BIM – Building information modelling används idag av bl.a. arkitekter, konstruktörer,entreprenörer och fastighetsägare. BIM är ett verktyg där en 3D-modell av projektet kan användassom informationskälla.Genom att 3D-modellen innehåller mått/dimensioner, materialtyper, mm blir användandet avmodellen ett kraftfullt verktyg vid både kalkylering och produktionsplanering. Användandet avBIM-modeller vid dessa arbeten är ett relativt nytt arbetssätt där det finns väldigt få standarderoch beprövade metoder. För att använda sig av en BIM-modell vid kalkylering ochproduktionsplanering krävs dessutom en implementering av kalkyl- och planeringsprogram somstödjer användandet av BIM. Standarder och riktlinjer saknas också för själva utformandet avmodellen.Forskning visar att användandet av en BIM-modell vid mängdavtagning ochproduktionsplanering är både tidsbesparande och mer kostnadseffektivt än de traditionellametoderna där 2D-CAD-ritningar med tillhörande beskrivningar utgör de endainformationskällorna. Tidigare rapporter och examensarbeten har dessutom visat hur 5D-BIManvänds idag och hur det kan implementeras hos både industriella- och traditionelltplatsbyggande företag. 5D-BIM är ett arbetssätt där det utöver den tredimensionella modellenäven tillkommer tid och kostnad som dimension 4, och 5.Denna rapport syftar till att utvärdera de förutsättningar som krävs för implementering avarbetssättet 5D-BIM hos en entreprenör med både industriellt- och platsbyggande, samt utvärderavilka möjligheter och problem som en implementering av arbetssättet bidrar med. Användandetav BIM skiljer sig åt för industriella och platsbyggande entreprenörer. Författaren vill därförutvärdera vad som krävs för att arbetssättet ska kunna implementeras hos en entreprenör somproducerar hus med ett öppet byggsystem samt avgöra vad som krävs av själva BIM-modellen.En explorativ fallstudie har genomförts hos en delvis industriellt byggande småhustillverkare därarbetssättet 5D-BIM implementerats samt nuvarande arbetsgång genom projektering-,kalkylering till produktionsplanering kartlagts. Kartläggningen står som grund förimplementeringen av arbetssättet 5D-BIM där även utformandet av BIM-modellen utvärderats.Studien visar hur implementering av arbetssättet 5D-BIM kan gå till hos en entreprenör med bådeindustriellt- och traditionellt byggande utifrån den utförda kartläggningen, samt huranvändningen ökar förutsägbarheten i projekten. / BIM – Building information modelling is used today by architects, structural engineers,contractors and property owners among others. BIM is a tool where a 3D-model of the projectcan be used as a source of information.When the 3D-model contains measurements/quantities and types of material it becomes apowerful tool when doing cost estimations/quantity takeoffs and production planning. The usageof BIM-models for these activities is a relatively new way of working and there are very fewstandards and proven methods. To have use of the BIM-model it also takes an implementation ofcost estimate- and planning programs that supports the use of BIM. Also, there are no standardsor guidelines for the configuration of the BIM-model.Research show that the use of BIM-models in quantity takeoff and production planning is bothtime-saving and more cost efficient then the use of the traditional ways where 2D-CAD drawingswith included descriptions is the only source of information. Earlier reports and master thesis’salso show how 5D-BIM is used today and how it can be implemented for companies with eitherindustrial- or more traditional concepts. 5D-BIM is a method where beyond the 3D-model, timeand cost are also included as dimensions 4, and 5.This report aims to evaluate under what conditions an implementation of 5D-BIM is possible fora contractor with a concept that includes both industrial- and traditional building, and alsoevaluate the possibilities and problems that occur during implementation. The use of BIM differsbetween industrial “off-site construction” and traditional “on site construction”. The author ofthis thesis therefor wants to study a company with a concept that includes both industrial andtraditional practices and also evaluate what information is requested in the BIM-model.An explorative case study has been conducted at a partially industrial contractor that produceshouses. The method 5D-BIM has been implemented and current workflow has been studied thrumodel configuration-, cost estimation to production planning. The study of the current workflowis the foundation for the implementation of 5D-BIM and the evaluation of § model configuration.The study shows how 5D-BIM as a method can be implemented for a company that has both onandoff site construction as a concept, and used to increase predictability in the projects.

Five-dimensional (5-D) light field video (LFV) (also known as plenoptic video) is a more powerful form of representing information of dynamic scenes compared to conventional three-dimensional (3-D) video. In this dissertation, the spectra of moving objects in LFVs are analyzed, and it is shown that such moving objects can be enhanced based on their depth and velocity by employing 5-D digital filters, what is defined as depth-velocity filters. In particular, the spectral region of support (ROS) of a Lambertian object moving with constant velocity and at constant depth is shown to be a skewed 3-D hyperfan in the 5-D frequency domain. Furthermore, it is shown that the spectral ROS of a Lambertian object moving at non-constant depth can be approximated as a sequence of ROSs, each of which is a skewed 3-D hyperfan, in the 5-D continuous frequency domain. Based on the spectral analysis, a novel 5-D finite-extent impulse response (FIR) depth-velocity filter and a novel ultra-low complexity 5-D infinite-extent impulse response (IIR) depth-velocity filter are proposed for enhancing objects moving with constant velocity and at constant depth in LFVs. Furthermore, a novel ultra-low complexity 5-D IIR adaptive depth-velocity filter is proposed for enhancing objects moving at non-constant depth in LFVs. Also, an ultra-low complexity 3-D linear-phase IIR velocity filter that can be incorporated to design 5-D IIR depth-velocity filters is proposed. To the best of the author’s knowledge, the proposed 5-D FIR and IIR depth-velocity filters and the proposed 5-D IIR adaptive depth-velocity filter are the first such 5-D filters applied for enhancing moving objects in LFVs based on their depth and velocity. Numerically generated LFVs and LFVs of real scenes, generated by means of a commercially available Lytro light field (LF) camera, are used to test the effectiveness of the proposed 5-D depth-velocity filters. Numerical simulation results indicate that the proposed 5-D depth-velocity filters outperform the 3-D velocity filters and the four-dimensional (4-D) depth filters in enhancing moving objects in LFVs. More importantly, the proposed 5-D depth-velocity filters are capable of exposing heavily occluded parts of a scene and of attenuating noise significantly. Considering the ultra-low complexity, the proposed 5-D IIR depth-velocity filter and the proposed 5-D IIR adaptive depth-velocity filter have significant potentials to be employed in real-time applications. / Graduate / 0544

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Pour respecter les droits d'auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / Au cours de son histoire, la salle de cinéma s’est érigée à partir d’une politique d’épuration sensorielle, elle-même héritée d’une longue tradition, faisant de l’expérience spectatorielle cinématographique une expérience de contemplation purement audiovisuelle. Cependant, lorsqu’elle traverse une période de crise, tant économique qu’intermédiale, la salle de cinéma renoue avec un modèle attractionnel, polysensoriel et plus particulièrement tactile, lié au cinéma des origines et à ses premiers lieux de diffusion, mais réprimé lors de l’institutionnalisation du média et de sa stabilisation dans la salle consacrée. Aux États-Unis, c’est notamment le cas autour de 1930, au moment de l’arrivée du cinéma parlant et de la Grande Dépression, de même qu’au cours des années 1950, alors qu’une importante compétition intermédiale liée à l’arrivée de la télévision et couplée à des changements démographiques majeurs affecte les exploitants de salles. C’est de nouveau le cas depuis les années 2000, la déferlante numérique et les possibilités de visionnement à domicile arrachant de plus en plus de spectateurs aux salles. Cette thèse propose l’examen approfondi d’une période et d’un cas exemplaires. Elle analyse précisément le moment où les salles américaines connaissent une baisse de fréquentation majeure au cours des années 1950. Pendant cette période apparaissent plusieurs technologies audiovisuelles, mais également de nombreux gimmicks polysensoriels. Or, ces derniers ne sont qu’une version radicale et matérialisée d’idéaux attractionnels portés par les producteurs et l’industrie cinématographique de l’époque aux États-Unis, ce que démontre l’étude du gimmick tactile Percepto, développé en 1959 par le cinéaste William Castle pour accompagner son film The Tingler. Bien au-delà du simple gadget promotionnel, le dispositif Percepto fait vibrer les sièges et hurler les spectateurs, les sollicitant par une sensation physique directe censée prolonger l’univers du film à même la salle de cinéma. Cette expérience cinématographique singulière valorise en outre le caractère à la fois collectif et participatif du visionnement en salle. À la jonction de plusieurs champs théoriques, soit l’histoire culturelle des sens, l’archéologie des médias et les études de diffusion, cette thèse cherche à mettre au jour le rôle majeur des sens pourtant dits « mineurs », notamment celui du toucher, dans l’histoire de la salle de cinéma américaine, et à resituer la tactilité dans les origines attractionnelles du cinéma, en démontrant de quelle manière le corps du spectateur est, par le biais de stratégies polysensorielles, de nouveau inclus dans l’expérience du cinéma, alors qu’il en est traditionnellement exclu. Par ailleurs, elle vise à réinscrire les gimmicks au sein de l’historiographie du cinéma en général et de celle des salles en particulier, tout en faisant découvrir un dispositif cinématographique tactile jusqu’ici généralement méconnu et oublié par la recherche savante : Percepto. Pour ce faire, la thèse s’appuie sur plusieurs sources de première main et propose l’analyse des éléments suivants : le film The Tingler, le fonctionnement du gimmick, les publicités produites autour du dispositif, son apparition en salles, ainsi que sa réception critique et populaire. / Throughout its history, the movie theater has emerged from politics of sensory purification inherited from a long tradition, making the cinematographic spectatorial experience one of a purely audiovisual contemplation. When going through a period of crisis, be it economic or intermedial, the movie theater reconnects with an attractional, multi-sensory and mainly tactile model linked to the origins of cinema and to its first exhibition spaces, but repressed at the time of the institutionalization of the media and its stabilization in the dedicated theater. In the United States, this is notably the case around 1930 with the arrival of talking pictures and the Great Depression, as well as during the 1950s when significant intermedial competition resulting from the advent of television, coupled with major demographic shifts, affects theater exhibition. This has also been the case since the early 2000s, when the digital surge and the possibilities of home viewing have torn more and more spectators away from theaters. This thesis offers an in-depth examination of an exemplary period and case. It analyzes precisely when American theaters experienced a major drop in attendance during the 1950s. During this period, several audiovisual technologies appeared, along with many multi-sensory gimmicks. However, the latter are only a radical and materialized version of ideals of attractions carried by the producers and the film industry of the time in the United States, as demonstrated by the study of the Percepto tactile gimmick, developed in 1959 by filmmaker William Castle to complement his film The Tingler. Far beyond a simple promotional gadget, the Percepto device makes the seats vibrate and the audience scream, addressing the spectators with a direct physical sensation supposed to extend the fictional world of the film right into the theater. This unique cinematographic experience also underlines both the collective and participatory qualities of theatrical viewing. At the junction of several theoretical fields, namely the cultural history of the senses, media archeology and exhibition studies, this thesis seeks to bring to light the major role of the so-called “minor” senses, in particular that of the touch, in the history of the American cinema, and to restore tactility in relation to the attractional origins of cinema, by demonstrating how the spectator's body is, through multisensory strategies, included again in the experience of cinema although it is traditionally excluded. In addition, it aims to re-establish gimmicks within the historiography of cinema as a whole and that of movie theaters in particular while revealing a tactile cinematographic device largely unknown and forgotten by scholarly research to this day: Percepto. To achieve this, the thesis offers the analysis of the following aspects, based on several primary sources: the film The Tingler, the functioning of the gimmick, the advertisements produced around the device, its theatrical release and exploitation as well as its critical and popular reception.