Architectural representation is much more than a process of transcription between a concept and the building; it is a tool that determines the very mentality and praxis of the architect. This thesis studies the technique of film montage through the work of Andrei Tarkovsky and the possibilities it offers to the process of architectural conception. A general outline of the development of the perspective tools of representation in architecture lead to an understanding of the significance of the cinematographic image in the context of the history of projection. Montage in the tradition of Surrealism placed an emphasis on the potential power of poetic evocation between its elements. Comparing the narrative forms of three film-makers, the "surrealist montage" of Luis Bunuel, the "intellectual montage" of Sergie Eisenstein, and the temporal modulation in the films of Tarkovsky, this thesis examines different ways to qualify cinematographic space which affect the spatial and temporal experience of the spectator and offer the possibility of a redefinition of ritual in architecture.

Embroidery is a traditional non-photorealistic art form in which threads of different colours stitched into a base material are used to create an image. This thesis presents techniques for automatically producing embroidery layouts from line drawings and for rendering those layouts in real time on potentially deformable 3D objects with hardware acceleration. Layout of stitches is based on automatic extraction of contours from line drawings followed by a set of stitch-placement procedures based on traditional embroidery techniques. Rendering first captures the lighting environment on the surface of the target object and renders it as an image in texture space. Stitches are rendered in this space using a lighting model suitable for threads at a resolution that avoids geometric and highlight aliasing. It is also possible to render stitches in layers to capture the 2.5D nature of embroidery. A filtered texture pyramid is constructed from the resulting texture and applied to the 3D object. Aliasing of fine stitch structure and highlights is avoided by this process. The result is a realistic embroidered image that properly responds to lighting.

Thesis (M.S.)--Oregon State University, 2009. / Printout. Includes bibliographical references (leaves 106-112). Also available on the World Wide Web.

Thesis (Ph. D., Computer Science)--University of Idaho, December 2008. / Major professor: Robert E. Hiromoto. Includes bibliographical references (leaves 111-118). Also available online (PDF file) by subscription or by purchasing the individual file.

Stuttgart, Univ., Fakultät Informatik, Diplomarb., 1998.

Stuttgart, Univ., Studienarb., 2002.

Erlangen, Nürnberg, Univ., Diss., 2002. / Erscheinungsjahr an der Haupttitelstelle: 2001. Computerdatei im Fernzugriff.

Erlangen, Nürnberg, University, Diss., 2002. / Erscheinungsjahr an der Haupttitelstelle: 2001.

Physically-based spectral rendering is becoming increasingly popular in both commercial and academic areas due to its ability to accurately simulate natural phenomena. However, the production of materials defined by their spectral properties is a tedious and expensive process, which makes the utilization of RGB-based assets in spectral renderers a desired feature. To convert RGB values to their spectral representations, a process called spectral uplifting is employed. As the RGB color space is a finite subset of the visible gamut, there exist multiple conversion techniques producing distinct results, which may cause color inconsistencies under various lighting conditions. This thesis proposes a method for constraining the spectral uplifting process. To be specific, pre-defined mappings of RGB values to their spectral representations are preserved and the rest of the RGB gamut is plausibly uplifted. In order to assess its correctness, this technique is then implemented and evaluated in a spectral renderer. The renders uplifted via our method show minimal discrepancies when compared to the original textures.

Indiana University-Purdue University Indianapolis (IUPUI) / Rapid development of digital technology has enabled the real-time volume rendering of scientific data, in particular large microscopy data sets. In general, volume rendering techniques project 3D discrete datasets onto 2D image planes, with the generated views being transparent and having designated color that is not necessarily "real" color. Volume rendering techniques initially require designating a processing method that assigns different colors and transparency coefficients to different regions. Then based on the "viewer" and the dataset "location," the method will determine the final imaging effect. Current popular techniques include ray casting, splatting, shear warp, and texture-based volume rendering. Of particular interest is ray casting as it permits the display of objects interior to a dataset as well as render complex objects such as skeleton and muscle. However, ray casting requires large memory and suffers from longer processing time. One way to address this is to parallelize its implementation on programmable graphic processing hardware. This thesis proposes a GPU based ray casting algorithm that can render a 3D volume in real-time application. In addition, to implementing volume rendering techniques on programmable graphic processing hardware to decrease execution times, 3D image segmentation techniques can also be utilized to increase execution speeds. In 3D image segmentation, the dataset is partitioned into smaller sized regions based on specific properties. By using a 3D segmentation method in volume rendering applications, users can extract individual objects from within the 3D dataset for rendering and further analysis. This thesis proposes a 3D segmentation algorithm with combinatorial map that can be parallelized on graphic processing units.