraging an understanding of the sacred, and experiencing a form of transcendence. My art work in some ways functions as a digital restoration of sacred architecture outside its real environment and context, and seeks to document cultural heritage and knowledge. One Mind is different from a classic form of documentary, though, because it does not echo the idea of documentary based on live-action footage as a mode of non-fiction record and expression. I have particularly stressed the suggestiveness of the architectural aesthetics and the philosophic principles embedded in the environment. I have sought to bring my own subjective artistic interpretation to Korean Buddhism accordingly, resisting typical character animation and classical narrative, seeking instead, to encourage the viewer to be part of the environment. I focus on the meaning in Buddhist buildings and the landscape they are part of, and dramatise the environment, using the poetic tone of the voice over performance, the sound track of Buddhist chanting, and the visual effects and perspectives of computer generated imagery. This digital visualisation of the Buddhist s spiritual world is informed by a Buddhist s traditional way of life, but, most importantly, by my own past experience, feelings and memory of the Buddhist monastery compound, as a practising artist. My thesis is categorised into eight chapters. Chapter One offers an overview of the aims and objectives of my project. Chapter Two identifies my research questions and my intended methodology. Chapter Three focuses on important background knowledge about Korea s natural and cultural aspects and conditions. Chapter Four offers an analysis of the issue of the Korean cultural identity, suggesting that a more authentic image of Korea and Korean-ness is available in the philosophy and spiritual agenda of Buddhism. Chapter Five addresses the practical ways in which digital restoration of architecture has taken place, identifying three previous cases which both resemble and differ from my own project. Chapter Six looks at the specific characteristics of Korean Seon Buddhism and architecture, and engages with three theoretical approaches about the spatial composition of the monastery, and the ways it may help in constructing the monastery in a digital environment. Chapter Seven offers an evaluation and validation of my artwork, having adopted the approach of creating an animated spiritual documentary to reveal Buddhist philosophy and experience as a model of Korean cultural identity. Chapter Eight offers some conclusions about my intention, process and outcomes

OtherWorldly Gestures

OtherWorldly Gestures seeks to give form to the intangible. I work primarily with light as material substance to shape a speculative emotive space in which I make metaphysical phenomena experiential. I collaborate with ecological and technological elements to express a spiritual understanding of Self and World. Most recently, the work translates material objects and architectural elements from my cultural heritage, and gives visual and haptic form to the sacred relationship between body, soul, and natural world. Through these explorations, I begin to propose a speculative OtherWorld. I delve into the precolonial, ancestral teachings of a mystical spiritual path, referencing Sufi teachings, Islamic perspectives, diasporic Bengali heritage, and Texas landscapes as source material from which to weave a new set of future mythologies through physical and digital mediation

Selections from The Leora Stroup Collection Kakemono from the Edo Period of Japan 1615-1868

This thesis chose four kakemono of the eclectic collection, indicative of the diversity of the Edo period (1615-1868), to research with the purpose of substantiating Leora Stroup's attributions of artist, school, and date. Jurojin, a figural painting of the Japanese god of longevity derived from the Chinese Taoist Zhang Guolao, is attributed to the Unkoku School with unknown artist and date. This thesis discusses the rich iconography, style, and painting techniques of this Japanese work, challenging the dating. Cherry Blossoms and Leaves and Flowers and Leaves, kakemono of the "bird and flower" category, attributed to Sakai Hoichi, appear to be the work of the samurai artist Sakai Hoitsu. Hoitsu's biography is traced, as well as the history of "bird and flower" painting, and comparisons made to known Sakai Hoitsu paintings. Plum Orchard, a landscape attributed to the literati Okada Hanko, is compared to known Hanko paintings with the inclusion of Hanko's biography and the historical development of the literati style, first in China, and then Japan. The findings of three Japanese translators, sought to decipher the five seals, signature, and calligraphy of Plum Orchard, affirm a date of 1854 written with a poem and all do not confirm Okada Hanko as artist. The diversity of the art of this period is reflective of the dynamic change occurring in this pre-modern time of Japanese history.International Studie

Soundscape in Urban Forests

This Special Issue of Forests explores the role of soundscapes in urban forested areas. It is comprised of 11 papers involving soundscape studies conducted in urban forests from Asia and Africa. This collection contains six research fields: (1) the ecological patterns and processes of forest soundscapes; (2) the boundary effects and perceptual topology; (3) natural soundscapes and human health; (4) the experience of multi-sensory interactions; (5) environmental behavior and cognitive disposition; and (6) soundscape resource management in forests

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

Vision and Visual Art in Sylvia Plath's Ariel and Last Poems

This dissertation is concerned with Sylvia Plath's late works. Engaging with critical discussion of what constitutes the corpus of Ariel, I show that an appreciation of the editorial history reveals the beginning of a third book (the last poems), and opens up those difficult texts to fresh enquiry. Recent work in Plath studies has focused on visual art. Kathleen Connors and Sally Bayley's Eye Rhymes examines Plath’s own artwork in ‘an attempt to answer the question, How did Plath arrive at Ariel? (1) I contribute to that discussion, but also ask the questions, How did Plath leave Ariel behind and arrive at the even more remarkable last poems, and how did visual art enable those journeys? I argue that Ariel’s characteristically lucid style is informed by the dismantling of depth perspective in Post-Impressionist painting, and by the colour theory and pedagogy of the Bauhaus teachers. My work is underpinned by an appreciation of Plath’s unique cultural moment in mid-century East Coast America. I show how Plath’s knowledge of the theories, practice and iconic images of visual art, from the old masters to the Post-Impressionists, offered new possibilities for stylistic development. Working with archival materials including annotated works from Plath’s personal library and drafts of her poems, as well as published material, I examine the synthesis of visual and literary influences. Demonstrating specific textual relations between Plath and the work of Emily Dickinson, T. S. Eliot and W. B. Yeats, as well as other poets, I show that Plath’s visual poetics combine influences from the modern poets with her New Critical training and with painting and sculpture. I offer new readings of rarely discussed poems, such as ‘Totem’, ‘The Munich Mannequins’ and ‘Child’, as well as fresh insights into the well known works, ‘Tulips’, ‘The Moon and the Yew Tree’, ‘Fever 103º’, and ‘Edge’

Proceedings of the 2021 DigitalFUTURES

This open access book is a compilation of selected papers from 2021 DigitalFUTURES—The 3rd International Conference on Computational Design and Robotic Fabrication (CDRF 2021). The work focuses on novel techniques for computational design and robotic fabrication. The contents make valuable contributions to academic researchers, designers, and engineers in the industry. As well, readers encounter new ideas about understanding material intelligence in architecture