L'accroissement de la demande en contenu virtuel, tant en termes qualitatifs que quantitatifs, révèle de nouveaux défis scientifiques.Par exemple, la génération et la manipulation de formes 3D et d'animation sont particulièrement difficiles.Les méthodes modernes contournent ces difficultés en proposant des approches basées sur des algorithmes d'optimisation.Ces derniers utilisent des connaissances a priori sur les données à manipuler afin de générer de nouvelles données satisfaisant des contraintes dictées par l'utilisateur.De tels outils présentent le désaventage d'être indirects, couteux, et non génériques, ce qui limite la liberté artistique de l'utilisateur en le contraignant à de nombreux essais.Les objectifs de cette thèse sont pluriels.D'une part, elle vise à améliorer le contrôle de l'utilisateur en proposant des méthodes de manipulation interactives et directes.D'une autre, elle cherche à rendre ces méthodes capables de manipuler des contenus plus variés en proposant des outils novateurs et génériques.Plus précisément, cette thèse introduis trois méthodes de modélisation d'objets 3D.La première est une méthode basée exemple de génération d'objets composites caractérisés par l'adjacence de leur sous-parties.La seconde propose une interface de types "peinture" pour décrire les distributions d'objets dans une scène 3D.La troisième étend le princides des grammaires génératives à la déformation d'objets hiérarchiques.Nous proposons également deux méthodes de modélisation d'animation.La première offre de modéliser des scènes natuelles de cascades grâce à des controlleurs vectoriels.La seconde permet de sculpter une animation de liquide en manipulant directement ses éléments spatio-temporels saillants. / As virtual content continually grows in quantity and quality, new challenges arise.Amongst others, generating and manipulating 3D shapes and animations have become intricate tasks.State of the art methods attempt to hide this complexity through complex tools, which exploit content semantics for running optimization procedures, yielding constraint matching outputs.However, the control offered by such methods is often indirect, object-specific, and heavy, which imposes long trial-and-error cycles and restrains artistic freedom.The focus of this thesis is twofolds:First, improving user control through interactive and direct content manipulation;Second, enlarging the spectrum of manipulable content with innovative or generic content representations.We introduce three new mehods related to 3D shapes design:A part-based modeling tool allowing to generate assembly shapes with semantic adjacency constraints;A painting tool for distributing objects in a 3D scene;And a grammar-based hierarchical deformation paradigm, enabling the interactive deformation of complex models.We also propose two methods related to the design of animated contents: A vectorial editing tool to synthesize consistent waterfall scenes;And finally a sculpting method enabling to design new liquid animation from examples.

Neste estudo é apresentado um procedimento de análise de dados magnéticos em casos de presença de magnetização remanente para, ao final do processo, a realização de uma inversão mais rápida e fiel ao comportamento do alvo em sub-superfície. O procedimento é composto por seis passos: (1) Delimitação lateral do alvo; (2) Estimativa de suas profundidades; (3) Estimativa das direções de inclinação e declinação aparentes de seu vetor de magnetização total; (4) Modelagem inicial com inferência de valores de susceptibilidades oriundos de estudos geológicos anteriores sobre o alvo e/ou sua região; (5) Inversão dos dados magnéticos utilizando o modelo inicial; e (6) atribuição das características magnéticas do passo (3) sobre o modelo de contraste de susceptibilidade magnética obtido com a inversão para a modelagem final do alvo, conhecendo-se seus vetores de magnetização induzida, total e, por subtração vetorial de ambos, remanente. Este procedimento foi aplicado a 108 casos sintéticos e a 8 casos reais pertencentes às províncias ígneas do Alto do Paranaíba e Rondoniana-San-Ignácio. Os resultados do uso deste procedimento indicaram uma recuperação das direções das componentes de magnetização com erro menor que 10%, em casos sintéticos, uma redução de mais de 20% no tempo de inversão com o uso de modelos iniciais, e qualitativamente, apresentaram modelos mais próximos dos originais (nos casos sintéticos) e geologicamente factíveis nos casos reais. / In this study, we present a procedure of analysis of magnetic data when remanence is present in order to, at the end of the process, obtain an inversion faster and more reliable inversion. The procedure is composed of six steps: (1) Estimation of the borders of the target; (2) Estimation of its depths; (3) A sweeping for the total apparent inclination and declination directions; (4) Initial modeling of a synthetic body, based on the recovered geometry and depth, on the directions of inclination and declination of the total magnetic field, and on previous analysis of the target and/or its region; (5) Inversion of magnetic data using the initial model; and (6) Attribution of the magnetic features of step (3) to the model recovered by the inversion for a final modeling of the target, estimating as well its remanent magnetization; the last through the vectorial resultant of the induction and total magnetization subtraction. This procedure was applied to 108 synthetic and to 8 real cases from the Alto do Paranaíba and Rondonian-San Ignacio Igneous Provinces. Their results pointed out that the error between the recovered directions of the magnetization components and the original values, in synthetic cases, was smaller than 10%; The inversions had their processing-time reduced in more than 20% and, qualitatively, presented models were more similar to the original (synthetic cases) and geologically feasible (real cases).

3D models have been widely used in many areas since decades ago. When BIM (Building Information Modelling) and VR (Virtual Reality) become popular recent years, 3D model, as an essential part of it has been frequently asked or even required, which is both a challenge and opportunity to a surveying engineer.   Through investigation of three different alternatives to create 3D models: image based, terrestrial laser scanning based and airborne laser scanning based modelling, the author aims to help a surveying engineer to choose the proper method and tool. Workflows, costs and applications have been discussed for each approach and the results show that image based modeling is most time and cost efficient but with lower accuracy which is suitable for visualization while thanks to the high resolution of data capture, terrestrial laser scanning based modeling can be utilized for detailed as-built modeling or BIM. The weakness of such method is the high initial cost and much time demanded; for large area city modeling, the airborne laser scanning approach is the most efficient way with limitations of the low level of details and expensive equipment.   However, it should be critical to understand that there is no automatic way to reconstruct a controllable 3D object at present. Due to the limited accessibility of equipment, the photogrammetric 3D building reconstruction method is not included in this study and thus, a future study may continue with this method. 3D object may be converted to a format that can be used in BIM, such kind of format exchange can be an interesting topic for further study.

"3D Digitized Romanesque Ermita in Virtual Reality" is a digital exploration of the historical, architectural, and cultural significance of a medieval Romanesque church in Valladolid, Spain. In this project, I recreate Iglesia de Nuestra Señora de la Anunciada, a reconstructed Catholic monastery. A digital replica of the church, produced by photogrammetry in the summer of 2014, has been created in a virtual environment and is experienced through immersive technologies. The use of a head-mounted display is a wearable device in which users view environments three dimensionally, while a Qualisys motion tracking system allows users to physically walk through the virtual world. Additionally, this project explores the potential for the use of virtual reality as a learning tool in classroom and museum settings. / Master of Fine Arts

"Fabricated Preservation" aims to push the boundaries with traditional theses, creating a multi-layered experience that blends fact and fiction through a performance that centers around environmental storytelling in virtual reality. The experience questions the balance of theatrical elements in traditional storytelling which forefront text and human characters over architecture, props, and environment, and critically examines how an environment can play a crucial role in a narrative. The narrative itself focuses on one question: if a genealogy company had access to past environments via time travel, what new information could we learn about our ancestors?  The normal perceptions of a "game" are challenged, introducing real world elements to trick the audience and subtly influence how they navigate a virtual space. A complex fictional character is introduced through the performance and developed through the environment, with the hopes that the audience will gain some emotion toward them: either connecting with the character as if they were a close friend, or feeling unsettled that they observed the character's realistic personal space. This voyeuristic theme weaves its way through each layer of the storytelling, poking at the audience's morals with the hopes that they will question the experience around them.  Above all, the main goal of Fabricated Preservation is to challenge the audience to mentally engage with the virtual experience, by paying attention to the details of their environment and constructing their own version of a narrative from those details. / Master of Fine Arts / Fabricated Preservation examines how an environment can play a crucial role in a narrative. An environmental story was created that centers around a fictional character, influenced by a close friend's life. Virtual reality was used to allow the audience to immerse themselves more within a virtual bedroom environment, using virtual props to convey the personality of the character. A fictional genealogy company called The Fifth Turning was also created to convey that environmental story through a different perspective to the audience. There are two main stories that go hand in hand with this experience: the primary story is the life of a college girl in the 1990s. The secondary story is of the fictional company, the Fifth Turning, which uses time travel technology to access the bedroom environment of the college girl to obtain more personalized genealogy information.

This thesis harnesses 3D modeling to present a contrasting world through Maya 3D models, Substance Painter textures, and Adobe's audio-visual editing tools. Influenced by my childhood experiences and cultural history, the project contrasts the natural environment with a polluted, urban landscape. The paper also discusses future expansions aiming to enhance interactivity and deepening the narrative on human environmental impact. / Master of Fine Arts / This thesis uses 3D modeling to present a contrasting world. Influences include my childhood experience and my hometown's cultural history. The work prompts reflection on our environmental footprint with plans to incorporate interactivity elements in the future.

Come with Me is the process of making a short 3D animation. Introducing the practice as a research method, I explored 3D animation production steps in a non-linear workflow. Each production step is then introduced along with the mind processes as Come with Me was developed from the story to the final animated scenes. The failed attempts are also included as an important part of this research. In the end, the workflows that allow for mistakes at each step of the 3D animation production are being explored. / Master of Fine Arts / Come with Me is the process of making a short 3D animation. Introducing the practice as a research method, I explored 3D animation production steps in a non-linear workflow. Each production step is then introduced along with the mind processes as Come with Me was developed from the story to the final animated scenes. The failed attempts are also included as an important part of this research. In the end, the workflows that allow for mistakes at each step of the 3D animation production are being explored.

Calvary is a 3D fictional cathedral that is based around Christian beliefs. It is a new way to experience spiritual landmarks, fictional or nonfictional, using virtual reality. The goal is to allow the viewer to experience this space wherever they are located and to create a dialogue about who God is to them. / Master of Fine Arts / <i>Calvary</i>, a 3D fictional cathedral that is based around Christian beliefs, can be experienced within virtual reality. Now virtual reality is used to experience computer-generated simulations that are viewable using a headset. These headsets can be connected to a smartphone or computer. The Biblical tabernacle, used to house the Ten Commandments, is what Calvary was heavily based on.

Plumage is a stereoscopic 3D experience showcasing the culmination of a personal exploration and observation of birds: a digitally modeled and rendered, fantastical bird referred to simply as a Phoenix. In many cultures birds are tied to ideas of freedom, power, and the otherworldly. Preconceived notions of a phoenix exist across many cultures as well, but for this project I wanted to create my own interpretation. While working, I drew upon my admiration of birds for their qualities of strength, beauty, and curiosity to infuse into the project. Inspired by the dynamic and detailed works of naturalists like John James Audubon, I took the opportunity to make my own observations and records of birds. I began exploring different processes of digitizing three-dimensional forms by scanning bird skins. However, due to the nature of fibrous and reflective materials (of which birds are often both) I ran into challenges that made accurate and detailed representation difficult if not impossible. From there I made the decision to pursue a more imaginative artistic approach to the project. More than just a homage to feathers and birds, this project represents the continued value of artists in the field of preservation and their ability to push visuals further with their own observations where automation and digitization fall short. Using life references I created my own textures and forms with details meant to emulate my favorite aspects of the birds that inspired me throughout my journey. Larger-than-life, projected stereoscopic 3D allows the audience to see details clearly and enhances the dynamic quality of the piece; both very important elements that needed to shine through in the final artwork. Plumage is made possible through the use of the Cyclorama, a series of convex screens that surround an audience and allow them to appreciate scenes projected in stereoscopic 3D. / Master of Fine Arts / <i>Plumage</i> is a projected 3D experience that uses state-of-the-art projectors, 3D glasses, and a large, cylindrical screen--known as the Cyclorama. My research began with a focus on 3D scanning dead bird specimens from a museum collection as a means to archive them and make them viewable by anyone with access to a computer. Unfortunately, the scanner I used could not effectively capture the intricate shapes and colors of feathers, and the resulting scans were not sufficiently detailed for learning or archival purposes. In the end, I used the observational data I had collected from the bird specimens to digitally sculpt my own ficticious species of bird. I closely studied the feathers and wing structures of the birds available to me to recreate a detailed, digital 3D representation where scanning had failed. Using software, I created still images of the finished digital bird sculpture. To create the 3D effect when projected onto a screen, I created pairs of images for the left and right eyes. The projectors and 3D glasses, coordinated with a powerful computer, allowed the audience to experience convincing 3D effects such as the Phoenix jumping out or sweeping a wing at its audience.

This master's thesis explores the role of bespoke air handling units in enhancing energy efficiency in existing buildings. The context for the study is set against the backdrop of global initiatives, including the United Nations' Sustainable Development Goals, specifically Goal 7, which emphasizes the need to improve energy efficiency to combat climate change. The significance of enhancing energy efficiency is well-established, evident both at the EU level and in national policies and regulations. Buildings represent a significant portion of the energy utilization puzzle, with substantial potential for enhancing energy efficiency, although it is often underutilized. One of the contributing factors to inefficiency is outdated ventilation systems, which lead to high thermal losses. This challenge can be addressed by retrofitting these systems with modern, efficient air handling units, thus contributing to energy conservation and cost savings. This study focuses on the adoption of bespoke air handling units adjusted to the site and capable of accommodating constraints related to factors such as space limitations in machine rooms, existing ductwork layouts, and the location of shafts. The primary goal is to empower engineers to move beyond conventional approaches, enabling them to optimize technology choices based on local conditions, specific system performance requirements, and the economic viability of each project. The aim of this study is twofold: first, to develop a methodology for designing bespoke air handling units; and second, to demonstrate the practical application of this methodology in the context of two distinct renovation projects. In line with the aim of the thesis, a design methodology for site-tailored units equipped with a two stage flat crossflow heat exchanger and an indirect evaporative cooling system was developed. The methodology delves into different aspects of data analysis, 3D modeling, and the conduct of performance calculations.The established methodology was applied in two reconstruction projects in central Stockholm, where bespoke air handling units were designed in compliance with provided technical specifications. In both scenarios, a viable option emerged for accommodating a tailored unit within the technical room situated on the first floor. For both units, the energy performance metrics signify a notable achievement in terms of heat recovery efficiency, coupled with relatively modest requirements for heating and cooling power capacity from the combined heating and cooling aircoil. However, the calculated maximum specific fan power for a single unit with heat recovery exceeded the stipulated value specified in the technical specifications, which was accepted by the client. The results of the study included air handling unit product drawings, ventilation blueprints of the technical room with the integrated air handling unit, component specifications, unit flowcharts, performance calculations, and control operating pictures. The results of this work indicate that the improvement of the building's energy efficiency is rendered feasible through the installation of bespoke air handling units in the studied reconstruction projects.