BALTGRAF 2013 Scientific Proceedings

Scientific Proceedings of the 12

th International Conference on

Engineering Graphics BALTGRAF 2013

Editor M. Dobelis

RIGA TECHNICAL UNIVERSITY

2013

The responsibility for the accuracy of all statements in each paper rests solely with

the author(s). Statements are not necessarily opinion of or endorsed by the publisher.

Permission is granted to photocopy portions of the publication for personal use and

for the use of students, providing the credit is given to the conference, publication and

author. Permission does not extend to any part of this book for incorporation it into

commercial advertising, nor for any other profit-making purpose, performed in any

form or by any means, electronic or mechanical, including recording, or any

information storage or retrieval system, without permission in writing from the

publisher.

All the trademarks are the property of their respective holders.

Support for publishing provided by the European Regional Development Fund

project “Development of international cooperation projects and capacity in science

and technology Riga Technical University”.

Contract No. 2010/0190/2DP/2.1.1.2.0/10/APIA/VIAA/003

ISBN 978-9934-507-30-4

Scientific papers were peer reviewed

English (U.K.) was used for the spellchecking of all submissions

iThenticate®

was used as plagiarism checker for content originality

BALTGRAF 2013 acknowledges EasyChair conference management system

Editor Modris Dobelis

© 2013 Riga Technical University

BALTGRAF 2013 – The 12th International Conference on Engineering Graphics 3/300

CONFERENCE ORGANIZATION

Under auspices of

International Association BALTGRAF

Organizing Committee:

Modris Dobelis – Conference Chairman, Riga Technical University, Latvia

Juris Smirnovs – Conference Co-Chair, Riga Technical University, Latvia

Zoja Veide – Program Committee Chair, Riga Technical University, Latvia

Marika Ubagovska – Conference Secretary, Riga Technical University, Latvia

International Program Committee:

Harri Annuka Tallinn University of Technology Estonia

Jānis Auzukalns Riga Technical University Latvia

Aleksandr Brailov Odessa State Construction and Architecture

Academy

Ukraine

Anna Błach Silesian University of Technology Poland

Theodore Branoff North Carolina State University USA

Modris Dobelis Riga Technical University Latvia

Jolanta Dźwierzyńska Rzeszow University of Technology Poland

Cornelie Leopold University of Kaiserslautern Germany

Harri Lille Estonian University of Life Sciences Estonia

Daiva Makutėnienė Vilnius Gediminas Technical University Lithuania

Rein Mägi Tallinn University of Technology Estonia

Vidmantas Nenorta Kaunas University of Technology Lithuania

Imants Nulle Latvian University of Agriculture Latvia

Lidija Pletenac University of Rijeka Croatia

Monika Sroka-Bizoń Silesian University of Technology Poland

Hirotaka Suzuki Kobe University Japan

Jolanta Tofil Silesian University of Technology Poland

Antanas Vansevičius Aleksandras Stulginskis University Lithuania

Daniela Velichova Slovak University of Technology in Bratislava Slovakia

Olafs Vronskis Latvia University of Agriculture Latvia

Gunter Weiß Dresden Technical University Germany

Local Organizing Team:

Jānis Auzukalns

Ieva Jurāne

Ella Leja

Veronika Stroževa

Gaļina Veide

4/300 The 12th International Conference on Engineering Graphics – BALTGRAF 2013

Papers were peer reviewed by

PROGRAM COMMITTEE – THE BOARD OF REVIEWERS

Aleksandar Čučaković University of Belgrade Serbia

Modris Dobelis Riga Technical University Latvia

Renata Górska Cracow University of Technology Poland

Tatjana Grigorjeva Vilnius Gediminas Technical University Lithuania

Olga Ilyasova Siberian State Automobile and Road

Construction Academy

Russian

Federation

Biljana Jović University of Belgrade Serbia

Birutė Juodagavienė Vilnius Gediminas Technical University Lithuania

Natalya Kaygorodseva Siberian State Automobile and Road


Russian

Federation

Harri Lille Estonian University of Life Sciences Estonia

Daiva Makutėnienė Vilnius Gediminas Technical University Lithuania

Rein Mägi Tallinn University of Technology Estonia

Vidmantas Nenorta Kaunas University of Technology Lithuania

Miodrag Nesterović University of Belgrade Serbia

Nomeda Puodziuniene Vilnius Gediminas Technical University Lithuania

Ants Soon Tartu College of TUT Estonia

Nataša Teofilović University of Belgrade Serbia

Jolanta Tofil Silesian University of Technology Poland

Zoja Veide Riga Technical University Latvia

Vladimir Volkov Siberian State Automobile and Road


Russian

Federation

Olafs Vronskis Latvia University of Agriculture Latvia

Rytė Žiūrienė Vilnius Gediminas Technical University Lithuania

Scientific Proceedings of the 12th

International Conference on


June 5-7, 2013, Rīga, Latvia. -300 pp.


ACKNOWLEDGMENT

Support for publishing provided by the European Regional Development Fund

project “Development of international cooperation projects and capacity in science

and technology Riga Technical University”.

Contract No. 2010/0190/2DP/2.1.1.2.0/10/APIA/VIAA/003


Cover design Jānis Auzukalns

Lay-out Modris Dobelis

Copyright 2013 Riga Technical University


HOST OF THE CONFERENCE

BALTGRAF 2013 is dedicated

to the 150th

Anniversary

of Riga Technical University

which was celebrated on

October 14, 2012

Riga Technical University

is the oldest technical university

in the Baltic States

The Conference is Organized

by the Department of

Computer Aided Engineering Graphics


CHRONOLOGY OF BALTGRAF PRESIDENTS

The timeline of BALTGRAF Presidents:

Professor Daiva Makutėnienė

Vilnius Gediminas Technical University

Lithuania

2008-2013

Professor Modris Dobelis

Riga Technical University

Latvia

2002-2008

Professor Rein Mägi

Tallinn University of Technology

Estonia

1996-2002

Professor Petras Audzijonis

Vilnius Gediminas Technical University

Lithuania

1991-1996


PREFACE

Both the content and the forms of teaching in the engineering education are changing drastically due to the rapid advances in the contemporary Information Technology (IT). Computers and Computer Aided Design has become a media for engineering rather than just a simple tool. The fundamental knowledge required for the successive management of modern BIM (Building Information Modelling) and PLM (Product Lifecycle Management) concepts still is the same as before – engineering graphics and descriptive geometry. This refers not only to the mechanical, civil engineering and architecture, but almost to the all spheres of life which is very hard to accept by some of the academic officials.

The submitted papers showed continual increase of the research in the areas of CAD/CAM technologies, using BIM and PLM concepts, as well as the use of ELS (Electronic Learning System), and development of multimedia study aids and applications. The challenges of Augmented Reality (AR) in graphic subjects have been noticed in several studies. Many of these ideas have been introduced into engineering curricula and the educators share the experience of their use. The number of first time contributors to the BALTGRAF has increased – we are pleased to warmly welcome the research papers from Russian Federation, Serbia, and Ukraine.

This year we have a very special topic on geometry in arts of Latvian immigrant to Canada after WWII Zanis Waldheims (1909-1993). His artworks you can enjoy at the exhibition which is brought back to Zanis’ home country by Yves Jeanson, a freelancer from Canada which I meat last year in Montreal at our bigger brother’s ICGG 2012 Conference (International Conference on Geometry and Graphics). Yves is a privileged witness of an interesting story about a Latvian survivor that did not back off from any difficulty to realize his quest for meaning and orientation.

On behalf of organizers, I am pleased to thank all the authors for the contributing papers. We express our appreciation to the Board of the Reviewers for their time and efforts devoted to the review process. For some of the authors and reviewers the use of EasyChair conference management system was a great challenge to extend their IT knowledge into a completely new area. Likewise we all – the graphic educators – are establishing the bridge between the fundamental engineering practices and the modern IT technologies nowadays used almost in all spheres of life.

Finally, on behalf of Organizing Committee, I would like to thank all participants who came to the conference at the present very challenging economic situation in the world and wish you a prosperous conference, fruitful discussions, great ideas and further cooperation in teaching contemporary graphic communication.

Welcome to Riga and BALTGRAF 2013!

Modris Dobelis, BALTGRAF 2013 Chairman


CHRONOLOGY OF BALTGRAF CONFERENCES

The following BALTGRAF Conferences took place:

Conference City Country Year

BALTGRAF-1 Vilnius Lithuania 1991


BALTGRAF-3 Tallinn Estonia 1996



BALTGRAF-6 Riga Latvia 2002








HISTORY

It was back in 1991 on November 5th at the Vilnius Technical University when

following the initiative of the professor Petras Audzijonis the representatives of seven

Departments of Engineering Graphics from six universities of the Baltic States came

together. Assuming the lately changed political situation in Eastern Europe in general

and in the Baltic region in particular at this meeting an International Baltic

Association BALTGRAF was founded. The Declaration of the Association was

accepted and Council elected, the main goal determined and the tasks set. The

principal purpose of the BALTGRAF was to establish a new scientific journal for

publications, organize the scientific conferences, coordinate the efforts and exchange

the ideas in the field of engineering background education dealing with wide range of

Engineering Graphics matters. Special attention was paid to the emerging computer

graphics technologies, how to integrate them both into syllabus in particular and into

engineering curricula in general.

The conference is occurring every two years at the technical universities of

three Baltic countries according the rotating schedule. The conference language is

English.

Find out more about BALTGRAF on website http://www.baltgraf.org


VENUE

The conference sessions will take place at the University Campus in ground

floor of the building of Faculty of Civil Engineering at Āzenes Street 16/20.

Two suggested hotels are in a walking distance from the conference site and

offer an accommodation for a reasonable price.

Map of the conference site:


LOCATION OF SESSIONS AND EXHIBITION

The conference sessions will take place on a ground floor


EXIBITION

During the conference an exhibition will be open:

“ZANIS WALDHEIMS’ GEOMETRICAL ABSTRACTION”

“ŽAŅA VALDHEIMA ĢEOMETRISKĀ ABSTRAKCIJA”

The Supplement A of Scientific Proceedings

introduces with the main milestones of the life of

Latvian born artist Zanis Waldheims


PRELIMINARY CONFERENCE PROGRAM

The 12th



June 5-7, 2013, Rīga, Latvia

Wednesday, June 5, 2013

Early Bird Reception and Registration

Exhibition

“Zanis Waldheims’ Geometrical Abstraction”

“Žaņa Valdheima ģeometriskā abstrakcija”

17:00

-

19:00

RTU, Faculty of Civil Engineering

Azenes St 16/20 Room 136


Preliminary Program

International Conference on Engineering Graphics BALTGRAF 2013

Thursday, June 6, 2013

Faculty of Civil Engineering, Azenes St 16/20, Room 132

Registration at the Reception Desk, Room 132 8:00

Opening Ceremony

BALTGRAF 2013 Chairman Modris DOBELIS

Welcome Speeches by:

Dean of the Faculty of Civil Engineering Juris SMIRNOVS

BALTGRAF President Daiva MAKUTĖNIENĖ

9:00

Plenary Session, Room 132

Session Chairman Modris DOBELIS

Zanis Waldheims' Geometrical Art Yves JEANSON

9:40

Geometrical Aspects of Restitution and Revitalization of the Wooden

Architectural Structures Renata Anna GÓRSKA

10:00

The Automated System for Learning of Innovative Course in

Descriptive Geometry Vladimir VOLKOV, Olga ILYASOVA, Natalya KAYGORODSEVA

10:20

Digital Product Definition Data Practices Tilmutė PILKAITĖ, Vidmantas NENORTA

10:40

Conic Sections in Logo Forming Irina KUZNETSOVA, Anna BURAVSKA

11:00

Conference Photo Session

Coffee Break

Room 136

11:00

-

- 12:00


Thursday, June 6, 2013,


Plenary Session

Session Chairman Renata Anna GORSKA 12:00

BIM Technology Application Efficiency in Architectural Engineering

Studies at Vilnius Gediminas Technical University Tatjana GRIGORJEVA, Birutė JUODAGALVIENĖ,

Eglė TAUTVYDAITĖ

12:00

From Learning Outcomes to the Team of Advisers Ants SOON, Aime RUUS

12:20

Effect of Augmented Reality Technology on Spatial Skills of Students Zoja VEIDE, Veronika STROZEVA

12:40

Architectural Form and Building Material of Suspension and Cable-

Stayed Bridges – Visualization of Geometrical Structure Jolanta TOFIL, Anita PAWLAK-JAKUBOWSKA

13:00

Interactive 3D Mechanical Design Software Nomeda PUODZIUNIENE, Vidmantas NENORTA

13:40

Lunch

Room 136

13:40

-

14:40




Plenary Session

Session Chairman Vidmantas NENORTA 14:40

Assessment of the Engineering Graphic Literacy Skills Modris DOBELIS, Theodore BRANOFF, Imants NULLE

15:30

Combinatorial Methods Forming Objects of Design Iryna KUZNETSOVA, Oktyabrina CHEMAKINA,

Tatyana SHIMANSKAYA

15:45

Perspective View Possibilities Rein MÄGI

Geometrical Education by Using Multimedia Presentation Miodrag NESTOROVIĆ, Aleksandar ČUČAKOVIĆ,

Nataša TEOFILOVIĆ, Biljana JOVIĆ

16:00

Symbols Used to Define a Projection Method and a Cartesian

Coordinate System for a Three-Dimensional Space Antanas VANSEVICIUS

16:20

Coffee Break

Room 136

16:20

-

17:00




Plenary Session

Session Chairman Olga ILYASOVA 17:00

The Optimization of Geometric Parameters for Mansard Design Jānis AUZUKALNS, Ieva JURĀNE

To Create or to Explode? Rein MÄGI, Heino MÖLDRE 17:30

Optimization of Teaching of Engineering Graphics Subjects in Riga

Technical University Veronika STROZEVA, Zoja VEIDE

17:45

Improvement Concept of Engineering Graphics Course Violeta VILKEVIČ 18:00

Graphical Competence in Engineering Sciences Olaf VRONSKY

18:20

Conference Dinner

(Optional)

Hotel Islande

19:00

-

21:00


Friday, June 7, 2013,


Plenary Session

Session Chairman Jolanta DZWIERZYNSKA 9:00

Modelling of Shortest Route in the Drawing Algirdas SOKAS

Reconstruction of the Ancient Town of Emder by the Means of a

Computer Model Natalia BUBLOVA, Vasilij KONOVALOV

Engineering Graphics Education as the Foundation of Intercultural

Engineering Communication Harri LILLE, Aime RUUS

9:15

Problems of Motivation of Students to Study Compulsory Subject

“Engineering Graphics” Zoja VEIDE, Veronika STROZHEVA, Modris DOBELIS 9:30

Some Reflections on Teaching Geometry and Engineering Graphics Jolanta DZWIERZYNSKA

10:40

Coffee Break

Room 136

10:40

-

11:40


Friday, June 7, 2013,


Plenary Session

Session Chairman Zoja VEIDE 11:40

Automatic Projections in a Few Seconds Konstantinas Stanislovas DANAITIS, Juozapas GRABYS 10:15

Drawbacks of BIM Concept Adoption Modris DOBELIS

Engineering Graphics and Humor Rein MÄGI 11:15

Graphic Investigation of Second Level Surface Intersection Lines Konstantinas Stanislovas DANAITIS, Juozapas GRABYS 11:30

Programmatical Detection Method of Flat Graphical Objects Formed

from Lines Algirdas SOKAS

11:45

Usage of Computer Aided Design Systems in Study Process Birutė JUODAGALVIENĖ, Tatjana GRIGORJEVA

Closing Ceremony 12:30

Lunch

Room 136

12:30

-

13:30


CONTENTS

Conference Organization ...............................................................................................3

Program Committee – the Board of Reviewers .............................................................4

Acknowledgment ......................................................... Error! Bookmark not defined.

Host of the Conference ..................................................................................................7

Chronology of BALTGRAF Presidents ........................................................................8

Preface ...........................................................................................................................9

Chronology of BALTGRAF Conferences ...................................................................10

History .........................................................................................................................11

Venue ...........................................................................................................................12

Location of Sessions and Exhibition ...........................................................................13

Exibition ......................................................................................................................14

Preliminary Conference Program ................................................................................15

Contents .......................................................................................................................22

Author Listing ..............................................................................................................26

The Optimization of Geometric Parameters For Mansard Design .............................27

Jānis AUZUKALNS, Ieva JURĀNE

Reconstruction of the Ancient Town of Emder by the Means

of a Computer Model ...................................................................................................39

Natalia BUBLOVA, Vasilij KONOVALOV

Automatic Projections in a Few Seconds ....................................................................45

Konstantinas Stanislovas DANAITIS, Juozapas GRABYS

Graphic Investigation of Second Level Surface Intersection Lines ............................51

Konstantinas Stanislovas DANAITIS, Juozapas GRABYS

Drawbacks of BIM Concept Adoption ........................................................................57

Modris DOBELIS


Assessment of the Engineering Graphic Literacy Skills .............................................69

Modris DOBELIS, Theodore BRANOFF, Imants NULLE

Some Reflections on Teaching Geometry and Engineering Graphics ........................81

Jolanta DZWIERZYNSKA

BIM Technology Application Efficiency in Architectural Engineering Studies

at Vilnius Gediminas Technical University .................................................................85

Tatjana GRIGORJEVA, Birutė JUODAGALVIENĖ,

Eglė TAUTVYDAITĖ

Geometrical Aspects of Restitution and Revitalization of the Wooden

Architectural Structures ...............................................................................................95

Renata Anna GÓRSKA

Zanis Waldheims' Geometrical Art ...........................................................................105

Yves JEANSON

Usage of Computer Aided Design Systems in Study Process ..................................113

Birutė JUODAGALVIENĖ, Tatjana GRIGORJEVA

Conic Sections in Logo Forming ...............................................................................121

Irina KUZNETSOVA, Anna BURAVSKA

Combinatorial Methods Forming Objects Of Design ...............................................127

Iryna KUZNETSOVA, Oktyabrina CHEMAKINA,

Tatyana SHIMANSKAYA

Engineering Graphics Education as the Foundation of Intercultural

Engineering Communication .....................................................................................135

Harri LILLE, Aime RUUS

Engineering Graphics and Humor .............................................................................141

Rein MÄGI

Perspective View Possibilities ...................................................................................149

Rein MÄGI


To Create or to Explode? ...........................................................................................157

Rein MÄGI, Heino MÖLDRE

Geometrical Education by Using Multimedia Presentation ......................................163

Miodrag NESTOROVIĆ, Aleksandar ČUČAKOVIĆ,

Nataša TEOFILOVIĆ, Biljana JOVIĆ

Digital Product Definition Data Practices .................................................................171

Tilmutė PILKAITĖ, Vidmantas NENORTA

Interactive 3D Mechanical Design Software .............................................................177

Nomeda PUODZIUNIENE, Vidmantas NENORTA

Modelling of Shortest Route in the Drawing .............................................................185

Algirdas SOKAS

Programmatical Detection Method of Flat Graphical Objects Formed

from Lines ..................................................................................................................193

Algirdas SOKAS

From Learning Outcomes to the Team of Advisers ..................................................199

Ants SOON, Aime RUUS

Optimization of Teaching of Engineering Graphics Subjects

in Riga Technical University .....................................................................................209

Veronika STROZEVA, Zoja VEIDE

Architectural Form and Building Material of Suspension and

Cable-Stayed Bridges – Visualization of Geometrical Structure .............................215

Jolanta TOFIL, Anita PAWLAK-JAKUBOWSKA

Symbols Used to Define a Projection Method and a Cartesian Coordinate

System for a Three-Dimensional Space ...................................................................223

Antanas VANSEVICIUS

Effect of Augmented Reality Technology on Spatial Skills of Students ..................229

Zoja VEIDE, Veronika STROZEVA


Problems of Motivation of Students to Study Compulsory Subject

“Engineering Graphics” .............................................................................................237

Zoja VEIDE, Veronika STROZHEVA, Modris DOBELIS

Improvement Concept of Engineering Graphics Course ..........................................243

Violeta VILKEVIČ

The Automated System for Learning of Innovative Course

in Descriptive Geometry ............................................................................................249

Vladimir VOLKOV, Olga ILYASOVA, Natalya KAYGORODSEVA

Graphical Competence in Engineering Sciences .......................................................257

Olaf VRONSKY

Supplement A ............................................................................................................265

Zanis Waldheims: Giving Meaning to Abstract Art – a Non Conformist

Approach or the Pathway to Self-Reliance ...............................................................267

Yves JEANSON

Summary Biography of Zanis Waldheims (1909-1993) ..........................................271

Yves JEANSON

Zanis Waldheims Artworks .......................................................................................285

Yves JEANSON

Supplement B .............................................................................................................291

SolidWorks 3D CAD for Students and Education for Rewarding Careers ..............293


AUTHOR LISTING

Auzukalns J., 27

Branoff T., 69

Bublova N., 39

Buravska A., 121

Chemakina O., 127

Čučaković A., 163

Danaitis K. S., 45, 51

Dobelis M., 9, 57, 69, 237

Dzwierzynska J., 81

Górska R. A., 95

Grabys J., 45, 51

Grigorjeva T., 85, 113

Ilyasova O., 249

Jeanson Y., 105, 267, 271, 285

Jović B., 163

Juodagalvienė B., 85, 113

Jurāne I., 27

Kaygorodseva N., 249

Konovalov V., 39

Kuznetsova I., 121, 127

Lille H., 135

Mägi R., 141, 149, 157

Möldre H., 157

Nenorta V., 171, 177

Nestorović M., 163

Nulle I., 69

Pawlak-Jakubowska A., 215

Pilkaitė T., 171

PLM Group, 293

Puodziuniene N., 177

Ruus A., 135, 199

Shimanskaya T., 127

Sokas A., 185, 193

Soon A., 199

Strozeva V., 209, 229, 237

Tautvydaitė E., 85

Teofilović N., 163

Tofil J., 215

Vansevicius A., 223

Veide Z., 209, 229, 237

Vilkevič V., 243

Volkov V., 249

Vronsky O., 257

The 12 th International Conference on Engineering Graphics

BALTGRAF 2013 June 5-7, 2013, Riga, Latvia

27/300

THE OPTIMIZATION OF GEOMETRIC PARAMETERS

FOR MANSARD DESIGN

Jānis AUZUKALNS1, Ieva JURĀNE

2

1. ABSTRACT

Efficient use of attic area or mansard is determined by proper usage of the slope angle

of roof planes. The paper deals with the determination of values of geometric

parameters for optimal design of mansard in the buildings with gable roof during both

building renovation and planning a new design. The optimization analysis regarding

the useful floor area or available mansard volume is performed with respect to the

angle of the slope of roof planes. Obtained nomograms will allow architects and

customers make the final decision on building’s roof concept at the early design stage

based on both economic considerations and architectonic impressions.

KEYWORDS: Roof Construction, Mansard Design, Parameters Optimization

2. INTRODUCTION

A mansard or mansard roof is a four-sided gambrel-style hip roof characterized

by two slopes on each of its sides with the lower slope, punctured by dormer

windows, at a steeper angle than the upper. The steep roof with windows creates an

additional floor of habitable space, (a garret), and reduces the overall height of the

roof for a given number of habitable storeys. Two distinct traits of the mansard roof –

steep sides and a double pitch – sometimes lead to it being confused with other roof

types. Since the upper slope of a mansard roof is rarely visible from the ground, a

conventional single-plane roof with steep sides may be misidentified as a mansard

roof. The gambrel roof style, commonly seen in barns in North America, is a close

cousin of the mansard. Both mansard and gambrel roofs fall under the general

classification of "curb roofs". The “curb roof” is a pitched roof that slopes away from

the ridge in two successive planes. However, the mansard is a curb hip roof, with

slopes on all sides of the building, and the gambrel is a curb gable roof, with slopes

on only two sides. The typical mansard roof is displayed in the Fig. 1.

1 Dep. of Computer Aided Engineering Graphics, Riga Technical University, Āzenes iela 16/20,

Rīga, LV-1048, Latvia, e-mail: [email protected] 2 Dep. of Computer Aided Engineering Graphics, Riga Technical University, Āzenes iela 16/20,

Rīga, LV-1048, Latvia, e-mail: [email protected]


Fig. 1. The typical mansard roof

The curb is a horizontal heavy timber directly under the intersection of the two

roof surfaces. A significant difference between the two, for snow loading and water

drainage, is that, when seen from above, Gambrel roofs culminate in a long, sharp

point at the main roof beam, whereas Mansard roof always form a flat roof. Mansard

in Europe also means the attic (garret) space itself, not just the roof shape and is often

used in Europe and in Latvia to mean a gambrel roof.

Article 1.19 of the Latvian construction regulation LBN 211-98 “High-rise

residential apartment buildings” defines a “mansard floor” – a floor (a finished space)

built between the separating constructions of the roof, outer walls and the ceiling of

the upper floor (in the attic), which is to fulfil a certain practical purpose.

The Mansard style makes maximum use of the interior space of the attic and

offers a simple way to add one or more storeys to an existing (or new) building

without necessarily requiring any masonry (Fig. 2). Often the decorative potential of

the Mansard is exploited through the use of convex or concave curvature and with

elaborate dormer window surrounds.

The earliest known example of a Mansard roof is credited to Pierre Lescot on

part of the Louvre built around 1550. The style was popularized in France by

architect François Mansart (1598-1666). Although he was not the inventor of the

style, his extensive and prominent use of it in his designs gave rise to the term

"mansard roof", an adulteration of his name. The mansard roof became popular once

again during Haussmann's renovation of Paris beginning in the 1850s, in an

architectural movement known as "Second Empire style".


Fig. 2. Four storeys in the attic Fig. 3. Art Nouveau building in Riga, 1909

The height of a city building up to its eaves was usually standardized; therefore,

a mansard-type roof allowed obtaining extra space without violating the construction

regulations. In Latvia mansard roofs were popular among estate buildings and

residential buildings, and were even used for constructing cowsheds. Various kinds of

mansard roofs were often applied in Art Nouveau buildings (Fig. 3). One may

observe mansard roof types based on a range of parameters, including different slope

angles and proportions. Not only do roof parameters differ among several buildings,

but also the proportions of roof parts of a single roof vary. Even the breaking point of

the roof is individual for every building (Fig. 4). The breaking point may be selected

according to the specific use of each building; however, it is also possible to establish

the most efficient parameters for a mansard roof, which will be further discussed in

the paper. While constructing a low-rise building, the type and geometric parameters

of its roof are selected according to the characteristics of the tiling, local climate,

purpose of the spaces located beneath the roof and the architectonic demands of the

building [1-4].

The most efficient selection of geometric parameters for a two-slope roof is

discussed in the publication [6].


Fig. 4. The slopes of roof parts of a single roof vary

3. CHOOSING THE ENCLOSING OUTLINE OF THE CURB (MANSARD)

ROOF

To determine the enclosing outline of a mansard roof (Fig. 5), let us consider a

circumference (1), comparing its perimeter with that of an ellipse (2), given that the

area of both is the same ( ), where

the area of the circumference is

and the area of the ellipse is

Thus, the perimeter of the circumference will be

√ (1)

As the parametric equation of an ellipse is

,

,

the perimeter of the ellipse will be

∫ √

.

As it may be observed, the perimeter of the ellipse is expressed in terms of

elliptic integrals which, in turn, cannot be expressed in terms of elementary functions.


Fig. 5. The enclosing outline of a mansard roof

Therefore, we will provide its approximate expression from [7]:

√(√ √

)

The ratio of the circumference perimeter to that of the ellipse (

), given that

the area of both is the same and that b=1, will be

√(√

)

√

Let us calculate the range of

values at and provide an

illustration of it in the Fig. 6 chart:

a 0.1 0.2 0.3 0.4 0.5 0.6 0.7 0.8 0.9 1.0

Pe/Pr 2.0339 1.4914 1.2729 1.1577 1.0901 1.0489 1.0239 1.0093 1.0021 1.0000

a 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0

Pe/Pr 1.0017 1.0062 1.0129 1.0212 1.0308 1.0414 1.0528 1.0648 1.0773 1.0901


Fig. 6. The dependency of the

ratio on the dilation of the ellipse

As it may be seen from the chart, the minimum of the

function is at a=b=1.

Thus, in accordance with the above calculations, the optimum enclosing outline for a

mansard roof is a circumference.

4. OPTIMIZATION OF ROOF DESIGN

To rationally construct a mansard, it is essential to choose the right place for the

break of the roof, as well as the right slope length and angle. In order to do so, we

shall first determine the main geometric parameters of a mansard as illustrated in

Fig. 7.

As is may be gathered from the mansard calculation scheme:

and

Keeping this in mind, the values of the roof slopes may be obtained as follows:

√

√


.

Fig. 7. Design schedule of a mansard

Since then

√ √ (

)

√ (

)

Fig. 4 displays variations in the roof slope length according to the placement of

the break of the roof, at r = 1.


Fig. 8. Lengths of the mansard roof slopes

Fig. 9 displays variations in the roof slope angles according to the placement

of the break of the roof, at r = 1.

Fig. 9. Angles of the mansard roof slopes


The volume of the mansard, independent from its depth, is characterized by the

area S of its cross-section.

From Fig. 7 we may observe that:

(

)

Therefore, the cross-section area may be expressed as follows:

( (

)√ )

Chart in Fig. 10 displays variations in the mansard roof area S according to the

angle, at r = 1.

Fig. 10. Mansard roof cross-section area

The chart makes it obvious that the largest value of the roof cross-section area

will be obtained at =45o. Thus, the roof slopes being of equal length ( the

breaking point of the roof will be calculated as

√

and the slope length values will equal


Let us further consider the variations of the whole mansard roof perimeter in

comparison to the perimeter of the enclosing outline. The difference between the

perimeter values may be calculated as follows:

√ √ (

)

√ (

)

Chart in Fig. 11 displays mansard roof perimeter variations according to its

breaking point, at r = 1.

Fig. 11. Mansard roof perimeter variations according to its breaking point

It should be stressed that at d = 0.7071 we will receive the following value


To conclude, it must be said that an optimized mansard, be it with or without a

breaking point, may be installed even when renovating an already constructed

building [7-9].

5. CONCLUSIONS

1. It has been established that the most efficient enclosing outline of the mansard

roof is a circumference.

2. The most efficient breaking point of the roof is located at 0.7071 of the roof

height.

3. With the breaking point in its most efficient location, the roof slopes are of

equal length.

4. The greatest value of the roof cross-section area will be obtained at the

breaking point orientation angle constituting 45 degrees.

5. The designed method provides an opportunity to determine the length and

angle of roof slopes according to the chosen geometric parameters of the

mansard while designing its roof.

6. REFERENCES

1. Arhitekturnie konstrukcii. Ed. Kazbek-Kaziev Z.A. 1989. Moscow: Visshaja

shkola. -342 pp. (in Russian).

2. Biršs J., Vanags, L. Ēkas jumts un tā konstrukcijas elementi. Available from

Internet: http://www.ideju fabrika.lv/padomi/1/jumti_ekas_jumt_konstr.pdf.

2009. (in Latvian). [access Apr 21, 2009]. (in Latvian).

3. Valtere J. 2009. Mansarda izbūve un iekārtošana. [access Apr 21, 2009].

Available from Internet. (in Latvian).

http: //www.maja.lv.lv/index.php?n=506&a=782. (in Latvian).

4. Michael Roberts & Associates, Building Terms: "Mansard".

5. Mansard roof. Available from Internet: http://en.wikipedia.org/wiki/Mansard.

[access Apr 21, 2009].

6. Auzukalns J., Dobelis M. The Optimization of Geometric parameters for

Mansard design. Engineering Graphics Baltgraf-10. Proceedings of the Tenth

International Conference, Vilnius, Lithuania, June 4-5, 2009, p. 1-6.

7. Elipse. Available from Internet: http://lv.wikipedia.org/wiki/Elipse.

8. Dictionary of Architecture & Construction, C. M. Harris.

9. Noviks J. Jumti (Pirtis). 2009. [access Apr 21, 2009]. Available from Internet:

http://saimnieks.lv/Nekustamais_ipasums/Buvnieciba/1229. (in Latvian).

10. Auzukalns, J. V. K voprosu o vibore optimalnoi paschetnoi shemi mansardi,

Projektirovanie i optimizacija konstrukcij inzhenernih sooruzhenij. Riga: Riga

Tehnical University, 1990. (in Russian).


11. Noteikumi par Latvijas būvnormatīvu LBN 211-98 "Daudzstāvu

daudzdzīvokļu dzīvojamie nami" Rīgā. 1998. gada 20. oktobrī. prot. Nr. 57, 1.

(in Latvian).

12. Auzukalns J. 2009. Cīņa pret stereotipiem. [access Apr 21, 2009].

Available from Internet:

http://www.building.lv/readnews_print.php?news_id=101915. (in Latvian).

13. http://www.jugendstils.riga.lv/index.php?lang=lat&p=3&pp=0&id=9. (in

Latvian).

14. The Carpentry Way. http://thecarpentryway.blogspot.com/2010/03/french-

connection-9.html.



39/300

RECONSTRUCTION OF THE ANCIENT TOWN OF EMDER

BY THE MEANS OF A COMPUTER MODEL

Natalia BUBLOVA1, Vasilij KONOVALOV

2

1. ABSTRACT

Usage of computer technology – the modern and adequate tool for visualisation of

partially lost historical objects and reconstruction of ancient monuments. Digital

methods can be applied multimedia presentations, including animated video of

architectural monuments. So there is a need of different approaches, which is

especially important for the study and restoring of cultural monuments.

KEYWORDS: Reconstruction, Computer Model, Town of Emder

2. INTRODUCTION

One of the goals of the given article is to attract attention of computer graphics

and information technologies experts to the virtual resources creation of cultural

heritage which will be accessible in the sphere of education by the means of the

Internet network.

Usage of computer technology – the modern and adequate tool for visualisation

of partially lost historical objects and reconstruction of ancient monuments. Digital

methods can be applied by multimedia presentations, including animated video of

architectural monuments. Therefore, there is a need of different approaches, which is

especially important for the study and restoring of cultural monuments.

The reconstructed virtual three-dimensional models give an opportunity to see

not only architectural constructions, but household items of historical and cultural

heritage as well, that were reconstructed on archaeological excavations fragments.

Thus, it is possible to popularize and study objects, which are limited in access in

order to avoid their damage or destruction.

3. BASIC INFORMATION

Once upon a time there was a beautiful town of Emder on the banks of the river

Emder. The ancient town of Emder is a historical monument of federal value of the

dying out nation Khanty and Mansi. The history and culture of the Khanty-Mansiysk

Autonomous Okrug is closely connected with history and culture of Obskie Ugry,

1 St. Petersburg State University of Film and Television, Russian Federation, 13, Pravda Street,

St. Petersburg, 191119, e-mail: [email protected] 2 St. Petersburg State University of Film and Television, Russian Federation, 13, Pravda Street,

St. Petersburg, 191119, e-mail: [email protected]


who are two closely related peoples – Khanty and Mansi. The Khanty's traditional

occupations were fishery, taiga hunting and reindeer herding. The Khanty and the

Mansi live in the Khanty-Mansiysk Autonomous Okrug that is a part of the Tyumen

Region in the north-western Siberia. The overwhelming pressure of industry and alien

ways of life has cast doubt on the further existence of the Khanty and the Mansi

peoples as a nation.

Archaeologists have found the town of Emder due to the ancient fairy tale

"Bylinas about the Bogatyrs from the Town of Emder" (a bylina – a Russian

traditional folk heroic poem; a bogatyr – a strong warrior in Russian folklore) [2-3].

According to archaeologists excavations there was an ancient town of Emder on the

river Endyr in which brothers from a prince dome lived in the late Middle Ages. He

was located on the 35-metre coastal terrace and amazed by the impressive rests of

fortification system. The colour of the dug soil showed that the place was settled

down by people long time ago. One could see it in the rests of fortress fortifications

which were many times reconstructed: in some places the early (partially strew up)

and late ditches, the rests of fortification walls in the form of rampart could be seen.

On the cape where the fortified town is located a huge larch – several holds around –

is growing. Immediately the lines of the bylina about night talk of Yaga, in the shape

of the eagle sitting on the wind-broken shaggy larch, with a young girl comes to the

mind [1]!

The archaeological material shows that in small town of Emder there were

forge, bronze-casting, bones-cutting, tanning crafts and weaving. The numerous

observations made at excavations allow characterizing of fortress inhabitants as

skilled masters, soldiers and craftsmen.

Time of small town of Emder existence: from the end of the XI–XII centuries –

the second half of the XV–XVI centuries. Throughout almost 500 years the fortress

existed continuously.

Building technologies used to create the town-fortress, in particular, larch, were

a major factor of the architectural shaping. Old Emder fortress is an example of

unique architecture, partially hidden under ground.

We have to create a plausible reconstruction of the ancient town of Emder by

the means of the 3D Studio MAX program. This reconstruction of the ancient town of

Emder is largely based on three types of sources: a full picture of the object on the

basis of archival data, maps and field studies of archaeologists that will represent

architectural peculiarities in three-dimensional space with mathematical accuracy.

The 3D Studio MAX program was chosen as the medium because of its

potential to create full colour images of the ancient town of Emder in perspective

with textures and shadows, inscribed in the terrain. Such models exhaustively

describe the geometry of the historic and architectural monument.

We have defined 6 stages of three-dimensional model creation of the fortified

town of Emder:


1. Gathering and processing of the information necessary for creation of initial

drawings and 3D – objects modelling.

2. Creation of 2D-graphics of separate elements of small town, scheme of

structures arrangement, ditches and fortress towers in the AutoCAD program

(Fig. 1).

3. Construction of three-dimensional model of the object and adjoining

territories by the means of three-dimensional graphics.

4. Selection of materials and texturing of simulated 3D – objects.

5. Illumination and visualisation of 3D – objects and landscape (Fig. 2).

6. The digital rendering of separate images and animation video series.

At the initial stage of reconstruction of the town of Emder we had collected as

much as possible information and analysed it using different kinds of information

databases: considerable quantity of the text and cartographical information, the

description of archaeological excavations, photos, scientific historical researches,

museum exhibits and even oral folklore. There are about 30 ethnographic and local

lore museums in our Okrug. To our opinion out-door museums are one of the

interesting forms of the museum business. The necessary material can be obtained

from web pages of ethnography museums as well.

At the following preparatory stage, connected with designing of 3D-model of

the town of Emder, 2D-drawings on the basis of the given archaeological excavations

were created in the AutoCAD program. The AutoCAD Program has been chosen not

occasionally, since it allows importing of drawings to the 3D Studio MAX three-

dimensional modelling add-on. At the given stage the main goal was to define and

preserve proportions of objects in the fortress-town and follow its basic style features

of constructions. On the basis of the program drawings of Emdera town map, taking

into account all features of its difficult lay-out (ditches, rampart, banks, vales,

buildings etc.), are created. The first necessary thing is to analyse research job, and to

define the area of studied object. Thus the foreground of our project is the plan of the

town territory in the form of the radiuses shown as a contour line. The main

complexity of the work was impossibility to define precisely the height of

constructions from the documents we had in our disposal. The height was defined

under the anthropological description of the Khanty people which are 1.5 m high in

average. Presence in the town of horses’ remains and harnesses has indicated that the

entrance into the main tower should correspond to the horseman height.

Structures, landscape, objects, trees, firmament, sources of illumination and

animation create a real atmosphere around the recreated historical object and give

possibility of its viewing from different positions. The objects of heritage presented in

the 3d-graphics, allow almost touch an exhibit, and for few seconds to "be

transferred" from one century to another. The 3D-reconstruction and animation

replace stage of physical prototyping of an object and virtually represent a simulated

object with composite-visual and landscape analysis of a territory.


At the stage of computer visualisation of the constructed three-dimensional

model with structures and illumination the time of the image calculation is

respectively increasing; considerable resources of computer operative memory and

software are required. The higher the quality requirements to the virtual animation

image and volume, the more time is required for the final stage of a virtual

reconstruction and top efficiency of modern information technologies possibilities

usage.

Further on such model can be interactive: the observer will carry out navigation

in virtual space, examining once existed ancient town of Emder.

4. SUBMISSION AND PRESENTATION

Fig. 1. Input in internal fortress: Internal defensive wall

Fig. 2. Reconstruction of the ancient town of Emder


5. CONCLUSIONS

Computer 3D-modelling and animation of virtual reality promotes cultural

heritage popularisation, and brings together archaeology with education and

entertainment businesses. The considered method is a modern source of scientific

research and creation of three-dimensional models base of historical and cultural

heritage objects of the Khanty and Mansy peoples in the West Siberia.

Thus, the virtual reconstruction of architectural monuments should be based on

optimum combination of new information technologies possibilities, creative and art

thinking and understanding. Traditional graphic methods without use of computer do

not provide the same results. The results of the study could be used to develop

practical recommendations for the conservation and reconstruction of the most

interesting historical and architectural monuments.

6. REFERENCES

1. Bylinas about the Bogatyrs from the Town of Emder. Moscow: Interbook

Business, 2005. -64 pp. (bilingual in Russian and English).

2. Encyclopedia Uralic mythologies. T. 3. Khanty mythology. Tomsk Univ.

University Press, 2000. (Contributors: V. M. Kulemzin, Timothy Moldanov,

Tatiana Moldanova). -305 pp.

3. Lukin N. V. Khanty from Vasyugan'e to Pole. Sources on ethnography.

Vol. 2. Average Ob. Wah. Book 1. Tomsk Univ. University Press,

2005. -352 pp., Book 2. Tomsk, Yekaterinburg: Univ. University Press,

Publishing House “Basco”. 2006. -256 pp.




45/300

AUTOMATIC PROJECTIONS IN A FEW SECONDS

Konstantinas Stanislovas DANAITIS1, Juozapas GRABYS

2

ABSTRACT

The article compares AutoCAD commands Viewbase and Solview, intended for

creating automatic projections. Both commands allow presenting a complex drawing

of the same model. It can be concluded that when solving an adequate task, Viewbase

allows completing it in ten times less actions than Solview. The possibilities of the

command Viewbase are analysed.

KEYWORDS: Viewbase, Solview, Automatic Projections, Complex Drawing,

Possibilities

INTRODUCTION

The main practical tool of our computer graphics teachers is AutoCAD.

Therefore, knowledge and practical use of the application provides not only the

comfort of freedom in an auditorium of students, but also the possibility to render the

original ideas graphically, just like acrobatic manoeuvres by the pilots. Apparently,

doing the manoeuvres is determined not as much by practical knowledge as by the

software instruments and the algorithms of their use created by the user. The users are

sometimes irritated by the versions of AutoCAD changing every year. One grows

accustomed to the tools and a year later they are radically changed. An example could

be the visualisation tool Render of recent versions of AutoCAD. It is not a reproach

to the programme. It is just the policy of Autodesk: every year presenting a new and

improved commercial programme, which is sometimes successful and sometimes not.

It forces the user to improve.

One should remember the appearance of paper sheets Layout in AutoCAD

2000 version. It was like a small revolution in presenting a drawing or an advertising

task for printing. It may be compared to the appearance of sliced bread and teabags.

When observing the new versions of AutoCAD, new and modified tools are

constantly appearing, which could be considered revolutionary. Therefore, we would

like to draw the attention of the colleagues in the conference to the new command

Viewbase in AutoCAD.

1 Vilnius Gediminas Technical University, [email protected]

2 Vilnius Gediminas Technical University, [email protected]


COMMANDS VIEWBASE AND SOLVIEW

If we take a look at the study programme modules of Computer Graphics, a

large part of them is occupied by creating automatic projections, cross-sections and

intersections of the models. In some modules it is done manually, just a computer

with AutoCAD is used instead of a pencil. Most often automatic projections are

created using the commands Solprof, Solview, and Soldraw.

Let us compare the creation of a complex drawing in terms of the complexity of

use and time taken using the commands Viewbase and Solview. To make it objective,

let us take a look at the protocols of creating a complex drawing by the commands

Viewbase and Solview below (Fig. 1 and 2).

Complex drawing protocol created using the command Viewbase Type = Base and Projected Style = Wireframe with hidden edges Scale = 1:1

Specify location of base view or

[Type/Representation/Orientation/STyle/SCale/Visibility] <Type>: Select option [Representation/Orientation/STyle/SCale/Visibility/Move/eXit] <eXit>:

Specify location of projected view or <eXit>:

Specify location of projected view or [Undo/eXit] <eXit>: Specify location of projected view or [Undo/eXit] <eXit>:

Specify location of projected view or [Undo/eXit] <eXit>:

Base and 3 projected view(s) created successfully.

Fig. 1. Complex drawing created using the command Viewbase

In order to create a complex drawing using the command Viewbase, the user

must perform the following actions:

- indicate the location of the basic projection – Enter;

- indicate the locations of other three projections – Enter.

Complex drawing protocol created using the command Solview.


Command: SOLVIEW

Enter an option [Ucs/Ortho/Auxiliary/Section]: u

Enter an option [Named/World/?/Current] <Current>: Enter view scale <1>:

Specify view center:

Specify view center <specify viewport>: Specify first corner of viewport:

Specify opposite corner of viewport:

Enter view name: H

Enter an option [Ucs/Ortho/Auxiliary/Section]: o

Specify side of viewport to project:

Specify view center: Specify view center <specify viewport>:

Specify first corner of viewport:

Specify opposite corner of viewport:

Enter view name: F

Enter an option [Ucs/Ortho/Auxiliary/Section]: o

Specify side of viewport to project: Specify view center:

Specify view center <specify viewport>:

Specify first corner of viewport: Specify opposite corner of viewport:

Enter view name: P

Enter an option [Ucs/Ortho/Auxiliary/Section]: Command: SOLDRAW

Select viewports to draw..

Select objects: 1 found Select objects: 1 found, 2 total

Select objects: 1 found, 3 total

Select objects: One solid selected.

Command: *Cancel*

Command: <Switching to: Model> Regenerating model – caching viewports.

Command: _ucs

Current ucs name: *WORLD* Specify origin of UCS or [Face/NAmed/OBject/Previous/View/World/X/Y/Z/ZAxis]

<World>: _v

Command: *Cancel* Command: <Switching to: Layout1>

Restoring cached viewports – Regenerating layout.

Command: SOLVIEW Enter an option [Ucs/Ortho/Auxiliary/Section]: u

Enter an option [Named/World/?/Current] <Current>:

Enter view scale <1>: Specify view center:

Specify view center <specify viewport>:

Specify first corner of viewport: Specify opposite corner of viewport:

Enter view name: W

Enter an option [Ucs/Ortho/Auxiliary/Section]: Command: SOLDRAW

Select viewports to draw.. Select objects: 1 found

Select objects:

One solid selected. Command:

** STRETCH **

Specify stretch point or [Base point/Copy/Undo/eXit]: Command:

** STRETCH **

Specify stretch point or [Base point/Copy/Undo/eXit]: Command: *Cancel*


Command: Specify opposite corner or [Fence/WPolygon/CPolygon]: *Cancel*

Command: _.MSPACE

Command: '_zoom Specify corner of window, enter a scale factor (nX or nXP), or

[All/Center/Dynamic/Extents/Previous/Scale/Window/Object] <real time>: _all

Regenerating model. Command: _CANNOSCALE

Enter new value for CANNOSCALE, or . for none <"1:1">: 1:1

Command: _.PSPACE Command: '_Layer

Command: '_LayerClose

Command: '_Layer Command: '_LayerClose

Command: '_Layer

Fig. 2. Complex drawing created using the command Solview

In order to create a complex drawing using the command Solview the user must

perform the following actions:

- perform the actions of Ucs dialogue (image from above);

- perform the actions of Ortho dialogue (image from the front);

- perform the actions of Ortho dialogue (image from the left) – Enter;

- change the coordinates to the plane of the screen in the space of the model;

- perform the actions of Ortho dialogue (isometric) – Enter;

- perform the actions of Soldraw dialogue – Enter;

- widen the lines in Vis layers;

- insert the dotted line in Hid layers;

- deactivate the Viewports layer.

As seen above, to obtain the result by the command Viewbase we must make

four mouse clicks and press Enter twice (Fig. 1) and automatic projections are


created in a few seconds. Meanwhile to obtain the same result using the command

Solview (Fig. 2), one must perform around 60 conscious actions. Therefore, when

solving an adequate task, Viewbase allows completing it in ten times less actions

than Solview. Isn’t it a revolution?

POSSIBILITIES OF THE COMMAND VIEWBASE

Command: VIEWBASE

[Type/Representation/Orientation/STyle/SCale/Visibility]

Type Enter a view creation option [Base only/base and Projected] <Base and


Representation Representations are not supported by the model.


Enter a view creation option [Base only/base and Projected] <Base and Projected>: p


Orientation Select orientation [Top/Bottom/Left/Right/Front/BAck/SW iso/SE iso/NE iso/NW iso]

<Front>:

STyle Select style [Wireframe/wIreframe with hidden edges/Shaded/sHaded with hidden

edges] <Wireframe with hidden edges>:

SCale Enter scale <1>:

Visibility Select type [Interference edges/TAngent edges/Bend extents/THread

features/Presentation trails/eXit] <eXit>: b

This visibility type is not supported by the model.

Select type [Interference edges/TAngent edges/Bend extents/THread

features/Presentation trails/eXit] <eXit>:

Move Specify second point or <use first point as displacement>:

eXit Specify location of projected view or <eXit>:

Specify location of projected view or [Undo/eXit] <eXit>:

CONCLUSIONS

Working in AutoCAD habituated to the regular commands or of combination of

them in solving with one task or another graphic task. The addictive is sometimes

overshadowed rational decisions, the use of new commands that occur each year in

the new versions of the program. As an example of the command Viewbase that

waved, revolutionary changes in the projections of the models formation. And it can

also be not observed. Such effects have Express group's only need to be timely and

relevant context to notice.


REFERENCES

1. V. Sinkevičius AutoCAD 2009-2010 pradmenys [Basics of AutoCAD 2009–

2010], Smaltija, Kaunas 2010. (in Lithuanian).

2. http://www.we-r-here.com./cad/videos/viewbase/viewbase.htm.

3. http://usa.autodesk.com.



51/300

GRAPHIC INVESTIGATION OF SECOND LEVEL SURFACE

INTERSECTION LINES

Konstantinas Stanislovas DANAITIS1, Juozapas GRABYS

2

1. ABSTRACT

The article deals with the surfaces of AutoCAD second level solid objects and a

graphic investigation of their intersection lines is carried out. A graphical form of

surface intersection line is presented, which is recommended as a control task for

homework. It was concluded that the preparation and implementation of such tasks

develops the practical skills of a student in using 2D and 3D computer projection

technologies an d also stimulates the learning of the basics of drawing geometry.

KEYWORDS: Surface Intersection Lines, 2D and 3D Computer Programming

Technology, Projections, Tasks

2. INTRODUCTION

The widely used 3D design technology allows solving drawing positional tasks

of geometry. The basis is the creation of a geometrical model and afterwards,

geometrical modelling operations are performed using a computer: finding

intersection lines, cross-sections and intersections, projections, etc.

Complicated tasks solved during the course of drawing geometry are often

intended for mastering the detailed method of drawing geometry and do not have

much practical significance. Therefore, these tasks are simply solved using 2D and

3D methods of computer technology. This reflects a well-known methodological

problem characteristic to the use of computer technology: the use of computer

technology is rational due to fast and precise obtaining of results, but at the same time

the user must fine secret, beautiful and interesting solution algorithms.

3. CONTENTS OF GRAPHIC INVESTIGATION

We have chosen the surfaces of a cone and cylinder as an example for second

level surface intersection lines graphic investigation. First, the models of both objects

are created using the Modelling tools. In order to obtain the intersection lines of the

surfaces of two objects, Union logical operation is performed. Then the problem is

presenting the image of intersection of two objects visually. There are several

1 Vilnius Gediminas Technical University, e:mail: [email protected]

2 Vilnius Gediminas Technical University, e:mail: [email protected]


options. First, carcass orthogonal images of the objects are rendered in different

windows, where the maximum visuality is obtained by changing the types and

colours of invisible lines. In order to retain the projection relation of the images, the

command Mvsetup is used. Obtaining the projections using the commands Solprof

or Solview would be a little more complicated. Using this method, the visuality of the

projections is easier obtained by changing the colour and type of lines on different

levels.

The new command Viewbase in AutoCAD 2012 is very useful for rendering

the lines of surface intersection. Figure 1 presents the graphical images of a cylinder

and a cone obtained using the commands Viewbase and Solview. As we can see, the

intersection line may be depicted in additional windows with multiple zoom. It allows

correcting the character of lines in the area of basic points and examining the patterns

of intersection lines of the objects in detail, as if under a microscope.

Fig. 1. Graphical images of intersection lines of a cylinder and a cone obtained

using the commands Viewbase and Solview


Solving such tasks as second level intersection lines of the surfaces and their

graphical depiction demands practical knowledge in using AutoCAD and develops

the orientation in projection relations. We believe that such tasks would be beneficial

in developing the practical skills of students in using 2D and 3D design technologies

and mastering the theoretical fundamentals of drawing geometry. When

implementing individual tasks, a student would have to indicate the basic points of

intersection lines of second level surfaces and characterize the intersection curves

(Fig. 2).

Fig. 2. Characterizing second level surface intersection lines

without marking the basic points of line intersection

4. SELECTING THE TASKS

The tasks with graphic investigation of second level surface intersection lines

may be assigned as independent homework of the students. The task indicates two

surfaces of objects; the patterns of their surface intersection lines have to be

examined. AutoCAD allows modelling the following solid objects with second level

surfaces: cylinder, cone, sphere, and their elliptical versions. The amount of task

versions is easily selected to meet the required number (Fig. 3).


a)

b)

c)

Fig. 3. Versions of tasks for investigation of intersection lines of a cylinder and cone:

a) insertion; b) common symmetrical plane parallel to one of the planes

of the projection; c) using turning surfaces


When creating the tasks, not only the above mentioned standard solid objects

may be used, but also an unlimited number of turning surfaces (Fig. 3c). It completely

satisfies the number of different tasks for a regular group. Quantitative parameters of

the tasks may be selected by the students themselves taking into account the visuality

conditions of obtained solutions.

The participation of the students in creating the tasks demands independent

thinking and creative initiative. This allows achieving the educational aim: gaining

knowledge through thinking bases on imagination.

5. CONCLUSIONS

1. 3D geometrical modelling technology allows fast and efficient presentation of

the results of second level surface intersection lines graphical investigation.

2. Preparation of the tasks of graphical investigation of second level surface

intersection lines engaging the students develops their interest, initiative, and

creativity.

3. Independent implementation of the tasks of graphical investigation of second

level surface intersection lines develops practical skills of the students in

using 2D and 3D computer design technologies and stimulates mastering the

theoretical basics of drawing geometry.

6. REFERENCES

1. V. Sinkevičius. AutoCAD 2009-2010 pradmenys [Basics of AutoCAD 2009–

2010], Smaltija, Kaunas, 2010. (in Lithuanian).

2. K. S. Danaitis, A. Usovaitė. Grafikos valdymas AutoCAD aplinkoje

[elektroninis išteklius] [Management of Graphics in AutoCAD Evironment

(electronic resource)], Vilnius: Technika, 2011. (in Lithuanian).

3. http://www.we-r-here.com./cad/videos/viewbase/viewbase.htm.




57/300

DRAWBACKS OF BIM CONCEPT ADOPTION

Modris DOBELIS1

ABSTRACT

Building Information Modelling (BIM) is a process of generating and managing

building data during its life cycle which involves representing a design as virtual

objects, which carry their geometry, relations and attributes. BIM design media

allows an extraction of different views from a building model for drawing production

and other uses. All the different views are automatically synchronized in the sense

that the objects are all of a consistent size, location, specification – since each object

instance is defined only once, just as in reality. BIM uses 3D, real-time, dynamic

building modelling software to increase productivity in design and construction. BIM

process co-ordinates products, project and process information throughout new

product introduction, production, service and retirement among the various players,

internal and external, who must collaborate to bring the concept to life. Universities

have to become the initiators of the promotion of BIM ideas not only to the designers

and engineers, but much wider public than at present. Universities have to seek

contacts/relationships with a view of developing joint actions with industry and

enterprises. Particular attention should be paid to Small and Medium sized

Enterprises as they account for an enormous part of economic growth and could be

the places where the innovations could be introduced easier. There is an evident role

for universities to play in lifelong learning and continuing education thought them to

offer possibilities of companies to increase competitiveness, productivity and

efficiency, total costs estimation, and to become concurrent on the global market.

KEYWORDS: BIM, BIM Teaching, Engineering Education

HISTORY OF BIM

It is assumed that the BIM concept originates from the projects of Professor

Charles Eastman at the Georgia Tech School of Architecture. Abbreviation BIM

stands for Building Information Modelling (or Model) in early 1970s. The developed

Building Description System (BDS) was the first software which manipulated with

individual library elements from the database in the model on PDP computers. This

idea was developed a long time before the victorious march of personal computers

and therefore could not get wide popularity because not many architects had a chance



mailto:[email protected]


to get grips on it. Later several similar systems (GDS, EdCAAD, Cedar, RUCAPS,

Sonata and Reflex) were developed and tested on practical projects in United

Kingdom in 1980s [1]. A wider application into practice this concept acquired only

with the development of personal computers when the ArchiCAD software from

Graphisoft Company appeared on the scene, which incorporated the idea of Virtual

Building rather than drawing from the very first of its version Radar CH in 1984. The

power of software was amplified by flexible built-in programming environment for

its library components using GDL (Geometric Description Language).

The next step was when Irwin Jungreis and Leonid Raiz split from Parametric

Technology Corporation (PTC) and started their own software company called

Charles River Software in Cambridge, MA. They were equipped with the knowledge

of working on Pro/ENGINEER software (released 1988) development for mechanical

CAD that is utilizes a constraint based parametric modelling engine [1]. The two

wanted to create an architectural version of the software that could handle more

complex projects than ArchiCAD. A trained architect David Conan joined the project

and designed the initial user interface which lasted for nine releases. By 2000 the

company had developed a program called Revit, written in C++ and utilized a

parametric change engine, made possible through object oriented programming.

In 2002, Autodesk purchased the company and began to heavily promote the

software in competition with its own object-based software Architectural Desktop

(ADT), which provided a transitional approach to BIM, as an intermediate step from

CAD [2]. ADT creates its building model as a loosely coupled collection of drawings,

each representing a portion of the complete BIM.

Approximately at the same time period the concept of BIM was adopted by

another two software developers Bentley and Nemetschek in their further products.

Bentley Systems interpreted BIM differently as an integrated project model which

comprises a family of application modules that include Bentley Architecture

(internationally known under Microstation Triforma name), Bentley Structures,

Bentley HVAC, etc. Nemetschek provided a fourth alternative with its BIM platform

approach. The AllPlan database was “wrapped” by the Nemetschek Object Interface

(NOI) layer to allow third-party design and analysis applications to interface with the

building objects in the model [2].

HOW BIM WORKS?

The BIM concept first of all uses parametric object-oriented 3D data in virtual

models in contrary to the conventional 2D drawings, a long time used so far by

engineers and designers. Instead of drawing just a filled rectangular in plan view

which represents a wall of building in section, in BIM concept software the model is

built virtually in 3D space, the relative location with all the neighbour elements is

precisely determined and easy observable from arbitrary viewpoint for visualization

purposes. The model includes not only the geometric relationships between all


building elements, but these elements carry information on many real attributes

associated with them, like material, paint, class of fire safety, cost, etc. The drawings

– plans, elevations, and sections – are obtained automatically from the unique virtual

building model, along with the bills of materials and are updated immediately after

any changes are performed in the original building model. Amount of wall material in

specifications (schedules) is updated as soon as real virtual building elements like

windows and doors are placed in the model. This method highly eliminates the

human errors while producing drawing documents, which cannot be avoided using

the conventional 2D drafting technique. The synchronization between views,

elevations and sections in the manually produced drawing documents is the

responsibility of all parties involved, which in the case of large projects and many

parties involved could be a serious problem.

The concept of BIM besides the conventional three dimensions of the model

and real attributes attached to these elements includes the fourth dimension – time.

The so called 4D design approach allows the coordination between parties involved

not only during the building construction phase but also during exploitation,

reconstruction and finally even utilization. The information is maintained and updated

in the common database from the initial stage of the design through the whole

lifecycle of the building.

The fifth dimension incorporated in the BIM concept is “money”. One of the

most important attributes for elements and processes of the real rebuilding included in

the virtual model is cost. In this case the process is described as 5D design approach.

The databases may include building elements with their attributes from many vendors

and the designers could easily simulate several variants of the design. Numerous

design scenarios “what if” could be played to find out the most effective solution.

Besides the five more or less known dimensions the current BIM concept

supports also the sixth dimension which are facility management applications like

CAFM (Computer-Aided Facility Management) and the seventh dimension with

procurement solutions e.g. contracts, purchasing, suppliers, and environmental

standards.

In order to support all these dimensions of BIM concept in the numerous

software and application, it is evident that a common standard has to be used to share

the information between so many different “players on the field”. There are many

problems which have to be solved before this undoubtedly effective BIM process can

be widely used in practice [3].

The technology adoption lifecycle model describes the adoption or acceptance

of a new product or innovation, according to the demographic and psychological

characteristics of defined adopter groups. The process of adoption over time is

typically illustrated as a classical normal distribution or "bell curve." The model

indicates that the first group of people to use a new product is called "innovators,"

followed by "early adopters." Next come the early and late majority, and the last

group to eventually adopt a product are called "laggards".


Since these BIM tools and techniques have become increasingly complex,

architectural and civil engineering schools have been faced with a great challenge not

to lie behind and not to become laggards. To train specific software requires first of

all mastering itself provided there is a financing for it. In general, industry lies behind

and picks up the innovations slowly. A student with knowledge of only one type

of software may well be trained to design according to the biases of the programs that

they are using to represent their ideas. Software performs useful tasks by breaking

down a procedure into a set of actions that have been explicitly designed by a

programmer. The programmer takes an idea of what is common sense and simulates a

workflow using tools available to them to create an idealized goal. In the case of BIM

tools, the building is represented as components including walls, roofs, floors,

windows, columns, etc. These components have pre-defined rules or constraints

which help them perform their respective tasks results.

PROBLEMS OF ADOPTION IN INDUSTRY

Contemporary hardware and software provides enormous potentials for the

nowadays designers. How come that these potentials are not introduced in everyday

practice and are not used in full scale? The two main factors that affect this are the

expenses and training. The BIM’s learning curve could be one of the top barriers of

implementation in construction. There is an opinion that wide use of BIM concept

mainly fails because of another two much more important factors – people factor and

change factor [5]. BIM implementation is not really about the software, but it is about

organizational change. Our experiences – and the experiences of our clients – have

demonstrated that people and processes are far more important than technology.

BIM is an absolutely wonderful tool, and it has great potential to streamline

costs and processes, to help different disciplines communicate effectively and to

ensure little confusion on a job site. But to get to that promised land of benefits, you

have to pass through the wilderness of adoption, which always seems to hinge on

organizational change, not technology. This is the inconvenient truth.

People’s factor has been acknowledged by many AEC/CAD/CAM analysts [5,

6]. The influence of people is significant factor in software product implementation

that requires from people to re-think the way they are doing their business. Both PLM

and BIM software can eliminate some roles in organizations and change business

processes between organizations. It makes the process of software adoption long and

complicated. This is a place where failure comes very often.

Changes are another aspect, which very often comes together with data and

object and/or process oriented software like PLM and BIM. The specific character of

almost every enterprise-level data and process management software is to focus on

how to change organization – improve processes, re-organize business relationships,

change tools, etc. It is extremely hard to people, since change is hard which

consequently leads to failures [5].


BARRIERS IN BIM EDUCATION

Innovative companies nowadays require professional employees who are able

to work effectively on projects undertaken with BIM. Several universities throughout

the world have been running a wide range of courses to meet this demand and provide

students with experience on this new paradigm. However, this learning experience is

relatively new and based on a pedagogical system that has not yet been consolidated.

In a recent analysis [6] an attempt was made to address the main obstacles

encountered with BIM teaching, as well as to give examples of how to overcome

them and introduce new strategies at introductory, intermediary and advanced levels.

The programs that are planning to introduce BIM into the curriculum face a

number of obstacles that can be grouped into three types: academic circumstances,

misunderstanding of the BIM concepts and difficulties in learning/using the BIM

tools [7]. In an academic environment a wide range of problems occur, just to name

the topics: time, motivation, resources, accreditation, and curriculum.

Misunderstanding of BIM concepts is associated with individualized instruction,

traditional teaching, little teamwork and week or lack at all collaboration between

curricula. The weakness of BIM tools is associated with creativity, learning, teaching,

and knowledge aspects.

An extensive survey on 119 building construction schools in the United States

found that only 9% of them teach BIM at a degree level [8]. The main problems

named by the respondents are as follows: lack of time or resources to prepare a new

curriculum, lack of space in the curriculum to include new courses and a lack of

suitable materials to teach BIM. Another survey involving 101 Architecture, Civil

Engineering and Construction Management programs in the U.S. [9] found that, apart

from these obstacles, there is a shortage of trained personnel in BIM, that the

curriculum is not focused on BIM, that its implementation takes time and that the

accrediting bodies for the construction programs have not drawn up clear guidelines

for BIM.

The summary on BIM education activities [6] showed that only a few

engineering schools have been teaching BIM since 2000, e.g. Georgia Institute of

Technology, which has carried out research on BIM since the early 1990s. Several

international schools have begun teaching BIM tools around 2003, but the vast

majority introduced BIM between 2006 and 2009. In exceptional cases, the

architecture programs were those that first showed interest in this area. Rapid

advances were made and today there are a large number of BIM courses [9-11].

TEACHING APPROACHES

Through surveys the current educational programs throughout the world were

reviewed and recommendations developed to assist universities with curriculum

development. Based on an extensive research on BIM teaching experience in [10]

three skill levels are given which define the BIM learning and teaching strategies.


These three skill levels are introductory, intermediary and advanced. At introductory

level BIM usually is taught in typical engineering design graphics courses including

courses like Computer Aided Design.

The main purpose in an introductory level of curricula courses is to develop the

skills of geometric modelling using BIM supporting software. These courses do not

require the essentials of classic 2D CAD skills like AutoCAD, which are still

considered as a compulsory knowledge for architectural and civil engineering

graduates. The objective is to preferably learn those BIM tools that are most

commonly used in the field in order to obtain a good background of BIM concepts.

The BIM tools can be taught through lectures, workshops and labs. The students do

problem-solving exercises and carry out small individual tasks to practice the BIM

tool. It is recommended that before the students start the modelling they make

modifications to an existing model [10, 12-13]. This allows an exploration of basic

concepts of geometric modelling and provides understanding how to communicate

different type of information.

After this, the students create the model of a small building (or parts of it),

usually with an area of or less than 600 square meters to extract quantities from it,

and learn how to manipulate the model, types of basic components and their

behaviour. It is recommended that a modern single family residence is used as a

project. The modelling can be accompanied by analogue methods, sketches and

axonometric views, which allow the students to perform suitable adjustments to the

physical proportions [10, 13]. This approach is used at RTU Civil Engineering and

Architectural programs.

The architecture student can make a volume/mass representation of the house,

carry out an investigation of primary components (doors, windows, panels and

furniture) and, based on his/her research, develop and refine a new component. The

engineering student can do the following: identify a construction component of

his/her choice in the Structural and/or Mechanical, Electrical and Plumbing (MEP)

areas, make a list of the necessary information required for the construction of that

component, categorize this information throughout the life cycle to show how it can

be linked and managed from a life cycle perspective and decide how they should be

shared with the other subject-areas [13-14]. In [10] it is suggested that the assessment

of the students’ performance can be conducted through individual exercises

(components or simple models), written exams about BIM concepts and their

presentation of models.

BIM could be introduced in different courses of the curriculum and the study

[10] grouped them into eight categories: Digital Graphic Representation (DGR);

Workshop; Design Studio; BIM Course; Building Technology; Construction

Management; Thesis Project and Internship.

An introductory level of BIM at Riga Technical University is performed in

several courses dealing with classical engineering design graphics. The civil

engineering students have to apply the knowledge about the basics of architectural


design. After four formal lectures accompanied with training exercises on modelling

using ArchiCAD software, the students have to virtually build their own „dream

private house” which was analysed and designed before in a separate course

„Architectural Design” using the classical manual drafting technique. In this course

even AutoCAD drafting technique was not allowed to use. In the final project the

students have to compose all the required the basic supporting architectural

documentation – plans, elevations, sections, detail drawings, room inventory, exterior

and interior renderings – on a single sheet of A1 or A0 format paper. A standard or

self-created zone lists for room inventory have to be used. Standard or modified door

and window schedules have to be used to see the power of built-in features in the

BIM supporting software. Figures 1-3 demonstrate the complexity of individual

projects used in the introductory level of BIM concept study.

Fig. 1. A plan view of a two story building: An example showing the complexity

of project in the course „Computer Aided Design” for undergraduate

civil engineering students


Fig. 2. Detail view: An example showing the complexity of project in the course

„Computer Aided Design” for undergraduate civil engineering students

Fig. 2. Section view: An example showing the complexity of project in the course

„Computer Aided Design” for undergraduate civil engineering students


At the end of the course only one informative lecture is provided on the

possibility to streamline the prepared IFC compliant project for further energy

analysis or structural analysis on compatible software like Axis VM, Tekla

Structures, and Revit Structure which are typically used by local companies.

Educators can receive well prepared presentation materials and support from some

BIM software developers [15]. Unfortunately, the practice in the classroom reveals

that our students are quite reserved when they are offered just the theoretical lectures

about global issues. Practical training exercises during the class hours are more

appreciated, but the contact hours for the last two decades for classical engineering

design graphics subjects have decreased more than twice [16]. Further development

of civil engineering curricula is possible through the interaction between different

courses based on BIM collaboration. This would highly benefit the preparation of

graduates for the next BIM challenges.

CONCLUSIONS

Instead of trying to force through changes in the curriculum, the academic

world could join together with industry to promote BIM or collaborative thinking and

setting up a research, teaching and consultancy projects. A closer partnership is

expected between universities and industry. Unfortunately the local building industry

has faced well-known global issues and seems that the current period is not yet the

right time for changes. In fact, industry must be willing to provide funding for the

academic world. They must devote time to visit universities and be prepared to

discuss the current trends and scenarios with teachers and students, share generic

models and provide current materials for students to enable them to practice the

knowledge they have learned as stated in [11]. However, the biggest obstacle to the

progressive changes is a human factor!

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2012. http://www.archdaily.com/302490. [access Mar 16, 2013].

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Huge Potential, Some Success and Several Limitations.

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16, 2013].

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Building Information Modeling for Owners, Managers, Designers, Engineers,

and Contractors. John Wiley & Sons, Inc., 2008. -490 pp.

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2013].


5. Shilovitsky O. Why PLM and BIM Fail in the Same Way? Beyond PLM, May

4, 2012, http://beyondplm.com/2012/05/04/why-plm-and-bim-fail-in-the-

same-way. [access Mar 16, 2013].

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Gestão e Tecnologia de Projetos, 2011, 6, (2), p. 67-80.

7. Kymmell W. Building Information Modeling: Planning and Managing

Construction Projects with 4D CAD and Simulations. McGraw Hill, New

York, NY, 2008. -416 pp.

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http://ascpro0.ascweb.org/archives/cd/2009/paper/CEUE90002009.pdf.

[access Mar 16, 2013].

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Architecture, Engineering and Construction Education: integrating recent

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Construction, 2011, 16, p. 411-431.

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16, 2013].

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Current Approaches. Computing in Civil and Building Engineering. Proc. of

the International Conference. Nottingham, UK, Jun 30-Jul 2, 2010. -7 pp.

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[access Mar 16, 2013].

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University Undergraduate Curriculum. Proceedings of the BIM-Related

Academic Workshop. Washington, D.C., Dec 7-9, 2010. -11 pp.

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13. Brown N. C., Peña R. B., Folan J. Teaching BIM: Best Practices for

Integrating BIM into Architectural Curriculum? Autodesk University 2009.

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122_1.pdf. [access Mar 16, 2013].

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(MEP) Construction Management Curriculum. Proceedings of the BIM-

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ASSESSMENT OF THE ENGINEERING GRAPHIC

LITERACY SKILLS

Modris DOBELIS1, Theodore BRANOFF

2, Imants NULLE

3

ABSTRACT

An engineering graphics literacy assessment for constraint-based modelling course

was developed and tested by a visiting Fulbright Scholar at North Carolina State

University (NCSU), USA. Later the students from Latvia University of Agriculture

(LUA) and from two sections at Riga Technical University (RTU) in Latvia

participated in an experiment to test this methodology. All the 75 students from three

universities were asked to create 3D models for seven parts given in an assembly

drawing of a mechanical device within two hours’ time period. The parts in the

assembly ranged in complexity from a simple ball to a complex valve body. Students

were given a ruler to measure parts on the B-size third quadrant or A3 size first

quadrant drawing and determine sizes of geometric elements based on the given scale

(2:1). It was difficult to compare the test scores on the modelling assessment and

other measures in the course (final project, final exam, and final course average)

because universities have different grading system. This paper summarizes how

students performed (number of parts modelled, scores, total time, etc.) on the

developed Riga-Raleigh Test (named after the cities where it was inspected at first),

reports analyses of relationships between their scores on the assessment and other

measures in the course, and also presents ideas for future studies.

KEYWORDS: Graphic Literacy, Engineering Drawing, Constraint-Based Modelling

INTRODUCTION

Regardless of a wide use of advanced PLM (Product Lifecycle Management)

3D digital product advancement techniques, engineering drawings with orthographic

multiviews still serve as legal documents for product development processes.

Usually, engineering drawing course includes: principles of two-dimensional


Rīga, LV-1048, Latvia, e-mail: [email protected] 2 Dep. of Science, Technology, Engineering & Mathematics Education, College of Education, North

Carolina State University, P.O. Box 7801, Raleigh, North Carolina, 27695-7801, USA, e-mail:

[email protected] 3 Institute of Mechanics, Faculty of Engineering, Latvia University of Agriculture, J. Čakstes. bulv. 5,

LV-3001, Jelgava, Latvia, e-mail: [email protected]



projection and spatial reasoning (descriptive geometry), basics of multiview

engineering drawings, specifications and requirements of technical standards,

working drawings of parts and assembly drawings and so on. One of the first skills

engineering students must master is the ability to read and interpret drawings or

communicate in graphic language. This was hardly disputable statement at the age of

sequential engineering when conventional drawings served as primary documents for

product development.

The integration of computer technology over the last 30 years into engineering

programs has caused changes in the types of courses offered which has also forced

most schools to make decisions about what types of topics must be offered. The

“computerization” of these programs has forced to provide students with current

skills, but has it come at the expense of deficiencies in other areas [1]? In general, the

number of engineering graphics courses has been reduced in engineering programs all

over the world – the United States, Europe, Australia and China. Universities have

eliminated many courses in engineering graphics and descriptive geometry and

typically replaced them with a single course that is focused on solid modelling and

engineering design [2-5].

The reduction in the number of courses seems to be true internationally. In the

courses that remain in curricula, CAD instruction appears to be the main focus.

Programs, however, still vary, and faculty have many opinions about what is essential

when preparing students for careers in engineering and design [6-11]. With the

increase in focus on 3D modelling, are students still able to read and interpret

engineering drawings well?

It is well known fact that using constraint-based 3D solid modelling software

one can express the understanding of visual form much faster than creating multiview

working drawing. Test like this is highly oriented on the spatial reasoning of

geometric forms which are present in the parts of multiview assembly drawings rather

than checking the CAD software usage skills. To complete the test only the basic

knowledge of modelling technique is required. This allows the students to focus more

on the main task how to prove their graphic literacy and build the models from simple

3D geometric primitives like prism, cylinder, cone, sphere, and helix.

Prior the actual test, a pilot study was conducted in constraint-based modelling

course at NCSU where 29 students were asked to model as many as possible of the

seven parts from assembly drawing within a 110 minute class period [12]. The main

purpose of this pilot study was to determine the procedures necessary for this type of

assessment in a classroom setting. Only eight students modelled all seven parts in the

assembly. Some of the students in the pilot study completely misinterpreted the 3D

geometry of some parts. The researchers wondered if this was the result of

insufficient practice reading drawings and/or the result of low spatial ability.

Spatial abilities have been used as a predictor of success in several engineering

and technology disciplines [13]. In engineering graphics courses, scores on spatial

tests have also been used to predict success [14-15]. Other studies have shown that


some type of intervention, whether a short course or a semester long course, can

improve spatial abilities in students who score low on tests in this area [16-18].

For this study, the primary research question was, how well do current

engineering and technology students read engineering drawings, and is it possible to

somehow measure their understanding? Can students take the information given on

an assembly drawing, visualize or interpret each part, and then create 3D models of

the parts in a constraint-based CAD system? Are there any differences in the results

at universities with respect to the extent of preliminary graphic education?

METHODOLOGY

A proposal to test this methodology was sent to the faculty in different

countries. It was suggested to limit the test time from 2 academic to 2 astronomic

hours. During this time the students may stay enough focused on the problem

solution. The same time limit enables easier comparison of the results obtained.

A section of 29 students from constraint based modelling course from NCSU

participated in the final test. One section with ten students included participants of

senior-level constraint based modelling course from LUA. Two sections with 22 and

14 students from constraint-based modelling course at junior and senior-level of

mechanical engineering students at RTU were tested.

Nearly half of the participants were from RTU (48%) and the other half – from

NCSU (38.7%) and LUA (13.3%), combined. One third of the participants were

females – 28.0% from RTU and 5.3% from NCSU. A majority of the participants

were in their final year of studies (56.0%), but there was also a fair amount of

students in their second year (41.3%). In general, all the participants enrolled were

from Biomedical/Mechanical Engineering or Technology Education programs.

The prepared assembly drawing for the test represented straightforward and

handy interpretable mechanical devices. A wide range of elements of mechanical

engineering such as threads, chamfers, fillets, grooves, spring and slots were present.

A Figure 1 shows the assembly drawing for third quadrant projection system used in

this study for graphic literacy test. The same drawing was also prepared for first

quadrant projection system layout. It should be mentioned that for both drawing

projection systems the names in the parts list were in English, which was not the

native language for students in two European universities. Only overall dimensions

and a few other dimensions required for installation were given, including thread

designations and sizes. All the other information about the form and size of the parts

had to be determined from the given views, sectional views and sections and scaled

with the use of a metric ruler. Integer millimetres for nominal dimensions were

required for accuracy, and no fits, tolerances or surface finishes were required to be

considered in the models. To measure the students’ understanding about the assembly

represented in the assembly drawing, the students were required to model the

individual parts using 3D solid modelling software used in participating universities.


Fig. 1. The assembly drawing used for modelling test

All parts modelled were saved and files were submitted for the assessment.

Once the final test data was collected, one of the researchers evaluated all of the

SolidWorks 3D models produced by the students based on the rubrics pilot tested at

NCSU in early 2011. The assessment rubric spread sheet was created to account for

model accuracy and time required to model each part. Each feature and sketch (if

any) was analysed individually. Penalty points were assigned for each wrong

geometric dimension including under-defined sketches. Penalty points were added for

each dimension of the geometric primitive missing in the model, incorrect

dimensions, including misinterpreted scale or inaccurate measurement with ruler, and

failure to correctly represent cosmetic threads in SolidWorks models.

The assemblies were analysed with respect to their complexity. Several factors

were considered like number of geometric elements and modelling features, number

of threaded elements, and total number of dimensions. Finally, the complexity of the

part in an assembly drawing was characterized by the number of dimensions required

for the modelling of that particular part. This means that the dimensions accounted

for the size and location of geometric primitives from which the part was built. The

complexity of each part was determined as a ratio of number of dimensions for that

part and total number of dimensions in the assembly, normalized against 100. The

table on top right in Figure 1 represents the complexity of parts for the final 3D

modelling assessment in the study.


Figure 2 shows the 3D models of all individual parts for the final test assembly.

Parts in the image are shown half sectioned to better represent the geometric shape

and complexity.

Evaluated was the time every

individual student spent on modelling

each of the parts. The time stamps for

features and sketches in the

SolidWorks model file database were

examined to determine when each

item was created and last modified.

Time t1 was when the first feature’s

sketch was created and this was

assumed as a time when the student

started to create the model. The latest

time when any sketch or feature in

the design tree was modified was

assumed as the modelling end time tn

(Fig. 3). The total time t required for

part modelling was calculated as t =

tn-t1. All the data retrieved from the

files were collected in the Excel

spread sheet.

Fig. 3. Example of an Analysis of the SolidWorks’ Design Tree

RESULTS

In this extended study [19] an attempt was made to determine if it is possible to

compare the graphic literacy test results performed at different universities. Arranged

score points in Figure 4 represents the individual performance of all students in four

sections from three universities.

Fig. 2. The 3D models of the parts

from OVERFLOW VALVE


The results for RTU are shown separate for junior and senior level students.

The data were analysed to determine if there were identifiable differences in the

means between the scores on the 3D modelling test among the universities. A part

modelling was calculated as t = tn-t1. All the data retrieved from the files were

collected in the Excel spread sheet. Table 1 summarises the descriptive statistics for

the scores in the 3D modelling test.

Fig. 4. Individual scores of the students in the “reading and writing” test

Table 1. Scores on the modelling test in participating universities

School N Mean SD Min Max

RTU Jun. 22 42.2 19.3 18.3 83.1

RTU Sen. 14 58.4 21.7 9.0 85.7

NCSU 29 54.0 26.0 5.9 92.0

LUA 10 81.3 10.3 58.7 91.9

TOTAL 75 50.2 22.8 5.9 92.0

Further analysis was performed to reveal how the complexity of the parts

influences the modelling time. To get a reliable result, only the performance of those

students in all sections was analysed who scored above 60 points.

Average time required to model all seven parts was calculated and represented

based on the number of dimensions required to define the features of each part.

Statistical analysis of these data revealed that more complex parts require much

longer time to model them; however, the increase in time is nonlinear. Figure 5 shows

the approximated relationships with exponential function for the time T spent on

modelling and the number of dimensions x required to completely define the part. In

this graph a data point from the pre-test at NCSU was also included. The best

pronounced exponential relationship was observed in NCSU section where the

correlation coefficient was statistically significant with p<0.004.


Fig. 5. Average time spent on the modelling

depending on the complexity of the part

The obtained theoretical relationships will be used in further studies to predict

the time necessary to complete the modelling test assignments during the regular

classes or home assignments. Another challenge to check the dependability of the

theoretical forecast will be for the preparation of competitions about engineering

graphics literacy at RTU where similar tasks are used. Selecting the assignments for

the forthcoming competitions, which are supposed to be completed within limited

time frame, it is important to know before the expected busy time of an average

student.

To reveal a potential trend in the strategies of modelling or performance

differences in participating universities or sections, the average data were calculated.

Figure 6 displays the performance of the students when average score is calculated

based on the number of parts the student modelled. Any attempt to model any

recognized geometric shape of the part from the assembly drawing was assessed so

that not necessarily all the part had to be complete.

To evaluate how efficiently the students used the test time, a modelling pace

was introduced. The modelling pace is calculated as score points per time in min.

Figure 6 shows the relationship of modelling pace depending on the number of parts

modelled.

The examined file database allowed the researchers to analyse the scores of

individual students with respect to his/her pace (Fig. 7). The graph shows that the

same score could be achieved in more or less effective way. For example, at NCSU


two students scored above 80 points at the pace 1.32 and 1.4 points/min which is 1.5

times faster than the next two fastest students.

Fig. 6. Relationship of the average pace depending on the number of parts modelled

Fig. 7. Relationship between individual scores and the modelling pace

The main drawbacks of the test are both an enormous amount of time and

exhausting works to check the models created by students and fill the assessment

rubric in Excel worksheets. SolidWorks add-in Part Reviewer provides only a little

help while performing the analysis. Scrolling step-by-step through the rollback bar

one can explore more conveniently both how each feature was created and review

how the sketch was created. An attempt was made to check if a built-in comparison


tool in SolidWorks software Compare/Geometry and/or Compare/Features may be

used. Unfortunately this tool is tuned for modifications of particular original model

during the design stages. The students’ models have many variations and they are

created using numerous design approaches. The task might be a little easier if the

same origin of the coordinate system would be defined for all parts. However, this

imposes several restrictions to the task and puts an additional workload to the staff for

the test reparation. Comparison of the models using only the total volume does not

result in an accurate assessment, because too many different elements could be

respected or disregarded.

DISCUSSION

Analysis of the results revealed that students from LUA section scored

considerably higher than three other sections from other two universities. The

differences in all cases were statistically significant. A percentage of the average

scores from LUA and the significance level of these differences are represented in the

Table 2. However, no statistically significant differences were found between the

average scores for the sections from RTU and NCSU.

Table 2: Percentage of the average scores from the LUA scores

and its statistical significance

School Score

difference, %

Two tailed

p value

RTU Jun -40.7 0.001

RTU Sen -28.2 0.006

NCSU -33.6 0.003

There could be several explanations why the students from LUA section

showed better performance. First, the faculty conducting this study at LUA, observed

a special attitude from the senior students because of their participation in this

international project, which raised additional motivation. The attitude like this was

not noticed before in the regular classes during the semester. This situation may have

led to better results than would be obtained in a regular test setting during the

semester. Situation like this is known as Hawthorne effect [20] which is a form of

reactivity whereby subjects improve or modify an aspect of their behaviour being

experimentally measured simply in response to the fact that they know they are being

studied, and not in response to any particular experimental manipulation.

Second, better scores in the test could be that these students have had before in

their studies quite extensive fundamental courses, like descriptive geometry and

engineering graphics. Expressed in terms of total contact hours (credit points are very

different around the world) the LUA students have had 116 academic contact hours

while the students in other universities only from 36 to 55 academic contact hours.

These numbers do not include the current semester’s credits when this test was taken.


Third, the test at LUA section was not compulsory, so only better performing

and highly motivated students turned in. As a result a higher average score for LUA

section could have been obtained. Additional research should be performed to clarify

this effect.

CONCLUSIONS

A quantitative assessment method proposed in present study using an assembly

drawing “reading and writing” test in combination with 3D modelling software could

be used for the determination of a graphic literacy level of the engineering students.

The suggested assessment method was tuned for the use of constraint-based software

SolidWorks. The students from LUA showed on the average 1.6 times higher scores

in this engineering assembly drawing interpretation test than students from two other

universities. Further research is required to confirm that these differences were

associated with more extensive courses on graphic subjects in the sophomore studies

One of the main concerns for conducting future studies is the ability to scale-up to

handle more students. Although the rubric used in the pilot study and in this study

delivered accurate assessments of the students’ modelling abilities, the time required

to assess student work was very high. This potentially could prevent other faculty

from using the suggested method. The researchers plan on investigating alternative

methods for accurately assessing student models such as automated programs for

gathering the desired data from the digital models.

ACKNOWLEDGMENT

This research was performed within 2011 Fulbright Program grant “Evaluating

Engineering Graphics Literacy in CAD Age” and sponsored by the U.S. Department

of State's Bureau of Educational and Cultural Affairs.

REFERENCES

1. Livshits,V., Sandler B. Z. Upstairs/ Downstairs in Technical Education: The

Unsettling Effects of Computerization. International Journal of Technology

and Design Education, 9, p. 73-84, 1999.

2. Branoff T. J. The State of Engineering Design Graphics in the United States.

Proceedings of the 40th

Anniversary Conference of the Japan Society for

Graphic Science, Tokyo, Japan, May 12-13, 2007. -8 pp.

3. Clark A. C., Scales A. Y. A Study of Current Trends and Issues Related to

Technical/Engineering Design Graphics. Engineering Design Graphics

Journal, 64, (1), p. 24-34, 2000.

4. Meyers F. D. First Year Engineering Graphics Curricula in Major Engineering

Colleges. Engineering Design Graphics Journal, 64, (2), p. 23-28, 2000.

5. Zheng Jian. Teaching of Engineering Drawing in the 21st Century. 2011

Second International Conference on Mechanic Automation and Control


Engineering Proceedings, July 15-17, 2011, Inner Mongolia, China, p. 1713-

1715.

6. Dobelis M., Veide G., Leja E. Development of Spatial Imagination Abilities

in Mechanical Engineering Students. Proceedings of the 13th

International

Conference on Geometry and Graphics, August 4-8, 2008, Dresden,

Germany. e-Publication in CD format. -8 pp.

7. Harris L.V.A., Meyers F. Engineering Design Graphics: Into the 21st Century.

Engineering Design Graphics Journal, 71, (3), p. 20-34, 2007.

8. Jurane I. Educational Aids in Graphical Education. Proceedings of the 14th

International Conference on Geometry and Graphics, August 5-9, 2010,

Kyoto, Japan. e-Publication in CD format. -7 pp.

9. Kise S., Sekiguchi S., Okusaka K., Hirano S. Training on Three-dimensional

Computer-Aided Design for New Employees of Machine Design Department

and its Evaluation. Proceedings of the 13th


Geometry and Graphics, August 4-8, 2008, Dresden, Germany. e-Publication

in CD format. -7 pp.

10. Suzuki K., Schroecker H. P. Application of Descriptive Geometry Procedures

in Solving Spatial Problems with Feature and Parametric Modelling 3D-CAD.


International Conference on Geometry and Graphics,

August 4-8, 2008, Dresden, Germany. e-Publication in CD format. -8 pp.

11. Wang J., Hao Y. Teaching Reform and Practice in Engineering Drawing

Based on 3D Modeling with Computer. Proceedings of the 14th

International

Conference on Geometry and Graphics, August 5-9, 2010, Kyoto, Japan.

e-Publication in CD format. -7 pp.

12. Branoff T. J., Dobelis M. Engineering Graphics Literacy: Measuring

Students’ Ability to Model Objects from Assembly Drawing Information.


Midyear Conference of the Engineering Design

Graphics Division of the American Society for Engineering Education,

Galveston, Texas, January 22-24, 2012, p. 41-52.

13. Strong S., Smith R. Spatial Visualization: Fundamentals and Trends in

Engineering Graphics. Journal of Industrial Technology, 18, (1), p. 1-6, 2001.

14. Adanez G. P., Velasco A. D. Predicting Academic Success of Engineering

Students in Technical Drawing from Visualization Test Scores. Journal for

Geometry and Graphics, 6, (1), p. 99-109, 2002.

15. Leopold C., Gorska R. A., Sorby S. A. International Experiences in

Developing the Spatial Visualization Abilities of Engineering Students.

Journal for Geometry and Graphics, 5, (1), p. 81-91, 2001.

16. Hsi S., Linn M. C., Bell J. E. The Role of Spatial Reasoning in Engineering

and the Design of Spatial Instruction. Journal of Engineering Education, 86,

(2), p. 151-158, 1997.


17. Martín-Dorta N., Saorín J. L., Contero M. Development of a Fast Remedial

Course to Improve the Spatial Abilities of Engineering Students. Journal of

Engineering Education, 97, (4), p. 505-513, 2008.

18. Sorby S. A. Improving the Spatial Visualization Skills of Engineering

Students: Impact on Graphics Performance and Retention. Engineering

Design Graphics Journal, 65, (3), p. 31-36, 2001.

19. Dobelis M., Branoff T., Nulle I. Quantitative Assessment of the Students’

Engineering Graphics Literacy via Modeling Objects from Assembly Drawing

Information. Proceedings of the 15th

International Conference on Geometry

and Graphics, August 1-5, 2012, Montreal, Canada. e-Publication in DVD

format. -12 pp.

20. The Hawthorne Effect. http://encyclopedia.thefreedictionary.com/Hawthorne

effect [access Mar 14, 2013].



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SOME REFLECTIONS ON TEACHING GEOMETRY AND

ENGINEERING GRAPHICS

Jolanta DZWIERZYNSKA1

1. ABSTRACT

The main aim of the paper is to present didactic experience resulting from introducing

a new concept of the laboratory exercise realized within the subject Geometry and

Engineering Graphics at Civil Engineering Faculty of Rzeszow University of

Technology. Wanting to make students be more creative and interested in drawing,

2D drawing has been replaced by 3D one. Thereby, new abilities of the program

AutoCAD 2012 have been exploited at creating projections of the figure on the basis

of the spatial model of it. The new concept of the students’ task has released the

students from the monotonous work and has left more time for creation of new forms

and accumulation of certain skills and knowledge.

The paper reflects the role of the educators in adaptation of the topics, teaching

methods and tools correspondingly to the needs of the future engineer.

KEYWORDS: Engineering Graphics, Education, AutoCAD

2. INTRODUCTION

A new educational system according to the Bologna Declaration has had a

significant impact on the creation and development of the new curricula at Polish

technical universities. In general, it has caused limitations of the teaching hours of the

particular subjects, as well as elimination or creation of the new ones. On the other

hand, a continuously developing CAD world has greatly influenced the technical

education at all levels of learning. Thereby, the content of teaching geometry as a

technical subject has changed a lot too. Moreover, the subject Geometry and

Engineering Graphics (Descriptive Geometry first) has been submitted to the new

rules and the new standards. The standards of teaching this subject have started to

cover not only descriptive geometry – different methods of projections and technical

drawings, but also introduction to Computer Aided Design.

1 Dep. of Architectural Design and Engineering Graphics, Rzeszow University of Technology, Al.

Powstancow Warszawy 12, 35-959 Rzeszow, Poland, e-mail:[email protected]


3. GEOMETRY AND ENGINEERING GRAPHICS AT RZESZOW

UNIVERSITY OF TECHNOLOGY

The students of Civil Engineering Faculty at Rzeszow University of

Technology are taught Geometry and Engineering Graphics during two semesters at

the first year of study. The number of hours, which are devoted to technical drawings

and engineering graphics, is only twenty hours during the second semester of study.

The students spend these hours in a computer lab working with AutoCAD. Twenty

ours of the classes for getting acquainted with the bases and principles of making

technical drawings, architectural drawings and building structural drawings it is not a

lot. Due to this insufficient number of academic hours specified for the computer lab,

the teaching has been limited to the teaching of drawing only two-dimensional

pictures. At the beginning of the laboratory classes students are introduced with a

short review of the general fundamentals of the work with AutoCAD system, and

then they carry out the laboratory exercises. Although the program AutoCAD is

treated only as the tool for drawing, the students have to master this tool well, in

order to perform the laboratory tasks.

The exercises the students had to carry out as a part of the laboratory classes

were as follows:

1. The technical drawing of the figure.

Three projections according to the Monge’s method of the certain figure were

given. One had to copy the top and front views, draw the cross section of the figure

and make dimensions of it.

2. The architectural drawing of the ground floor plan of a building.

The template of the architectural drawing was given. One had to draw an

architectural ground floor plan of the building on the base of the template (draw outer

and inner walls, stairs, put the symbols of windows, doors, sanitary facilities, create

dimensions according to the standards) [3].

3. The working drawing of a ferroconcrete bean.

The draft of the ferroconcrete bean was given. One had to prepare a working

drawing of it (draw bean views and reinforcing, cross sections, make dimensions

according to the standards requirements) [3].

4. The working drawing of the steel pole or the base of the pole.

The draft of the steel pole was given. The pole was composed of two beams;

T-profile one and C-profile one. One had to prepare the working drawing of it [3].

It is worth remarking that, the designing assumptions of these four exercises

were prepared individually for each student, so every one of them had to work

independently.


4. THE NEW CONCEPT OF THE STUDENT’S TASK

The observation has been made during the last year’s permits to state, that

students having gone through the first three laboratory exercises manage to acquire

the skill at drawing with computer assisting quite well. However, being supposed to

copy the assumption of the last exercise (the working drawing of the steel pole) they

have started to be bored a little. Therefore, wanting to make the students be more

interested in drawing, the subject of the last exercise has been modified. That is, the

2D drawing has been replaced by 3D one. In this way abilities of the program

AutoCAD 2012 have been exploited at creating projections of the figure on the basis

of the spatial model of it [4].

Due to the lack of time, the students are not taught modelling technique, which

bases on primitives and Boolean operations, however. They create 3D model of the

steel pole using one command – extrude, which enables creating 3D solid by

extruding 2D region object. Next, they create three projections of the pole in the

layout automatically, complete the drawing and make dimensions. Thereby, the

advantage of using AutoCAD 2012 and its perfect Base View tool is taken.

The creation of the spatial model of the pole has given the possibility of making

the footstep farther, that is placing poles in the chic and designing the cover

composed of some fragments of the ruler surface above them (Fig.1).

Fig. 1. The result of the students’ exercise

The Base View tool has simplified drawing projections considerably. It also

turned out, that the students made the construction drawing of the pole on the base of

the spatial model of it far more quickly than they drew the flat projections of it. What

is more, they were more interested in what they did. Even the students with poor

achievements got interested in the creation of the three-dimensional model; computer

aided construction of the projections and coped quite well with it. The new concept of

the students’ task has released the students from the repeatable, monotonous work, as

well as has left more time for creation of new forms and accumulation of certain

skills and knowledge. As it was shown in [1], introducing 3D modelling at a very


initial level of university education accelerated the development of “spatial thinking”,

necessary for understanding geometric configuration of the engineering objects.

Nowadays, the students not only have to face similar quantity of material

(necessary elements of the image, contents of projections, principles of dimensioning

according to standards) as other students did in the past, but additionally, they have to

master computer as a drawing tool. On the other hand, new and new versions of

AutoCAD program give new and new possibilities of simplifying drawing and make

it more effective. Therefore, there is no doubt the updated drawing tools should be

used in students work. However, one should take advantage of the new versions of

AutoCAD and its new tools very carefully. AutoCAD 2013 enables drawing the cross

section automatically. In the author’s opinion, however, this option should be exploit

very carefully, or even omit at the first level of education, when student have to work

at shaping his/her spatial imagination. The program should not replace student’s

work, but only simplify it and help the student to express his/her design idea.

Therefore, application of the new tools and right selection of them should be

important and dependent on the level of education, as well as, the progress of

teaching.

6. CONCLUSIONS

It is educators responsibility to continually reflect on what they teach and

how [2].

They should carefully analyse the needs of the future engineer and adapt

topics and teaching methods correspondingly.

The application of the new drawing tools and choice of them should be

crucial.

To make students being creative and interested in a new presented material

one ought to be flexible and responding to contemporary world.

7. REFERENCES

1. Baušys R., Žiūrienė R. Some Aspects of Educational Paradigm of Engineering

Graphics, Proceedings of 10th

International Conference on Engineering

Graphics, Vilnius, 2009, p. 13-18.

2. Branoff T. Teaching at a Distance: Challenges and Solutions for Online

Graphics Education, Proceedings of 13th


Geometry and Graphics, Dresden, 2008. -9 pp.

3. Polish standards for: Technical Drawings, Construction Drawings, Building

Design, Technical Product Documentation. http://www.pkn.pl. (in Polish).

4. AutoCAD 2012/LT2012/WS+, Wydawnictwo Naukowe PWN, Warszawa,

2011. (in Polish).



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BIM TECHNOLOGY APPLICATION EFFICIENCY IN

ARCHITECTURAL ENGINEERING STUDIES AT VILNIUS

GEDIMINAS TECHNICAL UNIVERSITY

Tatjana GRIGORJEVA1, Birutė JUODAGALVIENĖ

2,

Eglė TAUTVYDAITĖ3

1. ABSTRACT

Architectural Engineering studies are very popular around the world. At Vilnius

Gediminas Technical University this study program has been taught for 10 years. The

graduates of this study program have successfully worked as architects or engineers

in Lithuanian and foreign companies. One of the reasons for this success lies in the

innovative study process. BIM technology is consistently integrated in the studies

covering four years of Bachelor’s and Master’s degree studies. Each project of

different types of structures consists of four parts: architectural and visualization part,

constructional part, calculation and design of structures and technical documentation.

According to the main principles of BIM technology, the single model for a full range

of actions starting from the development of virtual form, which describes all physical

parameters characteristic of a real project and defines the conditions of its position, is

created. Then the analysis of the model behaviour under real maintenance conditions

is performed: actions and loads are described and the obtained results are analysed.

The results obtained during the analysis are presented in technical documentation:

drawings are generated, detailing of nodes and elements is performed, specifications

and estimates are composed.

KEYWORDS: Architectural Engineering, Computer Aided Design, Building

Information Modelling, Study Process

2. INTRODUCTION

With the development of information technologies in the field of computer-

aided design the concept of BIM – Building Information Modelling or Building

Information Model is increasingly used. Today BIM represents a new concept of

1 Dep. of Architectural Engineering, Vilnius Gediminas Technical University, Sauletekio al. 11,

Vilnius, LT-10223, Lithuania, e-mail: [email protected] 2 Dep. of Architectural Engineering, Vilnius Gediminas Technical University, Sauletekio al. 11,

Vilnius, LT-10223, Lithuania, e-mail: [email protected] 3 Dep. of Architectural Engineering, Vilnius Gediminas Technical University, Sauletekio al. 11,

Vilnius, LT-10223, Lithuania, e-mail: [email protected]


computer-aided design. The essence of this conception may be described as a way to

develop the strategy of building project design based on the computer-aided

modelling [1].

The main task of architects and engineers is to prepare the project of the

building quickly and efficiently. The project must be unique in terms of architecture

and ensure rational structural solutions. The design of building architectural part

begins with the conceptual stage, when ideas and primary suggestions are formulated

and presented. Later, according to all the requirements, particular volumetric-

planning solutions are prepared and all the necessary project documentation is issued.

The design of the building structural part – is firstly concerned with analyse bearing

structures. The analysis results are presented in the technical documentation:

drawings, final detailing of connections, bill of materials, various reports,

specifications and estimates. The documentation must be comprehensive and provide

sufficient amount of information in each stage of the project realization: design,

expertise and construction [2].

Today architectural and structural parts of the building project are presented as

general or detailed drawings with specifications of materials. The manufacturers of

bearing structures complement the project by detailing drawings and other fabrication

documentation. For these reasons, the quality of the project documentation in all its

stages suffer, errors occurs. Error detection hinders the process of design and

construction. Time and money are lost and in the worst case failures occurs in the real

object [3].

3. TRADITIONAL COMPUTER–DESIGN SYSTEMS AND ITS

APPLICATION IN STUDY PROCESS

Today general graphic systems, like AutoCAD, are used for preparing of

architectural and structural drawings and analysis of bearing structures is performed

in separate system. This standpoint does not ensure the solution of above mentioned

problems. Single source of information generation and designing process controlling

remains the human, who firstly is creating drawings, later make all corrections and

updates. Also the human detect all the errors and correct it. There is no doubt, that

this technology of project documentation creation has some advantages, but do not

ensure harmonized information updating between all the project participants during

the all design and construction stages. The analysis of the bearing structures is one of

the most important parts of building project. Any structural solution should be based

on calculations and analysis and satisfy all strength, reliability and durability

requirements. The engineer, in order properly determine stress and deformation state

of building structures, to solve design or verification tasks, forced to formalize the

actual structure, making it an idealized computational scheme. For a long time

graphical systems and analysis systems was developed in parallel as independent

systems. Today modern computer-aided design systems are fully integrated with

analysis systems [4].


So, the main purpose of computerization is to warrant circulation of information

between all project participants. It ensures by using of modern computer-aided design

systems integrated with analysis software.

These modern computer systems extensively implemented at Lithuanian

architectural and structural design companies. Department of Architectural

Engineering at Vilnius Gediminas Technical University in purpose to ensure

graduates competitiveness in labour market, intensively integrates into the study

process both traditional computer-aided design systems and systems based on

building information modelling.

4. MODERN BUILDING INFORMATION MODELING CONCEPTION

Modern computer aided design technology is based on fundamentally new

design methodology. According this methodology 3D graphical-information model of

building is creating. This 3D model contains all necessary information about building

geometrical, physical, and mechanical and other parameters.

In principle, this model is a project database, single information source for all

participants of building design and erection process [1, 5] (Fig. 1).

3D graphical–information model of building consists of parametric objects

arranged in the virtual space as real elements of a building. At any time graphical

information can be generated from a model in standard form: plans, elevations,

sections, images, details, and etc. Also from the same model various tables,

specifications, sheets of quantities of materials and production, reports and estimates

are generated. Associative links between the computer model and drawings allows

updating of all technical documentation after the revision and updating of the main

3D graphical – information model. Graphic–information modelling provides a unified

project management system that allows: adjust the technological design process steps,

synchronize and coordinate the actions of participants of the design process, store

design and development history in the unified database.

The design process based on a graphic–information modelling concept includes

the following steps:

a virtual prototype of a real structure with all inherent characteristics of the

actual structure (geometry, cross sections, materials, boundary conditions

and loads) is created;

the virtual model testing is conducted with the aim to evaluate the behaviour

of current structure and to find optimal design solution;

the kit of necessary technical documentation is generated directly from the

virtual model.

BIM technology using can achieve the following, very important for the smooth

building design, erection and management process aims:

co-operation between all building design and construction process

participants;


data exchange with other participants; coordinated arranging, adjusting and updating of documents;

quantities of materials and products, financial resources calculation;

planning and searching of optimal variant.

The main advantages of BIM technology are:

consistent conceptual design;

complex analysis of the bearing structures;

creation of the drawings;

quantities of the materials and structures, specifications;

calculation of the estimates;

planning of the building construction;

selection of the optimal variant of project.

So, the modern BIM technology allows creating design, construction and

exploitation strategy of building object, based on computer–aided and graphic

modelling techniques. This technique provides integrated management of graphic

(CAD) and databases (DB). Allows separate participants of building design and

erection process to combine into united team, better, cheaper and faster to carry out

building design, erection and exploitation stages [4].

In future grows the number of BIM technology users, which are interested in

increasing of business efficiency and productivity.

5. BUILDING INFORMATION MODELING IN ARCHITECTURAL

ENGINEERING STUDIES

Architectural Engineering studies are popular around the world. At Vilnius

Gediminas technical university this study program is rather new and has been taught

Fig. 1. The concept of Building Information Modeling (BIM)

BIM

MODEL

Architectural

drawings

Architectural

visualizations

Structural

drawings

Structural

analysis and

design

Detailing of

structural joints Quantities of

materials

Construction

and

exploitation


for 10 years. The main advantage of this program is that students acquired a deep

knowledge of both the architectural and structural design. After finishing of bachelor

or master studies graduates can successfully work as architects or structural

engineers.

Vilnius Gediminas Technical University Architectural Engineering degree

program is formed so that students have access to all necessary knowledge, from the

traditional computer-aided design systems, and from modern graphic-modelling

concept-based information systems (Fig. 2).

For the first-year students during the first semester the course "General

Engineering Graphics“ is teaching. According to this course the students acquire the

fundamentals knowledge of engineering graphics and have look traditional computer-

aided design system AutoCAD. At the second semester the course “Architectural

graphics” is teaching. This course based on the information technology and modern

modelling methods of buildings. Students learn to use the modern BIM systems like

REVIT Architecture and REVIT Structure.

Fig. 2. The principle scheme of the Architectural Engineering studies

Later the acquired knowledge of engineering graphics, computer-aided design

and BIM technology successfully applied for the “Architectural Design 1”,

“Architectural Design 2”, “Structures of Buildings” and other courses. The BIM

models are created and all necessary documentation is generated.

Second and third year bachelor studies include a lot of fundamental theoretical

courses of reinforced concrete, steel and timber structures design and construction.

Also the students are studying the analysis and design of bearing structures using


ROBOT Structural Analysis software. At the end of bachelor study program the final

work is preparing. This final work consists of both architectural and structural parts.

6. BIM APPLICATION EXAMPLE

With the aim to demonstrate the efficiency of BIM technology the final

bachelor work “The Museum of Art at Vilnius, Upes Str.” of student of the

Department of Architectural Engineering at Vilnius Gediminas Technical University

Egle Tautvydaite defended at 2011 spring is presented below.

Firstly the architectural part of project was created. This part contains the

principle idea of architecture, the detailed architectural 3D model and all necessary

drawings (Fig. 3). The next step of project was the structural part. This part consists

of calculations of bearing structures and drawings (Fig. 4).

Fig. 3. The Architectural part of final work


Fig. 4. The Structural part of the final work


The detailed 3D model (Fig. 4, step 1) was imported into the environment of

calculations of structures. Then the design of bearing structures was done and the

results was analysed (Fig. 4, step 2) the drawings of structures were generated (Fig. 4,

step 3).

The last step of the final work was some interior visualization (Fig. 5). For the

final work defence the kit of architectural and structural drawings, the 3D model and

posters were prepared.

Fig. 5. The visualizations of the final work project

7. CONCLUSIONS

During the last years there is strong request from the market for the computer-

aided design software for the building design is occurs. It should be the flexible and

versatile software with extended graphics integration to simulation and analysis

systems within a user-friendly design environment. With the aim to give the more

possibilities at competitive struggle Vilnius Gediminas Technical University gives for

Architectural Engineering study graduate’s knowledge of innovative design software.

Such as BIM technology is consistently integrated in the study process. The

successful students’ final works shows the efficiency of such approach.


8. REFERENCES

1. C. Eastman, P. Teicholz, R. Sacks, K. Liston. BIM handbook. New Jersey:

John Wiley & Sons, 2008.

2. V. Popov, T. Grigorjeva. Integrated Design Systems in Building Construction.

Proc. Conf. on Advanced Construction, Kaunas, 2007, p. 30-39.

3. V. Popovas, A. Jarmolajevas, T. Grigorjeva. Automated Design Systems

Today. New construction magazine, 6-7, 2003, p. 26-29, p. 40-41.

4. V. Popov, T. Grigorjeva. Integrated Computer-aided Design of Building

Structures. Building Structures and Technologies, 2, 2010, p. 31-37.

5. W. Kymmell. Bilding Information Modeling. New York: McGraw-Hill, 2008.




95/300

GEOMETRICAL ASPECTS OF RESTITUTION

AND REVITALIZATION OF THE WOODEN

ARCHITECTURAL STRUCTURES

Renata Anna GÓRSKA1

1. ABSTRACT

The purpose of the work is to provide evidence of geometrical restitution of the old

wooden church which has been moved from the small village of Jawornik near

Myślenice in the Southern part of Poland into the district of Nowa Huta in the years

1983 to 1986. The reconstruction of the whole church together with the restitution of

a wooden bell tower which was burnt down in a fire required wide geometrical

knowledge of a perspective projection.

Reference to the old design drawings has been here provided. Good knowledge of

carpentry works and structures and various types of wooden joints have been used to

revitalize the old structure. This work has been dedicated to engineer architect

Kazimierz Terlecki who was the author of the architectural design project and who

supervised the reconstruction on the site.

KEYWORDS: Revitalisation of Architectural Structures, Geometry, CAD

2. INTRODUCTION

As the website [3] provides information there is “251 most valuable and highly

interesting historic wooden buildings”, which create the space of the “Wooden

Architecture Route in Małopolska” in the southern part of Poland. We can read

further that “along the trail are picturesque Roman Catholic, Greek Catholic and

Orthodox churches, tall bell towers, old polish manor and detached houses, heritage

parks, all of which are considered invaluable legacy of folk culture that stood the test

of time”.

It is a family story of the author whose father, Eng. architect Kazimierz

Terlecki, worked on reconstruction of the Auxiliary Church of St. John the Baptist

and our Lady of Scapular in Kraków-Krzesławice (Fig. 1). The baroque church was

originally built from 1633-48 in Jawornik near Myślenice (30 km out of Kraków in

direction to the South). The efforts of the parish priest Monsignor Jan Hyc brought

1 A-43, Faculty of Architecture, Cracow University of Technology, Warszawska st. 24/ 31-155,

Kraków, Poland, e-mail: [email protected]


about a difficult at those still communist times decision made by the municipal

authorities who issued acceptance for the idea of moving the church to the district of

Nowa Huta. Decision of the location (dated: 13.05.1983) and the conditions for

execution of the investment have been preserved in the church archive. As the

construction site the location has been chosen in the district Krzesławice in Nowa

Huta, next to the old Jan Matejko’s manor2 (Fig. 4).

In 1983-1986 the author witnessed these historical moments when the wooden

elements of the church have been taken apart from the original construction, labelled

with the system of specific designations, moved to the new location and put together

to become a treasure on the historical track of the old wooden structures. The church

has a log construction. The structure of the church roof consists of the rafter framing.

The bell tower has been completely reconstructed based on the old photographs

(Fig. 2). At this point descriptive geometry played the key role in reconstruction

works. The old bell tower burnt down when the church stood still in Jawornik

(Fig. 2a) and there was no documentation available to support reconstruction works.

3. LOCATION SITE OF THE CHURCH

The church has been located on a plot that was the municipal ground property

in the district of Krzesławice. From the technical documentation which is still

preserved in the church files one can read the following technical data:

1) Ground area for the site location – 2950 m2;

2) Site area used by the church structure – 155.74 m2;

3) Site area used by the reconstructed tower – 48.26 m2;

4) Cubic capacity of the structure – 822.10 m3;

5) Cubic capacity of the tower – 1526.10 m2.

The roof structure consists of piles and the joists and has been covered with

wooden shingles. The reconstructed tower has also the structure with the elements of

the piles, braces and joists. Geometrical construction of the tower structure constitutes

of a truncated pyramid with the base 7.30×6.25 m, with two cupolas: one situated on

the level +15.10 m, the other at 19.20 m.

The walls of the church have cladding made of wooden planks. All the

woodwork elements such as doors and windows have been impregnated and fire

protected.

In a plan view the basic dimensions of the church structure are: the length

17.37 m, width 7.70 of the main nave of the church.

2 The Auxillary Church of St. John the Baptist and Our Lady of the Scapular in Kraków-Krzesławice

ul. Melchiora Wańkowicza, 31-983 Kraków, PL


a) Geodesic plan of the church

b) Land development plan for the church

Fig. 1. Plot location for the Church of St. John the Baptist and our Lady of Scapular

in Kraków- Krzesławice: a) geodesic plan, b) Land development plan for the church

4. GEOMETRICAL RECONSTRUCTION OF THE CHURCH TOWER

The reconstruction of a photographical picture complies with the methods

applied in theory of perspective projection. Leopold [1, p. 246-248] for example

provides in her textbook two methods for reconstruction of photographic pictures;

both methods are based on the ability to recognize a rectangle of the fixed dimensions

within the photographic picture. In practice two cases of the method have been

distinguished: 1) the recognized rectangle with the fixed dimensions can be

positioned vertically or 2) the rectangle can be positioned horizontally in reference to

the ground plane. In both cases the horizon line has been determined at first which in

most cases in not a difficult task. This type of photographic restitution refers to the

cases of a perspective projection (not the general case of a central projection) when

the verticals retain their vertical direction in the photographic picture.

Restitution of the picture (Fig. 2a) has been done (author: Dr hab. inż. O. Vogt)

based on the available pictures. Pillet’s ranges of points [1] have been used to

recognize the heights of the main points of the construction (Fig. 3). Firstly, Vogt

constructed the horizon line, then provided two linear measures (Fig. 3b) with

relevant scales 1:50 and 1:100 and spaced from each other at the distance of 20 cm

which in a scale 1:50 is equivalent to the distance of 10m. Then he fixed the Pillet’s

range of points to find the intermediate points on the enlarged picture. By connection

of respective points on two homographic ranges of points he determined the vertex of

the Pillet’s pencil and thus the main height points of the structure were labelled with

the relevant levels.


Dimensions of the tower have been determined based on the photographic

image. The calculations gave the following data for the dimensions:

1) Rectangular base of the tower has the dimensions of 7.30×6.25 m;

2) The height of the lower part of the tower is 9.80 m +(0.65 + 0.70 m – for

the rim around the tower;

3) At the level 10.60 m the bell chamber of a prismatic shape rises to the

height +14.20 m. In this part we can see 6 windows in three walls of the

tower;

4) The “bells’ chamber” between the supporting part and the first cupola has

the height of 3.6 m;

5) The cross section at the level 14.40 (above the bells’ chamber) is of a

rectangular shape and has side dimensions 4.80×4.50 m;

6) The lower and larger cupola is 2.83 m high (together with a small roof

around it), while the radius of it is 1.32 m;

7) The lower cupola a has small roof which stretches out of a construction.

The height of this roof is 0.40 m;

8) Between the levels 18.16 and 18.71 we have so called “lantern” with 8

columns, each of 1.15 m high and topped with a wooden crown of 0.22 m

height;

9) The top of the tower has been decorated with a small cupola between the

levels 18.71 and 20.50 m; the height of the small cupola is 1.79 m;

10) The height of the spire with the cross is 3 m;

11) The total height of the tower is 23.50 m.

a) Jawornik – original photograph

b) Krzesławice – South-Eastern view


c) Wooden log construction of the

church

d) Krzesławice – South-Western view

Fig. 2. Four photographs of the Church a) the old photograph from Jawornik,

b) contemporary picture of the Church, c)

a) Heights determination using the

Pillet’s range

b) Pillet’s homographic ranges of points

Fig. 3. Scan of the restitution provided for the photographic image


Reconstruction of the wooden tower required good knowledge of carpentry

work. Fig. 4a shows the construction carrying 2 bells (between the levels +10.60 and

14.20). The system of piles, joists and bracings carry the bells. Structural resistance

and rigidity has been achieved by application of the bracings.

In Fig. 4b we can see the construction of the small cupola between the levels

+18.71 and +20.50 where the top spire of the tower has been fixed. Both cupolas, the

lower and the upper one have been constructed based on the octagon and have the

symmetric construction.

a)

b)

Fig. 4. Wooden construction of the tower:

a) Piles, joists and bracing of the bells-carrying grate between the levels 10.60

and 14.20; b) Small cupola between the levels +18.71 and +20.50

Both cupolas have been constructed with aid of the wooden templates which

have been made of wood planks (5/4”) and driven by nails. The curvature of the

external edge of the template was obtained by segmentation of the curvature into 6

divisions. The whole construction of a cupola took 8 templates fixed together with the

system of braces. The cupolas have been coated with planks (1”) with the spaces of

1 mm provided between them. The whole structure has been faced with a copper

sheet 0.5-0.7 mm thick. The cross-section of the tower has been presented in Fig. 5.

Construction of the templates can be noticed in the picture.


Fig. 5. Architectural construction drawing of the large and small cupolas,

the lantern between them and the spire


5. SIMPLICITY OF GEOMETRICAL SOLUTIONS

Fig. 6. Wooden construction of the supporting grate below the lower cupola

(level +14.40) – geometrical solutions for structural resistance

In Fig. 6 we can see the construction of a wooden grate supporting the columns

which create the lantern above the larger cupola (cross-section at level +14.40). The

construction joists of the tower floor (level +14.20) are uniformly displaced at 0.95 m

and parallel to the tower faces (vertical lines denoted with a centre line at the top of

Fig. 5). It has been assumed that there will be 8 columns creating the lantern. If

regularly distributed, they would be arranged around a circle. The radius of the circle

r = 0.80 m has been assumed. Fig. 7 presents the idea of distribution and the ideal

drawing of the supporting grate together with the principal directions of the joists

which were supposed to go somehow across the horizontals and vertical directions so

that they can be supported by the floor beams structure. The reason for such

distribution of joists laid on the assumption that every two neighbouring columns

should stand on a common joist.


The joists (Fig. 6) have two types of connections: 1) the dovetail connection or

2) dap connection.

Fig. 7. Wooden construction of the supporting grate below the lower cupola

(level +14.40) – geometrical solutions for structural resistance

6. CONCLUSIONS

Restoration of old, historical structures plays the key role in contemporary

architecture today. “Historic preservation can – and should – be an important

component of any effort to promote sustainable development. The conservation and

improvement of our existing built resources, including re-use of historic and older

buildings, greening the existing building stock, and reinvestment in older and historic

communities, is crucial to combating climate change.” [4]. As far as the old structures

such as wooden churches are the treasure of our culture much effort must be

undertaken to preserve them for the use by the future generations. Durability of

wooden structures to the great extent depends on preservation of their structure and

used materials. Old structure restoration that has been described in this paper brings

about the evidence that the “old-fashioned” means and methods such as perspective

projection theory, planar geometry and carpentry can be still applicable for design

work remains a useful tool for a designer.


All the technical drawings which are here inserted were originally hand-made

done by the architect Kazimierz Terlecki. The beauty of the drawings cannot be

neglected.

7. REFERENCES

1. Bartel K. Perspektywa malarska. PWN, Warszawa, 1955, -85 pp. (in Polish).

2. Leopold C. Geometrische Grundlagen der Architekturdarstellung. Verlag H.

Kohlhammer, 1999, S. 246-249. (in German).

3. http://www.drewniana.malopolska.pl/?page=obiekty&id=76. (in Polish).

4. Sustainable Preservation.

http://en.wikipedia.org/wiki/Sustainable_preservation.



105/300

ZANIS WALDHEIMS' GEOMETRICAL ART

Yves JEANSON1

ABSTRACT

The intention of this paper is to make known the intellectual and artistic creative

process of Latvian born Zanis Waldheims (Riga, Latvia 1909 – Montreal, Canada

1993) who has come to imagine and develop an approach – similar to a graphic

design language – to illustrate in a nonfigurative art form – his interpretation of

concepts and findings inspired from his research in the broad range of scientific and

philosophic domains also from psychology. The original source of his inspiration

comes from the idea of French philosopher Maine de Biran, – in the creation of a map

for human orientation – that will find its way in a structural art based on geometry as

an abstraction, that will lead him to create – over a period of four decades – six

hundred large scale geometric artworks, also to copyright a twenty-two chapter thesis.

KEYWORDS: Geometrical Abstraction Art, Aesthetic Structural Language

TRANSCENDING SIGNS AND GRAFFITI

Looking at Waldheims’ research books, on can notice in the margins, hundreds

of small geometrical figures that he intuitively drew to transform the one-dimensional

linear order of words into a two – or a three-dimensional representation. Single

squares and circles, paired circles, concentric squares and circles, diagonals, arrows

indicating directions and similar basic geometrical figures viewed in plan or elevation

views are the basic elements of his abstract geometrical art. One understands that

Waldheims had a very strong natural inclination and sensibility towards geometrical

forms and visual arts. (Fig. 1. Transcending Signs and Graffiti. Excerpts from

Edmund Husserl’s French translation of General Introduction to Pure

Phenomenology.)

PROSPECTIVE IDEAS FROM THE DOMAIN OF THEORETICAL

PHYSICS

Although there are many sources of inspiration in Waldheims’ work, one source

that will play a definite influence in the elaboration of his graphic and geometrical

language will come from what is known in the scientific domain as Weyl-

Minkowsky’s Universe. Waldheins’ geometrisation idea is inspired from the

1 Freelancer, Montreal, Canada, e-mail: [email protected]


graphical representation of – Causal structure, Light cone K, life line L – as

illustrated in Weyl’s book: Philosophy of Mathematics and Natural Science. (Fig. 2.

Causal Structure). However, he will reinterpret this representation in his own terms

by transferring on the horizontal axis what was originally on the vertical axis and he

will add to his schema, lines to represent concepts of thermodynamics: matter and

energy crisscrossing their axis. He will also add curved lines to represent outside

dynamic influential forces. (Fig. 3.) He will also retain the hatched lines from Weyl-

Minkowsky’s original graphic shown in Figure 2 that will represent the time-space

layer over the main idea of a drawing. (Fig. 4.)

PROSPECTIVE IDEAS FROM THE DOMAIN OF PHENOMENOLOGY

Another important source of influence will come from the domain of

phenomenology, a branch from contemporary philosophy by philosopher Edmund

Husserl in which domain intuition plays an important role in the process of general

understanding. A sentence from Husserl’s book: General Introduction to Pure

Phenomenology suggests that “absolute reality corresponds exactly to a round

square” will have a strong impact on Waldheims’ imagination. Although this is a

material impossibility, he will interpret this geometrical metaphor in his own way. He

will imagine the square, as an imaginary limit that would progressively deform

towards the inside, generating successively in its passage a series of convex and

concave figures of which he will only keep the square, the circle, the rhombus, the

inversed circle, the XY axis, and an imaginary point as the extreme limit of the

transformation. (Fig. 5. Husserl’s “Round Square”). This will be the key to his

philosophical argument in his exhaustive geometry, that is to say, that everything

concerning human nature has three elements: an extensive, an intensive and their

integration. He will also extract from this demonstration, six figures and align them

linearly on the horizontal plane and he will give them a symbolic and relational

meaning such that the square will represent the physical and geometrical space; the

circle will represent the human being; the rhombus, the equilibrium status or

homeostasis of an organism; the inverted circle, the intellectual faculties; the XY axis

of the Cartesian geometry will represent the mathematical mind; and the centre point

which will represent a limit. (Fig. 6. Extraction of six primary geometrical figures).

Once those concepts are assimilated, one can start interpreting the art works that are

compositions based upon layers of meaning.

AN INCURSION INTO WORDS AND MEANING

From Husserl's idea of the round square he will push one step further into

geometrical abstraction with the intention to put order into the subjective domain of

words which are for him the source of incomprehension between human beings.

Specifically to the square figure, he associated the word extensive, and to the point,

the word intensive. For him, extensive represented a large broad area, a space, a limit;


while intensive represented, energy, tension, the other limit. Extensive and intensive

and their meaning are linked to those geometrical figures that for Waldheims are

psycho-physical elements as they represent an organic relation between feeling,

seeing and thinking. He also drew from Hegel’s idealism the idea of dialectical triads.

Thus he extended the analysis process by annotating specific words in his books with

three small geometrical figures which will bear for him three distinct values:

extensive, intensive and integrative respectively represented by the square, the

rhombus and the point. He then built what he called in his vocabulary “Units of

Sense”, sense in the sense of what does your verbal proposition mean similar to

ethical opposite such as hate and love; sense units which were composed of three

words that are logically interrelated and repositories of information for discussion and

in the solution to a problem concerning the human nature. Thus for Waldheims, to

judge a situation in respect to human relations, it is necessary to create those units of

sense. A word such as mediation is an integrative word.

THE UP-MOTION OF CONSCIOUSNESS (FIG. 7)

Although it is not specifically a sentence that will trigger Waldheim’s creative

process but an ensemble of sentences, the introduction opening sentence from

Rudolph Arnheim's book, Towards a Psychology of Art (See Arnheim’s quotation)

can resume in one drawing most of Waldheims' artistic creative process. Arnheim, the

perception psychologist, introduced Waldheims to the idea of an organic pyramid of

science, while the French palaeontologist Pierre Teilhard de Chardin in his book: Le

Phénomène Humain will give Waldheims the intellectual material that will explain

parts of the coloured drawing, for instance the unfolding of the material cosmos from

primordial particles as well as the concept of evolution and the ages of earth and the

universe. Finally, the top three upper levels of Figure 7 will represent – from the

domain of psychology – the hierarchy of consciousness over the sub-consciousness

over the unconsciousness. In its 2D physical construction, this drawing is an

elongated ovoid form composed of different layers of spheres that varies from the

very small at the bottom, to the largest at the top. In its three-dimensional rendering,

it is an organic pyramid with four sides; that when seen from the top or the bottom is

a succession of squares within squares. The originality of this intriguing octahedron is

that the perimeter of the base, after gaining in width as it gains in altitude, attains a

maximum at approximately one third of its height. At this level of elevation, the

perimeter progressively reduces towards the last two thirds due to the size increase of

the spheres as their number decreases to reach one massive sphere at the top that

represents from the domain of psychology consciousness. One of the most amazing

characteristics of Waldheims’ design is that the whole form repeats successively at

smaller scales; it has the characteristics of fractals. One can imagine that there are

curved XY plane for each level of the structure that is perpendicular to the Z axis

which is in elevation view. (Fig. 8.) Many of Waldheims’ abstract drawings are


illustrations of studies based on the meaning of the top three levels which represent –

from the domain of psychology – the conscious (top level), (Fig. 9.); the

subconscious (second level), (Fig. 10); and the unconscious (third level) (Fig. 11).

Each level is having their particular meanings.

TOWARDS THE THIRD DIMENSION (FIG. 12)

In the last five years of his artistic production Waldheims turned his drawings

into three dimensional structures. Using Styrofoam and/or cardboard he built a series

of prototypes of his original drawings that revealed unsuspected visual effects and

additional material for discussion and interpretation. For Waldheims, this tends to

prove that there resides in man’s mind, logical and visual structures that can help to

understand the meaning of an idea at least try to represent it even it is subject to be

subjective.

SCIENTIFIC CULTURE: AN INEXHAUSTIBLE SOURCE OF

INFORMATION

Once Waldheims had set in place his geometrisation language, he devoted all of

his energies to systematically interpret texts from many domains but mainly from

psychology in order to generate meaningful designs in singles, diptychs or triptychs.

One that consults his sketch books finds the graphical web of lines and colour palette

in many designs where the division of the square and colours will structure his art. As

per example Figure 13 (Eight to the square power) where the structure of the clear

and obscure creates this unprecedented modern art chiaroscuro.

COLOURS

Colours will give flesh to the skeletons of the geometric grids or meshes of

lines and figures composing the drawing. Colours also gives the illusion of depths of

a three dimensional figure. They express the individual differences of an organic

system such as the human being. No colours will have a particular meaning but will

rather be the object of his actual sensibility. In his artistically masterful hand

application of colours, he will be able to draw tones of colours into eighteen different

shades.

CONCLUSION

An idea that is susceptible – in its visual and symbolic form – to go through

such a series of dimensions, seems to carry a sense of reality and truth that is more

explicit than if only expressed in words or formulas. It is an organic and geometrical

exhaustion: linear to surface thinking; surface thinking to three dimensional rendering

that generates the positive and the inverse of the same form, and by colours tones

that gives a sense of harmony and beauty that attracts the eye and the mind see to

provoke an aesthetic experience.


Fig. 1.

Fig. 2.

Fig. 3.

Fig. 4.


Fig. 5.

Fig. 6.

Fig. 7.

=

Fig. 8.


Fig. 9.

Fig. 10.

Fig. 11.

Fig. 12.

Fig. 13.


SELECTED LIST OF QUOTATIONS FROM THE ZANIS WALDHEIMS

ARCHIVES:

- Rudolph Arnheim. R, Toward A Psychology of Art:

“A pyramid of science is under construction. The ambition of the builders is

eventually to “cover” all things, mental and physical, human and natural,

animate and inanimate, by a few rules. The pyramid will look sharp enough at

the peak, but toward the base it will vanish inevitably in a fog of stimulating

ignorance like one of those mountains that dissolve in the emptiness of

untouched silk in Chinese brush paintings. For as the base broadens to

encompass an ever greater refinement of species, those few sturdy rules will

intertwine in endless complexity and form patterns so intricate as to appear

untouchable by reason.”

- Pierre Teilhard de Chardin: Le Phénomène Humain:

“La nappe pensante” qui, après avoir germé au tertiaire finissant, s’étale

depuis lors par-dessus le monde des plantes et des animaux; hors et au-dessus

de la biosphère, une noosphère”.

SELECTED LIST OF REFERENCES FROM THE ZANIS WALDHEIMS

ARCHIVES

1. Albers J. Interaction of Color. New Haven and London, Yale University

Press. 1976.

2. Arnheim R. Toward A Psychology of Art. Berkeley: University of California

Press. 1966.

3. Birren F. Color Perception in Art. New York: Van Nostrand Reinhold

Company. 1976.

4. Cassirer E. La Philosophie des Formes Symboliques. Paris: Les Éditions de

Minuit. 1972. (in French).

5. Chardin Pierre Teilhard de. Le Phénomène Humain. Paris: Éditions du Seuil.

1955. (in French).

6. Husserl E. Idées Directrices Pour une Phénoménologie. Gallimard. 1950. (in

French).

7. Oswald W. The Color Primer. New York: Van Nostrand Reinhold Company.

1969. (in French).

8. Russell B. Introduction à la Philosophie Mathématique. Paris: Payot. 1961.

(in French).

9. Weizsacker Viktor von. Le Cycle de la Structure. (Der Gestaltkreis). Desclée

de Brouwer. 1958. (in French).

10. Weyl H. Philosophy of Mathematics and Natural Science. Princeton:

Princeton University Press. 1949.



113/300

USAGE OF COMPUTER AIDED DESIGN SYSTEMS

IN STUDY PROCESS

Birutė JUODAGALVIENĖ1, Tatjana GRIGORJEVA

2

1. ABSTRACT

This paper presents trends of new technologies in teaching process for future

engineers of Vilnius Gediminas Technical University (VGTU) and describes the

opportunities and prospects of the available hardware of Lithuanian enterprises of

building design. The article deals with how to balance the presentation of latest

technologies of the civil engineering program in order training modules would be

relevant to labour market needs.

KEYWORDS: CAD, Revit Architecture, Engineering Graphics, Information

Technology

2. INTRODUCTION

Today, it is difficult to predict the balance between the prepared for students

certain discipline tasks in the teaching materials of universities. First or second year’s

training materials should be prepared so that it would be useful not only for further

studies, but also would meet future employers' needs. Employers' wishes increase as

technology improves. Subject teachers have to learn, develop and adapt to the new

technologies, solutions and achievements. Lithuanian market along with the

education system understands that an investment into the teaching staff of university

who is able to adapt and develop new technological advances, and provision of

universities with the adequate new technologies is the investment not only into the

future economy, but the matter of university’s prestige also. Essentially there are no

barriers while installing new computer programs in the computer classes of VGTU:

financial and other possibilities are found. There are no obstacles to progress for

teaching staff as well. There are organized trainings, consultations. Distribution

companies of software train teaching staff for a symbolic price. University faculties

and departments cooperate with each other so that the student could come to the

1 Dep. of Architectural Engineering, Vilnius Gediminas Technical University, Saulėtekio 11, Vilnius,

LT10223, Lithuania, e-mail: [email protected] 2 Dep. of Architectural Engineering, Vilnius Gediminas Technical University, Saulėtekio 11, Vilnius,

LT10223, Lithuania, e-mail: [email protected]




higher courses having certain basic knowledge, will be able to work independently,

be able to present implemented works and so on.

3. SOFTWARE OF LITHUANIAN COMPANIES OF CONSTRUCTION

DESIGN

New criteria in the preparation of technical professionals arise while science

and technology develops: the ability to control computer technologies. The need to

understand the enormous flow of information and development of new information

technology (IT) requires from the engineer visual education and graphic literacy.

Graphic culture becomes the second literacy: one of the competence components of

professional engineering. If in the past, this literacy was a simple two-dimensional

charts, tables, graphics or drawings, and then modern software possibilities are

greatly expanded. There are many areas where are used three-dimensional modelling

and animation. One of them – construction design.

Today it is known that none of the design institutions are issuing projects

carried out with pencil. Construction design companies are mostly working with the

AutoCAD computer program. Individual architect companies are working with

ArchiCAD, Revit Architecture or other programs intended to design the architecture.

Only a few leading design companies of Lithuania (one of it – “Veikmė”), which

unite the architects, constructors and professionals of engineering networks globally

changed the working tool – switched from AutoCAD to Revit software program,

which has greater possibilities of building design: 3D modelling, BIM (building

information modelling) and parameterization. Lithuania has a wide variety of small

and large design companies, but today only a small part of it can begin to change

partially old computer programs into new ones. Firstly, the economic crisis affects it,

which affected the most the construction market, and secondly –inability to work with

the latest CADs (computer-aided design systems). But, undoubtedly, will come a time

when the situation in design companies will change and they will be equipped with

modern computer-aided design systems. And properly prepared specialists in

universities will join and speed up the process.

4. APPLICATION OF COMPUTER-AIDED DESIGN SYSTEMS WHILE

PREPARING THE CONSTRUCTION ENGINEERS

4.1 CAD Construction Engineering Programs in discipline of engineering

graphics

CAD, exchanging one the other, globally changed two factors of design

process: the quality and deadlines, conceptually resulting the change of approach into

training of future construction engineer. Overall strategy of the new quality of higher

education requires from teacher the constant adjustment of improvement tactics of

education process. One of the most topical issues of technical universities related to

CAD system is the development of the disciplines which provide the students with


graphic preparation. This is a “General engineering graphics” and “Applied

graphics”, which aim to provide students with a three-dimensional, constructional,

geometric and algorithmic thinking. Dimensional models-drawings are only relative

image of three-dimensional space, so very important becomes ability of imagination

to understand the two dimensional drawing as three-dimensional object. This is very

important in developing a thinking of construction engineer, whose professional

activities are closely related to the modelling and construction. Future construction

engineer must have knowledge of parameterization of geometric objects, perception

of interaction of objects in space. Dispute on geometric modelling and 3D model

construction is meaningful only in issues of modelling methods and computer

systems. 3D model is not only accurate and clear information of designed product,

but is the most important link of simulation methods [1]. A computer program is not

very important while teaching the students of Faculty of Construction the engineering

graphics. Nowadays it is perfect still the most popular in Lithuania – AutoCAD

program. But, the AutoCAD graphics program can only create two-dimensional

models of building drawings, and three-dimensional design programs of buildings

have already begun to entrench itself in the largest Lithuanian design companies. And

the ability of the university graduates to work with a new 3D computer building

design program would be a huge advantage when they come to work in such a

company with no work experience.

4.2 Study subjects related to IT in discipline of construction engineering

Students whose specialization is VGTU’s construction engineering in a first

course is studying two subjects which are directly related to information technology:

informatics and engineering graphics. Students acquire a general knowledge about

basic concepts of information technology, the use of a computer and file managing,

word processing, spread sheets and data transmission technologies in the informatics

course. Students are learning the material of engineering graphics course for two

semesters. In the first (called "General Engineering Graphics") students are

introduced to the basics of general engineering graphics and design principles, and

modern computer-aided design systems. In the second (called "Applied Engineering

Graphics") future construction engineers are introduced to basic requirements of

engineering graphic documents creation and management, using a computer-aided

design system, to the building design drawings.

Students who are studying at the higher courses must be able to use the received

knowledge understanding the training material of new courses, while doing term

papers and other tasks. The first task of this type is a “Building architecture and

constructions” term paper [2] carried out already in the third semester of study.

Students with the help of newly acquired knowledge are preparing term paper, which

execution speed depends on the acquired knowledge during engineering and applied

graphic course. Therefore, in the faculty of construction it is important not only

structure of graphics course, scope, tasks, but also software of information technology


(computer software), that allows the student to learn about basics of engineering and

applied graphics.

4.3 Implementation of task of Engineering Graphics, using AutoCAD and

Revit Architecture software

Just 20 years ago, during learning course of the engineering graphics, one of the

tasks was geometric drawing task, which included straight and curved lines of various

widths, tangential arcs, smooth connections, building of polygons and the like. The

student in order to do a task of this topic must knew such algorithms as finding centre

of the tangential arc (Fig. 1), finding a tangential point of the line and a circle (arc)

(Fig. 2), et al.

Fig. 1. Locating of tangential arc

centres in a graphical way

Fig. 2. Locating of tangential straight lines

in a graphical way

It was drawn just with pencil and a student had to learn the theoretical basics of

geometric drawing. Already at the end of the last millennium, the first computers

appeared in the classrooms of VGTU and were installed the AutoCAD graphics

program. At first glance it seems that the subject of geometric drawing has

disappeared, because there is no need to perform the mentioned tasks. No, the subject

of geometric drawing is not disappeared, it was transferred to a computer, and it

means the pencil is changed by computer pencil – faster, more accurate and more

convenient. While working with AutoCAD, the student is no longer necessary to

know the algorithm, which allows a computer program to create a polygon, tangent,

or tangential arc (Fig. 3), it simply learns the course of execution of commands and

options.

With the development of AutoCAD versions, other engineering graphics works

(automated image and layer locating) were transferred to the CAD system, too.


So, already 20 years ago, technology has changed leading to the changes of

works of engineering graphics. A similar situation exists today, if 20 years ago the

designers have mastered the AutoCAD program, so now specialized design companies

are mastering specialized programs: Revit Architecture, intended for building design,

Inventor, intended for the design of machines and so on.

Do teachers of engineering graphics have to learn these programs? This issue

concerns not only the teachers' skills, but the curriculum modules, too. If the course

of engineering graphics is far behind from today's development pace of information

technology, it is not known how usually university graduates will be able to integrate

into the economics market. Already today there is search for building designers in job

offers who work with Revit (and other) programs. If teachers learn a specialized

program (e.g. teaching civil engineering for students – Revit Architecture), a further

question is: should AutoCAD then be rejected or just a building drawing (in the

course of “Applied Engineering Graphics”) to perform the task with Revit

Architecture software?

Fig. 3. Polygon, tangential arc and the

tangent created with AutoCAD

Fig. 4. 2D contour created in Revit

Architecture program

4.4 Task of geometric drawing done in AutoCAD and Revit Architecture

program

The authors conducted tasks of geometric drawing with both programs. Figure

4 shows example of performance of 2D contour in Revit Architecture program.

Comparing the drawing of geometric contour in AutoCAD and Revit Architecture

software, it is noted that:

1. File template can be created in advance with both programs.


2. Such editing and creation commands of the contour like Line, Circle, Arc,

Fillet, Rotate, Mirror, etc. are in the both programs, although the work with

them is a little different.

3. Time intended for performance of “2D contour” task depends on the work

skills of one or another program.

True, Revit Architecture program has couple of editing features which are

significantly different from already known ones, such as alignment (Align), split

(Split), and the algorithm of some other functions differs from the learned in

AutoCAD.

So what are the advantages of Revit Architecture program? Of course, this

program is not intended for drawing of 2D contour (though it can be done in it), so

we can say that implementing the task of geometric drawing, it is not appropriate to

choose Revit Architecture program.

But, the benefits of this program should feel the students of Civil Faculty while

implementing task of building drawing – and it is only the task of applied engineering

graphics. And there is no need to speak about the benefits of learned program in the

higher courses and future jobs, because it is obvious.

4.5 Task of construction drawing done in AutoCAD and Revit Architecture

program

Students of civil engineering during the course of "Applied graphics" are

introduced to the main architectural drawings of buildings: sections, plans and

facades. This course provides the features of construction drawings and

conditionality. There are resolved matches: plan – a horizontal section of the

building, the facade – view from the front/rear or the other and so on. This work has

been carried out in AutoCAD up till now. If this task starts to be prepared in Revit

Architecture program, the following problems will begin:

1. If in the course of "General Engineering Graphics" drawing tool is AutoCAD

program, it will take some time until the students absorb a minimum of Revit

Architecture program.

2. And if in the course of "General Engineering Graphics" Revit Architecture

program has been already a drawing tool, the students will not know how to

work with AutoCAD program, and will have problems even with other works

carried out during studies.

3. Students working in Revit Architecture program will not draw building

plans, but will create a virtual model of the building. So, they must have a

minimum understanding of building constructions, and this is not the subject

of teachers of engineering graphics.

The authors carried out the task of construction drawing with one and the other

programs, too. Clearly, the difference between time spent in AutoCAD and Revit

Architecture programs is obvious and huge. But the authors not only know the two of


these computer programs, but are construction engineers and teach subjects related to

building constructions. The students have neither the skills nor the knowledge.

5. PERSPECTIVES OF USING COMPUTER-AIDED DESIGN SYSTEMS

In fact, very soon all construction design architects will work with specialized

programs, because it is closely related to time and quality, but also to advertising, it

means to visualization of the building. Today only individual work projects of the

buildings are carried out in Revit program (Revit Architecture + Revit Structure +

Revit MEP + Robot Structural Analysis), because not only the architect must learn

how to work with program, but also the designer, and all professionals of engineering

networks. Therefore, the exchange of work drawings, comments, suggestions, etc. is

going in the environment of AutoCAD program. For example, the architect with Revit

Architecture program carries out the technical project of building, participates in the

competition and wins it. Apart from the conceptual model idea of the building,

project implementation is going much faster and visualization has more quality. Then,

architectural plans, sections and other needed drawings of the building are exported

into the AutoCAD environment, converted into templates and sent to other building

designers. Architect the part of architectural design work continues to prepare in the

Revit Architecture program, and other designers work in AutoCAD. It is clear that

options of specialized program [3] is far from being fully used, but it could be a good

start in changing radically CAD system of companies of the construction design.

Is the university the place where graphical computer programs must be taught

(not mentioning AutoCAD, which can be trained not only in engineering graphics, but

even customized for performance of the term papers)? Does yesterday's student in

order to work in a particular design company, must purchase the training courses

himself? Or maybe his employer will pay these courses (up to economic crisis

employers acted that way in Lithuania)? These are the issues related to curriculum

development and its requirements, and are solved at a higher level.

6. CONCLUSIONS AND PROPOSAL

It is impossible to master two programs of the engineering graphics during

courses (two semesters are intended for that). Therefore, it is inappropriate to prepare

tasks in Revit Architecture program at a course of engineering graphics: too much

investment in training the teachers and too difficult program while providing the

basic foundations of engineering graphics. In addition, only a few construction

engineering students, after completing their studies, will begin to work in design

enterprises, which will replace CAD not so quickly, for example, AutoCAD to Revit.

Therefore, the authors believe that Revit Architecture program should be

installed among the optional modules during courses of “Applied graphics” and/or

“Building architecture and constructions” (this is 2 and 3 semesters of Bachelor


studies), in order students could prepare term paper of the latter discipline (Fig. 5)

optionally in this program.

Fig. 5. A virtual building model carried out in Revit Architecture program during time

of term paper "Building architecture and constructions”

7. REFERENCES

1. Ch. Sang-Uk, H. Soonhung. A Template-based Reconstruction of Plane-

symmetric 3D Models from Freehand Sketches. Journal of Computer-Aided

Design, 40, 2008, p. 975–986.

2. B. Juodagalvienė, J. Parasonis, J. Mačiulytė. A Development of

Programmable Implementation of Course Projects within VGTU Faculty of

Civil Engineering, International Conference on Engineering Graphics

BALTGRAF-10 June 4-5, 2009, Lithuania, Vilnius: Technika, 2009. ISBN

9789955284529, p. 46-53.

3. V. Popovas, A. Jarmolajevas, T. Grigorjeva. Šiuolaikinės automatizuoto

projektavimo sistemos [Automated design systems today], Nauja statyba

[New Construction magazine], 6-7, p. 26-29, p. 40-41. (in Lithuanian).



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CONIC SECTIONS IN LOGO FORMING

Irina KUZNETSOVA1, Anna BURAVSKA

2

1. ABSTRACT

The research describes the most common elements of the logo, which can be obtained

with conic sections in computer design. To analyse their role in shaping the logo there

were selected signs in which dominant role in composition and aesthetic perception

belongs to point, line, and pair of intersecting lines, ellipse, circle, parabola, and

hyperbola and perspective images of circle.

KEYWORDS: Logo, Conic Sections, Plane, Aesthetic Reception

2. INTRODUCTION

Most modern logos represent a composition of different elements. Depending

on the information transmitted by creating an image, the same geometrically formed

element can play a major or minor formative role. Limited time to the logo review

requires a special selection of compositional means of expression and the way

information transfer. The aim of this study was to investigate the constituent elements

of the logo formed with conic sections. The objectives of the study included: an

analysis of the existing logo to identify key formative elements, comparing and

finding the most effective variations for geometric construction of selected items, as

well as analysis of the features of aesthetic perception, depending on the

characteristics of logo forming. Logos design and perception were analysed by D. K.

Verkman B. Elbryun V. O. Pobedin, N. V. Konik, V. N. Krasheninnikov, V. E.

Mikhailenko and M. I. Yakovlev investigated geometrical shaping of signs in graphic

design.


In the process of investigating the possibilities of computer geometric

modelling logos we have analysed the formation of modern logos of companies and

organizations. A statistical study of more than 1000 logos shows that the most

common geometrically formed elements in them are variations of conic sections,

which include points, lines, a pair of intersecting lines, ellipse, circle, parabola,

hyperbola, and perspective views of the circle. In general signs containing one or

more conic sections account for 75% of the total analysed logos.

1 National Aviation University, Ukraine, Kiev, e-mail: [email protected]

2 National Aviation University, Ukraine, Kiev, e-mail: [email protected]


Exploring perception logos obtained on the base of conic sections, these studies

can be correlated with the perception of a light ray, projected onto a plane.

Dominant for creating logos are no degenerate conic sections in which the plane

of section doesn’t pass through the top of the conical surface and isn’t parallel to the

generatrix cylindrical surface. Such sections are used in 66.8% of logos, where 11.9%

of logo includes ellipse, 14% parabola, and 8.9% hyperbola. The most common

among this type of conic sections in logo forming is a circle – 32%.

Conic sections, which break down or degenerate as a result of the passage

cross-sectional plane through the top of the conical surface or when the section plane

is parallel to the cylindrical surface, are included in 26.6% of logos. Point is the most

often used (14.8%) in logos with this type of conic sections; it is followed by

intersecting lines (7.4%). In logo shaping the definitions of direct and line coincide

and occur in 4.4% of the examples.

Perspective images of the circle included in 6.6% logos with conic sections.

Basis or a component of the majority of logos is a circle, which can be

expressed as a continuous or intermittent contour, as a spot, or it can be formed at the

intersection of figures, etc. (Fig. 1). Many companies depict this easy perceptible

symbol of the sun, moon, planets, and the use of which has its roots in the history of

different cultures. Circle practically does not cause human negative emotions and

associations.

Point Direct Crossing lines Ellipse

Hyperbola Perspective views

of the circle Parabola Circle

Fig. 1. Examples of logos including elements formed with conic section


Point in the logo design serves as the basic element both for geometric and

compositional constructions. Point can be a separate accent element or it can form

groups, depicting the congestion, rarefaction, movement in a certain direction.

With the help of straight line certain semantic components of logo composition

can be emphasized, for example – the inscription, accent element; it also creates the

direction of movement, causes the effect of the dynamics. Straight lines are the basic

elements of linguistic logos displayed with the alphanumeric signs. These logos have

a number of advantages: they are simple to use, easy to understand, they can be used

in different cases in any culture. As an independent artistic logo element straight lines

can emphasize name or part of an image to form a system of symbolic indication of

the direction of movement etc., can emphasize or conversely divide, create some

contrast.

To create the effect of combination or goal achievement designers use the

intersection lines in logo forming. This way of forming is often used to create logos

of institutions and organizations which are proud of their traditions, prefer legibility,

pithiness and clarity. Intersection lines represent the dynamism, that’s why the logo

content is often expressed in their direction and thickness.

Elements formed with mathematically programmed and similar curves are often

used as a basic element of the font lettering and as a modular element of the image.

The most common of these curves is parabola. A branch or complete symmetrical

image of parabola forms the basis of logos with heraldic symbols.

Hyperbole often acts as a repeating item, such as a part of the wing image.

Parabola and hyperbola as forming elements have clearly expressed plastic attraction

and generate a definite pattern in their visual perception. The human mind associates

new images with already known ones that are why such logos may cause of the

subconscious shapes of flora and fauna, optical patterns, etc.

Ellipse in logos depends on imaginative solutions and it can be expressed with a

contour or a stain. This form is often used as additional element to other images,

rarely it is used as an independent decorative element in conjunction with the

company name. Imaginative filling of this shape causes consumer associations with

movement in a circle or an orbit – world tours, which are used in the logos of travel

and airlines companies, as well as the illusion of infinity, which is often used in

automobile companies’ logos. The shape of ellipse is closed and has the ability to

organically fit the contrasting imagery and style characteristics of substantive form.

Perspective images of the circle create the illusion of dynamics in static images;

using several of these elements designers can transfer the direction of movement.

In most cases, each of the aforesaid elements forming logos is used in

conjunction with other forms and font lettering. The combination of elements in the

different order with the change in their number, position, size, distance, and other

characteristics forms a wide range of possibilities of logo forming with geometric

means.


Taking into account the fact that in most cases logo is a combination of many

elements formed and integrated into a coherent whole with different geometric ways,

the question is in determining the extent and characteristics of aesthetic perception of

the logo depending on its degree of difficulty.

The perception of logo on the scheme matches the direct, consisting of links –

stages, the first of which is concept and strategy of identity for company, product or

service; the second – the logo; the third – the recipient or the consumer, the fourth

and crowning stage – concrete action.

Geometric arranging of logo’s elements acts as its aesthetic characteristic and

can be calculated by the relevant formulas.

Depending on the perception audience basic aesthetic indicators set out in the

logo begin to differ. Conditionally there can be distinguished two main aesthetic

directions of forming logo concept:

1. Elitist. Logos, formed on the basis of such direction include the desire to

deliver maximum enjoyment to minimum sophisticated consumers by difficult

recognizing real in the illustrated. In this case, the logo may take the form of riddle,

or completely lose relations with the real object. The main tool is the complexity of

the content and the transmission method, which increases the complication of

aesthetic perception, reduces the availability of the logo, but substantial reception

efforts cause the growth of aesthetic pleasure. Aesthetic pleasure from such logo can

be calculated with formula created by Eysenck [3]:

М = О × С (1),

in which the aesthetic measure M is product of order O and complexity C. Thus, the

intensity of aesthetic perception and enjoyment is directly proportional to order and

complexity of the logo. Most often in logos of this direction are used such elements

as an ellipse, parabola, hyperbola.

2. Mass. In this direction, the degree of conditionality is insignificant. Such

logo does not require intellectual effort for their understanding because of the ease of

recognition, matching the real object. These logos are commonly understood, but

aesthetically ineffective: they bring minimum pleasure to the maximum number of

cultural untrained consumers. The main tool is simplifying the content and the

method of transmission, what leads to the relief of its reception, which in its turn

leads to a reduction of aesthetic pleasure. Aesthetic pleasure for logos created in this

direction can be calculated with formula created by Birkhoff [1]

М = О: С (2),

in which the aesthetic measure M is directly proportional to order O, and inversely

proportional to the complexity C. Efforts to focus attention on the contours of the

object increase in proportion to the complexity of the parts. In the logos of mass

direction prevails straight lines, dots, and circles.

These studies have similar results to the hypothesis N. Yakovlev of the priority

perception images on the picture plane through the ellipse. Yakovlev carried out his

research on the base of the theory of irradiation contained by G. Ruuber. Further


studies of the perception of logos created with conic sections will be held on the basis

of their work.

4. CONCLUSIONS

Forming, as one of the main categories of design theory, is a basis for

classification of logos, where the geometry of formation acts as classifier.

In the process of research we developed the classification of forming basic

compositional elements of logos with conic sections, which include points, lines, a

pair of intersecting lines, ellipse, circle, parabola, hyperbola and a perspective view of

a circle.

There was determined the connection of aesthetic perception and geometric

methods of forming the elements of logos, on which base there were identified two

major directions of aesthetic perception of logos: elitist, where prevails usage of

ellipse, parabola and hyperbola, and mass, which is characterized by the use of lines,

dots and circles.

5. REFERENCES

1. Вirkhоff G. D. Aesthetic Measure. Cambridge: Mass. Harvard Univ. Press,

1932. -144 pр.

2. Bowman U. Graphical Representation of Information. Moscow: Mir,

1971. -228 pp. (in Russian).

3. Eysenck H. J. General Factor in Aesthetic Judgments. Brit. J. Psychology,

1941, №31, p. 94-102.

4. Heilbrunn B. Le Logo. Мoscow: ОLMA PRЕSS Invest, 2003. -127 pp.

5. Johnston D. Letterhead and Logo Design. Creating the Corporate Image.

Massachusetts: Rockport Publishers, 1996. -194 pp.

6. Konik N. V., Мaluev P. A., Peshkova T. A. Trade Marks. Moscow: ООО

АCТ, 2001. -198 pp. (in Russian).

7. Krashennikov V. N. Trade Marks. The Theory and Practice of Designing. –

Мoscow: Nauka, 2005. -95 pp. (in Russian).

8. Mikhailenko V. E., Yakovlev M. I. Basics of Composition (Geometric

Aspects of Artistic Shaping). Кiev: Karavela, 2008, p. 106-134. (in Russian).

9. Voloshinov А. V. Mathematics and Art. Мoscow: Prosveshchenie,

2000. -399 pp. (in Russian).

10. Werkman C. J. Trade Marks: Their Creation Psychology and Perception.

Мoscow: Progress, 1989. -689 pp. (in Russian).




127/300

COMBINATORIAL METHODS FORMING

OBJECTS OF DESIGN

Iryna KUZNETSOVA1, Oktyabrina CHEMAKINA, Tatyana SHIMANSKAYA

1. ABSTRACT

The work revealed the use and implementation the combinatorial forming methods in

objects design by the Ukrainian designers. By defining the structure of the

combinatorial process it is determined the basic directions of forming procedures that

are implemented in the design of industrial products and interiors in general.

KEYWORDS: Method, Combinatorics, Forms, Modules, Unification

2. INTRODUCTION

Relevance of the study is determined by the increase of the interest to the

creation of a rational and functional interior design. XXI Century opens up new

possibilities in the field of design development that are based on the use of structural

links of combinatorial methods. Patterns research of spatial elements variative

changes, and the methods of design objects ordering will push the design of industrial

products. In addressing important design problems combinatorial design methods are

the rational foundation. Relevant is the investigation of the combinatorial methods of

forming which studies the changing of the geometry and the size of the overall object

form, the composition of its parts and components.

In works of Genisaretskogo O. I., Saprykin N. A., Volkotruba I. T., Pronin E. S.

[1-5] the particularities of combinatorial methods in the design objects are described.

Genisaretsky regards the design of each new object not in isolation but in the context

of using the unification method, a certain set of parametric series of combinatorial

elements. Pronin divides the structure of combinatorial process to the formal and

conceptual level, which includes the general idea, its specification, search of

decorative combinatorial element. Design has been investigating intensively in

Ukraine over the last decade. But the use and implementation of the combinatorial

process methods is based on the geometric forming of design object.

Objective is the identifying of the optimal combinatorial methods of design

objects forming in the works of modern Ukrainian designers.

1 National Aviation University, Institute of the Airports, Department of Design Computer

Technologies, prospect Comarova 1, 03680, Kiev, Ukraine



Combinatorial methods of forming are used in the objects designing for

identifying the combination and placement of the structural elements of the object's

form, its composition.

Combinatorial elements in the design objects planning can have different forms.

Traditionally choosing a combinatorial element Ukrainian designers, as designers all

over the world, first of all apply to the prism, most often to tetrahedral. The most

common design object with combinatorial prismatic elements in the modern

Ukrainian residential interiors is wardrobe, traditionally known as sliding door

wardrobe (Fig. 1).

Fig. 1. Sliding door wardrobe

The prism may have rounding, but that does not change its main geometric

nature. Brick furniture set of KiBiSi design studio is made as masonry. A “Stony”

wall is formed by cushions folded and joined together in the proper order.

The number of edges can grow. The prism, as a basic element of combinatorics,

can be wrong. The more complex the shape, the more interesting to create

combinatorial composition, but also more difficult for designer to develop such form.

Streetwalk outdoor seats by Charlie Davidson do not have combinatorial elements

(Fig. 2).

Fig. 2. Streetwalk outdoor seats by Charlie Davidson

You can design them so that they will be combinatorially connected. But at the

same time the artistic image of "urban flowers" will be lost. To pick up a form to get

a relatively new combinatorial element and make it perform a specific function is the


important design task. The prototype of such triangular sofas, as shown in Figure 3,

for the Dutch UN Studio architects became geological formations.

Fig. 3. Geological formations by Dutch UN Studio architects

These „stones”, created of polyurethane foam on a steel frame and covered with

a cloth, can be combined in various configurations, rolled in different corners of

rooms, or gathered in the geological compositions in the middle of the room. It means

that the importance of the function and the artistic image must be considered while

combinatorial change designing.

In selecting combinatorial element Japanese designer Kei Harada took into

consideration streamlined form attractive to human and offered the concept of white

"marshmallow" sofa called „O keeffe”. Each pillow-ball is covered with a stretch

fabric that allows the balls to remain undamaged. The form of the sofa is easily

changed: chill-out can be easily transformed into a play area for children. The author

suggested only the sleek-balls form, which can be classified as a variety of rotational

surface.

The basic elements of „fun” cactus couch of Cerruti Baleri Company also

represents rotational surface by its shape. But as the chosen artistic image required

accordance to our certain perception, the forming line of the given surface was closer

to the circular arc, than more lengthened by Kei Harada.

Unification method is effective for the industrial facilities design planning. This

method uses a limited number of elements that can form the whole mass industrial

production. It uses the unified ranks. There are two main directions in using

unification in design practice: typical and intertypic. The latter is performed by

creating and applying in diverse articles the same standardized elements – aggregates,

components, details. Typical is implemented by creating and producing of unified

series of standardized products or with a help of standard size series.

Constructing the shape of the object it is appropriate to use geometric

operations: constructions, rearrangements, combinations, dense packing. Geometric

combinations in building interiors or form of industrial design object is not always

subject to the rules of geometry, the deviations from such rules are frequently

observed, the so called deformation of mathematical construction logics.

Kineticism method applies to combinatorial design methods, in particular to the

method of transformation. Kinetism is a kind of art, which is based on the idea of


form motion, any change of it. Kineticism method resides in establishing the form

dynamics, decoration.

All combinatorial process, that includes a number of forming methods, is based

on the operations with initial structural elements (Fig. 4).

A number of Ukrainian designers base its projection on the idea of creating functional

objects – transformers, which will help to save the space in small interiors and create

aesthetically complete image. Some objects of Ukrainian industrial designers are

based on combinatorial design, creating totally innovative concepts, provocative

design. Up to 30% of the overall works number is referred to non-functional design,

due to their outrageous. This trend is not widely used in practice and it is explained

by the conceptual approaches and the search for new forms.

Combinatorial forming methods are constantly used by such modern native

designers, as Valery and Ekaterina Kuznetsov, Irina Belan, Ilya Taslitsky, Igor

Ostapenko, Grytsya Erde, Andrew Galuska.

Valery and Ekaterina Kuznetsovy frequently use in their project the method of

unification. More than half of their concepts are targeted on the non-functional

design. Group of room chairs with „Nesun-Polkonosets, Nesun-Spynogris and Prosto

Nesun”, “Iksoobras” retractable elements (Fig. 5) are based on the use of operations

with combinatorial elements. In this case, the main feature of the forming structure is

the mechanism of drawers, their configuration can be modified, as this method makes

it possible to treat the object as a prefabricated structure, „constructor”. In

“Iksoobras” concept it is created the chair with drawer and hooks for different needs.

The drawer is selected as a structural element of this concept, and a group of

functional hooks as an additional decorative combinatorial element.

Ilya Taslitsky offered the creation of “Tablet” chairs, which are based on the

idea of saving space and designed for offices, namely, meeting rooms. «Tablet»

chairs are configured so that if necessary they can be lifted from the floor. In the

construction of this group, there are three details that should be connected. In this

case, the basic is a combinatorial method of modularity. Certain parts of the object

are interconnected with composite objects like modules; herewith the order of

elements can differ. According to the type of operation with the structural elements

Taslitsky development refers to the formation of the groups and changes in the

number of elements. Operation with the formation of the groups was used in the

project of the bar counter, which was designed in conjunction with bar stools. The

main mechanism of the product is the design of sliding chairs.

Igor Ostapenko in his „Ostapenko” concept – a collapsible construction that

transforms from one version of washbasin to another, – used kineticism method. In

general, in most of his works, the designer is guided by the transformation process,

the shift of one form to another. Forming with implementation of kineticism method

allows us to obtain an unlimited number of combinations of specified basic structural

elements. Basic operations are carried out with the object plane, the components of

which are modified by the transfer, combinations.


Basic

Operations Rotation Permutation

Specular

Reflection Combination

1.

2.

Quantity

Adjustment

Ilya Taslitsky

Chaining

Valery Kuznetsov

Grouping

Ilya Taslitsky

Covering

of the

Plane

Igor Ostapenko

Fig. 4. Combinatorial operations with elements on the example

of Ukrainian designers’ works


Fig. 5. Group of room chairs 2008, Valery and Ekaterina Kuznetsovy

Irina Belan in her designs mainly uses the method of modularity and similar

forms. While designing the object the designer takes a module as a basis and applies

it in various permutations, displacements. Thus, in one of her concepts,

„Pooftransformer”, the general form was divided into 4 equal parts (Fig. 6).

Fig. 6. Booklet Poof, Irina Belan. 2011

The main type of connection in this object is permutation, it achieves various

compounds transformations. To the operations with the elements of combinatorial

objects of Irina Belan we should refer the changes in the number, the formation of

groups and chains. Seemingly simple concise forms require complex rearrangements,

group formations and operations for getting a new object. It is also used the method

of similar forms, that makes it possible to combine geometrically similar elements in

a single object, it allows to control the size parameter, meaning.

Andrew Galuska, who also tends in his object design to complex modified

models, often resorts to the combinatorics. In his projects, he is working on the

process of the object morphological transformation, meanwhile considering its

materials and structure. On the example of his design of Tuby hanger (Fig. 7) it is

shown the way to build a concise form that is subject to morphological changes.

Fig. 7. Tuby Hanger, Andrew Galuska, 2011


4. CONCLUSIONS

By the example of Ukrainian designers’ works it is reflected the basic methods

of formation, which are based on the combinatorics operations: a method of random

and similar forms, modular combinatorial method, kinematics, method of unification.

Further tasks of the study consist in determining the features of forming the

innovative objects of industrial design based on the combinatorial methods with the

application of geometric operations.

5. REFERENCES

1. Genisaretsky O. I. Design Culture and Conceptualism. Moscow: Association

of Designers of Russia, 2004, Vol. 1. -296 pp. (in Russian).

2. Saprykin N. A. Fundamentals of Dynamic Shaping the Architecture. Moscow:

Architecture S, 2005. -27 pp. (In Russian).

3. Grashin A. A. Methodology for the Design-design Elements of Substantive

Protection. Tutorial. Moscow: Architecture S, 2004. -232 pp. (in Russian).

4. Pronin E. S. Theoretical Basis of the Architectural Combinatorics. Moscow:

Architecture S, 2004. -232 pp. (in Russian).

5. Rubin A. Transformational Potential Production Situation. Styling Aesthetic

Problems of Complex Objects. Moscow: Tr. VNIITE. Ser. Industrial art,

1980, Issue 25, p. 76-94. (in Russian).




135/300

ENGINEERING GRAPHICS EDUCATION AS THE

FOUNDATION OF INTERCULTURAL ENGINEERING

COMMUNICATION

Harri LILLE1, Aime RUUS

2

1. ABSTRACT

Engineering Graphics for engineering students is an introductory course to

engineering education within which the addressed fundamentals of graphics are:

sketching and graphics projections, sectioning, dimensioning and engineering

drawings. The engineering drawing as a graphic representation is a graphic language

(design language) serving as a means of communication between engineers. The

writer of the drawing should be able to create images and to encode them involving

for this his/her mental abilities, the eye and the hand. Visual communication

presumes presence of a receiver who is able to catch the signal by sight and to decode

it. The purpose of teaching Engineering Graphics is to provide the fundamentals of

graphics for acquiring skills to write the engineering drawing (sender message) and to

read the engineering drawing (receiver message) or, in other words otherwise to

create visual images which are converted into a real object (product).

KEYWORDS: Engineering Graphics, Design Language, Drawing, Communication

Model

2. INTRODUCTION

Freshmen faced with the design process need to be able to navigate within the

medium of engineering drawings, as well as to encode and decode them, in order to

acquire knowledge. The driving force behind how meaning is constructed and

understood is the invention and utilization of signs and symbols within any

communication model.

Within an Engineering Graphics course engineering students learn the

fundamentals of graphics: sketching, graphics projections, sectioning, dimensioning,

and engineering drawings, which serve as a foundation for intercultural engineering

communication [1]. Gary Bertoline has entitled his traditional Engineering Graphics

textbook as “Fundamentals of Graphics Communication” [2]. According to Suzuki,

1 Dep. of Rural Building, Inst. of Forestry and Rural Engineering, Estonian University of Life

Sciences, Kreutzwaldi 5, Tartu, 51014, Estonia, e-mail: [email protected] 2 Dep. of Technology, Tartu College of Tallinn University of Technology, Puiestee 78, Tartu, 51008,

Estonia, e-mail: [email protected]


teaching of graphic literacy is training in communication [3]. The designer creates

communication (as a form of social interaction) where the object is not a piece of

news (in the sense of ordinary communication) but represents a transferred model.

This model may depend on the stage of the design: the engineering drawing (graphic

model), the 3D printing [1], the prototype and the model (in natural size and

working). Engineering Graphics is a complex semiotic system a whole visual

intercultural universal language “in two dialects”. These are the First-angle

orthogonal projection and the Third-angle orthogonal projection, used by the

engineering community (engineers and other technical personnel associated with the

engineering profession), and expressed by graphic speech, which Suzuki named the

design language [1]. Signification of engineering imagination (non-existing structure)

occurs in the encoding and decoding process within the framework of the

communication model as data carrying information must be coded in some way.

Unfortunately, up to now, there is no global standard for design graphic sign,

although most countries have adopted many general rules and similar graphic signs.

In this study we focus on the engineering drawing (representation of the real object –

product), as designers use images to communicate.

3. ENGINEERING GRAPHICS COURSE AS AN INSTRODUCTION

ENTERANCE TO LEARNING THE DESIGN LANGUAGE

The drawing is the oldest language and the only universal language (here

belong also the co-called engineering and technology language – the design

language). Some authors believe that, in addition to natural and artificial languages,

the “pillar” of the design language will stand (Fig. 1) [3].

Fig. 1. Three pillars of literacy education


Consequently, the design language should be taught as any other language

which is not a native language but a foreign language. Learners feel that the

elementary principles and rules of composition should be learned step by step before

composing an engineering (working) drawing. The drawing is based on descriptive

geometry as the grammar of graphics – logic of sight and graphic variables as the

words of graphics – semiotics tools (e.g. geometric primitives). The goal of teaching

Engineering Graphics is thinking in images. It is committed to the pursuit of

processing the existing image, and obtains the output of a new image of the product.

It expresses and delivers one´s technical ideas by the medium of engineering

drawings. When the actual product is designed, then a 3D model can be converted to

a 2D drawing, as well as from a 2D drawing to a 3D model. Interpretation of the

images and drawing is an integral reciprocal process in engineering teaching. It is

necessary to understand the principles of drawing, i.e. standards, which present the

elements (design code) of a graphic model including various images. Standards

represent whole sign systems of icons, indices and symbols each of which is made up

of means of expressions and the impressions correlated with them [4]. Peirce defines

the sign as a triad composed of the sign or the representamen (mean, that which

represents), the object (that which is represented), and the interpretant (a drawing to

explain a meaning). The sign (engineering drawing) can be understood as the

interaction between interpretant and the object. The functions of a sign are presented

in Figure 2: semiotics as a science of representation; semiotics as a science of

expression; and semiotics as a science of knowledge [5].

Fig. 2. Nadin’s triadic model for transferring the data of the design object [5]

The code and the norms used in the engineering drawing the representation of

an object are sometimes quite distant from the actual graphic mode (e.g. the thread of

the screw and its representations in the Western culture space and the Northern

American culture space). Therefore, drawings must be ‘read’ adequately. In the

context of semiotics, ‘decoding’ of a graphic design involves not simply the basic


recognition and comprehension of what the drawing says’ but also the interpretation

and evaluation of its meaning with a reference to the relevant code.

4. COMMUNICATION MODEL: INTERCULTURAL ENGINEERING

COMMUNICATION

Visual communication, where belongs also intercultural engineering

communication, is engaged in universal images [6]. By using the acquired design

language, it is possible to adequately communicate within the engineering

community. The element requisites for communication are: sender, receiver, channel,

medium and at least partially overlapping sign repertoire of sender and receiver

(Fig. 3).

The overlapping of the sign repertoire is a necessary condition for

communication but not a sufficient one. In this sphere there must be a complete

overlapping between the sender and the receiver in order to avoid that kind of an

exasperating dialogue as Jakobson cited: „The sophomore was plucked“, „But what is

plucked?“, „Plucked means the same as flunked“, „And flunked?“, „To be flunked is

to fail in an exam“, „And what is sophomore?”, “Persists the interrogator innocent of

school vocabulary”, „A sophomore is (or means) a second-year student.“ All these

equational sentences convey information merely about the lexical code of English:

their function is strictly metalingual (speed or text is focused on the code) [9], like

this on the drawings writing and reading.

Fig. 3. An engineering communication model after Shannon and Leopold involving

pictorial symbols (the model is editorially modified by Tasheva) [7-8]


As Deely notes “The sign appears, rather, as the linkage whereby the objects, be

they bodily entities or purely objective, come to stand one for another within some

particular context or web of experience” [10]. The writer of the drawing (sender)

should able to create images, and to encode them involving for this the senses, the eye

and the hand. In the engineering drawing, the visual representation is given in a

highly conventional way, expressing the meaning exactly and systematically. These

texts usually serve as a monomodel, with the written text playing a very limited role.

Visual communication previews the presence of a receiver (reader of a drawing) able

to catch the signal by sight and to decode it. In short, it is communication by using

professional figures.

Engineering drawings are not created as a medium of communication. Behind

them we can see, e.g. a dwelling-house which protects us from the impact of the

environment and guarantees necessary conditions of life, or e.g. a plough which is

expected to work efficiently for a long time on a stony field.

It is common to use CAD systems in the industrial design process however in

the early stages of the design process traditional freehand sketching is often more

efficient [1]. The sketch is a base to build a solid model of a future object and

generates an engineering drawing for final communication. Even physical 3D

prototypes that can be held in one`s hand can be printed out rapidly. The iconicity

(the icon as likeness to the object) of drawings makes them vivid, intuitive and

comprehensive.

5. CONCLUSIONS

The course of Engineering Graphics has two goals: to provide skills for reading

the engineering drawing and for writing the engineering drawing, which is treated as

a formal language – the design language for transferring the data of the existing or the

design object.

In the Shannon-Leopold communication model, which is the basic model in the

theory of communication, engineering drawings are used to forward the technical

ideas of a design object to the manufacturer. The role of the repertoire of signs used

in the design process is evident.

The acquired knowledge of engineering drawings is based on graphic

conventions and formal semiotics and it allows to encode (and decode) technical

ideas into a graphic representation (graphic model) as a medium through which visual

images in the mind of the designer are converted into the real object (product).

ACKNOWLEDGEMENTS

We would like to thank Professor Cornelie Leopold and anonymous reviewers for

making useful suggestions.


6. REFERENCES

1. Barr R. Engineering Graphics Outcomes for the Global Engineer. In Proc.

15th Internat. Conf. on Geometry and Graphics, (Edited by Paul Zsombor-

Murray, Aaron Sprecher, Bruno Angeles), Montreal/Canada, August 1-5,

2012, (ISBN 978-0-7717-0717-9). Paper #00, -10 pp.

2. Bertoline G. R., Wiebe E. N. Fundamentals of Graphics Communication, 5

ed. McGraw-Hill. 2007. -832 pp.

3. Suzuki H., Miki N. A Graphic Science Education as Training of

Communication. Journal for Geometry and Graphics, 7, 2, 2003, p. 253-261.

4. ISO Standards Handbook. Technical drawings. Vol 1. Technical Drawings in

General, 2002. Vol 2. Mechanical Engineering Drawings. Construction

Drawing. Drawing Equipment, 2002.

5. Nadin M. Interface Design: A Semiotic Paradigm. Semiotica, 69-3/4, p. 269-

302, 1988.

6. Penna D. The Force of the Essential Language. In Proc. 15th Internat. Conf.

on Geometry and Graphics, (Edited by Paul Zsombor-Murray, Aaron

Sprecher, Bruno Angeles), Montreal/Canada, August 1-5, 2012, (ISBN 978-0-

7717-0717-9). Paper #88, -10 pp.

7. Leopold C. Geometrische Grundlagen der Architekturdarstellung,

Kohlhammer-Verlag Stuttgart, 1999, 3. ed. 2009, -15 S. (in German).

8. Tasheva S. B. Semiotics of Architectural Graphics. Detailed Summary of PhD

Thesis. Bulgarian Academy of Sciences, Sofia, 2012, -32 pp.

9. Jakobson R. Closing Statement: Linguistics and Poetics. Stylen in Language

(ed. Thomas Sebeok), New York, Wiley, 1960, p. 352-377.

10. Deely J. Basics of Semiotics. Fourth edition, Tartu University Press, Tartu,

2005. (bilingual in Estonian and English).



141/300

ENGINEERING GRAPHICS AND HUMOR

Rein MÄGI1

1. ABSTRACT

Engineering Graphics is quite serious and difficult subject for students. By students’

opinion Descriptive Geometry is a difficult but interesting subject. It develops space

imagination of students and could be applied also in other disciplines – mathematics,

physics, chemistry etc. Everything that could increase the efficiency of teaching is

welcome.

By students’ opinions, the best exercises are those that are interesting and allow

getting maximum new information with minimum labour. The worst exercises are

those that are boring, too primitive and hardly understandable.

Good opportunities to increase students' attention are some activating means as jokes,

puzzles, tricks, attraction etc.

KEYWORDS: Engineering Graphics, Teaching Methods, Humour

2. INTRODUCTION

Drawing is the language of Engineering. But Engineering Graphics is quite

serious and difficult subject for students. For example, only 50% of students had been

able to pass the Descriptive Geometry exam successfully [1]. By students’ opinion

Descriptive Geometry is a difficult but interesting subject. It develops students’

spatial imagination and could be applied also in other disciplines – mathematics,

physics, chemistry etc. Everything that could increase the efficiency of teaching is

welcome.

Good opportunities to increase students' attention, optimism and creativity are

some reactivating means as jokes, puzzles, tricks, attraction etc.

Engineering Graphics subjects could be divided into:

Descriptive Geometry – theoretical preparation for the following areas;

Technical Drawing – forming representations, dimensions and other

information according to international standards;

Computer Graphics – creating technical drawings and other visual images

(2D and 3D) using computer hardware and software.

In each area we can use special means to awake students’ interest.

Some possibilities of these modes are illustrated by specific examples.

1 Centre of Engineering Graphics, Tallinn University of Technology, Ehitajate tee 5, Tallinn, 19086,




3. DESCRIPTIVE GEOMETRY EXAMPLES

The simplest geometrical object is a point. For defining the point location by

Monge’s method coordinate system Oxyz and the projection planes e1, e2, e3 are

used. Relationship between different views of the point is demonstrated by screen

video [2] using AutoCAD possibilities. But more exciting is to examine the position

of the point M concerning the real block (Fig. 1). Is the point M located on the block

or not? Auxiliary view A can answer to this question. Using suitable views can turn

us as “clairvoyant” [3].

a) b)

Fig. 1. a) Three orthogonal views and even isometric view cannot

identify the spatial position of the point M; b) only auxiliary view A

shows the distance d from the block

Quite interesting picture-puzzle for student is to make up the third view by two

given views (Fig. 2a). Using humorous human image can activate their

spatial imagination (Fig. 2b).

a) b)

Fig. 2. a) Which is the left view of this object? Human image helps to think up the

solution; b) Usually only version 1 (cube) is proposed by students.

Other solutions (2, 3, 4,…) need more spatial fantasy


The main property of parallel projection is illustrated by horizontally flying

plane. Therefore we can determine the length of the plane L1 by measuring the

shadow’s length L2 (Fig. 3). But is it realistic or not?

Fig. 3. The shadow of the horizontally oriented airplane

is congruent to the origin plane

How to remember 5 variants of cone sections? Connection with some daily

object, for example conical wine glass, is quite witty possibility to save this

knowledge (Fig. 4).

Fig. 4. Five cone section variants illustrated by wine glass

4. TECHNICAL DRAWING EXAMPLES

Fundamental requirements for technical drawings are presented in international

standard ISO 128-1:2003 [4]:

• Unambiguous and clear. For any feature of a drawing there shall be only

one interpretation. It should be easy to understand for each involved person.

• In accordance with standards. The applied International Standard shall be

specified on the drawing in accordance with that standard. Additional related

documents necessary for the interpretation of the drawing shall be specified.


These requirements should be taken into account when creating other standards.

Some standards are reviewed as follows:

Technical drawing is an official document for creating the real object. It has to

contain optimal quantity of representations, dimensions and other data. No

mysterious picture-puzzle! (Fig. 5).

a) b)

Fig. 5. a) What is it? b) The answer: cowboy on the bicycle

Mechanical engineering drawings should be accommodated with dimensions,

tolerances and indications of surface texture [5, 6]. How to explain more cognizably

these technical concepts to beginners? One way of visualization is to imagine the

“Lord God” tries to measure the diameter of the Earth (Fig. 6). The problem is – is it

possible to measure the diameter with tolerance ±1 meter? Why not? Because the

surface is not enough smooth. There is two ways to solve the problem: 1) to smooth

the Earth’s area by bulldozer or 2) to be conciliated only with precision

±10 kilometres. Which of the two variants is more workable? Of course, the

second… This humorous example can also illustrate the logical relation between

tolerance and surface texture.

Fig. 6. “Lord God” is measuring the diameter of the Earth


5. COMPUTER GRAPHICS EXAMPLES

In project companies CAD technology is used nearly 100% [7]. Present

students (future engineers) must undoubtedly learn computer graphics. This know-

how is unavoidable for creating modern technical drawings and also for

understanding and for handling computer drawing files. Is the Computer Graphics

really the most rational drafting method? By our research [8] the fastest way was

freehand sketching, but the quality and preciseness were unsatisfying.

Which is more rational – 2D or 3D technique? The answer depends on the final

object – 2D drawing (hand-made or computer-graphic) or 3D solid model. A modern

engineer could operate with all of them [9].

3D-modeling allows creating quite mystic spatial objects (Fig. 8) and

transferring them to PowerPoint [10-11].

a) b)

Fig. 8. a) Such kind of tabouret – is it possible? b) This is a solution…

Quite attractive is 3D-modeling of Mobius surface as merry-go-round (Fig. 9).

We can experience more attractive feeling passing along this surface, using

PowerPoint presentation [12] or video session created by AutoCAD [13].

Fig. 9. Mobius surface as an attractive merry-go-round


But using CAD is also associated with specific “surprises” [14]. For example, a

CAD problem in 3D-modelling is that the Bottom view is rotated 180° (Fig. 10). How

to solve the problem? The right solution is: Dview >Twist>180°. Do not Rotate the

object 180°!

a) b) c)

Fig. 10. a) Source 3D-object; b) 3 views with incorrect Bottom view;

c) corrected Bottom view (Dview >Twist>180°)

Can I believe my eyes or not? Yes, of course! I can also bet that the line n is

thicker than line m (Fig. 11a). But after Zoom >Window (Fig.11b) it seems vice

versa! . This “hat trick” illustrates quite attractively the difference between

parameters Line-width and Lineweight.

a) b)

Fig. 11. a) Which polyline is more thick, m (Line-width=2; Lineweight=2mm) or n

(Line-width=0; Lineweight=2mm)? b) The answer depends on Zoom…

Using simultaneously Model space and Paper space can offer very interesting

and even mystical situations. For example especial attention must be given snapping

an object’s specific points (Fig. 12).


a) b) c)

Fig. 12. Dimensioning problems: a) The object (rectangle) and down dimension (100)

in Model space, upper dimension (100) in Paper space; b) Dimension 50 snapped

from Paper space object shows the object is described in scale 1:2; c) After Pan in

Model space we can experience the association effect of dimensions

For beginners computer graphics arouses some serious complications.

Sometimes the humour can help. “Murphy's Law” says – every computer works

better if it is switched ON. But by the improved Murphy's Law recommends: at first

to switch OFF and then switching ON (Restart).

6. CONCLUSION

Engineering Graphics is indispensable language in engineering, but quite

difficult subject for students. Therefore every reactivating way is welcome in this

area. All means (jokes, puzzles, tricks, attraction etc.) should increase students'

interest and motivate to solve graphics problems. Good examples are these associated

with engineering reality.

Engineering Graphics is a foundation for other technological disciplines –

mechanical and civil engineering.

7. REFERENCES

1. Mägi R., Meister K.: Descriptive Geometry and Students. // Engineering

Graphics BALTGRAF-6. Proceedings of the Sixth International Conference,

Riga, Latvia, June 13-14, 2002, p. 98-102.

http://deepthought.ttu.ee/graafika/Microsoft%20Word%20-%20BGr6-

Descriptive.pdf.

2. Mägi R. Learning-video “Relationship between projections of a point”

mms://media.ttu.ee/YGK3350/Mituvaade.wmv.

3. Mägi R. Engineering Graphics and Clairvoyance // In: Engineering Graphics

BALTGRAF-9. Proceedings of the Ninth International Conference on

Geometry & Engineering Graphics, Riga, Latvia, June 5-6, 2008, p.182-186.

http://deepthought.ttu.ee/graafika/baltgr9_enggr_clairvoy.pdf.

4. ISO 128–1:2003; Technical Drawings – General Principles of Presentation –

Part 1: Introduction and Index.


5. ISO 129-1:2004; Technical Drawings – Indication of Dimensions and

Tolerances – Part 1: General Principles.

6. ISO 1302:2002; Geometrical Product Specifications (GPS) -- Indication of

Surface Texture in Technical Product.

7. Mägi R., Sepsivart M. Drawing Management in Estonian Companies //

Engineering Graphics BALTGRAF-7. Proceedings of the Seventh

International Conference, Vilnius, Lithuania, May 27-28, 2004, p. 111-115.

http://deepthought.ttu.ee/graafika/BaltGr-7_Draw-Manag.pdf.

8. Mägi R. Rational Drafting // In: 10th International Conference on Engineering

Graphics BALTGRAF-10. Conference Proceedings. June 4-5, Vilnius

Gediminas Technical University, Lithuania. Vilnius 2009, p. 92-97.

http://deepthought.ttu.ee/graafika/magirein_BaGr10-RatDra.pdf.

9. Mägi R. From 2D to 3D. // Engineering Graphics BALTGRAF-5. Abstracts

of the International Conference, Tallinn, Estonia, June 15-16, 2000, p. 26-30

http://deepthought.ttu.ee/graafika/Microsoft%20Word%20-%20From-2D-to-

3D.pdf.

10. Mägi R., Hunt T., Meister K. From AutoCAD to PowerPoint. In: Engineering

Graphics BALTGRAF-9. Proceedings of the Ninth International Conference

on Geometry & Engineering Graphics, Riga, Latvia, June 5-6, 2008, p. 167-

172. http://deepthought.ttu.ee/graafika/baltgr9_from_acad_to_pp.pdf.

11. Mägi R. Is it Possible? http://www.hot.ee/r/rmagi/Ons.pps. (in Estonian).

12. Mägi R. Moebius surface. http://www.hot.ee/r/rmagi/Mob1.ppt. (in Estonian).

13. Mägi R. Video: Moebius carousel.

mms://media.ttu.ee/YGK3350/2008_03_klipp3.wmv. (in Estonian).

14. Mägi R., Möldre H. CAD Problems and Solutions // In: 10th

International

Conference on Engineering Graphics BALTGRAF-10. Conference

Proceedings. June 4-5, Vilnius Gediminas Technical University, Lithuania.

Vilnius 2009, p. 104-109.

http://deepthought.ttu.ee/graafika/magirein_BaGr10-CADproblem.pdf.



149/300

PERSPECTIVE VIEW POSSIBILITIES

Rein MÄGI1

1. ABSTRACT

Parallel projections are mainly used on technical drawings due to non-deformed

images unavoidable for dimensioning. But human vision and photography is based on

central projection (perspective) where the centre of projection rays is located in the

focus of the eye or the camera. Therefore the perspective view is more realistic and

expressive than parallel projection.

According to foreshortening the perspective drawings can be divided to one-, two-

and three-point perspective. The names of these categories refer to the number

of vanishing points in the perspective drawing.

Several methods of constructing perspectives exist, including:

Freehand sketching (common in art)

Graphically 2D-constructing (once common in architecture)

3D-modelling in CAD

Photo-composition with camera

The result of the perspective image depends on some parameters: view angle (Zoom),

distance, lights, shadows and other. Too large view angle causes inadvisable

deformities of peripheral objects.

Additional spatial effects can be obtained from two perspective images using

stereoscopic method. 3D-modelling in AutoCAD enables to produce video-clip with

moving camera.

Modern digital photo-camera allows to create very attractive panoramic image and

other effects.

Knowing perspective view possibilities gives the availability to create expressive

images in drawings and in photography.

KEYWORDS: Projection Types, Perspective View, Features of Perspectives



http://en.wikipedia.org/wiki/Vanishing_point



2. INTRODUCTION

An engineering drawing, a type of technical drawing, is used to fully and

clearly define requirements for engineered items [1].

Graphical projection is a protocol by which an image of a three-

dimensional object is projected onto a planar surface without the aid of mathematical

calculation, used in technical drawing [2].

There are two graphical projection categories each with its own protocol: 1)

parallel projection and 2) perspective projection.

Parallel projections are mainly used on technical drawings due to non-deformed

images unavoidable for dimensioning.

Perspective projection is a linear projection where three-dimensional objects are

projected on a picture plane. This has the effect that distant objects appear smaller

than nearer objects.

But human vision and photography is based on central projection (perspective)

where the centre of projection rays is located in the focus of the eye or the camera.

Therefore the perspective view is more realistic and expressive than parallel

projection.

Perspective (from Latin perspicere, to see through) in the graphic arts, such as

drawing, is an approximate representation, on a flat surface (such as paper), of an

image as it is seen by the eye [3]. The two most characteristic features of perspective

are that objects are drawn:

Smaller as their distance from the observer increases;

Foreshortened: the sizes of an object's dimensions along the line of sight are

relatively shorter than dimensions across the line of sight.

The nature of perspective view is illustrated by real objects (Fig. 1).

a) b)

Fig. 1. Illustration of the perspective principle: a) by human vision through the

window and b) by photo-camera [4]

http://en.wikipedia.org/wiki/Technical_drawing

http://en.wikipedia.org/wiki/Engineering

http://en.wikipedia.org/wiki/Three-dimensional_space

http://en.wikipedia.org/wiki/Three-dimensional_space

http://en.wikipedia.org/wiki/Technical_drawing

http://en.wikipedia.org/wiki/Parallel_projection

http://en.wikipedia.org/wiki/Perspective_(graphical)

http://en.wikipedia.org/wiki/Latin


3. CREATING PERSPECTIVE VIEWS

According to foreshortening the perspective drawings can be divided to one-,

two- and three-point perspective (Fig. 2-3). The names of these categories refer to the

number of vanishing points in the perspective drawing.

a) b)

Fig. 2. a) one-point perspective and b) two-point perspective of the same object

Fig. 3. Three-point perspective of the same house



Several methods of constructing perspective views exist, including:

Freehand sketching (common in art)

Graphically 2D-constructing (once common in architecture)

3D-modelling in CAD

Photo-composition with camera

For freehand sketching it is suitable to use vanishing points and auxiliary

square-mesh (Fig. 4).

Fig. 4. Auxiliary mesh of squares. T” – vanishing point of edges, Pd” – vanishing

point of diagonals

Creating perspective view by 2D-drafting is quite capacious and accuracy

demanding process (Fig. 5). Optimal view-angle = 20-40 [4].

Fig. 5. Creating perspective view issued from two orthogonal projections



But more comfortable is to get perspective view by 3D-modelling. In AutoCAD

it suits using command Dview>Points>Distance (Fig. 6).

Fig. 6. 3D-object (house) with target-points (T1, T2) and

camera-points (So, S1, S2; S1L, S1R)

Created perspective views according to different directions are shown in Figure

7. Views S1>T1 and S2>T2 are with two vanishing points; views S0>T1 and S2>T1

with three vanishing points.

Fig. 7. Perspective views according to Camera>Target direction: S0>T1, S1>T1,

S2>T2, S2>T1

Stereo-effect is based on two- eye seeing. Images in left and right eye are

different (Fig. 8).


a) b)

Fig. 8. a) The principle of stereovision; b) Stereogram made by 3D-modeling

4. FEATURES OF PERSPECTIVE VIEWS

Foreshortening the camera and target has an effect on the result of the image.

Too large view-angle a can cause distortions in the outer objects (Fig. 9).

a) b)

Fig. 9. a) View-angle a = 60; b) View-angle a = 130

Bottom-up “frog-view” (S0>T1 – Fig. 7) and top-down “eagle-view” (S2>T1 –

Fig. 7) can give interesting results in photography (Fig. 10).


a) b)

Fig. 10. Bottom-up “frog-view” (a) and top-down “eagle-view” (b) on photos

The modern trend in digital photography is panoramic image. Such as the

photo-screen display is not planar but cylindrical, the projections of some straight

lines are curved (Fig. 10b, 11).

a) b)

Fig. 11. The photos of Tallinn University of Technology: a) normal and

b) panoramic photo (Photo P. Langovits)

In photography the perspective effect can also be achieved by focusing area

(Fig. 12). Unfocusing objects are quite fuzzy and we can sense their distance.

Fig. 12. Macro-photos of insects using suitable focusing distance (Photo U. Tartes)


We can experience more attractive feeling passing along this surface, using

PowerPoint presentation (Fig. 13) [5] or video session created by AutoCAD [6].

a) b)

Fig. 13. a) 3-D model of the Mobius surface as merry-go-round; b) an attractive

perspective view passing along this surface

5. CONCLUSIONS

Human seeing is based on the central projection (perspective). Therefore

perspective view is more expressive than parallel projection.

Knowing nature and features of perspective allows more effectively creating

and using these images as in drawings and in photography.

6. REFERENCES

1. Engineering Drawings. Wikipedia.

http://en.wikipedia.org/wiki/Engineering_drawing. [access Apr 08, 2013].

2. Graphical Projection. Wikipedia.

http://en.wikipedia.org/wiki/Graphical_projection. [access Apr 08, 2013].

3. Perspective. Wikipedia. http://en.wikipedia.org/wiki/Perspective_(graphical).

[access Apr 08, 2013].

4. Rünk O., Paluver N., Talvik A. Kujutav geomeetria. (Descriptive Geometry).

Tallinn, “Valgus”, 1986, 276 lk. (in Estonian).

5. Mägi R. Moebius Surface. http://www.hot.ee/r/rmagi/Mob1.ppt. [access Apr

08, 2013]. (in Estonian).

6. Mägi R. Video: Moebius carousel (in Estonian).

mms://media.ttu.ee/YGK3350/2008_03_klipp3.wmv. [access Apr 08, 2013].



157/300

TO CREATE OR TO EXPLODE?

Rein MÄGI1, Heino MÖLDRE

2

1. ABSTRACT

This “Hamlet’s question” may arise dealing with the Computer Aided Design (CAD).

Certainly “to create” – it is the first reaction. But for creating new building it is

sometimes necessary at first to demolish the old one. Only rational solution is

reasonable. CAD objects can be very primitive or more compounded (Block, Mtext,

Hatch, Dimension etc.). Command Explode in AutoCAD breaks a compound object

into its component objects. Exploding objects allows sometimes provide effective

opportunities. But sometimes it is associated with dangerous risks – we may lose

some of the required properties (Line-width, Attributes and other). Some instructive

examples illustrate exploding possibilities and dangers in CAD. Practical

recommendations are included also.

KEYWORDS: CAD Objects, Hierarchy of Objects, Exploding Objects

2. INTRODUCTION

CAD objects can be divided into elementary and more complex according to

the hierarchy. The hierarchy level can be seen by using the command Explode. The

most primitive objects (Line, Arc, Circle etc.) cannot be exploded. But there is

impossible to explode also some more compound objects (Block, Minsert) if the

exploding this object is not allowed.

Why to explode objects? Of course to achieve a positive effect in designing.

This good idea is illustrated by some practical examples.

3. EXAMPLES OF USE EXPLODING

Our analysis of some CAD problems and desirable solutions are demonstrated

[1]. But a new “surprise” emerged with new version AutoCAD 2013 (Fig. 1).


Estonia, e-mail: [email protected] 2 Centre of Engineering Graphics, Tallinn University of Technology, Ehitajate tee 5, Tallinn, 19086,





a) b)

Fig. 1. a) The result of copying 8 vanes by Polar Array is single block, which does

not attribute the property Thickness; b) After Explode this Block it is possible to

change the Thickness of these vanes

For frequently used elements it is purposeful to use Blocks. Every Block has a

Block Name, Insertion base point and, of course, object(s) (Fig. 2a).

a) b)

Fig. 2. Viewport for Block Definition (a) and the warning (b)

at the redefining Block

The Block Name is unique – there cannot exist different Blocks with the same

name. The warning appears at the redefining Block. But sometimes it is rational

designedly redefine the Block (Fig. 2b). In this case we have to snap precisely the

same insertion point (Fig. 3). This technique can economize the designing time.


Fig. 3. Result of changing the content of the same name of Block,

retained the same Insertion point.

Quite attractive didactic possibilities we can achieve exploding 3D-solid

models (Fig. 4). After the first Explode the Solid-object break down to Surfaces and

Regions. But after second Explode the lines and curves will appear. Rather

comprehensive expression arises after rotating these images to horizontal plane (Fig.

5).

a) b) c) d)

Fig. 4. a) 2D-image of the cone cut by different planes; b) 3D-solid model;

c) after Explode the model; d) after next Explode this model

Fig. 5. Top view after rotating these images to the horizontal plane

ABlock

Insert ion point Insert ion pointBBlock


But there is impossible to explode every Solid object. For example, if the 3D

solid object (Sphere) is inserted as Block with unequal scale factors then the object is

not able to be exploded (Fig. 6).

Variable EXPLMODE controls whether the EXPLODE command supports non-

uniformly scaled (NUS) blocks: 0 = does not explode NUS blocks; 1= explodes NUS

blocks. Desirable variant is EXPLMODE = 1.

Even command XPLODE is usable. It sets the colour, line type, line weight, and

layer of the component objects to that of the exploded object if the component

objects' colour, line type, and line weight are BYBLOCK and the objects are drawn

on layer 0.

a) b) c) d)

Fig. 6. a) The same Block (Solid Sphere) inserted with different scale factors;

b) objects after first Explode; c) after second Explode; d) after third Explode

4. EXAMPLES OF UNDESIRABLE USE EXPLODING

Quite often Blocks are applied to create Title blocks for technical drawing. It

may consist of both permanent text (Text) and changing text (Attribute) [3].

But after exploding these Blocks we can lose values of Attributes (Fig. 7). After

these kind of mistakes it has to use command Undo. But the command Undo we

can call back only once by command Redo! The right possibility for changing

Attribute values is to use Modify>Object>Attribute.

Until year 2000 it was possible to use the Polyline-width parameter for creating

thick lines. Since version AutoCAD 2000 the new more comfortable parameter

Lineweight appeared, which provides printing line-width (in mm) regardless of the

drawing scale.

But for Polyline only Polyline-width works. How to use Lineweight parameter

for Polyline? To Explode polyline? Then the Polyline loses its width and breaks to

Lines and Arcs, which is undesirable. More rational variant is to attach to the Polyline

Global width = 0 – only in this case the Lineweight parameter works for Polyline.


Fig. 7. Results of modifying Block (with Attributes) by command Explode and

Modify>Object>Attribute

5. CONCLUSIONS

To explode or not to explode objects? The answer depends on some

reasoning’s.

Exploding the compound object is recommendable for creating something

new and necessary.

Because the exploding is related to the risk, for safety reasons we should

make a reserve copy of the source object.

6. REFERENCES

1. Mägi R., Möldre H. CAD Problems and Solutions // 10th International

Conference on Engineering Graphics BALTGRAF-10; Conference

Proceedings. Vilnius Gediminas Technical University. Vilnius, Lithuania,

June 4-5, 2009, p. 104-109.

http://deepthought.ttu.ee/graafika/magirein_BaGr10-CADproblem.pdf.

http://deepthought.ttu.ee/graafika/magirein_BaGr10-CADproblem.pdf


2. Mägi R. Blocks, Layers, Styles – Possibilities and Dangers // In: Engineering

Graphics BALTGRAF-9. Proceedings of the Ninth International Conference

on Geometry & Engineering Graphics. Riga, Latvia, June 5-6, 2008, p.103-

107. http://deepthought.ttu.ee/graafika/baltgr9_blocks_and_layers.pdf.

3. Mägi R. Handling CAD-files // In: Engineering Graphics BALTGRAF-8.

Proceedings of the Eighth International Conference. Tallinn, Estonia, June 8-

9, 2006, p. 116-120. http://deepthought.ttu.ee/graafika/RMagi2006_BaltGr-

8_Handling_CAD.pdf.



163/300

GEOMETRICAL EDUCATION BY USING MULTIMEDIA

PRESENTATION

Miodrag NESTOROVIĆ1, Aleksandar ČUČAKOVIĆ

2,

Nataša TEOFILOVIĆ1, Biljana JOVIĆ

3

1. ABSTRACT

This paper proposed integration of multimedia presentation and implementation tools

for 3D animation applications, in the geometrical education. The aim of this method

is to simplify the perception of geometrical forms and the process of their

constructions and their combinations with each other, resulting in more complex

geometry that is easier to perceive in geometrical education. The innovative

interdisciplinary, hybrid approach resulting from the overlapping and intertwining of

multiple disciplines: descriptive geometry, architecture, structural systems, computer

animation and use of virtual technologies. Dynamic geometrical education is

presented on multimedia DVD that covers selected areas of the geometrical theory.

Multimedia DVD contains 16 integrated animated short forms with concise textual

explanations – subtitles. DVD titled "Geometric education using the principles and

tools of 3D animation" is the geometrical education learning material for students of

technical and artistic groups.

KEYWORDS: Geometrical education, multimedia, virtual technologies

ACKNOWLEDGEMENT

Authors are supported by the Serbian Ministry of Science and technological

development, project number TP36008

2. INTRODUCTION

Development of spatial visualization ability is improved by use of dynamic and

interactive animation programs for the study of geometry. New standard in geometry

education, emphasizes in this paper, is the use of multimedia tools in educations of

descriptive geometry. This work is important research in the field of application of

1 University of Belgrade, Faculty of Architecture, Bulevar Kralja Aleksandra 73/2, Belgrade, 11000,

Serbia, e-mail: [email protected], [email protected] 2 University of Belgrade, Faculty of Civil Engineering, Bulevar Kralja Aleksandra 73/1, Belgrade,

11000, Serbia, e-mail: [email protected] 3 University of Belgrade, Faculty of Forestry, Kneza Viseslava 1, Belgrade, 11030, Serbia, e-mail:

[email protected]


methodological innovation in the area of space geometry and computer animations

with the focus on geometry education. The geometry in the plane and space geometry

is unseparated part of the geometrical education. Sketching, graphic design, static and

dynamic presentations are involved in the graphical education. Improvement of

spatial ability, accessible application, and pedagogical stimuli for encouragement in

further geometry exploration is provided by dynamic 3D geometry in education.

Fig. 1. DVD cover "Geometric education using the principles and

tools of 3D animation"

Educational DVD is published by Faculty of Architecture, University of

Belgrade (Fig. 1).

3. GEOMETRICAL EDUCATION

Ability of spatial representation, perception and understanding of space is

enabled by geometrical education. Drawing is a tool but not the aim of geometrical

education. Geometrical education is definitely the most important for all engineers

and students of art [1].

Learning process is carried out when students are able to build conceptual

models that are in accordance with what they already understand and with new

content as constructivist theory emphasizes. Pedagogical theory – constructivism

provides a valid and reliable basis for a theory of learning in a virtual environment

[2].

Professor Hannes Kauffmann from TU Vienna in his PhD Dissertation suggests

using different models of learning in a virtual environment from autodidactic learning

models to those which are guided by teachers [3].


We suggest the use of 3D animation with short textual explanation on

multimedia in geometrical education and consider that it is fully compatible with

constructivist pedagogical theory.

Kortenkamp in “Foundation of Dynamic Geometry” explain the comprehensive

work on the dynamic geometry [4]. The importance for the educational purposes is in

the fact that one can explore the geometry characteristics by moving the same

geometrical structure. It could be observed which parts of a construction change and

which remain the same, unchanged. It gives much more insight into the actual

construction and general geometry, if we can experience what happens when you start

moving that construction. In this paper we emphasize the importance of dealing with

design dynamically-generated form.

Geometrical areas that are processed on DVD geometrical learning tool consist

of 16 animations, 5 minutes duration in average.

Fig. 2. Content of multimedia DVD

Geometrical areas are: Platonic solids: cube, tetrahedron, octahedron,

dodecahedron and icosahedron; Ruled surface: conoid, rotational hyperboloid,

helicoid and hyperbolic paraboloid; The surface of revolution: the torus; Mutual

intersection: conic sections, cone and cylinder, sphere and cylinder and two half-


cylinder; Experimental design (freeform) [8]: generating a surface with the two

profiles as guidelines, generating free form using lattice deformers and generate free-

form by the duplicating along curves; (Fig. 2). In terms of position of the geometrical

content in curriculum is very diverse [7]. Selected areas showed how the different

geometrical fields may be processed in the virtual environment. Using 3D animation

in the geometrical education supports different learning tools for students, guided by

teachers and auto didactical as well as more autonomous way of learning. The

interpretation of spatial constructions in the plane requires a lot of spatial thinking

and understanding of spatial problems. Spatial geometrical ideas could be tested,

developed and realized in a short time by using this kind of learning tools. The

significance in educational sense is that it is possible, in completely new examples

and applications, to perform the implementation of 2D geometry in a dynamic 3D

space. For our current and future work this is a very inspirative and perspective base,

for further research of different geometrical problems, using available applications for

3D animation in geometrical education.

4. MULTIMEDIA

The use of digital technology involves interdisciplinary approach. At the area of

digital art there are constant changes in the categorization of the digital art

terminology [5]. Hybrid art is category specifically dedicated to today's hybrid and

trans-disciplinary projects and approaches to projects and media arts. This open

approach allows changes in the art categorization as well as method used and

favoured in this paper [6].

For students of art and engineering field of technical – technological group the

specific contribution is in the education by working with 3D animation. We used and

finally presented geometrical areas as a short animated form. Constructive process is

directly recorded in of dynamic 3D software (Autodesk Softimage), and each

animation has additional text that follows and explains the procedure and gives the

basic definitions.

Fig. 3. Frames from different multimedia


We did examples which are differing in complexity but all belong to the

geometric area of the university educational levels in order to demonstrate the

potential of 3D geometry education (Fig. 3).

5. VIRTUAL TECHNOLOGIES

Today virtual technologies represent the standard in education. These

instruments allow students, teachers, artists, researchers, engineers, designers, etc.

improvement in all field of work, from education to practice.

In the function of geometry learning tools virtual technology offers new and

fascinating possibilities. Students and teachers can explore the most diverse practical

and theoretical problems with the aim of understanding the complex and dynamic

spatial relationships. Communication and understanding the spatial problems by

using of virtual technologies enable researching in new ways. Working interactively

with objects in a simulated environment and teaching through movement, interaction

and immediate response are benefits from this kind of learning tool [11]. Advantage

of using virtual technologies is the new way of communication between teachers and

students which were not possible at conventional ways of teaching. Benefits of the

use of virtual technology in the teaching related to the geometrical education are

improvement and great speeds up of explanations of teacher’s intentions [9].

Fig. 4. Frames from multimedia shows possibilities of geometrical modelling

using 3D animation

Virtual technology in the learning process demonstrates significant progress in

the perception of huge possibilities working with each model (Fig.4). The use of

virtual technology is quite simple on today's conventional hardware and software

packages. One, between many of observed advantages of digital multimedia

education is that this type of learning process enables the exchange of theoretical and

practical knowledge among participants in the distanced locations.


Virtual technologies are also good platform for teamwork. Collaboration

between teachers and students using interactive media includes design and

communication at a much more direct way than simple file sharing. The working

possibility is multiple and all participants showed a higher level of interaction.

Multimedia allows the joint participation in the processes of thinking, creating and

understanding. Virtual technologies demonstrate a possibility of establishing a unique

combination of communication and collaboration of interactive teaching process that

is transparent and direct [10]. Users of virtual systems have tremendous opportunities

to explore geometrical characteristics and spatial relationships of the topics being

processed in this paper [12].

Virtual technology implementation refers to the use for the dynamic

geometrical education in areas that are the most suitable for this method. Dynamic

tool for educational purposes was done by live recording of whole construction

process in 3D software at the Studio for digital 3D animation at the Faculty of

Architecture, University of Belgrade. Software for 3D animation – Autodesk

Softimage was donated by US AID to Faculty of Architecture, University of Belgrade

in 2007. The animations are subtitled as well. Every animation has additional text that

follows and explains the procedure and gives the basic definitions.

6. CONCLUSIONS

Dynamic educational experience in a virtual environment is especially

important because dynamic geometry education achieved much higher insight into

the actual structure and construction. Visually we learn about the changes in the

construction of the structure. New dimension in geometrical education is using of

animation. More complex communication and understanding of spatial relationships

of geometric area is enabled by using virtual systems. This innovative approach leads

to new form of design. The usage of tools for 3D animation in geometrical education

open up new perception of the tangible existence of geometric forms since all is in

motion; nothing is static, as well as the sensational dynamic manipulation of the

geometry.

The original contribution of this paper is in the implementation of multiple

disciplines, and this interdisciplinary hybrid approach. Overlapped several disciplines

such as architecture, descriptive geometry, computer animation and programming are

shown in resulting published DVD named: "Geometric education using the principles

and tools of 3D animation". Since the authors are educated in different disciplines:

architecture, descriptive geometry, digital animation, and constructive system, the

teamwork result is in implementation at the education of students in technical and art

faculties as well as for the further scientific research in the design of dynamically

generated forms.


7. REFERENCES

1. Stachel H.: What is Descriptive Geometry for? In: DSG-CK Dresden

Symposium Geometrie: Konstruktiv & Kinematisch, Feb 27 - Mar 1, 2003,

Dresden/Germany: TU Dresden, 2003 (ISBN 3-86005-394-9), p. 327-336.

2. Jović B. Geometrical Education in Domain of Visualization and Experimental

Design by Virtual Technologies. PhD Dissertation, University of Belgrade,

Faculty of Architecture, Belgrade, Serbia, 2012. (in Serbian).

3. Kaufmann H. Geometry Education with Augmented Reality. Dissertation.

Technology University of Vienna, Vienna, Austria, 2004. -179 pp.

4. Kortenkamp U. H. Foundation of Dynamic Geometry. PhD Dissertation.

Swiss Federal Institute of Technology, Zurich, Switzerland, 1999. -176 pp.

5. Teofilović N. 1:1 (3D Character Animation and Installation). PhD

Dissertation. University of Art in Belgrade, Interdisciplinary PhD studies,

Group of Digital Art, Belgrade, Serbia, 2010. (in Serbian).

6. Teofilović N. The Art of Movement in Empty Space (Technologies and

Practise of Virtual Characters). Faculty of Architecture, University of

Belgrade, Belgrade, Serbia, 2011. (in Serbian).

7. Čučaković A. Descriptive Geometry. Akademska misao, Belgrade, Serbia,

2010. (in Serbian).

8. Nestorović M. Constructive Systems – Principles of Construction and

Shapenig. Faculty of Architecture, University of Belgrade, Belgrade, Serbia,

2007. (in Serbian).

9. Čučaković A., Jović B. Constructive Geometry Education by Contemporary

Technologies, SAJ_2011_3_ Serbian Architectural Journal, original scientific

article, approval date 12.06.2011. UDK 514.18:62 ID 184977420, p. 164-183.

10. Čučaković A., Nestorović M., Jović B. Contemporary Principles of

Geometrical Modeling in Education. Abstracts – 2nd

Croatian Conference of

Geometry and Graphics Scientific-Professional Colloquium of CSGG,

Šibenik, Croatia, September 5-9, 2010, p. 10-11.

11. Wang X., Schnabel M. A. Mixed Reality in Architecture, Design and

Construction. Australia, Sydney, Springer Science + Business Media B. V.

2009. -288 pp.

12. Čučaković A., Jović B. Optional Course Engineering Graphics on

Department for Landscaping Architecture at the Faculty of Forestry,

University of Belgrade, International Conference SUNGIG moNGeometrija

2010, Jun 24-27, 2010, Belgrade, Serbia.




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DIGITAL PRODUCT DEFINITION DATA PRACTICES

Tilmutė PILKAITĖ1, Vidmantas NENORTA

2

1. ABSTRACT

Suitable employment of Computer-Aided Design (CAD) tools increases product

reliabilities and decrease product development costs and a greatly shortened design

cycle. Development of these systems, gain an access use three-dimensional (3D) data

for detail drawings presentation. This opportunity necessitate create new standards

related with detail drawing annotations. The American Society of Mechanical

Engineers (ASME) on August 15, 2003 issued the first version of ASME Y14.41-

2003 industrial standard which was born of the need to utilize 3D CAD data as a

manufacturing and/or inspection source. A corresponding standard (ISO 16792:2006)

was created by International Organization for Standardization (ISO). This standard

specifies requirement for the preparation, revision and presentation of digital product

definition data (data sets).

The aim this paper to introduce with the basic aspects of standards noted above

having in mind to implement it into engineering graphics education course.

KEYWORDS: Digital Product Definition Data, Automated Design Systems,

CAD/CAM/CAE/PLM.

2. INTRODUCTION

The purpose of CAD is to make the design process more productive. The ability

to think in three dimensions is one of the most important requisites. There is the

possibility to indicate dimensions and annotations on the model that can be used as a

standalone 3D representation of the geometry. Many actions now make it very fast

and efficient to place 3D annotations on models [1]. All the annotations should be

indicated in compliance with ISO 16792:2006 standard.

This standard is separated into 3 industrial practices:

Models Only. These portions cover the practices, requirements, and

interpretation of the CAD data when there is no engineering drawing.

Models and Drawing. These portions cover what is commonly called

"reduced content drawings" or "minimally dimensioned drawings," where an

engineering drawing is available, but does not contain all the necessary

information for producing the part or assembly.

1 Kaunas University of Technology, Lithuania, e-mail: [email protected]

2 Department of Engineering Graphics, Kaunas University of Technology, Kestucio 27, Kaunas,

LT-44312, Lithuania, e-mail: [email protected]


Drawings only. These portions of the standard allow the historical practices

of using engineering drawings to define a product [2].

3. RELATED DATA

Related data shall be integral to, or referenced in, the data set. Related data

consists of, but is not limited to, analytical data, parts lists, test requirements, material

specifications, process and finish requirements in accordance with Figure 1. The

following specifies the structure and control requirements for data management.

Fig. 1. Content of a product definition data set Fig. 2. Content of a model

The model itself includes geometric elements in product definition data

representing the designed product. Annotations include dimensions, tolerances, notes,

text, or symbols visible without any manual or external manipulation. Attributes are

such elements as a dimension, tolerance, note, text, or symbol required to complete

the product definition or feature of the product that is not visible but available upon

interrogation of the model [3-4]. 3.1 Design Model Requirements

Design models represent a product in ideal geometric form at a specified

dimensional condition, for example minimum, maximum or mean. The dimensional

condition shall be specified as a general note. Design models shall be modelled using

a scale of 1:1. The design model precision indicates the numeric accuracy required in

the production of the work piece in order for it to fulfil the design intent. The number

of significant digits of the design model shall be specified in the data set. The number

of decimal places required for the design cannot exceed the precision of the design

model.

The model shall contain geometry, attributes and annotation as required to

provide a complete definition of the part. Work piece and sub-assembly models

shown in the assembly model need only have sufficient detail shown to ensure correct

identification, orientation and placement. The assembly model may be shown in an

exploded, partially assembled or completely assembled state. Location and

http://en.wikipedia.org/wiki/Engineering_drawings


orientation of parts and assemblies may be shown by geometric definition,

annotation, or a combination of both.

The data set shall provide complete product definition: a design model, its

annotation, and related documentation. Display management shall include the facility

to enable or disable the display of annotation completely, by type or selectively

(Fig. 3).

In Figure 4 a diagram shows the relationship between annotation and model

geometry. These are general requirements, which apply to all types of annotation.

a) b) c)

Fig. 3. Display management: a) model with all annotation displayed; b) model with

one type of annotation displayed; c) model with selected annotation displayed

Fig. 4. Annotation and model geometry relationship


3.2 Common to Annotated Models and Drawings

A complete definition of a product shall contain a model and a drawing that

may contain orthographic views, axonometric views or a combination thereof.

Product definition data created or shown in the model and on the drawing shall not be

in conflict. The drawing shall contain a drawing border and title block information.

The drawing shall reference all models and data relevant to the product. Annotation

displayed on the drawing shall be interpretable without the use of query. When

complete product definition is not contained on the drawing, this shall be noted.

Management data that is not placed on a drawing shall be placed on the model

or in the data set separate from the model or drawing. The management data shall be

contained in the data set: application data; approval; data set identification; design

activity transfer; revision history for the data set. The annotation plane shall be

available for display with the model. Management data placed on a model shall

include: CAD maintained notation; design activity identification; duplicate original

notation; item identification; unit of measurement, and navigation data.

Protection marking shall be placed on a protection-marking annotation plane, or

equivalent, which shall be available for display with the model. Reproductions of

technical data or any portions thereof, subject to asserted restrictions shall also

reproduce the asserted restrictions. When displayed, the protection-marking

annotation plane does not rotate with the model.

All model values and resolved dimensions shall be obtained from the model.

Saved views of a design model may be defined to facilitate presentation of the model

and its annotation. A saved view shall have an identifier, be retrievable on demand,

contain a model coordinate system that denotes the direction of the view relative to

the model and may contain one or more of the annotation plane(s), a selected set of

annotation, or a selected set of geometry.

Fig. 5. Design cutting model plane

A representation of a

cutting plane shall be used to

indicate the location and viewing

direction of a section. The edges

of the cutting plane shall be

continuous or long-dashed dotted

narrow lines. A means of

identifying all cutting planes in a

model shall be available. A

visible-view arrow or arrows

shall be included to show the

direction in which the section is

viewed (Fig. 5).


3.3 Drawing Requirements

Annotation may be applied to orthographic or axonometric views. For

axonometric views, the orientation of the annotation shall be parallel to, normal to or

coincident with the surface to which it applies. An annotation shall not overlap

another or the geometrical representation of the part. The relationship between a

model and a drawing are illustrated in Figures 6 and 7.

Fig. 6. Annotated model

Fig. 7. Design drawing

When orthographic views are used, the model coordinate system may be used

to indicate view orientation. A model coordinate system shall be included in each

axonometric view to indicate orientation of the view (Fig. 8).

Fig. 8. Axonometric views

Section views may be

created from axonometric views.

A section view may be

orthographic or axonometric. A

representation of a cutting plane

shall be used to indicate the

location and viewing direction of

a section. The edges of the cutting

plane shall be continuous or long-

dashed dotted lines. A visible

viewing arrow or arrows shall be

included to show the direction in

which the section is viewed

(Fig. 8).

In axonometric views, leader lines shall be used to associate each local note to

its related model feature. Theoretically exact dimensions not displayed on a drawing


shall be obtained by querying the model. Displayed dimensions in views are true

dimensions. Dimensions shown in an axonometric view shall be actual values (not

out-of-scale).

Fig. 9. Datum targets and indicators in an

axonometric view

The corresponding model

coordinate system shall be

displayed in each axonometric

view in which a datum system

is cited.

In axonometric views the

datum indicator should be

attached to the surface of the

represented object. A single

extension line of a model

feature outline should not be

used for attachment of datum

indicators in an axonometric

view (Fig. 9).

5. CONCLUSION

Digital product definition (model based definition) allows a part completely

define as a 3D model. It compresses product development cycle reduces design

engineer’s time is spent creating 2D drawings much as 50% and becomes concurrent

in digital prototyping (3D modelling). Having mind CAD tools development

tendency, all the students of technical science should be introduced with standard ISO

16792:2006 because it specifies requirement for the preparation, revision and

presentation of digital product definition data

6. REFERENCES

1. Model Based Definition (MBD) with Wildfire 4.0.

http://www.imakenews.com/channel_3htechnology/e_article001136686.cfm?

x=b11,0,w.

2. ASME Y14.41-2003. http://en.wikipedia.org/wiki/ASME_Y14.41-2003.

3. http://www.google.lt/search?sourceid=navclient&aq=&oq=&ie=UTF-

8&rlz=1T4ADRA_enLT356LT358&q=digital+product+definition+data+prac

tices&gs_l=hp..0.41l208.0.0.0.1576...........0.

4. British Standard. BS ISO 16792:2006. Technical Product Documentation –

Digital Product Definition Data Practices.

http://learn.lboro.ac.uk/ludata/cd/cad/iso16792.pdf.



177/300

INTERACTIVE 3D MECHANICAL DESIGN SOFTWARE

Nomeda PUODZIUNIENE1, Vidmantas NENORTA

2

1. ABSTRACT

Today the effective employment of Computer-aided technologies is the main reason

of successfully product development in the world market. Suitable employment of

CAD tools increases product reliabilities and decrease product development costs and

a greatly shortens design cycle. The comprehensive, interactive and flexible 3D CAD

software for 3D mechanical design aims help companies stay more competitive. 3D

CAD software help engineers in many operations like: part design, part positioning,

automated mechanism design, functional tolerances and annotations, assembly

drawing generation, kinematics simulation and photorealistic image creation. The

digital prototyping enabling to produce an accurate 3D model that can engineers help

to design, visualize, and simulate products before they are built, so companies design

better products, reduce development costs, and get product to market faster.

The aim of this paper is to overview some news aspects of automated design systems

for mechanical design.

KEYWORDS: Automated Design Systems, CAD/CAM/CAE/PLM, Digital Product

Development (DPD), Interactive 3D CAD Systems

2. INTRODUCTION

The aim of CAD is to apply computers to both: the 3D modelling and

communication of designs. This includes automating such tasks as the production of

drawings or diagrams and the generation of lists of parts in a design and etc. CAD

design now involves the creation of 3D model data which can be applied in all parts

design stages: design, analysis and simulation, manufacturing and presentation. CAD

allows engineers to create detailed and measured designs of parts with minimal time

and cost. Engineering industries, especially mechanical engineering use CAD widely

to design and develop new and competitive products, and also used to design the

overall layout of a manufacturing unit.

1 Department of Engineering Graphics, Kaunas University of Technology, Kestucio 27, Kaunas,

LT-44312, Lithuania, e-mail: [email protected] 2 Department of Engineering Graphics, Kaunas University of Technology, Kestucio 27, Kaunas,



Until the mid-1980s, all CAD systems were specially constructed computers.

Now, CAD software’s runs on general-purpose workstation and personal computers.

Today are wide variety of CAD options, which are very useful for mechanical

product design: 2D Drafting-Technical Documentations Software, 3D Wire/Surface

Modellers, 3D Constructive Solid Geometry (CSG) Solid Modelling, 3D Boundary

Representation (Brep) Solid modelling, 3D hybrid Solid Modelling, 3D Feature-based

Solid Modelling, 3D Parametric, Feature Solid Modelling, 3D Dynamic, Feature-

based Solid Modelling.

Interactive CAD Solutions can help engineers turn his ideas into such design

environment which can maximum to reduce the designing time of new product, to

share information between design team and customer rapidly. Parametric 3D

Modelling drawings are automatically updated as the design changes due to

associativity. Simulation in 3D CAD programs can reduce the cost of prototypes by

analysing range of motion and checking for interferences. 3D modelling allows

lifelike representation of a design, from structural composition and the way parts fit

and move together, to the performance impact of characteristics such as size,

thickness, and weight. The goal is to support the interactive exploration of design and

construction alternatives, facilitate the decision-making process, and to safeguard the

collaboration between project team members [1].

The advanced 3D modelling software with creation, modification and analysis

of 3D CAD models using in mechanical product design has become more frequently

and intensively shared and used in the mechanical product development process

(PDP). More and more 3D data are used in various CAD and PLM-related areas such

as design reuse, engineering change management and data exchange [2].

3. OVERVIEW OF MOST POPULAR MECHANICAL DESIGN SOFTWARE

We overview some new upgrades for 2D users and internet/cloud connectivity

for storage and collaboration in AutoCAD 2013. AutoCAD 2013 introduces a new

file format that includes changes to the thumbnail preview file format, as well as new

controls for graphics caching. Thumbnail previews in the new AutoCAD 2013 DWG

file format are now stored as PNG images, providing higher-quality thumbnail

previews in a smaller file size. Image resolution is still controlled by the

THUMBSIZE system variable. However, the maximum valid its value has increased

from 2 to 8. When you save from AutoCAD 2013 to an older version DWG file, a

message alerts you that the attached PCG file will be re-indexed and degraded to be

compatible with the previous version of the drawing file format. The new file is

renamed to a corresponding incremental file name [3].

The command line has been enhanced. Colour and transparency can be

changed. It works better as undocked and can be made smaller. It features a semi-

transparent prompt history that can display up to 50 lines (Fig. 1).


When selecting objects and making changes of properties like colour and

transparency a preview is seen directly in the drawing.

Fig. 1. AutoCAD 2013 command line Fig. 2. Collaboration panel

The viewports panel on the ribbon is renamed to be specific to Model

Viewports or Layout Viewports. Model Viewports are accessible from the View

ribbon tab and are relevant when creating viewports in model space. Standard model

space viewport configurations are easily accessible from a drop-down menu. Layout

Viewports are accessible from the Layout ribbon tab and are relevant when creating

viewports on a layout. The Export Layout to Model tool has been updated so when

you export a layout with drawing views containing circular objects, those objects are

represented in the exported drawing as circles and arcs instead of polylines. Strike-

through style is available for Mtext, Mleaders, Dimensions and Tables. Leaders are

now included with the TextToFront tool. The Mleader text box has been updated to

include a margin between the text and the frame and to provide a minimum width for

the Mtext in order to prevent text overflow. When using the Offset command, a

preview of the offset result is automatically displayed before ending the command.

Extract Isolines tool is new on the Surface ribbon tab. Extract isoline curves from an

existing surface or face of a solid. The direction of the isolines can be changed, select

a chain or draw a spline on the curved surface [3]. Very useful feature is Cloud

Connectivity. Online Documents: Autodesk 360, Online Options, Open On Mobile,

Upload Multiple; Customization Sync: Sync my Settings, Choose Settings; Share &

Collaborate: Share Document, Collaborate Now (Fig. 2). Use the Share Document

tool to easily share the current drawing with other users. If the current drawing is

saved locally only, a copy of the drawing is uploaded to the cloud and shared. If an

online copy of the drawing already exists, then it is shared. You can control the

access level of shared documents.

Autodesk Inventor 3D mechanical design software offers a comprehensive,

flexible set of tools for product design, assembly design, data management, product

simulation, tooling creation, finite element analysis and design communication.

Engineers with Inventor software can integrate data from AutoCAD® software and

3D data into a single digital model and create a virtual representation of the final

product; streamline projects that require opening third-party CAD data; better

collaborate with accurate 2D documentation and 3D visualization tools; optimize


material selection based on environmental impact, cost. There are a few interesting

new tools in Inventor 2013. New Inventor has a great new learning environment. This

environment leads users through tutorials with step by step video, supporting text. In-

command marking menus are aligned to have consistent placement of the OK, Done,

Cancel, and Apply options. In-command marking menus display when user right-

click while a command is active (Fig. 3). The overflow menu displays below the

marking menu. Shorter versions of the overflow menu are defined for Inventor to

streamline the interface.

When user click Extrude or Revolve before you create a sketch, an error

message displays, and user can start a new 2D sketch. When user starts the Create 2D

Sketch command, the origin planes display. User picks the edge or face of a plane to

begin a new 2D sketch (Fig. 4). The first dimension in the first part sketch determines

the scale of the sketch. When you edit a part in the context of an assembly, you can

project sketch geometry from another part into the active part. This geometry is now

associative by default. The sketch and the part are set as adaptive to keep the

geometry associative. On the Assembly tab, an Application Option controls whether

projected sketch geometry is associative. The option is called Enable associative

sketch geometry projection during in-place modelling. With the latest 2013 version of

Inventor 3D CAD software, we can integrate 2D AutoCAD drawings and 3D data

into a single digital model, creating a virtual representation of the final product that

enables to validate the form, fit, and function of the product before it is built. Parts

colours and textures can be adjusted using an ‘in canvas’ mini toolbar to make the

manipulation of colour and scale texture mapping an intuitive experience. Inventor

2013 has a completely new materials and appearances structure. The main library is

now split into three components (Fig. 5):

• Autodesk Inventor Material Library – The familiar Inventor materials

• Autodesk Material Library – Materials (physical properties) that can be

shared across all Autodesk products

• Autodesk Appearance Library – Appearances (colours and textures) that can

be shared across all Autodesk products Materials and Appearances.

Fig. 3. Fragment of menu in Inventor 2013 Fig. 4. Fragment of drawing Inventor 2013


Fig. 5. Material browser in Inventor 2013

Inventor Fusion Technology Preview 2013 is fully interoperable with

AutoCAD and Autodesk Inventor software, enabling customers to choose the

modelling approach that is right for the task at hand. Autodesk Fusion 360, the

world's first complete 3D CAD solution offered in the cloud. Unleash your creativity

like never before. Designers and engineers now have the freedom to take their work

anywhere with powerful, collaborative, and accessible design and collaboration tools

– powered by the cloud [4-5].

In SolidWorks 2013 the new View Manipulator gives a quick access to all the

usual views. New sketch functionality enables users to create conic curves driven by

endpoints and rho value, permitting elliptical, parabolic, or hyperbolic curves without

the need to use splines or equations. New modelling tool enables users to add and

remove geometry in one operation. Users can intersect solids, surfaces, and planes, as

well as merge solids and cap surfaces, to define closed volumes and create multiple

geometries simultaneously. The enhanced Section View tool makes creating section

views in drawings faster, with simple drag-and-drop placement. New options in

Linear and Circular Pattern features enable you to vary feature dimensions and

instance locations incrementally for the entire pattern or individually for each

instance. Easily create sub-model studies of your designs to get more accurate results

for specific areas, while automatically utilizing loads and boundary conditions

applied to the full model. Built by rendering wizards, Luxology (luxology.com),

PhotoView 360 has now completely replaced the historical visualization tools that

had been in SolidWorks for a decade or more. Running in the modelling window as

well as a separate one for user flexibility, the system changes how rendering was

traditionally done in SolidWorks. With greater use of HDR images to provide

accurate lighting combined with existing camera and lighting tools, as well as drag

and drop materials, it’s seen a massive adoption by users. This release sees two key

new capabilities added. The first is that SolidWorks users can access the custom

materials from Luxology’s massive library of materials. The second is that support

for network rendering has been added [5].


3D CAD software CATIA has interesting tools for engineering, design, systems

architecture and systems engineering aims. 3D Design products and solutions cover

the entire shape design, styling and surfacing workflow, from industrial design.

Different functionalities include reverse engineering, accuracy surfacing process with

a solution for surface refinement that integrates industry leading Icem surfacing

technologies, rapid propagation of design changes, real-time diagnostic tools and

high-end visualization. Digital prototyping, combined with digital analysis and

simulation, allows product development teams to virtually create and analyse a

mechanical product in its operating environment [6]. 3D Modelling solutions of

CATIA Engineering Software enable the creation of any type of 3D assemblies for a

wide range of mechanical engineering processes. They addresses the specific

requirements of a wide range of processes and industries, including cast and forged

parts, plastic injection and other moulding operations, composites part design and

manufacturing, machined and sheet metal parts design and advanced welding and

fastening operations. Tools for mechanical systems has a wide range of operations

such as part design, part positioning, automated mechanism design, live kinematic

simulation, functional tolerances and annotations, assembly drawing generation, and

photorealistic image creation. Very interesting and useful is CATIA Natural sketch

for 3D for 3D experience Fig. 6 [6].

Fig. 6. CATIA Natural sketch for 3D

PTC Creo Parametric is the standard in 3D CAD, featuring state-of-the-art

productivity tools, which flexible 3D CAD capabilities to help users working with

multi-CAD data and electromechanical design. A scalable offering of integrated,

parametric, 3D CAD, CAID, CAM, and CAE solutions allows users faster create

competitive products. As part of the PTC Creo product family, PTC Creo Parametric

can share data seamlessly with other PTC Creo apps. This means that no time is

wasted on data translation and resulting errors are eliminated. Users can seamlessly

move between different modes of modelling and 2D and 3D design data can easily

move between apps while retaining design intent. The PTC Creo Flexible Modelling

Extension (FMX) gives PTC Creo Parametric users more design flexibility and speed


to overcome these challenges. Users no longer need to rebuild a model that can’t be

updated without breaking the original constraints. With PTC Creo FMX users can

easily select and edit a range of geometry and features including rounds and patterns.

PTC Creo FMX saves time and reduces errors and frustration. PTC Creo Advanced

Assembly enhances the productivity of distributed teams with capabilities for design

criteria management, top-down assembly design, and assembly process planning [7].

4. CONCLUSIONS

There are many CAD systems today in the world, however more than half of

the market is covered by the four main corporations involved in PLM concept:

Autodesk, Dassault Systèmes, Parametric technology corp. (PTC), Unigraphics corp.

(UGS).

Using CAD systems designers can solve basically all technical tasks related

with mechanical design process.

Popularity of the CAD system in the region depends on dealers’ activity. 3D design

possibilities for the all most popular CAD systems practically are similar.

CAD systems as an especially important contemporary technology should be

applied in all the stages of technical engineering education process.

5. REFERENCES

1. A. Bargelis, R. Monkute, D. Cikotiene. Integrated Knowledge-Based Model

of Imnovative Product and Process Development. Estonian Journal of

Engineering, ISSN 1936-6038, 2009, 15, p. 113-23.

2. A. Biere-Cote, L. Rivest, R. Maranzana. Comparing 3D CAD Models: Uses,

Methods, Tools and Perspectives. Computer-Aided Design and Applications,

2012, 9, (6), p. 771-794.

3. L. Khemlani. Autodesk’s 2013 Product Portfolio Launch. AECbytes.

Analysis, Researches, and Review of AEC Technology. Newsletter #56 (April

11, 2012). http://www.aecbytes.com/newsletter/2012/issue_56.html. [access

Dec 10, 2012].

4. Autotodesk. http://www.autodesk.com. [access Jan 10, 2013].

5. SolidWorks. http://www.solidworks.com. [access Jan 10, 2013].

6. Dassault Systemes. http://www.3ds.com. [access Jan 10, 2013].

7. PTC. http://www.ptc.com. [access Jan 10, 2013].




185/300

MODELLING OF SHORTEST ROUTE IN THE DRAWING

Algirdas SOKAS1

1. ABSTRACT

This article analyses problems of determining the shortest way among given towns.

The model of the problem presented as non-directional graph, where nodes are towns

and crossings outside towns, and edges are roads among towns and crossings. Each

node has some information attached to it: name and size of the town, and mark of the

crossing. All towns connected by roads. These roads are shown as graph edges. Each

edge also has information sketched in: length of road, type of road, allowable speed

on the road and other useful information. Retrieval of the shortest route executed in

two stages: modelling graph in the drawing and finding shortest way between two

towns. Procedures to both exercises’ solutions presented. Floyd-Warshall algorithm

selected for finding shortest way from one graph node to another selected node.

Graphical system for selected towns on Lithuanian roads graph finds the shortest

route. A solution presented in graphical form and a list of route’s towns written with

length of the route. The program is written in Visual Basic for Application language

working in the graphical system AutoCAD environment. It consists of main

program’s dialog window and two class modules: Graph and Route, which have some

properties and methods. The program controls database with two tables: Points and

Roads. Obtained results are discussed and conclusions are made.

KEYWORDS: Graph Model, Object-Oriented Programming, Shortest Route

2. INTRODUCTION

Literature analysis shows that different transport problems are solved by using

graph theory. Floyd-Warshall algorithm is often mentioned for finding shortest path.

For example, make use of a different shortest path computation from classical

approaches in computer science graph theory to propose a new variant of the

pathfinder algorithm [1]. Second example; compute the shortest time paths between

all pairs of variables, using the Floyd-Warshall algorithm [2]. Third example, present

a fully connected graph representing the unrealistic case of a product line model in

which every model element is connected to all other model elements [3]. Fourth

example, inverse Monge matrix problem can be solved using the Floyd-Warshall

algorithm [4].

1 Dep. of Engineering Graphics, Vilnius Gediminas Technical University, Sauletekio al. 11, Vilnius,



There exist several algorithms with a better worst-case runtime; the best of

these algorithms currently achieve a runtime. However, these algorithms are much

more complicated than the Floyd-Warshall algorithm and involve complicated data

structures. Therefore, in many cases the Floyd-Warshall algorithm is still the best

choice [5].

This article analyses problems of determining the shortest way among given

towns on Lithuanian map. The article presents a graph modelling in a drawing

method using information from a database. The article analyses a program which

finds the shortest path in a graph between two given towns.

3. SHORTEST ROUTE MODELLING WITH GRAPH

The model of the problem is presented as non-directional graph G= (N, E),

where nodes are towns and crossings outside towns N= (1,..., n), and edges are roads

among towns and crossings E= (1,..., m). Each node has some information attached to

it: name and size of the town, and mark of the crossing. All towns connected by

roads. These roads are shown as graph edges. Each edge also has information

sketched in: type of road (main, country, and district), length of road, allowable speed

on the road and other useful information.

Retrieval of shortest route is executed in two stages: modelling graph in the

drawing and finding shortest way between two towns. Procedures to both exercises’

solutions are presented.

Literature presents several algorithms which find shortest way between two

points from concrete graph node to all the other ones. They are Dijkstra, Bellman-

Ford, Johnson, Floyd-Warshall algorithms. Floyd-Warshall algorithm is the simplest

and fastest [6].

Floyd-Warshall algorithm is selected for finding shortest way from one graph

node to another selected node. The algorithm uses intermediate node idea. It

approaches path among all intermediate nodes and finds shortest route.

Foundation of the algorithm is recurrent formula (1), where dij(k)

is the shortest

distance from node i to node j with intermediate node from set k =1,2,...,n.

.1

,0

, ,min

,)1()1()1(

)(

k

k

ddd

wd

k

kj

k

ik

k

ij

ijk

ij (1)

If intermediate node is absent on the way, then the shortest distance is equal to

the length of the way, or if k = 0, that dij(0)

= wij. In specific example the weight of the

road is assigned to distance. Weight of the road can also be rated with more

properties as road type, fuel input and other.

Result of the algorithm is two symmetric and quadratic matrices n

measurements: shortest way distance [DM] and intermediate nodes [PM] matrices.


Matrix [DM] is used for finding shortest route. Matrix [PM] is filled in this way: if

node k is on the way between i and j, then its index equals pij or we can write pij=k.

The algorithm is realized by class Route with method Floyd-Warshall.

Graphical system AutoCAD is a program used as operating environment, and

Visual Basic for Application (VBA) is a language used for programming. Drawing is

a very good environment for programming because each point has coordinates and

each line segment has start and end coordinates. The end coordinate of each polygon

line is the beginning coordinate of another line. This program determines the graph of

the Lithuania towns and roads drawing (Fig. 1).

Fig. 1. Graph in the AutoCAD drawing

The program controls database with two tables: Points and Roads (Fig. 2). The

database table Points have fields town names and its coordinates x, y. This table was

created in such a way by measuring horizontal and vertical distances of cities on the

map from the left and bottom edges in millimetres respectively. The database table

Roads haves fields from, to, length, type and speed limit of road.

Using these database tables it programmatically forms cities and crossings

nodes which coordinates are known. Cities and intersections have different ID codes.

Based on the cities’ codes the edges are drawn symbolizing the routes with a length

corresponding to the real length. This creates a graph in the drawing of the routes and

cities. Most importantly, this graph-making system is easily transformed to include

new cities and specifying new routes in the database.


4. OBJECT-ORIENTED PROGRAMMING

Object-oriented programming as Visual Basic for Application (VBA) greatly

facilitates a programmer’s work because task divided into two parts, into two class

objects.

The first class Graph has three methods and two properties. Method Connect

Points designs class object, which has following properties: town name, its

coordinates and other field names as in the database table Points. The second method

Connect Roads designs class object, which has following properties: start point ID,

end point ID, road length and other field names as in the database table Roads.

The third method Drawing shows towns, crossings and roads in the graph

model. Presented one of the cycle which draw graph edges (roads) in the drawing:

Do Until rr_roads.EOF

i = rr_roads(0)

j = rr_roads(1)

t1(0) = mc(i, 3): t1(1) = mc(i, 4): t1(2) = 0

t2(0) = mc(j, 3): t2(1) = mc(j, 4): t2(2) = 0

Set obj = ThisDrawing.ModelSpace.AddLine(t1, t2)

obj.Layer = "grafas"

obj.Update

rr_roads.MoveNext

Loop

There mc is graph nodes (towns and crossings) coordinates matrix formed from

database table Points.

The second class Route has three methods: Extract Route, Floyd-Warshall,

Prepare Matrices.

The second class Route executes matrix operations and presents graphical

result. Method Prepare Matrices prepares array length matrix [DM], which keeps

graph’s shortest distances among nodes, and path matrix [PM], which keeps the

found shortest way intermediate node numbers.

Method Floyd-Warshall realizes following algorithm:

Public Sub Floyd_Warshall()

Dim i, j, k As Integer

For k = 1 To n

For i = 1 To n

For j = 1 To n

If (DM(i, k) + DM(k, j) < DM(i, j)) Then

DM(i, j) = DM(i, k) + DM(k, j)

PM(i, j) = k


End If

Next j

Next i

Next k

End Sub

A method Extract Route finds the shortest way between presented towns. In the

cycle from graph first node until end node use method Extract Route which realizes

following procedure:

Public Sub ExtractRoute(sp As Integer, ep As Integer)

rl = DM(sp, ep)

rs = 1

RP(0) = sp

RP(1) = ep

FindPath sp, ep

End Sub

There sp – start point index, ep – end point index, rl – route length, rs – route

size, DM – distance matrix, RP – route points vector, procedure Find Path finds

shortest distance among start and end nodes:

Private Sub FindPath(sp As Integer, ep As Integer)

If PM(sp, ep) = 0 Then

InsertRoutePart sp, ep

Else

FindPath sp, PM(sp, ep)

FindPath PM(sp, ep), ep

End If

End Sub

The procedure Insert Route Part realizes following code:

Private Sub InsertRoutePart(lp As Integer, rp As _ Integer)

For i = 0 To rs - 1

If RP(i) = lp Then

If RP(i + 1) <> rp Then

rs = rs + 1

For j = rs To i + 2 Step -1

RP(j) = RP(j - 1)

Next j

RP(i + 1) = rp


End If

Exit Sub

ElseIf RP(i + 1) = rp Then

rs = rs + 1

For j = rs To i + 2 Step -1

RP(j) = RP(j - 1)

Next j

RP(i + 1) = lp

Exit Sub

End If

Next i

End Sub

There lp – left point index, rp – right point index, rl – route length, rs – route

size, RP – route points vector, i and j circle indices.

Modern programming database control technology is ActiveX Data Objects

(ADO), created in 1996 [7]. An example of procedure with variable cc_points can

read a concrete record rr_points from the database Keliai.mdb table Points (Fig. 2).

Fig. 2. Database tables Points and Roads

Using the same technique from a file named Keliai.mdb table Roads is called

and controlled by variable rr_roads.

This technology is used by the class Graph and is implemented by methods

Connect Point and Connect Roads.

Database presents the main Lithuanian cities and roads. It can be expanded by

adding new entries and the system easily creates another graph with a different

number of nodes and edges. It only needs the changed settings to be specified.


5. EXAMPLE, SHORTEST ROUTE IN THE LITHUANIA TOWNS AND

ROADS DRAWING

Graphical system for selected towns on Lithuanian map finds a shortest route

(Fig. 3). A solution presented in graphical form (Fig. 4) and a list of route’s towns

written with length of the route (Fig. 3). The program is written in VBA

programming language in the AutoCAD environment. It consists of main program’s

dialog window and two class modules: Graph and Route, which have some properties

and methods. The program controls database with two tables: Points and Roads. In

the selection lists of the program form we indicate travel start and end towns. After

pushing programs execute key, the form presented with shortest route with list of

towns, distance, and the graph drawing shows path with accentuated line.

Fig. 3. Graphical system and shortest route Vilnius – Skuodas

Fig. 4. Shortest route Vilnius-Skuodas


The system is open and is possible to expand, append database with new towns,

crossings and roads.

6. CONCLUSIONS

Floyd-Warshall algorithm is selected for finding shortest way from one graph

node to another selected node. The algorithm’ realization is presented

programmatically. Object-oriented programming language, classes with specific

properties and methods allows writing a program with individual modules, which

simplifies and clarifies programmer’s work. Two classes are defined: Graph and

Route. The towns and roads selected from the database and presented in the drawing.

The routes designed according to the mathematical model with class methods and

properties. Designing systems’ connection with database tables is necessary. Such

information can easily be written to the database tables and the program

automatically finds the right parameters of element. Information in the databases can

be changed and added, new intersections and roads can be introduced. A

programming language and graphical objects controlled by the language are required

for design of such systems. For example, Visual Basic for Application programming

language works with the AutoCAD environment. The presented program is practical

and clear for using, easy to select start and end towns. Accessible result is clear and

visual.

7. REFERENCES

1. Quirin A., Cordón, O., Santamaría J., Vargas-Quesada B., Moya-Anegón F. A

New Variant of the Pathfinder Algorithm to Generate Large Visual Science

Maps in Cubic Time. Information Processing and Management, 2008, 44,

p. 1611–1623.

2. Asan S. S., Asan U. Qualitative Cross-Impact Analysis with Time

Consideration. Technological Forecasting & Social Change, 2007, 74,

p. 627–644.

3. Heider W., Froschauer R., Grünbacher P., Rabiser R., Dhungana D.

Simulating Evolution in Model-Based Product Line Engineering. Information

and Software Technology, 2010, 52, p. 758–769.

4. Imaev A. A., Judd R. P. Computing an Eigenvector of an Inverse Monge

Matrix in Max–plus Algebra. Discrete Applied Mathematics, 2010, 158,

p. 1701–1707.

5. Hougardy S. The Floyd–Warshall Algorithm on Graphs with Negative Cycles.

Information Processing Letters, 2010, 110, p. 279–281.

6. Cormen T. H., Leiserson C. E., Rivest R. L., Stein C. Introduction to

Algorithms, The MIT Press, New York, 2001.

7. Gunderloy M. Visual Basic. Developer's Guide to ADO. San Francisco,

SYBEX, 2000.



193/300

PROGRAMMATICAL DETECTION METHOD OF FLAT

GRAPHICAL OBJECTS FORMED FROM LINES

Algirdas SOKAS1

1. ABSTRACT

This article analyses plate graphical objects in the drawing. Information on the

graphical objects is collected in a matrix. The goal of the program is to determine the

number of an object on the matrix line. A function is used which finds the smallest

value in a matrix column. Another matrix is formed with lines that are not assigned to

polygons. The program loops until there are no more undefined polygon lines.

Program and example of the drawing with objects is presented. Programming

methods for detection of plate graphical objects are discussed and conclusions are

made.

KEYWORDS: Detection of Graphical Objects, Visual Basic for Application

Programming Language

2. INTRODUCTION

Recognition of automated objects is very significant part of computer science.

Artificial intelligence is a new developing science. Machines recognize products and

decide what to do next. Welding crawler finds a car mark and knows where precisely

to weld. Parts supply robot is familiar with the factory environment and finds the path

to the specific machine. Factory floor environment may change over time and

inaccessible areas may be marked by prominent polygons. Polygons are formed by

drawing lines. Detection of graphical objects is the main subject of this article. All

polygon lines in the drawing are collected into a matrix and are numbered to define

their relationship to the specific polygon.

AutoCAD is a program used as operating environment, and Visual Basic for

Application (VBA) is a language used for programming [1]. Drawing is a very good

environment for programming because each point has coordinates and each line

segment has start and end coordinates. The end coordinate of each polygon line is the

beginning coordinate of another line. This program determines the polygons of the

drawing. The author has published methodological works on VBA language

programming using AutoCAD environment in Lithuanian language [2].

1 Dep. of Engineering Graphics, Vilnius Gediminas Technical University, Sauletekio al. 11, Vilnius,



3. DETERMINATION OF POLYGONS IN THE DRAWING

We have a flat drawing with polygons. Information about the lines forming the

polygons is collected. A matrix row contains one line’s starting and ending x, y and z

coordinates, layer’s name and a number of the polygon which the line belongs to.

Matrix [mm] has eight columns and as many rows as there are lines in the drawing

(Fig. 1). The example below has nine polygons. Following procedure forms a matrix.

It goes through all the lines in the drawing and fills in the matrix:

For i = 0 To sk - 1

Set obj = ThisDrawing.ModelSpace.Item(i)

mm(i + 1, 1) = obj.StartPoint(0):mm(i + 1, 2) = obj.StartPoint(1)

mm(i + 1, 3) = obj.StartPoint(2):mm(i + 1, 4) = obj.EndPoint(0)

mm(i + 1, 5) = obj.EndPoint(1):mm(i + 1, 6) = obj.EndPoint(2)

mm(i + 1, 7) = obj.Layer:mm(i + 1, 8) = 0

Next i

Fig. 1. The drawing with polygons information

obj – graphical object variable, sk – the number of objects, i – matrix row index. We

exclude matrix [ma], which has not yet defined relationships between lines and

polygons. Parameter a is the number of unidentified lines, and k, j – matrix row and

column indices.

Do... Loop Until cycles while there are unidentified polygon edges in the matrix

[mm]. It counts the number of these edges and then forms another matrix [ma]:

Do

a=sk-bb

ReDim ma(1 To a, 1 To 8)


k = 0

For i = 1 To sk

If mm(i, 8) = 0 Then

k = k + 1

For j = 1 To 8

ma(k, j) = mm(i, j)

Next j

End If

Next i

In the first column of the new array the program finds the minimum x value:

min = Minkord(ma, a, 1)

Use the specified column minimum value min detection by the reference

coordinates matrix [kor], the number of rows b and specific matrix column st

function.

Function Minkord(kor As Variant, b As Integer, st As Integer) As Double

Dim min As Double

min = kor(1, st)

For i = 2 To b

If kor(i, st) < min Then

min = kor(i, st)

End If

Next i

Minkord = min

End Function

Procedure finds and selects multiple rows for polygon in the matrix [ma]. First,

the procedure finds all the lines based on the minimum x coordinates and writes them

to vector vv (Fig. 2).

k = 0

For j = 1 To a

If ma(j, 1) = min Then

k = k + 1

vv(k) = j

End If

Next j


Fig. 2. The number of founded rows

Second, the first vector member is assigned to index k and the first polygon

edge in this index row of the array is named. Polygons are numbered by index ii and

calculated by parameter bb:

k = vv(1)

ma(k, 8) = ii

bb = bb + 1

The procedure LineOfPolygon is called twice, which finds other polygon edges

based on the first polygon edge looking in counter-clockwise direction or clockwise

direction.

Public Sub LineOfPolygon(ma, a, bb, ii, k, k1, k2)

Third, the second edge has the same coordinates of the end k1 = 4, k2 = 5, and

are assigned to variables xx and yy:

For j = 1 To a

If ma(j, 8) = 0 Then

If (ma(j, 1) = ma(k, k1) And ma(j, 2) = ma(k, k2)) Then

ma(j, 8) = ii: bb=bb+1

xx=ma(j,4): yy=ma(j,5)

End If: End If

Next j

Fourth, it looks for the four lines in the selected direction.

For i = 1 To 4

For j = 1 To a

If ma(j, 8) = 0 Then

If (ma(j, 1) = xx And ma(j, 2) = yy) Then

ma(j, 8) = ii


bb=bb+1

xx = ma(j, 4)

yy = ma(j, 5)

End If : End If

Next j

Next i

Fifth, the latter two procedures are also applied in the other direction, where

k1 = 1, k2 = 2. The result of the eighth polygon edges matrix [ma] is shown in Fig. 3.

Fig. 3. The lines coordinates and defined relationships to pentagon

The information is recorded in a polygon matrix [mm]. The found object and

cycle are recorded and checked whether the number of discovered edges bb is equal

to the number of objects in the drawing:

k = 0

For i = 1 To sk

If mm(i, 8) = 0 Then

k = k + 1

For j = 1 To 8

mm(i, j) = ma(k, j)

Next j

End If

Next i

ii = ii + 1

Loop Until bb = sk

In this way all polygon edges are found and the search is performed again.

Another matrix [ma] is formed with unclassified lines. The final result is given in

Fig. 4.


Fig. 4. The lines coordinates and defined relationships to polygons

The program found all the polygons and marked all lines rows with the polygon

number. There are a few lines with the same number in the last column of the matrix.

4. CONCLUSIONS

The problem is solved programmatically by marking already found and

undiscovered edges of a polygon. Two arrays are used. The second one changes the

number of lines with command ReDim before the search cycle. Minimum coordinate

values are found by the search function Minkord. The problem is solved how to select

first edge of a polygon by x coordinate by forming similar points of ordered numbers

vector and selecting the first number. The problem is solved how to select only the

last edges of a polygon by stopping the cycle with Do… Loop operator. A graphical

environment and a working programming language in this environment are required

for writing of such systems. For example, Visual Basic for Application programming

language works with the AutoCAD environment.

5. REFERENCES

1. Sutphin J. AutoCAD 2006 VBA: Programmer’s Reference. Apress,

2005. -777 pp.

2. Sokas A. Grafikos programavimas VBA kalba. Mokomoji knyga.

[Elektroninis išteklius]. Vilnius: Technika, 2006, -56 pp. (in Lithuanian).

3. http://leidykla.vgtu.lt/new/index.php?id=4787 & pid=652. (in Lithuanian).



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FROM LEARNING OUTCOMES TO THE TEAM OF ADVISERS

Ants SOON1, Aime RUUS

2

1. ABSTRACT

The Tartu College of the Tallinn University of Technology (TUT) tested the

efficiency of applying ideas of problem and project-based learning inside the subject

of Computer Graphics (2 credits) for the students of civil engineering. The project’s

goal was the creation of a 3D model of the main building of the college,

visualisations, schedules, sun and shadow analysis and final presentation of the

project. Students got good experience in working on a team, and being innovative and

responsible. Teamwork gave students deep and varied knowledge and skills, in

addition to the subject’s learning outcomes they got the ability to work like a team of

advisers.

KEYWORDS: Computer Graphics, Revit, Teamwork

2. INTRODUCTION

Engineering will be more and more project-based, problems more complex and

teams more multidisciplinary – students must have to start with teamwork as early as

possible. The most important elements of the learning environment, which provide

broad engineering skills, are subject, project and team. Employers hope that the

graduates start active work at once rather than continuing with additional special

training.

3. OVERVIEW OF THE METHODS OF LEARNING

The Cone of Learning [1] was originally developed by Edgar Dale in 1946 and

was intended as a visual device to describe various learning experiences. It

characterises the results of passive and active learning methods, theory and practice,

and takes into account that learners retain more information by what they “do” as

opposed to what is “heard”, “read” or “observed”. The closer we move with our

teaching methods towards the base of the cone (do the real thing), the more

entrepreneurs will be satisfied with young graduates.

1 Dep. of Technology, Tartu College, Tallinn University of Technology, Puiestee Str.78, Tartu,

EE-51008, Estonia, e-mail: [email protected] 2 Dep. of Sustainable Engineering, Tartu College, Tallinn University of Technology, Puiestee Str.78,

Tartu, EE-51008, Estonia, e-mail: [email protected]



The Engineering Education Model (EEM) was introduced in 2006 at the

University of Southern Denmark “in order to educate students with a distinct,

outstanding profile that meets current demands”. The EEM will create a motivating

context (do the real thing), promote teamwork and activate the students by inspiration

in problem-based and project-organised teaching [2]. Although the EEM is

curriculum-oriented, many ideas and experiences were used for designing and

performing the teaching activities of the CAD subject in the Tartu College of TUT

presented in this publication.

In January 2013 the taxonomy of significant learning was introduced in a

conference in Tallinn [3]. L. Dee Fink wrote in their Self-Directed Guide to

Designing Courses that students do not focus on, or “understand and remember”,

kinds of learning, rather more often they emphasise such things as critical thinking,

learning how to creatively use knowledge from the course, learning to solve real-

world problems, changing the way students think about themselves and others,

realising the importance of life-long learning, etc. [4]. Although the method is

subject-oriented, the capabilities of successful use of the ideology of significant

learning in our studies need time for elaboration and testing.

4. LEARNING OBJECTIVES AND OUTCOMES OF CAD STUDY

The Autodesk Official Training Guide (Ascent) specifies the learning

objectives for the first step of AutoCAD studies, and here we bring out only the first

words from these sentences: “understanding …”, “using …”, “creating …”,

“organising …”, “inserting …”, “adding …”, “setting …”, “drawing …”, “modifying

…”, “locating …”, and “making …” [5]. Unfortunately from very general studies is a

long way to “do the real thing” and effective teamwork.

The learning outcomes of the subject Computer Graphics in the Tallinn

University of Technology are formulated as an “Overview of the most popular CAD

software and knowledge and skills for composing and editing 2D/3D drawings with

AutoCAD”, which is also very general.

The Tartu College of the Tallinn University of Technology tested the efficiency

of applying ideas of problem and project-based learning inside the subject of

Computer Graphics (2 credits) for the students of civil engineering. The software

environment used was Revit 2012, activities organised keeping in mind the first step

towards BIM. For the specialisation of building restoration this looks like “a real

thing”.

5. ORGANIZATION AND STRUCTURE OF THE PROJECT AND

TEACHING

The project’s goal was the creation of the 3D model of the main building of the

college, visualizations, schedules, sun and shadow analysis and final presentation of


the project. This very attractive house is under heritage protection, but not easy to

model.

The time resources for teaching were 2 hours once a week in the computer class

and general discussions during the semester. Project activities were divided into 3

stages before presentation with strong deadlines. The most important requirement was

that all activities have to be finished before the preliminary examination period.

Timetable of the project:

1. Site, levels, walls, floors – deadline 1st of March;

2. Windows, doors, roofs, stairs, decorative 3D objects, etc. – deadline 1st of

April;

3. Integration, schedule, visualisation, sun, lights and shadows, history, future –

deadline 15th of April;

4. Presentation – 27th of April.

Forming Groups. By project and problem-based learning students form groups

themselves in the University of Southern Denmark of 4-6 students, in the Delft

University of Technology 6-8 students. In case of only one subject the situation is

different: for implementation of the project students formed one common group (21

students) for organising general project activities and subgroups (1-4 students) for

solving various sub-problems according to difficulty and capacity of work. The

project was led by one student, who checked all objects from subgroups to be correct

and suitable for designing the house and organised their integration into a common

project. The staff of subgroups and individual tasks of members were shared by

students themselves.

Assessment basis was the project – 3D-model with applications and the part of

every student in design. The quality of the presentation was also important. An

alternative was proposed by the teacher – individual exercises for students who didn’t

do teamwork. Fortunately this case was not needed.

6. CREATION OF THE 3D-MODEL OF HOUSE

Unfortunately, over several changes of ownership, many important drawings,

figures, pictures, descriptions and documents of the house have been lost and only

general plans, elevations and drawings of the renovated windows and doors of the last

renovation on paper could be used. The first activity for that reason was gathering and

analysis of information and assessment of the minimal number of new direct

measurements needed for modelling.

In the absence of 3D geoinformation, 2D topological points with height values

from 2D AutoCAD drawings were used by another group of students via the creation

of toposurfaces a year before.

The first problem under discussion was the construction structure of the exterior

walls. In a house under national heritage protection no experimental drillings are

possible. The key is a theoretical study of analogous houses from the same period.


The solution of students is represented in Fig. 1, and the accuracy of that will be

checked after the first general maintenance with opening the walls. The inner

structure of walls used has no influence on visualisation, sun or shadow analyses, but

energy analyses, calculations of U-values (factors) and schedules of material take-offs

in the Revit 2013 environment require complete information. After precise

measurement the wall sweep profiles, Revit generates the decorative cornices very

easily.

Fig. 1. Design and structure of exterior wall

There are many different windows in this house, and therefore the creation of

families for windows was one of the most labour-intensive operations of the project.

The shape, dimensions and materials of windows are protected by the demands of

national heritage; therefore, minimum variable construction parameters were brought

into the families (Fig. 2).

Fig. 2. Window’s families


Flowers inside Gothic windows were reproduced from renovation drawings.

There was an uncomfortable surprise in case of application of the renovation

drawings for the biggest window on the second floor – the width dimensions were so

much different from reality that the students had to do this whole family again. One

little mistake, unlocking a reference plane in the window family, caused by the

window’s hosting spreading of window components and it took a lot of time to solve

this problem. An important task was the creation of various schedules with accurate

data for the department of administration and maintenance. It takes much care for

introduction adequate materials with required complex of properties for them. Similar

methods were used by creation of brick up window family.

For profiles of the decorative sweeps of heritage protected doors direct

measurements were used. Revit tools make it very simple to generate the 3D models

of profiled doors. Students decided to add door handles, but this element has been

used quite rarely due to the very weak support from the Internet and door handles

have to be custom-made (Fig. 3).

Fig. 3. Door Families

There are two main stairs in the house with quite complicated designs. The

most difficult was not the creation of 3D models of balusters (Fig. 6), but setting up

various parameters for stairs and railings (Fig. 4 and Fig. 5). It is certain that

members of the stair and railing team are now very good advisers in this specific

field.


Fig. 4. Stairs (frontage side) Fig. 5. Stairs (inner side)

Fig. 6. Balusters Fig. 7. Rainwater pipes

The roof of the house has two slopes and some nonstandard approaches were

used successfully and the roof looks like the real one. Modelling rainwater gutters

passing across cornices (Fig. 7) required a new template to be created.

The preliminary task of creating and modifying schedules was to support the

department of administration and maintenance as much as possible in the creation of

various schedules and documentation. Areas of glass and frames could be calculated

from window schedules in various combinations of windows. This is important to

estimate the expenditure of labour and costs of spring cleaning. The room schedule

includes room numbers, application, floor and wall areas, volumes, etc., for all rooms,

but there are possibilities for making a selection for printing, which is very flexible

and fast in case of different bureaucratic demands from Mother University in Tallinn

(Fig. 8). An attempt was made to create a schedule in case of real property

management (maintenance).


Fig. 8. Room Schedule

Decorative objects were located too high to perform direct measurements.

Students took pictures and used scaled raster pictures in CAD and used Revit’s

Window template to place many analogous objects fast and accurately.

Fig. 9. Decorative objects

Analyses of sun and shadows were made using the location of our house and

the date and time of the presentation. The audience in the assembly hall could

compare the coincidence of real shadows from the sun and the artificial model

visualized by the programme as in Fig. 10.

The most interesting stage of modelling was visualization. The calculation

capacity of our computers was quite weak for rendering and all the processes took a

lot of time. Two specially upgraded computers were busy with visualisation for a

whole week. Students liked attractive results and tried again and again to find a new

foreshortening for an interesting picture (Fig. 11), but the generation of the video tour


around the house had to be stopped incompletely after 5 days and nights to go to the

presentation.

Fig. 10. Sun and shadows in the hall

Fig. 11. Main building of Tartu College of TUT

All subgroups took the floor by problems sequentially. The programme of the

presentation event was built up from history and the architectural values of the house

to modern times, presented using step-by-step modelling. Assessment of the project

was supported by leading specialists from Estonian CAD software reselling and

training firms, who were invited to take part and give their opinion and a short lecture

about the modern solutions of Autodesk and of course local entrepreneurs took part in

the discussion and dissemination of experience.


7. PROBLEMS

1. Our students have no experience in teamwork; it is hard to find a proper

student who has the will to initiate the project’s work.

2. The subject’s capacity is too small for serious tasks.

3. Awareness, popularity and conventional usage of BIM is weak in Estonia.

4. It is hard to find a suitable building for teamwork.

5. The capacity of hardware for numerous calculations tended to be insufficient.

8. ANALYSIS AND RESULTS

A big and common project instead of many small individual exercises without

any influences on others, sharing and integration of knowledge and skills were worth

the effort:

1. The 3D model of the main building was completed for design,

documentation, visualisation, sun and shadow studies, etc.

2. Students got good experience from working in a team, being innovative and

responsible. Capacious data exchange through the Internet provided valuable

experience for future work.

3. Students understand the importance of discipline and their role in the team.

4. Subgroups had to solve very complex and complicated problems and

mastered the problem elaborately, which gave group synergy regardless of

the model.

5. Presentation to entrepreneurs and information about the project’s modelling

on the website increased the reputation of the college and the Revit

environment.

Figure 12 represents the mean time expenditure of students during the semester.

Fig. 12. Expenditure of student’s time for different type of activities


9. CONCLUSION

A majority of Estonian enterprises are small, and it is almost impossible to get

useful experience in teamwork and working on big projects. Teamwork inside the

complicated and substantial project gave students deep and diverse knowledge and

skills, and in addition to the subject’s learning outcomes they got the ability to work

like a team of advisers. Learning from others and teaching others brought together

and motivated students towards practice. All this is the dream of employers.

10. REFERENCES

1. Dale E. Audio-Visual Methods in Teaching, 3rd ed., Holt, Rinehart &

Winston, New York, 1969.

2. The Engineering Education Model of the University of Southern Denmark.

2006.

http://static.sdu.dk/mediafiles/Files/Om_SDU/Fakulteterne/Teknik/Politik%2

0og%20strategi/DSMI_eng.pdf.

3. Tähenduslik õppimine: kuidas muuta õppe kvaliteeti ja kvantiteeti? Õpetajate

leht. [access Feb 1, 2013]. (in Estonian).

4. L. Dee Fink. A Self-Directed Guide to Designing Courses for Significant

Learning, 2003. -37 pp. http://www.docstoc.com/docs/3423236/A-Self-

Directed-Guide-to-Designing-Courses-for-Significant-Learning. [access Feb

1, 2013].

5. AutoCAD/AutoCAD LT 2013. Fundamentals. Part 1. Students Guide.

Autodesk Official Training Guide. ASCENT, May 2012.

http://opleht.ee/2886-tahenduslik-oppimine-kuidas-muuta-oppe-kvaliteeti-ja-kvantiteeti/



209/300

OPTIMIZATION OF TEACHING OF ENGINEERING

GRAPHICS SUBJECTS IN RIGA TECHNICAL UNIVERSITY

Veronika STROZEVA1, Zoja VEIDE

2

1. ABSTRACT

The lack of lecture hours in the curriculum of the subject requires students to study

the theoretical material independently; it’s difficult for understanding of and skills

mastering of the graphical subjects. In given article the example of interactive

multimedia theoretical and instructional applications for study of compulsory subject

“Descriptive Geometry and Engineering Graphics” and for free choice subjects

“Interactive Computer Graphics” and “Computer Aided Design” for first and second

year students of the Riga Technical University (RTU) are presented. The multimedia

lectures will facilitate the understanding of difficult themes of subject “Descriptive

Geometry and Engineering Graphics” resulting in improved student learning.

KEYWORDS: Engineering Graphics, Interactive Multimedia Materials, CAD

2. INTRODUCTION

In recent years, the possibilities for distance teaching have increased

tremendously. The widespread availability of the Internet and the ever increasing

bandwidth for telephone lines has allowed the use of rich media even over long

distances. In teaching, it is vital to use many different forms of information and

knowledge storage and retrieval methods, as students bring their own preferences for

knowledge gathering and storing. In addition, one should exploit the various ways of

getting the knowledge across in old fashioned class room type settings [1].

Current advances in information and communication technologies (ICT) have

spurred the need to incorporate higher levels of technology into university

classrooms. Educators use technological advances as powerful pedagogical tools not

only to present a plethora of information on a specific topic, but also to incorporate

material that is not available in print or that require synthesis from multiple resources

[2].

Hence, computer-assisted learning has become popular in educational settings,

having revolutionised the higher education sector. More specifically, the use of video,





video streams or video-web communication has spanned the educational curriculum

in a range of fields such as mathematics science, language and others [3]. Even from

the students’ perspective, studies have shown that video can be a more effective

medium than text to enhance their satisfaction and motivation during the learning

process [4].

Video lectures are CD and web viewable files that present lecture materials and

narrative instruction from a course’s instructor [5]. They are used as additions to

classroom lectures and are not recordings of classroom lectures. In these lectures, the

instructor uses Microsoft Office content files, narrative instruction, and screen writing

with the keyboard and mouse pointer to deliver the lecture. Video lectures serve

major strategic purposes. First, they give additional teaching time to students who

cannot fully understand the course material through the classroom lectures and

support materials such as the textbook. Students can view and study the instructor’s

lectures as often as they wish until they understand material. This study resource is

particularly important in teaching a broad spectrum of students. Second, video

lectures allow classroom coverage of more complex and challenging subject material

that is more interesting to many students.

The first motivation for doing this video material was the conclusions that we

have made in our article “Moodle learning system in education process of Riga

Technical University” – students in the learning process more active use of video

materials in Moodle learning system at ORTUS portal of RTU [6]. The second

motivation was lack of classroom lecture time for the subject of Descriptive

Geometry and Engineering Graphics. The curriculum of the subject provides learning

hours to practical and laboratory training. The first year students have the deficiency

of basic pre-theoretical knowledge of geometry and, as a consequence, they have

difficulty in the independent study of the theoretical material.

Under experience of our work we should note that the readiness of students to

practical training is not satisfactory. On practical lessons it is necessary to spend a lot

of time to explain the theoretical material, which reduces the effectiveness of the

training. The video lectures creating will be especially helpful for the themes of free

choice subjects, such as an Interactive Computer Graphic and Computer Aided

Design, because attending classes on these subjects for the second year students is

optional. This paper describes an experience into preparation and using the video

material for learning Department of Computer Aided Engineering Graphics courses.

3. VIDEO MATERIAL CREATING

Video lectures help to achieve important educational goals of learning

improvement and retention for students most at risk of failure. Video lectures make

the lectures in the beginning of the semester available for study at the end of the

semester in preparation for the final exam. Video lectures support a comprehensive

teaching strategy. This strategy enables improved performance for weaker students, a


stronger curriculum, and more classroom time spent on the active learning. In

addition, video lectures are used as supplements to classroom lectures.

Video lectures are feasible for the average non-IT instructor’s use. Using a

personal computer, an instructor can create them quickly and easily. They are not

recordings of classroom lectures but cover lecture material as screen displays of

content files with audio lecture added. They can be produced before a course begins

or developed as it progresses. We used both approaches, distributing videos for the

entire course’s coverage at the beginning of the semester, and then preparing a new

video if needed to go over more slowly and extensively difficulties students are

having with subject material.

Video lectures are Windows Media video files (wmv) created using Camtasia

Studio 8, Microsoft Office, AutoCAD and ArchiCAD software. Camtasia gives you

the tools you need to truly customize and edit your videos. Record on-screen activity,

add imported media, create interactive content, and share high-quality, HD videos

that viewers can watch anytime, on nearly any device. Camtasia Studio add-in for

PowerPoint requires PowerPoint 2007 or 2010.

The encoding software captures screens from data files containing the materials

used in classroom lectures and narrative audio from a microphone connected to the

computer. They can be produced in the instructor’s office or home, with no special

set up required. In each video, the instructor navigates to display a topic-content file

and delivers the audio lecture using the microphone. Chalkboard writing is simulated

by using the keyboard and callouts tools to write comments and highlight information

on the screen (Fig. 1). Exploitation of highlighting by the cursor effect and the ‘zoom

and pan’ options of Camtasia software are an alternative and quick route to focus

students’ attention on more important steps of our lecture and still retain the sense of

the instructor's words bound to a chalkboard type action (Fig. 2).

This development of topics has the feel of a live lecture, although it is no live

classroom video. A key objective is to shorten the playing time in order to avoid

student loss of interest.

The lectures will help students acquire the skills solving the following tasks:

1. Orthographic projection construction of a point, line and plane by the given

coordinates;

2. Axonometric projections;

3. The determination of the line of intersection of the surface and a plane;

4. Section and sectional views;

5. Dimensioning principles;

6. Screw threads and conventional representations.

Also, we created video materials which offer a series of exercises to help the

students learn the 2D drawing techniques and 3D models creating of AutoCAD.

Video materials for ArchiCAD software are composed of a series of easy to use

training guides that help users learn by doing.


Fig. 1. Video lecture creation on the theme “Orthographic projection of points,

lines and planes”

Fig. 2. ArchiCAD video lecture creation


5. CONCLUSIONS

The multimedia lectures are appeal to many students in the modern media

culture, where the medium of information delivery may improve study effectiveness

and learning. In this study, video lectures are designed to graphical subjects with

more time spent on step-by-step explanations of the methods of tasks solving.

Students can study video lectures at a time and locations of their choice, when

they may be better able to concentrate and focus on the subject material.

Video lectures allow pauses and repetition until sections of the material are

learned that facilitate the understanding of subject “Descriptive Geometry and

Engineering Graphics” as a result it improves of effectiveness of the training.

In other view when physically attending a live lecture, the lecturer can convey

their enthusiasm for the subject, thus grabbing the students’ attention. Additionally,

the viewer is less forgiving of the lecturer’s minor mistakes and audience disruptions

when watching the recording. Students don’t have possibilities to ask questions

during video lecture viewing.

A direction for future research is to investigate how video lectures may

strengthen or broaden teaching strategies, to evaluate the students’ feedback and

influence of the video use to final results of the course.

6. REFERENCES

1. Brecht H. D., Ogilby S. M. Enabling a Comprehensive Teaching Strategy:

Video Lectures. Journal of Information Technology Education, 2008, p.71-

86.

2. Panagiota N-S., Christos N. Evaluating the Impact of Video-based versus

Traditional Lectures on Student Learning. Educational Research, 2010, 1, (8),

p. 304-311.

3. Robert I. V. Modern Information Technologies in Education: Teaching Issues;

Prospects of Implementation. Moscow: IIO RAO, 2010. -140 pp. (in Russian).

4. Choi H. J., Johnson S. D. The Effect of Context-based Video Instruction on

Learning and Motivation in Online Courses. The American Journal of

Distance Education, 2005, 19, (4), p. 215-227.

5. Bennett E. Are Videoed Lectures an Effective Teaching Tool?

http://stream.port.ac.uk/papers/Are%20videoed%20lectures%20an%20effecti

ve%20teaching%20tool.pdf.

6. Veide Z., Stroževa V., Dobelis M. Moodle Learning System in Education

Process of Riga Technical University. The Interdepartmental Collection of

Proceedings of the 8th Crimean International Scientific-Practical Conference

Geometrical and Computer Simulation: Safe-Energy, Ecology, Design.

SED-11, 2011, p. 298-303.




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ARCHITECTURAL FORM AND BUILDING MATERIAL

OF SUSPENSION AND CABLE-STAYED BRIDGES

– VISUALIZATION OF GEOMETRICAL STRUCTURE

Jolanta TOFIL1, Anita PAWLAK-JAKUBOWSKA

2

1. ABSTRACT

The paper discusses motives and inspirations behind the search for modern

architectural forms of suspended and cable-stayed bridges. Novel constructions and

materials as well as new functional tasks form the main motivation of such actions.

It is the domain of geometry as a source of structural forms which has been indicated

as inspiring and facilitating the discovery of shapes of those buildings. Together with

the presentation of design examples and visualization, values of bridges composition

of cable stayed type have been presented which are attributed to force expression and

shapes dynamics and these in turn decide on artistic character of architecture.

KEYWORDS: Architectural Form, String Construction, 3D Visualization, CAD

2. INTRODUCTION

Mario Salvadori states that structure can exist without architecture, giving

machines as examples but architecture cannot exist without structure. The idea of

bearing structure creates the constructional form of a building. The character of

cooperation between bearing elements results in its static advantages. The form of

bridges string constructions results from a suitable play of forces supported on a set

of pylons or arches and cables and lines, which together carry gangways and at the

same time allow to solve problems of span, height and width.

The form of bridges string construction which aims at proper static of a

building, inspires the structural form which is seen as particular kind of piece of art of

designing and architectural composing. Construction elements included in

architectural order of things inspire the form of objects of string structure and

determine relations with the environment.

1 Silesian University of Technology, Geometry and Engineering Graphics Centre, Krzywoustego 7

Street, Gliwice, Poland, e-mail: [email protected] 2 Silesian University of Technology, Geometry and Engineering Graphics Centre, Krzywoustego 7

Street, Gliwice, Poland, e-mail: [email protected]


3. RESEARCH PART – DESIGN EXAMPLES

3.1 East Bridge over Great Belt [13]

Rail and road crossing over the Great Belt consists essentially of two parts: the

western bridge linking the islands Dual and Sprogø, of 6611.40 m length, east

connection from Sprogø to Zealand, realized by a bridge of 6790.00 m length – and a

rail tunnel of 8,024 m length (running at the bottom of the sea).

From Danish vast plains stretching around the Great Belt, the majesty of East

Bridge looks great already from a distance. Danish bridge was created as a part of one

of Europe's largest engineering projects of modern times, a permanent connection,

including highway and railway line between the Halsskov in Zealand and

Knudshoved in Fioni, bridging the obstacle of the 18 km wide Great Belt straits. The

connection ‘has closed the gap’ which has long been hindering road and railway

communications within the Danish state.

Around the middle of the Great Belt, Sprogø Island is located. From Funen and

Zealand it is separated by almost the same distance, but the passage of vessels mainly

goes along the Eastern Channel. Therefore, it was decided that the highway should

cross east canal, running over a high suspension bridge, whose span would allow

smooth, safe navigation, while over the Western Channel it was enough to build a

relatively low bridge3. The railroad tunnel goes over Eastern Channel

4, whereas

Western one runs parallel to the highway along a low bridge.

Eastern Bridge (Great Belt East) in terms of size, belongs to one of the leading

world record holders of suspension bridges, its total length is 2,694 m, including the

main span measuring 1,624 m. Side spans are symmetrical and each of them has a

span of 535 m. Its construction began at the end of 1991, after completion of a three-

year research and development phase of the project, it was finished in 1998.

3 Western Bridge – its construction began in the summer of 1989. This is low bridge because the

clearance above sea level is only 18 meters. The object was made of prestressed concrete of

prefabricated parts, which applies to both supports and spans. The supports were made in such a

way that the prefabricated caissons were guided to destination (after preparing the ground) and

were deposited at the bottom. Pedestals pillars of road and rail span were mounted on the caissons.

Box-section spans were made as prefabricated parts from prestressed concrete. The distance

between the road and rail bridge is 1.36 m. 4 Railway tunnel – 8024 m long, connects the island of Zealand Sprogø to Korsoru. The construction

of the tunnel in this section was determined by the east bridge height. Due to the very large drops,

which would the train have to overcome it is located 65 m above the sea level. The tunnel is routed

in marl layer showing numerous cracks, causing leaks, and therefore many problems. It consists of

two circular structures with a diameter of 8.50 m, made parallel to each other, at a distance of

16.50 m (axial distance of 25 m). Every 250 m the two tunnels are connected to a transverse tunnel

serving as a technical passage of 4.50 m internal diameter, in total there are 31 of them. The

housing of the tunnel is made of reinforced concrete covered with a suitable prefabricated

insulation.


Almost in every respect the task facing the builders was huge. In addition to the

suspension bridge project involved creating 23 flyover spans – 14 on the east, and 9

on the west of the suspension bridge. East Bridge consists of concrete parts –

caissons, piers and pylons and steel parts – carrying ropes and girders.

Trapezoidal concrete pylons have a height of 254 m above the sea level and

form the highest points in Denmark. In spite of the unusual height they look slender.

The pylons have a simple frame shape with a sharp outline. Each pylon is divided

into two equal parts with a narrow horizontal beam in the middle.

Classic design of a suspension bridge requires that the main cables are anchored

deep within large blocks at the ends of the side spans. With this bridge a lot of effort

was put into improving the shape of the anchor blocks, which in the existing bridges

have had structures often so massive that they unnecessarily dominated the rest of the

building. This time, the architects broke up the block into separate elements –

triangular parts for anchoring cables and a pillar supporting vertical pole end of the

flyover. The result is surprisingly lightweight design, if we take into account the

forces which it must withstand due to the tension of two main ropes.

The two main cables of the Eastern Bridge were built on the site, using well-

known methods of aerial twisting of ropes, used since the construction of the

Brooklyn Bridge in New York. These 85 cm thick, heavy cables are lifted by the

pylons, and, as mentioned above, are stabilized by anchor blocks. Vertical lines

(suspensions) were lowered from the main cables and steel trapezoidal girders of

aerodynamic shape were fastened to their ends.

In the construction of the Great Belt Bridge the combined effort of architects

and engineers has resulted in a unique piece which created one of the most elegant

bridges in the world – clear and deceptively lightweight, which is the real proof of the

truth of the principles governing the suspension bridges.

3.2 The Brigde Over Sund Strait (Oresund) [2]

Even in the early twenty-first century it is rare that two independent nations are

connected by a bridge. The crossing of 16.4 km length over the Strait of the Sund has

been planned as a road and railway tract. It connects the Danish city of Copenhagen

with the Swedish Malmö. The project started in March 1991. The first car went by the

tunnel in March 1999, and in December of that year the first railway track was

completed between Malmö and Copenhagen. The area on both sides of the strait,

which is the bustling marine area, is densely populated. Above we can see aircrafts

flying to and from Kastrup Airport in Copenhagen. Therefore, the bridge is visually

dominant object of both land, sea, and air and the aesthetic aspects played an

important role in its design.

The crossing has been divided into separate projects: a tunnel of 3,750 m length

below the channel Drogden (running from the airport in Copenhagen on Zealand to a

new artificial island), an artificial double island Peberholm of 4,210 m length, west


access road bridge 3,014 meters long, the main bridge of 1,092 m length, with

clearance of about 60 m, and the eastern access road bridge 3,739 meters long.

On the July 1, 2000, Queen Margret II of Denmark and King Carl Gustav XVI

of Sweden officially opened the longest bridge in Europe. It is also the record holder

in another respect, namely, the main span is the longest bridge in the world carrying

the suspended structures for cars and rail. The crossing in total of 16 km consists of

an undersea tunnel, an artificial island on which the tunnel emerges to the surface,

and 7.845 km long bridge, of the beam structure with the main part of the suspended

structures based on giant concrete supports. The structure inspires but it was not

placed as a decoration, but a place where vessels can sail easily to the Baltic Sea.

Western bridge of over 3 km length consists of 4 spans of 120 m each, in the

part directly east of artificial islands, and 18 spans of 140 m in the direction of

Malmö. The last of them, directly adjacent to the main suspension bridge – visually

dominates over the rest. Navigable span of the object has a span of 490 m. It was

suspended to a pair of the 204 m high, tapering, concrete, free-standing columns –

pylons. No clamping bolts above the road were used, only a single beam fastening

below the deck, almost as its support. The pylons are cross-sectional shape of a

regular hexagon in which two adjacent sides were cut, setting them from this side to

the platform. Bilateral side spans are 160 and 141 m. Farther east (between the main

bridge and Malmö) East Bridge access road bridge extends with the length of nearly

3.8 km. There are further 24 spans of 140 m and finally 3 end spans of 120 m on the

Swedish coast.5

Construction of the facility was a relatively simple task for Oresundskonsortiert

(company belonging to the two governments – Danish and Swedish), Aso Group and

contractors who have carried out work. At no point crossing the Øresund strait is it

very deep or exposed to extreme weather conditions. In addition, the bed of the strait

where the support, was to be placed does not meet any particular difficulties.

However, preparing the ground for the submerged sections of the tunnel was

undoubtedly a huge challenge.

Øresund Strait is one of the main water connections between almost completely

enclosed Baltic Sea and the open waters of the sea to the west and north. It is used not

only by numerous ships, but also provides fresh oxygen and salts necessary for

marine organisms living in the waters of the Baltic Sea. One of the key design

requirements was to ensure the highest integrity of the structure of the strait, and no

changes in the level of pollution, as far as feasible. Therefore the necessary studies

5 All the spans: access ones as well as of the main bridge were designed similarly – as the steel

trusses 10.2 m high and 15 m wide, with a reinforced concrete deck of 23.5 m width for road

vehicles and railway bridge inside the span, based on slender concrete pillars. The truss span was

designed to minimize the strobe effect experienced by passengers traveling by train in the interior

of the span system. Skew elements connect upper and lower bridge at regular 20-meter intervals.

However, within the main bridge, in order to obtain a favorable aesthetic effect, the angle of the

setting has been adjusted to the direction of the axis of suspension cables.


and impact assessments of the environmental object had been made before the works

started in 1996.

In May 2003, the building received an international award IABSE. The judges

drew attention to innovative design solution (design was made by a consortium of

ATS Group, the main share of Ove Arup & Partners), a beautiful design, construction

management as well as its compliance with the project schedule, adopted budget and

taking into account the requirements of the natural environment protection.

Fig. 1, 2. Great Belt East Bridge [photo J.Tofil]

and Oresund Bridge [www.tenspeedhero.com]

.

4. THEORETICAL PART – CONSTRUCTION, MATERIALS AND FUNCTION

Awareness of the existence of gravity, and the need to combat it has always

been a motivation to seek solutions in which the idea of static and appropriately

chosen material defies the duration of a given structure. Regardless of beliefs,

preferred style or style in architecture, design and form of the building remain in

indissoluble union.

Sigfried Giedion points out to the specific nature of this relationship in the

history of the building: ‘in the nineteenth century structure expressed the desire that

was subconscious in architects’ minds’ [4, p. 10].

These desires were fulfilled the earliest during the implementation of

suspension bridges. Enhanced technology of steel production was used in the

manufacturing of ropes and made these basic elements of the superstructure an

unexpectedly strong. America overtook Europe in these experiments. In 1798, the

suspension bridge resting on the ropes was built in Pennsylvania, and in 1824, near

Tournon in France [4, p. 206]. The then adopted principle of transferring the load on

uniform, flexible steel cables running along the structure, even today, is the basis for

the construction of the most daring bridges all over world.

Today, knowledge of construction, including the string structures is based on

new calculation methods which verify and confirm the intuitive static ideas. The

components are treated in the calculation as linear elements, and the forces assigned

to them should work in precisely determined directions. Technological innovations


make it easy to modify the methods and means of implementation. They enable

standardization and prefabrication of components, which in practice leads to the

precise assembly on site. Economic aspects and time are without significance here.

All of these actions are aided by computer. It allows to perform quickly any complex

computing or design operations. It also allows us to select options of static

assumptions: decrease in weight, increase of rigidity and stability of the structure.

Computer images show the characteristic features of things before they are

implemented. [8, p. 44]

Without the brave pioneering experience from the nineteenth century, the

appropriate correction would not be possible. They also would not have been possible

without the continuous improvement of technology of building materials. Advances

in this area meant that steel and reinforced concrete have found a permanent place in

the daily construction and designs of suspension and cable stayed bridges could not

do without them. Steel is used in suspension bridge elements: the main load-bearing

ropes, hangers, lattice pylons, piers and in cable-stayed bridges in stay ropes.

In the case of concrete its strength properties and values are to form sculptural

shapes of pylons. It was concrete which made the pylons of the bridge in Seville and

in Usti over Laba look more like sculptures set in an urban landscape than the

elements of the supporting structure. Definitely, the concrete is the material

constructing the geometrical structure of an object.

History of concrete as a material used for the construction of buildings dates

back to the second century AD, when the dome of the Pantheon was built, which was

cast entirely of concrete. However, the real development of this material was several

hundred years later, namely, in the nineteenth century. Initially, this concrete had

little compressive strength and a concrete mix consisted predominantly of Portland

cement, aggregate and water. In later years, its composition was modified by adding

additives which significantly improved its properties. Transformation of this material

over the past few decades led to the situation that we now have the ability to create

new forms of objects with large dimensions and phenomenal strength. Among the

many varieties of concrete the author has decided to draw special attention to the two

types of material, a high performance concrete and reactive concrete. The specific

properties of both of them make it very interesting in terms of their creation and

incorporation in places difficult to reach or for special purposes.

A high performance concrete (HPC), and a very high performance concrete are

generally used in large-size projects. They are ideally suited for the use in civil

engineering, to erect bridges, overpasses, tunnels, platforms, parking lots or ground

support elements in the so-called high-rise buildings – ‘skyscrapers’. Increasingly,

they are used in underground construction, especially for the ventilation housing and

mining shafts. They often have very interesting shape and form.

Looking at these design examples we can say that the material is very well

suited for installation in a variety of objects ranging from big heights and large spans


to those of great measures of dimensions. In addition, they fulfil the task, creating a

varied geometry of an object.

The need to meet new functional requirements provoked exceeding the existing

span of objects. It turned out that the boundaries that until recently seemed to be the

limit for the construction of bridges were easily crossed due to suspension string

structures. [12, p. 289] This type of construction, being both the mean and the aim in

itself becomes a starting point for other space management.

In practice of engineering design of bridges, the span is the starting point and it

remains a key criterion in the search for solutions. The principles of static string

constructions turn out to be extremely useful for this particular purpose. It was due to

functional motivations that in the world transferred by man architecture appeared at

such a surprising scale. This was made possible thanks to the tensioning structure,

which expanded repertoire of forms used in the architectural composition.

5. CONCLUSIONS PART – SUMMARY

5.1 Computer Technology as a Tool for the Development of Geometric

Shapes of Suspension and Cable Stayed Bridges

Computer techniques generate dynamic growth in every area of life. Prominent

aspect concerns the spatial geometric modelling. We can observe its boom that can be

seen for example in the implementation of cinematographic pictures or creating

computer games. There is a wide range of programs for 3D modelling. This type of

tool can not only be used to perform visualization but also to create a simulation of

mechanical objects that vary in time. Thus, by using these programs it is possible to

connect the geometry of shape to the architectural and construction dimension.

Architectural modelling of such objects consists on representing them in a

virtual space which representation of a real space which is the environment in which

they are to be realized. It is a very useful tool for an architect, which as early as at the

stage of a computer model can predict how the building fit in with the surrounding

landscape. This allows multiple changing of the decision on the form of geometric

shapes of individual elements or the entire body of the object. Nowadays, we are

witnessing a kind of competition in architectural realizations. The newly established

projects are bigger, have better construction and technology than their predecessors.

The use of computer is a very stimulating action for imagination and thus drives the

creative development.

For designers and engineers a design implemented in a computer program for

3D modelling is a valuable source of information. The object can be designed to carry

out a detailed analysis of the operation using a specific span or using different types

of material. This approach allows to make the most optimal decision.


5.2 Creative Computer Visualization

Fig. 3, 4. Visualization of Great Belt East Bridge and Oresund Bridge

6. REFERENCES

1. Biliszczuk J. Mosty podwieszone. Projektowanie i realizacja. Wydawnictwo

Arkady, Warszawa, 2005. (in Polish).

2. Biliszczuk J. Stryjecka M. Scandinavian Communication Link. Engineering

and Construction, No. 9, 1995.

3. Czepiel J. AutoCAD: ćwiczenia praktyczne 3D. Wydawnictwo Politechniki

Śląskiej, Gliwice, 2012. (in Polish).

4. Giedion S. Przestrzeń, czas i architektura. Narodziny nowej tradycji.

Warszawa, 1968. (in Polish).

5. Harbeson P. Architecture in Bridge Design. Bridge Aesthetic Around the

World. Transportation Research Board, National Research Council,

Washington, 1999.

6. Jarominiak A. Mosty podwieszone. Oficyna Wydawnicza Politechniki

Rzeszowskiej, Rzeszów 2002. (in Polish).

7. Jaskulski A. AutoCAD 2013/LT 2013/WT+: kurs projektowania

parametrycznego i nieparametrycznego 2D i 3D. Wydawnictwo Naukowe

PWN, Warszawa, 2012. (in Polish).

8. Jodidio P. Nowe formy. Architektura lat dziewięćdziesiątych XX wieku,

translation: Motak M., Warszawa, 1998. (in Polish).

9. Murdock K. L. 3ds Max 2012. Biblia. Wydawnictwo Helion, Gliwice, 2012.

(in Polish).

10. Pałkowski Sz. Konstrukcje cięgnowe. Warszawa, 1994. (in Polish).

11. Salwadori M. Siła architektury. Dlaczego budynki stoją. Wydawnictwo

MURATOR, Warszawa, 2001. (in Polish).

12. Szczerbanowski R. Narzędzia wizualizacji. AutoCAD 2013 PL. Wydawnictwo

Politechniki Łódzkiej, Łódź, 2012. (in Polish).

13. http://www.storebaelt.dk/english.



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SYMBOLS USED TO DEFINE A PROJECTION METHOD

AND A CARTESIAN COORDINATE SYSTEM FOR

A THREE-DIMENSIONAL SPACE

Antanas VANSEVICIUS1

1. ABSTRACT

The important task becomes not the creation of the drawing but the interpretation of

the drawing. So using correct fundamentals for the projection method is cornerstone.

Arrangement of the front and the left side views is regulated by graphical symbols for

the indication of a projection method according to ISO 128-30:2001(E). Still we can

find different examples of symbols used to define a projection method when

arrangement of the front and the right side views is regulated. What does this

difference in accordance to a Cartesian coordinate system for a three-dimensional

space mean? It means to place an object into different octants. In the first case the

object will be placed into the first octant (first angle method) or the seventh octant

(third angle method). In the second case the object will be placed into the fifth octant

(first angle method) or the third octant (third angle method).

I have been interested in this problem for quite some time. In my opinion it is best for

a multiview drawing to place the object into the first octant. I would like to invite

colleagues for a discussion about the possibility of using the same projection method

or clearly defining in which octants the objects must be placed.

KEYWORDS: Projection Method, Graphical Symbol, Cartesian Coordinate System

2. INTRODUCTION

A modern computer technology level allows you to create drawings quickly and

efficiently but it is becoming a serious problem in the understanding of the drawings.

At ADDA (American Design Drafting Association) Technical Training Conference at

2007 it was said: “We can make drawings faster than ever but what good is it if you

cannot read it” [1].

Today I want to ask the others: We can make drawings faster than ever but

what good is it if we still do not have uniform rules for the interpretation of

projections? “Engineering drawings should be unambiguous and clear. For any part

of a component there must be only one interpretation. Drawings need to conform to

1 Institute of Hydraulic Constructional Engineering, Aleksandras Stulginskis University, Universiteto

10-745, Akademija, Kauno raj., LT-53361, Lithuania, e-mail: [email protected]


standards. The 'highest' standards are the ISO ones that are applicable worldwide” [2].

Prior to the commencement of the drawing it is important to know what projection

method was used in its creation – the first angle or the third angle. To identify which

method of projection was used for drawing creation as graphical symbols according

to ISO 128-30:2001(E), front and left side views of a truncated cone is used. We can

find different examples of symbols used to define a projection method when

arrangement of the front and the right side views is regulated (for example:

http://www.nationmaster.com/encyclopedia/Engineering-drawing).

3. TWO PROJECTION PLANES SYSTEM

Due to the two planes system everything is clear, but with different approaches

to the superposition of the planes – the horizontal with the frontal (Fig. 1a) or the

frontal with the horizontal (Fig. 1b). In any case, views from the front and above the

position order will be the same. From the scheme we can see why the object can be

placed only in the first or the third quadrant. “If parts were to be placed in the second

and fourth quadrant, the views projected onto the faces when opened out would be

incoherent and invalid because they cannot be projected from one another. It is for

this reason that there is no such thing as a second angle projection or a fourth angle

projection” [2].

Fig. 1. Two projection planes system


Also a different planes aerial orientation is used (Fig. 2 – a, b).

Fig. 2. Planes aerial orientation

This situation must be regulated by the graphical symbol for the projection

method, but it indicates the arrangement of the projections onto vertical planes. To

find the answer to this question we need to study the three projection planes system.

4. CARTESIAN COORDINATE SYSTEM FOR A THREE-DIMENSIONAL

SPACE

When looking into the three projection planes system, we have to think about in

what octant of a space an object is placed (Fig. 3). From the two projection planes

system, it is clear that the object cannot be placed in the second and the sixth, the

fourth and the eighth octants.

Fig. 3. Cartesian coordinate system for a three-dimensional space


Thus, according to the system of three projection planes, only two combinations

are available – the first and the seventh octants, or the fifth and the third octants.

Arrangement of the front and left side views is regulated by graphical symbols for the

indication of a projection method according to ISO 128-30:2001(E). According to

these symbols, we see that the object can be placed into the first octant (first angle

method – a) or the seventh octant (third angle method – b) (Fig. 4).

Fig. 4. Graphical symbols for the indication of a projection method according to ISO

Still we can find different examples of symbols used to define a projection

method when arrangement of the front and the right side views is regulated [3]. In

this case the object will be placed into the fifth octant (first angle method) or the third

octant (third angle method) (Fig. 5).

Fig. 5. Graphical symbols for the indication of a projection method according to [3]


5. ADVANTAGES AND DISADVANTAGES OF THE FIRST AND THE

THIRD ANGLE PROJECTION METHODS

I have been interested in this problem for some time now. In my opinion these

methods have their own advantages and disadvantages.

Table 1: Advantages and disadvantages of the first and the third angle projection

methods

Advantages Disadvantages

First angle method

Ideal match up to the rule of thirds [4] Object aerial orientation is not

compatible to the normal reading

order – the left-to-right direction

At the best place the most informative –

the front view [4]

Third angle method

Object aerial orientation is compatible to

the normal reading order

If in the first angle projection

method the object is placed in the

first octant, then by the third angle

method it cannot be placed in the

third octant [5]

Irrational views arrangement in

accordance to the rule of thirds [4]

At the best place – top view [4]

In my opinion it is best for a multiview drawing to place the object into the first

octant.

6. CONCLUSIONS

After more than two hundred years after Gaspard Monge we still have no

uniform rules for the interpretation of projections.

For more clear understanding of this problem the Cartesian coordinate system for a

three-dimensional space must be used.

I invite my colleagues for a discussion about the possibility of using the same

projection method (I suggest to place the object into the first octant) or clearly

defining in which octants the objects must be placed.


7. REFERENCES

1. Automated Drawing Creation. ADDA Technical Training Conference:

Illustrating the Future, April 16-19, 2007. Available from:

http://www.adda.org/documents/training/Preliminary_Conference_Brochure-

02-05-07.pdf.

2. Griffiths B. Engineering Drawing for Manufacture, Elsevier Science &

Technology Books, 2003. -169 pp.

3. Engineering Drawing. Encyclopedia. Available from:

http://www.nationmaster.com/encyclopedia/Engineering-drawing.

4. Vansevičius A. Viewing of Graphical Information. The Journal of Polish

Society for Geometry and Engineering Graphics. 2010, 20, p. 23-25.

Available from: http://ogigi.polsl.pl/biuletyny/zeszyt_20/z20_4.pdf.

5. Vansevičius A. Imprecisions in First-angle or Third-angle Projection Using/

Proceedings of Conference Geometry and Graphics, Ustron 24-26 June, 2009,

Silesian University of Technology, p. 61-62. Available from:

http://ogigi.polsl.pl/biuletyny/zeszyt_20/z20_4.pdf.



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EFFECT OF AUGMENTED REALITY TECHNOLOGY

ON SPATIAL SKILLS OF STUDENTS

Zoja VEIDE1, Veronika STROZEVA

2

1. ABSTRACT

Spatial skills are one of the factors of human intelligence structure. Development of

spatial skills in students is critically important for understanding the contents of

engineering graphics subjects. The aim of this study was to test an Augmented

Reality (AR) based applications that could influence on spatial ability of first year

students from Riga Technical University (RTU). A pre- and post-test was employed

using two intact classes of students which studied “Descriptive Geometry and

Engineering Graphics” subject. The treatment group learnt this subject carrying out

additional tasks of didactic AR based toolkit with aim to develop spatial skills during

their course, while the control group had their regular course.

KEYWORDS: Spatial Skills, Augmented Reality, Descriptive Geometry,

Engineering Graphics

2. INTRODUCTION

“Spatial abilities” refer to, in general, a collection of cognitive, perceptual, and

visualization skills. While lists may differ, substantial agreement exists that spatial

abilities involve [1]: the ability to visualize mental rotation of objects; the ability to

understand how objects appear in different positions; the skill to conceptualize how

objects relate to each other in space; three-dimensional (3D) understanding.

Engineering Graphics, Descriptive Geometry and its applications require

advanced abilities of visualization. Spatial visualization abilities are essential

qualities for engineers, important to success in scientific and technical fields, this

multi-faceted ability helps engineers to conceptualize links between reality and the

abstract model of that reality. In our daily lives, graphical communication is

becoming increasingly important through the emergence of computer graphics and

multimedia applications. Spatial abilities are especially important for student’s






success in some engineering related subjects such as calculus, mathematics,

engineering drawing and computer-aided design and for solving geometric problems.

Therefore, a better understanding of this ability should be potentially beneficial to the

engineering education and profession.

Spatial ability is something that cannot be taught but it should rather be trained

and that training is the only way for its development and improvement. Training

tools, methodologies, and curricula are covered in the following reports: importance

of traditional graphics courses (sketching activities, orthographic projection,

isometric drawing) for improvement spatial skills [2-5]; description and presentation

of research results on the effectiveness of learning support tools eREFER and

eCIGRO, developed in response to the implementation of the Bologna Declaration in

1999, in the development of spatial visualization, freehand sketching, and

orthographic view generation skills [6]; the use of handheld mechanical dissection

manipulative by students during lectures and exercises leads to increased scores on

the Mental Rotations test (MRT) [7]; gaining and reinforcing expertise in 3D CAD

modelling provides enhanced result on tests of spatial reasoning skills [8-12];

usability validation of AR based application for development of spatial skills of

engineering students [13-14]. Interventions do not necessarily need to be computer-

based to be effective; technical drawing, 3D modelling with craft materials, and

drafting activities have been shown to help develop and improve spatial abilities [6,

8, 15-16]. These studies serve as a reminder that effective interventions can also be

low-cost and accessible, an important point to practitioners operating in limited

resources environments.

Currently in RTU there is a tendency towards the progressive reduction of

teaching hours dedicated to subjects related to engineering graphics. This in turn is

leading to a reduction in theoretical and practical contents, and the presentation of

some topics in a very condensed form. This situation may generate problems in the

process in which students develop their spatial skills. As teachers we realize which

difficulties have first year engineering students while learning “Descriptive Geometry

and Engineering Graphics” because of the low level of their spatial ability and we feel

the need of creating tools and methodologies for improving that ability.

In this study our experience in use of didactic toolkit AR-DEHAES for

development of spatial ability of first year students of RTU is described. This AR

based toolkit has been developed at the University of La Laguna in Spain [14]. AR

can be defined as integration of virtual elements in a real environment. Teachers of

University of La Laguna regarded AR as an attractive technology which offers the

necessary tools for creation of attractive teaching contents and development of spatial

skills.


3. METHODS

For performing training just one standard PC and a webcam are required.

Student will visualize virtual elements in the monitor. The AR-DEHAES toolkit is

composed by: a software application and an augmented book [14]. An augmented

book contains questions and exercises to be solved by the students and provides

fiducial markers of virtual three dimensional objects. The application requires

accurate position and orientation tracking in order to register virtual elements in the

real world and so there a marker-based method is used (a marker is a black square

containing symbols). Therefore, the program requires a camera to capture the real

world. When the main marker is picked up by the camera, the integration of the real

world with the 3D virtual model is shown on the screen. For recognising of virtual

objects the marker, which is placed with definite exercise, is used.

The students can turn, move or bring the main marker to the webcam being able

to see different perspectives of the virtual model and complementary information for

exercise resolution. Didactic material is structured on five levels, each one containing

several kinds of exercises (identifying of surfaces and vertexes on both orthographic

and axonometric views; construction of orthographic views of the virtual three

dimensional models; identification of spatial relationship between objects; selection

of the minimum number of views for definition of an object; sketch a missing

orthographic view knowing two orthographic views of a model; sketching of all

orthographic views). Students can visualize the three-dimensional model in AR and

they can check if their freehand sketches match the three-dimensional virtual models

which they are viewing (Fig. 1).

Fig. 1. AR-DEHAES toolkit in working process

It’s intended that students performs AR-DEHAES trainings at their own home

as no teacher is needed. In first briefing with student, they were updated about the

aim and need of taking the training as well as obligation of submitting back to the

teacher the training’s notebook with all solved exercises when it’s finished as

guarantee that they have completed it.


Forty eight freshman students (thirty three females and fifteen males) working

on an engineering degree at the RTU participated in this study using AR-DEHAES

toolkit. The majority of students were between 19 and 21 years old. Only two percent

had previously studied subjects related to engineering graphics at secondary school.

All students were full-time students and considered themselves to have difficulties

with spatial abilities. The target is that students who performed exercises of didactic

toolkit AR-DEHAES will improve their spatial abilities so it will help them for a

better understanding of the contents of the “Engineering Graphics” subject. For

checking of training effectiveness in the development of spatial ability of students we

had 24 first year mechanical engineering students which studied “Descriptive

Geometry and Engineering Graphics” subject and improve spatial skills traditionally

(sketching activities, orthographic projection, isometric drawing).

The study was performed during the second semester of the academic year

2011/12; at the time of taking part in the experience these students had attended

“Descriptive Geometry and Engineering Graphics” class in their degree courses.

Spatial abilities of engineering students were measured before and after training

through Mental Rotation Test (MRT).

4. RESULTS AND DISCUSSION

As stated previously, the study was carried out with 48 engineering students

who learnt “Descriptive Geometry and Engineering Graphics” subject and performed

AR-training and with control group mechanical engineering students having their

regular course at the second semester of the first academic year. At the beginning and

end of the course students have performed tests for measuring spatial skills. Fig. 2

and 3 illustrate histograms of participants’ pre-test and post-test scores. Horizontal

axes show score ranges. Table 1 shows the scores obtained by students in the MRT

test.

Fig. 2. Scores of MRT pre-test for experimental and control groups


For the statistical analysis we used a Student’s t-test, taking as the null

hypothesis (H0) the fact that mean values for spatial visualization abilities did not

vary after the end of the course. The t-test for paired series was applied and the ρ

values are ρ = 0.00000035 < 0.001. Hence the null hypothesis is rejected and we can

conclude, with a significance level of higher than 99.9%, that the mean scores for the

experimental group underwent a positive variation. In other words, the course

additionally using AR-DEHAES toolkit exercises had a measurable and positive

impact on the spatial ability of students, measured by MRT tests (the increase of

value is 5.33 points). However, the regular course of “Descriptive Geometry and

Engineering Graphics” also allows the development of spatial skills of the students

(Table 1).

Fig. 3. Scores of MRT post-test for experimental and control groups

Table 1. Mean pre- and post-test and gain test scores (standard deviation)

for experimental and control groups.

Groups Pre-test Post-test Gain

Experimental group

n=48

18.12

(5.91)

23.45

(4.05)

5.33

(4.31)

Control group

n=24

17.42

(5.39)

21.83

(5.08)

4.41

(4.26)

An analysis of variance (ANOVA) was performed to determine the effect of the

course type (regular or with AR training) on MRT. The analysis shows there was no

significant differences between groups (F = 0.598, ρ = 0.44).


It is worth noting that research on factors that affect the development and

exercise of spatial abilities has traditionally focused on gender differences in

performance. It was determined that males perform better on tests of spatial

perception and mental rotation, and men and women perform equally well on spatial

visualization tests [17-19]. The difference in performance was large only for mental

rotation. In our research experimental group had about 70% of female and 30% of

male, while control group – 60% of male and 40% of female. The difference between

score gains of MRT test might have been more significant with approximately equal

gender ratio.

Besides we have conducted a questionnaire on usability and satisfaction with

the AR training application. Results show that all students expressed a highly positive

attitude to the material and contents. Most students considered it very useful, very

interesting and they were satisfied with the technology and methodology. All students

considered that AR-DEHAES system was pleasant to use. 82% of students mentioned

that AR training helped them in performance of graphical exercises of “Descriptive

Geometry and Engineering Graphics” subject. All the students whose responses are in

this questionnaire told that they would recommend this training to their fellow

students.

5. CONCLUSIONS

Training of spatial ability based on Graphic Engineering contents and AR

technology improves spatial abilities of students. “Descriptive Geometry and

Engineering Graphics” course supplemented with AR training provide a significant

gain in spatial abilities scores (5.33 points in MRT) compared with 4.41 points,

obtained in a “regular” engineering graphics course.

Good spatial ability levels allow student better understanding of engineering

graphic contents. So, if more students try to improve their spatial skills, by AR

training for example, academic performance rate will be greater.

The students’ feedback concerning AR-DEHAES toolkit was very positive, and

it is clear that AR technology will emerge as a real option at the university level.

AR-DEHAES is an efficient tool for developing of spatial abilities and for

learning of engineering graphics contents. AR is a cost-effective technology for

providing students with attractive contents respecting to paper books, giving new life

to classical pen and paper exercises.

6. REFERENCES

1. Sutton K., Williams A. Developing a Discipline-Based Measure of

Visualization. The UniServe Science Proceedings, 2008, p. 115-120.

2. Dejong P. S. Improving Visualization: Fact or Fiction? Engineering Design

Graphics Journal, 1977, 41 (1), p. 47-53.


3. Lord T. R. Enhancing the Visuo-Spatial Aptitude of Students. Journal of

Research in Science Teaching, 1985, 22 (5), p. 395-405.

4. Sorby S. A. Spatial Abilities and their Relationship to Computer Aided

Design Instruction. The Web Proceedings of the 1999 ASEE Annual

Conference and Exposition, 1999.

http://www.asee.org/acPapers/99conf577.PDF.

5. Alias M., Gray D. E, Black T. R. Attitudes Towards Sketching and Drawing

and the Relationship with Spatial Visualization Ability in Engineering

Students. International Education Journal, 2002, 3 (3), p. 65-75.

6. Contero M., Naya F., Company P., Saorín J. L. Learning Support Tools for

Developing Spatial Abilities in Engineering Design. The International

Journal of Engineering Education 2006, 22, (3), p. 470-477.

7. Ferguson C., Ball A., McDaniel W., Anderson R. A Comparison of

Instructional Methods for Improving the Spatial-Visualization Ability of

Freshman Technology Seminar Students. The Proceedings of the IAJC-IJME

International Conference, 2008, p. 123-131.

8. Martín-Dorta N., Saorín J. L., Contero M. Development of a Fast Remedial

Course to Improve the Spatial Abilities of Engineering Students. The Journal

of Engineering Education, October 2008, 97, (4), p. 505-513.

9. Onyancha R. M., Derov M., Kinsey B. L. Improvements in Spatial Ability as

a Result of Targeted Training and Computer-Aided Design Software Use:

Analyses of Object Geometries and Rotation Types. The Journal of

Engineering Education, April 2009, 98, (2), p. 157-167.

10. Onyancha R., Towle E., Kinsey B. L. Improvement of Spatial Ability Using

Innovative Tools: Alternative View Screen and Physical Model Rotator. The

Proceedings of the 114th ASEE Conference and Exposition, 2010, p. 234-240.

11. Sorby S. A., Baartmans B. J. The Development and Assessment of a Course

for Enhancing the 3-D Spatial Visualization Skills of First Year Engineering

Students.The Journal of Engineering Education, July 2000, 89, (3), p. 301-

307.

12. Sorby S. A., Drummer T., Hungwe K., Parolini L., Molzan R. Preparing for

Engineering Studies: Improving the 3-D Spatial Skills of K-12 Students. The

Proceedings of the 9th International Conference on Engineering Education,

2006, p. T3E-6-T3E-10.

13. Martin-Gutierrez J., Navarro R. E., Gonzalez M. A. Mixed Reality for

Development of Spatial Skills of First-Year Engineering Students.

Proceedings of the 41st Frontiers in Education Conference, October 12-15,

2011, p. T1A-1-T1A-6.

14. Martin-Gutierrez J., Contero M., Alcaniz M. Training Spatial Ability with

Augmented Reality. International Conference “Virtual and Augmented

Reality in Education, 2011, p. 49-53.


15. Donohue S. K. Work In Progress: Identifying Undergraduate Courses Which

Develop and Enhance Spatial Abilities. The Proceedings of the 40th Frontiers

in Education Conference, 2010, p. F4E-1-F4E-2.

16. Olkun S. Making Connections: Improving Spatial Abilities with Engineering

Drawing Activities. The International Journal of Mathematics Teaching and

Learning, April 2003, p. 1-10.

17. Sharps M. J., Price J. L., Williams J. K. Spatial Cognition and Gender:

Instructional and Stimulus Influences on Mental Image Rotation Performance.

Psychology of Women Quarterly, 1994, 18, p. 413-425.

18. Sorby S. A. A Course in Spatial Visualization and its Impact on the Retention

of Female Engineering Students. Journal of Women and Minorities in Science

and Engineering, 2001, 7, p. 153-172.

19. Linn M. C., Peterson A. C. A Meta-Analysis of Gender Differences in Spatial

Ability: Implications for Mathematics and Science Achievement. In: J. S.

Hyde & M. C. Linn (Eds.), The Psychology of Gender: Advances through

meta-analysis. Baltimore: The Johns Hopkins University Press, 1986, p. 67-

101.



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PROBLEMS OF MOTIVATION OF STUDENTS TO STUDY

COMPULSORY SUBJECT “ENGINEERING GRAPHICS”

Zoja VEIDE1, Veronika STROZHEVA

2, Modris DOBELIS

3

1. ABSTRACT

Paper deals with a problem on how to raise an interest to the students during

preparation for practical training exercises and individual home assignments in the

course of Descriptive Geometry and Engineering Graphics. The methods of teaching

used for the decades should be reviewed taking into account a new generation of

students, their habits of learning and the existing challenges provided by

contemporary information technologies. An attempt was made to create new

educational materials which would motivate the students to work autonomously with

the theoretical materials. An Augmented Reality (AR) based applications were used

to entertain the students during the studies of the development of spatial reasoning in

the first year studies. The efficiency of the regular tests on understanding the

theoretical issues of descriptive geometry and engineering graphics was evaluated.

For this purpose a portal ORTUS of Riga Technical University (RTU) was used.

ORTUS – a multifunctional educational portal developed by IT Department of RTU –

links together all the individual online applications required for studies within one

framework in order to simplify the use of it and have a single access. As one of the

numerous modules in this portal is a Moodle based Learning Management System.

The recommended study materials like theoretical lectures, examples of completed

graphic exercises, video lectures, didactic toolkit for development of spatial skills and

tests are available to the students online with individual authorization. An approach

used was supposed to facilitate the students to acquire more practical skills in solving

graphic exercises and improve the quality of graphic education.

KEYWORDS: Engineering Graphics, Moodle Learning System, Augmented Reality

2. INTRODUCTION

Being one of the fundamental subjects of engineering education, the descriptive

geometry shall and may be brought into line with changes in the overall system of






education. Experiments in various areas where the discipline might be updated have

been conducted over and over again. With the world changing, the methodology for

teaching descriptive geometry, which has been honed to perfection for years or

decades, suddenly becomes ineffective. The main challenge is to update both the

course in descriptive geometry and the methodology of its teaching within existing

time limitations, identify the ways to improve the efficiency of learning delivery and

make qualitative changes in both the process of professional training and its results.

The special nature of teaching students in their first years of studies should not

be omitted [1]. For students, yesterday’s schoolchildren, the first year is a period of

adaptation to the university’s requirements and new forms of learning. The trends

currently observed in the development of professional education bring forward an

independent work of students as the main form of learning.

In the presence of computer games a new generation has grown up. Today’s

students represent the first generations to grow up with this new technology [2]. They

have spent their entire lives surrounded by and using computers, videogames, digital

music players, video cams, cell phones, and all the other toys and tools of the digital

age. Our students today are all “native speakers” of the digital language of computers,

video games and the Internet. The children initially begin playing games and only

later they begin to learn writing and reading or the processes are parallel. It is now

clear that as a result of this ubiquitous environment and the sheer volume of their

interaction with it, today’s students think and process information fundamentally

differently from their predecessors. They would like to get necessary information

quickly. They like to parallel process and multi-task. They prefer their graphics

before their text rather than the opposite. They prefer random access. They prefer

games to “serious” work.

From the trend of reducing the number of contact hours in the class, there is a

need for more time to study the subject independently. On the other hand, it must be

borne in mind that this new generation of students is already at the university. Thus

there is an urgent need to change an approach to teaching and practical exercises.

In this paper we share our experience of the use of newly developed training

materials which take into account those special factors related to the new generation

of students tailored to study the material independently. It is assumed that these

practical exercises are more applicative, attractive and more entertaining to students.

3. COURSE IN MOODLE ENVIRONMENT

Moodle is an open-source learning course management system which helps the

educators to create effective online learning communities. Moodle is an alternative to

proprietary commercial online learning solutions, and is distributed free under open

source licensing. All the study materials of Department of Computer Aided

Engineering Graphics courses have been located in the Moodle based portal of RTU

named ORTUS and they help the students in mastering the topics of these courses.


The use of Moodle environment provides an alternative opportunity to get theoretical

materials in electronic form rather than in printed books, to communicate with an

instructor and test the knowledge of understanding current topics of study.

The course “Descriptive Geometry and Engineering Graphics” (3 ECTS) is

organized in weekly format. Theoretical material was presented in the form of

chapters of textbooks, materials of lectures and examples of drawings performance

step-by-step as PDF documents as well as video training materials and video lectures.

Participants of the course have to complete the tests located in Moodle system.

Performance of the test provides an opportunity to independently estimate a level of

the knowledge about studied theoretical material. Presented on a Figure 1 is an

example question from the test on a topic ”Intersection of a plane and solids”.

Fig. 1. An example question from the test

on a topic ”Intersection of a plane and solid”

To provide an encouragement for students to study, the previous two academic

years’ the tests were obligatory. Each week the course participants had to complete

one test based on the topic/s discussed in the class during contact hours. The tests

were accessible for two or three weeks depending on the complexity of the topic. The

test time was limited to 60 min; before Spring 2013 semester there was only one

opportunity for the students to perform the tests and only final score was accessible to

the students. As an experiment in Spring 2013 semester, the number of attempts for


the test completion was increased to three. After completion of each test the students

could see not only final points but also the correct answers. During the repetitive tests

the Moodle system provided the questions in a new sequence and the provided

answers also were in a new rearranged order.

According to our previous research [3], the students very actively used the

provided video materials in the learning process. In the surveys at the end of the

course many students described the video materials as a required tutoring resource.

Therefore we created video lectures for the following courses: Descriptive Geometry

and Engineering Graphics, Interactive Computer Graphic, Computer Aided Design.

Video lectures are prepared by lecturer and the students can view and study

them repeatedly as many times as needed to accommodate to their individual learning

abilities. Lectures are detailed step-by-step explanations of the materials covered in

the classroom lectures and are presented at a delivery pace that is significantly slower

than what can be accomplished in the limited time available in the classroom. They

can be paused and repeated and, thus, can be studied by students at their own learning

pace. In addition the video lectures are much more focused on the learning experience

rather than the traditional study from the written textbook. Textbooks usually contain

a broad range of topics and they cover the theory in the sequence that might be

inconsistent with the instructor’s presentation of the material in the classroom. The

video lectures are exclusively targeted to what the student needs to learn according to

the course syllabus.

Video lectures allow the instructor to shift the classroom time spent on basic,

less challenging material to more complex and difficult subject material [4]. By

including more-complex information in classroom lectures, they are faster paced and

provide the stimulation of more interesting material. Students who cannot fully

understand and learn at this pace have the video lectures as a slower and very

thorough second-lecture they can study at their own learning pace.

4. AUGMENTED REALITY TEHNOLOGY IN LEARNING PROCESS

Engineering graphics is the subject which is important for the transferring

technical information from design into manufacture. Developing ability to create and

read graphical representation of engineering structure is essential for any individual

modern engineering student. However, in the classroom, where lecture time is very

limited, it is hard for the instructors to clearly illustrate the relationship between the

3D geometry and 2D projection using only one kind of presentation technique.

Augmented Reality (AR) application enables faster comprehension of complex

spatial problems and relationships which will benefit the students greatly during their

learning processes [5]. Augmented Reality is a new technology that lets you interact

with the real world and virtual objects at the same time.

To facilitate the students’ perception of the study materials in the course

“Descriptive Geometry and Engineering Graphics” we prepared the 3D objects from

manual graphic exercises into AR environment. The 3D Augmented Reality scenes


were created using BuildAR software. The virtual 3D models were overlaid on the

real world environment as observed through the computer’s web camera, making

them to appear as part of the surrounding environment (Fig. 2). BuildAR uses

marker-based tracking, which means that the 3D models appear attached to a

physically printed markers. For each object both its individual marker and 3D model

were created and in that way the AR scene was built up. The 3D models were

modelled with SolidWorks and saved as STL files for later import into AR scene.

The surveys at the end of the semester revealed the student’s opinion on the

effectiveness and usability of AR models in the course. All the students considered

this approach as being very useful in the solving of graphic exercises. It was

acknowledged as very interesting and entertaining for the topic on formation of

multiview projections from 3D geometric objects. Especially interesting was the

provided freedom of arbitrary observation of the transformation of 3D AR model into

2D projections, which could be interactively manipulated in real time in front of

computer with web camera. The overall response of the students about AR model use

in the Descriptive Geometry and Engineering Graphics course was very positive.

Fig. 2. Three-dimensional virtual model in Augmented Reality environment

5. CONCLUSIONS

The created video lectures and AR models considerably improved the interest

of learning, supplied the students with higher degree of flexibility and understanding

of the teaching materials and entertaining them in an interactive and augmented way.


Video lectures allowed getting the necessary information very quickly and

made the theoretical material more intuitive and understandable. During the study the

students could control the rate of perception of huge amount of graphic information.

The video lectures supplied with the study material which was more adapted and

focused to the learning habits and experience on today’s students rather than the

traditional study from the textbooks.

The AR application enables faster comprehension of complex spatial problems

and relationships which will benefit the students greatly during their learning

processes. Applying AR technology to support learning activities may become a trend

in the future not only for Engineering Graphics but also many other subjects.

However, the lack of financial resources at present situation prevents a further

development and implementation of this advanced technology in the study process.

Tests are useful tool for independent estimation of knowledge level of the

theoretical material. The compulsory tests facilitated increased students’ activities in

Moodle environment. This motivated the students to study more and superior in the

graphic literacy. The quality of engineering graphics education could be considerably

improved, but the preparation of the digitally usable materials in electronic form for

graphic subjects which contain a huge amount of engineering information, requires

enormous time and human resources.

6. REFERENCES

1. Keengwe J. Faculty Integration of Technology into Instruction and Students’

Perceptions of Computer Technology to Improve Student Learning. The

Journal of Information Technology Education, 2007, 6, p. 169-180.

2. Prensky M. Digital Natives, Digital Immigrants. On the Horizon, MCB

University Press, December 2001, 9, (6), p. 23-29.

3. Veide Z., Stroževa V., Dobelis M. Moodle Learning System in Education

Process of Riga Technical University. Applied Geometry and Graphics: The

Interdepartmental Collection of Proceedings of the 8th Crimean International

Scientific-Practical Conference Geometrical and Computer Simulation: Safe-

Energy, Ecology, Design. SED-11, September 26-30, 2011, Ukraine,

Simferopol, p. 298-303.

4. Cascaval R. C., Fogler K. A., Abrams G. D., Durham R. L. Evaluating the

Benefits of Providing Archived Online Lectures to In-Class Math Students.

Journal of Asynchronous Learning Networks, 2008, 12, (3-4), p. 61-70.

5. Redondo E., Navarro I., Sánchez A., Fonseca D. Augmented Reality on

Architectural and Building Engineering Learning Processes. Two Study

Cases. Special Issue on Visual Interfaces and User Experience: new

approaches. Ubiquitous Computing and Communication Journal, 2011,

p. 1269-1279.



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IMPROVEMENT CONCEPT OF ENGINEERING

GRAPHICS COURSE

Violeta VILKEVIČ1

1. ABSTRACT

Engineering graphics takes up an important place among technical disciplines

because knowledge and practical skills acquired in this course will be used not only

in the studying process, but also professional work. Successful studying of graphics

requires theoretical material to be constantly updated and properly prepared tasks.

The main goal of this work is to suggest model of graphics task performance that not

only improve the absorption of knowledge, but also form computer design skills. The

essence of improving graphics course is the continuity of the work, meaning the work

done by the student is used in solving subsequent tasks.

KEYWORDS: Engineering Graphics, 3D Modelling, Technical Drawings

2. INTRODUCTION

Theoretical fundamentals of engineering graphics barely change, but the

methods of presenting information to the students do (slides, animations, e-learning)

[1-2]. The practical methods of solving graphical tasks keep constantly evolving.

With the discovery of a new tool – computer and usage of new graphical systems,

graphical tasks or ways to perform them also had to change. For example: a part of

traditional works of engineering graphics are no longer performed (drawing fonts) or

performed with the help of computers (geometric drawing).The evolution of design

programs provided a wide and various range of opportunities of drafting and editing

drawings. With the decrease of hours dedicated for classes the volume of practical

works and their solving methods also changed. Furthermore, students these days have

mastered information technology, so methods of computer design are also quite

quickly and easily absorbed. All of this predisposes constant and consistent

improvement of engineering graphics course [3-4].

3. TASK COMPLETION MODEL

The course of engineering graphics in the Vilnius Gediminas Technical

University is taught during two semesters (in the second and third semester). The

course is divided into two parts – general engineering graphics and applied graphics.

1 Dep. of Engineering Graphics, Vilnius GediminasTechnical University, Saulėtekio al.11, LT-10223,

Vilnius-40, Lithuania, e-mail: [email protected]


During the general engineering graphics course, students are introduced with the

main requirements for formalization of graphic documents, design methods; examine

fundamentals of displaying basic geometric bodies in technical drawings (descriptive

geometry). For training purposes, tasks of descriptive geometry are performed with

pencil, using the simplest drawing tools. During this semester students are introduced

with methods of computer design, learn to work with AutoCAD graphic system,

perform two-dimensional drawing and volumetric modelling tasks.

The applied graphics part addresses technical drawing tasks – projection

drawing and connections of details. Knowledge acquired during the course students

apply while performing construction drawing or machine drawing tasks. All tasks

(except 3D modelling) are performed in 2D graphics. 3D design tools have a broader

usage, especially in machine drawing, to help students to easier absorb a specific part

of the course (threaded connections). While using spatial detail models, it is possible

to faster perform work drawings.

This work presents the model (Fig. 1) of solve practical tasks, the essence of

which is – wider usage of 3D design tools and continuity of works, meaning that the

work done by the student is used in solving further task.

Fig. 1. Task completion model


4. FEATURES OF THE MODEL REALISATION

The main goal of engineering graphics – teach to picture three-dimensional

objects on the flat surface, to create and read drawings according to standard

requirements. Step by step, by solving practical tasks of the graphic course one is

getting closer to this goal. Every task has a purpose to practically realize a specific

theoretical part of the course. By using this graphic task model, the solved task is later

on adapted while mastering other course material. In the part of general engineering

graphics, students have to perform two laboratory works. The first one is geometric

drawing task. Since it is performed with the help of AutoCAD program, student is

introduced with computer drawing tools, learns to display smooth connections, mark

dimensions and format the drawing. When using the new task solving model, 2D

model would be used as the sketch to make a volumetric model of the detail (Fig. 2a).

a) b) c)

Fig. 2. Volumetric modelling:

a) sketch; b) model obtained after stretching the contour;

c) model obtained after rotating the contour

The second laboratory work of the semester is volumetric design. By applying

different ways of modelling, not one but a couple of 3D models can be created, which

would be used in the second semester to make connections of details.

Laboratory work of applied graphics – technical drawing tasks (projection

drawing, demountable joints, mechanical drawing). While solving tasks of projection

drawing, students learn to choose images, arrange them on the drawing, and make

cuts in one and multiple parallel planes. Solved projection drawing tasks can also be

successfully used to create models of volumetric details. Next theme of this semester

– threaded details, demountable and non-demountable joints, types of screws,

viewing and marking of screws. In order to help for the students to better absorb

theoretical information, a new task can be given – to form a thread in 3D details,

when diameter, length and pitch of the thread are known (Fig. 3).

The last subject of applied graphics – mechanical drawings. The goal of this

part is to teach to read and detail assembly drawings, make work drawings of details,

mark dimensions. Practical assembly drawing (6-10 details) task is performed [5] and

work drawings of two details are created.


Fig. 3. Formation of the screw surface in 3D models

Students would make less mistakes while doing this work, if they did another

task beforehand made a compound of 3D details (Fig. 4a), made a cut, then

automatically obtained the main view of the compound (Fig. 4b), after some minimal

changes in the drawing, displayed a simplified thread (Fig. 4c.).

a) b)

c)

Fig. 4. Making an assembly drawing using the combination of 3D details


The same principle can be applied while making a drawing of every detail.

Since 3D models of details are created during the course of studying graphics, these

tasks require minimal amounts of time and effort. Volumetric models also can be

successfully used for drawing sketches of details.

5. CONCLUSIONS

3D design tools have a broader usage, especially in machine drawing, to help

students to easier absorb a specific part of the course (threaded connections).

When using already completed work in solving other tasks, in the same time

bigger amounts and more diverse tasks can be solved.

Only after solving a sufficient amount of tasks corresponding to real

situations, skills allowing to solve other practical tasks can be obtained.

6. REFERENCES

1. Keršys R. Animation in Descriptive Geometry Teaching. Engineering

Graphics BALTGRAF-9. Proceeding of the Ninth International Conference,

Riga, Latvia, June 5-6, 2008, p. 196-200.

2. Špilaitė-Ramoškienė V. Usage of Interactive Teaching Equipment in Lectures

of Projection. Engineering and computer graphics. Proceedings of

Conference. Kaunas: Akademija, 2012, p. 74-79. (in Lithuanian).

3. Makutėnienė D., Čiupaila L., Zemkauskas J. The Model of Fundamental

Engineering Graphics Course. Engineering and Computer Graphics.

Proceedings of conference. Kaunas: Akademija, 2012, p. 24-47. (in

Lithuanian).

4. Makutėnienė D., Čiupaila L., Zemkauskas J. Peculiarities of Modelling of

Applied Engineering Graphics Course. Engineering and Computer Graphics.

Proceedings of Conference. Kaunas: Akademija, 2012, p. 48-54. (in

Lithuanian).

5. Rimkevičienė Z., Uljanovienė S.-D., Gerdžiūnas P., Lemkė V., Plakys V.

Mašinų braižyba: surinkimo brėžinių detalizavimo užduotys ir metodikos

nurodymai. Vilnius: Technika, 2005. -225 p: brėž. (in Lithuanian).




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THE AUTOMATED SYSTEM FOR LEARNING OF

INNOVATIVE COURSE IN DESCRIPTIVE GEOMETRY

Vladimir VOLKOV1, Olga ILYASOVA

2, Natalya KAYGORODSEVA

3

1. ABSTRACT

This innovative method of training involves improving the methods of self-education.

It could help students who can’t attend a class or if there is a special format of

education, e.g. distance or E-learning. In that regard, there is an interest to create an

Automated Learning System (ALS) for such students. Such approach is introduced to

the example of teaching the course of descriptive geometry in the current article.

The ALS contains a theoretical material, practical exercises with hints of a possible

solution algorithms and tests. The ALS corresponds to the content of innovative

course of descriptive geometry on the basis of geometric modelling. This innovative

course allows students to develop the flexibility of a spatial imagination and the

logical thinking which is necessary in engineering education.

And student should consolidate his knowledge through practical problems as he got

to know a particular section of the innovative course.

KEYWORDS: Descriptive Geometry, Automated Learning System, Analysis and

Synthesis of Geometric Problems

2. INTRODUCTION

Now there are various forms of students training: full-time and part-time,

daytime and evening, classroom and distance. In that connection, there is a necessary

to develop a training system which can be used in all these forms of education and be

of great benefit to distance learning.


This ALS is based on continuous monitoring of the understanding innovative

course for students. The problems are split by level of difficulty, and tests proposed to

1 Dep. of Descriptive Geometry, Engineering and Computer Graphics, Siberian State Automobile

and Highway Academy, pr. Mira 5, Omsk, 644080, Russia, e-mail: [email protected] 2 Dep. of Descriptive Geometry, Engineering and Computer Graphics, Siberian State Automobile and

Highway Academy, pr. Mira 5, Omsk, 644080, Russia, e-mail: [email protected] 3 Dep. of Engineering Geometry and CAD, Omsk State Technical University, pr. Mira 11, Omsk,

644050, Russia, e-mail: [email protected]


students in order to assess quality understanding of each section of the course. This

feature allows the student to determine the level and quality of their learning of

descriptive geometry.

The proposed Automated Learning System has a standard user interface

(Fig. 1). We used Microsoft PowerPoint as its shell program. Initially, the user gets

acquainted with rules of working for the ALS (Fig. 2). After that he can select the

tools to solve problems. The two most common CAD-systems are offered as a tool in

the ALS. It's AutoCAD (produced by USA) and Compass (produced by Russia)

(Fig. 3).

Fig. 1. The ALS interface


Fig. 2. Rules of working for the ALS

Fig. 3. Choice of CAD-systems

After selecting the CAD-system, the user is automatically placed on the page of

section selection. Here ALS offers the following:

1. Set-theoretic principles of making geometric problems;

2. Positional problems which are solved using set-theoretic algorithms;

3. Geometric problems of multidimensional space;

4. Curves lines and surfaces;

5. Conditions synthesis to make tasks for descriptive geometry.

Each section provides to user different levels of difficulty (Fig. 4).


Fig. 4. Select the level of problem

4. SUBMISSION AND PRESENTATION

When user chooses a problem, it's loaded in the selected CAD-system (Fig. 5)

where user can carry out the validation of the solution found by himself. This

possibility is implemented through the uncovering of the preliminary hidden layer by

superimposing the correct answer to the result (Fig. 6).

Fig. 5. Condition of the problem

Fig. 6. Hidden layer with the answer of the problem


If a user has difficulty in solving the problem, he can go to the link "Hits"

(Fig. 4) and he will get an algorithm solving the problem (Fig. 7).

Fig. 7. Algorithm solving the problem

Also there is a link to the appropriate section of the textbook where student can

get theoretical material (Fig. 8).

Fig. 8. Theoretical material which is relevant to the problem


If student can't solve the problem, the ALS has full account of the solution for

each problem with detailed description of the stages (Fig. 9). It allows the user to

leave no gaps and omissions in their knowledge.

Fig. 9. Stages of a complete solution

In addition, the ALS contains module for test items for each theme (Fig. 10)

which allows student to check his level and quality of knowledge.

Fig. 10. The test program checks the level and quality of knowledge


The general idea of the structure of the ALS can be obtained through the block

diagram, which shown in Fig. 11.

Fig. 11. A block diagram of the solution in the ALS

Is the Solution

Obtained?

Task

Test

the Solution

+

–

Is the Solution

True?

Do you Need

the Hint? Hint + –

+ –

See the

Theory

–

Theory

+

The Turnkey

Solution

The End


5. CONCLUSIONS

The presented method of self-education can be the basis for the study of graphic

disciplines, such as engineering graphics, engineering or technology of computer

graphics and other graphic disciplines.

The ALS presented in this article will help students to study the innovative

course of descriptive geometry based on geometric modelling.

6. REFERENCES

1. Volkov V. Ya. Graphics Optimization Models of Multivariate Processes: a

monograph/ V. Ya. Volkov, M. A. Chizhik. Omsk, Omsk State Service

University, 2009. -101 pp. (in Russian).

2. Volkov V. Ya. Multivariate Enumerative Geometry: A monograph/

V. Ya. Volkov, V. Yu. Yurkov. Omsk, Omsk State Pedagogical University,

2008. -244 pp. (in Russian).

3. Volkov V. Ya. The Theory of Parameterization and Modelling of Geometric

Objects of Multidimensional Spaces and its Applications. Abstract. Thesis of

Doctor of engineering science/ V. Ya. Volkov. Moscow: Aviation Institute,

1983. -27 pp. (in Russian).

4. Lopatnikov L. I. Economics and Mathematics Dictionary: Dictionary of

modern economics/ L. I. Lopatnikov. – 5th ed., Revised. and add. Moscow:

Delo, 2003. -520 pp. (in Russian).

5. Rosenfeld B. A. Multidimensional Space/ B.A. Rosenfeld. Moscow: Nauka,

1966. -647 pp. (in Russian).

6. Chetverukhin N.F. Parameterization and its Applications in Geometry/

N. F. Chetverukhin, L. Jackiewicz/ Mathematics in School, 1963, № 5, p. 15-

23. (in Russian).

7. Grassmann H. Die lineare Ausdehnungslehre ein neuer Zaweig der

Mathematik/ H. Grassmann. Leipzig, 1844. -279 S. (in German).

8. Schubert H. Kalkul der Abzahlenden Geometrie/ H. Schubert. – Berlin,

Heidelberg, New-York: Springer Verlag, 1979. -349 S. (in German).



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GRAPHICAL COMPETENCE IN ENGINEERING SCIENCES

Olaf VRONSKY1

1. ABSTRACT

Experts of Eurydice have pointed out that the development of competence implies the

ability of individuals to mobilize, use, and integrate the acquired knowledge in

complex, varied and unpredictable in advance situations [3]. The article determines

and motivates criteria of competences of descriptive and graphical geometry and their

importance in the structure of professional competences of engineering sciences. In

the present investigation, criteria of competences are understood as the level of

student’s knowledge, skills, attitude, and spatial thinking of graphical competence. To

substantiate criteria of competences of graphical and descriptive geometry, the

concept of competence, its structure, and content were analysed. The required

competences for the descriptive geometry course were determined of which, in its

turn, the students’ level of graphical competence is dependent on. Graphical

competence is required in professional activities of every engineer.

KEYWORDS: Engineering Professional Competences, Graphical Competence,

Descriptive Geometry Competence

2. INTRODUCTION

The competence researchers include in its structure such elements as

knowledge, skills, abilities, motivation, attitude, values, responsibility, experience,

qualities of character, and thinking.

Analysing materials prepared by the European and Latvian working groups,

A. Rauhvargers found out an approach in the field of competence: competence is the

body of knowledge, skills and attitude that qualifies performance of tasks of certain

type or level [4]. The above mentioned author recommends the term competence

translating into Latvian as proficiency (expertise) emphasizing the practical use of

understanding of competence.

Dz. Ravens is of the opinion that competence is a specific ability, which is

needed for an effective performance of a particular activity in a particular field

including a narrow specialized knowledge, specific skills, and way of thinking as well

as understanding of responsibility of one’s own activity [7].

1 Institute of Mechanics, Faculty of Engineering, Latvia University of Agriculture, J. Cakstes bulv. 5,

Jelgava LV-3001, Latvia, e-mail: [email protected]


B. Briede in her studies indicates that competence is a very complex concept

because it is mainly used to characterize the person’s intellectual potential and

significantly developed qualities. In Latin, the word competent is competo, i.e. to be

capable, to match, and be useful for. B. Briede defines competence as a body of

knowledge (formal, non-formal, informal), skills and reflection abilities which are

possible to check documentary, and with such activities in which the individual

agrees to be active in participating with a sense of responsibility [1].

Analysing researchers’ opinions, the author has drawn a conclusion that

actually there are four directions of competences to be developed:

1. Direction associated with man’s intellectual development based on

quantitative academic knowledge acquired as a result of formal, non-formal

and informal education;

2. Direction associated with man’s professional activity based on skills that are

acquired as a result of practical activities;

3. Direction associated with man’s social activity based on the attitude to

oneself, work and society;

4. Direction associated with the way of thinking.

3. BASIC COMPETENCE

Eurydice experts point out that traditionally basic competences have been

associated with professional education; however, experts of most part of the EU

countries have recognized the importance of development of basic competences for

all pupils irrespectively of the type of education they receive. As a result this concept

is broadened relating it to the general education too.

Eurydice investigations name those competences as the basic ones which they

consider necessary for successful participation in society throughout the lifetime. Also,

Eurydice emphasizes that people transfer their acquired knowledge and skills into

competences by their attitude. Furthermore, basic competences are called competences

that are necessary for a good life, and these competences are something more than just

knowledge and they make “know-how” forms not “know-what” forms [3].

The author agrees to the experts’ opinion because in the study course of

descriptive geometry it is not enough to have “know-what” knowledge, and the

student can acquire the course only if he also applies “know-how” forms.

After several meetings in autumn 2001 and spring 2002, the expert group

suggested eight main fields of basic competences: communication in the native

language; communication in foreign languages; information and communication

technologies; arithmetic skills and competences in mathematics, natural sciences and

technologies; entrepreneurship; interpersonal and civic competences; learning to learn

skills; general culture.

Without these fields of competences the becoming student will not be able to

adapt himself to society during the course of studies. The author considers natural


sciences and learning to learn skills as two most essential fields of basic competences

required in the study course of descriptive geometry.

4. PROFESSIONAL COMPETENCE

B. Gurshinsky expresses his opinion philosophically that within the educational

conception professional competence in any field of activity is a result of a certain

level of education: the category of professional competence is determined by one’s

professional education, experience, and man’s individual capacities, his motivated

aspirations for a continuous self-education, self-development, and creative and

responsible attitude to activity [5].

J. Kotochitova’s model of competence hierarchy comprises six competence

types: knowledge, activities, communicative, emotional, personality, and creativity

competence, moreover the principle of succession must be observed during the

acquisition of particular competences [6].

The process of competence development is also associated with ethical

competence (interrelationships), intellectual competence (logical thinking, analysing

skills), methodical and informative competence [2].

Having analysed the educators’ conclusions, the author of the article

determined the following criteria of professional competence of engineering sciences:

professional knowledge (machine designing and production, construction, wood

processing etc.), professional skills (skills to apply professional knowledge in the

field of profession), technical thinking (application of logical, graphical and spatial

thinking in solving technical problems), and attitude (interest in various engineering

project implementation).

5. GRAPHICAL COMPETENCE

E. Jutumova has worked out a concept of geometric graphical expertise and its

structure. The above mentioned author relates geometric graphical expertise to the

minimum of education in a particular field when the student knows such specific

activity ways as modelling, comparing, analysis, synthesis, deduction, induction, and

planning. Geometric graphical education includes such components as selectivity in

the deepened issues and quality component of the particular field that is the level of

knowledge and skills based on spatial thinking.

In her studies, as structural elements of geometric graphical competence

E. Jutumova has used the level of professional activity skills, the development level of

cognitive capacity, value orientation, and communication level in the particular field.

Within the framework of E. Jutumova’s research, geometric graphical competence is

regarded as the level of student’s knowledge and skills based on developed spatial

thinking [8].

E. Jutumova’s described element of spatial thinking is more related to the study

courses where you need a spatial imagination of a situation. Since graphical


competence is a broader concept that also requires knowledge about such

simplifications of the space objects as schemes and graphical basic constructions,

which have little connection with notions of space, the author of this article decided

to choose an element from the graphical competence, namely descriptive geometry

competence that is directly associated with spatial thinking and its development.

The following criteria of graphical competence were determined: graphical

knowledge (knowledge in the field of construction graphics, engineering graphics,

technical graphics, computer graphics etc.), graphical skills (application skills of

graphic constructions in the fields of specialized graphics acquired at the course of

descriptive geometry), graphical thinking (application of thinking for visualization of

ideas of engineering graphics), and attitude (interest in modes and opportunities of

visualization of ideas of engineering graphics).

6. DESCRIPTIVE GEOMETRY COMPETENCE

Analysis of the graphical competence concept made it possible to determine its

association with the basic competences and professional competences, and the

element of descriptive geometry competence was ascertained as one of criteria of

graphical competence (Fig. 1).

Fig. 1. Graphical competence in engineering sciences

In this research, the author calls descriptive geometry competence (as a

criterion of graphical competence) as a certain amount of knowledge of the

descriptive geometry study course (knowledge about regularities of space objects)

which is necessary for improvement of graphical skills (skills of object depiction and

transformation) being based on a developed spatial thinking (abilities to operate with

spatial images), and interest in regularities dealt with in the descriptive geometry

study course.

Also, criteria of descriptive geometry competence were determined: knowledge

of descriptive geometry study course, technical drawing skills of graphic

constructions applied in the descriptive geometry study course (depiction and

transformation of space objects), spatial thinking and attitude.

professional competence of engineering sciences

graphical competence

descriptive geometry competence

basic competences

Thinking

(spatial)

Skills

(graphical)

Knowledge

(graphical)

Attitude

(motivation)


7. RESULTS OF THE RESEARCH

The research was carried out as a qualitative one, and the nominal measurement

scale complies with it. Nine experts of the studied field from the Latvian University

of Agriculture, Riga Technical University, Daugavpils University, and Rezekne

Higher School participated in the study.

Basing on the theoretical investigations, several questions were formulated for

the experts comprising those of engineering professional, graphical and descriptive

geometry competence.

The questionnaire method was applied, and experts’ opinion was found out about

the component regularities and their significance of professional competences of

engineering sciences in the field of graphics. Experts’ opinion is presented in Figure 2.

1. Graphical competence is a significant component of professional competence of

engineering sciences;

2. Descriptive geometry competence is a significant component of graphical

competence;

3. Basic competences are a significant component of descriptive geometry.

Fig. 2. Evaluation of component regularities of professional competences

of engineering sciences

Also, the experts’ opinion was found out about criteria of each component,

which the author had chosen after theoretical literature studies. Experts’ opinion is

presented in Figure 3.

100

70

50

0

30

50

0 0 0 0

20

40

60

80

100

120

1 2 3

freq

uen

cy o

f re

spo

nse

s, %

totally agree

partially agree

disagree


1. The major criteria of professional competence of engineering sciences are

professional knowledge, professional skills, technical thinking and attitude;

2. The major criteria of graphical competence are graphical knowledge,

graphical skills, graphical thinking and attitude;

3. The major criteria of descriptive geometry competence are knowledge of

descriptive geometry study course, technical drawing skills of graphic

constructions applied in the descriptive geometry study course, spatial

thinking and attitude.

Fig. 3. Evaluation of competence criteria

In most part of experts’ opinion, it is possible to determine the level of a certain

competence by the given criteria (Fig. 4).

1. It is possible to determine the development level of professional competence

by described professional competence criteria of engineering sciences;

2. It is possible to determine the development level of graphical competence by

described graphical competence criteria;

3. It is possible to determine the development level of descriptive geometry

competence by described descriptive geometry competence criteria.

Fig. 4. Determination options of the competence level

100 90

80

0 10

20

0 0 0 0

20

40

60

80

100

120

1 2 3

freq

uen

cy o

f re

spo

nse

s, %

totally agree

partially agree

disagree

60

70 70

40

30 30

0 0 0 0

10

20

30

40

50

60

70

80

1 2 3

freq

uen

cy o

f re

spo

nse

s, %

totally agree

partially agree

disagree


Experts recommended adding quality and logical thinking criteria to those of

the descriptive geometry competence criteria, but the competence criteria of

engineering sciences – planning, organizational and self-evaluation skills.

8. CONCLUSION

Based on the obtained results of analyses of the competence structures, the

following element system was established:

1. Level of knowledge of the study course;

2. Level of skills within the extent of study course knowledge;

3. Development level of spatial thinking (cognitive abilities);

4. Level of attitude.

To determine the level of graphical competence it is necessary to determine

levels of all four elements of graphical competence system.

The highest level of graphical competence can be reached if the student knows

how to apply the acquired knowledge and skills into professional activity, i.e.

designing.

9. REFERENCES

1. Briede B. Problems of Reaching Competence During Studies at a Higher

School. Journal of Science Education, 2004, Nr. 5 (1), p. 8-12.

2. Garleja, R. Cilvēkpotenciāls sociālā vidē. Rīga: RaKa, 2006. -199 lpp. (in

Latvian).

3. Pamatkompetences. Jauns jēdziens vispārējā obligātajā izglītībā.

http://www.aic.lv/ar/gramatas/Eurydice_pamatkompetences_Latviski.pdf. 2002,

[access Jul 5, 2012]. (in Latvian).

4. Rauhvargers A. Veidojot kvalifikāciju ietvarstruktūru Latvijas augstākajai

izglītībai. Darba dokuments Latvijas mēroga diskusiju uzsākšanai.

http://www.aic.lv/bolona/Latvija/Atsev_prez/LV_FRame24012005.pdf. 2004.

[access Jul 12, 2011]. (in Latvian).

5. Gershunskij B. S. The Phylosofy of Education in the 21st Century. Moskow:

Sovershenstvo, 1998. -608 pp. (in Russian).

6. Kotochitova E. V. Psychological peculiarities of creative pedagogical

thinking. Summary of Candidate’s Dissertation in Psychological Sciences.

Yaroslavl: Yaroslavl State University, 2001. -24 pp. (in Russian).

7. Raven D. Competence in modern society. Identification, Development and

Implementation. Moscow: Kogito-Centre, 2002. -396 c. (in Russian).

8. Jutumova E. G. Formation of Geometric-Graphic Competence of Students of

the Technical Universities by Means of Computer Technologies. Thesis of

Candidate’s Dissertation in Pedagogical Sciences. Moscow: RGB,

2005. -212 pp. (in Russian).

http://www.aic.lv/ar/gramatas/Eurydice_pamatkompetences_Latviski.pdf




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SUPPLEMENT A

MATERIALS ABOUT THE EXIBITION

“ZANIS WALDHEIMS’ GEOMETRICAL ABSTRACTION”

ZANIS WALDHEIMS: GIVING MEANING TO

ABSTRACT ART – A NON CONFORMIST APPROACH

OR THE PATHWAY TO SELF-RELIANCE

BY YVES JEANSON

SUMMARY BIOGRAPHY OF

ZANIS WALDHEIMS (1909-1993)

BY YVES JEANSON

PARTIAL VIEWS OF ZANIS WALDHEIMS COLLECTION

GIVING MEANING TO ABSTRACT ART

BY YVES JEANSON




267/300

ZANIS WALDHEIMS: GIVING MEANING TO

ABSTRACT ART – A NON CONFORMIST APPROACH

OR THE PATHWAY TO SELF-RELIANCE

Yves JEANSON1

THE SCHOCK

In the mid 1950's Latvian immigrant Zanis Waldheims (Žanis Valdheims)

established in Montreal Canada in 1952, is beginning to build the foundations for a

method of orientation to recover from the tribulations of the times.

The post war events had made a profound wound on this humanist and lawyer

from University of Riga. He could not understand, why, in 1944 at the Yalta

Conference, the democratic occidental powers of the West had let go to the dictatorial

communists regime of the East, free, rich and democratic countries against their will

of which his native land Latvia that had fought and won its independence in the

1920s.

He could not understand what went wrong in the minds of the occidental

political leaders in their terrifying inability to foresee the consequences of their act

that degenerated in the cold war.

In this post war chaotic world, he will try to regain faith in human nature and

this will lead him to develop in the 1950s and 60s an original artistic and

philosophical approach oriented for the study and representation of ideas, that is to

say, the development of a visual and structural approach based on geometry and

mathematic as an abstraction.

A FIRST IDEA AND ITS HEURISTIC DEVELOPMENT

An idea from Maine de Biran, a French pioneer in psychology, “in the creation

of a map for human orientation” will trigger his quest for this map. Having a fertile

geometrical ability and imagination, he will draw in the margins of the scientific

books he read, geometrical figures to which he will associate meaning, that is to say,

geometrical figures such as the square, the circle, the diamond, the XY axis and the

point to represent concepts. A sentence from Edmund Husserl’s search in

phenomenology "that absolute reality corresponds exactly to a round square" will also

have a strong impact in the development of his ideas, He will use the “round square”

metaphor and transform it from the outside to the inside by a series of convex and

concave figures that will generate a series of primary geometrical forms such as the

circle, the diamond, the XY axis and the point. He will use this idea to represent the



notion of limits. He will also take form philosophy the concepts of extensive and

intensive, respectively the square as being extensive, and the point as being intensive,

it will also bring ground to his philosophical argumentation, that equilibrium lies

between two extremes which will be illustrated by the diamond figure. One can see in

Waldheims his large size colour drawings, the recurrence of the diamond.

He will finally push one step further into abstraction, by associating this idea of

extremes and limits, to words, that will bear for him the concepts of extensive and

intensive associated to geometrical forms to create ethical opposites and in a dynamic

intellectual process, find a meaningful word that will integrate the two extremes in

man’s quest for meaning.

WRITING HIS THESIS

After having experienced and structured his original approach towards the

understanding of knowledge in general, he will take, in the 1960s, a full time ten year

period to lay down his ideas on paper. Zanis Waldheims thesis is deployed in two

principal sections: the first section of twenty-two chapters with foreword, and thirty-

three figures; and a second section containing three hundred and fourteen small

graphics.

One can follow in the first section of the thesis, the intellectual structure he will

use to explain his model of orientation. Here are the titles: Geometrisation (9 pp.);

Extension and Intensity (7 pp.); The empirical plan (3 pp.); Order (8 pp.); The square

(2 pp.); The fundamental degrees (3 pp.); The limitation (2 pp.); Centration (2 pp.);

Complementarity ( 4 pp.); The exhaustion (3 pp.); Transformation (4 pp.); The

correspondences (1 p.); Totality (1 p.); The unit of sense (7 pp.); The unified sense

(8 pp.); The structures (2 pp.); The control system (5 pp.); The abstractions (7 pp.);

The symbolic sense (9 pp.); The grouping of words (11 pp.); The orientation principle

(8 pp.); The unification theory (4 pp.). He will have his thesis copyrighted in Ottawa,

Canada in 1970. This theory will be his pathway and model to self-reliance in his

quest for truth and security of existence.

THE FUTURE OF AN ABSTRACT IDEA

Geometrical forms and structures, the notion of limits in mathematics, 2D and

3D, colours and meaning in Waldheims art that seems to suggest that there is a

graphic language which is in a direct rapport with our psyche that intuitively perceive

harmony and beauty and that the future resides in the visualisation of ideas to make

man more conscious of the elements at stake in the approach toward the solution of

problems concerning mankind and as the great poet Goethe once declared “One

should draw more and more, write less and less”.


NATIONAL AND INTERNATIONAL DIFFUSION OF ZANIS WALDHEIMS

IDEAS

2006 The Frank Lloyd Wright School of Architecture, Scottsdale, Arizona,

USA.

2008 20th Biennial Congress of the International Association of Empirical

Aesthetics, Chicago, Illinois, United States of America. Title: Aesthetic and

Psychology into the Future. Followed an invitation at the Saratov State

Technical University in Russia in 2009.

2010 21st Biennial Congress of the International Association of Empirical

Aesthetics, Dresden, Germany. Title: Aesthetics and Design. Followed an

invitation to Chongqing Southwest University in China in 2011, and Taipei,

Taiwan in 2012 for the 22nd

Biennial Congress of the IAEA held at the

National Chiao Tung University.

2012 15th

International Conference on Geometry and Graphics at McGill

University, Montreal, Canada. ICGG 2012.

2012 OCMA (Ontario Colleges Mathematics Association) Orillia, Ontario,

Canada, with the collaboration of a mathematics teacher from Boreal

Community College in Sudbury, Ontario, Canada.

2012 Fields Institute, Toronto University, Toronto. Ontario, Canada, with the

collaboration of a mathematics teacher from Boreal Community College in

Sudbury, Ontario, Canada.

2013 BALTGRAF 2013, The 12th

International Conference on Engineering

Graphics, Riga Technical University, Riga, Latvia.

NATIONAL AND INTERNATIONAL ART EXHIBITIONS

1976 (February). First solo exhibition at the Lachine Public Library,

Lachine, Quebec, Canada. Title: The Up-motion of Consciousness. One

hundred drawings are exhibited. Yves Jeanson organiser.

1981 (November). Second solo exhibition at École de la Pommeraie in

Mont St-Hilaire, Quebec, Canada. A hundred drawings are exhibited, also a

dozen small Styrofoam sculptures. Yves Jeanson organiser.

1983 (November). Third solo exhibition at Collège Brébeuf in Montreal,

Quebec, Canada. Fifty original drawings are exhibited also fifty small

Styrofoam sculptures. Yves Jeanson collaborator.

1988 (November). Exhibition at the Latvian Community Centre in Lachine,

Quebec, Canada. Original drawings, bas-reliefs and mini-sculptures Yves

Jeanson collaborator.


1992 (November). Participation of Zanis Waldheims at the collective

exhibition L’Art populaire urbain (Urban popular Art) at the Maison de la

culture Frontenac in Montreal, Quebec, Canada, also held at the Lachine

Museum. Yves Jeanson initiator and collaborator.

2003 (November). Yves Jeanson, winner First Prize in sculpture at the Gala

Internationale des Arts Visuels, Montreal. Quebec, Canada. (Sculptural

reproduction in glass spheres of Zanis Waldheims original drawing # 142).

2004 (June). Exhibition of glass sculpture #142 in Pons, France.

2005 (January). Exhibition of glass sculpture #142 at the Kheireddine Palace

in Tunis, Tunisia, organized in collaboration with the Canadian Embassy in

Tunis.

2006 (November). Exhibition of glass sculpture #142 at the Frank Lloyd

Wright School of Architecture in Scottsdale, Arizona, United States of

America, (3rd Annual Design and Development Conference).

2008 (August). Poster session and exhibition of glass sculpture #142 and

poster session at the 20th Biennial Congress of the IAEA (International

Association of Empirical Aesthetics) in Chicago, Illinois, USA.

2010 (August). Poster session and bas-reliefs exhibition at the 21st Biennial

Congress of the IAEA (International Association of Empirical Aesthetics) in

Dresden, Germany.

2012 (May). Ontario Community Colleges Mathematics Association, Orillia

Ontario, Canada.

2012 (August). The 15th International Conference on Geometry and

Graphics 2012 at McGill University, Montreal, Canada.

2012 (November). Fields Institute, Toronto University, Toronto, Canada.

2013 (June) BALTGRAF 2013, The 12th


Engineering Graphics at Riga Technical University, Riga, Latvia.

PUBLICATIONS

1992 Article on Zanis Waldheims in an art book published in Latvia.

2003 (Winter issue). Article on Yves Jeanson’s glass sculpture #142 in the

Canadian arts magazine ESPACE SCULPTURE.

2010 (October). Yves Jeanson's name and glass sculpture #142 are

mentioned in the special issue of the Journal of the International Association

of Empirical Aesthetics.



271/300

SUMMARY BIOGRAPHY OF

ZANIS WALDHEIMS (1909-1993)

Yves JEANSON1

Sept 19, 1909: Birth of the twin brothers Zanis (Žanis) and Alfred (Alfrēds)

Waldheims (Valdheims), born in Jaunpils in the province of Zemgale in

Latvia, sons of Ernest (Ernests) Waldheims, (1881-1935) whose parents

were of Polish origin, and their mother of Latvian origin Pauline Kakstins

(Paulīne Kakstiņš), (1879-1954). His father’s parents had a Polish name

which ended by Sky. His father's parents died young, and his father Ernest

was adopted by a German family bearing the name of Waldheims. During

his military service in Germany, Ernest leaves and abandons his patron to

live free. The family lived in the region of Sloka until 1914.

June, 1915: His father is mobilized by the army of the Czar Nicolas II as foot

soldier during the war; the German Army had invaded the Latvia’s territory.

August, 1915: During the war, the family takes refuge at their uncle's place

who lives in St-Petersburg. They had fled the German Army offensive

launched on the city of Riga (Rīga). One of his uncles is in the surrounding

of the leaders of the future Russian revolution: Lenin, Stalin and Trotsky.

February, 1916: Death in Finland, of Elmars (Elmārs) his youngest brother

from the consequences of a bad pneumonia. In the flat where they lived, they

had to break blocks of ice in the morning in order to boil water.

October, 1917: Desertion of his father from the Russian army which is in full

dispersion. His father re-joins his family in St-Petersburg. Quarrels occur

between his father and his uncle due to diametrical differences in point of

view on political issues. His father is Menchevic (меньшевик), and his uncle

is Bolshevik (большевик).

Spring, 1918: Return of the family in Riga, in the midst of a famine. His

father must take refuge and hide in the forest, while his mother works in

German canteens to feed the family. She has to walk long distances twice a

day to go to her work.

November, 1918. Armistice. They leave the city of Riga to return to Sloka.

His father smokes fish which he sells or exchanges for meat and vegetables

from the farmers.

During the War of liberation of Latvia, his father returns to fight with

Latvia's Nationalists, against the Germans, the White Russians and the Red



Russians, who all want to seize Latvia. His father is put in prison for five

months in Jelgava. He is in prison with his brother-in-law who fights for the

Latvian communists. His father contracts typhoid fever. They think he is

dead. His brother-in-law is released from prison in exchange for prisoners.

1919: While the father is at war, the family lives on a farm in Dobele, where

Zanis, with his twin brother Alfred, work at the farm. Zanis is undisciplined.

Summer, 1923: Death of his twin brother Alfred at the age of 14 from the

consequences of a concussion. Zanis remains the only child of the family. In

primary school, at his age he is only in the third grade. Zanis draws portraits,

which he excels at so well, that he is introduced to a renowned Latvian

painter Karlis Ievins (Kārlis Ieviņš).

Summer, 1924: Death of his grandmother Anlyse (Anlīze) who played an

important role to save Zanis from his childish rickets. At birth, Zanis is so

small and weak, that he is put in a shoe box and in an oven which will serve

as incubator to save his life.

1925: Zanis spends part of his 5th school year, in a government subsidized

boarding school. The food is so vile, that he returns to his home.

1926: He begins his life in Riga, the capital of Latvia, as a labourer in the

construction domain. He lives at one of his aunt’s place, and goes to school

during the evenings, while learning to become a carpenter.

1927: Zanis works in the construction domain as a carpenter. His parents

join him in Riga, and he works with his father in the construction of bridges,

where in an accident, Zanis nearly drowns. He continues to study in the

evenings with the goal of finishing his secondary school.

1932: Zanis completes his military service in Daugavpils. He is

undisciplined. Excels at running.

May, 1933: Zanis finds a job at the Department of Waters and Forests for the

Latvian government. They urge him to end his secondary school which he

terminates in two years. Works as draftsman, surveyor and end up as a

statistician. He will work there until October 1944 at which date he runs

away from Latvia to go to Germany.

1935: Death of his father Ernest (1881-1935).

1936: Zanis enters at the University of Riga to study law.

June 1937: Marriage with Irene (Irēna) Migla, a nurse who saved his life

from the consequences of an infection after an appendicitis removal.

1938: His uncle is put in prison by Stalin's regime. See The Gulag

Archipelago II by Alexandr Solzhenitsyn (Александр Солженицын),

chapter 11. His uncle will survive prison and be freed.

April 1939: Birth of his daughter Valda. The couple enjoys Opera in Riga.

September, 1st 1939: Invasion of Poland by the German Army.

October 29, 1939: Invasion of Latvia by the Soviets.


June 1940: His uncle, who works for the Soviets, returns in Latvia for

political affairs. He sees his sister Pauline (Paulīne), the mother of Zanis,

and announces her deportations of Latvian citizens to Siberia. Zanis as well

as many other Latvians will see those trains of deportees to Siberia and will

be torn apart.

June 1941: The German Army attacks Latvia (operation Barbarossa). The

attack aborts a Soviet deportation of Latvians towards Siberia’s Gulags.

March 1942: Birth of his son Uldis.

1943: Complete occupation of Latvia by the German Army.

March 1944: Writes his last exams in Law Study at the University of Riga

but cannot obtain his diploma due to the turnover of the political situation,

and due to the marching of the Soviet army westward. He listens secretly to

free radio. He is politically engaged against the Soviet-Union, and predicts

the fall of the German Army and the future institution of a communist

dictatorship in Latvia. His working colleagues in the department of forests -

which for the majority are communists-intimidates him for his pro westerner

political positions about democracy, freedom of expression and liberty. They

nicknamed him Churchill.

October 1944: Flight of the family to the western part of Latvia. They leave

for the town of Liepaja (Liepāja) due to the occupation of Riga by the

Soviets. His mother is too ill to follow.

November to December 1944: He is forced to dig dug-outs for the German

Army in the region of Liepaja. Fellow countrymen by the hundreds that had

left in the morning are declared missing or dead in the evening. Fate played

in his favour one day on an occasion where he had to go and dig dug-outs.

He was called out from the departing truck because of an error in the spelling

of his family's name. Letter V was changed to W and the officer in charge

wanted to clarify the situation, the truck left in the meantime leaving him

behind. He receives his laisser-passer (pass, in English) to go work as a

forest worker in the Sudetes region in Czechoslovakia, a region that was

annexed by the Nazis in 1938 (Deutsch-Kralup).

January 1st 1945: The family boards a ship under control of the German

Army in Liepaja in direction of Pillau in East Prussia. The ship is struck by a

storm of freezing rain, and risks sinking. All hands are on deck to clear the

ice to prevent the ship from sinking.

January 3, 1945: With his laisser-passer, the family boards a train

accompanied by other Latvian families, and heads for the city of Komato in

the region of the Sudetes (Mountains of Czechoslovakia) where he works as

a forest worker for the Germans Army. During the travel, at a train stop, he

is urged by his wife to find drinking water for the children. He rushes out of


the train, seeks for water in the surroundings, the train leaves and he must

run to catch the leaving train.

February 1945: At Yalta Conference in Crimea Ukraine, "Western Allies",

handed over to the Soviet-Union, countries of the Eastern Europe which

where prior to this devolve, free, rich and democratic; amongst these

countries his small country of Latvia in the Baltic. Huge deception transpires

in his intellectual and social life. He fumes against the Westerners for this

universal treason.

May 1945: Towards the end of the war, which is imminent, he flees the

forced labour camp and takes refuge in Germany in the city of Karlsberg. He

is armed with a revolver. He is arrested by a German Army officer but since

he speaks German and Latvian he is not searched and he is let go.

July 1945: The family finds refuge in the city of Bamberg Germany, in a

camp under the control of the UNRRA – United Nations Relief and

Rehabilitation Administration – the organization of international solidarity

created in 1943 to allow immediate help to nations having suffered from the

war: repatriation of prisoners and transportation of convicts, distribution of

foods, clothing, raw materials, etc. In 1947, this organization ended its

activities.

November, 1945: Zanis is completely destroyed when he learns the

constitution of the court of Nuremberg to judge the Nazis war criminals. He

fully rebels against the fact that the allies American, British and French,

admitted the Soviet-Union at the panel of judges to judge the Nazis. He

considers the Soviets as the greatest criminals of all times. The millions of

deaths, the scheduled famine in Ukraine, were enough for convincing

whoever of their corrupt morality. For him, the communists had proved to

the face of the world, the cruelty of their regime, and now they were among

the members of the sample group of judges to judge other criminals. The

Westerners betrayed in his eyes, fundamental values of justice and

democracy; that it was real proof of alienation on behalf of the western

political leaders of that time, and the intellectuals who let this happen. Due

to this particular event, and his deceptive life experiences in general, he took

a firm resolution to try to understand how those complete act of madness

could have occurred from the occidental political leaders.

April, 1947: With a special permission from the American commander of the

camp UNRRA in Bamberg, he travels to Hamburg Germany, to fetch his

diploma from the University of Riga where the former dean of the law

faculty was now working at the University of Hamburg. He acquires a

countersigned document by the former secretary of the University of Riga,

and the Chancellor of the University of Hamburg. This paper will be of no

use, since he will never be able to practice law.


February 1948 to May 1949: Works for the Société des Aciéries de Longwy

in Thionville France with a lifelong friend Janis Rosberg (Jānis Rosbergs).

He temporarily leaves behind in Bamberg his wife and his two children.

Hard labour for a salary of chill famine. The cost of living in France is very

high. There is no possibility of renting a flat. He lives at 79, Route de Metz.

Problems with his employer arise when they make trade-union excitement.

January, 1949: Separation from his first wife Irene Migla and two children.

May 1949 to September 1949: With his waiver of exchanging places of

residence in pocket, he leaves the region of Thionville, to go to Paris with

Janis Rosberg his long-time friend, to find some work. They remain

unemployed for four months. They live at, 114 rue du Chemin Vert, Paris

11ième. They spend all their thin savings. As a last resort and in full despair,

they write to the delegate general of the International Organization for the

Refugees (OIR) to settle their administrative situation and complain, as to

the lack of help in assisting them to finding some work. They will be

supported for four months by the French Alliance. While not at work, they

spend their time studying French and visiting Paris.

June 1949: He meets Bernadette Pekss during a traditional Latvian holiday –

the Summer Solstice (Jāņu diena). Bernadette works for a French family, as

a seamstress and domestic. Bernadette's situation is similar to Zanis’s. She is

a Latvian refugee from Ludza near Rezekne in eastern part of Latvia

(Latgale). Her family (Mother, oldest brother and priest Alexander, three

sisters) fled the Soviet regime. Her father had died from a Soviet bomb that

fell on his barn. Zanis and Bernadette will vaguely remember having seen

each other in Liepaja in late 1944. Bernadette's husband, Janis Gorbunovs

had been put into prison after the fall of Stalingrad while fighting for the

German Army (SS Latvian). Gorbunovs at the end of his jail sentence in

1949-50 was not able to join his Bernadette in France because Soviet-Union

was a prison of nations. Bernadette had no choice to stay in France as she did

not want to go and live under the dictatorship of the communist regime.

Gorbunovs was a talented professional artist painter before the war.

September 1949, to January 1950: Zanis works for the Société des Forges et

Ateliers du Creuzot, as a manoeuvre thanks to Bernadette Pekss's patron who

is an ex officer of the French aviation. He moves to 13, rue du Château in

Neuilly in the suburb of Paris.

October, 1949: His first wife leaves with her two children for Grand Rapids,

Michigan in the USA. She will work as a nurse.

January 1950: Zanis changes job. He works as trempeur-recuiseur (soaker-

annealer, in English) at Ateliers Partiots-Cémentation in Reuil-Malmaison,

France (annealing metal shop). Changes address again and moves to 42 Rue

Joseph Maistre in 18th arrondissement in Paris. His long-time friend,


Rosberg leaves for Canada and goes to Ottawa to stays a short period of time

at his brother-in-law’s place Edgar Jaunzemis.

October 1951: Zanis receives, from the Cunard Steam Ship Company, a

ticket for Canada, which was bought by Edgar Jaunzemis, the brother-in-law

of Rosberg living and working in Ottawa. He hurries to fetch an official title

of identity from the French authorities, to immigrate to Canada.

At the end of 1951: All of his belongings are stolen. Zanis suffers a huge

deception.

January 1952: Takes de decision to write his diary in French. (See artefact

1952-1993) He will write in his diaries all about his intellectual life,

struggles, joys, deceptions, Montreal's and Canada's culture and political life

and critics.

February 9th, 1952: Zanis boards at Le Havre France, the passenger ship SS

Scythia in the direction of Halifax Canada. He arrives on February 16th.

Upon his arrival he is greeted with a huge snowstorm. He took the train for

Montreal, then for Ottawa, and headed over to his friend's Rosberg place.

March 1952: Thanks to Jaunzemis, who is a machinist, he finds work in

Ottawa as a metal polisher (Capital Metal Works). He is laid of a short time

after because the employer realizes that Waldheims does not have the

required qualifications.

April 1952: Waldheims and Rosberg abandons Ottawa, and travel to

Montreal to find a job. They find a job at 0.85 cents an hour as manoeuvre in

a transhipment company of loose goods. (Alexander Warehouse on Colborne

Street). His work gives him a lot of spare time during work hours, so he can

read during the day. He will work at Alexander Warehouse for ten

consecutive years until he will decide to drop off the job and go after his

ideas.

1952: Begins systematically his long intellectual quest in his existential

question from the disastrous conclusions of the Second World War. Reads

all the major novelists (French, German and English authors). He is

surprised that many great French novelists are not published in Canada.

May 1953: Bernadette Pekss, 43 year old, boards in Le Havre France, the

Cunard passenger ship SS Samaria in the direction of Quebec City. Once

arrived, she will take the train for Montreal. At her arrival, Zanis awaits her

at the central train station. A great emotional moment for both. She will

work through-out her life, as a seamstress at small wages, which will

aggravate her asthma problems.

1954: Death of Zanis's mother Pauline Kakstins (1886-1954).

1956: He begins the elaboration of his ideas on geometrization inspired by

Maine of Biran (the making of a map for intellectual orientation). He reads

many many scientific authors in many domains such as cosmology Weyl-


Minskowski (idea on the parameters of a relative world) and in philosophy

among others E. Husserl (phenomenology) to quote only the main. He will

draw four years later his first "systematic plan". Extensive reading of the

scientific authors: Bergson, Beth, Piaget, Blanché, de Broglie, Cassirer,

Chambal, Chauchard, Couturat, Goldstein, Guichard, Guillaume, Hartman,

Heidegger, Heisenberg, James, Kant, Koehler, Lewin, Lupasco, Poincaré,

Ruyer, Russell, Weizsaecker, etc. who will be of great use as the base for his

further intellectual genesis that will lead him towards geometrical

abstraction.

1953-1961: Works very hard in the daytime as a manoeuvre at the

warehouse; works extremely hard in the evening at home in his research on

geometrization, even though his back is broken by the hard work and pain.

He will work with doggedness during his weekends and on his days off also.

In 1956, he developed the first sketches. Numerous problems with his first

wife in Grand Rapids Michigan that continually asks for money for her and

her two children.

1953-1961: Numerous correspondences with Latvian compatriots living in

Paris (Ilmar Anckaitis and Nikolajs Parups).

1960: He deploys the first "systematic plan" which will be the angular stone

of his metaphysical "invention". He will elaborate some 10 years later, his

theory of the “geometrization of the exhaustive thought”.

Note: The "systematic plan" will be more or less at that time, a square on

which will be integrated a set of concepts taken out from different scientific

sources with regards to the human nature. His domains of readings are

sociology, psychology, pure sciences, mathematics, biology, anthropology,

philosophy. The plan will include concepts of space and time; sensibility and

intelligibility; matter and energy. The left, the right, the top, the bottom of

his drawings, will all have their meanings. Other concepts are added:

transformation; outside, inside; input and output; extension and intensity;

middle term on which he will come to develop his main ideas on philosophy

where he will step directly in formal logic to contest its inhumane way of

treating mankind. (One or zero, Yes or no, right or wrong).

Between 1961-1972: Quits his job. He wants to dedicate himself full-time on

his ideas on geometrization. Very difficult period of time for ten consecutive

years. Only one income was being brought in by Bernadette who paid for

everything: food, rent, clothing, heating, books, colour crayons and paper, et

cetera. Bernadette on top of her hard work suffered from the disapproval of

her in-laws now living in Montreal (1955), and from her oldest brother

Alexander who was a catholic priest. He condemned their illegitimate

common life since 1953. In order not to rupture, in their moments of great

despair and isolation whether social or intellectual, their union remained


strong and nothing could disrupt their love for one another. Zanis’s only

reward was his hard intellectual work, and the very small progress he made

in his ideas, progress which gave him immense intellectual satisfaction,

which also gave him the impression of being a pioneer in this adventure

aiming at the rehabilitation of moral values. He wanted the world to be a

better place, by inviting individuals to study his system of geometrical

analysis and aesthetics, to direct people in becoming artists and philosophers

themselves, and be more critical toward their programmed mind sets.

1963: He terminates a paper which he entitles “The Description of the Plan

of the Understanding”. This work is to be a detailed description of his

thoughts in thirteen chapters and 243 geometrical figures. This paper

includes a preface of four pages, and an explanatory text of 16 pages.

June 1963: He writes to the ambassador of France in Canada, of which a

letter for Charles de Gaule, president of the French Republic. He wishes to

seek the help of the French state to contact Professor Paul Chauchard,

whose work he appraises immensely. Professor Chauchard was during this

period Director of Studies at the School of the High Studies in Paris.

November 5th, 1963: He writes to Professor Paul Chauchard, and mentions

the immense respect which he has towards his high scientific morality. He

seeks his collaboration for his research. No answer. The end.

November 2nd, 1963: Marriage of Zanis and Bernadette in an Anglican

Church in Montreal.

1964: He writes a text "Exposition de mon projet”. He describes the purpose

of his project of geometrical abstraction. Good text. Also includes his

"Summary of my researches on the problem to build a geometrical system of

understanding, psychology and epistemology” (17 pages). Included are also

examples in 13 original drawings, one drawing per page with notes and

descriptions.

June 1964: He seeks the Canadian Company of the World Fair of 1967, with

the goal of proposing an exhibition project of his ideas and works. He thus

begins a correspondence which will result in many frustrations, and of their

refusal in April 1966, pleading that “…the time regrettably too short allows

us no change in the scenario of our pavilions, and secondly, the public who

will visit Expo 1967 is not specialized enough to appreciate these researches

far too technical”.

November 1964: With his savings fading rapidly, he makes a demand for

help at the Ministry of the Cultural affairs of Quebec, which replies denying

his request in February 1965, insisting that they could not help him "for the

moment". The end.


February, 1965: Seeks the director of the Museum of Contemporary Art of

Montreal with the aim of receiving help. Brief correspondence which

resulted in nothing. The end.

1960 -1965: Produces a set of 70 drawings 660×600 mm. Number 51-122.

February 1966: Consults an office of brand mark in Montreal with the aim of

patenting what is his invention. He is answered, that it is impossible to patent

such intellectual inventions. That patent cannot apply, except in the

mechanical or similar or chemical inventions. They suggest, all the same, to

obtaining a copyright on the description of his creation at the sum of $75.00

for registration fees. NOTE: in the statement of his idea to the office of

brand mark, he writes of an "art which looks for the harmony between the

beautiful and the truth in knowledge, as well as for the understanding

between the good and the fair”.

February 1966: Seeks the National Research Council of Canada. He sends

the same letter as the one sent previously to the office of brand mark. He

receives an answer, which suggests that he should try to discuss his ideas,

with some members of the Faculty of Psychology of the University of

Montreal.

Corresponds with his daughter Valda, who lives with her mother in the USA.

She wants to promote the ideas of her father at the University of Michigan.

No success.

March 1966: He writes to doctor Wilder Penfield, of the Montreal

Neurological Institute and Hospital, to ask him for his views on his research

work. Doctor Penfield replies amiably, that he cannot take charge of such

work, because he has other professional commitments but he makes the

effort to clarify in his letter: “Your very interesting manuscript has arrived

and I have looked through it with admiration for the care and the study that

you have shown, I unfortunately cannot give this work the attention it

deserves”. This letter will comfort him enormously, and will give him the

courage to continue in spite of its new disappointment.

March 1966: He writes to Doctor Donald O. Hebb, of the department of

psychology at the University of McGill to solicit his point of view on his

research work. Doctor Hebb answers is a refusal, as he is too engaged in

other works, however he too is very encouraging by writing him: “I have

read far enough to realize that this has a profoundly different approach from

any current theory, which means that it will require close attention and take

much time for its mastery and thus, I will be unable to study your work and

the elaboration of the ideas inherent in your beautiful designs”. Another sign

of encouragement, but still no assistance.

1966: Quarrel with the The Arts Council of Canada, which he had sought out

following an article which appeared in the La Presse newspaper, announcing


subsidies to artists of any disciplines. Having sent all the documents of his

theory and a set of drawings, also his curriculum vitae, they refused to help

him. End.

1966: He writes a text “Summary of the Principles of a Method”, a thirty

pages document on geometrical abstraction. He also includes 10 original

geometrical figures, and the name of the scientific authors and their works,

which he mostly used to elaborate the principles of the geometrisation. Ex:

Bergson, Blanché, Cassirer, Guichard, Hartmann, Heidegger, Heisenberg,

Husserl, Jung, Kant, Ruyer, Russell, Whitehead, Ashby etc...

1966: Produces a set of 12 drawings. 660×600 mm. Numbers 123 to 134.


Drawing number 142, “The Up Motion of Consciousness” is a turning point.

This drawing was inspired by the palaeontologist Pierre Teilhard de

Chardin, and the perception psychologist R. Arnheim in his book “A

Psychology of Art”.



1970: Immense year. He submits, on October 28th, 1970, at the Office of

Copyright in Ottawa, a request for a copyright for his theory on

geometrization. Recording number 66-217575 as a not published literary

work. Masterful work composed of 229 pages divided in three sections. He

develops in the first chapter, the ideas which composes his theory on

geometrical abstraction; in the second chapter, he describes his approach to

geometry and the differences from the Euclidian approach, and the third

section is dedicated to illustrate in 314 geometrical figures, its abstract

universe. This last section is also the last complete revision of its model

which is developed from 282 figures to 314 figures. Also, numerous notes on

the elaboration of the chapters, which composes its geometrization.

1970: No art production.

1971: Produces a set of 13 drawings. 660×600 mm. Drawings number 237 to

250.

1972: With the help of a Latvian compatriot (Mister Khön), he finds a job as

a mail man in a big construction company in Montreal (BG CHECO

Engineering).

1972: Contacts an American agency of patent, for its entitled invention “The

Geometry System of Exhaustive Thinking”. No results.


273.

March 1973: Fills a form with the intention of contacting a Quebec agency

of patent, to solicit their interest into developing a "rather theoretical"

invention. Several correspondences, with no continuation. End.


1973: Produces one drawing. 660×600 mm. Drawings number 274.

July 1974: Meets Yves Jeanson (23 years old), who works for the same

company, as an apprentice electrical designer for merchant marine and navy

vessels.


285.

1975: Begins his first book of sketches. 145 pages included with notes.


302.

February 1976: Under Yves Jeanson's initiative, he exhibits for the first time

ever, 100 of his large size drawings at the municipal library in the city of

Lachine. Jacques Beauchamp, the director of the library, writes in the local

newspaper, Le Messager, “… the name of Waldheims maybe wants to say

nothing for us, but who imports the name when the work speaks for itself...

His geometry is similar to the “hard edge" style but still goes farther. The

forms are more supple and more aesthetic... Waldheims has made a success

in the happy association between the shape and the colour, in an

unprecedented visual experience”. In this exhibition, the very first, and one

could see exposed 104 drawings The title of the exhibition was: “Exhibition

of an Integral Art”, and on the title page of a small leaflet, he had redrawn

the shape which he had entitled “The Up Motion of Consciousness”

(Drawing number 142).

Autumn 1976: His employer forces Waldheims to retire from work.


312.


354.


391.


411.

1980: Begins his second book of sketches. 113 pages, including notes.


444.

November 1981: Under Yves Jeanson's initiative, he exhibits his works in an

elementary school in Mont St-Hilaire, Québec, Canada. An exhibition which

was prepared for the children of an elementary school, in association with a

teacher. Great success and curiosity by the pupils. Drawings and sculptures

were exhibited.


478.


September 1982: Exhibits his works and some of his miniature sculptures at

the College Jean de Bréboeuf in Montreal, Canada


507.

1983: Begins his third book of sketches. 119 pages including notes.


550.

1984: Produces a set of 42 drawings. 660×600mm. Drawings number 551 to

593. Writes for the members of the University of Old Age, of which he is a

member, a small interesting work on Wilhem Ostwald, a Latvian ex-fellow

countryman, and Nobel Prize winner in Chemistry in 1909, to demonstrate

that at any age it is possible to realize great projects. The paper is about

colour.

September 1985: Begins with Yves Jeanson, a baccalaureate program in

philosophy at the Université du Quebec in Montreal.

September 1985: Learns the death of his first wife Irene Migla.


618.

1986: Produces his last set of 5 drawings. 660×600 mm. Drawings number

619 to 623. Leaves for Europe to visit his godchild who lives in Western

Germany. Also travels to England to visit his cousin Lilly.

1987: Prepares a 50 page paper, where he sorts out his concepts to generalize

them even more. A section prepared with an introduction expressing what is

the geometrical unity of senses; carries on in a set of four drawings to

illustrate the decomposition of the Euclidian square into a round square,

(idea taken from the phenomenology of Husserl); gives an explanation in 23

particular figures how to understand his geometrical abstraction. He will

introduce a new approach by illustrating certain concepts in the form of

Cartesian geometry.

September 1988: He gets his baccalaureate in philosophy from the

Université du Quebec in Montreal. His results are: 7 A’s, 15 B’s, 6 C’s, 1 D

and 2 E’s.

1990: Writes a small paper, where he explains the main history behind his

artistic and philosophic method. Excellent poignant text, he also includes the

most significant sentences that impressed him: Maine of Biran, Goethe, René

Huyghe, Benda, Leonard de Vinci, Moles, Husserl, Whitehead, Read,

D. Donis, Broglie, Brion, Poincaré, Piaget, Vasarely and gives a rather

exhaustive bibliography of the main authors whom he read.

Spring 1991. Under Yves Jeanson's instigation, he begins to rewrite his

entire thesis of the geometrization of the exhaustive thought. He will work in

association with Yves Jeanson, who will correct his texts to have a better


comprehensibility. His final thesis makes twelve chapters, for a total of

about 450 pages including various drawings.

May 1992: Under Yves Jeanson's initiative, Zanis participates at an art

exhibition at the Maison de la Culture Frontenac in Montreal. Title: Art Brut

organized by Mrs. Pascale Galipeau, conservator and ethnologist. He gives

a conference on his art and his ideas.

July 1992: The Second phase of the exhibition “Art Brut” is held at the

Lachine Museum. Exhibition of original drawings and Styrofoam mini-

sculptures also Yves Jeanson’s 3D steel balls sculpture of collection drawing

# 142.

March 13th, 1993: Catholic marriage of Zanis and Bernadette in the church

of St Louis de France, Montreal Canada. First signs of cancer which will

bring him to his death.

July 19th, 1993: Death of Zanis Waldheims. He is buried in the cemetery of

the Côte des Neiges in Montreal. Land registry number L341.

June 23rd, 2002: Death of Bernadette Pekks at the age of 91 years old.

January 1st, 2009. Christopher Valdheims. 32 years old, law student at

UCLA in California, discovers by chance on the WEB, the story of his

grandfather Zanis Waldheims. During a search for his roots on the web, he

modifies letter V of his last name, for letter W, and fell on Yves Jeanson’s

promotional site on his grandfather Zanis. Christopher Valdheims, Valda

Valdheims’s son was adopted by the Tobin family while he was young. His

name will be changed for Jonathan Tobin.

June 2009. First visit of Jonathan Tobin in Montreal, Quebec, Canada.

August 2012. Second visit of Jonathan Tobin (now a California Lawyer) in

Montreal.

--------------The END-----------

Revised in April 2013, by Yves Jeanson, Montreal, Quebec, Canada.

Website: http://www.waldheims.net. e-mail: [email protected]




285/300

ZANIS WALDHEIMS ARTWORKS

GIVING MEANING TO ABSTRACT ART

Yves JEANSON1

PARTIAL VIEWS OF THE COLLECTION (1960S)







ZANIS WALDHEIMS MASTER PIECE DWG # 142 (1967)


YVES JEANSON 3D PYREX GLASS REPRODUCTION (2001)

OF ZANIS WALDHEIMS MASTER PIECE DWG # 142




291/300

SUPPLEMENT B

SOLIDWORKS 3D CAD FOR STUDENTS

AND EDUCATION FOR REWARDING CAREERS




293/300

SOLIDWORKS 3D CAD FOR STUDENTS

AND EDUCATION FOR REWARDING CAREERS

What means 3D modelling?

3D modelling is the process of developing a mathematical representation of

any three-dimensional surface of object (either inanimate or living) via specialized

software. The product is called a 3D model. The model can also be physically created

using 3D printing devices.

What is the best solution for the creation 3D models?

Powerful, easy-to-use design capabilities combine with a range of tools for

drawing, design analysis, cost estimation, rendering, animation, and file management

to create an intuitive system for developing innovative products, and make customers

more productive, lower costs, and accelerate their time-to-market.

With SolidWorks you design better products

faster

When you have an idea for a great product,

with SolidWorks 3D CAD you'll have the tools to

design it in less time – and at lower cost.

SolidWorks is a complete 3D CAD design

solution, providing product design team with all

the mechanical design, verification, motion

simulation, data management, and communication

tools that they need. SolidWorks 3D CAD

software offers three packages to speed design

process and make designers instantly productive.

SolidWorks Standard

SolidWorks Standard delivers robust 3D design capabilities, performance, and

ease-of-use. You can create parametric parts, assemblies, and production level

drawings, moreover, you have all the needed tools to generate complex

surfaces, sheet metal flat patterns, and structural weldments. It also includes

wizards to automate designs, perform strength tests, and determine the

environmental impact of components.


SolidWorks Professional

SolidWorks Professional gives you all the power of SolidWorks Standard but

with additional capabilities that increase productivity, ensure accuracy, and help

you communicate all design information more effectively. Includes libraries of

standard parts and fasteners, tools to automatically estimate manufacturing cost.

Your designs can be realistically rendered with PhotoView 360 software and

shared with the eDrawings Professional package, an easily deployed tool that

lets everyone view, measure, and mark-up the design data.

SolidWorks Premium

SolidWorks Premium is a 3D design solution that adds to the capabilities of

SolidWorks Professional with powerful simulation, motion and design

validation tools, advanced wire and pipe routing functionality, point cloud data

import and much more. Rich simulation capabilities let users test product

performance against real life motion and forces. Extended toolsets help layout

and document electrical wiring, piping, and tubing, and let you quickly

incorporate PC board data into the 3D model.

SolidWorks Education Edition Software

A 3D design teaching tool for Educators teaching at all levels. SolidWorks

Premium software comes packaged with a full curriculum and interactive courseware

to help educators provide the best training for their students.

What SolidWorks Education Edition includes?

SolidWorks® Premium Software

SolidWorks® Simulation Premium

SolidWorks® Motion

SolidWorks® Flow Simulation

Complete Curriculum, including a Teacher Guide and Student Guides, that

makes teaching easier at every level

Extensive interactive Courseware projects

Access to our online educational community, plus our library of articles,

tutorials, product resources, and more

http://www.solidworks.com/sw/products/mechanical-engineering-cad-software.htm

http://www.solidworks.com/sw/products/10172_ENU_HTML.htm

http://www.solidworks.com/sw/education/educational-resources-3d-cad.htm

http://www.solidworks.com/sw/education/educational-resources-3d-cad.htm


What are the benefits?

Full capabilities for 3D design, simulation, sustainability, documentation,

and analysis

Access to standards-based curriculum and industry-recognized assessment.

Transform ideas into models, drawings, photorealistic renderings, and

animations

Easy to learn and use at any level, from elementary school through high

school to the college and university level

Empower students to focus on learning principles of engineering

SolidWorks Student Access Initiative allows students to hone skills outside

the classroom

SOLIDWORKS CERTIFICATION

In today’s competitive job market, CAD professionals need every advantage

they can get, and the SolidWorks® Certification Program gives your students a

proven edge. With SolidWorks Certification, students will demonstrate their expertise

with SolidWorks 3D solid modelling, design concepts, and sustainable design and

their commitment to professional development. SolidWorks Education Program

offers the following certifications:

CSWA

Certified SolidWorks Associate (CSWA) certification is intended for an

industry professional or student with a minimum of six to nine months of

SolidWorks experience and basic knowledge of engineering and

fundamentals and practices.

CSWP

Certified SolidWorks Professional (CSWP) is an individual who successfully

passes our advanced skills examination.

CSDA

Certified Sustainable Design Associate (CSDA) demonstrates an

understanding of the principles of environmental assessment and sustainable

design.

CSWSA – FEA

Certified SolidWorks Simulation Associate – Finite Element Analysis

(CSWSA – FEA) certification indicates a foundation in apprentice

knowledge of demonstrating an understanding in the principles of stress

analysis and the Finite Element Method (FEM)


Student experience. First story.

Lycée René Perrin, a French vocational technical school, used SolidWorks

Education Edition software to team up with schools from Germany, Hungary, and

Spain to produce functional replicas of the Airbus A380 jet as part of the BAC Pro

Machining Technician (TU) program.

Challenge:

Equip students at four

European vocational technical

schools to design and build four fully

functional, 1:32 scale replicas of

Airbus A380 jets as part of the BAC

Pro Machining Technician (TU)

program.

Solution:

Leverage SolidWorks

Education Edition software to

execute every step of the project,

from initial design and modelling to

testing, simulation, and

manufacturing.

http://blogs.solidworks.com/.a/6a00d83451706569e2017ee84769a8970d-pi

http://blogs.solidworks.com/.a/6a00d83451706569e2017c36a425cd970b-pi


Results:

• Assembled and flew four mini Airbus A380 jets

• Drove teamwork across four vocational schools

• Supported two-year TU study project

• Facilitated cross-institutional collaboration

Second story.

Children from the Netherlands use

SolidWorks to Prepare for FLL Robot

Competition. As children from the Netherlands,

ages 9-12, prepare for the First Lego League

(FLL) robot competition, they face many

challenges in design methodology, physics,

teamwork and planning. With the help of Bas

Kooman, Technical Director from SolidWorks

Reseller, these children experience how

SolidWorks helps in the design process.

Bas uses real world example from

SolidWorks commercial customers and takes the

children through a problem of letting the LEGO

robot move along a prescribed path. Due to

several parameters like part tolerance, kinematic

behaviour of the servo motors, and friction-

effects of the table, the robot always deviates

from the ideal path. With the help of SolidWorks

Motion, an event – based software application,

the children learn how to simulate the robot’s

behaviour and deal with the problem.

http://blogs.solidworks.com/.a/6a00d83451706569e2017c3209d8bd970b-pi


The children will also explore model rendering and engineering drawings to

help with the design documentation required for the competition.

http://blogs.solidworks.com/.a/6a00d83451706569e2017c3209da94970b-pi


Hope to meet you again at the

13th

BALTGRAF

in Lithuania on 2015

SCIENTIFIC PROCEEDINGS OF THE 12

TH INTERNATIONAL CONFERENCE ON

ENGINEERING GRAPHICS BALTGRAF 2013 ISBN 978-9934-507-30-4

Editor M. Dobelis

RIGA TECHNICAL UNIVERSITY 2013