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DS(n)F: The design studio of the (near) future

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DS(n)F: The design studio of the (near) future

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Content INFORMATION TO USERS This manuscript has b e e n reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print taleedthrough, substandard margins, and improper alignment can adversely aTfect reproduction. In the unlikely event that th e author did not send UMI a complete manuscript and there are missing p.ages, these will be noted. Also, if unauthorized copyright material had to b e removed, a note will indicate the deletion. Oversize materials (e.g_, maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included iru the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQue=st Information and Learning 300 North Zeeb Rioad, Ann Arbor, M l 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. DS(n)F: THE DESIGN STUDIO OF THE (NEAR)FUTURE by Madhavi Chavan A Thesis P resented to the FACULTY OF THE SCHOOL OF ARCHITECTURE UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirem ents for th e Degree MASTER OF BUILDING SCIENCE A ugust 2000 Copyright 2000 Madhavi Chavan Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1405233 ___ ® UMI UMI Microform 1405233 Copyright 2001 by Bell & Howell Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. Bell & Howell Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. U N IV ER SITY O F S O U T H E R N C A L IFO R N IA TH E GRADUATE SCHOOL. UNIVERSITY RAAK LOS A N O U K . CALIFO RNIA SOOOT This thesis, written by under the direction of h£3Z— Thesis Com m ittee, and approved by all its m embers, has been pre sented to and accepted by the D ean o f The G raduate School, in p a rtia l fulfillm ent o f the M A p h a vt D a j t a t r A'/ C h a v a n requirem ents fo r the degree of M a ster. Of B v il p in ^ S c ie n c e. M a st£& ^ Q . f tU m m 12. 2^00 O Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACK NO W LED G M EN TS I would like to take this opportunity to thank following people, from the bottom o f my heart, Prof. M arc Schiler, IES, T AT.D B.SAxch., University o f Southern California; M.Architectural Science, Cornell University, Director of the M aster o f B uilding Science Program, Associate professor at University o f Southern C alifo r n ia and chair o f my Committee, w ithout whose help I would not be able to achieve my goal. Prof. D o u g N oble, AIA, B.S.Arch. & B-Arch., California State Polytechnic University; M-Arch.& Ph.D.,Arch., University o f California, Berkeley, associate professor at University o f Southern California and member o f my Committee, provided me enthusiasm and encouragement and without whose help and guidance this thesis would n o t have been possible. Prof. Karen Kensek, M Arch, University o f California, Berkeley, B.S. in A rt and Design, Massachusetts Institute o f Technology, adjunct assistant professor in University o f Southern California and m em ber o f my Committee, provided me enthusiasm and encouragement and w ithout whose help and guidance this thesis would not have been possible. Prof. Pierre Koenig, F.A.I.A., BAjrch, USC School o f Architecture, Pasadena City College, University o f Utah, while in arm y, Engineering Major, professor in University o f Southern C aliforn ia and member o f my Committee, Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Prof G. G. S chiesle, P h .D . in Arch, University o f California, Berkeley, MArch, University o f California, Berkeley, Dipl-Ing (Architecture/Engineering) Stuttgart, Germany, professor in University o f Southern California, The D ean R obert H . T im m e, FAIA M.Arch, Rice University, B.Arch, Rice University, Institute for A rchitecture and Urban Studies, B-Arts, Rice University, and staff at the School o f A rchitecture, Prof. M adhu Thstngavelu, Enrique Barajas, Inform ation Technology Director, Jim Lefever from Gensler, Colleagues, w ith w h o m I shared ideas and opinions, Rajesh, and m y parents for all their constant encouragement. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. T A B L E O F C O N T E N T S ACKNOWLEDGMENTS................................................................. ii LIST OF TABLES................................................................................ vii LIST OF FIGURES............................................................................. viii ABSTRACT.......................................................................................... x T h esis S tatem ent and scope o f the t h e s is ............. 1 Chapter 1: In tro d u ctio n ............................................... 3 1.1 Introduction................................................................................ 3 1.2 Evolution o f Graphics Technology in the field o f Architecture 4 1.3 Summary........................................................................................ 15 Chapter 2: W hy Architectural Studio? .................... 17 2.1 Introduction.................................................................................. 17 2.2 Computer Changes in the field o f A rchitecture................... 17 2.3 Thesis O bjective.......................................................................... 20 2.4 Why an A rchitectural Studio? ................................................. 20 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2.5 Why only 10 years in fu tu re?................................................... 20 2.6 Summary........................................................................................ 21 Chapter 3: R esearch M eth o d o lo g y.......................... 22 3.1 Introduction................................................................................. 22 3.2 Sources o f inform ation............................................................... 22 3.3 Summary........................................................................................ 25 Chapter 4: A rchitectural d esig n studio: D esig n issu e s 26 4.1 Introduction................................ 26 4.2 Goals for design studio.............................................................. 26 4.3 Activity chart with sources and justification......................... 27 4.4 Summary........................................................................................ 46 Chapter 5: A rchitectural d esig n studio: D esig n Im plication s 48 5.1 Introduction................................................................................. 48 5.2 Activity chart with design implications.................................. 48 5.4 Summary........................................................................................ 53 Chapter 6: Studio la y o u t.............................................. 55 6.1 Introduction................................................................................ 55 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 6.2 Studio Elem ents.......................................................................... 55 6.3 Assumptions made during the design................................................... 56 6.4 Space/Layout.............................................................................................. 56 6.5 Utility services............................................................................................ 69 6.6 Hardware..................................................................................................... 78 6.7 Summary...................................................................................................... 78 Chapter 7: W orkspace D e s ig n ............................................... 80 7.1 Introduction................................................................................................ 80 7.2 Studio workstation.................................................................................... 80 7.3 Lecture room w orkstation...................................................................... 84 7.4 Summary...................................................................................................... 85 Chapter 8: C o n clu sio n ............................................................. 86 BIBLIOGRAPHY........................................................................................... 99 Appendix-a....................................................................................................... 102 A ppendix-b...................................................................................................... 115 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF TABLES Table 4.1 Activity chart with sources and justification Table 5.1 Activity chart with design implications Table 6.1 A bsorption coefficient for various Speech sound frequencies Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES Figure 4.1 Flostation with pneum atic base and flow dome 35 Figure 4.2 View o f Flostation 35 Figure 4.3 N ave construction: seated environment for two 36 Figure 4.4 Nave construction: simulation screens 36 Figure 4.5 D r. Khoshnevis w ith C ontour crafting machine 38 Figure 4.6 5D T D ata Glove used for the wind speed input data by gestures 40 Figure 4.7 Nave construction: simulation screens 40 Figure 4.8 Simulated pedestrian level wind patterns 41 Figure 4.9 1 /O bulb: illuminating light, simulating the accurate shadows 41 Figure 6.1 G roup working area 59 Figure 6.2 Students at two workstations working in collaboration 60 Figure 6.3 Students at three workstations working in collaboration 60 Figure 6.4 View o f the studio 60 Figure 6.5 View o f the studio 60 Figure 6.6 W orkstation in the lecture room 62 Figure 6.7 View o f the lecture room 63 Figure 6.8 View from the workstation in the lecture room 63 Figure 6.9 View o f the lecture room 64 Figure 6.10 View o f the C A D /C A M area 65 Figure 6.11 View o f the C A D /C A M area 65 viii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 6.12 View o f the pantry 68 Figure 6.13 View o f the lounge area 68 Figure 6.14 A ir system for the controlled environm ent chamber 73 Figure 6.15 Interior view o f the controlled environm ent chamber 73 Figure 7.1 T op view o f workstation 82 Figure 7.2 View o f studio workstation 83 Figure 7.3 W orkstation in the lecture room 84 Figure 8.1 W orkstation and seating unit sketches 88 Figure 8.2 Panoramic file showing view o f kitchen pantry 90 Figure 8.3 Panoram ic file showing different views o f kitchen pantry and lounge area 91 Figure 8.4 Screen captured showing rendering m ethod for making panoram ic file in 3D Studio -V IZ 92 Figure 8.5 Panoramic file showing view o f lecture room from sitting position 93 Figure 8.6 Panoramic file showing view o f lecture room from sitting position 94 Figure 8.7 Panoram ic file showing view o f lecture room from sitting position 94 ix Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A B STR A C T DS(n)F: T he D esign Studio o f T he (near) Future The mission o f this project is to investigate how emerging digital media, technologies will influence the design o f the architectural studio in the future and h o w students will c o m m u n ic a te the designs. The first step was to study the history o f graphic media technology and fro m evolution in past and present, identify the future activities and then to incorporate those changes into the design proposal to im prove and enhance the learning; experience. Two adjacent studios, Watt 200 and W att 201 (30' X 60’ X 145 ) a re considered for the design purpose. The ideal learning environment integrates all elements - the students, th e instructor, the space, the furnishings, the hardware, the software, and the network. This work mainly concentrates on investigating the impact o f advances in digital media technology on physical attributes o f an architectural design studio, and includes initial explorations into services like lighting and networking. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. T h e s is sta te m en t and s c o p e o f th e th esis D S (n)F : T h e D e sig n Studio o f T h e (near) Future “Enhancing Design through Design” is a study o f the current and emerging digital m edia technologies that will play an im portant role in im proving the quality and productivity in the design process and environment. In particular, the physical attributes / layout o f an architectural design studio in the year 2010 is envisioned. Existing third year studio facilities at USC, W att 200 and W att 201 are used as a case study to im plem ent the futuristic design. The study will investigate recent developm ents in related fields and will attem pt to predict their im pact on the activities o f the students and the design o f the studio o f the future. A dvances in technology c o n tin u e to technically and p h y sically ch an g e the studio en v iro n m e n t an d the d e sig n o f th e individual w o rk statio n . Though the project attem pts to study and predict the services and network technologies, the main objective o f the project is to develop the physical structure and the design o f the studio. In short, this is an exercise to demonstrate that new technologies will change the physical design o f the studio. T he final proposal will be described w ith the help o f a 3D -com puter model. T he first step o f this project will be to study the evolution o f technology in the field o f architecture. Historically the advances in technology have influenced the field o f architecture. A t first, the new technology is developed in research laboratories o f 1 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. universities. A fter it is accepted in the profession, then it is taught in design studio. F or example, the professionals first used CAD packages although the fundamental research work on CAD technology started in various university research laboratories. T he commercial use o f the products created the need to study those packages in the design studio. This exam ple indicates that changes in technology result in adopting new tools in the field o f education. The next step will be to study the current research w ork in related fields and new products. The current research w ork will be assessed on criteria like the feasibility, current progress, the credibility o f the research institute and current funding for the project. The products and technologies meeting the above criteria will be incorporated in die new design. The final step will be to design the studio to incorporate all the new requirements and describing it by making 3D-com puter model. 2 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. C hapter 1: In tro d u ctio n and H isto r ic a l Fram ew ork 1.1 Introduction This study is an attem pt to improve the design studio space, to anticipate the advancing technology in the field o f architecture. It is also an investigation o f the influence o f the technology on expression, communication and presentation techniques in field o f education. O ne o f the greatest twentieth century achievements in the field o f technology was the invention o f the computer. The com puter was originally designed as a tool for perform ing complex mathematical calculations. A fter the invention o f a storage mechanism called magnetic tape, people quickly discovered that the com puter was also capable o f storing and manipulating data. The development o f word processing software created an environm ent in which people could use the computer to type documents, and with the advent o f com puter networking, users began to communicate with both individuals and the world at large via the computer. The primary use o f computers in the architecture industry has been shifting, over the past six decades. It started with the evaluation o f proposed designs, to their graphical representation in the form o f 2D / 3D drawings, interactive VRML and evolved into use o f computers for collaboration am ong various professionals who are involved in design process. 3 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. T h e following section briefly narrates the evolution o f graphic technology in last six decades. It shows how the com puter and the graphic technology evolved and how the various inventions influenced the conditions o f the various decades. In addition, it was observed that m ost o f the recent technology changes either replaced a tool or enhanced a m ethod, which already existed. For example, earlier architectural drawings w ere done by manual drafting. N ow it can also be done w ith dimensional accuracy and clarity by using CAD packages and printers. As this study attempts to design the studio o f 10 years in future, it was important to study the trends in technology developm ent in past decades. This study will help in determining the direction o f technology in the next decade. T he design study and proposal uses those tools. 1.2 E volu tion o f Graphics T ech n ology Before 1940 A rchitecture has traditionally been expressed and com m unicated via 2D drawings, plans, sections, and small-scale physical models. T he renaissance was marked w ith the great invention o f perspective technique, w hich made possible precise presentation o f 3D structure on 2D paper. For example, the famous sculptor Michael Angelo developed his sculptures by first making a precise small-scale model. A ntonio G audi rarely worked on 2D plans, however, developing his design using small structural models. 4 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1940-50 The research o n graphics technology started in late 1940’s when researchers started working on getting an image on a screen and interacting with the com puter through that image. Early graphic programming developm ents were done in the “Whirlwind” project [Norberg, O ’Neil, 120]. In 1949 Charles Adams and John G ilmore, while w orking for Whirlwind project made the first animated graphic image “Whirlwind: A bouncing ball” . This was the first step in graphic media. In the same year, the first interactive input device, Light gun, was invented [Norberg, O ’Neil, 120]. In 1948, Bell Telephone Laboratories developed the transistor, a device that can act as an electric switch. T h e invention o f the transistor had a trem endous impact on com puter design, replacing cosdy, energy-inefficient and unreliable vacuum tubes. This creation sparked the production o f a wave o f "second generation" computers. This decade marked th e beginning o f graphic technology, which opened new avenues for research. 1950-60 In 1957, Russell A Kirsch successfully scanned the first digitized picture, a picture o f his son [Norberg, O ’Neil, 120]. In the same year, at Lincoln Laboratory, Ben Gurley and C E W oodw ard developed a Light pen, a smaller version o f Light Gun. These provided the tools for primitive cad programs. In 1958, at MIT, Douglas T Ross used Light G u n as part o f his computer aided design system in which an 5 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. operator com posed a drawing on screen using Light Gun. This marked the beginning o f Computer Aided Design (CAD) [Norberg, O ’Neil, 121]. The light pen was an improvised version o f the last decade’s invention o f the light gun, the digitized tablets were used next and which in turn, led to the invention o f a “Mouse” in the next decade. Till this time, computers were limited to university research labs. Those projects were mainly funded by government organizations like NASA, US Navy. ARP A, the Advanced Research Projects Agency, was created in 1958 under President Eisenhower as part o f the US D epartm ent o f Defense (D OD). T he network APRA developed would enable scientists and the m ilitary to share com puter resources and collaborate on research projects. This was the birth o f today’s Internet. [Leo Kaminski, 1997] A t this time, com puter technology was being used for structural calculations in architecture and the construction industry. 1960-70 In this decade CAD really started to take shape. In the beginning o f this decade i.e. in 1962, Ivan Sutherland introduced “Sketch Pad”. This program could make line drawings on a CRT using a Light pen and control board with a series o f buttons. Defining an end point and a start point a line could be drawn. Hence he defined data structures and introduced a clear distinction between data structures and pictures drawn on the screen [Norberg, O ’Neil, 125]. Lawrence Roberts combined 6 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. matrices and perspective geometry to achieve 3rd d im e n s io n and first hidden line application in program [Norberg, O ’Neil, 125]. This was the first step in 3D-com puter modeling. In 1965, the “Sketch Pad III” technology had 3 -d im en sio n a l graphics with added capability o f frontal, side, top and oblique views [Norberg, O ’Neil, 130]. In 1964, Douglas Englebart o f Stanford created a new input device called the “Mouse” which was m ore effective than the Joystick and Light pen. The mouse is still one o f the m ost popular input devices for com puter systems [Norberg, O ’Neil, 131]. This provided the groundwork for CAD/CAM . In the mid 60s, corporations such as Lockheed, McDonald-Douglas and Boeing began to use com puter graphics for plane and missile design. Lockheed developed CAD AM for use with IBM hardware, and M cDonald-Douglas developed CADD, Unigraphics and FastDraw, based on room -size mainframe computers [Norberg, O ’Neil, 144]. In 1966, Roberts developed W AND, a perspective transformation program to draw in the 3rd d im en sio n w ith x-y-z dimensions [Norberg, O ’Neil, 130]. This shows when the CAD/CAM technology first entered the profession. In 1967 IBM built the first floppy disk. T he invention o f a data transfer medium had great im pact on architectural profession as the files could be easily transferred and carried around. In 1968, Sutherland developed a head-mounted display, which could be used for flight simulation [Norberg, O ’Neil, 133]. It had two tiny displays for each eye, so viewers would see the image in three dimensions. T he concept o f stereographic images was first developed here. This in turn gave birth to virtual reality. The end o f 7 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. the decade w as m arked by the dem onstration by Douglas C. Englebart (Stanford Research Institute) o f his system o f keyboard, keypad, mouse, and windows at the Joint C om puter Conference in San Francisco's Civic Center. H e dem onstrated the use o f a w ord processor, a hypertext system, and remote collaborative works with colleagues [Norberg, O ’Neil, 131]. The use o f the computer was extended to writing specifications in addition to doing structural calculations. Com puter operators were required in architectural offices to input the data in the computers. 1970-80 In the beginning o f this decade m any im portant changes took place. Intel introduced the first microprocessor [Ken Pollson, 1997]. The reduced size, reduced cost, and increased speed o f the m icroprocessor led to the creation o f the first personal com puters. The rendering techniques blossom ed in early 70’s. In 1971, H enri G ourand developed a rendering technique for sm ooth shading. The previous constant shading m ethod gave a faceted appearance to the object. In Gourand shading it interpolated the intensities at each vertex, hence produced sm ooth rendering. P hong bui Tuong enhanced it to P hong shading, which further sm oothed the shading and considered the environm ental reflections. In 1972, Martine Newell, a faculty m em ber at Utah, presented a hidden surface algorithm that could be used with highly complex transparent pictures, which made three-dimensional modeling m ore efficient. In mid 70s, James F B linn developed ways to m ap patterns and textures onto mathematically 8 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. defined surfaces [Norberg, O ’Neil, 141]. This calculated the light more accurately. In this decade, the rendering was getting more and m ore realistic. Several larger com puter corporations such as D E C , IBM and CDC introduced products used for making com puter graphics. Meanwhile many small companies produced graphics hardw are/softw are products like A ID S, TriCAD and GDS |Jim Lefever, 2000]. By this time, a few big architectural firms started using CAD packages. This was the introduction o f CAD technology in the architecture profession. A t this point (main-firame) Com puters were bulky and cosdy. A ccording to D oug Noble, associate professor in USC, the cost o f machine and software (around $100,000) was greater than the hum an pow er needed to operate it. This led to working in multiple shifts in architectural offices so that the computer facility could be fully utilized for 24 hours. The Skidm ore office in downtown LA used to w ork in three shifts. The computers with their enorm ous size occupied considerable space in the offices. With the entry o f the com puters the layout o f the office space changed as the com puter room was incorporated. “The network was growing. In 1971, A RPA net had 15 nodes and 23 hosts. 1972 electronic mail was invented by Tomlinson o f BBN and the first ever e-mail was sent on ARPAnet.” [Kristula, 1997] “In 1973 Norway and England were connected, making the net an international network. In 1974 the net had grown to 62 hosts.” [Ken Pollson, 1997] The num ber o f hosts almost doubled in three years. This shows the increasing popularity o f the net. 9 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. In 1976, Steve Jobs and Steven W ozniak built the first Apple-I com puter in a garage in California [Glen Sanford, 1999]. Apple did not begin to take o ff until 1977, when the Apple II debuted at a local com puter trade show. Orders for Apple machines were multiplied by several times after its introduction. A nd with the introduction in early '78 o f the Apple Disk II, the inexpensive, and easy to use floppy drive at the time, Apple sales further increased. T hen in 1981, IBM introduced its first personal com puter [Ken Pollson, 1997]. With the advent o f personal computers, computers becam e cheaper then human labor. T he offices again started to work in one shift instead o f three-shifts. The office layout once again changed as instead o f providing a com puter room in the office the com puter could be placed in the drafting room. In late the 70’s, the idea o f Graphical U ser Interface (GUI) was developed at Xerox PARC [Peddie, 11]. This also changed the face o f CAD programs afterwards. Initially CAD programs were DOS based programs. GU I made the CAD program easy to use, hence m ore popular. 1980-90 In the early 1980s, Turner Whitted developed a rendering technique called Ray Tracing. Prior rendering algorithms did not consider the refraction and reflection effects o f basic geometrical optics. A modeling m ethod based on fractals was the next step in photorealism. The last big step in photorealism came in mid 1980s from a group at Cornell University led by D on G reenberg [Norberg, O ’Neil, 138]. Borrowing 10 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. th e radiosity algorithm from radioactive heat transfer engineering, they modeled the effects an environment has o n lighting. In 1982, A utoD esk was founded by a group o f fourteen people. [Peddie, 8]. On_e o f the first programs A utoD esk produced was a 2-D drafting application called “A tito-CA D ”. Though it was n o t the first such program for the PC, it became very popular. After 3-4 years, small to medium sized manufacturing companies and arcliitectural firms were using AutoCAD, VersaCAD, CADkey and other fine PC- bas-^d CAD programs. This led to the need for teaching CAD packages in all universities. In late 80s, exploratory 3-dimensional architectural modeling systems werre becoming popular. “Apple Com puter ran the famous "1984" comm ercial during the NFL Super B ow l, introducing the M acintosh computer. Apple Com puter ran the ad only once, but dozens o f news and talk shows replayed it, making it one o f the m ost memorable ads in TV history. The ad cost was USS1.5 million.” [Glen Sanford, 1999] Macintosh is s e ll popular in the graphic media world. In late the 80s, virtual reality, a byproduct o f specialized Helm et designs for the Air force, caught the imagination o f users all over the world. In 1989, Intel teamed up “with IBM to develop and prom ote the Digital Video Interactive (DVI) technique for moving images. This was a m ajor milestone. The com puter could display not only plain text and images, but also moving images or movies. O ne can say that television and- computer technology m erged here. This shows that technologies are merging. By 11 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1983 the net was becom ing very popular. T h e N e t had 500 hosts, which rose to 20,000 in 1987. 1990-2000 “In 1994 M osaic Communications released N etscape Navigator 1.0, a W orld Wide Web (WWW) browser.” [Ken Pollson, 1997] In the same year, Iomega Corp. introduced Zip drive and removable Zip disks w ith storage capacity o f 25MB or 100MB (Ken Pollson, 1997]. This was a significant change in storage media. Graphic media files, which tend to be big, could be easily transferred. “By the end o f 1995 there were approximately 6,000,000 hosts and 50,000 networks. The Internet's worldwide growth rate was 20 percent per m onth.” [Ken Pollson, 1997] This shows increasing popularity o f netw ork technology. “In 1998, M icrosoft became the w orld's m ost valuable company, at US$261.1 billion. Microsoft and General Electric were b o th valued at over US$300 billion in July, but M icrosoft survived a stock market plunge better, putting it on top.” [Ken Pollson, 2000] By 2000, CISCO, a maker o f netw orking equipment, passed M icrosoft in market capitalization, indicating the explosive grow th of T H E com puter as a worldwide com m unication device. The birth o f IBM PC and Apple M acintosh put the personal com puter on the desk o f com m on w orker. The web has now transform ed that desktop into som ething immensely m ore significant than the personal com puter. Desktop computers are now beginning to serve as interpersonal communicators. 12 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. By this time, due to sizable increase in graphic m em ory almost all the architectural firms started using com puter drawings. Currendy few architectural firms are using 3D working drawings for construction. For example, the office o f architect Frank Gehry uses the “Catia” package for producing 3D working drawings. Most o f the architectural schools in United States were teaching courses in CAD, and 3D modeling programs like Form-Z, 3D Studio Max. T oday and tomorrow (2000-2010) Using the knowledge acquired and the trends noticed during the journey, this section is an attem pt to visualize w hat the future technology holds in store. From the study, it can be seen that the various aspects o f technology are beginning to merge. This phenom enon can be witnessed through the convergence o f the function o f the typewriter, into the com puter via w ord processing software. E-mail is starting to serve some o f the function o f the telephone, and the W orld Wide Web is beginning to be used as a broadcast medium. Recently a B on Jovi concert was broadcasted live on the Internet. Currently using the desktop computer, it is possible to listen to music using CD-ROM , radio stations using Internet and watch movies using DVD-ROM . This shows the convergence o f com puter, CD player, radio and V CR in today’s desktop computer. The shape and size o f com puter is becoming smaller and m ore portable. Recently Gateway computers introduced a desktop m odel in which the CPU unit was combined with the flat-panel m onitor, thus requiring less physical space. Even the 13 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. data storage devices are becoming smaller in size and m ore in capacity. In the future this trend may lead to the convergence o f keyboard, scanner, printer, and copier. Multi-media are a wonderful approach to the presentation o f inform ation. It includes the concepts o f text, pictures both m oving and still, and sound interactive panoramic or virtual reality. This new form o f presentation is advancing in the next century, because it is m ore stimulating for humans. Everyday, we deal with the world through the use o f our five senses. Using computers, it is possible to listen, see and touch. In future, it may be possible to experience the rem aining two senses. Perhaps some day, som eone will perfect multi-media to the extent that a chef can create a menu with the smells o f the various dishes wafting forth. Using the W orld Wide Web (WWW), it is feasible to access any inform ation anywhere in the w orld due to advances in network technology. For example, Sweet’s catalog can be referred for construction drawings. The students can subm it their assignments using e-mail and ftp. Instant messages and video conferencing are being used for communication. The web also made collaborative work possible by sh aring different packages on web. Futurists predict that we will soon be experiencing interactive television. The idea behind interactive television is that the less you need to use control signals to operate your TV, the better. They predict that each television will be run by a com puter which knows w hat types o f programs the residents enjoy watching and what type o f news they find interesting. The com puter/TV will then save various clips from through out the day, that different family members will enjoy viewing and save them 14 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. so that w h en a particular family m em ber turns the TV on, they will be able to watch the individually selected programs. 1.3 Sum mary F ro m the above section, it can be concluded that changes in technology have affected all the fields, including the architectural profession. T he changes in the architectural profession resulted in technology changes in field o f architectural education. T h e various aspects o f technology are beginning to merge. The shape and size o f th e com puter is becom ing smaller and more portable. The data storage devices are becom ing smaller in size and m ore in capacity. In future this trend may lead to the convergence o f more devices. U sing the W orld Wide W eb, it is feasible to access any inform ation anywhere in the w orld due to advances in netw ork technology. Many possibilities in communications like distance schooling and collaborative work can be brought in to practiced. T h e computer revolution will bring radical changes to our educational and professional habits. The fundam ental changes to the way we practice, teach, and learn design have already begun to occur. W hen revolutionary changes take place, first there has to be a dreamer who dreams the so-called impossible thing and then works on it scientifically to make it happen. I f Leonardo da Vinci, the W right brothers and so many others had not dream t o f flying there would not have been planes or spaceships. 15 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This thesis is a dream, but it is seen w ith open eyes and raking the current research w ork into consideration. It is a prediction o f what a future w orking place- studio will look like. References: [Fabian, 2000]- Nicholas Fabian, “A Brief History O f Computers” http://www.studvweb.com/ComDuter Science/ Copyright ©1995-2000 [Glen Sanford, 1999]- Glen Sanford. “History” http://www.apDle-historv.com/historv.htmI Last Modified: Friday, March 10, 2000 08:58 [Jim Lefever, 2000]- Personal interview with Architect Jim Lefever, from Gensler on date 04.12.2000. [Ken Pollson, 1997]- Ken Pollson, “Chronology o f Events in the History of Microcomputers” http://www.islandnet.com/~kpolsson/comphist/ © 1995-2000 Last updated: 2000 February 11. [Kristula, 1997]- Dave Kristula, “History o f the Internet” http://www.davesite.com/webstation/net- historv.shtml. March 1997 [Leo Kaminski, 1997]- Leo Kaminski, A Brief Description o f the Internet and the World W ide Web http://www.hevanet.com/leok/netweb.html. ©1997 [Norberg, O’Neil, 120]- Author L. Norberg, Judy E. O ’Neill and Kerry J. Freedman, Transforming Computer Technology. The Johns Hopkins University Press Ltd., Baltimore, MD, © 1996 [Meyers, 2000]- Jeremy Meyers, “A Short History O f the Computer” http://www.studvweb.com/Computer Science/ Copyright ©1999 [Microsoft Encyclopedia, 98]- Microsoft Encarta 98 Encyclopedia, The World Standard in Multimedia Encyclopedia. CD Rom 1998 [Peddie, 11]- Jon Peddie, Multimedia Graphics Controllers. Blue Ridge Summit, PA: Windcrest/ McGraw-Hill, 1st edition, © 1994 16 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. C h ap ter 2: W hy an A rch itectu ral Studio? 2.1 Introduction. W ith the advent o f new technology, the requirements o f architectural studios are changing. New technologies are finding their place in m odem studios, replacing the old ones. Computers are becom ing indispensable in the studio environment, which necessitates restructuring o f studio. This chapter focuses on the need for the futuristic design o f the architectural studio. 2.2 Computer changes in the field o f Architecture Technology holds the opportunity o f dramatically changing the way architectural education is carried o u t in the design studio. N o t very long ago architectural students were using hand-drawn drawings; CAD drawings are taking their place very rapidly. Now many architectural firms are using products where one conceptualizes, designs, and presents in 3D and with single command two- dimensional drawings can be produced at any specified plane. Som e architectural firm s are using 3D working drawings for making construction drawings o f complex structures. It should not be very long before it will become a com m on practice to conceptualize, design, and make presentation and architectural, construction drawings, using the same 3D modeling package. 17 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Traditionally, perspectives are used for the presentation o f designs. N ow days animated walkthroughs, interactive panorama files and VRMLs are being used in conjunction with perspectives. These files could be placed on the web and accessed using the Internet. T he efforts are being made to m ake the design presentation drawings look m ore and m ore realistic using holographic images. Unlike Virtual reality, holograms can be seen without using headgear (High Definition Visualisation Display). High D efinition Visualisation Device is a new product in the market, which allows forming a hologram up to size 4’x4\ Using H D V D , the 3D image could be seen floating in air w ithout any headgear, in any light illumination level [Dimensional media associates website, 2000]. Today’s promising researches shows that com puter aided machines will make it possible to produce a physical prototype o f structure designed. We architects teach ourselves to first visualize and understand how 3D things will look in 2D. W hile designing we think in 3D and draw 2d drawings on 2D paper, which again has to be visualized by viewers again in 3D . It is done in this m a n n e r due to lack o f technology. It will be possible to conceptualize, develop, and present design in 3D. Today, students use 2D CAD software to develop design and use Form Z, 3D Studio for making 3D presentation drawing. From history we can see that technologies are merging. It will happen in software technology, too. All the above will be possible through one package. It will also have the facility to m ake 3d prototypes o f the design and interactive virtual reality files. Each and every package has its own set o f com m ands, which the user has to leam first. In the fixture, natural 18 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. language com puting will be possible w here one talks to the com puter and com puter derives th e command by deriving the algorithms. Currendy, various research laboratories are working on natural language computing. Currendy there are products available in the market with which com puter can be used for dictation. So in ten years, it is likely that a user will be able to use combination o f keyboard, m ouse and natural com puting for input. Changes are taking place in the field o f education too. Various universities are providing distance schooling. In 1994, a “Virtual Design Studio” was conducted on experim ental basis. Students and tutors at Barcelona, MIT, H arvard, Cornell, W ashington University, St. Louis, the University o f British Colum bia and the University o f H ong Kong participated in one design exercise conducted over the Internet. In 1999, students from UCLA and University in Japan shared a lecture conducted in UCLA. These experiences led to new ways o f practicing architecture and teaching design in collaboration. It led to global culture and expanded physical boundaries. It also shows possibilities for global lectures. W hen broadcast, they could be attended from any part o f the world. It will also make possible global architectural firms, in which, the team m embers from all over the world in collaboration will work on same project. 19 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2.3 T hesis O bjective The mission o f this project is to investigate how technologies can influence the design o f the architectural studio in the future and how students will communicate the designs / products. 2.4 W hy Architectural Studio? Because o f the familiarity with the subject, the architectural studio was selected as the case study candidate for futuristic design. Also there is scope for implementation o f new technology in current studio. This will be a good exercise to bring the studio at par with the new technology. This study has the potential o f improving the student experience and the learning process. 2.5 W hy only 10 years in the future? From the study o f the evolution o f technology, it can be concluded that in any decade the current technology was the result o f research done in previous decade. Hence a ten-year interval was selected. Also it is very difficult to predict too far in future. From the history we can deduce that there will be sizable technological advances in a 10 years period. O n the other hand, if it is not a sizable period the changes may be very small to perceive. O ne can make prediction based on recent research’s potentials and it is really unlikely that som ething completely new will replace the existing scene. W hile predicting in future, those technologies are incorporated 20 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. which could be supported by current research work. Due to ah o f these characteristics, ten-year period was selected. 2.6 Summary Com puters and related new technologies will bring changes in the design process and presentation techniques. This will create new requirements and necessitate change in the physical structure o f the architectural studio. W ith the incoming change (2.2), the architectural studio should fulfill today and tomorrow’s needs. References: [Dimensional media associates website, 2000]- “Dimensional media associates”, http://www.3dmedia.com/. Last Modified: Monday, May 15, 2000 7:14:29 PM GMT 21 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. C hapter 3: R e se a r c h M eth o d o lo g y 3.1 Introduction The current technology needs to be studied and evaluated, before starting the actual design process. T h e study o f past and current technology trends has helped in predicting future changes. This chapter explains the various sources used to get the needed information. 3.2 Sources o f inform ation There is a lot o f m aterial available on the latest and futuristic technology, in the form o f web pages, research papers, product catalogs, etc. Following are the different m ethods/sources used fo r the research: 1. Intem et/W eb p a g es Norm ally w hen there is not enough material to publish a book, the information is o ften p u t o n a website. That makes the websites an excellent source for the m o st recent information. W eb technology is very easy to use and from a single term inal provides access to an array o f information. A nother advantage o f this source was the easy nature o f Internet to contact the author o f the website. O n the w eb the information is available in various formats like plain text, images, slide shows, movies, panoram ic files, and VR files. M ost o f 22 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. the leading companies and research laboratories keep their websites up-to-date and for the purpose of e-commerce the latest product information is available online. Since there is no control on w hat inform ation can be put on a website, this source may not be reliable in som e cases. For the purpose o f this research, authentic websites like websites o f som e Universities and hi-tech companies were accessed. This source was mainly used to study history, to investigate the current research w ork in related fields, and to find new products available in the m arket. Internet articles were referred and product catalogs were ordered from the Internet. For example, all the inform ation on intelligent kitchen appliances was obtained from M IT Media Lab website http://w w w .m edia.m it.edu/ci/index.htm l. 2. Books This is the most reliable and com plete source o f information. Since the time frame involved in publishing a book is longer, the information may be outdated. This source was used to study history and past research w ork in related fields. Also books on futuristic views by different authors were studied. For example, the research material on collaborative design studio was obtained from the book “Virtual Design Studio” by author Jerzy Wojtowicz. 23 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 3. A rticles/Publications This is an excellent source for current research. In the context o f the above criteria o f authenticity- and time frame, this source falls in between web pages and books. Articles/publications are u su ally m ore reliable than websites (especially those from refereed journals and conferences). For example, articles on ergonomics, acoustics and lighting technology were referred. 4. Product Catalogs Product catalogs provide information on the implementation o f the latest technology. Using this source, various products can be compared and evaluated. Since product catalogs are aimed at marketing the product, they usually provide only the positive features o f the product. Hence further analysis is required. For example, product catalogs for furniture, computers, hardware, and software were studied. 5. Expert Interviews From their experience, experts can navigate the research process. This is the only “Human” interactive source o f information. Experts reviewed and validated the design and gave critical feedback. For example, Jim Lefever from Gensler was interviewed for study o f history. He has been in the profession since 70’s, has seen the rise and development o f digital media technology in architectural profession. According to him, the profession is at the threshold 24 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. o f collaborative netw ork technology, which will further change the ways w e practice. 6. D irect observations Simple observation makes a lot o f difference. There are many aspects o f design, which could be perceived only w ith direct observation. The author is an architect experienced the academic studio environment and has also worked in architect's office for a year. 3.3 Summary From all the sources discussed above, the internet/w eb offered the m ost diverse information on tfce subject. M ost o f the inform ation on past research, advances in technology w ere obtained from referring books and articles. Expert views and opinions played an im portant part in the actual design process. During the design phase, there seemed to be various possibilities. But in this design, only those are being used where there is solid supporting evidence available. 25 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. C hapter 4: A rch itectu ral d e sig n stu d io : D e sig n is s u e s 4.1 Introduction “Design: A n activity aimed at achieving certain desired goals w ithout undesired side and after-effects.” By H orst Rittel This chapter focuses on the goals for the new architectural studio design and assumptions m ade during the design process. It also explains how the emerging technology is going to im pact the various activities in the studio environment. 4.2 Goals for d esign studio The prim ary objective o f this design is to integrate new technologies into the studio space enhancing the teaching o f architectural design. To enhance student- leaming experience and increase productivity, a self-contained studio environm ent needs to be created. T he self-contained studio will provide facilities for advanced communication, for flexible group w ork to accom m odate varying space requirem ents and multiple uses o f the area, and facilities for group discussions, group work, group presentations and small group lectures. All the equipm ent in the studio will be ergonomically designed, as students will be spending m ore rime in the studio. As com puter will become indispensable in future studio, the studio will have at least one com puter per student. Lighting design will 26 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. provide required high illumination level for drafting w ork w ithout any shadows and glare on com puter screens. The project also aims at enhancing and simplifying the current design process. 4.3 D esign studio activities To design the future studio, existing activities in the current studio need to be studied. This is im portant, as it allows us to study how the activity is performed right now, what are the new technologies and tools that will be available in future to effectively perform the same task, and their impact o n the physical design o f the studio. The current design process can be briefly explained as follows. Before starting the actual design, students study similar existing projects and also visit the site assigned for the design problem . From the analysis o f data collected, they define the objectives and requirements for the design problem. Usually the next step is drawing conceptual sketches, w hich is followed by the actual design process. T he design is developed with interactions and som e trial and error, till a satisfactory design is produced. During the entire design process, students interact with the design instructor and fellow students for guidance and feedback. The following section describes the various activities perform ed in a typical design studio. 27 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Table 4.1 Activity chart with sources and justification Activities N ow In Future Current high-tech examples 4.3.1 Reading, Research Papers, books, Papers, books, Extensive uses o f and reference, Case Libraries, Libraries, Internet / interactive V R files on studies Internet / Intranet, Web Virtual Internet, where one can Intranet library files, Pan files virtual walk through the structure. 4 3 .2 Designing: Manual Computer sketches Computer sketching conceptual sketches, on electronic pads software: RT2, IBM’s Hand written notes ink pen technology 4.3.2 Designing: Using tracing Tracing Using Computer sketching Tracing paper transparent windows or drawing in different layer software: the Research work on “transparency in sketch design interfaces” submitted by Paul Richen to university o f Cambridge in July 1998 4 3 .2 Designing: Manual and Mainly computer High Definition Presentation computer, drawings, interactive Volumetric Display, drawings 2 D /3 D VR files, animation, Holographic video drawings, pan, holographic display, holographic laser sometimes images and movies, printer, Digital pinup animation, digital pinup board boards used in “Virtual pan Design Studio” Paper pinup 4.3.2 Designing: 3D Physical More use o f digital 3D laser scanning to modeling and 2D models, some models; still physical bridge digital and real and 3D drawings digital models models world, Software packages which allows to design in 3D and make 2D drawings when needed 4.3.3 Virtual reality Limited use Will be used for Flostations, NAVE due to Presentations construction clumsiness and expense 4.3.4 Model making Manual Computer aided machines making prototypes Dr. Bchrokh Khoshnevis’s Contour making machine Continued... 28 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Table 4.1 Continued 4.3.5 Model testing computer programs Manual & some Computer aided Virtual Reality Flow machines & Visualization System Computer simulation Programs 4 3 .6 Communication: Phone, e-mail Phone, e-mail, video G lobal lecture by UCLA conferencing Course “chat rooms” 4.3.7 Storage: Model, Required for Computer files saved paper, computer Physical on server space, for files storage, models, computer made Storage media with more and m ore capacity being made available. For example, Jazz disc Papers, prototype Computer files, model making 4 3 .8 Lectures Physically Physically delivered, Virtual design studio, delivered Virtual lectures, global lecture arrange by global lectures UCLA and Japan University 4.3.1 Reading, Research & reference, Case studies Currently the main source o f information for research and reference material is books and scholady papers. Also there is lot o f material available o n the Internet for reference. For example, Sweet’s catalogue is available on the Internet for reference. In the future, reference material will be available in virtual libraries on the Internet. Libraries could be made global and could be accessed from any place in the world. D ue to the increase in network connection speed, even the large files can be accessed or downloaded w ithout any tim e lag. College libraries will have m ost o f the books on the Intranet with controlled access for students and teachers. They will be able to download reference material including books from the college library server. Currendy case studies are done in 2 ways; one can visit the actual place o r refer to books and reports on the subject. It is not always possible to visit the place in 29 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. person. Also drawings in the books and reports normally give a 2 dimensional view o f the subject. In the future, students will have access to interactive VR files or holographic movies on the subject [MIT Media lab web site, 1999]. This will allow students to study the subject in 3 dimensions. For example, some o f the real estate companies have virtual tour files o f houses and apartments. In the future, similar files will be available for famous architectural structures like the Empire State building in New York. F or example, web site h ttp ://www.morganhiIlrealestate.com/VirtuaI.html gives virtual tour o f various structures and places with 360-degree panoramic files. Currently there are some website available for famous structures like G olden Gate Bridge, w hich gives live image o f that place. W ebsite o f University o f Southern C alifornia has similar facility. Tommy-cam shows the view o f the center o f university campus and the image is updated every minute. In future, such cameras could be placed at a site and som e studies could be conducted without actually visiting the place. In future, official weather reports, maps, historical building survey, zoning codes, city redevelopm ent plans, and their updated versions could be m ade easily available on Internet. As now we can buy postal stamps on the Internet, it will be possible to buy different maps, city redevelopm ent plans through the Internet instandy, which is currendy a time consuming long process. 30 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 4.3.2 D esigning The design process usually starts with conceptual sketches, which are developed into architectural drawings. A t present conceptual sketches are free hand drawings on paper. In the future they could be drawn on the electronic pad/screen and saved as an electronic file. A t present, IBM is conducting research on saving text w ritten on electronic pads as com puter text files. This is being achieved in two different ways; by interpreting the m ovem ent o f specialized pen into characters and by using specialized electronic pads w ith touch sensor mechanism [IBM web site, Feb 2000]. The research project, “R T2: Right tool at right time”, converts free hand com puter drawings into sm ooth drawings [McIntosh, Ozel, 191]. Being an intelligent program it also tries to guess w hat the designer is working on and draws it for the designer. For example, if the user draws a partial circle on the screen, the tool will ask the user if he/she wants to com plete the circle. Using similar tools, it will be possible to convert free-hand drawings into architectural drawings. The research project, Electronic cocktail napkin by M arc Gross, had the innovative tool Archie. It was basically collection o f famous buildings and architectural structures. Using Archie user could apply the elements fagade o f selected architecture structure from gallery to the design. Currendy, the efforts are being made to incorporate the tool similar to the Archie tool o f Electronic cocktail napkin program in RT2. 31 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Design packages will also su p p o rt transparent frames giving the functionality o f tracing paper. Currently, Paul Richeai from University o f Cambridge is working on “transparency in sketch design interfaces.” [Charles Eastman, 228] This project allows user to redraw and overdraw, similar to that using tracing paper. A t present, architectural drawings are usually in 2D form at during preliminary stage. These are either hand drafted o r CAD drawings. During developm ent stages, the design is developed with the help o f perspectives and physical prototypes. The final stage is to express the design with the help o f presentation drawings and physical models. Currently, the presentation draw ings are either computer drawings o r hand drafted, which are presented on pirtup boards. Sometimes, panoram ic files and animation walkthroughs are also included in the presentation. In some specialized studios, design is conceptualized and developed in 3D, using packages like Form-Z, 3D-Studio MAX, o r other programs. A t present, different design packages are often used during the design process. For example, plans and section drawings are drawn using CAE> packages, whereas 3D modeling, animation is usually done using packages like F orm -Z , 3D-Studio MAX. In the future, single packages w hich allow conceptualizing, designing and presenting in 3D format will be m o re popular. Currently available packages like Microstation Triforma and Catia allow users to draw in 3D, from w hich the 2D architectural drawings can be extracted at any specified plane, if required. Similarly it will also allow drawing construction details and detail drawings from the 3D design. 32 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Currently, scanners play an important role in converting hand drawings into digital images in electronic format. Similarly the 3d digitizer can create 3d com puter model o f an existing 3d object. Right now this is limited to object o f limited size like cars and humans. In the future, it will be possible to in p u t 3d information o f any space or building structure. Currendy panoram ic files, walkthroughs, anim ation files and virtual reality files are used for presentation purposes. In the future, in addition to these techniques, holograms and holographic movies will also be used. A t M IT’s media lab, various research teams are w orking on holographic presentation techniques. D r Thom as N wodoh is working o n holographic interface circuit for holographic video display. Stephen A Benton is w orking on a “holographic laser printer” which allows generation o f a hard copy (3d model) o f holograms. Using special recording materials and optical techniques, this printer can produce 2D hard copy o f the holographic image [MIT Media lab web site, 1999]. In future, digital pinup boards can replace paper pinup boards. High Definition Volumetric Display- is a new product in the market, which allows forming a hologram up to size 4’x4\ Using H D V D , the 3D image could be seen floating in air w ithout any headgear, in any light iUumination level. In future, similar technology can be used in place o f drawings and images on pin-up board. Thus digital Planes can replace paper pin-up boards [Dimensional media associates website, 2000]. 33 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 4.4.3 Virtual R eality (VR) V R is 3D , interactive, com puter simulated environment occurring in real time. V R places the user in a 3 dimensional environm ent. VR allows the user to travel with the help o f navigating systems like mouse, joystick or more sophisticated systems like headgear tracking eyeball movement o r a suite which tracks the body movements. Defense research and the computer game industry were the main stimulators o f V R so far. A ugm ented reality occurs when real worldview is superim posed by a computer-generated image in order to assist the user to perform the right operations. For augmented reality special headgear is used. This is a very powerful tool for architectural presentation. Architects have always tried to present the architecture in m ore and m ore realistic way. V R technology is a major m ilestone in that direction. In future, the user can take a V R tour o f the structure he designed and can see how the design actually looks and feels. For example, student will be able to put the VR model o f his design project, say a beach resort, on the virtual site. H e will be able to see how the resort looks from approaching road o r from beach. He will be able to take tour outside as well as inside the resort and check if all the rooms and public area are getting view as designed. 34 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Flostations Flostations are used to experience virtual reality files. It was developed as simulation device for Astronauts. The field o f view is completely filled by display, the flowdome, which provides field o f view more than 180° [Flogiston website, 2000]. The flow chair w ith its m otion provides a sensation o f the moving through the space. The seat is m ounted on pneumatic base, which moves to give real feel o f motion. Figure 4.1 Flostation with pneumatic base Figure 4.2 View o f Flostation and flow dome The flostation is provided with flodome, a display system on hemispheric screen, which covers the field o f vision completely. This simulates the audio-visual environment but doesn’t cover other aspects like light, temperature, humidify which are simulated in project N ave construction. 35 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. N ave construction: The N ave is designed as a seated environm ent for two people. The user interacts by using a force-feedback joystick to navigate the environm ent. The experience includes a virtual thunderstorm . As the users walk through the rain the fans cool their skin, which matches their expectations o f what should happen. A strobe light generates artificial lightning, the thunder o f which can be felt through the platform and the thunder seats [Georgia T ech Virtual Environm ents G roup web site, 1999]. The disadvantage o f this system is th at the V R is projected on the screens. Hence it does n o t completely cover the field o f vision. Figure 4.3 N ave construction: seated Figure 4.4 Nave construction: simulation environm ent for two screens In the future design studio, the com bination o f two systems, the flostation, but also with additional simulation facilities o f light, temperature and humidity control o f Nave construction will be desirable. 36 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 4.3.4 M odel m aking Since ancient time, architects and artists have developed their art/architecture using physical models. Currendy the physical models are made m a n u ally. In the future, physical models can also be m ade using computer-aided manufacturing machines. The C A D /C A M is extensively used in engineering profession. For example, Lockheed used CAD AM for manufacturing. W ith computer-aided modeling, prototypes can be formed by two techniques. A subtractive technique in which a prototype is carved out o f the block, and an additive technique in which thin layers o f material are added with layers o f adhesive material in between. There are different types o f m ethods used for com puter aided manufacturing like Foam cutting, acid etching, C N C lathe, CNC cutting, laser cutting, Lost wax casting, photo chemical milling, plastic injection casting, resin casting, stereolithography, water jet cutting, white metal casting [Master designs website, 1996]. Foam cutting is used for cutting foam. The foam cutting m ethod is used in terrain m odeling [PEC Company website, 1999]. By Laser cutting, flat and rolled material can be cut [Edgewise tools website, 2000]. A focused laser beam is used to melt or chemically degrade the material being cut [Master designs website, 1996]. It is now used for cutting w ood and plexiglass. These machines create fumes, which are not desirable in design studio environment. In water-jet cutting or hydro-cut, water with 55,000psi pressure and with speed 3 times the speed o f sound is used in cutting process. It does n o t m elt or bum the 37 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. material as in laser cutting hence results in a high quality finish. Acid etching is used to make intricate parts by using photosensitive m aterial (Master designs website, 1996]. In stereolithography, computer first reads the CAD model, divides it into triangles and then slices the material accordingly. T hen the machine arranges those pieces by moving and rotating. Laser beams scans at the line between two layers, which liquefies the material at edge. Then they are exposed to UV laser beams by which it solidifies (Marcus Joppe, 1998]. Figure 4.5 Dr. Khoshnevis with C ontour crafting machine Dr. Behrokh Khoshnevis at USC has developed a rapid prototyping technique called “Contour crafting”, which allows quick fabrication o f computer-designed objects. It is based o n additive technique. The m odel is formed by applying many thin 38 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. layers o f the material with a layer o f glue material applied between tw o layers o f model material. D r. Khoshnevis added two trow els like blades, which regulates the flow o f the material and thus produce well-finished model. According to D r. Khoshnevis, this technique could not only be used to m ake small prototypes b u t also to construct building structures and roads (Khoshnevis, 2000]. This m ethod does not create any fumes. These machines are very easy to handle. In the future design studio, contour-crafting machines will be included for com puter aided model making. 4.3.5 M odel testing Currently, structures are tested in two ways. Either manually made physical models are tested for different physically simulated forces like gravitational, seismic, structural loads in physically simulated environm ents or com puter models in computer simulated environments. In the future, com puter made prototypes will be tested in com puter aided simulated environment. In addition computer m odels will be tested in computer-simulated environment for eneigy, lighting, acoustics. Currently, for testing structural load, there are com puter programs, which let the user draw the structural fra m ew o rk or im port the files from CAD program and giving required input like material, type o f joint, they give you the results like deflection, shear stress in table form at, as well as graphical form at. For testing the lighting design, there are programs available which let you im port the files or model 39 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. the space along w ith the lighting in the program itself and the program shows the result visually and also give output in numeric form at. Similarly for acoustics, there are programs available w hich calculates the reverberation period. For testing wind load programs like V R FLO V IZ are available. B ut these programs don’t work in integration. In short, there will be more im proved teaching tools available, which will show the results visually making the subject easier to understand. For example, V R FLO VTZ and Lum inous room . Figure 4.6 5D T D ata G love used for the Figure 4.7 VR FLO VIZ: W ind wind speed input data by gestures simulation “VR FLO V IZ ” is a virtual wind tunnel package, which helps visualize the impact o f wind forces on a structure. Similar packages can be used to teach the effects o f various physical forces on structures. The 5D T D ata Glove is used to input the wind speed data by gestures. A tracker, m ounted on the glove, measures the position and orientation o f the user's hand. The data in p u t and output can be seen on a computer m onitor [5dt W eb site, 1999]. 40 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. L um inous room The M IT Media Lab project, “Luminous room ” by Jo h n Underkoffler, Daniel Chak, G ustavo Santos, and P rofessor Hiroshi Ishii, shows the changes wind flow and the shadow caste by the structure visually. The “1 /O bulb: illuminating light” used in the project n o t only projects the image on the workbench area b u t it also takes visual input o f objects placed on the w orkbench. By visually reading input data like north direction, day, time, wind direction and velocity and 3d-structure m odel it simulates the accurate shadows and pedestrian level wind patterns [MIT Media lab web site, 1999]. i / * * t * * f * If ^ H i U' Figure 4.8 Simulated pedestrian level wind patterns Figure 4.9 1 /O bulb: illuminating light, simulating the accurate shadows As we see from above, there are various packages available to test and study the different loads but they can n o t be tested in single com puter package. In future, in a single program, a single file could store all the different testing inform ation together 41 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. so that user can study how one change in design o f the structure can affect the different loads using single program. Currently, different courses like lighting design, structural design are taught. In future, these courses could be taught with m ore integrated approach due to availability o f the integrated software package or teaching tool. Com m unication A t present, e-mail and phone are the m a in modes o f communication for students. In addition to e-mail and phone, videoconferencing and packages such as instant messenger, shared applications like white board will be used as the m ost com m on forms o f communication in the future. A t present, Pace University provides video conferencing facility to its students. In a typical collaborative application, one group posts design drawings and computer models to be reviewed by other groups in the teams. The communication between the various groups will be via email, chat room and bulletin board. There will be advances in the student — teacher interaction process. There will be more avenues for collaborative work, which will improve the communication between students and teacher. Students will have access to expert guidance available across the globe. O ne on one activities between the student and teacher such as desk criticism, consulting, counseling will be there, in person or via video conferencing. Student — teacher interaction will be enhanced further bv Advances in different modes 42 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. o f com m unication. For example, natural computing will facilitate writing/typing. Submitting drawings, 3d model files, movies, videos, sound will be easily possible. Following example explains the day to day modes o f com m unication used by students on a typical day. In the m orning, John Smith (Third Y ear student) has a lecture “Integrated approach to design: natural forces, acoustics, lighting design, structural design, energy conservation and active, passive solar system” from 10.30AM to 12.00PM and lab hour from 12.00 to 12.30 PM He comes to the studio at 9.00 AM. He submits the previous homework via w eb. W hen he logs on he has received e-mail giving all the material and notes required to be studied before the lecture. H e has a study group with w hom he studies all the material online. The students in the study group study together, and communicate via web communication m edium s like video conferencing, various shared applications like instant messenger, white board etc. A t 10.15 AM, John goes to Harris hall 101 for the lecture. O ne o f his friends is not feeling well, so his friend will be attending the lecture from hom e through the VR lecture facility. This required the prior permission from the instructor. D uring the lecture, the instructor uses VR simulation facility provided in the lecture room and the various reaching tools to visually show the effect o f various forces. D uring lab hours, using m odel testing machines and using integrated model testing com puter package the subject is effectively taught to the student. A fter an hour John returns to the studio, as he has design studio next day. He makes the required changes as his design is in development stage, checks the design by making hologram and by experiencing it through V R He has som e questions for his 43 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. instructor, b u t his instructor is n o t logged on in the system. So he leaves a visually recorded message for the instructor, explaining the problem along w ith the drawings. After an hour his instructor contacts him through the video conferencing and gives him feedback, which helped Jo h n in preparation for their next meeting. So John also tested the design for various criteria and m ade a model o f changed design structure by using com puter aided m odel making machine. After working for 4 hours John is ready for tomorrows design studio. 4.3.6 Storage Currendy, drawings and drawing accessories occupy m ost o f the storage space. Also storage space is required for personal belongings. As m ost o f the design drawings will be in electronic form at, less physical space will be required for paper in future. The storage space will be reorganized to accommodate electronic storage media like magnetic tapes, zip disks etc. along with space for com puter made prototypes. There are m any advantages o f the electronic stoge media over the paper storage media. Paper storage requires lot o f space compare to the electronic storage. With paper storage special care has to be taken to prevent the wear and tear. But there are also some disadvantages o f the electronic media. While using electronic storage media, user has to m aintain back up system after every regular time interval. There are new types and new kinds o f electronic storage media being made available while old type o f storage are becom ing outdated. H ence the material stored in old format or on old storage medium becom es hard to access. 44 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 4.3.7 L e c tu re s Currently teacher and students are physically in the same lecture room , when the lecture is delivered. Recendy UCLA conducted a global lecture, in which students from UCLA and Japan University participated. In 1994, eight Universities from different parts o f the world participated in one design exercise in collaboration using the Internet in an experiment called virtual design studio [Wojtowicz, 1995]. In future, it will be possible to have global lectures and global studios. This will allow sharing o f knowledge across the globe using video conferencing technology. In future, students will be able to attend lectures globally, participate in global virtual design studios. So the student will be able to attend lectures without actually leaving his workstation physically. As a result it will be easier to attend a class or guest lectures at other universities. H ence in future, the guest lectures will be broadcast globally. In the future, hand written notes can be direcdy saved into the com puter by using technology similar to IBM Ink Pen. Using this technology the free form text will be stored in the com puter as electronic ink docum ent [IBM web site, Feb 2000]. Today, m ost o f the courses taught in the universities maintain websites on which inform ation such as course description, homework, notes is put. In the future, the course and reference material may also be in VR format. It may include virtual lectures, movies. Students will receive digital handouts before the class, which will prepare them for the lecture or studio. 45 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 4.4 Summary T he p rim ary objective o f this design is to integrate new technologies into the design studio. W ith the advances in technology, there will be new techniques to perform future design studio activities. Also the new technology will enhance existing design studio activities. For example, simulation techniques and digital pinup boards will be used for presentation purposes. To perform these activities, new tools and methods will be introduced. In the next chapter, we will see the implications o f these new tools and techniques on the physical design o f the studio, and the need for restructuring the design studio. T he thesis presentation will dem onstrate some o f these techniques. References: [5dt Web site, 1999]- “Virtual Reality Flow Visualization System” http://www.5dt.eom/p floviz.html Copyright © 1999-2000 by Fifth Dimension Technologies Last Modified: Thursday, April 13, 2000 2:37:57 PM. [Augenbroe, Eastman, 228]- Godfried Augenbroe, Charles Eastman, -Computers in building: Proceedings o f the CADD futures ’99 conference. Kluwer academic publishers, Boston/ Dordrecht/ London, ©1999 [Dimensional media associates website, 2000]- “Dimensional media associates”, http://www.3dmedia.com/, Last Modified: Monday, May 15, 2000 7:14:29 PM GMT [Flogiston website, 2000]- “Flogiston” http://www.flogiston.com/. Last Modified: Friday, April 21, 2000 5:22:15 PM GMT [Georgia Tech Virtual Environments Group web site, 1999]- “The NAVE Virtual Environment* Georgia Tech Virtual Environments Group”, http://www.gvu.gatech.edu/virtual/nave/ Last Modified: Friday, May 14, 1999 8:48:03 PM GMT [IBM web site, Feb 2000]- “IBM pen technology” http://www.research.ibm.com/home.html Copyright© 1999-2000 46 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. [PEC Company, 1999]- PEC Company “Foam: Molded & Cut” http://www.pec- co.com/ifoammc.htm. Last Modified: Friday, January 08, 1999 1:43:18 AM GMT [Khoshnevis, 2000]- D r. Behrokh Khoshnevis, “Quantum Leap in Rapid Prototyping Unveiled” http://www-rcf.usc.edu/-khoshnev/us-tech.htm. ©1997 U.S. Tech, Last Modified: Tuesday, July 22, 1997 8:23:43 PM G M T [Edgewise tools website, 2000]- “Edgewise tools: laser cutting service” http://www.edgewisetools.com/serv03.htm. Last Modified: Wednesday, May 10, 2000 10:13:46 PM GMT [Marcus Joppe, 1998]- Marcus Joppe, “Introduction to rapid prototyping technology” http://www.biba.uni-bremen.de/groups/rp/rp intro.html. Last Modified: Wednesday, October 14, 1998 10:50:48 AM G M T [Master designs website, 1996]- “Master designs: State o f the Art Model Building and Visual Effects, CAD/CAM”, http://www.goodnet.com/-ei61095/CADCAM.html © 1996, Last Modified: Friday, April 05, 1996 5:35:00 AM GMT [McIntosh, Ozel, 191]- Patricia McIntosh, Filiz Ozel, Design computation collaberation. reasoning, pedagogy. © 1996 by T h e association for computer aided design in architecture [MIT Media lab web site, 2000]- “MIT Media Laboratory Projects”, Spatial Imaging - Stephen A. Benton http://www.media.mit.edu/Proiects/benton.html. Last Modified: Monday, May 01, 2000 10:27:39 PM GMT [MIT Media lab web site, 1999]- “MIT Media Laboratory Projects”, Luminous room - John Underkoffler, Daniel Cliak, Gustavo Santos, and Professor Hiroshi Ishii httn://tangible.www.me<lia.mit.edu/grouns/tangible/proiecLs/Luminous Room/Luminous Room.html , Last Modified: M onday, April 03, 2000 7:52:12 PM GMT [Wojtowicz, 1995]- Patricia McIntosh, Filiz Ozel, Virtual design studio. Hong Kong University press, Hong Kong, © H ong Kong University press 1995 47 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Chapter 5: Architectural design studio: Design Implications 5.1 Introduction This chapter describes the implications o f new tools and techniques defined in the previous chapter, on the design o f the studio. It covers changes in physical design and hardware/software environm ent o f the studio. 5.2 Activity chart w ith design im plications To incorporate new tools and activities, the studio needs to be redesigned. The changes can be broadly categorized into architectural changes and software/hardware changes. Architectural changes include space requirem ents for new tools and technology. The addition o f som e o f the new technology created the need for special considerations. For example, with natural language com puting, increased noise level in the studio created the need for special acoustic treatment. Table 5.1 Activity chart w ith design im plications Activities Futuristic changes Architectural implications Software Hardware Reading, Use o f Web Virtual virtual reality dome, VR VR software, high Virtual reality Research and library files on simulation room speed Internet dome and reference, Internet/ Intranet, access pneumatic base case studies Pan files Continued... 48 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. T able 5.1 contin u ed Conceptual sketches, tracing, and designing Draft-able computer screen/monitor, Less space for CPU Presentation and 3D modeling Computer sketches, tracing using transparent windows or drawing in different layer. Design development using 3D CAD software, computer smaller in size, more speed and memory V R files, Virtual reality dome, VR holographic images sim u la tio n room, Storage and movies, digital for electronic files pinup board, Computer files saved on server space, storage for physical prototypes Model making Computer aided machines making prototypes, storage for physical prototypes computer aided model making machines in CAD/CAM area, storage space for material and physical models Model resting Computer programs Computer aided Lectures, hand written notes for testing computer models in computer simulated environment, and testing physical models in computer simulated physical environment Virtual lectures, global lectures, Natural computing for taking notes simulation machine for testing Ink pen manger technology (to draft on drafting computer screen), CAD Software with transparent window feature. Integrated software package, which allows designing in 3D and make 2D drawings when needed. Software for holograms and virtual reality, made available on LAN server Software interface for Computer aided model making machines Ink pen for drafting on draft- able screen, hand held scanner/photo scanner, 3D digitizers, cameras More graphics memory and high speed processors High Definition Volumetric Display (H DVD), holographic video display, Holographic laser printer, LAN server, lockers Contour making machines Simulation software Simulation testing for testing physical machines like and computer wind tunnel for models testing wind load Communication Video conferencing Lecture rooms equipped with collaboration technology, VR simulation facility, Acoustical treatment to reduce the increased noise level due to natural computing Video conferencing facility Collaboration Audio-video input software, output devices, Ink pen manger ink pen technology, Natural computing software Video conferencing software Audio-video input/output devices 49 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 5.2.1 R eading, research and reference In the future, web virtual library files and panoramic files will be used for research and reference along w ith papers and books. T o access and view these files, VR simulation facility will be provided at every workstation. This includes dome with hemispheric screen and seating with pneumatic base, which moves giving feel o f m otion and VR software. Speedy transfer across the web will be achieved using high speed Internet access. In addition to simulation facility at every workstation, a separate simulation room will be provided. This room could be connected to any computer in the studio. The VR simulated environm ent will be projected on six faces o f this room. 5.2.2 Conceptual sketches, tracing and designing In the future, from early conceptual stage to final presentation stage, designs will be developed in 3D using a single software package. Conceptual sketches will be drawn on draft-able screens or electronic pads and could be saved as electronic files. The individual workstation in the studio area will be provided with draft-able screens and ink pen. During the design developm ent stage, transparent windows feature o f the software package will provide the functionality o f tracing paper. The software package will allow designing in 3D and will extract 2D drawing at specified plane. The size and shape o f com puter processors and data storage devices will decrease. This will in turn make the computers smaller in size and will require less space. Computers will be equipped with more processor m em ory and importandy m ore graphics memory. 50 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 5.2.3 Presentation and 3D m odeling For presentation purposes, virtual reality files, holograms and holographic movies will be used on digital pinup boards. This eliminates need for paper pinup space. As explained in section 5.2.1, provisions for V R domes and V R simulation room will be provided. Software for holography along with hardware support like holographic laser printer (MIT Media lab web site, 2000] (which is a technology for making 3d models o f holograms), H D V D [Dimensional media associates website, 2000], (which is a technology for making holograms) will be available. As we can see, m ost o f the w ork will be done using computers; a large electronic storage space will be required. The university will provide electronic storage space on a server to each student. In addition to that, students will use other electronic storage media like jazz disc with high storage capacity. 5.2.4 M odel m ak in g D ue to space limitations, it is not feasible to provide all the equipment at the individual w orkstation. For this purpose separate C A D /C A M area will be provided which houses the machines or equipments for shared use by students. T he CAD/CAM area includes computer aided m odel making machines. These machines could be connected to any computer in the studio. T he same design software package will provide input to the m odel making machine. Additional storage space required for the materials will be provided. For storing personal belongings and physical prototypes lockers will be provided to each student. T o absorb the noise created by these 51 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. machines C A D /C A M area will have acoustical treatment. Electrical pow er supply outlets will be provided for model making m achine in CA D/CA M area. 5.2.5 M odel testing M odel testing will be done in 2 different ways; by testing physical models in com puter controlled and simulated physical environment or by testing computer models in com puter simulated environment. C om puter aided simulation model testing machine will be provided in C A D /C A M area. M odel testing software will be available on individual workstation. To absorb the noise created by these machines CA D /CA M area will have acoustical treatment. Electrical pow er supply outlets will be provided for model testing machine in CA D/CA M area. 5.2.6 Lectures, hand written notes In addition to physically delivered and physically attended lectures, lectures will be delivered and attended globally. T o support this, lecture rooms will be equipped with collaboration technology like video conferencing. Collaboration technology requires provision for audio/video in p u t/o u tp u t devices on individual workstation. Hand w ritten notes on electronic pads will be saved as electronic file, using ink pen technology explained in section 5.2.2. A limited natural computing facility will be provided in addition to traditional input/output devices like mouse and keyboard. For example, software will have dictation facility by which user will talk to the com puter and software will convert the 52 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. talk into text in electronic format. For drawing, natural computing along with keyboard and mouse could be used in combination. N atural computing will increase the noise level in the studio, which could be reduced by using acoustical treatment to the studio and headphones [IBM, 2000]. 5.2.7 Communication. Video conferencing will be used for communication in addition to phone and e-mail. For this purpose, video conferencing software and hardware devices like audio/video input/output devices will be provided. T o keep the noise level low, headset with microphone will be used for above activities. In addition to it, studio area will be acoustically treated. For group interaction, group working space will be provided. 5.3 Summary With the advent o f new tools and technologies the existing studio activities will be enhanced and new activities will be introduced. To incorporate these activities, the current studio needs to be redesigned. The architectural, software and hardware implications o f the future design studio activities were studied. To summarize, new facilities like video conferencing, VR dome, draft-able screen, and limited natural computing will be provided at individual workstation. A separate CA D/CA M area will be provided with VR simulation room , computer aided 53 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. model m aking machines, model testing machines, holographic laser printer and hologram m aking m achine (HDVD). T o incorporate the above changes, existing third year design studio at USC is used as case study. This studio is redesigned taking into consideration the design issues and implications described in previous chapters. Following chapters will describe the layout o f the third year design studio o f year 2010. References: [Dimensional media associates website, 2000]- “Dimensional media associates”, http://www.3dmedia.com/, Last Modified: Monday, May 15,2000 7:14:29 PM GMT [IBM, 2000]- “Quantum Leap in Rapid Prototyping Unveiled”, httD://www.Dc.ibm.com/us/infobrf/speechf.html. © 2000 IBM U.S.A., Last Modified: Tuesday, May 09,2000 11:08:21 AM GMT [MIT Media lab web site, 2000]- “MIT Media Laboratory Projects”, Spatial Imaging - Stephen A. Benton http://www.media.mit.edu/Proiects/benton.html. Last Modified: Monday, May 01, 2000 10:27:39 PM GMT 5 4 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. C hapter 6: S tu d io la y o u t 6.1 Introduction This chapter explains the proposed design layout for design studio in year 2010. The existing third year studio W att 200 and W att 201 are used as case study. The chapter describes in detail the redesign o f the studio, achieving the design goals explained in chapter four. 6.2 Studio Elem ents The studio environm ent is comprised o f seven main elements: the students, the instructor, the space, the furnishings, the hardware, the software, and the network. The ideal learning environm ent integrates all the above elements. This chapter mainly focuses on the spatial elem ents o f the studio environm ent and also explains the Studio Environment Studio Services Human Technology Space Students Instructor Computer Software Computer Hardware Design Studio Lecture Room C A D /C A M Area Pantry Lounge Lighting Storage Heating Air conditioning Security system Acoustical system Electrical system Network system Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. services and technology aspect to support the proposed layout o f the studio. The design studio attem pts to offer a total package that provides an ergonomic interface for all o f these elements and as a result, improves and enhances the learning experience. Two adjacent studios, W att 200 and W att 201 (30’ X 60' X 14” ) are considered as case study for the design purpose as shown in the diagram. The existing height o f 14’ does n o t allow for a mezzanine floor. B ut the additional vertical space can be used for storage. 6.3 A ssum ption m ade during the design This futuristic design o f the studio is based on some assumptions. In spite o f the facility o f distance learning, students and teacher will still come to the university to take the advantage o f all facilities provided at the studio. The increase in the capacity o f the class in next 10 years will be less than 10%. T he design studio will be still taught in six groups. The new design is based o n graphic media technology advances, for which sufficient supporting research and reference material is available. 6.4 Space / Layout A studio area with workstations is provided to conduct design studio. D ue to space limitation other computers will be located in the area which will also have additional lecture room facility, hence called the lecture room. The machines and other facilities provided for shared use will be located in CA D/CA M area. Additional 56 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. areas like pantry and lounge a re provided. Thus the studio space is divided into following five areas as shown in the diagram: 1. Studio, 2. Lecture room, 3. C A D /C A M area, 4. Pantry, and 5. Lounge P .onnge ouh A Stupid J____I a \ [•ture Knniw r-f Section d lk r h d lb ^ £ Lounee tudio Pantry o{fio oQ]o c „ CAD/CAM Studio^ ,. o S If—[ p #i°T o ol I |q CAD/CAM ITT CAD/CA to E » CO CO CO CO CO [O [» CO CO CO DO CD CO CO DO D O CO CD DO CD CO CD DO CO CO CO CO CO CO CD DO CD DO CD DO D O CO CD CO D O CO CD CD CP CO DO CD DO , :cture Room Plan V iew 57 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 1. S tudio The studio (20'x75J ) accommodates a total o f 48 workstations grouped into 3 bays o f 20’x25’. There are 16 workstations in each bay as for group work usually 15 students and one instructor works together. In current studio there are total six groups o f 15 students. It is assum ed that number o f groups will rem ain same for class o f year 2010. These six groups could be divided in two batches o f three groups. Each group will use one studio bay area at a time. The rem a in in g students can work on lecture room workstations. D ue to Space limitation 90 studio workstations can n o t be provided. D ue to digital pin-up boards it is possible to switch the workstation as the student logs-in his digital pin-up board will show up floating in air. Also with additional C A D /CA M equipm ent will increase the productivity and efficiency. Each workstation occupies 4’x 4’ space, to w hich a personal notebook com puter can be attached. The detailed design o f the w orkstation is explained in chapter seven. All facilities required for group (instructor-conducted) seminar are provided within the bay. Individual units can be folded w hen n o t in use improving the overall space utilization. P~.i=JrT ■ ' r -j.1 ■ A t E ry^.r-1-r- I- K ev Plan Section .o 4 l - > : o oH|o otHer^c - . f 0^ - ■ ~ j a- ’ H — p «' :§ l33 e t Group Work Area Foldable units P lan Presentation board could be slipped in front o f the group work area 58 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Each bay includes a group working area at the center o f the bay, which provides space for group interaction and also can be used for instructor-conducted group meeting o r group lecture. The same space can be used for group discussions and group w ork for group submissions. It can also be used as working space for model making by individual students. An electronic presentation board could be slipped in front o f the table and used as an ink-board o r com puter presentation screen. Space for group meeting, group lecture and group group working area Figure 6.1 G roup working area W hen two students or three students w ant to work in collaboration they can slide the partition between the workstations in and w ork as shown in figure 6.2 and 6.3. In addition, the small screen o f the studio workstation can be detached from the station and can be used as a portable notebook computer. Hence the student can take this portable unit to the group worktable and w ork in collaboration. Students can also take the portable unit to the lounge area and connect to the local area network. For this purpose wireless Internet hub is provided in the lounge area. This makes it less 59 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. secure hence the security system will keep the track o f the detached notebook computers. Partition slid in Figure 6.2 Students at two workstations working in collaboration Figure 6.3 Students at three workstations working in collaboration Figure 6.4 View of the studio Figure 6.5 View of the studio 60 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2. L e c tu re room . The lecture ro o m o f size 30’x60’ has seating capacity o f 50 students and 2 instructors. W hen studio stations are occupied the remaining students can use the workstations in the lecture room . Along with the fifty workstations for students, two workstations for instructors are provided. A ny workstation in the lecture room can be connected to the main electronic presentation board. Students can also bring their ow n computer and connect it to the workstation in the lecture room . The lecture ro o m facility is an add-on facility provided in the design studio. Instead o f providing 50 workstations alone, additional instructors workstations and presentation board is provided. It has a simulation facility to view virtual reality files. W hen the simulation facility is required, four side screens and a top ceiling screen could be dropped o r slid from the boxes show n in the section. Virtual reality files could be seen on all four side screens and to p screen, which are wall sized com puter display screens. T he sim ulation facility has capability to electronically change the acoustics o f the room so that it matches the simulation i.e. when gothic church interior is simulated, the reverberation time will m atch the reverberation time in the gothic church. As the lecture ro o m has full height glass windows on its 2 sides, blinds are provided to cut-off the natural light. The lecture room workstations are similar to workstations in studio, b u t they have only one m onitor. The floor o f the lecture room is sloped (slope 1:10) to provide an im proved view o f the presentation board and instructor. 61 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. o olllo ollb □3 03 □3 03 E D 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 03 D 3 □3 03 03 03 K e y p l a n ■ i S d 1 y j V h 'MM- Section 4 elI □ o DO DO DO DO DO DO □ C O DO DO D C ? DO DO DO DO D O DO DO DO DO DO DO DO DO DO DO DO DO DO DO D C ? DO DO DO DO d H ■ / L DO DO DO DO DO D C ? DO DO DO DO D O DO DO DO DO Plan Seating unit with armrest and footrest with preset positions for comfortable seating Peripheral system: Keyboard, mouse, and mouse-pad with wrist-pads on mechanical arm for adjusting position and angle for right and left handed students Monitor on mechanical arm for adjusting position and angle o f the monitor Figure 6.6 Workstation in the lecture room 62 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 6.7 View of the lecture room Figure 6.8 View from the workstation in the lecture room Reproduced with permission of the copyright owner. Further reproduction prohibited without permission 3. C A D /C A M A re a The C A D /Q A M area is 10’ x 75’ as shown in the key plan. It houses model- making machines, m odel testing machines, machines for creating and printing holographic images, printers and plotters. A t one end o f the C A D /C A M area is a simulation room 8’ x: 8’ x 8’. All 6 faces (computer display screens o n four side walls, ceiling and floor) o f the simulation room have the facility to display virtual reality images, giving com plete a virtual experience. Students can connect to any studio workstation from th e simulation room . T he storage space is provided for raw material for model making m achines and paper, cartridge, ink etc. for printing. U > < J k > Laser printer Model making machine K ey plan Simulation room Model testing machine Storage for papers and material Holographic laser printer Storage for papers and material Model testing machine Small model making machnne Holographic laser printer Storage for papers and material Figure 6.9 View of the lecture room 64 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Storage for papers and material Laser printer Holographic laser printer Model testing machine Model making machine Figure 6.10 View of the CAD/CAM area 3 a fe flfty & a 3 5 E ii!l £ * & a & G S » e u r * » ^ i r - Storage for papers and material Model making machine Model testing machine Holographic laser printer Laser printer Figure 6.11 View of the CAD/CAM area Small model making machine 65 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 4. Pantry Students spend a lot o f tim e in the studio. To make the studio self-contained, a pantry and lounge area are added in the studio. The pantry has an area o f 10’x l5 \ This includes a sm art coffee m aking machine, smart microwave, sm art refrigerator and sm art kitchen. The intelligent coffee machine will recognize the user and serve beverages based on the previously learned preferences. A working m odel o f it is currendy installed at the M IT Media lab [MIT Media lab web site, 2000]. W hen the user puts h is/h er coffee m ug under the spout, the machine recognizes it and greets the user, \ making the coffee h e /sh e wants and plays his/her choice o f news o r information. The smart microwave with a barcode scanner reads the UPC code on pre packaged food and cooks it for the appropriate length o f time. The smart kitchen is the kitchen o f the future, w here all the sm art appliances are connected. For example, the refrigerator always knows w hat the oven is doing. The refrigerator, the counter, the microwave and the dishwasher even the kitchen sink all know their contents, their status. Smart refrigerator is connected to smart kitchen, which checks the supplies. 5. L o u n g e/co m m o n area The relaxing lounge has an area o f 15’ x 20’. This includes ergonomically designed bucket seats and sofas, w ith adjustable relaxing positions. There are a total o f 26 seats provided. These seats are ergonomically designed and can slide from an erect seating position into a relaxing flat sleeping position. Students can bring their own 66 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. laptop and access the local area network using the wireless Internet connection power supply outlets provided in the lounge area. o clfto oQj o c B ^ 0 ^ ^ = r~F=i ^ 1 do DO □O DO 0 0 do ( D O DO DO o o D O DO a o DO DO D O DO DO DO DO D O DO DO DO DO D O DO a o DO DO D O DO DO OO DO D O DO o o DO DO D O DO DO o o DO D O DO DO 0 0 DO K ey Plan Section \Z 3 1=1 C = [ = □ □ □ < ? n x > Plan Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Smart refrigerator Smart microwave Storage Smart kitchen sink Smart coffee- making machine Figure 6.12 View o f the pantry Figure 6.13 View o f the lounge area 68 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This explains the space layout o f the design studio. The next section explains the utility services o f the design studio. This includes lighting, storage, HVAC system, security, acoustics, electrical and networking system. 6.4 Utility services Though the thesis study concentrates on space element o f the design studio, the utility service layout was done to support the design layout. 1. Lighting “Light has a profound im pact on people - on their physical, physiological and psychological health, and on their overall performance.” [Steelcase website, 2000] T he lighting proposal is done in cost-effective way to m in im ise glare, create a com fortable working environm ent and anticipate future space changes. “According to the Energy Efficient Lighting Association (EELA), lighting is responsible for 20-25 percent o f the country's energy consum ption” [Steelcase website, 2000]. “Keeping am bient light levels lower and making better use o f task lighting will help minimize energy consum ption by concentrating light where it is needed the m ost, that is close to the w ork area [Steelcase website, 2000]. The studio lighting sources comprises o f — 69 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. • N atural light through the glass w indow area: During daytime, profuse natural light is admitted through the glass windows. To avoid glare, blinds are provided to bounce the light o ff the ceiling or to shut o ff the light coming through the window in extreme cases. • Indirect fluorescent lighting: Indirect lighting distributes light upwards and reflects o ff the ceiling (or reflector). It can reduce direct and reflected glare to an absolute minimum. Its soft, diffused illumination is m ore comfortable for com puter users than direct lighting sources like deep cell parabolic. Indirect lighting can create an overall sense o f brightness. • Task-lights provided at individual workstation: It supplements ambient lighting by filling in shadows and provides additional light needed for focused w ork that requires higher light levels. It can be controlled to avoid reflected glare in the display screen. Photo-sensors measuring illumination level and occupancy sensors are provided for more efficient lighting. During daytime the area near window requires less artificial light illumination hence those lights are connected to different switch. For glare control, workstations are provided with panels, which can cut off the glare. Also monitors are equipped with glare free screens. Blinds are provided to cut o ff the natural light from the glass windows on the sides o f lecture room . 70 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. m " f c = llirffci t r - J U L J i 1 Section 3 0 J C ^ m s y Plan Electrical layout 71 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 2. Storage In the studio area, storage is required for storing physical m odels, papers, drawing equipment, supplies and com puter equipment. It is provided in 2’ area below the ceiling. W hen needed, the storage unit lowers itself from the ceiling w ith the help o f the pulley, at the click o f the button. This way storage doesn’t occupy carpet area and vertical space is utilized. In C A D /C A M area, storage area is provided for papers, cartridge and raw material for m odel making and m odel testing machines. In the pantry, storage for kitchen supplies like coffee, sugar etc. is provided. 3. H eatin g and air conditioning system There will be centralized heating and cooling system for the studio and lecture room. As one alternative for the H V A C system, the controlled environm en t cham ber, by Charles C. Benton was studied. [UC Berkeley website, 2000] A t the University o f California, Berkeley, a closed chamber resem bling the office environm ent was built w ith facility to control air ventilation, humidity, temperature and lighting. The m ain objective o f the study was to provide a controlled office environment, where the user can control the temperature, humidity, and lighting inside h is/h er office cabin as per individual requirements. This cham ber has a suspended ceiling and raised floor level so that duct, communication, and cable systems can be provided between the structural floor slab 72 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. an d the suspended ceiling or raised floor. W ith the help o f controls, tem perature can b e adjusted up to 36° C while hum idity as high as 96%. Figure 6.14 Air system for the controlled environment chamber Figure 6.15 Interior view o f the controlled environment chamber From the above study, it was apparent that to use controlled environm ent system, the space has to be enclosed to regulate temperature and humidity accurately. T h e enclosed cabin system layout is n o t desirable in a design studio as open seating environm ent leads to more interactions within the students. H ence it could n o t be used in the proposal. 4. Security system D ue to addition o f m ore sophisticated computers and other machinery the cost o f studio furniture will rise. T o protect this from theft m ore sophisticated security system is proposed. For example, the highly sophisticated thum bprint o r x-ray- scanning system can be used for studio security. For the studio design proposal, 73 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. thum bprint recognition system will be used. This system is m ore secure than the current identity card system, as other person cannot use it. Also thum bprint system is more economical than the x-ray-scanning system. 5. A coustics system s “N oise is unw anted sound that disturbs concentration and generally impedes performance.” [Steelcase website, 2000] T he required sound absorption will be achieved by acoustical treatm ent to ceiling, furniture, and by carpeted floors. Usually, ceiling is acoustically treated to achieve the sound absorption. Following table shows the standard absorption criteria for critical hum an speech frequencies th a t might be considered noise distraction. T ab le 6.1 A b so rp tio n coefficients for various speech -so u n d freq uencies [From Steelcase website, 2000] Speech so u n d frequencies A bsorption coefficient (% o f sound absorption) 500 hertz .65 minimum 1.000 hertz .85 minimum 2.000 hertz .85 minimum 4.000 hertz .85 minimum The panels used in the manufacturing o f the furniture have sound transmission class (STC) perform ance rating higher than 18. In addition, for sound absorption, noise reduction coefficient (NRC) o f at least 0.60 is provided as recom m ended [Steelcase website, 2000]. 74 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Carpet system also helps in sound absorption reducing the noise leveL As recommended, it has the Noise Reduction Coefficient o f 0.25 and Im pact Insulation Class (IIC) ratings o f 62 [Steelcase website, 2000]. Thus using the carpet system, furniture and ceiling the desired sound absorption is achieved. 6. Electrical Layout Following diagrams shows the proposed electrical layout for the design studio. In the existing studio the electrical wires run along the hanger as shown in the diagram. In the proposed electrical layout the entry and the exit points o f the electrical wires are kept same. The wires run along the wall as show n in the diagram and supply the electric pow er required for lighting, computers, other accessories and all the CA D/CA M machines. In addition to it, extra power outlets are provided for future additions. F * 5 T H S E= 5 * 5 i t I '-------- -------' i ' — 1 l r ‘ K L iz! _ _ Section O D o o o a K > D O E» O O Plan 75 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. View showing electrical layout View showing position of the hanger 76 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 7. N etw ork system s All the workstations and units in the studio are interconnected using Local Area Network (LAN). All the software required in the studio is on Local area server and could be access at any com puter connected to the L A N server. Every student is provided certain storage space on the server. High-speed wireless Internet connection is provided, which will enable fast transfer of electronic data. A udio/video systems o f the workstation will be used to communicate via phone and video conferencing. 1 5 T F 1 j j p 3 3 5 ! ' 1 ' T — ----- ' T 1 1 m b ^ s L Section o oQJo oMja c uQ D C * CD CD CD CD CD DO CD CD CD CD 3a— B a CD CD □ a c d CD CD CD CD CD CD CD CD CD CD CD CD CD CD CD CD 0 CD CD 1 CD CD 0 » CD CD 0 » CD CD 0 > J 3 CD D » t = H I 1 77 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 6.6 Hardware Hardware provided in the studio can be broadly classified into input devices and output devices. Input devices include hand held scanner/photo scanner, 3D digitizers, cameras which take input and build 3D models, ergonomic keyboards, mouse, flodome for VR and visual and audio input for natural computing interface. O utput devices include two-monitor system, printers, head m ounted displays, virtual display dome, augmented reality headgear, CA D/CA M m odel m aking machines, holographic image making machine and holographic image printer. In addition to these devices, each student will have a portable notebook computer. 6.7 Summary The future design studio improves the use o f the available space. The studio can be used as a design studio, computer lab, global classroom and a small auditorium . Using m ost sophisticated accessories and redesigning the studio space, m ore space is made available. This new space was utilized to incorporate new activity areas like pantry and lounge for students. The study concentrates mainly on the space eLement o f the design studio. The utility service layout is done to support the design layout. References: [MIT Media lab web site, 1997]- Joseph Kaye, Sandy Choi, “Kitchen sync” http://www.media.mit.edu/Dia/Research/kitchcnsvnc/index.html Last Modified: Thursday, A pril 10, 1997 4:35:33 PM GMT 78 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. [Steelcase website, 2000]- “Seeing the difference- The importance o f quality lighting in the workspace” http://www.steelcase.com/knowledgebase/Iighta.htm [UC Berkeley website, 2000]- “The controlled environment chamber” http://www.arch.ced.berkelev.edu/resources/bldgsci/index.htm [Steelcase website, 2000]- Ernest Lawrence Thayer, “Workspace acoustics: a discussion o f sound, noise and effective work”, http://www.steelcase.com/knowledgebase/acoustb.htm. ©1996-2000 79 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. C hapter 7: W o rk sp a ce D e sig n 7.1 Introduction In last chapter, proposed layout for future design studio was explained. This chapter focuses on the workstation design. There are tw o types o f workstations used in the studio, one used in the studio area and the o ther in lecture room. 7.2 Studio w orkstation Each studio workstation is 4’x4’ in size. It includes two monitors, one smaller and one big screen m onitor. The small m onitor, keyboard and m ouse are m ounted on adjustable mechanical hand, which allows the user to change their position and angle. The touch sensitive big screen m onitor can be used fo r drafting using IBM’s ink pen technology. AS explained in chapter four and five, the workstation has natural computing abilities in addition to traditional use o f keyboard and mouse. For natural computing, headsets w ith m icrophone are provided to reduce noise level. Chair and all other peripheral com puting systems can record user settings, which are adjustable by the user. Flodomes are provided for virtual reality sim ulation. Students can bring their own laptop that plugs into docking station. D ocking station has extra CPUs, fans, and better power supply to enable it to use extra CPU pow er. Each workstation has access to CA D/CA M area facility. Each workstation is equipped with communication facilities like wireless Internet, e-mail, web phone and video conferencing. W ith the 80 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. help o f H D V D technology, digital pinup board can be created floating in air. This eliminates the need for paper pinup board. Every student carries a notebook computer with CPU and hard drive. The necessary design software is available on local area netw ork o r o n the college server. Seating Many o f the architectural students suffer backache as they spend m ost o f the time in chair. There was a study o n how people's backs behaved when they sat in chairs. Following four conclusions were drawn from the study [Steelcase website, 2000]. 1. The spine doesn’t move as a single unit and changes shape with change in posture. The upper and lower part o f the spine moves independendy from each other. The top part rotates backwards while the bottom part arches forward. Today's chairs have fixed backrests, which don’t support this complex m otion and leave a lower back gap. To compensate, users sit in unhealthy hunched postures. A chair's backrest should change shape to support the independent m otion o f the upper and lower back. 2. Each individual’s spinal m otion is unique. A chair's backrest should mimic each person's unique spinal motion. 3. T he upper and lower back requires different amounts and kind o f support. The upper back needs more pushback and it increases with the angle o f recline. The lower back needs a constant am ount o f support, regardless o f posture at all angles 81 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. o f recline. Today's backrests don’t provide differing am ounts o f controlled support for upper and lower back. Chairs need independent upper and lower back controls. 4. W hen you lean back in one o f today's chairs, your hands and eyes are pulled away from your w ork and you move out o f your vision and reach zone. As a result, we tend to sit upright, which is easier on the eyes and arms, but harder on the pelvis and vertebrae. A chair should let you recline w ithout leaving your vision and reach zone [Steelcase website, 2000]. Using the conclusions from the above study, the workstation seating is ergonomically designed and includes armrest and footrest fo r comfort. The backrest is designed to follow the curve o f the spinal cord. T he settings for the workstation seating position can be stored for each user and can be recalled when needed. The peripheral systems can be adjusted ith respect to the workstation seating, so that they are always in vision and reach zone. Peripheral systems on mechanical arm for adjusting position and angle of the monitor Monitor on mechanical arm for adjusting position and angle of the monitor Seating unit with armrest and footrest with preset positions for comfortable seating Track light Full size monitor Figure 7.1 Top View o f W orkstation 82 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Peripheral systems: Keyboard, mouse, and mouse-pad with wrist- pads Full size monitor 1 -t'V ■ ■ ■ ' , Track light Seating unit with armrest and footrest with preset positions for comfortable seating Figure 7.2 View o f studio workstation Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 7.3 Lecture room workstation Each lecture room workstation has a small monitor, sim ilar to the sm all m onitor o f studio workstation. Each workstation is a freestanding unit as shown in the diagram. S im ilar to the studio workstation, the lecture room workstation has adjustable mechanical hand m ounted m onitor, keyboard and mouse. This allows changes in their position and angle. S im ila r to the studio workstations, students can attach their laptop com puters to these workstation units. The seats are also ergonomically designed for com fort similar to the seats in studio area. Seating unit with armrest and footrest with preset positions for comfortable seating Peripheral system: Keyboard, Mouse, and Mouse-pad with wrist-pads on mechanical arm for adjusting position and angle Monitor on mechanical arm for adjusting position and angle of the monitor Figure 7.3 Workstation in the lecture room 84 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 7.4 Summary As seen from the discussion above, there are two types o f w orkstations used in the design studio, studio workstation and lecture room workstation. T h e studio workstation can be connected to C A D /CA M area facilities like sim ulation room. Using ergonomically designed seating, the workstation design attempts to maximize the com fort for students. Chapters six and seven describe the proposed design for the studio o f the future. The existing design studio space is reorganized to accom m odate future technologies, tools, and activities. The design accomplishes the goals set a n d all the requirements o f the studio. References: [Steelcase website, 2000]- “Back basic: how work gets on your back”, httD://www.steelcase.com/knowledgcbase/v5i2a2.htm. © 1996-2000 85 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. C hapter 8: C o n c lu sio n From the discussions in chapter two through seven, it can be concluded that advances in technology continue to technically and physically change the studio environment and the design o f the individual workstation. From studying history, it can be concluded that the technologies are merging. Between 1940 and 1970, the main research work was in hardw are technology. While in last two decades m ore w ork was done on software and netw ork technologies. It can also be seen that a s technologies were introduced, they were adopted in the professional and educational fields. T he research shows th at in any decade the current technologies are the outcom e o f the research w ork in the previous decade. From the study o f current research work, it can be concluded that there will be improvements in sim ulation techniques, CA D/CA M and globalization techniques. N ew activities like co m puter assisted model making will be introduced in design studio and existing activities w ill be enhanced using new tools and technology. By redesigning the existing studio, new tools and technologies needed for the future design studio can be incorporated. The studio layout is engineered to enhance design activities and th e learning experience. From the proposed design it can be seen that additional facilities like a pantry and a lounge make the studio m ore self-sufficient. Chapter 4 describes the various activities during the design process in year 2010 and also describes the tools and technologies that will be used. Furthermore in 86 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. course o f redesigning the existing third year studio, som e o f the futuristic design techniques and tools (like panoramic files) were tested and evaluated. Initially the existing design o f the current third year studio was studied by visiting the studio and taking measurements. A detailed drawing o f the existing studio was drawn in AutoCA D . The next step was to study the emerging technologies in related fields. F o r this purpose, library reference materials like books, articles, and periodicals were studied. During this phase Internet web sites, product catalogues, and personal interviews were also used to collect information. The research activity started with the b e g i n n i n g o f the project and continued through the final design o f the future design studio. M ost o f the information on the Internet is regularly updated and it is a good source o f the latest information. For this reason the Internet was used extensively during the research process. Since there is no control on w hat information can be put on a website, only authentic and reliable university and research institute websites were referred to. H ence the Internet proved to be a good source for inform ation on futuristic technologies and tools. The historical inform ation was m ain ly studied from the books and research papers. The actual design process started with the conceptual design phase, in which various ideas were expressed in the form o f freehand sketches. Various alternatives for studio layout and workstation were drawn using freehand plans, sections and views. All the sketches during this phase were hand drawn, as the com puter package to sketch drawings (like Cocktail Napkin software as explained in chapter four) is not 87 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. available in MBS lab. Using hand drawn sketches for the design in this phase was faster and easier, rather than drawing each alternative in detail using the computer. For example the following sketches in figure 8.1 were drawn during the workstation design stage. Figure 8.1 Workstation and seating unit sketches From the various alternatives drawn during the above phase, a studio layout was developed and drawn in 2D AutoCAD. This drawing was im ported in 3D Studio- MAX to generate the 3D m odel o f the studio. The AutoCAD 2D drawing was used as a reference while 3D modeling, as it is easier to model in 3D Studio-MAX using reference points from AutoCAD drawings. The 2D drawing was n o t directly extruded into 3D because software does n o t allow it. Comparatively, com puter drawings are more precise than hand drafted drawings. Also 3D com puter drawings are more realistic and it is easier to visualize the design as compared to 2D plans and sections. The 3D Studio-MAX and 3D Studio- 88 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. V IZ packages were used for 3D modeling. Also 3D Studio-VIZ was used to generate panoramic files. Though the project aimed at designing physical layout o f the studio and workstation design, utility services drawings were prepared to prove the feasibility o f the design. Using com puter packages like HVAC for M icroStation TriForma, it is possible to draw com puter generated HVAC system layouts in detail. Since this software is not available in the MBS lab, the HVAC system layout was drawn in 2D using AutoCAD and in 3D using 3D Studio-MAX. The 3D drawings were drawn, as it explains the HVAC layout m ore clearly. Similarly lighting design, electrical layout, and ethem et network layout w ere drawn in 2D as well as in 3D. While designing the studio area in the design studio, as explained in chapter six, studio workstations are not pre-assigned to the students because o f the use o f the digital pin-up board which are electronic file instead o f pins and papers. This theoretically makes the student body m ore mobile and makes the equipment more productive, allowing half as many workstations as currendy in the design studio. After completing the 3D com puter model o f the design studio in 3D Studio- V IZ , there were two options available for presenting it; either as an animation walkthrough showing various areas o f the studio or as panoram ic file o f various areas o f the studio. Animation walkthroughs are movie files, using w hich the user can move through the space as directed by the designer. Panoramic files are user interactive whereas animation walkthroughs are not. During an anim ation walkthrough, the 89 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. camera is moving, whereas in panoramic files the camera is stationary b u t rotating. In panoramic files, the camera can be rotated in any direction using the m ouse and cursor. Panoram ic files are more effective in expressing the 3D architecture, as there are many image files stored in a single panoram ic file. For example, the following images in figure 8.2 and 8.3 show the different views through the rotating camera in the panoram ic file o f pantry and lounge area. Figure 8.2 Panoramic file showing view of kitchen pantry 90 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Figure 8.3 Panoramic file showing different views of kitchen pantry and lounge area The animation movie files can be generated using 3D Studio-MAX and 3D Studio-VTZ, by assigning starting and end key frames. T he package automatically generates the in between frames to create sm ooth animation. As animation files are not user interactive, they were not used during final presentation. However, animation files allow progression through the space. They would be m ore appropriate for a museum tour or explaining the design o f a subway station and circulatory access. There are packages like Form -Z, which can also be used to generate animation walkthroughs and panoram ic files. As the author is m ore familiar with 3D Studio- MAX and 3D Studio-VIZ, these packages were used to generate panoramic files. While creating panoram ic file for an area, 3D Studio-VTZ package generates six images o f the area in six directions o f the camera. The six directions are front, back, right, left, top, and bottom . W hen a panoramic file is viewed, the software package 91 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. manipulates these six images in such a m anner that it gives the effect o f viewing through a rotating camera. Using the mouse and cursor, the user can select the direction and rotation speed o f the camera in panoram ic file. It is very easy to generate panoramic files using 3D Studio-VTZ, as it can be created by selecting the camera and using a single com m and “smoothwave panoramas SE — R ender...”as shown in the following figure 8.4. As panoramic files are m ore user interactive, they were selected over the animation walkthroughs for presentation purposes. Panoramic files were created for lecture room , studio, CA D/CA M area, pantry, and lounge area o f the design studio. ■ 3 iB f« g iw s r Figure 8.4 Screen captured showing rendering method for making panoramic file in 3D Studio -VIZ 92 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. F or example, during the final presentation, a panoram ic file was presented o f the lecture room area, giving the view from the student w orkstation. Using the mouse and cursor, it was possible to m ove th e camera in all directions to get the complete 3D view o f the lecture room. All the elem ents o f the lecture room could be seen in one file in m ore realistic way. It was even possible to check line o f sight visibilities from the student viewpoint to vertical displays in the space. The following images in figure 8.5, 8.6 and 8.7 show the lecture room panoram ic file used in the final presentation in PowerPoint. In this panoram ic file, the camera is located at the eye level o f the student in the sitting position. Figure 8.5 shows the view towards the presentation board, figure 8.6 shows the same camera rotated to show the view tow ard the window, while 8.7 shows the view through the same camera rotated to show the vertical digital presentation. Q S & g & l Assimptii Workstations .C o n c lu sion A p p en d ix Studio Lecture room G A B /C A M Pantrv-Loume - BFUB.glF Figure 8.5 Panoramic file showing view o f lecture room from sitting position 93 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. togsiasssBsa ISertiffifBPttil D ssiaL A ssuSSti Layout- Workstations Conclusion Appendix Studia Lecture roam CM/CAM Pantry-taunoa iPlgg'Sipr Figure 8.6 Panoramic file showing view o f lecture room from sitting position Assurriptn Layout Workstations Conclusion Appendix Studio Lecture room Cflfl/GA M Pantry-lounge Figure 8.7 Panoramic file showing view o f lecture room from sitting position 94 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. N ow days, panoramic files are used in real estate agencies to give the prospective buyer the 3D view o f the house o r apartment. This way the buyer can get a better idea o f how the house will look, before actually visiting the site. Similarly using panoramic files for the various areas o f the future design studio, it was easier for the audience to visualize how the future design studio will look. It was easier to describe the elements o f the lecture room , C A D /C A M area, studio area and the lounge area. By rotating the view in all directions, all the elements o f the selected area could be seen by the user in one panoramic file. F or example, the lecture room has simulation facility to view virtual reality files. Using the panoramic file o f the lecture room area, the audience could see how the simulation facility will be used to view the virtual realitv files. The presentation was done using the Microsoft Pow erPoint package and it is easier to launch the panoramic files within PowerPoint. To view the p a n o r am ic files, the “iMove viewer” package can be used. This is a free software which could be downloaded from www.imoveinc.com website. This way it was easier to describe a particular area using PowerPoint slides and at the same time by a click o f a button, launch the panoramic file for the same area. During the presentation, the physical layout o f the design studio and also lighting, electric, and netw ork layout were described using rendered image files. These drawings were used along with the PowerPoint text to describe the respective areas. 95 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. O ne o f the advantages o f using M icrosoft Pow erPoint is that the Pow erPoint files can be ex p o rted as W ord documents as well as can be saved as HTM L files. A copy o f the final th esis presentation in Pow erPoint form at is attached in Appendix a. D uring the (d iffe ren t stages o f the design process, different software packages like AutoCAD, 3D Studio-M AX, and 3D Studio-VIZ were used. As stated in chapter 4, there are softw are packages available where a single 3D software package can be used during the e n tire design process. Using these packages, it is easy to extract 2D drawings from the 3ID m odel when needed. Packages like MicroStation TriForm a and Form-Z allow the u s e r to design using a single 3D model. As the author is not very familiar with Form — Z, it was not used during the design process, while the other packages like M icroStation TriForma were n o t available in MBS lab. While designing in the initial stages, the designer’s conception o f the design is pretty vague. H ence the sketches drawn are not very exact or accurate. But as design develops, the designer refines his/her ideas along with h is/h er drawings. While using these packages the teser has to understand that even though in the initial stages when the sketches drawn rare refined to finished drawings he has to know that it will not reflect the progress o f the development o f the design. Usually when designer after leaving a pencil (rased for sketching) picks up a drafting pen it’s a visible transformation fr o n t one stage to the other. This gets eliminated in using a single package through o u t the design process. The user has teach himself /herself to deal with the difficulty i n h e r e n t in designing with only one tool through out the process. 96 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. F rom the final presentation it was observed that 3D panoramic files in com bination w ith 2D plans and views are better in com m unicating the design, as 3D panoram ic files give a m ore realistic view o f the studio. Also from the above discussion it can be seen that som e o f the futuristic technologies explained in chapters 4 and 5 w ere used and tested during the design process. D uring this redesign process, only those technologies w ere incorporated where there was sufficient research docum ents to support the w ork. C ost was not the deciding factor while designing. F o r this exercise, it was assum ed that students and teachers would still come to universities to leam and teach respectively. But in the future, distance learning might becom e very popular and the students and teachers m ight interact through web o r video conferencing from the workstations at home. This will change the basic concept o f universities. There is scope for futuristic study considering all different possibilities especially in the more distant future. This study shows just one o f the numerous possibilities. T he invention o f the com puter brought radical changes in our society. ■ S im ilarly, there might be another invention like robots, w hich will change the whole paradigm o f the way we do things. T here is scope for future research in simulation techniques, CAD/CAM technologies and, globalization techniques and new tools and technologies will evolve in future. 97 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. I hope the discussions and explanations in this docum ent will prove to be a valuable inform ation tool for future redesigning o f architectural studio as well as informative in general. 98 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. B ib lio g ra p h y W ebsites- [5dt W eb site, 1999]- “Virtual Reality Flow Visualization System” http://w w w .5dt.com /p_floviz.htm l Copyright © 1999-2000 by Fifth Dimension Technologies Last Modified: Thursday, April 13, 2000 2:37:57 PM. [Dimensional media associates website, 2000]- “Dimensional media associates”, http://w w w .3dm edia.com /. Last Modified: Monday, May 15, 2000 7:14:29 PM GMT [Edgewise tools website, 2000]- “Edgewise tools: laser cutting service” h ttp ://www.edgewisetools.com/serv03.htm. Last Modified: Wednesday, May 10, 2000 10:13:46 PM GMT [Fabian, 2000]- Nicholas Fabian, “A Brief History O f Computers” http://w w w .studyw eb.com /C om puter Science/ Copyright ©1995-2000 [Flogiston website, 2000]- “Flogiston” http://w w w .flogiston.com /. Last Modified: Friday, April 21, 2000 5:22:15 PM G M T [Georgia Tech Virtual Environm ents G roup web site, 1999]- “The NA V E Virtual Environm ent, Georgia Tech Virtual Environm ents Group”, http://w w w .gvu.gatech.edu/virtual/nave/ Last Modified: Friday, May 14, 1999 8:48:03 PM G M T [Glen Sanford, 1999]- Glen Sanford, “History” http://w w w .apple- history.com /history.htm l Last Modified: Friday, March 10, 2000 08:58 [IBM web site, Feb 2000]- “IBM pen technology” http://w w w .research.ibm .com /hom e.htm l Copyright© 1999-2000 [IBM, 2000]- “Q uantum Leap in Rapid Prototyping Unveiled”, http://w w w .pc-ibm .com /us/infobrf/speechf.html. ©2000 IBM U.SA., Last Modified: Tuesday, May 09, 2000 11:08:21 AM GM T [Ken Pollson, 1997]- K en Pollson, “Chronology o f Events in the History o f M icrocomputers” http://w w w .islandnet.com /~kpolsson/com phist/ ©1995-2000 Last updated: 2000 February 11. 99 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. [Khoshnevis, 2000]- D r. Behrokh Khoshnevis, “ Q uantum Leap in Rapid Prototyping Unveiled” http: / /w w w -rcf.usc.edu/~khoshnev/us-tech.htm . ©1997 U.S. T ech, Last Modified: Tuesday J u ly 22,1997 8:23:43 PM G M T [Kris tula, 1997]- Dave Kristula, “History o f the Internet” http://w w w .davesite.com /w ebstation/net-history.shtm L March 1997 [Leo Kaminski, 1997]- Leo Kaminski, A B rief D escription o f the Internet and the World Wide W eb h ttp ://w w w .hevanet.com /leok/netw eb.htm l. ©1997 [Marcus Joppe, 1998]- Marcus Joppe, “Introduction to rapid prototyping technology” http: / / www.biba.uni-bremen.de / groups /rp /rp intro.htm l. Last M odified: Wednesday, O ctober 14,1998 10:50:48 AM G M T [Master designs website, 1996]- “Master designs: State o f the A rt Model Building and Visual Effects, C A D /C A M ”, http://w w w .goodnet.com /~ei61095/C A D C A M .htm l © 1996, Last Modified: Friday, April 05, 1996 5:35:00 AM GMT [Meyers, 2000]- Jeremy Meyers, “A S hort History O f the C om puter” http://w w w .studyw eb.com /C om puter Science/ C opyright©1999 [MIT Media lab w eb site, 2000]- “M IT Media Laboratory Projects”, Spatial Im aging - Stephen A. B enton http: / / w ww.m edia.m it.edu/Projects/benton.htm l. Last Modified: Monday, May 01, 2000 10:27:39 PM G M T [MIT Media lab w eb site, 1999]- “M IT Media Laboratory Projects”, Lum inous room - John Underkoffler, Daniel Chak, Gustavo Santos, and Professor H iroshi Ishii h ttp ://tangible.www.m edia.mit.edu/groups/tangible/projects/L um inous_R oom /L u minous_R.oom.html, Last Modified: Monday, A pril 03, 2000 7:52:12 PM G M T [MIT Media lab web site, 1997]- Joseph Kaye, Sandy Choi, “K itchen sync” http: / / w w w .m edia.m it.edu/pia/Research/kitchensync/index.htm l Last Modified: Thursday, A pril 10, 1997 4:35:33 PM GM T (PEC Company, 1999]- PEC Company “Foam: M olded & Cut” http://w w w .pec- co.com /ifoam m c.htm Last Modified: Friday, January 08,1999 1:43:18 AM G M T [Steelcase website, 2000]- “Seeing the difference- T he importance o f quality lighting in the workspace” h ttp ://www.steelcase.com/knowledgebase/lighta.htm [Steelcase website, 2000]- Ernest Lawrence Thayer, “Workspace acoustics: a discussion o f sound, noise and effective work”, h ttp :/Avww.steelcase.com/knowledgebase/acoustb.htm. ©1996-2000 100 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. [Steelcase website, 2000]- “Back basic: how work gets on your back”, h ttp ://www.steelcase.com /knowledgebase/v5i2a2.htm. ©1996-2000 [UC Berkeley website, 2000]- “The controlled environm ent chamber” h ttp :/Avww-arch.ced.berkeley.edu/resources/bldgsci/index.htm B ook s Godfried Augenbroe, Charles Eastm an, Computers in building: Proceedings o f the CADD futures ’99 conference, Kluwer academic publishers, B oston/ D ordrecht/ London, ©1999 Patricia M cIntosh, Filiz O zel, “Design com putation collaberation, reasoning, pedagogy”, © 1996 by The association fo r com puter aided design in architecture A uthor L. Norberg, Judy E . O ’Neill and Kerry J. Freedman, Transform ing Computer Technology, The Johns H opkins University Press Ltd., Baltimore, M D, © 1996 Jon Peddie, Multimedia G raphics Controllers, Blue Ridge Summit, PA: W indcrest/ McGraw-Hill, 1st edition, © 1994 Patricia M cIntosh, Filiz O zel, Virtual design studio, H ong K ong University press, H ong Kong, © H ong K ong University press 1995 P erso n a l in terview [Jim Lefever, 2000]- Personal interview with Architect Jim Lefever, from Gensler on date 04.12.2000. C D -R O M s [Microsoft Encyclopedia, 98]- M icrosoft Encarta 98 Encyclopedia, The W orld Standard in Multimedia Encyclopedia, CD Rom 1998 101 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A p p en d ix -a DSfriJRIheflesign Studio of T he Historv.'-i-" : V - - ! - - ’ The Future|-^i’ Design procesSir.l Ohiective&jg AssumPtiorisSir L 3 v o u f^§tl| Workstations^! Services .'^ri ■ ■ Conclusion^;'. This thesis is a futuristic design project, to investigate the impact o f future graphic media technology on design studio. Hypothesis AnncndixSi§ - l i l t ' physically change the design o f the studio, and the design o f the individual workstation. Thesis Process C > Study o f the evolution o f graphic media technology and its impact on field o f architecture O Study o f current research work in related fields, and new products -- Physical design o f the studio, taking into consideration futuristic requirements 102 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Design." - - : : Studio i f u t u r e ^ p I S ^ ~ ____ H isto iry y s-B ™ ! The Future Design process J; Objective & Assumptioas Layout Workstations Services Conclusion Appendix ; - Ta ahydecade,current technology was the o u tco m e o f the ' research work o f last decade The research on new technology first started i n various research institutes and universities and later on entered unto profession and colleges. Technologies merging Size o f computer getting smaller Computers and related technology getting cheaper More graphic, simulation facilities available The Design - Studio of the- future . Introduction^- - - The Future History The Future Design process Obiccavc & Assumptions Layout Workstations Services Conclusion Appendix Computer will be integral part o f design studio Advances in - ♦ CAD/CAM technology • Simulation techniques Merging technologies Global education Collaborative work Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. History * T h e F u tu re Design process Objective & Assumptions Layout Workstations Services Conclusion A p pendix Research work Desion oiocess Presentation _____________ [HE Activities N o w In Future Examples for Justification Reading, Research andreference,Case studies Papers, books, Libraries, rntemct / Intranet Papers, books, Libraries, Internet / Intranet, Web virtual library files, Pan files Extensive uses of interactive VR files on [ntcmec, where one can virtually walk through the structure. Designing: conceptual sketches, Hand written notes Manual Computer sketches on electronic pads Computer sketching software: RT2 -. TPM's ink pen technology 9 The Future Design p O bjective Assumption S erv ices Conclusion Appendix. view The j 99P leumatic base, which moves to give o f motion. T he flostation is vided with flodome, a display ;tem on hemispheric screen. ave Construction designed as a seated environment for two people. The user interacts by using a force-feedback joystick to navigate the environment. The experience includes a virtual thunderstorm. As the users walk through the rain the fans cool their skin, which matches their expectations o f what should happen. A strobe light generates artificial lightning, the thunder o f which can be felt through the platform and the thunder seats. Research work Design process Presentation u N U fcH Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. v j? T he Designs Studio futureilM®!^., " n T ~ . ? K *** -.,,» ■ ,- ^ ^ m ^ . . ^ M M N M l P A 2 1 * '.'■ A ~ ~ History The Future : . ; ■ Design process Objective & Assumptions Layout Workstations Services Conclusion Appendix Research work Design process Presen ration Designing:n . .Ttaang!r - -r 1 : Using tracmgpaper-‘ 7 r . ! Tracing Using | transparent windows or | drawing m different i layer | Computer sketching [ software: the Research work ! on “transparency in sketch * design interfaces” submitted f by Paul Richcn to university | of Cambridge in July 1998 Designing: Presentation drawings Manual and ; computer, 2D/3D ‘ drawings, sometimes i animation, pan. Paper ; pinup ! Mainly computer drawings, i interactive VR files, ! animation, pan, i holographic images and ; movies, digital pinup : board i High Definition Volumetric ! Display. Holographic video i display, holographic laser ; printer. Digital pinup boards i used in “Virtual Design i Studio” Designing: 3D modeling : Not commonly used ; during design process ; Will be commonly used ; during design process j Software packages which | allows to design in 3D and i make 2D drawings when i qceded Simulations, Virtual icaK ty Mot used currently ; Wilt be used for Presentations : Flosarion. NAVE i construction " The Pi Studio o f thifrafr • — - . - ■ ■ ■ ■ ■ mm In tro d u c tio n - Supporting Research Work 'r " - y > " :7 ^5RT^iRighttool a trig h t tiinc^, converts free hand computer drawings into smooth drawings. -• : ; 5 .Bcn^ahTnndKgchtprogtam it also trier to guess what designer is working on and draws rt for the — - — - :~designcri For example. if the user draws a partial circle on the screen^ the tool will ask the user if hc/shc - - wanhjtocomplete the circle- Using similar tods, it will be possible to convert free-hand drawings into Design process architectural drawm^ Objective & Assumptions Layout Workstations Services Conclusion IBM’s Ink-Pen technology: IBM is conducting research on saving text written on electronic pads as computer text files. This is being achieved in two different ways; by interpreting the movement ofspccialized p«i into characters and by using specialized electronic pads with touch sensor mechanism. Hologram: At MIT’s media lab, various research reams are working on holographic presentation techniques. Dr Thomas Nwodoh is working on holographic interface circuit for holographic video display. Stephen A Benton is working on a “holographic laser printer** which allows generation of a hard copy of holograms. Using special recording materials and optical techniques, this printer can produce 3D hard copy of the holographic image. In future, digital pinup boards can replace paper pinup boards. 1/stngHDVD (High Definition Visualization Device) technology, holograms can be seen firming m air. These holograms can be seen widiour any headgear. In future, similar technology can be used in Appendix place of drawings and images on pin-up board. Research work Design process Presentation U 105 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The DesigffiagSr Studio Sc*-„ - * Design Process In 2010 The Future-. ■ “ 1 “ Design process Objective & Assumptions Model tmkihg .( Manual : L . _ '' '■ - ; Computer aided I machines making 'prototypes ; Dr. Behrokh Khoshnevis Contour ; making machine Model testing f Manual & some \ computet programs : Computer aided j machines Sc Computer ; simulation Programs : Virtual Reality Flow Visualization System Lavour Communication; i Phone, e-mail : Phone, e-mail, video ! conferencing Global lecture by U C LA . Workstations Services Stooge, Required for Physical ; models. Papers, Computer files, model making Computer Hies saved on server space, for computer made • : Prototype Electronic sttwagc media Conclusion Lectures Physically delivered : Physically delivered. Virtual lectures, global lectures Global lecture arrange by UCLA and Japan University Appendix Research work Design process Presenrarion The ' ' : i;: F Studio o f the ,, ' J ~ - ■ " - futuriS5?ofe" fntrocfuctidn^jy ^ p i Supporting Research W ork Contour crafting machine • H istory : The Future: D esign process O bjective & A ssum ptions U V out VRFLO VIZ W orkstations S ervices C onclusion A ppendix D r.B e h ro k h Khoshnevis a t USC has developed rapid prototyping technique called - “C ontour oafting”. which allows quick, fabrication o f computer-designed objects. It is ' based o a additive technique. T he model b term ed by applying many thin bycrs o f the material with a layer o f gjuc material applied betw een two layers o f model material. A ccording to O r. K hoshnevb. thb technique cannot only be used to m ake small prototypes but also to construct building structures and roads. b a v im n l wind tunnel package, which helps visualize the impact o f wind forces o n a structure. Similar packages can b e used to teach the effects o f various physical forces on structures. T h e 5 D T D ata Clove b used to input the wind speed data b y gestures. A tracker, m ounted o n the glove, measures the position and orientation o f the user's hand. T h e data inpur and outpurcan be seen on com puter monitor. Research work Design process Presentation UMIM 106 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Studio T h e F u tu re Assumptions Objective: D esign pro cess - r To integrate new technologies in third year studio Assumptions O b jectiv e & A ssum ptions L av o u t W orkstations Services C onclusion A ppendix L Students still com e to college and work in studio ii. Teachers still com e to college and teach the class being physically present too. (And also teach in global classroom) iii. Class capacity remains same or does not increase beyond 96 iv. Studio group sizes remains same, still one faculty per group L ay o u t A nnendix lecture roam CAB/CM Pantrv-lounge 107 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Studio Section iiio <4k'3ir4ir3iE»' Q bjcctive_& A nncndix C A D /C A M Pantrv-lounge Studio of H i^ersc- , ' oom o|o u — ? <P * T Ivil Section T he F uture -'v-m Design process O bjective & Assumptions b> a > 03 03 03 03 03 03 03 03 D 3 03 03 03 03 03 03 03 03 03 D 3 D 3 03 03 03 03 E D 03 03 03 03 03 03 03 03 03 03 03 03 03 L ayout W orkstations A ppendix Sadia Lecture room C A D /C A M Pantrv-lounge B B S S 108 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ' < f lb « J ) » Studio Introd riK U S S Design process E&ra a % Obicctivc_& Assumptions Conclusion A ppendix Pantnr-lonnge s o io ilo i j j f R - r , . ,r • Sm art kitchen • S m art M icrow ave • S m art cofFee-m aking m achine » Sm art ReFrigerator L ayout Studio Lecture room C A O /C A M Pantrv-lounue > NH 109 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Studio ns: Studio •Two monitors, •The small monitor, keyboard and mouse are mounted on adjustable mechanical hand, •The touch, sensitive big screen monitor can be used for drafting. •natural computing abilidcs in addition to traditional use of keyboard and mouse. •Chair and all other peripheral computing system can record user settings, which are adjustable by the user. •Software available on local area network or on the college server. lecture room Workstation 110 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The DesiL ---------- i ^ o r B S S B i ® ■ P M l i g H E J i l i m H l i i i I H p w l l U | i 1 l i « i ~ | l i f l l ' i ' F T “ “ W i r t s t a d i i s : - T h e Future' D esign p ro cess ^ frccstnnding u n it ^ ' O bjective & - A ssum ptions L avout W orkstations S ervices C onclusion A ppendix •a d ju sta b le m echanical h a n d m o u n te d m onitor, key board a n d m o u se allow s changes in their p o sitio n a n d angle • ergonomically designed seating for comfort Studio wortsiation B E O bjective & A ssum ptions L avout W orkstations C onclusion A ppendix 111 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Stndiaofig^iBfeP%fi; ” ^ ^ ^ P r S f v . I K S I t f l Services: L i g L Histo^*;g" T he F uture D esign process * W f r A - i i n v v » i 4 i , - i , , r 4 . - r j r i f A * ' SECTION Q biective Sc A ssum ptions L avoat W orkstations PL A N Conclusion Appendix cal Ethernet Studio of future Sera ices: Elec History. e h e s s i The Furore Design process Q biective & A ssum ptions Layout W orkstations P L A N Conclusion A ppendix Huns’ E thernet raw 112 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The Den iilaiSfe&Ss? Studio -< ca3 -'-w u Services: Etne [ntroductionr^rl H i.story' s. T he F uture D esign process _ o -.s i ‘ W < » r j ; i »»y r . i (rA " t iri.'& n rJk iv i'Jk 'u Q biective & A ssum ptions Q Lavouf w orkstatio n s PLAN C onclusion Appendix Electrical R E future T h e Studio IntroductioiiS^vr- ^ ■ ^ v .-.-g sV ' H i s t o r y ': T he Future D esign process O bjective Sr A ssum ptions Layout W orkstations Services A ppendix f From studying history: - T echnology r ; • ; - 'I n last tw o decades ! i i ' i?-- •- A s new technology | an d educational fields From current research work: -T h e re will b e im provem ents in - Simulation techniques -C A D /C A M and - Cilobalization techniques -T h ere will b e changes in design studio activities - N ew activities will be in tro d u c ed o r existing activities will be enhanced - D u e to these new tools w ill b e introduced - T his requires d te redesigning th e studio space. From redesigning studior -B y redesigning the existing studio i t is p ossible to incorporate new tt>oIs a n d technologies needed for th e iuturc design studio. - M ultiple use o f the space possible a n d new areas like pantry, lounge can be added. 113 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. S tu d io jd E tK ^ p S l^ ^ p Appendix _ _ D esign process- O b jectiv e & A ssum ptions Lavout W orkstations Services C onclusion v;"*viConsidered orilyrthose'i w ith current research w orlcorproducts • Cost was not the deciding factor •If more vertical sp ace was available then mezzanine floor would have been possible • There is scope for research in sim ulation techniques, C A D /C A M and, globalization techniques and new tools and technologies will evolve in future s i Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Appendix-b Sm artDesk: It is a project o f the Perceptual C om puting group at the M IT Media Lab and encompasses experimentation on a range o f computer-based perceptual input and output systems in a personal w ork environm ent. Wk!*-baMtin» starco vision system Active pan-tilt-zoom camera _____ 3-0 transaural audio rendering system_______ k Steerabla phased ■rray audio input High-resolution graphics display Hardware: The hardware consists o f visual input (wide-baseline stereo, pan-tilt- zoom camera), visual output (large screen graphics display), audio input (phased-array m icrophone), and audio output (stereo loudspeakers). O ther sensor modalities are also possible. The wide-baseline stereo is used for visually tracking the macroscopic m ovem ents o f the user. The foveating (pan-tilt-zoom) camera is used to obtain high- resolution images o f an area o f interest, based on various attention-focusing algorithms. The phased-array m icrophone is used to pick up audio from a direction o f 115 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. interest, usually from the user's head. A nd the loudspeakers are used to generate transaural spatial audio. Applications • Planet: visually-guided interaction and transaural rendering • Puppet: visually-guided animation • Visually-guided face recognition A nother nam e for the smart desk is the "Cyberdesk"; a term coined by our research partners at BT (British Telecom). 116 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. HVAC for M icroStadon TriForma: It is an advanced HVAC and building piping application, which extends the capabilities o f MicroStation TriForma. H V A C fo r MicroStadon TriForma is an advanced HVAC and building piping application, which extends the capabilities o f MicroStation TriForma. It was created specifically for mechanical engineers and designers who desire m uch m ore from a software package than traditional CAD programs. Although H V A C for MicroStation TriForma has been designed to fit within your current production-oriented workflow, this application offers you m ore flexibility and growth potential in an era when you need to stay competitive in this progressive industry. Your choice o f H V A C for MicroStation TriForma will ensure that implementation and training cost are minimized com pared to other systems which do not provide the familiar workflow process and productivity enhancements o f TriForm a. H V A C for MicroStation TriForma addresses you needs by, first and foremost, providing a workflow that you are already familiar with: N ot only will you maintain your current working environment, you will far exceed your current production output by "designing the way you think" rather then the placing o f rudimentary lines, arcs and circles. H V A C for MicroStation TriForma works in a 3D environment, allowing you to place your components in the plan view, just as you have always done w hen creating construction documents. M ost likely, the only distinction from your current workflow is that H V A C for MicroStation TriForma asks you to define the elevation o f the components as you design in the plan view. In traditional methods o f design, you have 117 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. always had to consider the elevation o f the building. N o w you have the ability to store that data w ithin the 3D environment o f a single building data model. By assigning elevations to com ponents, you can build a true 3D contiguous m odel even though your focus at this stage may be production-oriented. H V A C fo r M icroStation TriForma allows you to build a "connected" netw ork o f systems. This m eans automatic creation o f true bills o f materials, sections and elevations with a click o f a button, automatic fitting placements, device connections, and coming soon, flow analysis/sizing w ith one if the industries leading analysis programs. This netw ork sets the stage for even m ore benefits than your current, or semiautomatic, production workflow can provide and takes you into greater productivity and efficiency than ever before. H V A C f o r M icroStation TriForma addresses your needs by, first and forem ost, providing a workflow that you are already familiar with: N ot only will you maintain your current working environment, you will fir exceed your current production output 118 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. by "designing the way you think" rather then the placing o f rudim entary lines, arcs and circles. All o f these elements can be placed w ithout ever leaving the routing command: Begin a route from a 90-degree elbow and a tee will appear: R oute from an existing duct and the intersection automatically becom es a take-off. D elete a route from a tee intersection and an elbow is created. H ooking up diffusers or terminals to a main duct couldn't be easier then w ith H V A C fo r M icroStation TriForm a. Just select the device and then the duct you want to connect. H V A C fo r M icroStation TriForm a does the rest for you. Y ou can even set the maximum length o f flex that is n o t to be exceeded between you defusers and main duct. If this length is exceeded, H I / A C fo r M icroStation TriForm a automatically finishes the connection with rigid duct and a take o ff o f your choice. W hether your organization is large or small you'll need logical methods to manage design standards. To maintain consistency within your company's documents, H V A C fo r M icroStation TriForma allows your organization to share com m on graphical definitions across multiple users. W hether it's in-line symbols, route definitions, 119 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. equipm ent or fitting types, H V A C fo r M icroStation TriForm a can store all this information in a centralized location for use by many people. This method also fits in with the underlying 3D building model created with MicroStation TriForma, often also referred to as the "Single Building Model." [ D < ^ s T < l < i t V a r » c Since H V A C fo r M icroStation TriForma interprets design intentions, there are fewer commands and fewer tricks to learn. Modification commands are as simple as move, copy and delete. T o edit the width o f a pipe o r duct, just edit the actual size o f the route. All the associated graphics will reconnect and redraw automatically. H V A C fo r M icroStation TriForma even allows you the flexibility to toggle your routes between single or double-line mode. H V A C fo r M icroStation TriForma really provides two disciplines in one application; piping and HVAC. Since it is likely that the same person will be designing both, the icons and commands are identical, and no additional training is required to run both applications. By assigning elevations to design components, H V A C fo r M icroStation TriForm a can obtain material take-offs from your drawing. Material counts can be done on an 120 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. entire design o r by identifying a specific area o f your drawing. O nce the data is extracted into comma-delimited (.csv) files, the data can then be utilized by Microsoft Access and many other popular database programs. Components o f your report can even be separated in to four categories; routes, fittings, in-line devices and equipment, as needed by your clients. Virtually every aspect o E H l^ A C fo r M icroStation TriForma can be customized to fit your specific needs. W hether you w ant to establish your own definitions for fittings, add or rem ove equipment, or merely m anage your drawing symbology, H F IA .C fo r M icroStation TriForm a allows you the flexibility to comfortably fit w ithin your current design environm ent. You can even incorporate your current design symbols whether they are in MicroStation or AutoCAD format. H V y iC fo r M icroStation TriForm a now incorporates the new electronic Ductulator from Trane Company. Use the Ductulator, from w ithin H l^ A C fo r M icroStation TriForm a, to size duct routes by the equal friction m ethod and view reports o f your individual route characteristics. T he Ductulator supports round, rectangular and flat oval shapes, and analysis results can be based on any roughness factor, elevation o r dry-bulb temperature. D esign Autom ation Although H PC4C fo r M icroStation TriForm a interprets your design intentions as you route, the autom ation doesn't stop there. H ere are just a few automation features: Flex duct connections to the main trunk can be perform ed with a single click o f the mouse, providing you with instant branch connectors, round to rectangular transitions and a user-defined maximum flex length. By utilizing label 121 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. templates, H V A C f o r M icro S ta tio n TriF orm a has just one label command. This allows you to label various com ponents in your design using just one mouse-click. W hat's more, all H V A C fo r M icro S ta tio n TriF orm a labels are associative, which means that if you edit any com ponent that has been labeled, the label automatically updates according to the change made. Since H V A C fo r M icro S ta tio n TriF orm a works within a 3D environm ent, sections and elevations can easily be generated from the plan: Ju st define the area for your section and identify the scale, and TriForma MS will even provide isometrics fo r piping diagrams. W hat they are saying about H V A C fo r M icroStation T riF orm a "H V A C fo r M icro S ta tio n TriF orm a has finally integrated many o f the 'tools o f the trade' into it's program . We also have complete flexibility to modify the program to fit out needs and the needs o f the client." -M ik e K le tk a T he Troyer Group 1 2 2 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. h ttp ://w w w .reseatch .ib m .com /h om e.h tm l Imagine a world w here using your computer is as easy as talking with your best friend. Speak, gesture, walk around, point at something that interests you — the com puter hears you and sees and responds to your every wish. It's called "natural computing" and IBM Research is working to make it reality. A limitation in today’s com puting interaction Today we interact with computers in awkward and unnatural ways. W e sift through countless instructions, press buttons, and fumble with gadgets, w hen w hat we really want to do is create, communicate, entertain, and understand. W hat w e d o n 't w ant are all the laborious typing, clicking, and memorizing arcane c o m m a n d s. Information w hen and how we want it the concept o f natural computing is simple: it provides inform ation where we want it, how w e w ant it, and with practically invisible interfaces that adept to natural hum an interaction skills. Multi m odal user interface, such as the one being demonstrated by IBM research today, are considered to be one o f the core elements necessary in order to reach the level o f truly natural computing. Quite simply, the com puter responds to hum ans using the time- honored traditions o f human interaction: voice and gesture. T he technology behind natural computing Essentially, IBM research has given the com puter eyes and ears. IBM's Via Voice speech recognition software interprets vocal commands. A n embedded camera sends visual inform ation to a machine-vision system that tracks m ovem ent and gestures. Special algorithms com bine and interpret the users' actions. 123 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. There are better ways to enter and retrieve computerized information than through a keyboard. IBM is developing software and com puter systems that are pushing the envelope — or the microphone — in computerized speech recognition. IBM researchers are applying speech technology to areas such as com m and and control o f computers by voice, natural-language database queries with speech input, telephone applications, mobile computing, and speech recognition systems for European and Asian languages. 124 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. IB M P en T ech n ologies Handwriting is a very natural m edium for human com puter interaction. Nearly everyone leams to use a pen at an early age, and continues to write every day for the rest o f their life. T he IBM Pen Technologies team at the Thomas J W atson Research Center has developed a writing tablet th at allows users to write on paper and store their handw ritten notes and drawings in their com puters for later use. T he writing tablet consists o f a digitizer, a small display for status information, and m em ory to store data. A ballpoint pen (with additional electronics to mark the digitizer surface through two- thirds o f an inch o f paper) is used to capture a digital copy o f the inform ation written on paper. Side buttons, activated by the pen, allow the user to tag portions o f the ink. O ne o f uses o f tagging is to m ark keywords and bookmarks in the docum ent, that can be used to build a base o f terms associated w ith the handwritten notes, and used to efficiently retrieve documents w hen needed. A serial connection transm its the digital data (also called digital ink) to the desktop or mobile companion PC. Software at the server allows the user to view, index, search and organize the handw ritten information. H andwriting recognition software developed at W atson can, if needed, transform handw ritten ink into text. T he technology for the tablet has been licensed to A T Cross and is currently m arketed in 2 form factors. T he product is called CrossPad. Putting Pen to Smart Paper is an IBM Research M agazine article that talks about the CrossPad. The CrossPad comes with the IBM Ink M anager software that contains IBM's state-of-the- 125 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. art large-vocabulary unconstrained on-line handwriting recognition software. The software also has tools for adapting the recognizer for an individual's handwriting style, which results in a significant improvement in the recognition accuracy. The m a in technique used in our unconstrained handwriting recognition engine is that o f hidden M arkov models. A model is built for each character that w e w ant to recognize- typically all the keyboard symbols; though this varies from language to language. A m odel is trained by collecting statistics from a large num ber o f examples o f such letters contained in our handwriting database. Collecting samples o f handwriting from a large num ber o f people with a wide range o f h a n d w r itin g styles has created this. Having created the models with these statistics, we recognize new words by comparing them w ith models for whole words, created by concatenating individual letter models. 126 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. D ig ita l Clipboard and Ink M anager Long before computers became a staple for business and societal applications, the art o f writing and keeping records was relegated to taking pencil or pen to paper. T hen computers gave us a whole new way to capture words o r images by simplifying the creation, storage and manipulation o f documents and data. A n obvious next step is to integrate the two media — paper and computer. Digital clipboard technology, created by IBM Research, does just that. Taking pen to paper to com puter In essence, digital clipboard technology is a revolutionary new way to save handwritten notes and drawings. Unlike its predecessors, such as the pen computer, the digital clipboard uses paper. The user simply writes, draws or doodles on a regular pad or notebook o f 8 Vz" x 11" paper placed on a portable digital clipboard. The clipboard captures the pen's movements and electronically records them for later transfer to a PC. IBM's Ink Manager software application receives the recordings and creates electronic ink documents. Ink Manager also allows the creator to edit; archive or search ink documents, and transcribes electronic ink into standard typed text annotations using handwriting recognition software (also developed by IBM Research). The best o f paper and com puter With IBM's digital clipboard technology, the ink strokes are recorded exactly as they were created on the pad o f paper. However, what Ink Manager software can do with it from there is what makes the system so valuable. The electronic ink can be filed in its original form, or it can be 127 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. exported and integrated intio word processing programs o r other applications. T o suit archiving and filing, the digital clipboard automatically stamps each electronic stroke with the date and time; keywords can be inserted into ink documents to simplify searching. Storing the original electronic ink text and drawings results in accurate records. Along w ith the arbilitv to export electronic ink or text to other documents, the "writer" has the ability to cut and paste, highlight or manipulate the strokes in several ways. The technology belhind digital clipboard w hat transforms an ordinary piece o f paper into the extraordinary? While the innovative use o f paper is the key feature o f the digital clipboard technology, Ink Manager software enhances the value. O n the hardware side, a m icroprocessor and flash m em ory enable the clipboard to digitize signals from a user's pen. A tiny display provides feedback, and buttons can be customized to allow for <piick and easy commands. O n the software side, Ink Manager sports one o f the m o st advanced handwriting recognition systems o f its kind. Users can even custom ize th e engine to their own individual writing style in about 30 minutes. 128 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. IB M ’s P erso n a l area network: P A N research P roject Scientists at IBM's Almaden Research Center (San Jose, CA) are perfecting a new Personal A rea Network technology that uses the natural electrical conductivity o f the h u m a n bod y to transmit electronic data. U sing a small prototype transm itter (roughly the size o f a deck o f cards) em bedded w ith a microchip, and a slightly larger receiving device, the researchers can transm it a pre-program m ed electronic business card between tw o people via a simple handshake. W hat7 s more, the prototype allows data to be transm itted from sender to receiver through up to four touching bodies. PAN technology is being demonstrated publicly fo r the first time at the Com dex com puter industry trade-show in Las Vegas. Soon even a simple touch can be the conduit for the transfer o f detailed business, personal or even medical data using IBM's Personal A rea N etw ork (PAN) technology. Elim inating the need to issue commands with buttons, keyboards or even voice, PA N technology uses a tiny electrical current to transm it a user's identification and other inform ation from one person to another, or even to a variety o f everyday objects such as cars, public telephones and ATMs. Inform ation is transferred via microprocessors that are placed in PAN transmitters a n d receivers the size o f a thick credit card. The digital data is then sent or received via a tiny external electric field that is 1,000 times less than the static electricity created by combing your hair. The small signal, about one-billionth o f an amp, is conducted by the body's natural salinity and carries the data, unnoticed, 129 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. through the body. T he low frequency and pow er o f the signal ensures th at the information, w hich is coded to the individual, does n o t travel beyond the body and can only be received by something, or someone, in contact with it. Once received, the data can then be applied for personal, medical or retail uses. A technology has potential applications in business, medical, retail and even in personal arenas. Business associates could, for example, exchange electronic business cards with a handshake. Corporate security devices could automatically log users on and o ff com puter systems and subway commuters could pay for a ride by walking through a turnstile. PA N technology could also enable people to carry digital versions o f their medical files for instant access by emergency medical technicians; calling card num bers could automatically be send from a wallet to a payphone; and ATMs and automobiles would be able to immediately distinguish their owners as they approach. Even household devices, such as CD players, televisions and toasters, could identify and adapt to individual preferences and tastes using PA N technology. O ne o f the m ost tantalizing frontiers in com puters is engineering circuits on the nanom eter scale, the millionth o f a millimeter measure on a par with individual atoms. Scientists at IBM's Zunch Research Laboratory pioneered this field w hen they invented a device called the scanning tunneling microscope, or STM, that could image some types o f individual atoms on electrically conducting surfaces. For this, the inventors w on a N obel Prize. A few years later, scientists at IBM's Almaden Research Center in California used an STM to move and precisely position individual atom s for 130 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. the first time. Nanocosm os Com puter designers have long sought the benefits o f building computers with the tiniest features possible — eventually even down to a few atoms or molecules. IBM researchers are moving ever closer to that world with pioneering w ork using a scanning tunneling microscope, or STM. The STM can be used n o t only for imaging surfaces with atomic resolutions, but also for positioning atoms and molecules on such surfaces. In an STM Gallery D on Eigler, an IBM Fellow, displays examples o f his work — images o f various atoms arranged on different surfaces in both artful and scientifically illu m in a tin g patterns. Among other achievements, Eigler's team has shown how to v isu a lis e quantum behavior on a metal surface and also how individual magnetic atoms can disrupt a material's superconductivity over short distances. Sticky Wickets While Eigler works at exceedingly low temperatures so he can make particularly precise scientific measurements, scientists at IBM's Zurich Research Laboratory have succeeded in positioning a certain type o f molecule at room temperature — an environment where many atoms and molecules will just not stay put. The challenge was to find a molecule that was slippery enough to be pushed around by the STM tip, but sticky enough to remain in place after the tip was withdrawn. T he chemical bonds within the molecule also had to resist being broken or altered as the molecule is pushed. The Zurich researchers focused on an organic molecule having a total o f 173 atoms, including at its core a stable ring o f atoms known as a porphyrin. Com puter simulation revealed that when pushed by the STM 131 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. tip, this molecule "walks" in uncorrelated steps and exhibits exactly the desired degree o f sticldness. T he Zurich researchers have used this technique to build an abacus with individual molecules as beads with a diam eter o f less than one nanom eter, one millionth o f a millimeter. Using the STM, they form stable rows o f ten molecules along steps just one atom high on a copper surface. These steps act as "rails", similar to the earliest form o f the abacus, which had grooves instead o f rods to keep the beads in line. Individual molecules were then approached by the STM tip and pushed back and forth in a precisely controlled way to count from 0 to 10. BM's nanoscale research is already yielding scientific insights into the behavior o f very small structures, which will help computer designers as they shrink the features on integrated circuits. In the future, developments by IBM researchers using STM technology may eventually pave the way for circuits made from atomic or m olecular components. Such circuits could be hundreds o f rimes small than today's electronic circuits, allowing designers to put even m ore processing pow er onto chips. That, in turn, could lead to smaller, faster, lower pow er and even m ore portable com puters. 132 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A H om ep age Reader A lot o f people take access to the World Wide Web for granted. F or the blind, however, accessing the Web is a tough task. Researchers at the IBM Tokyo Research Lab are changing that with the "H om e Page Reader," a prototype system for a talking W eb browser. If you're interested in learning more about this and other efforts by IBM to help people with disabilities, find out how it works. Speaking the Web Chieko Asakawa, a blind researcher at the Tokyo Research Lab used screen reader technology — which speaks aloud each item on the computer desktop and within applications — to surf the Web. But it n o t as fast as point-and - click, so Asakawa used the reader only for specific research tasks. In order to help Asakawa and to make Web use easier for all visually impaired people, a team o f researchers at the Tokyo lab produced a system for a speaking Web brow ser called H om e Page Reader that has been released as a commercial product in Japan. 133 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. T ou ch in pu t recogn ition Keeping in touch has its own meaning for IBM researchers who w ork with touch input technology. From a W orld Fair in Seville to an exhibit at W ashington's Smithsonian Institution, and from Euro Disney in France to education centers in the U.S., individuals are asking for information by pressing touch screens. The technology responds by calling up and presenting the requested data or images. Force sensors: The technology uses force sensors under the comers o f the screen. W hen the finger presses on the screen, the forces are measured and used to calculate the touch position. O ne version used piezoelectric force sensors, which generate voltages w hen a force is applied. Later versions used strain gauges similar to those used in electronic bathroom scales. Scanning lasers: A more sophisticated version involves precision stylus-input technology based on scanning lasers. As the tip o f a stylus moves across a panel, a laser traces its movements. Different areas o f the panel correspond to different commands. O ne form o f this technology is designed for use in auditoriums. By pointing the stylus at a particular area on a screen, the user can, for example, command slides to be flashed onto the screen. For more than a decade, IBM researchers have worked with the company's engineering group in Raleigh, N.C., to develop a series o f touch screens. T ouch technologies that m ade their debuts in large dem onstration projects have frequently progressed to products. Technology designed for interactive video monitors that acted as the interface for IBM's information system at the 1986 World Exposition in 134 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Vancouver, for example, formed th e core o f the company's 4055 Info-window Display. Further work led to the 8516 "Touch Display and Touch Select add-on touch panels for users in the information a n d exhibition businesses. IBM and the Disney Imagineering team used Touch-Select technology to produce giant three-foot force- sensitive touch screens for "Photom orjph" displays at IBM's exhibit in Euro Disney. Stylus-input technology, m eanw hile, found a niche in education. More than 100 o f the stylus-input panels were u s e d in IBM's advanced technology classrooms and its custom er education centers. A n d a special version o f the technique was built into an interactive handwriting recognition terminal for an exhibit at the Smithsonian Institution in Washington. The Research team is now developing upgraded versions o f its touch technologies. Target users continue to b e fairs and exhibitions. 135 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. E rgonom ic w ork station s Following are som e o f the erotically designed workstations and com puter accessories available in market. GWS Systems / ? h c \ 136 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. N ova: (http: / / w w w .novadesk.com /products /advantag.htm) the m onitor and other com puter components below the worksurface. N ova desks place the monitor under the desktop, beneath a tem pered glass viewport that allows glare-free viewing at a com fortable distance from the eyes. 137 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. M icro sphere: It is a chair with headrest, footrest, keyboard, and m ouse platform, and a m onitor stand capable o f holding up to a 100-pound monitor. • Headrest. Adjusts for both tilt and height. • Back: pivots from vertical to a 30 degree recline • Mesh fabric: allows the seat and back to "breath", reducing body heat, eliminating yet another factor in work stress. • Armrest: Fully height adjustable. Paddle design pivots to fully support user's forearms and wrists. • Chairlift tension adjustment: works with the users body movements to offer continuous support in all positions • Easy chair height adjustability that also allows 360 degrees o f chair pivot. • Monitor and keyboard platforms: position computer peripherals independendy in 3" 138 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. dimensions. M onitor height adjusts w ith a crank. M onitor surface adjusts also to move in - m ove out. • Platforms glide easily with the push o f a hand • Footrest: tilt adjustable. Offers full-foot and calf-support. 139 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. T h e Contoured Kinesis C lassic: (http://w w w .officeorganix.com /k en isisl.h tm ) • T rue sp lit - for left/right keys to improve arm positioning. Fits large and small users. • O p tim a l la tera l tilt - thumbs up posture minimizes forearm tension w ithout the pitfalls o f excessive tilt. • Separate thum b keypads: reallocate workload from overused litde fingers to stronger thumbs. • V ertica l, concave ke y layout: designed for simpler finger motions. This unique layout shortens reach to distant keys, minimizing harm ful wrist extension. • In tegralpaddedpalm supports: reduces arm weight to relax neck and shoulders. • T o w force m echanical k e y sw itches: for minimal keying effort and long life. 140 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. T h e Com fort keyboard system addresses the four flat keyboard concerns ergonomics share: • Rotation o f the hands so the palms twist down; • O utw ard rotation o f the finger tips • Raising the fingertips (extension) since m ost keyboards are higher in the back and, • Angling the forearms inward since the shoulders are wider than keyboards. 141 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. In the Com fort keyboard you can ergonomically adjust each keyboard surface - left and right hand keys and the numeric keypad. Position the n u m e r ic section on either side - for left handers - or even in the middle. Each key section is rotated an d /o r tilted, custom adjusting for each person or multiple users. Sections can be separated for different shoulder widths. Patented 3M™-microlouver technology makes on-screen data visible only to the person in front o f the monitor. N o blurring o r image distortion, Available in either flat or contour frame-design. 142 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. A P T U S is based on the idea o f providing not just pieces, b u t a frilly integrated system to support your entire body. T h e headrest, footrest, arm, and wrist support are all built into the system A central structure holds the horizontal pivot axis which supports the seat. This axis allows the seat to move from reclined to forward-tilt positions. By pivoting, the reclined w eight distribution advantages are combined with the flexibility and reach advantages o f forward-tilt postures. A n adjustable arm supports the m onitor, keyboard, and in p u t devices. This arm is attached to the horizontal pivot axis. Each component can now be precisely adjusted around you. O nce these adjustments are made, the system acts as an extension o f your body. Y ou should be able to change easily from one com fortable position to the next throughout the day. By changing position, you promote circulation, reduce muscular fatigue, and dramatically increase productivity. APTUS can m ove from reclined, to conventional level, to forward-tilt, all the way to a full standing posture. 143 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. This degree o f position flexibility requires a completely new approach to equipment support. In an office chair, as you recline or m ove forward, the relationship to the fixed w ork equipm ent is compromised. Y ou m ust readjust your equipm ent, o r m ost likely your body, each time the seat position is changed. APTUS is designed as an integrated system. As you move, everything moves. The optimal viewing and working relationships are always maintained, regardless o f how you change position throughout the day. M odel N u m b e r APTUS 597 Hardware Support: Keyboard, mouse, tablet, and spacebar (right o r left-hand configuration) M onitor sizes up to 27" (multiple m onitor configurations available) | Frame F inish a n d Fabric: Select from standard | options ■ Lift Capacity: E quipm ent - 200 lbs. (91 kg.), Occupant - 250 lbs. (113 kg.) Drive System: (4) w orm gear drive m otors, heavy-duty industrial grade, self- locking, perm. Lubricated Overall D im ensions: Length 60" (152 cm ), W idth 37" (94 cm), Height 52" (132 cm) Shipping W eight: (4) boxes @ 100 lbs. (46 kg.) each (http: / / www.workenv.com) 144 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ff SM ART Board: W ith an interactive whiteboard, such as the SMART Board, you can easily access, display and control computer-based inform ation during your meeting. By simply pressing on it's touch- sensitive surface, you can control your Windows o r M acintosh applications, the Internet and other multimedia materials. If you need to draw attention to im portant points in a document, simply pick up a pen and w rite over top o f the application. I f you change your mind, erase w hat you've written as you would on any whiteboard. And, if you like the changes you've made, you can save everything, including your notes, to a computer file for future reference or distribution. By using an interactive whiteboard in the meeting room: • your group has an effective, easy-to-use, intuitive meeting tool • your group can access and control computer-based inform ation • presenters can draw attention to key points by using electronic ink to highlight im portant phrases. If, for example, you're presenting a budget in Excel and want to emphasize a number, you can pick up a red pen and circle that num ber direcdy on the screen. • annotations made over top o f com puter applications can be saved for future reference 145 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Rear Projection Interactive Displays: There are tools that make presenting im portant information easier. W e all know that com puters are valuable tools for saving, editing and retrieving information. We also understand how useful whiteboards are for communicating visual information in the m eeting room. Rear projection interactive displays were designed with these two tools in mind. They integrate the simplicity o f a whiteboard w ith the power o f a computer to bring an interactive, flexible tool into the meeting room. W ith the Rear Projection SMART Board for instance, you can display your im portant com puter files on a large screen that everyone in the room can see. Then, use your finger to control your software applications, just like you would use a mouse at your desktop. Or, pick up a pen from the Pen Tray and write over top o f an application for emphasis. By using rear projection interactive displays in your meeting room: • Information sharing is enhanced because meeting participants can run a variety o f multimedia materials from its touch-sensitive screen. • Allowing teams to w ork together on com puter files and save notes over applications for future reference enriches group collaboration and productivity. • Y ou can show high-quality data and video images without light reflections or shadows. 146 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. All o f your multimedia, presentation and communication equipm ent may be controlled from the display, so you can easily manage all o f your materials from a single location. 147 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

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Asset Metadata

Creator Chavan, Madhavi (author)

Core Title DS(n)F: The design studio of the (near) future

Degree Master of Building Science

Degree Program Building Science

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag Architecture,OAI-PMH Harvest

Language English

Contributor Digitized by ProQuest (provenance)

Advisor Schiler, Marc (committee chair), Kensek, Karen M. (committee member), Koenig, Pierre Francis (committee member), Noble, Douglas (committee member)

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c20-301143

Unique identifier UC11259329

Identifier EP41443.pdf (filename),usctheses-c20-301143 (legacy record id)

Legacy Identifier EP41443.pdf

Dmrecord 301143

Document Type Thesis

Rights Chavan, Madhavi

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the au...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus, Los Angeles, California 90089, USA