DOCSLIB.ORG

Away with Apps? Interactive Web 3D Driven by Relational Databases Jelle Vermandere

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Away with Apps? Interactive Web 3D Driven by Relational Databases Jelle Vermandere Away with apps? Interactive web 3D driven by relational databases Jelle Vermandere Away with apps? Interactive web 3D driven by relational databases. Jelle Vermandere Student number: 01306207 Supervisors: Willem Bekers, Prof. ir.-arch. Ruben Verstraeten Counsellor: Nino Heirbaut Master's dissertation submitted in order to obtain the academic degree of Master of Science in de ingenieurswetenschappen: architectuur Academic year 2019-2020 The author gives permission to make this master dissertation available for consultation and to copy parts of this master dissertation for personal use. In all cases of other use, the copyright terms have to be respected, in particular with regard to the obligation to state explicitly the source when quoting results from this master dissertation. 13/01/2020 Foreword This thesis aims to make the process of adding 3D models to relational databases easier while providing more functionality. Before I explain this, I would like to thank everyone who made my life easier. First of all, my supervisors Willem Bekers and Ruben Verstraeten for their valuable guidance sessions, their inspiring ideas and their support in my journey to the completion of this thesis. I would also express my gratitude towards my favourite spelling checkers Lotte and Tessa for their extreme focus on letters and punctuation marks and Jonathan for the more rigorous language corrections. Special thanks goes to my sister Floor for being my lay-out support and showing me the wonderful world of web development. Thanks to the numerous people who created forum posts and online tutorials who helped me solve many problems. I have learned many new skills along the way, many of which I did not even know existed. I also want to thank my friend Sytse for keeping me physically fit in between the long and sometimes frustrating coding sessions by being my climbing buddy. Lastly, an enormous thank you to my parents for always being there. They have given me everything I need in my journey to adulthood and allowed me to pursue my passions and dreams. Without them, I would have never been where I am today. Table of Contents Defining the challenge: Introduction 15 Architectural Databases 15 Database websites 15 App based 3D model viewing 16 Mixed reality 17 Augmented reality examples 17 Providing a solution: The website 19 Objective: no more apps 19 Workflow 20 Collecting information 20 Creating the data 20 Filling the database 20 Linking the data 20 Displaying on the website 20 Modeller vs Curator vs User 21 Organisation of the thesis 21 3D model creation 21 Database creation 21 Website creation 21 Case Study 22 Le Corbusier 22 Villa Savoye 22 The Philips pavilion 23 The Chapel Notre Dame du Haut 23 Software used 24 3D model creation and export 24 Database creation and management 24 Website creation and hosting 24 Creating 3D models for the web 25 Modelling: Creating 3D geometry 26 Different types of 3D modelling 26 Modelling for real time rendering 27 Modelling for the section plane 27 Texturing: Creating a material 28 UV layout 28 PBR Materials 31 Texture baking 33 Lighting: defining the lights 34 Real time lights 34 Image-based lighting 34 Rendering: calculating the final image 35 Real time rendering 35 Post-processing 36 Exporting: choosing a file type 38 Optimizations 39 3D model 39 Textures 40 Constructing a database for the web 41 What is a (relational) database? 41 Structured query language SQL 41 Not only SQL 44 Choosing a Database Framework 44 MySQL 44 NodeGoat 44 Integration in the website 44 Database structure 45 Collecting and storing information 46 Keeping it up to date 46 Building the website 47 Dynamic websites 48 Responsive websites 48 Choosing the coding languages 49 HTML 49 PHP 49 Bootstrap 50 Creating a working environment 51 Setting up a local server 51 Setting up an online server through Heroku 51 Database integration 52 Establishing the connection 52 Interacting with the database: CRUD 52 File renaming system 53 Alternative option: Nodegoat 54 3D model integration 55 Testing different Technologies 55 Programming the 3D viewport 57 Programming the section plane 59 The viewport 60 Augmented reality integration 61 Augmented reality 61 Testing different technologies 62 Programming The AR experience 64 Programming the QR code generator 65 The AR experience 66 Website Structure 67 Different pages 67 The navigation bar 68 The home page 68 The search page 69 The person page 69 The building page 70 The AR page 70 The submit page 71 Conclusion 72 The finished product 72 Workflow system 73 Applications 74 Future expandability 74 Appendix 75 References 75 Websites 75 Books/ Papers 76 Frameworks 77 Images 77 Source code 77 Example catalogue 78 AWAY WITH APPS? INTERACTIVE WEB 3D DRIVEN BY RELATIONAL DATABASES Jelle Vermandere Supervisors: Willem Bekers, Ruben Verstraeten Counsellor: Nino Heirbaut Abstract- Architectural databases mostly consist of text and 2D plans. Adding 3D models can create a better understanding of the buildings. This thesis documents the creation of a website, in which interactive 3D models are linked to relational databases. By providing guidelines and best practices about the creation of these 3D models, this thesis allows modellers to create 3D models that are compatible with all the provided features. By keeping in mind the fact that this website can be used with very large databases, an effort has been made to automate as much of the process as possible. The resulting website can be used for exhibitions, archiving and much more. Keywords- Relational database, 3D model, Real time rendering, Website, Augmented reality DEFINING THE CHALLENGE: Everything that is produced for this thesis and the website is made with open source or free software. INTRODUCTION This ensures the future expandability of the website is not limited by expensive programs. The ever increasing amount of architectural data needs to be stored in online databases in order to be accessible and searchable. The data mostly consists of text and architectural plans, because storing and conserving one of the most useful documents in architectural presentations, the scale model, is very inefficient. This is where virtual 3D models can help fill the need for a better understanding of the buildings. The website is a combination of different Furthermore, placing these virtual models in the technologies. Because of the rapid development real world with the aid of a mobile device, can of these kinds of technologies, most parts are provide a very similar experience to a physical interchangeable in case a better alternative scale model, with the added benefits of accurate becomes available. material representation, animations and more. This technology is called Augmented reality. CREATING 3D MODELS FOR THE WEB Creating 3D models that are fully compatible with all the features of the website will require some specific needs. Displaying a 3D model on a screen requires three main parts: a 3D form, textures and a PROVIDING A SOLUTION: renderer. All these parts have different parameters THE WEBSITE and functions that need to be optimised in order to provide a smooth experience on the website. This thesis aims to lower the barrier of interacting with 3D models as much as possible by providing a full web based solution. This means that there is no need to download any extra apps or programs on the user’s device. The website links a database and 3D models that are connected to specific buildings 3D form Textures Renderer of that database. For storing the final 3D models, the popular and efficient GL Transmission Format (glTF) file format was chosen. This format is built for fast rendering and is widely adopted on most platforms. 10 CONSTRUCTING A Furthermore, every type of data has a dedicated page. That page will also show all the connected DATABASE FOR THE WEB people and buildings. This way, the user can explore the data and find new relations. This includes The database is an integral part of the website buildings, the centre piece of the website. The structure, because all the content of the website is connection with the 3D models is a integral part of stored in it. It also holds the references to the 3D this thesis. models in order to make sure the correct models The website has a page for viewing the 3D models are linked to the buildings. The database is built with in a exhibition context. The page is linked to the the open standard “Serial Query Language”. This camera of the mobile device of the visitor. With the allows multiple databases to be linked together. By aid of special bar codes (QR codes), the user will linking the datasets together, relations can be set be able to view the 3D models in augmented reality. up. Building ID Name Architect ID Built Date 1 Philips Pavilion 1 1958 2 Villa Savoye 1 1931 3 .. .. .. .. .. .. .. Architect ID Name Birthday Nationality 1 Le Corbusier 06/10/1887 French 2 Jelle 26/06/1995 Belgian 3 .. .. .. .. .. .. .. These relations form the basis for large scale discoveries of new connections between buildings, architects, locations, time periods, and anything The website also has a submit page. Here, the 3D that is added to the database. models and their information can be added to the database. The whole process of linking the 3D models to the database, setting up the different data pages and generating the markers for the augmented reality experience is automated. This BUILDING THE WEBSITE allows the website to easily scale towards a large amount of different buildings. The website allows the end users to explore all the data, present in the database, in a visual way. The 3D models will provide the extra information simple text and images can not provide.
Load more

Recommended publications
  • This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Vagopoulou, Evaggelia Title: Cultural tradition and contemporary thought in Iannis Xenakis's vocal works General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Cultural Tradition and Contemporary Thought in lannis Xenakis's Vocal Works Volume I: Thesis Text Evaggelia Vagopoulou A dissertation submitted to the University of Bristol in accordancewith the degree requirements of the of Doctor of Philosophy in the Faculty of Arts, Music Department.
    [Show full text]
  • Exploring Xenakis Performance, Practice, Philosophy
    Exploring Xenakis Performance, Practice, Philosophy Edited by Alfia Nakipbekova University of Leeds, UK Series in Music Copyright © 2019 Vernon Press, an imprint of Vernon Art and Science Inc, on behalf of the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Music Library of Congress Control Number: 2019931087 ISBN: 978-1-62273-323-1 Cover design by Vernon Press. Cover image: Photo of Iannis Xenakis courtesy of Mâkhi Xenakis. Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of contents Introduction v Alfia Nakipbekova Part I - Xenakis and the avant-garde 1 Chapter 1 ‘Xenakis, not Gounod’: Xenakis, the avant garde, and May ’68 3 Alannah Marie Halay and Michael D.
    [Show full text]
  • Iannis Xenakis, Roberta Brown, John Rahn Source: Perspectives of New Music, Vol
    Xenakis on Xenakis Author(s): Iannis Xenakis, Roberta Brown, John Rahn Source: Perspectives of New Music, Vol. 25, No. 1/2, 25th Anniversary Issue (Winter - Summer, 1987), pp. 16-63 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833091 Accessed: 29/04/2009 05:06 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=pnm. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music. http://www.jstor.org XENAKIS ON XENAKIS 47W/ IANNIS XENAKIS INTRODUCTION ITSTBECAUSE he wasborn in Greece?That he wentthrough the doorsof the Poly- technicUniversity before those of the Conservatory?That he thoughtas an architect beforehe heardas a musician?Iannis Xenakis occupies an extraodinaryplace in the musicof our time.
    [Show full text]
  • [email protected] Abstract
    Bridges 2018 Conference Proceedings From the Cheesegrater to the Parthenon: A Musical Odyssey Terry Trickett Barbican, London, United Kingdom; [email protected] Abstract The close relationship that can exist between architecture and music was brought home to me, recently, by one particular building in the City of London. Its architects had not set out to produce architecture with a musical agenda but music can happen anyway when a building generates its own harmony, pattern, discord, repetition and silence. These were the qualities I found in the Leadenhall Building (known colloquially as the ‘Cheesegrater’) which prompted me to produce a piece of Visual Music linking the two art forms. The result, Citirama, enables me to formulate a considered view on how music and architecture can be found to coexist: how our understanding of the concept of space/time can bring an art form concerned primarily in mapping sound in time closer to a form focused on what we experience in moving through space. For a building to elicit an emotional response a chord needs to be struck inside us that delivers an inner sense of harmony. Such an experience is rare even though the synchronicity that exists between architecture and music, underpinned by mathematics and the laws of physics, was discovered long ago by the Ancient Greeks. Introduction As abstract arts, architecture and music share a common aim to create harmony, weave patterns, define spaces, move in time, promote feelings, touch the senses and act as an outward expression of an artist‘s aspirations. Such a statement must, in itself, provoke discord; surely, these aims cannot be achieved in equal measure by both art forms.
    [Show full text]
  • "Visualizing Acoustic Space"
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Érudit Article "Visualizing Acoustic Space" Gascia Ouzounian Circuit : musiques contemporaines, vol. 17, n° 3, 2007, p. 45-56. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/017589ar DOI: 10.7202/017589ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 10 février 2017 02:16 Visualizing Acoustic Space Gascia Ouzounian Prendre possession de l’espace est le geste premier des vivants, des hommes et des bêtes, des plantes et des nuages, manifestation fondamentale d’équilibre et de durée. La preuve première d’existence, c’est d’occuper l’espace. –Le Corbusier In the decade following the Second World War, “taking possession of space” became an increasingly pressing concern within the Western musical avant- garde. Traditional musical considerations, such as the organization of pitch, rhythm, harmony, and form, were supplanted by spatial considerations, such as the arrangement of performers inside an auditorium, and the abil- ity to channel sound electronically to and between multiple loudspeakers.
    [Show full text]
  • Mapping the Stylistic Affiliations of Le Corbusier's Work 0.1 Prologue
    Le Corbusier, 50 years later International Congress Valencia 18th-20lli November 2015 DOI: http://dx.doi.org/10.4995/LC2015.2015.799 Mapping the Stylistic Affiliations of Le Corbusier's Work P. Ilias Panigyrakis TU Delft, School of Architecture and the Built Environment Abstract: The paper deals with Le Corbusier's connection to the term "style". A classification of his work in specific architectural styles is discussed, followed by a description of the procedure through which the style ofthe man Le Corbusier was constructed; in an attempt to search meaning in his continual stylistic shifts and the rationale that kept his lifetime's work and identity strongly compact when we consider him retrospectively. Resiimen: El articulo trata la conexión de Le Corbusier con el lérmino ëstilo'.'Se disciite una clasificación de su obra en estilos arqiiitectónicos especificos, seguido de una descripción de los procedimientos a través del ciial el hombre fiie construido al estilo de Le Corbusier; un intento de büsqueda de sentido en siis camhios estilisticos contimias y las razones que mantuvo el trabajo y la identiclad de su vida fuertemente compacta, cuando lo consideramos retrospectivamente Keywords: Le Corbusier; Style; Stylistic Shifts. Palabras clave: Le Corbusier; Estilo; Cambios Estilisticos. 0.1 Prologue It is said that Le Corbusier used to keep a picture of his 1914 Maison Dom-ino scheme side by side with a picture ofthe Parthenon from his 1911 visit in Athens. It is also known that he viciously fought against the talk of styles m the architectural discourse. How should we interpret then the above mentioned coupling of Dom-mo, the epitome of technique of the 20th century architecture, along with the Parthenon, the most imitated object of any iconographic style prior to Modernism? This research will argue for the stylistic affiliations of Le Corbusier's work in an attempt to map the trajectory of architectural forms applied hi the extensive work ofthe legendary architect.
    [Show full text]
  • Poème Électronique
    INTERNATIONAL JOURNAL ON STEREO & IMMERSIVE MEDIA Vol. 2. Issue No. 1 INTERNATIONAL JOURNAL ON STEREO & IMMERSIVE MEDIA THE DISRUPTIVE The installation Poème Électronique involved the collaboration groups, with different performances in order to compose the RELATIONS BETWEEN of an architect and painter (Le Corbusier), a composer and visual narrative (Kalff, 1958, p. 38): architect (Iannis Xenakis) and a composer (Edgard Varèse), SOUND AND IMAGE IN who were commissioned by Philips to work on the develop- 1. Film (écran in the original): projection of a black and white ment of a pavilion for the Brussels World Fair in 1958. Seen film. POÈME ÉLECTRONIQUE by over two million people, the pavilion provided new ways of working on the concepts of composition, performance and 2. Ambiences (ambiances in the original): projection of chro- ABSTRACT: perception, as well as offering one of the first sound spatiali- matic illuminations with the intention of creating atmospheres NICOLAU CENTOLA sation initiatives. and sensations. UNESP (Universidade Estadual Paulista Júlio de Mesquita Filho) This academic paper focuses on the installation [email protected] art Poème Électronique, which involved the col- The Brussels World Fair in 1958 was the first to be held after 3. Tritrous: Projection of simple geometric shapes and imag- laboration of a painter and architect (Le Corbus- the Second World War and had as its theme the new tech- es on the walls of the pavilion. As a complementary effect, two ier) and a composer (Edgard Varèse) during the nologies in the service of civilisation after the horrors of the projectors were used that had been specially adapted so that 1958 Brussels World Fair.
    [Show full text]
  • An Exploration of Conflict in the Life and Works of Iannis Xenakis
    University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences 3-28-2014 Mollifying the Muses: An Exploration of Conflict in the Life and Works of Iannis Xenakis Davis S. Butner [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Part of the Architectural History and Criticism Commons, Composition Commons, Music Performance Commons, Other Architecture Commons, and the Other Music Commons Recommended Citation Butner, Davis S., "Mollifying the Muses: An Exploration of Conflict in the Life and Works of Iannis Xenakis" 28 March 2014. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/182. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/182 For more information, please contact [email protected]. Mollifying the Muses: An Exploration of Conflict in the Life and Works of Iannis Xenakis Abstract The early life of Iannis Xenakis, a modern day Renaissance scholar who would come to redefine the limits of musical composition and sound-driven spatial design in the 21st century, was overshadowed by adversity, conflict and alienation. Fleeing from his home country in 1947 after a nearly fatal wound to the face during the Greek Revolution, Xenakis' newfound life and career in the atelier of French architect Le Corbusier allowed for the budding engineer to explore a collective passion for music and mathematics within his work. Nevertheless, just as a giant facial scar would stand as a permanent physical symbol for the brutality Xenakis experienced, one can easily detect similar memories of a chaotic past embedded in the compositional framework of the avant-garde designer/composer, tormented by tension and estranged symbols of war.
    [Show full text]
  • To Graphic Notation Today from Xenakis’S Upic to Graphic Notation Today
    FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY FROM XENAKIS’S UPIC TO GRAPHIC NOTATION TODAY PREFACES 18 PETER WEIBEL 24 LUDGER BRÜMMER 36 SHARON KANACH THE UPIC: 94 ANDREY SMIRNOV HISTORY, UPIC’S PRECURSORS INSTITUTIONS, AND 118 GUY MÉDIGUE IMPLICATIONS THE EARLY DAYS OF THE UPIC 142 ALAIN DESPRÉS THE UPIC: TOWARDS A PEDAGOGY OF CREATIVITY 160 RUDOLF FRISIUS THE UPIC―EXPERIMENTAL MUSIC PEDAGOGY― IANNIS XENAKIS 184 GERARD PAPE COMPOSING WITH SOUND AT LES ATELIERS UPIC/CCMIX 200 HUGUES GENEVOIS ONE MACHINE— TWO NON-PROFIT STRUCTURES 216 CYRILLE DELHAYE CENTRE IANNIS XENAKIS: MILESTONES AND CHALLENGES 232 KATERINA TSIOUKRA ESTABLISHING A XENAKIS CENTER IN GREECE: THE UPIC AT KSYME-CMRC 246 DIMITRIS KAMAROTOS THE UPIC IN GREECE: TEN YEARS OF LIVING AND CREATING WITH THE UPIC AT KSYME 290 RODOLPHE BOUROTTE PROBABILITIES, DRAWING, AND SOUND TABLE SYNTHESIS: THE MISSING LINK OF CONTENTS COMPOSERS 312 JULIO ESTRADA THE UPIC 528 KIYOSHI FURUKAWA EXPERIENCING THE LISTENING HAND AND THE UPIC AND UTOPIA THE UPIC UTOPIA 336 RICHARD BARRETT 540 CHIKASHI MIYAMA MEMORIES OF THE UPIC: 1989–2019 THE UPIC 2019 354 FRANÇOIS-BERNARD MÂCHE 562 VICTORIA SIMON THE UPIC UPSIDE DOWN UNFLATTERING SOUNDS: PARADIGMS OF INTERACTIVITY IN TACTILE INTERFACES FOR 380 TAKEHITO SHIMAZU SOUND PRODUCTION THE UPIC FOR A JAPANESE COMPOSER 574 JULIAN SCORDATO 396 BRIGITTE CONDORCET (ROBINDORÉ) NOVEL PERSPECTIVES FOR GRAPHIC BEYOND THE CONTINUUM: NOTATION IN IANNIX THE UNDISCOVERED TERRAINS OF THE UPIC 590 KOSMAS GIANNOUTAKIS EXPLORING
    [Show full text]
  • L < Co,Bu•I« Dovdopod Tho Modulo, ')"T<M of Proportion Botwoon
    The MIT Press Cambridge, Massachusetts London, England The Projective Cast Architecture and Its Three Geometries Robin Evans Chapter Seven Comic Lines By pulling his guideropes harder, he was L< Co,bu•i« dovdopod tho Modulo, ')"t<m ofproportion botwoon 1943 and 1955, designed and built the chapel at Ronchamp between able to bend the skiffappreciably; this was 1950 and 1955, said the Modulorwas in the chapel, and then challenged possible because his tiller did not simply con- anyone to find it there. In his book on Ronchamp he wrote that his building was "informed by all embracing mathematics," and declared: trot a flat rudder aft, but bent the long keel, "The Modulor everywhere. I defY the visitor to give, off hand, the di­ 2 from the fore-end, to right to left, upward mensions of the different parts of the building." In his book on the Modulor he wrote of Ronchamp: "It was a pleasure, here, to allow free and downward, according to his directional play to the resources of the Modulor, keeping a corner of one's eye on the game to avoid blunders. For blunders lie in wait for you, beckon you requirements. on, tug at your sleeve, drag you down into the abyss." 3 Le Corbusier was very fond of quoting Albert Einstein's generous epigram that the Modu­ Alfred ]arry, Exploits and Opinions of lor was a way of proportioning things that "makes the bad difficult and Dr. F austroll, Pataphysicist1 the good easy," 4 yet he himself seems to have been in at least two minds about it.
    [Show full text]
  • Abstract Moving Images and Expanded Architectures. the 1958 World’S Fair in Brussels and the Philips Pavilion Marie Rebecchi
    Abstract Moving Images and Expanded Architectures. The 1958 World’s Fair in Brussels and the Philips Pavilion Marie Rebecchi To cite this version: Marie Rebecchi. Abstract Moving Images and Expanded Architectures. The 1958 World’s Fair in Brussels and the Philips Pavilion. Exposing the Moving Image: the Cinematic Medium across World Fairs, Art Museums, and Cultural Exhibitions, 2021. hal-03226468 HAL Id: hal-03226468 https://hal.archives-ouvertes.fr/hal-03226468 Submitted on 14 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Exposing the Moving Image: the Cinematic Medium across World Fairs, Coordinamento scientifico / Scientific Coordinators: Art Museums, and Cultural Exhibitions Diego Cavallotti, Simone Dotto, Andrea Mariani, Leonardo Quaresima, Simone Venturini (Università degli Studi di Udine) Gorizia/Udine/Pordenone FilmForum 2018 XXV Convegno Internazionale di Studi sul Cinema Comitato scientifico / Scientific Committee: XXV International Film Studies Conference Mariapia Comand, Francesco Pitassio, Leonardo Quaresima, Cosetta Saba,
    [Show full text]
  • Le Corbusier's Modulor and the Debate on Proportion in France
    $UFKLWHFWXUDO Cohen, J-L 2014 Le Corbusier’s Modulor and the Debate on Proportion in France. +LVWRULHV Architectural Histories, 2(1): 23, pp. 1-14, DOI: http://dx.doi.org/10.5334/ah.by RESEARCH ARTICLE Le Corbusier’s Modulor and the Debate on Proportion in France Jean-Louis Cohen* Finally codified in 1945 after several years of research, Le Corbusier’s Modulor is probably the most com- prehensive proportional system imagined during the 20th century. Developed through contacts with con- sultants such as art historian Elisa Maillard, and referring to statistical measurements of the human body, the Modulor concluded decades of discourse on proportions, a theme that preoccupied Le Corbusier ever since his sojourn in Germany in 1910. Matila Ghyka’s work on the golden section was one of the sources for the Modulor, but his work in general was used by other architects, such as Le Corbusier’s rival André Lurçat, who proposed his own range of proportions related to the work of builders as much as to that of designers. Proportions thus became a central issue in the postwar French reconstruction, as architects struggled to maintain their status amid changing procedures in building production. Introduction On Friday, September 28, 1951, Le Corbusier addressed the First International Conference on Proportion in the Arts at the Milan Triennale, introducing, with affirmed mod- esty, the system of proportional measurements he had invented in the preceding years as if it were an elemen- tary, prosaic tool: ‘The Modulor, which I have described to you, is a simple work tool, a tool such as aviation, such as many other improvements created by men’1 (Fig.
    [Show full text]